Yaytseslav, at the centre of the viral scandal, faces allegations of secretly recording intimate encounters with Ghanaian women and sharing the content on social media without their consent.

What began as scattered whispers online has escalated into a national debate, touching on morality and the vulnerability of young women.

The Modus Operandi

According to multiple accounts, Yaytseslav frequented public spaces such as the Accra Mall, where he struck up casual conversations with female patrons. After brief interactions, he requested their contact details and invited them to his residence or hotel apartment.

Circulating clips suggest the interactions were brief, sometimes lasting mere minutes. He would approach, exchange contact details, and immediately extend an invitation: “Follow me, let’s go to my place.”

Per the circulating videos, some women followed him immediately, while a few visited later. Hardly any declined promptly.

What they allegedly did not know was that he was wearing Meta smart glasses, a device capable of discreetly recording audio and video. The recordings captured not only conversations but intimate moments, which have now surfaced online.

Discovery and Digital Shock

The issue reportedly came to light after Ghanaian users discovered a Telegram account believed to be linked to Yaytseslav, where he shared explicit content of his victims, many of whom are of African descent.

Further checks uncovered a TikTok account where excerpts of his conversations and intimate encounters were posted.

In some clips, he is heard boasting about the number of Ghanaian women he had slept with—allegedly over 30—though the exact number remains unconfirmed.

Public Reaction: Anger, Blame, and Division

Since the discovery on the night of Thursday, February 12, social media has been abuzz. The situation has triggered widespread outrage, with many condemning what they describe as exploitation, invasion of privacy, and the non-consensual distribution of intimate content.

Others remain focused on questioning the morality and intent of the victims rather than legalities.

Legal experts and digital rights advocates have also weighed in, pointing to Ghana’s laws on cybercrime and privacy. As of now, it remains unclear whether any formal complaint has been lodged with law enforcement or whether investigations have commenced.

Aftermath of Backlash

Following public backlash, the Russian national reportedly deleted all content involving Ghanaian women from his Telegram and TikTok accounts.

However, despite the removals, screenshots and screen recordings continue to circulate online, keeping the controversy alive and intensifying calls for accountability.

For now, his last social media post suggests he is in Kenya, where the cycle allegedly continues. He has since temporarily restricted his accounts from public viewing.

Speaking in an interview on Hitz FM, Yaw Darling clarified that a previous comment widely perceived as disrespectful was never intended to undermine Patapaa.

In that earlier interview, he had declined to be likened to an artiste like Patapaa, saying he would rather be compared to the likes of Kuami Eugene.

“I am a singer; Patapaa is not a singer, and we all know that. I meant I’d like to be likened to Kuami Eugene, who is one of the greatest singers in Ghana, and I’d be happy to be compared to a singer and not an artiste doing another genre,” he explained.

Making a U-turn on Hitz FM, Yaw Darling described his earlier comment as a “slip of the tongue.”

“We all make mistakes in this showbiz game sometimes; slip of tongue. The last time, I didn’t mean to disrespect him. After all, we are from the same region,” he said.

Yaw Darling stressed that he has long admired Patapaa’s craft and impact on the music scene. He noted that his creative process often involves drawing inspiration from different musicians and sampling elements from songs that resonate with him, and Patapaa’s style is no exception.

“I respect him because I’ve danced to his music. I’ve listened to him. So there’s no way I could disrespect Patapaa. If I see that there’s an element in a Patapaa song that I could use, I will sample it,” he said.

Beyond clearing the air, the 2025 TGMA Unsung Artiste expressed genuine interest in working with Patapaa in the future.

“If I get the chance, I will do a song with him because Patapaa too has a huge audience. He has the energy audience. I’m interested,” he stated.

Watch video below:

Speaking in an interview with George Quaye on Prime Time on Joy Prime, the musician, activist and political figure said his journey to prominence has been far from polished. He credits much of his worldview to his early years preaching and distributing Awake pamphlets as a Jehovah’s Witness.

Before the fame and headlines, he said, he was a “nobody”. Born into a relatively comfortable home, A-Plus explained that while survival was not a daily struggle, his position as the second of five children shaped his independence and desire to assert himself.

Determined to stand out, he often chose a different path. In a household of Asante Kotoko supporters, he aligned himself with Hearts of Oak simply to be distinct.

His move to Accra in the late 1990s marked a turning point. He was brought to the capital by a man he identified as Chico. On arrival, he said he sometimes told people his parents were not around, not out of deceit, but to create a psychological boundary and avoid certain influences. Chico later died from drug abuse, an experience A-Plus said reinforced his complex views on life, destiny and consequence.

Recounting the beginnings of his music career, A-Plus said his first demo was produced by Mensah Ansah of FOKN Bois. His breakthrough, however, came with “Mesuro Mpo Na Merekeka Yi O”, produced by Big Ben. According to him, the song was driven by hunger for success and a desire to stand apart, even at the risk of controversy.

He recorded at Slim Buster’s studio between 1998 and 1999, where he sometimes slept, while many members of his family did not know his whereabouts. He also witnessed defining moments in the industry, including when Slim Buster produced “Philomena” for Tic Tac.

From those experiences, he developed a belief that breaking into the mainstream required confrontation, what he famously describes as “holding someone’s throat”.

That approach, he admitted, came at a cost. His rise sparked backlash to the extent that his father reportedly visited radio stations to plead with DJs to stop playing his music. Court cases followed. In one instance, journalist Kojo Danquah invited him for a meal, only to inform him afterwards that people were searching for him to serve a court order.

In distress, A-Plus contacted his uncle, veteran journalist Kwesi Pratt, who advised him not to flee and assured him of legal support. Still unconvinced, he said he chose to settle some matters quietly behind closed doors, exposing a vulnerability rarely seen in his public persona.

On faith, A-Plus described himself as deeply reflective. He said he believes God is real and accessible to all, claiming to have encountered God one on one. Yet, he admitted he is uncertain about attaining paradise after death.

Politically, he said he admires Nana Addo Dankwa Akufo-Addo as a person but disagrees with his style of politics, arguing that the former president lost direction at some point. Through The People’s Project, he ventured into politics, describing his campaign as smooth and asserting that the day his presidential posters appear will be the day he wins. He also clarified that he has never called on John Mahama to seek a third term.

In his closing remarks, A-Plus unapologetically described himself as a professional and experienced attention seeker, joking that anyone in Ghana who dislikes him must be a witch.

Love him or loathe him, A-Plus remains difficult to ignore: a man shaped by faith, driven by difference and fully conscious of the attention he commands

Through his charitable initiative, the Mohammed Ismail Sharrif Foundation, the award-winning artiste donated large quantities of essential items to the mothers and fully settled their outstanding medical bills, totaling GH¢50,696.

The intervention brought relief to several women who had completed treatment but were unable to leave the hospital due to unpaid bills.

Hospital officials expressed gratitude for the support, noting that financial constraints often delay discharges and place additional emotional and economic strain on families.

Black Sherif’s gesture highlights a growing trend among Ghanaian creatives using their platforms and resources to support social causes.

For the artiste, whose music often explores themes of struggle and resilience, the initiative demonstrates a deliberate effort to turn influence into meaningful impact.

The donation also aligns with Sustainable Development Goal 3.1, which seeks to reduce maternal mortality and ensure access to safe, quality maternal healthcare.

The Mohammed Ismail Sharrif Foundation plans to roll out further initiatives focused on health and social support in the coming months.

Midway through his performance, the Obiaa Nye Obiaa, African Money, and Tinana hits maker paused to reflect on the life and legacy of the late artiste, before thrilling patrons with a soulful rendition of Ebony’s hit song “Hustle.” 

The emotional tribute drew loud applause from the audience as he exited the stage.

The moment proved especially moving as Sunday, January 8, 2026, marked exactly eight years since Ebony Reign’s tragic death in a fatal accident, near Mankranso on the Sunyani- Kumasi highway, while returning to Accra after a family visit to Sunyani.

Many patrons described the tribute as a touching way of honouring one of Ghana’s most celebrated young female dancehall and hiplife musicians.

Ebony Reigns, who died eight days before her 21st birthday and a day before a scheduled musical tour in Europe, also had hit songs, including “Poison” and “Kupe.”

In another development, Berima Sydney, who performed free of charge at the third edition of Naughty Saturday in Sunyani, joined the organisers to donate proceeds from the event to the “Compassion Is Love in Action Orphanage” at Yawhima, a suburb of Sunyani.

Speaking at the event, the lead organiser, Samuel Arko Burdett, popularly known as DJ Naughty, expressed his excitement about supporting the orphanage for the third consecutive year.

He appealed to organisations and individuals to endeavour to put smiles on the faces of the children by supporting the orphanage in cash or kind, describing such gestures as service to God.

He extended gratitude to some individuals, including Ransford Antwi, CEO of Suncity Radio and Suncity Imperial Lodge, and Vera Enyonam, CEO of Ericose Limited Company, for their continued support.

DJ Naughty further commended the MCs and DJs who contributed to the success of the event, including MC KMJ of Joy Prime TV, DJ Khalifa, MC Quest, and Opoku Agyeman of 4K Graphix.

The Naughty Saturday night was capped with an electrifying performance by fast-rising Nigerian artiste Exy, who thrilled patrons with songs such as “Control,” “Doo Doo,” and  “Wonder,” the latter in collaboration with DJ Naughty

Ms. Gharbin earned international acclaim after creating the world’s largest beaded bag sculpture—a striking piece crafted in Ghana’s national colours and adorned with Adinkra symbols representing resilience, loyalty, and excellence.

Beyond the record itself, the government is now focusing on turning the global attention into long-term cultural and economic value.

Minister for Tourism, Culture and Creative Arts, Hon. Abla Dzifa Gomashie, described the achievement as an opportunity to strengthen Ghana’s cultural diplomacy and position the country strategically within the global creative arts landscape.

She explained that the Ministry will work closely with the creative team to integrate the record-breaking artwork into national tourism campaigns, exhibitions, and cultural showcases both locally and internationally.

“Such collaborations are essential in transforming artistic excellence into viable tourism products capable of attracting visitors, creating jobs, and generating revenue for the country,” the Minister noted.

The Ministry is expected to explore partnerships with tourism agencies, event organisers, and cultural institutions to showcase the sculpture at major festivals, heritage events, and international expos.

The initiative reflects a broader strategy by the government to harness creative milestones not just as moments of celebration, but as tools for sustained tourism growth and global cultural promotion.

The awards, which celebrate outstanding young Ghanaians making impactful contributions across various sectors, aim to recognise innovation, leadership, and excellence among the nation’s youth. Organisers have announced that nominations opened on Saturday, December 20, 2025, and will close on Sunday, February 15, 2026.

The 2026 edition is being held under the theme:
“Youth Can, Youth Will: Leading the Charge to Redefine Ghana’s Future.” The theme highlights the growing role of young people as drivers of national development and social transformation.

Eligible individuals and groups are encouraged to file nominations through the official portal at https://apexafricaconcept.com/gyea/ . The awards are organized by Apex Africa Concept, known for championing youth empowerment initiatives across the country.

The Ghana Youth Excellence Awards has, over the years, become a respected platform for spotlighting young achievers in entrepreneurship, leadership, innovation, social impact, creative arts, and other key sectors contributing to Ghana’s progress.

Organisers have called on the general public, institutions, and stakeholders to take advantage of the nomination window and nominate deserving young Ghanaians whose work continues to inspire change.

For enquiries, sponsorship, or partnership opportunities, interested parties can contact the organisers via 0598225556 or 0548555750, and follow the official social media pages of the Ghana Youth Excellence Awards for updates.

The event is being organised by Jukey Prestige Afrique Promotion in collaboration with Groupe Adamfopa Media, as part of activities marking Ghana’s independence from British colonial rule on March 6, 1957.

Dubbed the Ghana @69 Independence Concert, the Paris show is expected to draw Ghanaians from across Europe for a night of music, culture, fashion and national pride.

Kojo Antwi, affectionately known as “Mr Music Man,” remains one of Ghana’s most celebrated musicians. With a career spanning over three decades and more than 22 albums, he is revered for blending Ghanaian highlife with Congolese soukous, Caribbean lovers rock, reggae, and African-American soul and R&B.

His timeless hits, including Tom and Jerry, Dadie Anoma, Adiepena and Me Dware, continue to resonate across generations.

A multiple award winner, including the Kora Award and All Africa Music Awards, Kojo Antwi recently announced an upcoming memoir titled “Mr Music Man,” further cementing his legacy in African music history.

Sharing the stage with him is Medikal, one of Ghana’s most influential contemporary hip-hop artists, known for his energetic performances and street-rooted lyrics that resonate with youth.

His presence is expected to add a modern Afro-fusion edge to the celebrations.

