Speaking to Doreen Avio, the Monica hitmaker explained that the change in appearance is more than cosmetic—it reflects a deeper transition in his personal and professional journey.

“I woke up one morning and it’s been a long time… when I got signed to Lynx, I kept changing hairstyles—from one look to another. But I hadn’t done a down cut in about six years. I would twist it, unbraid it, and leave the afro. I changed it just to show a new look and to reflect the fact that this is a new beginning for me after Lynx. It’s a transition from the Lynx boy to your family sweet boy, Kwami Eugene,” he said.

The award-winning musician also disclosed that his departure from Lynx had been in the works long before it became public. He revealed that discussions were already ongoing by the time he released Monica.

“I wasn’t the first to put it out there that I had left Lynx—Richie actually did. So after he announced it on his account, I got a lot of calls. But people didn’t know that around the time Monica came out, we were already in talks about my exit. When Monica was playing, I was partially out. By the time Belinda was released, I wasn’t even at Lynx anymore,” he stated.

Kuami Eugene also addressed reactions from the public and industry insiders following his departure from the label. He acknowledged the mix of support and criticism, citing notable voices like A Plus and MC Portfolio who have publicly praised his talent and future prospects.

“I had a lot of calls after Richie made the announcement, and I had to explain that I’d spent eight years at Lynx. It’s been a beautiful journey. I’ve heard what people are saying. A lot of people are happy. I remember A Plus said something like, with Kwame’s talent, if he gets the chance to go independent with proper management, he’ll become a very big star one day,” he said.

Responding to previous criticism from rapper Guru, who had suggested that Kuami would struggle after leaving Lynx, the singer chose diplomacy.

“Guru made a comment about me flopping after Lynx, but he’s a president now—he’s the president of the University of Ghana Students’ Representative Council. I respect that, and for that reason, I won’t say much about Guru. I used to watch his concerts growing up, so it was a shame when he brought his issues with Richie to me. But again, he’s a president now, and I don’t think he’d repeat those words,” he added.

Kuami Eugene, born Eugene Kwame Marfo, shot to fame after winning MTN Hitmaker in 2016 before signing with Lynx Entertainment. He is known for hit songs such as Angela, Wish Me Well, Open Gate, and Take Away. A recipient of multiple awards including the VGMA Artiste of the Year in 2020, Kuami has carved a niche for himself with his songwriting prowess and vocal range.

As he embarks on this new chapter, fans and industry watchers are keen to see how he evolves as an independent artiste.

Borrowing lyrics from Michael Bolton’s classic How Am I Supposed to Live Without You, she shared videos of herself and their three children in a somber mood, reflecting on the void left by his absence.

In one of the posts, she wrote: “One year you were laid to rest. We miss you so much. Continue to rest in peace, Amen.”

Another clip featured their children praying against the spirit of premature death, which she accompanied with the heartbreaking caption: “It is well. My children, it is only God that we have now.”

Stella’s tribute has stirred an outpouring of sympathy and support from fans and colleagues across the entertainment industry.

Mr. Ibu, born John Okafor, passed away on March 2, 2024, at the age of 62 after a prolonged illness.

He had battled multiple health complications, including issues that led to the amputation of one of his legs in late 2023.

His passing marked the end of an era in Nollywood comedy, where he was celebrated for his hilarious roles—particularly in the Mr. Ibu film series that earned him national fame.

The actor was laid to rest on June 28, 2024, in his hometown of Amuri in Enugu State. His funeral was attended by several dignitaries, actors, and fans who came to pay their last respects.

 

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The one-year-old Guinness World Record holder has been honoured as a 2025 Global Child Prodigy in Art, in a ceremony held at the iconic UK Parliament, inside the historic Members’ Dining Room at the House of Commons.

At just one year and 152 days old, Ace-Liam made global headlines in December 2023 when he was officially recognised by Guinness World Records as the youngest artist (male). Born on July 16, 2022, his record-breaking accomplishment was verified in Accra, Ghana.