Ghana’s independence was spearheaded by visionary leaders, including Kwame Nkrumah, J.B. Danquah, Ebenezer Ako-Adjei, Edward Akufo-Addo, William Ofori Atta, and Emmanuel Obetsebi-Lamptey, whose collective efforts led to the birth of the first sub-Saharan African nation to gain freedom from colonial rule.

Isaac Oppong Dwomoh, CEO of Groupe Adamfopa Services Paris, says celebrating independence in the diaspora has become a powerful tool for cultural preservation, community cohesion, economic networking, and tourism promotion.

“Events such as the Paris concert help strengthen ties between Ghanaians abroad and the motherland, while recognising the contributions of the diaspora as global ambassadors of Ghanaian culture” he noted.

On Monday, the musician paid a courtesy visit to the headquarters of the Gomoa Central Special Economic Zone, located at the Mövenpick Ambassador Hotel, to formally signal his intention to invest in agriculture within the Gomoa Central enclave.

Shatta Wale described the Nkokɔ Nketenkete initiative as a motivating factor behind his decision to diversify from music into poultry production.

He reportedly commended the policy direction, noting that it demonstrates how governance can inspire private individuals, including creatives, to invest in agriculture, create jobs, and contribute to national food security.

During the meeting, discussions also highlighted the upcoming Gomoa Easter Carnival, a four-day street festival scheduled for the Easter period.

The carnival is expected to feature masqueraders, jama groups, street performers, food vendors, traditional rulers, and over 25 performing artistes, positioning Gomoa as a hub of culture, entertainment, and enterprise.

In a short video circulating online, Moesha is seen praying earnestly, pleading with God for the restoration of her health.

“God please heal me,” she says, her words reflecting vulnerability and hope.

She disclosed that her greatest wish, as she marks her 36th birthday on March 10, is to fully regain her health.

The video marks Moesha’s first public sighting since reports emerged that she had suffered a stroke and was dealing with related health challenges.

Her prolonged absence from the public eye had raised concern among fans and colleagues in the entertainment industry, many of whom had been calling for prayers for her recovery.

The latest video has since sparked an outpouring of support on social media, with fans and well-wishers flooding the comments section with prayers and messages of encouragement.

Watch video below:

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It is widely believed that the movie stars were not on good terms.

However, addressing the popular assertion during an interview on Yanga FM, Omotola, who clarified that they were never fighting, noted that “people don’t need to be best friends”

While accusing fans of pitching them against each other, Omotola said, “Na them start the quarrel before we know say we dey quarrel. So, we have to catch up with the quarrel. There was no quarrel.”

The interviewer further asked: “Was there anything like say una been quarrel wey lasted for twenty years before EJ movie?”

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Omotola replied: “People don’t need to be best friends, but we talked. Like behind the film, we dey talk normally. You know the same thing they do with all these music stars, na, we dem take start all those things back then.

“Na we be the practice that time. You know all this Wizkid, Davido now that they have taken to a different level, na we be the first one now. Really, na them start the quarrel before we know say we dey quarrel. So, we have to catch up with the quarrel. There was no quarrel.

“We were young, everybody dey do her own thing now. You know how the industry is. You know, them go pitch you against this person, talk say na this one be the hottest girl, na that one be the hottest girl. So, those kind tension go dey normally, but people they read am as other things.”

In a motion filed at the Human Rights Division of the High Court in Accra, Kumi is seeking GH₵10 million in compensation for what he describes as a coordinated campaign of “cruel, inhuman, and degrading treatment” following his arrest on 11th December 2025.

The lawsuit names the Minister for Interior, the Narcotics Control Commission (NACOC), the FBI, the Economic and Organised Crime Office (EOCO), and the Attorney-General as respondents.

Abu Trica alleges that his arrest and subsequent detention were marked by physical violence, coercive interrogations by foreign agents, and the systematic looting of his personal property.

Handcuffed, starved, and interrogated by foreign agents

According to the court documents, lawyers of Abu Trica claim that over 15 armed officers stormed his apartment in the Airport Residential Area while he was playing video games with friends.

Abu Trica claims he was immediately handcuffed and remained restrained from morning until late evening without access to food, water, or rest.

The most striking allegation involves the 3rd Respondent, the FBI.

Kumi asserts that while in the custody of Ghanaian authorities, he was subjected to a coercive interrogation by three foreign nationals introduced as FBI agents.

He claims these agents, who possess no independent police powers in Ghana, forced him to sign documents he could not read due to limited literacy and threatened to link him to fraudulent transactions worth up to $8 million if he did not disclose his phone passwords.

“The decision and conduct of officers of the 2nd Respondent in permitting agents of the Federal Bureau of Investigation… to interrogate the Applicant without access to Counsel, was unlawful and in violation of Articles 14 and 19 of the 1992 Constitution,” the motion states.

‘Abu Trica Mansion’ raided in absence of owner

While Kumi remained in custody, he alleges that officers from NACOC and EOCO conducted unauthorised searches of his residence, known as “Abu Trica’s Mansion,” in Swedru.

The applicant claims the officers seized a staggering array of luxury items and electronics, including:

• Vehicles: A Lamborghini, a Mercedes, and a Cybertruck.
• Electronics: Numerous iPhones (ranging from models 7 to 15 Pro), MacBooks, an Alienware laptop, a PlayStation 5 console, and a Starlink Wi-Fi modem.
• Personal Effects: Cartier watches, jewellery, and silver chains.

Kumi further alleges that many of the seized items belonged to his friends and that the officers failed to provide an inventory or receipt for the confiscated property.

He also accuses EOCO of violating his presumption of innocence by labelling him a “notorious cyber-criminal” in an official news release before any judicial determination of guilt.

Demands for justice and an end to foreign interference

In addition to the GH₵10 million compensation, Kumi is praying the court for several critical orders:

• Exclusion of Evidence: An order rendering any information or items obtained during the “coercive” interrogations and “unauthorised” searches inadmissible in any future proceedings.
• Interlocutory Injunction: A restraining order to prevent the State from extraditing or deporting him to any foreign state pending the final determination of the suit.
• Restraint of the FBI: A specific order restraining the FBI and its agents from exercising any investigative or interrogation powers over him within Ghanaian territory.

The case is expected to be moved in the Human Rights High Court in February 2026.

The outcome could set a significant precedent regarding the extent to which foreign law enforcement agencies can operate within Ghana and the protections afforded to citizens during high-profile cyber-crime investigations.

The signing marked the start of a strategic partnership aimed at strengthening Wakanow’s brand visibility and promoting seamless travel experiences, destination discovery and tourism-related services, particularly among young professionals and digital audiences.

The event was witnessed by key officials of Wakanow, including the Country Manager, Joyce Okpokiri.

Speaking at the ceremony, Ms Okpokiri expressed confidence in Tima Kumkum’s influence and alignment with the brand’s values.

She noted that Wakanow is committed to working with personalities who demonstrate credibility and strong engagement with the travelling public.

She explained that Cynthia’s growing presence in the media and lifestyle space makes her a strong fit to help communicate Wakanow’s mission of making travel easier, more accessible and enjoyable for customers.

Tima Kumkum, on her part, described the ambassadorial role as an exciting opportunity and pledged to use her platform to promote travel awareness, encourage exploration and highlight the convenience of Wakanow’s services to both local and international travellers.

The Association said they have transformed from a largely community-based practice into a national brand capable of generating revenue, creating jobs, and attracting investment.

This was stated in a release by Rev. Asante Daniel Edmund Kofi and Eric Kingsley Ashie, who are Patrons of the Federation, following recently held masquerades and fancy-dress events in the Western, Central, Greater Accra, and Ashanti regions.

Ghana’s masquerade and fancy-dress traditions have long been celebrated for their vibrancy, creativity, and cultural depth. Yet, for decades, these colourful festivals—flourishing in Winneba, Agona Swedru, Sekondi, Takoradi, Elmina, and Kumasi—have remained largely local in scope, missing an opportunity to become a major economic and tourism engine.

The Federation represents a strategic leap for Ghana’s entertainment and cultural sector, creating a national platform to professionalise carnival arts, coordinate performances, and link masquerade culture to tourism, creative industries, and international markets.

At the helm are seasoned leaders, including Mr. Edward Kwafo, Mr. Allen Kwafo, Rev. Moses Gyesi, and Mr. Emmanuel Okwandaho Mensah, whose decades of experience across Winneba, Swedru, Tema, and Sekondi-Takoradi lend credibility and organisational discipline to the Federation.

Their leadership is bolstered by support from traditional authorities like Neenyi Ghartey VII and Osae Nyampong VI (Effutu Traditional Area), and political champions such as MP Alexander Afenyo-Markin, whose participation in parades over the years underscores a growing public-private partnership model for cultural development.

The Federation’s vision positions Ghanaian masquerade culture as a full-fledged creative economy sector, linking costume design, choreography, music, event production, and youth training with tourism and entertainment revenue streams.

The patrons said, “Local artisans, tailors, musicians, and performers now have a national platform to monetise talent, access sponsorship, and scale performances to regional and international stages.”

“Tourism stands to gain significantly. By packaging festivals with professional storytelling, ticketed experiences, and curated parade routes, the masquerade tradition can attract domestic and international visitors, boosting hospitality, transport, and local business revenues. The potential ripple effect includes hotel bookings in Sekondi, Takoradi, and Elmina; restaurant patronage in Winneba and Swedru; and cultural tour engagements in Kumasi.”

Global Exposure and Cultural Diplomacy

The Federation also intends to connect Ghana’s carnival culture with international markets by participating in globally recognised events, including Notting Hill Carnival (UK) – Europe’s largest street festival, ideal for showcasing Ghanaian performance arts and costume excellence; Caribbean Carnival (Toronto, Canada) – targeting the North American market and diaspora communities; and Trinidad and Tobago Carnival – sharing techniques, costume innovations, and performance styles at the world’s premier carnival.

The Federation added, “The rest are Dominican Republic Carnival (Santo Domingo, 2026) – strengthening African-Caribbean heritage links; and Rio Carnival (Brazil) – offering cross-cultural creative exchanges and exposure to international audiences.”

Participation in these events is not only about cultural exchange; it represents business and tourism opportunities, attracting sponsorship, media coverage, and potential partnerships with event organisers and cultural institutions.

Economic, Employment, and Youth Opportunities

The Association said, “By leveraging Ghana’s masquerade culture, the Federation is creating jobs and entrepreneurial pathways. Tailors and costume designers gain international contracts, choreographers and musicians earn performance fees, and young people acquire skills in event management, stage production, and cultural entrepreneurship. Communities in Sekondi-Takoradi, Swedru, Elmina, Winneba, and Kumasi benefit directly from festival-driven commerce, hospitality services, and informal tourism activities.”

A Unified National and International Brand

The Federation said it “unifies local traditions—from Sekondi-Takoradi’s regimented formations to Swedru’s competitive artistry, Winneba’s historic parades, Elmina’s heritage-rich performances, and Kumasi’s urban innovations—into a marketable national brand capable of domestic monetisation and international licensing.”

“With strong leadership, traditional patronage, political backing, and strategic international participation, Ghanaian masquerade is poised to become a major player in Africa’s creative economy, combining cultural authenticity with professional business practices.”

The 14-minute set included guest performances from Lady Gaga and Ricky Martin, along with cameos from the likes of Pedro Pascal, Cardi B, Karol G and Jessica Alba, who could be seen dancing on the porch of his famous casita, a staple of his shows designed to look like a traditional Puerto Rican home.

It was expected that Bad Bunny, real name Benito Antonio Martinez Ocasio, would use his performance as an opportunity to make a political statement against the current US administration, but instead, he used it to promote a message of American unity.

Transporting himself through a Latin landscape, with set pieces that included everything from a nail salon to a bar, the Grammy award winner reeled off a medley of his biggest hits, including Tití Me Preguntó, MONACO and BAILE INoLVIDABLE.

Lady Gaga performed a Latin-inspired rendition of her hit Die With A Smile
The 31-year-old, who was the world’s most-played artist on the streaming service Spotify in 2025, made history by becoming the first musician to perform a Super Bowl halftime show entirely in Spanish.

But he did choose to make two statements in English: one on a billboard reading “The only thing more powerful than hate is love,” and the other, “Together, We Are America,” written on a football he held.

His performance at Levi’s Stadium in Santa Clara marked the first time the singer and rapper has performed in the USA since releasing last year’s Grammy-award winning album Debí Tirar Más Fotos (I Should Have Taken More Photos).

Puerto Rico was at the heart of everything in this performance, from his early emergence from a sugarcane field to a set that was meant to represent the sounds and sights of the place he calls home.

Family also featured heavily – from a young couple getting married in a crowd full of Latino dancers to the symbolic moment of Bad Bunny handing his Grammy award to a small child as his 2026 acceptance speech played on a small television.