The Global Child Prodigy Awards (GCPA) recognises extraordinary children from around the world who excel in various disciplines—from music and writing to innovation and art.

Ace-Liam’s recognition places him among a distinguished group of young prodigies whose talents are shaping the future.

In a statement following the ceremony, his family expressed deep gratitude to the GCPA for spotlighting Ace-Liam’s exceptional gift and providing a global platform to celebrate young achievers.

“Meeting other outstanding prodigies excelling in various fields was truly inspiring. This experience has strengthened our commitment to continue using art as a tool for positive impact and change,” the statement read.

Ace-Liam’s journey continues to capture the admiration of people worldwide and stands as a proud moment for Ghana, as he carries the nation’s colours onto the global stage with his creativity and promise.

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Speaking on Showbiz A-Z on Joy FM, Richie, who is also the CEO of Lynx Group Limited, argued that support is earned, not demanded. He advised players in the creative space to focus on producing results instead of expecting handouts.

“I say all the time that leave government alone, leave associations alone. Leave everybody alone and do what you can do. He who embarks on a worthy cause deserves a push,” he told host Kwame Dadzie.

While acknowledging that he has received support throughout his career, Richie emphasised that such support only came after he had demonstrated value.

“You see, I mentioned earlier that as much as I have had a lot of challenges, I have also had a lot of support. But every support I have received in my life has been earned. I wasn’t given the support in a vacuum. I was given the support because I proved that if you support me, it’s worth your time and money,” he noted.

According to Richie, the government has little incentive to invest in the creative arts because the industry has not shown enough economic return or unity.

“The reason government won’t support creative arts is because it’s not worth their time. Let’s be very honest. You have artistes and media people standing there talking about ‘do this for me, do this for us, we deserve this, we are so entitled’ — stop talking,” he added.

Using the United States as an example, Richie pointed out that the American government supports the entertainment industry because it contributes significantly to the economy.

“California has a higher GDP than Texas. This means, in the US, entertainment is bringing in more money than oil. So when you see the US government support entertainment, when you see them pass laws to help entertainment, how LA has laws that favour its own writers and everything — it’s not because the President or the Minister likes music, it’s because they understand that it is making them enough money to invest in other things,” he said.

He expressed frustration over the lack of unity and professionalism within the Ghanaian creative space.

“When we can’t get our act right, who do we want to support us? When we are doing things the way we are supposed to… We can’t even organise enough. And I don’t even mean an association. If you put five artistes in Ghana together, two of them have beef. If you are organising an event right now, the vendors have beef with each other, media houses have beef with each other. We can’t even get our part right,” he lamented.

Richie Mensah has played a pivotal role in Ghana’s music industry, mentoring and producing for some of the country’s top artistes including KiDi, Kuami Eugene, and MzVee.

Beyond music, he has ventured into film, television production, and is also an author. He recently released a book titled Yes, It’s Your Fault, which addresses personal responsibility and professional development.

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The hit South Korean dystopian thriller was first released on the streaming platform in 2021, and it quickly became a global phenomenon.

So it’s no wonder that it very quickly broke the record for most viewed show on Netflix in one week – hours (non-English).

From 27 September to 3 October 2021, the show clocked in an unprecedented 571.76 million viewing hours.

But the record breaking certainly didn’t end there.

The first season also pulled in the most viewers for a Netflix Original debut.

In its first month, the Netflix Original, created by South Korean filmmaker Hwang Dong-hyuk, was watched by 142 million subscriber households, making it the service’s most successful debut.

Squid Game reached the No.1 position in 97 territories, surpassing period drama Bridgerton as the most popular TV show on the world’s most subscribed-to streaming service.

The show follows divorced father Seong Gi-hun, portrayed by Lee Jung-jae (South Korea), who has racked up a huge gambling debt while living with his elderly mother.

He thinks his luck is in when he’s invited to play a series of children’s games for a chance to win a large cash prize, but it’s far more sinister than that.