Climbing an electricity pylon – symbolising the infrastructure that was ruined during the devastating storm – and rapping at the same time, he appeared to pay tribute to the people who died in the 2017 Hurricane Maria.

Bad Bunny further conveyed a message with his outfit, wearing a beige sweater emblazoned with the number 64.

It could represent the official death toll, which turned out to be significantly lower than the estimated thousands who died.

President Trump’s administration was criticised at the time by Puerto Ricans who said it failed to provide the same federal support compared to hurricanes that had occurred on the mainland.

Bad Bunny’s casita housed Jessica Alba, Pedro Pascal, Alix Earle and Cardi B
There were no direct criticisms of President Trump, which some saw as a surprise after his two acceptance speeches at last week’s Grammy Awards, during which he used the opportunity to speak out against ICE (Immigration and Customs Enforcement) officers.

Their actions have prompted protests in multiple US cities – most recently in Minneapolis, where federal agents shot and killed two Americans, leading to scrutiny of the administration’s tactics.

President Donald Trump, who did not attend this year’s Super Bowl, said in January that his administration would be “reviewing everything” after the fatal shootings of Alex Pretti and Renee Good.

In his Grammy acceptance speech after winning best musicá urbana album, Bad Bunny called for “ICE out”.

“The hate gets more powerful with more hate. The only thing that’s more powerful than hate is love, so please, we need to be different. If we fight, we have to do it with love.”

President Trump called Bad Bunny’s Super Bowl set “absolutely terrible, one of the worst, EVER!” on his social media platform Truth Social.

He added that it was “an affront to the Greatness of America”.

Elements of Bad Bunny’s tour set, which has travelled to Central and South America and will soon head to Australia, Japan, and Europe, were woven throughout Sunday’s performance.

This included his casita, a house which has gone viral on social media several times for its celebrity guests.

Tonight was no different, with Pedro Pascal, Jessica Alba and Cardi B dancing onstage.

After overcoming early sound issues, the performer leaned heavily on tracks from his most recent album, with EoO and DtMF among the show’s high points.

It was not his first time on the Super Bowl stage – he made a guest appearance with Shakira in 2020 – and he brought confidence as the main star. He swaggered from one corner of the stage to the next, all while delivering strong vocals.

Lady Gaga was on hand to bring a salsa-inspired rendition of her Bruno Mars collaboration Die With A Smile, and fellow Puerto Rican popstar Ricky Martin sang Lo Que Le Pasó A Hawaii, a song which warns Puerto Ricans not allow their culture to be erased.

Bad Bunny ended his performance by shouting “God Bless America” in Spanish and naming multiple North and South American countries, while dancers raised flags in the background, bringing attention to the performer’s refusal to bring his world tour to the US, though he did do shows in Puerto Rico.

Bad Bunny, who has been producing music since 2013, said in a 2025 interview with i-D that there were “many reasons” he would not be performing in the US this time around and “none of them were out of hate”.

Sunday’s show showcased the best of Latin culture on the world’s biggest sporting stage.

The sorrowful announcement included details of her one-week observance, scheduled for Tuesday, February 17, 2026. The ceremony will take place at Assisim, near Duke’s Filling Station in Agona Swedru, beginning at 9:00 a.m. sharp.

In an emotional tribute, the “One Corner” hitmaker described his late mother as his love, his world, and his everything.

“My heart is heavy. My love, my mother, and my world. Rest in perfect peace till we meet in heaven again,” Patapaa wrote.

Madam Ekua Boatema’s passing has drawn sympathy from fans, colleagues in the entertainment industry, and members of the public, many of whom have taken to social media to console the musician during this difficult time.

Details of the final funeral rites are yet to be announced by the family.

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Taylor passed away early on Saturday, 7 February 2026 at the Saltpond Hospital, the Ghana Music Union said in a statement. MUSIGA president Bessa Simons said: “Ghana and indeed the world has lost a great son.”  

Taylor’s passing comes just a month after he celebrated his 90th birthday, and a day after the launch of the Ebo Taylor Festival, an event set up to honour his musical legacy. In its statement MUSIGA said: “Uncle Ebo Taylor Rest in perfect peace.”  

Born Deroy Taylor on 6 January 1936 in Cape Coast, he became one of Ghana’s most influential guitarists, composers, bandleaders and producers. For more than six decades he helped shape highlife and Afrobeat music in Ghana and beyond, blending traditional rhythms with jazz, funk and soul to create a signature sound.  

Taylor first rose to prominence in the late 1950s with the Stargazers and the Broadway Dance Band. In 1962 he took his Black Star Highlife Band to London where he worked with Afrobeat pioneer Fela Kuti and other African musicians, before returning home to produce recordings for major Ghanaian artists including Pat Thomas and C.K. Mann.  

His music later found new audiences across the world. In the 21st century international producers sampled his work, including Usher on “She Don’t Know” featuring Ludacris from Taylor’s song “Heaven.” He also released acclaimed albums such as Love and Death (2008), Appia Kwa Bridge(2012) and Yen Ara (2018).  

Taylor continued to perform and record into his late 80s, most recently with the Ebo Taylor JID022album released as part of the Jazz Is Dead series in 2025.  

MUSIGA’s tribute described him as “Saltpond’s light … Ghana’s legend … the world’s icon” and noted he had formed and led more than a dozen bands, with his final ensemble being the Ebo Taylor and Family Band.  

Taylor’s death is mourned by musicians and fans across Ghana and the global music community, many of whom credit him with raising the profile of West African music.

Speaking on Joy News, Abeiku Santana disclosed that the two personalities have been engaged by the Minister for Tourism, Culture and Creative Arts, Dzifa Gomashie, as part of efforts to strengthen Ghana’s tourism branding.

According to him, Hamamat Montia will be commissioned as a tourism ambassador for shea butter, while Wiyaala will focus on promoting Ghana’s rich cultural heritage.

“Our sister Hamamat will be commissioned as a tourism ambassador for shea butter. Wiyaala also is coming on board. The Honourable Minister, Dzifa Gomashie, has engaged these personalities,” he said.

Hamamat Montia has gained international recognition not only for her modelling career but also for championing shea butter and natural skincare products, a key industry linked to Northern Ghana’s economy and women-led enterprises.

Wiyaala is celebrated for projecting Ghanaian and African culture through her music, language, and traditional aesthetics, earning global acclaim for her performances and strong cultural identity.

The initiative forms part of a broader strategy by the Ministry of Tourism and the GTA to leverage influential Ghanaian figures to promote local industries, enhance destination branding, and showcase Ghana’s cultural heritage to the world.

Mrs. Owusu Boadi, a native of Asamankese in the Lower West Akim District, passed away on July 23, 2025, leaving behind a legacy of compassion, service, and unwavering dedication to humanity. Her death was deeply felt across Ghana’s philanthropic and Christian communities.

The final funeral rites, held from January 9 to January 12, 2026, drew family members, friends, traditional leaders, clergy, foundation executives, and sympathizers from across the country and beyond. The four-day ceremony blended mourning with celebration, as attendees reflected on a life widely described as impactful and selfless.

A major highlight of the celebration was the ministration in music by renowned gospel artistes, whose performances brought comfort and hope to grieving hearts. Leading the worship were Mz Nana, the beloved daughter-in-law of the late Mrs. Owusu Boadi, alongside celebrated gospel ministers Diana Hamilton and Rev. Obaapa Christy. Their soul-stirring renditions ushered the congregation into profound moments of worship, reflection, and assurance in the Christian hope of resurrection.

The presence of these gospel powerhouses added a deeply spiritual dimension to the ceremony, transforming the funeral grounds into a place of praise and thanksgiving to God for a life well-lived.

Tributes from family members, church leaders, executives of the Eno Baatanpa Foundation, and beneficiaries of its humanitarian projects painted a portrait of a woman of vision, humility, and extraordinary generosity. Speakers recounted how Mrs. Owusu Boadi tirelessly worked to uplift the vulnerable, empower communities, and promote Christian values through her foundation.

The funeral rites concluded with a final interment and thanksgiving service, during which prayers were offered for the peaceful repose of her soul and for divine strength for the bereaved family. Mourners departed with renewed resolve to continue the mission of love and service that Mrs. Rosemond Owusu Boadi championed throughout her life.

Though she is gone, her legacy lives on through the Eno Baatanpa Foundation, the countless lives she touched, and the enduring memories of a woman devoted to God and humanity.

Presented by Nana Yaa Otchere Ministries, “Ahoto (Comfort)” is a powerful worship song centered on themes of hope, reassurance, renewal, and divine peace. The title, Ahoto—meaning Comfort—captures the song’s uplifting message, offering spiritual encouragement to those navigating life’s challenges.

The collaboration bridges generations of Ghanaian gospel music, blending MzNana’s contemporary sound with Obaapa Christy’s timeless ministry. The result is a deeply moving worship experience that appeals to both longtime gospel enthusiasts and a new generation of listeners.

Since its release, fans have hailed the song as a refreshing, Spirit-filled collaboration, celebrating it as a meaningful connection between classic and modern gospel expressions.

“Ahoto (Comfort)” was officially released on December 24, 2025, and is available on all major streaming platforms, including Apple Music, Spotify, Audiomack, Boomplay, and YouTube Music.

With this release, MzNana continues to strengthen her presence in the gospel music scene, while Obaapa Christy reaffirms her enduring legacy through a collaboration that delivers comfort, faith, and hope to audiences worldwide.

Watch the video below:

For instance, Liberia, Africa’s oldest republic, was founded by freed black American slaves in 1822. After Ghana became independent in 1957, a wave of black intellectuals and artists moved there from the US. Martin Luther King, Malcolm X and Muhammad Ali subsequently paid high-profile visits to Ghana, while Guinea became home to Black Panther leader Stokely Carmichael.

This transatlantic connection has ebbed and flowed over time – but in recent years, there has been a real resurgence, helped by the use of DNA tests.

A number of black American celebrities have sought the nationality of African countries – singer Ciara has become a citizen of Benin, rapper Ludacris and film star Samuel L Jackson are officially Gabonese, actors Meagan Good and Jonathan Majors are citizens of Guinea and musical icon Stevie Wonder has Ghanaian papers.

Just last week, wildly popular content creator IShowSpeed was approved for a Ghanaian passport after stopping in the country on a whirlwind African tour.

The celebs have, in most cases, flown out for elaborate citizenship ceremonies and tours of local beauty spots, all of which have been captured for glossy social media content.

Posting photos of her citizenship ceremony in Guinea, Meagan Good told her 7.8m Instagram followers last month: “This is history in motion”.

Good, who has featured in films like Think Like A Man and Saw V, and her husband Majors, known for Creed and Marvel flick Ant-Man and the Wasp, became citizens after DNA testing traced their ancestry to Guinea.

“This recognition goes beyond titles, it is a homecoming and a reconnection to our Afrodescendant roots,” said Good.

Messaging from the various African governments has echoed this sentiment.

“In conferring Ghanaian citizenship upon Stevie Wonder,” former president Nana Akufo-Addo said at Wonder’s 2024 ceremony, “we not only extend our warmest embrace to a beloved son of Africa but also reaffirm our belief in the enduring spirit of pan-Africanism and the global African family”.

Ghana has long promoted its pan-African credentials – for a decade anyone whose ancestors came from Africa have been entitled to Ghanaian nationality, a policy that arguably inspired Benin to launch a similar scheme.

Ghana also launched the “year of return” in 2019, a buzzy initiative encouraging Africans in the diaspora to relocate there.

More than 1,000 African-Americans have done so in the past decade, according to Dr Erieka Bennet, ambassador for the Diaspora African Forum, which helps people relocate to Ghana.

“It is not only about romanticism,” Marie-Roger Biloa, a Cameroonian journalist with a focus on West Africa, tells the BBC.

“It’s all very much about how can we tap into the potential they have, the Americans.”

Tourism is an obvious motivator. Governments hope that social media posts from the stars will encourage other black Americans, a large group with a growing economic power, to visit and inject money into their countries.

Biloa notes that Benin’s president, a former business tycoon, is keenly aware that his country’s former role as a key departure point for slaves makes it a poignant destination for black Americans.

“President [Patrice] Talon has really started investing in cultural heritage, in a way to engage the African-Americans worldwide. He understood it could be an engine for a new form of tourism and a new branch of economy,” she says, mentioning The Marina Project, a memorial and tourist complex being built in Ouidah, once one of Benin’s main slave ports.

Positive publicity from stars like Ciara may also encourage diasporans to invest or buy property in Benin, as they have been doing in Ghana since the year of return.

Soft power is also an important factor – by promoting their culture and building a robust network around the world, countries like Benin, Guinea, Gabon and Ghana stand to gain global influence.