Along with 455 other players – he is Player 456 – he’s taken to an unknown location and kept in line by armed guards in pink jumpsuits and masks.

They soon discover that losing a game doesn’t just mean they’re eliminated, it means they die.

The show helped Jung-jae make history, when he became the first actor to win an Emmy for a non-English-language performance.

He won Outstanding Lead Actor in a Drama Series at the 74th Primetime Emmy Awards in 2022.

And while it didn’t win, the show itself became the first non-English-language show to be nominated for Outstanding Drama Series at the Primetime Emmy Awards.

It was Succession that won.

Season 2 of the show proved to be just as popular.

In 2024, it became the most viewed show on Netflix in one week after being viewed 68 million times.

It reached the No.1 spot of most popular shows in 92 countries.

With the last ever season promising a brutal finale, it could be set to break even more records.

In an interview with Doreen Avio, the award-winning highlife artiste explained that his journey began in the church, where he was groomed both spiritually and musically. According to him, his identity as a gospel minister has not changed.

“Sometimes I see a post on social media, and somebody wants to share something—Eugene Marfo will just pop up. I’m still a minister of God, and the transition started from the church. The church taught me everything I know—how to play the piano, guitar, and everything. While I was in school, I was still doing music and playing drums for the church. I was doing music, but the push wasn’t there like I’m getting now,” he said.

Kuami Eugene also shared how a trip to the Volta Region for a gospel event played a key role in changing the course of his life and career. Invited by a friend who was a pupil teacher at the time, the trip became a turning point.

“She was a pupil teacher, and she invited me for a three-day convention with her church. I was Minister Eugene Marfo then. That was actually where I received my first pay, so shout out to that female friend of mine,” he recalled.

Following that experience, he was selected for MTN Hitmaker, where he emerged as second runner-up before being signed by Lynx Entertainment. That marked the beginning of his rise in Ghana’s music industry.

He credited God, his family, and key mentors like Richie Mensah and Eric Goka for their support in his journey.

Kuami Eugene, born Eugene Marfo, has since become one of Ghana’s most prominent musicians, known for hit songs such as Angela, Wish Me Well, Open Gate, and Monica.

He has won several awards, including Highlife Artiste of the Year and Artiste of the Year at the Vodafone Ghana Music Awards.

He is currently promoting his latest single titled Do Better.

In an interview with Doreen Avio, Kuami acknowledged long-standing rumours about a strained relationship between the two, revealing that differences in personality and perspective sometimes created distance.

“There’s some truth to what you just said, actually. There’s a side of the story from the early days with Lynx Entertainment and the entire family—it was sweet because we were all coming up together. But people have different perceptions of others and how they carry themselves. KiDi’s character is very different from mine; we were two different people,” he explained.

Kuami added that while he tries to remain composed, he is also mindful of not being perceived as too soft or passive in the industry.

“I tried as much as possible to stay in the middle, but I don’t want to be too calm and lose respect. I don’t want to be too soft because, you know, when you’re too soft, people stop respecting you and may even bully you. Lynx taught me a lot, and I’ve actually loved the brotherhood with KiDi in particular. We’ve had days where the tension was so high that, sometimes, for maybe a whole year, we wouldn’t see each other—even though we were both at Lynx Entertainment,” he said.

According to him, their physical separation after moving out of the Lynx Entertainment residence also contributed to the emotional distance.

“I moved from Lynx—I left the camp and rented a place elsewhere. Later, he moved too. I had a studio in my house, and he also had one in his. Eventually, we’d only meet at events, maybe in the States or when we were traveling abroad together. The ‘always together’ phase lasted for about two or three years,” he noted.

Despite the ups and downs, Kuami Eugene expressed his admiration and goodwill towards KiDi, calling him a big brother and praying for his continued success.

“I actually love and respect KiDi as a big brother. Every single good thought he’s had about me, I appreciate it as a brother. I wish him expansion all the time. Anytime I see his posts on social media, I include them in my prayers—that his songs blow up. Because when we all succeed, it brings glory to Lynx Entertainment, and that’s what I pray for. You can’t do much to change people’s narratives, but I respect and love KiDi so much as a big brother,” he said.

Kuami Eugene and KiDi, both signed by Lynx Entertainment, have collaborated on several successful songs, including Spiritual and Ohemaa.

The duo have also performed together at major events both in Ghana and abroad, solidifying their status as two of the most influential voices in Ghana’s contemporary music scene.

Released under emPawa Africa and Cartel Music, “Power Bank” follows the success of his previous single “Alhaji,” which has now over 30k uses on TikTok and has already amassed over 10 million streams across platforms.

The music video directed by the acclaimed Kemz; the cinematic video was shot in Abuja and stars beloved Nollywood actress and socialite Regina Daniels as Tekno’s on-screen love interest; a casting choice that adds undeniable charm, celebrity buzz, and a Nollywood sparkle to the visual.

From intimate moments to high-energy car chase scenes, the visual captures the lighthearted, romantic energy of a love that recharges just like a power bank.

Produced by Selebobo, “Power Bank” is a testament to Tekno’s ability to craft catchy, club-ready hits that fuse storytelling with irresistible grooves.

It’s bold, deeply Nigerian, and built to soundtrack both dancefloors and everyday love stories.

With more music on the horizon, Tekno is positioning 2025 as a defining era.

Known for hit songs like “Pana,” “Skeletun,” and “Wayo,” Tekno remains one of Afrobeats’ most consistent and influential hitmakers and “Power Bank” is proof he’s only getting started.

“Power Bank” is now available on all major streaming platforms.

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Okyeame Kwame hints at historic project with government

In an interview with George Quaye on Joy Prime television’s PrimeTime, the award-winning rapper said his academic commitments had delayed his engagements with state institutions, but discussions are ongoing.

“Because of school, I have been a little busy — research and literature review. I have not had the time to pay courtesy calls on [the right institutions],” he said.

When asked about his political affiliations, Okyeame Kwame clarified, “Me, you know I am ‘Made in Ghana’.”

“But I have visited KOD, we have had conversations, and hopefully, I will go and water those conversations. I think something amazing will come out. Before the end of this four years, I will do something with government and it will be historic,” he stated.

Though he did not disclose details, the announcement has sparked public interest, especially given his longstanding involvement in national campaigns.

Okyeame Kwame, known in showbiz circles as “The Rap Dacta,” has consistently used his influence to promote Ghanaian identity, culture, and responsible citizenship. He served as the face of the Ministry of Trade and Industry’s Made in Ghana campaign and has been a key advocate for health and environmental awareness initiatives, including hepatitis B screenings and climate action.

He has also been actively engaged in arts education, creative industry policy advocacy, and sustainability campaigns, earning both national and international recognition.

If realised, the proposed project could further strengthen ties between Ghana’s creative sector and state institutions, adding to Okyeame Kwame’s legacy as one of the country’s most socially engaged creatives.

The adjournment followed a request by the prosecution, led by Chief Inspector Christopher Wonder, who informed the court that they were unable to file their disclosures due to the unavailability of the investigator.

Presiding Judge El-Alawa Abdul-Baasit granted the request and adjourned the case for a Case Management Conference.

Karikari, an actor known for his role in the popular Efiewura television series, has pleaded not guilty to a charge of defrauding by false pretences. He has been granted bail in the sum of GH¢320,000 with three sureties, all to be justified.

According to the prosecution, the complainant, Dr. Emy Oduro-Burton, a medical practitioner based in the United States, was introduced to a supposed land transaction by the accused in 2021.

Karikari allegedly informed Dr. Oduro-Burton about a full plot of land measuring 70×100 feet at Spintex, which he claimed was available for $50,000 (GH¢309,000). The complainant transferred the stated amount into the accused’s bank account for the purchase.