In this mission, celebrity citizens act as ambassadors, Francis Kpatindé, a Beninois lecturer at France’s Sciences Po University, tells the BBC.

“Benin has no diamonds like the Democratic Republic of Congo, no petrol, nothing. We just have cotton, the ports and culture,” he says.

The celebrity ambassadors are “a way for us to be on the record, to be on-screen. Now it’s working. You can go to the social networks. You see Benin everywhere,” Kpatindé says.

Many peoplefrom the countries involved recognise the economic and political benefits of giving citizenship to black American celebrities, but others are more critical.

There is an underlying feeling that the stars are bypassing what can be, for those born in the countries, a cumbersome and costly process to get passports.

Taufic Suleman, a painter and decorator from Ghana, felt “irritated” when the foreign minister announced that IShowSpeed, who grew up in the US but has a Ghanaian mother, had been approved for a passport.

“It is really, really, really a bad precedent… why do people, your citizens, have to go through vetting? Sometimes others end up being denied,” Suleman, aged 32, tells the BBC.

“You just can’t hand out a passport to anyone just because the person is a celebrity.”

Following the foreign minister’s announcement, Patrick Boamah, a member of the Ghanaian parliament’s Foreign Affairs Committee, told local broadcaster Channel One that the content creator must follow the required legal procedures to get a passport, although the authorities “may waive certain steps for him”.

Sindé Chekete, the head of Benin’s tourism authority, told the BBC that “citizenship processing is not influenced by celebrity status” and that Ciara “followed the same standard procedure as any other applicant”.

Another criticism of the celebrity citizenship trend is that it will be superficial and fleeting – the stars will collect their certificates, publish a few social media posts, then go quiet.

It is not clear whether, in all cases, the celebrities are required to publicise or maintain lasting links to their second homes, but Chekete stressed that Beninois citizenship “is not a transaction and it does not come with contractual obligations, whether promotional, financial, or otherwise”.

Six months after getting her citizenship, Ciara returned to Benin in January to play at the Vodun Days festival.

Meagan Good and Jonathan Majors have stressed that their connection with Guinea would be “long-term and evolving”.

“We could absolutely see ourselves having a home here and spending meaningful time in Guinea,” they told the BBC over email.

Yaw Nyame, one of the numerous Ghanaians who welcomed IShowSpeed’s naturalisation, says he hopes the content creator uses his passport to set up a base in the country.

“Even if he’s not going to come to Ghana all the time, at least him having his presence in Ghana or doing a project in Ghana,” Nyame says.

The doctor says giving IShowSpeed, real name Darren Watkins Jr, a passport is a “brilliant, strategic move” as the creator currently has “all eyes on him”. He has more than 50 million YouTube subscribers, with a recent 20-country tour of Africa contributing to the growth of his platform.

It will take time for Ghana, Gabon, Guinea and Benin to gauge whether their strategies have paid off – maybe one or two decades, Kpatindé says.

Earlier this week, Benin’s government said it would open a government agency specifically dedicated to nationalising “Afro-descendants”.

However, Ghana reached a roadblock in its plans to reconnect with the diaspora, announcing it was pausing its citizenship applications as it needed to make the system more accessible and user-friendly.

Regardless, Kpatindé believes that by welcoming home some of the diaspora’s brightest stars, the African countries are on the right trajectory.

People on the continent have long hailed pan-Africanism, “but now we need action,” he says. “We need concrete acts, not to just speak”.

Speaking at the Africa Prosperity Dialogues on Friday, February 6, 2026, Mr Eazi said that despite his international success, travelling and doing business within Africa often proves more difficult than touring Europe or the Americas.

“In the last 10 years, I have spent six of those years as a singer touring the world. During that time, it was easier to tour the Americas and Europe as a young artiste than to tour Africa. Even after I had the biggest song on the continent, it became harder for me to tour other African countries,” he said.

He recounted a personal experience in Kenya, where he was delayed by immigration officials despite being the lead performer and having already received payment for the show.

“I remember going to Kenya to perform with my band. Even though I had already been paid the larger portion of the fee and was the lead performer, my band, made up of other nationalities, was allowed to cross the border while I was held up by immigration,” he explained.

“I had to insist that I be put on the next flight. That experience speaks to the kind of friction being created, which is preventing us from uniting, growing stronger, and developing as a continent,” Mr Eazi added.

He noted that over the past four years, he has shifted greater focus towards entrepreneurship in an effort to help address these barriers to intra-African mobility.

“This friction is felt most by the youth, artistes, creators, women, and SMEs who are not only trying to improve their lives but also contribute meaningfully to a better Africa,” he said.

The Zambian leader made the light-hearted remark at the Ghana–Zambia Business Forum on Friday, February 6, 2026, as President Mahama continues a three-day visit aimed at strengthening bilateral relations.

While the visit has featured high-level diplomatic and economic engagements, public attention quickly shifted to President Mahama’s choice of outfit. The Ghanaian leader has been seen wearing the fugu — a traditional smock associated with northern Ghanaian culture and heritage.

The attire, which symbolizes identity, pride, and cultural expression, generated mixed reactions online. Many Ghanaians applauded the president for promoting local culture on an international stage, while some Zambian social media users referred to it as a “blouse,” sparking playful exchanges between the countries’ netizens.

Addressing the matter with humor, President Hichilema embraced the cultural moment.

“I am very happy that the foreign minister is wearing that,” he said, referring to Ghana’s Minister for Foreign Affairs, Samuel Okudzeto Ablakwa. “I have asked my team to post on various platforms that the president of Zambia will be ordering more of that for himself.”

Responding to the remarks, Mr. Ablakwa said the conversation had grown beyond fashion, sparking a wider reflection on African identity and culture.

“This is my president’s favourite attire, the fugu,” he said. “We are excited about the buzz it has generated. It has triggered a renaissance in what Kwame Nkrumah described as the African personality.”

He added that the discussion highlights deeper issues of identity and self-worth on the continent.

“That is about reclaiming African identity, dignity, and culture. When we talk about restitution and reparation, it is not only about compensation for the transatlantic slave trade; it is also about reconnecting with our roots and identity,” the Foreign Minister explained.

What began as online banter has now evolved into a light-hearted cultural exchange, allowing both countries to celebrate Africa’s rich diversity and shared heritage.

Speaking on Joy FM’s Personality Profile with Lexis Bill on Thursday, February 5, 2026, the ‘Mr. Music Man’ shared a gripping story of a brush with the law triggered by a secret relationship with a police officer’s daughter—a story he has kept hidden for nearly half a century.

The incident occurred during Kojo Antwi’s early years as a “band boy”, long before he became a household name.

While performing at Walako, a popular spot near Kaneshie, his girlfriend—who was supposed to be in school—made a surprise appearance at the venue.

Concerned for her safety and education, the young musician called for a break in the set to personally see her off.

“I decided to send her home. So I took her to try to grab a taxi for her to go home. We were there, and the police patrol team just bumped into us, and they started asking us questions. One question. They wouldn’t even wait for answers,” Kojo Antwi recounted.

The situation escalated when the patrol team took the young couple to the girl’s mother, only to discover that her father—a high-ranking officer at the Nima Police Station—was already on the hunt for them.

“I hadn’t had time to talk to her about her dad. She had never mentioned the daddy. I didn’t know he was a police officer at Nima Police Station. That’s a part that, I mean, most people didn’t know about,” he told Lexis Bill.

Kojo Antwi reflected on the harsh societal stigma musicians faced in that era, noting that being a “band boy” was far from the prestigious career it is today.

“Back then, it wasn’t something that came with prestige, nothing. It’s not something that a policeman would want the daughter to be attached to.”

The 18-year literary journey

This revelation is just one of many unspoken stories captured in his upcoming memoir, a project Kojo Antwi revealed has been in development for 18 years.

The book, which has been ready for some time, was delayed as the singer waited for the right national climate. The book is an autobiographical odyssey that blends his personal history with the evolution of Ghanaian music, titled ‘From Bands to Ballads to Brilliance: Mr Music Man – The Journey’.

The book launch will take place on Wednesday, February 13, 2026, at the Labadi Beach Hotel.

The book is expected to cover:

The Early Days: Growing up in Darkuman and his early exposure to the diverse sounds of Accra.

The Boom Box Era: His time with the band Classique Vibes and his subsequent rise to solo superstardom.

The Philosophy of Love: A deep dive into the lyricism that earned him the title of Ghana’s greatest romantic songwriter.

Social Commentary: His perspective on the socio-political shifts in Ghana over the last 40 years.

Kojo Antwi remains one of the few African artistes who has successfully managed to keep his private life shielded while maintaining a massive, cross-generational public profile.

With over 20 albums to his name, he has defined the sound of contemporary Highlife.

From his reggae-infused tracks recorded in Europe to his traditional African rhythms, he has performed on world stages from London to New York.

His annual December 24th concerts have become a national institution, serving as a pilgrimage for lovers of live music for over three decades.

He announced the initiative during the ‘Usaywetin‘ show on Hitz FM on Thursday, following widespread social media debate sparked by comments from some Zambians who mocked President John Mahama’s attire during his recent three-day state visit to Zambia, following the invitation of Zambian President Hakainde Hichilema.

President Mahama wore the traditional attire during the visit when he was received on arrival at the Kenneth Kaunda International Airport by President Hichilema and the First Lady, in a ceremony marked by cultural displays and a strong show of Ghanaian pride.

However, images of the outfit drew ridicule online, with some Zambian commentators describing it as a “blouse.”

The remarks quickly triggered backlash from Ghanaians, especially on X (formerly Twitter), where users mounted a robust defence of the attire and its cultural significance.

The reaction underscored a broader need for Ghanaians to take ownership of their cultural identity and proactively educate others about traditional symbols and attire.

The ‘Fugu Friday’ is aimed at encouraging Ghanaians to wear the traditional smock regularly, particularly on Fridays, as a visible expression of pride in Ghanaian culture and heritage.

What began as a cross-border fashion controversy has since evolved into a national conversation, with many Ghanaians using social media to explain the history, symbolism, and regional importance of the fugu, especially among northern communities.

The initiative has already gained traction online, with users welcoming the idea as a creative way to turn ridicule into cultural education and reaffirm Ghana’s identity on the global stage.

Speaking in an intimate and wide-ranging interview with Lexis Bill on Joy FM’s Personality Profile, the Tom & Jerry hitmaker opened up about the emotional and logistical hurdles that delayed the project for almost a generation.

For fans who have followed the maestro’s career, the announcement of a literary project is a dream come true.

However, Kojo Antwi disclosed that the manuscript has been sitting in wait for quite some time, held back by a sense of responsibility toward the national climate.

“I would say it has taken me about 18 years. Eighteen years, and when it was ready, a lot of things started happening here in Ghana, a lot of things that I couldn’t just bypass and had to wait for,” he explained. “It’s been ready for a while.”

Kojo Antwi suggested that the timing of a legacy project is just as important as the content, noting that he felt compelled to wait for the right energy in the country before sharing his life’s philosophy and history.

The book is an autobiographical odyssey that blends his personal history with the evolution of Ghanaian music, titled ‘From Bands to Ballads to Brilliance: Mr Music Man – The Journey’.

The book launch will take place on Wednesday, February 13, 2026, at the Labadi Beach Hotel.

The book is expected to cover:

• The Early Days: Growing up in Darkuman and his early exposure to the diverse sounds of Accra.
• The Boom Box Era: His time with the band Classique Vibes and his subsequent rise to solo superstardom.
• The Philosophy of Love: A deep dive into the lyricism that earned him the title of Ghana’s greatest romantic songwriter.
• Social Commentary: His perspective on the socio-political shifts in Ghana over the last 40 years.

Kojo Antwi remains one of the few African artistes who has successfully managed to keep his private life shielded while maintaining a massive, cross-generational public profile.

With over 20 albums to his name, he has defined the sound of contemporary Highlife.

From his reggae-infused tracks recorded in Europe to his traditional African rhythms, he has performed on world stages from London to New York.

His annual December 24th concerts have become a national institution, serving as a pilgrimage for lovers of live music for several years.

ALSO READ:

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• Kojo Antwi’s music is more precious than gold – Blakk Rasta

The decision follows a prolonged dispute over Liam’s paternity, which has been repeatedly raised by Mohbad’s father, Joseph Aloba. He has insisted that the late musician, who died on September 27, 2023, should not be laid to rest until a DNA test confirms whether Liam is his biological grandson.

At the resumed hearing on Tuesday, February 3, counsel for Mr Aloba, Barrister Oladayo Ogungbe, disclosed that the court directed both parties to nominate foreign facilities capable of conducting tissue-based DNA tests.