The prosecution said the accused then paid GH¢170,000 to one Kwaku Danso, a witness in the case and the actual owner of the land.

However, when Dr. Oduro-Burton returned to Ghana and visited the site, she discovered the land was only half a plot, valued at GH¢170,000—not the full plot she was promised.

Several attempts to recover her funds proved unsuccessful, prompting her to report the matter to the police.

The accused was arrested and, during police investigations, admitted to the offence in his caution statement.

In an emotional interview with Abiola Orisile of Events & Parties TV, the 54-year-old actor revealed that the child, a baby girl, died before he could raise enough money for her treatment.

According to Chatta, in a desperate attempt to save his sick daughter, he trekked for hours across several areas of Lagos.

Despite his efforts, he couldn’t secure the funds in time, and his daughter died right before his eyes.

He described it as one of the most painful experiences of his life.

“My first child is not Malik. The first child I had died. The hospital requested payment for her care. I trekked from Ijora-Badia… to Itolo in Orile… through Lawanson to Costain and then Makoko. Those were places I used to hawk puff-puff. I didn’t get money until the child died,” he said, fighting back tears.

As if that wasn’t painful enough, he added that he was so broke at the time, he couldn’t afford a proper coffin for the child’s burial.

“They buried her with the wooden Coca-Cola tray,” he revealed, tears streaming down his face.

Chatta said he kept the story to himself for years, only sharing it with his partner during a trip to Dubai after buying a diamond anklet for their daughter.

“Her mother felt somehow and said she wasn’t the one who gave birth to the child. I told her I had a female child before and explained how she died. They all cried. They had never heard that story from me,” he stated.

Now a proud father of three, Chatta said he is deeply grateful for the gift of fatherhood and hopes to expand his family even further.

In a heartfelt interview with George Quaye on Joy Prime’s Prime Time Show on Wednesday, June 25, the award-winning musician didn’t just speak about his career but opened up about a deeper passion: teaching.

“If I weren’t a musician, I’d be a teacher—completely,” he said with conviction. “Even as a musician, I’m still going to be a teacher… because by the end of my life, I will be teaching in one of the universities.”

Okyeame Kwame spoke with deep affection about his early teaching days at Meduma in the Kwabre-East District of the Ashanti Region, where he taught after completing his A-levels.

That experience, he said, left a lasting impression.

“I loved interacting with children. I loved imparting knowledge. I even loved the process of preparing to teach,” he said. “That’s how I know I’ll end up in a lecture hall, teaching psychology, sociology, philosophy—or even the philosophy of African music.”

His passion for education is also deeply personal and emotional. Okyeame Kwame shared that his late father once opposed his rap career.

“From age 14 to 16, we fought all the time about it,” he recalled. “But one day, he saw me perform. After that, he made me promise: no matter how far I go with rap, I must go back to school.”

His father passed away two years later, and that promise became a guiding voice in his life. “I go to school for him. And I go to school for myself.”

What makes his story even more remarkable is the academic challenge he had to overcome. “Growing up, I had dyslexia,” he revealed.

“It wasn’t diagnosed in Ghana, so I was constantly beaten at home and at school. They said I was stupid. But I wasn’t. I just had a different brain.”

Okyeame Kwame described himself as neurodivergent and has become an advocate for a better understanding of children with learning difficulties.

“Some children have dyslexia. Some have dyscalculia. We beat them because we don’t understand that their brains just work differently.”

Despite these early struggles, the musician-turned-educator has earned two master’s degrees and is currently working on his PhD.

“I just do it for myself—to prove I wasn’t stupid. I do it to fulfil the promise I made to my father. And I do it because I know I’m meant to teach.”

In a recent Facebook post, the comedian expressed surprise at the thriving business of music piracy after observing unauthorised vendors selling CDs and pen drives loaded with local songs in traffic. He noted that several motorists were seen purchasing the pirated content.