According to him, Mr Aloba’s legal team is required to propose three DNA testing centres abroad, while the legal team of Mohbad’s widow, Wunmi Aloba, will also submit three centres. The court will then select one facility from each list and independently choose a third centre, bringing the total number of tests to three.

Barrister Ogungbe explained that the court specifically ruled that all selected facilities must have the capacity to conduct tissue-based DNA analysis, given the circumstances surrounding the case.

The matter has been adjourned to February 10 for further proceedings.

Originally released over a decade ago, the record has returned to national prominence, not on the strength of nostalgia alone, but through renewed relevance in today’s digital music ecosystem. Over Again is currently charting in the Top 100 on Spotify, while also recording strong performances across other major streaming platforms.

The resurgence has been driven largely by social media, where the song has gone viral on TikTok, Instagram and other platforms. Gen Z creators and millennials are using the track to soundtrack emotionally driven content, ranging from short skits to deeply personal storytelling videos. As a result, the song has become a cultural reference point for themes of love, betrayal, heartbreak and emotional resilience.

The trend has grown so significant that top tier influencers and several high profile digital creators have joined in, using Over Again as background music for their videos and further amplifying its reach across the country.

Speaking on the song’s resurgence, Edem expressed excitement about its renewed impact.

“When I created Over Again, I knew the impact it had. I knew how strong the song was back then,” he said. “Seeing it connect again after all these years, especially with a new generation, is very exciting.”

The rapper encouraged his fan base, popularly known as the Go Getters, to continue engaging with the song and sharing their personal stories through it.

At the core of Over Again is a storyline that remains strikingly relatable. The song explores betrayal among friends, romantic relationships disrupted by close acquaintances and the emotional aftermath of loving and losing. These themes have resonated strongly with audiences, many of whom say the narrative still mirrors real life experiences today.

Consequently, the song is now widely used to tell stories such as losing a partner to a friend, navigating heartbreak after deep emotional investment and reclaiming personal strength after betrayal. Interestingly, the trend also includes users who position themselves as the “other person” in such scenarios, reframing the song around accountability, growth or redemption.

The renewed success of Over Again underscores how music consumption has evolved. In the digital era, a song’s lifespan is no longer confined to its release period. Social media and streaming platforms have created a level playing field where timeless music can resurface, cross generational boundaries and regain commercial and cultural relevance.

With Over Again re entering the charts, ranking among Spotify’s Top 100 and dominating social media trends, Edem’s classic stands as proof that great music does not expire. Twelve years on, Over Againhas not only returned, it is once again at the centre of Ghana’s musical conversation.

Speaking in an interview on Hitz FM’s Hitz Gallery, E.L described entering record deals without careful consideration as “savage,” urging artistes to avoid making costly mistakes.

“I wouldn’t advise anybody to sign a record deal blindly,” he said.

Drawing from personal experience, E.L revealed that a previous contract put him in a difficult situation that forced him to step away from music for a period.

“From my experience, I found myself in a situation that made me go quiet for a while because I had to untangle myself and come out safely. I realised that I had taken a bigger step by signing some things, and later it wasn’t really what I thought it would be,” he explained.

According to the rapper, inadequate documentation and lack of proper representation can create serious challenges for artistes. He stressed the importance of legal counsel and fully understanding contract terms before signing any agreement.

“It could get really sticky if you’re not careful,” he noted.

E.L also disclosed that contractual disputes once limited his creative freedom, preventing him from releasing some of the music he wanted.

He further cautioned that some individuals in the music industry prey on young, talented artistes for personal gain.

“There are sharks out there who want to trap you, exploit your music, and leave you hanging,” he warned.

E.L’s message to up-and-coming musicians is clear: protect yourself, seek expert advice, and think carefully before committing to any record label deal.

In a video circulating online, Agradaa is seen without her trademark white handkerchief, which she has consistently used in previous appearances to shield her face from cameras.

The latest appearance comes after earlier reports suggested a noticeable change in her looks. While there was only a slight change in her skin tone, observers noted that she appeared more radiant than expected.

Though visibly subdued in spirit, Agradaa appeared more confident in her demeanour compared to past public outings.

The development has also fueled speculation about whether the individual appearing in court during her trial was truly Agradaa.

She is currently in court to appeal the 15-year jail sentence handed down in July 2025, following her conviction for charlatanic advertisement and related offences.

Authorities said her promotional activities were deceptive and harmful to the public, leading to her conviction.

Watch video below:

In an interview on Joy Prime, the musician, born Rex Owusu Marfo, disclosed that he began his career as a gospel artist, releasing his first three albums as gospel projects while actively serving in church.

As a committed Christian at the time, he said he was a regular church singer who ministered with a quartet during Sunday services.

The turning point, however, came when he approached his pastor for support to enter a recording studio. His request was taken to the church board but ultimately declined.

“He (the pastor) came back to tell me the church said they couldn’t use church money for studio recording,” Rex Omar recounted.

At the time, he said he struggled to understand why pastors received financial support from the church while musicians, who used the same Bible to write and minister songs, were left unsupported.

“You pick the Bible and preach, and the church pays you a salary, takes care of your family and your children’s education. I also use the same Bible to write songs and sing in church, and you say you can’t support me. Then what will be my future?” he questioned.

Disillusioned by the decision, Rex Omar said he resolved to take his talent outside the church space to survive.

“If the church cannot support my talent, then I’ll go out there and take money from outside. And when I take that money, I won’t use it to record church music,” he stated.

Despite leaving the church, the musician clarified that his decision did not weaken his spirituality.

“God did not lose a soul, the church lost a client. I am still very close to God. But since I walked out of church, I have never gone back. In 40 years, I haven’t been to church, and I am even a far better person. I used to believe in God, but now I know God,” he said.

Many decades later, Rex Omar said he has no regrets, noting that his switch to highlife has positioned him as the legendary musician he is today.

Speaking in an interview on Prime Time on Joy Prime, the respected musician dismissed the notion of death as the end of existence, arguing that the true essence of a person is separate from the physical body and does not perish when the flesh breaks down.

Rex Omar explained that the human body is sustained by food, water and air—none of which truly belong to the individual—describing life as part of a broader, interconnected system beyond human control.

He noted that once the body has completed its purpose on the physical plane, it ceases to function, but that does not mean the individual has ended.

“My body will deteriorate but I will never die. I don’t believe in death; what you call death is the body deteriorating. Anything that was given birth to will perish. Where did I get this body from? When I was given birth to, I was like this. This body is just food and water which will vanish someday. I don’t believe in life after death too because there is no death,” he said.

The musician also questioned the importance society places on funerals and post-death rituals, particularly for public figures.

He added that he has no preference regarding how his body should be handled after it deteriorates, whether buried, cremated or otherwise disposed of.

According to Rex Omar, elaborate funerals and religious ceremonies are largely human constructs and unnecessary. He insisted that he does not need a church for his burial as long as he has his family.

Reflecting on his philosophy, Rex Omar said he strives to live his best life, ready for whenever he breathes his last.

“GHANA” is a richly crafted song that blends emotive songwriting with strong sonic direction, capturing the pride, history, and unity that define the country. Through heartfelt lyrics and anthemic delivery, Nana Asamoah reflects on Ghana’s cultural heritage, social values, and the unbreakable bond that connects Ghanaians at home and abroad.

The song serves as both a celebration and a reminder—honouring the beauty of the land, the strength of its people, and the collective hope for progress. With its polished production and relatable message, “GHANA” stands as a timely soundtrack for national reflection, cultural appreciation, and patriotic moments.

Speaking on the inspiration behind the song, Nana Asamoah explains that “GHANA” was created to tell our story in music—one that acknowledges the past, embraces the present, and looks boldly toward the future.

The single is the lead version of a wider creative project that also includes cultural and acoustic renditions, but the main version delivers the full sonic experience as originally envisioned by the artiste.

“GHANA” is now available on all major digital streaming platforms.
https://www.boomplay.com/share/album/116086597?srModel=COPYLINK&srList=IOS

Artist: Nana Asamoah
Title: GHANA
Genre: Afro / Contemporary Ghanaian
Available on: All digital platforms

This was not the first time the Speaker has showcased Ghana’s rich cultural heritage through his choice of attire in Parliament.

Historically, he remains the only Speaker of the House under the Fourth Republic to consistently demonstrate a strong interest in wearing traditional attire, particularly regalia associated with traditional rulers, during parliamentary proceedings.

Below are photos from his appearance in Parliament on Tuesday.

In an interview, the award-winning artiste said he would support the change if it is guided by clear, nationalistic reasons and brings a positive impact to the country.

He noted that the facility was originally known as Accra International Airport and that reverting to this name could be acceptable if it promotes national unity and progress.

However, Stonebwoy cautioned against a change that does not provide meaningful benefits for the nation.

Acknowledging General Emmanuel Kotoka, after whom the airport is named, the musician highlighted the historical significance tied to his hometown, Alakple, and to Ghana’s history, including the 1966 coup that overthrew Dr. Kwame Nkrumah.

“This historical narrative has influenced arguments for renaming the airport, with some believing General Kotoka may not represent the best symbol for the state,” he said.

Nonetheless, Stonebwoy stressed that Kotoka’s legacy should be considered in full, noting that there may have been positive reasons for naming the airport after him.

He concluded that if a renaming is to take place, it should be for a compelling and constructive reason that benefits Ghana’s image and strengthens the national narrative.

Ghanaian musician Stonebwoy shares his views on the recent debates surrounding calls by the majority in Parliament to rename Kotoka International Airport to Accra International Airport. pic.twitter.com/ZVaVVzHb1r

— SIKAOFFICIAL🦍 (@SIKAOFFICIAL1) February 4, 2026

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According to Darkovibes, the dream occurred during a period when he was frequently travelling to promote Ghanaian music internationally. In the dream, Shatta Wale advised him to reduce his travels and focus on building his music locally first.

“Every year around this time, we try to export Ghana music to the world with travelling, but for the past two to three years, I had a dream where Shatta told me I travel too much and that I should stay in the country and focus on pushing my songs locally,” he said.

What made the dream more striking, Darkovibes explained, was that Shatta Wale had already given him the same advice in real life, both directly and through other people.

“I swear on my dead parents, he had already told me in person and even sent the message through other people, so I was shocked when he still came to tell me again in my dream,” he revealed.

Although Darkovibes has not personally discussed the dream with Shatta Wale, he shared the experience with other industry professionals.

Since the dream, the singer says he has consciously cut down on travelling and redirected his energy toward entertaining fans within Ghana, aiming to strengthen his local base before pursuing further international opportunities.

He also paid respect to industry elders who have played key roles in his growth, stressing that he values their guidance and mentorship.

It describes the honour as a defining moment for African music and culture.

Fela made history as the first African artist to receive the prestigious award, presented on January 31, 2026, during the Grammy Special Merit Awards ceremony in Los Angeles, United States.

The award was accepted on his behalf by his children, Yeni, Femi, Kunle, and Shalewa Kuti, who represented the family at the ceremony.

Reacting to the development, the Lagos State Commissioner for Tourism, Arts and Culture, Mrs Toke Benson-Awoyinka, described the recognition as a landmark achievement that reflects the global influence of Fela’s music and message.

According to her, honour is not only a victory for the Kuti family but also a source of pride for Lagos State, Nigeria, and the African continent.

“This historic recognition is a powerful reminder of Lagos State’s enduring position as the cultural heartbeat of Africa and a nurturing ground for creative excellence,” Benson-Awoyinka said.

She noted that Fela’s work placed African music on the world map and continues to resonate across generations, long after his passing.

The commissioner added that the Grammy honour reinforces the state government’s commitment to preserving Fela’s legacy and strengthening the creative sector through sustained support for the arts, culture, and cultural diplomacy.

“Fela’s contribution to global music and social consciousness remains immeasurable. His music boldly confronted military dictatorship, corruption, social injustice, and the oppression of the mass , while amplifying Africa’s voice on the global stage,” she said.

She further stated that nearly three decades after his death, Fela’s music remains relevant, influential, and widely celebrated across the world.

Meanwhile, members of the Kuti family described the award as a deeply meaningful moment, noting that it symbolises a bridge between generations and reflects the growing global recognition of African music and cultural expression.

They noted that the honour affirms Fela’s lasting impact, not only as a musician but as a cultural revolutionary whose work inspired resistance, dialogue, and artistic freedom.

Fela Anikulapo-Kuti, the creator of Afrobeat, was known for blending traditional African rhythms with jazz, funk, and highlife, and for using his music as a vehicle for political expression and social critique.

Beyond music, he emerged as one of Africa’s most fearless voices against oppression, earning global attention for his activism and uncompromising stance against injustice.

Today, his influence is evident in the work of numerous artists across Africa and beyond, as Afrobeat continues to shape global music trends.

The Lagos State Government reaffirmed its commitment to promoting the state’s rich cultural heritage and ensuring that the legacies of iconic figures like Fela Anikulapo-Kuti are preserved and celebrated for future generations.

Davido’s song With You, featuring Omah Lay, was nominated in the Best African Music Performance category but did not win. The award went to South African star Tyla for her track Push 2 Start.

The category featured strong Nigerian representation, including Burna Boy (Love), Davido (With You featuring Omah Lay), and a joint entry from Ayra Starr and Wizkid (Gimme Dat).

Also nominated was Hope & Love by Eddy Kenzo and Mehran Matin. Despite the heavy Nigerian presence, none of the country’s nominees won the prize.

Taking to Instagram, Davido disclosed that after the loss, he told his wife there was no need to attend the after-party.

However, Chioma encouraged him otherwise. Sharing photos from their outing, the singer wrote: “I said baby listen, we lost again, let’s not go! She said, ‘Be humble in victory and gracious in defeat. We’re outside.”

News of his passing was announced by his long-time music director in a social media post that has since sparked an outpouring of tributes from across the global Christian music community.

Kenoly, best known for his powerful live worship recordings, was a defining voice in contemporary praise and worship music from the early 1990s.

His influence stretched far beyond church walls, shaping modern worship styles in congregations across Africa, Europe, the Americas and Asia.

Born in Coffeyville, Kansas, Ron Kenoly rose to international prominence with the release of his 1992 album Lift Him Up, which became one of the best-selling live worship albums of its era.

Songs such as Ancient of Days, Jesus Is Alive and We’re Going Up became staples in churches worldwide, celebrated for their vibrant arrangements, scripture-based lyrics and emphasis on joyful, participatory worship.

Over a career spanning several decades, Ron Kenoly released multiple acclaimed albums, including Ron Kenoly, God Is Able, Welcome Home and Sing Out with One Voice.

His music was noted for blending gospel, contemporary Christian music and praise choruses, often delivered with large choirs and energetic congregational responses.

Beyond music, Kenoly served as a pastor and worship leader at Jubilee Christian Center in San Jose, California, where he ministered for many years.

He was also a sought-after speaker and worship facilitator at international conferences and crusades, particularly in Africa, where his music found a deep and lasting resonance.

Following the announcement of his death, tributes have continued to pour in from fellow gospel artists, worship leaders and fans, many of whom credit Ron Kenoly with shaping their faith journey and musical calling.

His legacy is widely recognised as foundational to the global praise and worship movement.

In Ghana, Ron Kenoly’s impact was memorably felt in 2011 when he headlined Adom Praiz, the annual gospel music concert organized by Adom FM.

His participation and appearance at the event drew thousands of worshippers and remains one of the most talked about moments in the history of the concert.

It further cemented the event’s reputation as a major fixture on the gospel music calendar.

Ron Kenoly is remembered not only for his music, but for a life dedicated to ministry, worship and inspiring generations to lift their voices in praise.

No further details, including his cause of death, have been disclosed.

In a statement posted on Instagram, the organisation described Taracena as a “fundamental actor in Mexican cinema, whose presence on screen left an intense, honest, and profoundly human mark”.

“The Academy extends its respectful and heartfelt condolences to his family, friends, and colleagues,” it continued. “His work and his unforgettable face will remain in the memory of our cinema.”

The Academy praised the actor for his “memorable” performances in the films he “brought to life”.

Recognising his achievements, the statement added, “He was nominated three times for the Ariel Prize (Mexico’s answer to the Oscars) for The Violin, Potosí and La Carga, recognition of a career marked by absolute surrender, expressive strength and a deep commitment to his craft.”

It concluded, “The Academy accompanies with respect and solidarity with their family, friends and colleagues.”

Taracena rose to international fame in 2006 with his role as Middle Eye in Mel Gibson’s Apocalypto. He also appeared in films including Saving Private Perez, El Violin, Sound of Freedom and Surviving My Quinceañera.

He later became widely known for portraying drug smuggler Pablo Acosta in Narcos: Mexico, a follow-up to Narcos that focused on Mexico’s infamous Guadalajara Cartel during the 1980s. It ran for three seasons between 2018 and 2021.

Taracena also appeared in the U.S. drama series Queen of the South and Netflix’s Pedal to the Metal.

Ayra Starr made this known while speaking with Love Island USA star Chelley Bissainthe during a Billboard interview about her nomination for the 2026 Grammy.

While tagging it a moment of reassurance in her career, Ayra Starr said, “I am very grateful that I’m actually a two-time Grammy nominee. The first time I was nominated, it was like, “Oh my God, I got nominated.”

“But the second time, I was like, maybe I need to trust God and myself a bit more. I have collaborated with many people, and I still want to collaborate with more people. But everyone knows Burna Boy is like my number one person I want to collaborate with”, she said.

The songstress earned a Grammy nomination for Best African Music Performance for ‘Gimme Dat’ with Wizkid, released in April 2025.

The nominations were announced in November 2025 ahead of the February 1, 2026, Grammy Awards ceremony.

Reacting to the recognition, the singer described the nomination as a reassuring moment in her career.

Speaking on Hitz Praise Zone with host Nii Noi, Joe Mettle explained, “I won’t be available on the date scheduled for the 2026 awards, so I will be taking a break from the event this year.” He added, “This is only for this edition. It doesn’t mean I am stepping away from TGMA permanently.”

As part of the break, the multiple award-winning singer will not submit any of his works for nomination consideration nor participate in any activities related to the awards ceremony. He confirmed that Charterhouse, the organisers of TGMA, have been formally informed and have acknowledged his position.

Reflecting on his career, Joe Mettle recalled a landmark moment in 2017 when he won VGMA Artiste of the Year, beating competition from artists including Sarkodie, EL, Medikal, Stonebwoy, and MzVee.

“That win was not just for me,” he said. “It was a victory for the entire gospel music family in Ghana, proving that our voices and our work matter on the national stage.”

He also highlighted the growing influence of gospel music in the awards space, noting that four years later, in 2021, fellow gospel artiste Diana Hamilton claimed the ultimate award.

Joe Mettle’s temporary pause comes as he focuses on other creative projects, promising fans that he will return stronger for future editions of TGMA.

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The record blends tradition, live instrumentation, and cultural storytelling—the elements that once defined Ghana’s most celebrated sound.

For decades, highlife music has gradually slipped from the mainstream spotlight, overshadowed by modern genres and evolving industry trends. Yet its essence, deeply rooted in Ghana’s history, identity, and communal spirit, has never truly disappeared. “Twimasi” emerges as a bold reminder that highlife still holds relevance, depth, and global appeal.

The project is a collaborative effort led by Mistacii, alongside Gyasehene Fire Man and the Odikro International Band, united by a shared mission to restore the soul of authentic Ghanaian music. Built on live band arrangements, warm melodies, and meaningful lyrical expression, “Twimasi” reflects the true spirit of classic highlife while resonating with today’s audience.

Speaking on the vision behind the release, Gyasehene described the song as more than just music, calling it “a revival, a homecoming, and a gift to the world.”

He added that “Twimasi” is intended to reintroduce global audiences to Ghana through its rhythms, stories, and cultural pride, while reigniting appreciation for a genre that shaped generations.

With fire-and-water-themed artwork and the bold declaration that “Highlife Is Back,” “Twimasi” symbolizes renewal, resilience, and cultural pride. The release also underscores OGYA DAM WORLDWIDE Entertainment’s commitment to promoting heritage music and supporting live band artistry on both local and international stages.

Listen here: https://youtu.be/ZMdMmW_Jdsg

In a reflective commentary, the singer noted that while many men admire female celebrities from afar, they rarely take the step forward—not due to lack of interest, but because of the pressures that come with dating someone in the public eye.

According to Sista Afia, the demanding lifestyle of female musicians—including late nights, studio sessions, tours, and frequent travel—can be overwhelming for men who prefer routine and stability. She explained that loving a celebrity often means sharing time with a career, an audience, and a public calling.

She also highlighted the intense scrutiny surrounding celebrity relationships, a reality she believes not every man is emotionally equipped to handle.

“Every move is watched. Every mistake is amplified. Every relationship becomes a topic for discussion. Not every man is prepared to love loudly in a world that constantly whispers, judges, and speculates,” she said.

Sista Afia further pointed to financial perceptions as another challenge, noting that fame does not always guarantee financial stability. This, she said, can create additional pressure, particularly in societies where men are culturally expected to provide financial security.

Beyond fame, the singer emphasized that female celebrities are still human beings who desire genuine love, emotional safety, and loyalty—not admiration or competition.

She encouraged men not to be intimidated by celebrity status, urging them to show sincerity and emotional support rather than shrinking themselves.

“We don’t need perfection. We need presence. We don’t need intimidation; we need courage. Don’t be scared of us,” she pleaded.

She received the honour in recognition of her leadership and influence in promoting culture, heritage and global cultural exchange. The awards form part of Grammy Week activities, which bring together cultural leaders, creatives, policymakers and global change-makers from around the world.

The ceremony also celebrated excellence in social impact, creative leadership, justice advocacy, community development and humanitarian service.

The event was jointly organised by JOBSEEK AI, the Los Angeles County Justice Care and Opportunity Department, Prison Professors, PBCG, ANE Foundation, Only Miracles, The Help In Hand Project and Taking Action for Good. The coalition supports empowerment, inclusion, innovation and positive global impact.

Ms Houadjeto attended the ceremony with GTA Board member Prince Anthony and Director of Corporate Affairs Bright Asempa Tsadidey, underscoring the institutional significance of the award and the Authority’s unified leadership presence at the international event.

In her acceptance speech, Ms Houadjeto expressed gratitude to the organisers and used the opportunity to highlight Ghana’s cultural strengths while inviting the global community to experience the country.

“I am deeply honoured and grateful to the organisers for this recognition. This award is not just personal; it is a celebration of Ghana’s rich culture and heritage. I warmly invite you to Ghana to experience our culture firsthand and enjoy the evergreen hospitality of the Ghanaian people,” she said.

The Global Cultural Ambassador Award reflects Ghana’s growing visibility on the global cultural and tourism stage and underscores the Ghana Tourism Authority’s commitment to cultural diplomacy, destination branding and sustainable tourism development.

The recognition also aligns with Ghana’s broader cultural and creative economy agenda, positioning the country as a welcoming hub for authentic cultural experiences, global collaboration and meaningful cultural exchange.

This report is accompanied by photographs from the award ceremony in Los Angeles.

Asked about the possibility of hosting a version of her annual Awake Experience at the venue, she said her management team was weighing several factors before they would make a decision.

Speaking to Kwame Dadzie and Doreen Avio on Hitz FM’s Daybreak Hitz, Diana said the O2 Arena comes with a number of conditions that must be carefully factored into planning.

“The only thing with O2 is that you know when we do these events, we get content out of that. How many O2 events have you seen content from that put out? The laws of those venues do not allow for you to own the film of that place,” she said.

She further claimed that gospel artistes who want to stage shows at the arena are made to pay significantly more than their secular counterparts.

“Whatever they will charge secular artistes to do O2, secular artistes will be charged more than double of that and I will tell you why: because you don’t sell alcohol,” she said.

The O2 Arena in London is one of the major venues many Ghanaian event organisers have aimed to fill over the years.

Meanwhile, Diana Hamilton is preparing for her annual Awake Experience concert scheduled for 15th February 2026 at ICGC Christ Temple, East Teshie. The Kumasi edition will take place on 22nd February 2026 at the Church of Pentecost, Bantama.

This year’s ceremony spotlighted both established stars and breakthrough talents, reflecting the evolving sound of contemporary music.

With memorable performances and surprise wins, the 2026 Grammys once again underscored excellence in artistry, songwriting and production.

Check out full list of winners

The “big four” awards

Song of the year

• Winner: Billie Eilish – Wildflower
• Lady Gaga – Abracadabra
• Doechii – Anxiety
• Rosé & Bruno Mars – APT
• Bad Bunny – DtMF
• Hunter/x – Golden
• Kendrick Lamar feat SZA – Luther
• Sabrina Carpenter – Manchild

Record of the year

• Winner: Kendrick Lamar feat SZA – Luther
• Bad Bunny – DtMF
• Sabrina Carpenter – Manchild
• Doechii – Anxiety
• Billie Eilish – Wildflower
• Lady Gaga – Abracadabra
• Chappell Roan – The Subway
• Rosé & Bruno Mars – APT

Album of the year

• Winner: Bad Bunny – Debí Tirar Más Fotos
• Justin Bieber – Swag
• Sabrina Carpenter – Man’s Best Friend
• Clipse – Let God Sort Em Out
• Lady Gaga – Mayhem
• Kendrick Lamar – GNX
• Leon Thomas – Mutt
• Tyler, the Creator – Chromakopia

Best new artist

• Winner: Olivia Dean
• Katseye
• The Marias
• Addison Rae
• Sombr
• Leon Thomas
• Alex Warren
• Lola Young

Pop and dance

Best pop vocal album

• Winner: Lady Gaga – Mayhem
• Justin Bieber – Swag
• Sabrina Carpenter – Man’s Best Friend
• Miley Cyrus – Something Beautiful
• Teddy Swims – I’ve Tried Everything But Therapy Pt 2

Best pop solo performance

• Winner: Lola Young – Messy
• Justin Bieber – Daisies
• Sabrina Carpenter – Manchild
• Lady Gaga – Disease
• Chappell Roan – The Subway

Best pop duo/group performance

• Winner: Cynthia Erivo & Ariana Grande – Defying Gravity
• Huntr/x – Golden
• Katseye – Gabriela
• Rosé & Bruno Mars – APT
• SZA With Kendrick Lamar – 30 For 30

Best dance/electronic recording

• Winner: Tame Impala – End Of Summer
• Disclosure & Anderson .Paak – No Cap
• Fred again.., Skepta, & PlaqueBoyMax – Victory Lap
• Kaytranada – Space Invader
• Skrillex – Voltage

Best dance/electronic album

• Winner: FKA Twigs – Eusexua
• Fred again.. – Ten Days
• PinkPantheress – Fancy That
• Rüfüs Du Sol – Inhale / Exhale
• Skrillex – F*** U Skrillex You Think Ur Andy Warhol But Ur Not!! <3

Best dance/pop recording

• Winner: Lady Gaga – Abracadabra
• Selena Gomez & Benny Blanco – Bluest Flame
• Zara Larsson – Midnight Sun
• Tate McRae – Just Keep Watching
• PinkPantheress – Illegal

Best traditional pop vocal album

• Winner: Laufey – A Matter Of Time
• Laila Biali – Wintersongs
• Jennifer Hudson – The Gift Of Love
• Elton John & Brandi Carlile – Who Believes In Angels?
• Lady Gaga – Harlequin
• Barbra Streisand – The Secret Of Life: Partners, Volume 2

Latin

Best Latin pop album

• Winner: Natalia Lafourcade – Cancionera
• Rauw Alejandro – Cosa Nuestra
• Andrés Cepeda – Bogotá (Deluxe)
• Karol G – Tropicoqueta
• Alejandro Sanz – ¿Y ahora qué?

Best música urbana album

• Winner: Bad Bunny – DeBÍ TiRAR MáS FOToS
• J Balvin – Mixteip
• Feid – Ferxxo Vol X: Sagrado
• Nicki Nicole – Naiki
• Trueno – Eub Deluxe
• Yandel – Sinfónico (En Vivo)

Rock and metal

Best rock performance

• Winner: Yungblud ft Nuno Bettencourt, Frank Bello, Adam Wakeman, II – Changes (Live From Villa Park) Back To The Beginning
• Amyl and The Sniffers – U Should Not Be Doing That
• Linkin Park – The Emptiness Machine
• Turnstile – Never Enough
• Hayley Williams – Mirtazapine

Best rock song

• Winner: Nine Inch Nails – As Alive As You Need Me To Be
• Sleep Token – Caramel
• Hayley Williams – Glum
• Turnstile – Never Enough
• Yungblud – Zombie

Best rock album

• Winner: Turnstile – Never Enough
• Deftones – Private Music
• Haim – I Quit
• Linkin Park – From Zero
• Yungblud – Idols

Best alternative music album

• Winner: The Cure – Songs Of A Lost World
• Bon Iver – Sable, Fable
• Tyler, The Creator – Don’t Tap the Glass
• Wet Leg – Moisturizer
• Hayley Williams – Ego Death At A Bachelorette Party

Best alternative music performance

• Winner: The Cure – Alone
• Bon Iver – Everything Is Peaceful Love
• Turnstile – Seein’ Stars
• Wet Leg – Mangetout
• Hayley Williams – Parachute

Best metal performance

• Winner: Turnstile – Birds
• Dream Theater – Night Terror
• Ghost – Lachryma
• Sleep Token – Emergence
• Spiritbox – Soft Spine

Rap

Best rap performance

• Winner: Clipse, Pusha T & Malice feat Kendrick Lamar & Pharrell Williams – Chains & Whips
• Cardi B – Outside
• Doechii – Anxiety
• Kendrick Lamar feat Lefty Gunplay – TV Off
• Tyler, The Creator feat Teezo Touchdown – Darling, I

Best melodic rap performance

• Winner: Kendrick Lamar with SZA – Luther
• Fridayy feat Meek Mill – Proud Of Me
• JID feat Ty Dolla $ign & 6Lack – Wholeheartedly
• Terrace Martin & Kenyon Dixon feat Rapsody – WeMaj
• Partynextdoor & Drake – Somebody Loves Me

Best rap song

• Winner: Kendrick Lamar feat Lefty Gunplay – TV Off
• Doechii – Anxiety
• Clipse, Pusha T & Malice feat John Legend & Voices of Fire – The Birds Don’t Sing
• Tyler, The Creator feat GloRilla, Sexyy Red & Lil Wayne – Sticky
• GloRilla – TGIF

Best rap album

• Winner: Kendrick Lamar – GNX
• Clipse, Pusha T & Malice – Let God Sort Em Out
• GloRilla – Glorious
• JID – God Does Like Ugly
• Tyler, The Creator – Chromakopia

Country

Best country solo performance

• Winner: Chris Stapleton – Bad As I Used To Be
• Tyler Childers – Nose On The Grindstone
• Shaboozey – Good News
• Zach Top – I Never Lie
• Lainey Wilson – Somewhere Over Laredo

Best country duo/group performance

• Shaboozey & Jelly Roll – Amen
• Miranda Lambert and Chris Stapleton – A Song To Sing
• Reba McEntire, Miranda Lambert, Lainey Wilson – Trailblazer
• Margo Price & Tyler Childers – Love Me Like You Used To Do
• George Strait & Chris Stapleton – Honky Tonk Hall Of Fame

Best country song

• Winner: Tyler Childers – Bitin’ List
• Shaboozey – Good News
• Zach Top – I Never Lie
• Lainey Wilson – Somewhere Over Laredo
• Chris Stapleton – A Song To Sing

Best contemporary country album

• Jelly Roll – Beautifully Broken
• Kelsea Ballerini – Patterns
• Tyler Childers – Snipe Hunter
• Eric Church – Evangeline vs The Machine
• Miranda Lambert – Postcards From Texas

R&B and Afrobeats

Best R&B performance

• Winner: Kehlani – Folded
• Justin Bieber – Yukon
• Chris Brown feat Bryson Tiller – It Depends
• Leon Thomas – Mutt (Live From NPR’s Tiny Desk)
• Summer Walker – Heart Of A Woman

Best R&B song

• Winner: Kehlani – Folded
• Summer Walker – Heart Of A Woman
• Chris Brown feat Bryson Tiller – It Depends
• Durand Bernarr – Overqualified
• Leon Thomas – Yes It Is

Best R&B album

• Winner: Leon Thomas – Mutt
• Giveon – Beloved
• Coco Jones – Why Not More?
• Ledisi – The Crown
• Teyana Taylor – Escape Room

Best African music performance

• Winner: Tyla – Push 2 Start
• Burna Boy – Love
• Davido feat Omah Lay – With You
• Eddy Kenzo & Mehran Matin – Hope & Love
• Ayra Starr feat Wizkid – Gimme Dat

Production and songwriting

Producer of the Year, Non-Classical

• Winner: Cirkut (Lady Gaga, Rosé, Jade)
• Dan Auerbach
• Dijon
• Blake Mills
• Sounwave

Songwriter of the Year, Non-Classical

• Winner: Amy Allen (Rosé, Jennie, Sabrina Carpenter)
• Edgar Barrera
• Jessie Jo Dillon
• Tobias Jesso Jr
• Laura Veltz

K-Pop Demon Hunters makes history as Grammys get underway

Grammy Awards 2026: How to watch and who will win

Film and TV

Best comedy album

• Winner: Nate Bargatze – Your Friend, Nate Bargatze
• Bill Burr – Drop Dead Years
• Sarah Silverman – PostMortem
• Ali Wong – Single Lady
• Jamie Foxx – What Had Happened Was

Best compilation soundtrack for visual media

• Winner: Sinners – Various artists
• A Complete Unknown – Timothée Chalamet
• F1 The Album – Various artists
• K-Pop Demon Hunters – Various artists
• Wicked – Various artists

Best score soundtrack for visual media (includes film and televison)

• Winner: Ludwig Göransson – Sinners
• John Powell – How To Train Your Dragon
• Theodore Shapiro – Severance: Season 2
• John Powell & Stephen Schwartz – Wicked
• Kris Bowers – The Wild Robot

Best score soundtrack for video games and other interactive media

• Winner: Austin Wintory – Sword of the Sea
• Pinar Toprak – Avatar: Frontiers of Pandora – Secrets of the Spires
• Wilbert Roget II – Helldivers 2
• Gordy Haab – Indiana Jones and the Great Circle
• Cody Matthew Johnson & Wilbert Roget II – Star Wars Outlaws: Wild Card & A Pirate’s Fortune

Best song written for visual media

• Winner: Huntr/x – Golden (From K-Pop Demon Hunters)
• Nine Inch Nails – As Alive As You Need Me To Be (From Tron: Ares)
• Miles Caton – I Lied To You (From Sinners)
• Elton John & Brandi Carlile – Never Too Late (From Elton John: Never Too Late)
• Jayme Lawson – Pale Pale Moon (From Sinners)
• Rod Wave – Sinners (From Sinners)

Best audiobook narration

• Winner: Dalai Lama – Meditations: The Reflections Of His Holiness The Dalai Lama
• Kathy Garver – Elvis, Rocky & Me: The Carol Connors Story
• Trevor Noah – Into The Uncut Grass
• Ketanji Brown Jackson – Lovely One: A Memoir
• Fab Morvan – You Know It’s True: The Real Story Of Milli Vanilli

Best music video

• Winner: Doechii – Anxiety
• Sade – Young Lion
• Sabrina Carpenter – Manchild
• Clipse – So Be It
• OK Go – Love

Best music film

• Winner: John Williams – Music by John Williams
• Devo – Devo
• Raye – Live at the Albert Hall
• Diane Warren – Relentless
• Pharrell Williams – Piece By Piece

Jazz and classical

Best jazz vocal album

• Winner: Samara Joy – Portrait
• Dee Dee Bridgewater & Bill Charlap – Elemental
• Terri Lyne Carrington & Christie Dashiell – We Insist 2025!
• Michael Mayo – Fly
• Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold & Rachel Eckroth – Live at Vic’s Las Vegas

Best jazz instrumental album

• Winner: Sullivan Fortner feat Peter Washington & Marcus Gilmore – Southern Nights
• Chick Corea, Christian McBride & Brian Blade – Trilogy 3 (Live)
• Branford Marsalis Quartet – Belonging
• John Patitucci feat Chris Potter & Brian Blade – Spirit Fall
• Yellowjackets – Fasten Up

Best alternative jazz album

• Winner: Nate Smith – Live-Action
• Ambrose Akinmusire – Honey from a Winter Stone
• Robert Glasper – Keys To The City Volume One
• Brad Mehldau – Ride Into The Sun
• Immanuel Wilkins – Blues Blood

Best jazz performance

• Winner: Chick Corea, Christian McBride & Brian Blade – Windows (Live)
• Lakecia Benjamin feat Immanuel Wilkins & Mark Whitfield – Noble Rise
• Samara Joy – Peace Of Mind/Dreams Come True
• Michael Mayo – Four
• Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold & Rachel Eckroth – All Stars Lead To You (Live)

Best musical theatre album

• Winner: Buena Vista Social Club
• Death Becomes Her
• Gypsy
• Just In Time
• Maybe Happy Ending

Best opera recording

• Winner: Heggie: Intelligence – Kwamé Ryan, conductor (Houston Grand Opera; Gene Scheer)
• Huang Ruo: An American Soldier – Carolyn Kuan, conductor (American Composers Orchestra; David Henry Hwang)
• Kouyoumdjian – Adoration Alan Pierson, conductor (Silvana Quartet; The Choir Of Trinity Wall Street)
• O’Halloran: Trade & Mary Motorhead – Elaine Kelly (Irish National Opera Orchestra; Mark O’Halloran)
• Tesori: Grounded – Yannick Nézet-Séguin, conductor (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus; George Brant)

Best orchestral performance

• Winner: Messiaen: Turangalîla-Symphonie – Andris Nelsons, conductor (Boston Symphony Orchestra)
• Coleridge-Taylor: Toussaint L’Ouverture; Ballade Op. 4; Suites From ’24 Negro Melodies’ – Michael Repper, conductor (National Philharmonic)
• Ravel: Boléro – Gustavo Dudamel, conductor (Simón Bolívar Symphony Orchestra Of Venezuela)
• Still & Bonds – Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
• Stravinsky: Symphony In Three Movements – Esa-Pekka Salonen, conductor (San Francisco Symphony)

1. Cold Storage

David Koepp is one of Hollywood’s busiest screenwriters. Among his many other credits, he has scripted a Mission: Impossible film and a Spider-Man film, three recent Steven Soderbergh thrillers (Kimi, Presence and Black Bag), and several Steven Spielberg blockbusters, including War of the Worlds and the forthcoming Disclosure Day. If that weren’t enough, he’s also found time to write two novels, beginning with 2019’s Cold Storage. And, inevitably, it’s been made into a film, too – a slime-drenched horror comedy that Koepp himself has scripted. Joe Keery and Georgina Campbell star as two young security guards at a self-storage facility with a dangerous secret. Deep beneath the ground are the remains of a defunct military base where a mutant fungus has been kept in check by the near-freezing temperature. But as the planet has warmed up, the fungus has woken up, and now it’s bursting out of the earth to turn everyone it touches into a ravenous zombie. Can an army boffin played by Liam Neeson save the day?

Released on 6 February in the UK and Ireland, and on 13 February in the US and Canada

2. The President’s Cake

Iraq, 1997. President Saddam Hussein is about to celebrate his 60th birthday, and the Iraqi people have to celebrate it, too – whether they want to or not. Nine-year-old Lamia (Baneen Ahmad Nayyef) is assigned the job of baking a cake for her classmates in a rural school, but, after years of US sanctions, she and her grandmother (Waheed Thabet Khreibat) are too broke to buy eggs, flour and sugar. They take a day trip to the bustling city to barter for and borrow whatever they can but they’re soon separated, and Lamia has to fend for herself, with only her pet cockerel for company. Written and directed by Hasan Hadi, The President’s Cake is a heart-wrenching child’s-eye view of life in a crumbling totalitarian state. “From the pastoral beauty of its opening sequence to the gut punch of its last, Hadi’s film is an exceptional screen debut,” says Sheri Linden in The Hollywood Reporter, “as perceptive as it is kinetic and, with one eye on the bombers overhead, brimming with life”.

Released on 6 February in the US and Spain, and on 13 February in the UK and Ireland

3. Pillion

In US cinemas just in time for Valentine’s Day, Pillion is a romantic comedy drama with a difference. Harry Melling (Dudley Dursley in the Harry Potter films) plays Colin, a shy parking attendant whose social life amounts to singing in a close-harmony quartet with his dad (Douglas Hodge). Then he meets Ray (Alexander Skarsgård), the hunky leader of a motorcycle gang, and finds himself in an intense sexual relationship. But is he being liberated or exploited? Adapted from a novella by Adam Mars-Jones, Harry Lighton’s directorial debut is daringly explicit, but also strangely sweet. And it could become a “classic”, says the BBC’s Martha Henriques. “Tackling themes of grief and belonging, Pillion takes in the kinky paraphernalia of harnesses, wrestling and revving engines, while never losing sight of its emotional core: two people working out an unconventional romantic path.” 

Released on 6 February in the US and Sweden, 12 February in Brazil, and 19 February in Australia

4. “Wuthering Heights”

Emerald Fennell is the writer-director of two hyper-stylish comedy thrillers, Promising Young Woman and Saltburn, so when she announced that she was adapting Emily Brontë’s Wuthering Heights, not everyone was pleased. She didn’t seem like the obvious fit for a beloved classic of 19th-Century literature. And Margot Robbie and Jacob Elordi didn’t seem like the obvious actors to play the teenage Cathy and Heathcliff. Then, more recently, there was Fennell’s contentious decision to put the film’s title in quotation marks. (It’s her way of emphasising that the film is an interpretation of the book, not the book itself, apparently.) But as the months passed, and the torrid trailers came out, much of that early scepticism was replaced by excitement: “Wuthering Heights” looks as if it might be a decadent delight. Besides, it’s made by someone who has been obsessed by the novel for 25 years. “I wanted to make something that was the book that I experienced when I was 14,” Fennell said at the Brontë Women’s Writing Festival last September, “which means that it’s an emotional response to something. It’s primal, sexual. It’s completely singular.”

Released on 11, 12 and 13 February in cinemas internationally

5. GOAT

Ever since the acronym GOAT was applied to any athlete who was the “Greatest Of All Time”, it was only a matter of time before a cartoon had a GOAT who was also a goat. Sure enough, this new Sony animation tells the tale of Will (voiced by Caleb McLaughlin from Stranger Things), a teenage goat who wants to excel at professional roarball, ie the equivalent of basketball in a Zootopia-like world of talking animals. The trouble is that when Will joins a team, he is half the size of his team-mates: a panther, a rhino, a giraffe and an ostrich. The film is co-produced by NBA superstar Stephen Curry, who, at 6ft 2in (1.88m), is pretty small for a basketball player himself. “We look forward to uplifting audiences with diverse characters and heartwarming storylines that will have you rooting for the underdog,” said Curry. But wait – can a goat be an underdog? 

Released on 11, 12 and 13 February in cinemas internationally

6. Good Luck, Have Fun, Don’t Die

The director of the first three Pirates of the Caribbean films, Gore Verbinski used to be Hollywood’s go-to guy for elaborate blockbuster action with a hint of anarchic weirdness. But his last two films, The Lone Ranger and A Cure for Wellness, both flopped, and he hasn’t had a new release in cinemas since 2016. Now at last Verbinski has returned with a gonzo science-fiction comedy thriller scripted by Matthew Robinson (The Invention of Lying). Sam Rockwell stars as a man who zips to the present day from the near future to save humanity from a rogue AI. He materialises in a Los Angeles diner and attempts to recruit the customers (Haley Lu Richardson, Michael Peña, Zazie Beetz and Juno Temple). But his plan has failed hundreds of times already, so he keeps having to time-travel back and try again. “Good Luck, Have Fun, Don’t Die is a great movie,” says Alan Ng at Film Threat. “It offers laughs, thrills, and it’s a thinker; you will not be disappointed.”

Released on 13 February in the US and on 20 February in the UK and Ireland

7. How to Make a Killing

How to Make a Killing is inspired by a classic British comedy from 1949, Kind Hearts and Coronets. In the original film, a poor young man named Louis (Dennis Price) is bitter that his mother was disowned by her aristocratic family. After she dies, Louis realises that he can still inherit a fortune if he assassinates his rich relatives (who are all played by Alec Guinness). The updated version, written and directed by John Patton Ford (Emily the Criminal), stars Glen Powell as Becket Redfellow. He’s in the same situation as Louis, so he decides to “prune a few branches from the family tree”, as he says in the trailer – although this time his relatives aren’t British toffs but American Succession types, played by Ed Harris and Topher Grace among others. Margaret Qualley co-stars as an old friend of Becket’s who could be persuaded that crime does pay – especially if it pays $28 billion.

Released on 20 February in the US and Canada, and on 27 February in the UK and Ireland

8. Scream 7

Neve Campbell dropped out of 2023’s Scream VI because of a salary dispute, but she’s back as the series’ regular heroine, Sidney Prescott, in Scream 7. Also returning to the slasher franchise after a long break is its creator, Kevin Williamson, who has co-written and directed its latest instalment. Scream 7 could be a kind of reset, then. After the last film’s New York-set bloodshed, this one is set in an all-American small town, where Sidney is living quietly with her husband (Joel McHale) and daughter (Isabel May)… until, that is, a masked serial killer turns up. “The company pitched it to me because they said, ‘This is going to be about Sidney Prescott.’ That’s why I would want to do it,” Williamson said at the ATX TV Festival. “Working with Neve, we did it together. She was with me every step of the way, and she was so supportive and so helpful. We had a blast.”

Released on 27 February in the US, the UK and Canada

9. EPiC: Elvis Presley in Concert

When Baz Luhrmann was researching his Elvis biopic, he unearthed dozens of boxes of unseen documentary footage. Much of it concerned Presley’s residencies in Las Vegas following his 1968 comeback special: there were interviews, rehearsals, and hours of outtakes from his two 1970s concert films. Now Luhrmann has restored and edited this footage to make a brand new concert film – and it could lead us to reassess Presley’s later career. Watching EPiC will match going to “the greatest concert you ever saw”, promises Owen Gleiberman in Variety. “The movie is a revelation, because for 96 minutes it shows you just how intoxicating Elvis Presley was when he began to perform live in Las Vegas in 1969 and the early ’70s… The power of Elvis’s voice remained undiminished – it soared, it quavered, it caressed, it boomed, it rocked, it hit every note with singular beauty.” 

Released on 27 February in the US and the UK

10. Dreams

Michel Franco’s dark romantic drama stars Jessica Chastain as a wealthy San Francisco socialite who runs a charitable arts foundation in Mexico. The last time she visited Mexico City, she had a passionate affair with a dancer, played by Isaac Hernández (a real-life ballet star), so when he sneaks into the US in the back of a lorry, he assumes that she will be pleased to see him. But he soon learns that philanthropy has strict limits. For her, supporting the arts in another country is a far cry from being seen in your own hometown with someone of a different nationality and social class. “Gripping, chilling, and startlingly bleak, [Dreams has] a thrillingly scabrous socio-political dimension that will leave audiences gasping,” says Matthew Turner at Next Best Picture. “Terrific performances, pulse-pounding eroticism, and a devastating critique of the ultra-rich combine to make this a must-see.” 

Released on 27 February in the US and Canada

Amandi, a director and former chairman of the Actors Guild of Nigeria (AGN), Enugu State chapter, was reportedly taken into custody in September 2025.

Details of his alleged involvement in the plot have only recently emerged.

Sources cited by Premium Times claim Amandi was recruited by the suspected plotters to serve as a propagandist as part of a broader plan authorities believe was aimed at unlawfully removing President Bola Ahmed Tinubu’s administration from power.

The Defence Headquarters has since confirmed that investigations into the alleged coup plot have been concluded.

It said military officers implicated in the matter will be subjected to military judicial processes, including court-martial, describing the alleged conduct as a breach of the ethics and professional standards of the Armed Forces.

Civilians linked to the case, including Amandi, are expected to face trial in civil courts, while proceedings against the military personnel will be handled through the appropriate military judicial panels.

Speaking during a recent engagement, President Mahama shared his light-hearted reaction to the streamer’s visit to the Shea Butter Museum in Accra, an experience that has since become a global case study in cultural marketing and tourism.

He made the remark at the launch of the SheaPark Resource Hub Project in Wa.

President Mahama revealed that his children were all excited about the visit of the 21-year-old content creator, whose real name is Darren Watkins Jr.

One of his children showed him a clip of Speed at the museum, which is owned by Ghanaian entrepreneur and former beauty queen Hamamat Montia.

“Recently, my children were all excited about some young man from America called IShowSpeed, who came to Ghana,” Mahama said with a chuckle. “And one of my children showed me a video of him in a shea butter museum of some sort.”

The President was particularly amused by the sight of Speed undergoing an intensive shea butter massage—a session that saw the streamer visibly overwhelmed by the sensation.

“I saw him lying down, and about 10 girls, all with shea butter, were massaging this boy. And the way he was enjoying it, he opened his mouth as if he couldn’t breathe. That guy, I’m sure he’ll come back here,” President Mahama predicted.

Beyond the comedy of the moment, the visit sparked a sense of nostalgia for the former President.

He noted that the museum, which promotes northern Ghanaian heritage, brought back memories of traditional games and songs from his youth.

While Mahama viewed the visit through a fatherly lens, tourism experts have dubbed it the “IShowSpeed Effect”.

The streamer’s visit to Ghana on January 26, 2026, was a massive logistical feat that included:

• Cultural Immersion: Receiving the Akan name Barima Kofi Akuffo during a ceremony in Akropong.
• Viral Stunts: A daring backflip at Independence Square and a sparring session at the Bukom Boxing Arena.
• Global Exposure: His flight from Akropong to Accra became the most tracked flight worldwide on Flightradar24, with over 3,000 people monitoring his helicopter journey.

The impact has been so significant that Ghana’s Foreign Ministry reportedly approved a Ghanaian passport for the YouTuber, citing his “irrefutable ties” to the country through his mother’s ancestry.

The Shea Butter Museum, which recently hit maximum capacity following the feature, has been praised for transforming a local commodity into a symbol of luxury and heritage.

Hamamat Montia ensured Speed was treated as a “cultural guest”, showcasing 21 unique types of shea butter from across Africa.

As President Mahama noted, the sheer “enjoyment” displayed by the global superstar has likely cemented Ghana as a top-tier destination for a new generation of travellers.