“If people are out here selling musicians’ songs on CDs and pen drives and I just saw a few cars actually buying from one guy, then why aren’t musicians themselves selling CDs anymore?” he asked.

He added that the dominance of streaming platforms has not reached all sections of the public and insisted that physical formats still hold value.

“Charley, not everyone understands this streaming thing, so others are cashing in big time,” Lekzy wrote.

His post has stoked debate on the relevance of CDs in the Ghanaian music industry, especially at a time when piracy remains rampant and streaming royalties are still relatively low for many artistes.

Some industry players argue that CDs may no longer be trendy, but they are still a valid and potentially profitable distribution tool.

Music producer and sound engineer Kaywa had previously stated that physical copies of albums offer an intimate connection with fans and can be sold at events to create memorable experiences. Similarly, veteran musician Akosua Agyapong once noted that CDs, when properly branded, serve as collector’s items and contribute to merchandise revenue.

Another creative personality who has been very vocal about not discarding CDs and pen drives in music and movie productions is filmmaker Socrate Safo.

Safo, the former Director for Creative Arts at the National Commission on Culture, once emphasised the profitability of physical formats.

He said, “Compare the profit musicians gain from 100 people streaming your music to how much you earn from selling CDs and you will realise that CD sales are more profitable. Consumers are still there.”

About a week ago, a popular radio presenter also took to Facebook to mock up-and-coming artiste Wan‑O for selling his music at the Accra Mall—a comment that sparked backlash from fans who argued that grassroots sales are part of the hustle and should be encouraged.

Despite the surge in digital platforms such as Spotify, Apple Music, Audiomack, and Boomplay, the issue of access and digital literacy remains a challenge in Ghana. Many consumers either lack the know-how or the internet bandwidth to engage with streaming fully, making physical sales a potentially untapped market.

This was announced on Facebook by the Ashanti Regional Minister, Dr. Frank Amoakohene, who accompanied them on the visit.

The gesture follows a directive by President John Dramani Mahama to formally recognise the musician for his outstanding contribution to Ghana’s cultural heritage.

Agya Koo Nimo rose to prominence as a pioneer of palm-wine and traditional highlife music, forming the renowned Addadam Agofomma ensemble in the late 1950s. Bestowed with national honours—including the Order of the Volta in 2007, the Asanteman Award from the Asantehene, and multiple lifetime achievement accolades—he remains a revered figure in Ghana’s music landscape.

In his social media post, the Ashanti Regional Minister stated:
“Today, I had the honour of accompanying the Minister for Tourism, Arts and Culture, Hon. Abla Dzifa Gomashie, and her Deputy, Hon. Yussif Jajah, to visit our legendary highlife musician, Agya Koo Nimo. This forms part of the President’s directive to honour our living legends and heroes who have contributed immensely to Ghana’s cultural and creative heritage.”

The Minister also disclosed that earlier efforts had seen support extended to 25 elderly members of the Kumawood film industry and families of late creatives, reinforcing the administration’s commitment to celebrating those who laid the foundations of Ghana’s creative sector.

Celebrated for blending storytelling with guitar rhythms and indigenous instrumentation, Agya Koo Nimo’s contributions helped shape Ghana’s musical identity. Beyond performance, he held leadership roles as President of MUSIGA in 1979 and interim chairman of COSGA in 1985 before receiving further global acclaim through his academic and musical engagements in the United States.

The President’s directive arrives amid growing calls for timely recognition of cultural icons, echoing his remarks at the Black Star Experience launch earlier this year, when he urged immediate ceremonies to honour Agya Koo Nimo now, rather than posthumously.

Speaking on The Career Trail program on Joy Learning TV and Joy News, KMJ shared the tough realities he faced at the start of his career, one of which included sleeping at taxi ranks due to financial constraints.

He recounted that when he first arrived in Accra to pursue his dreams of becoming a radio personality, he made a decision to learn from those already in the field.

“When I came to Accra, I decided that I was going to do my own thing. So I started following radio presenters,” he revealed.

KMJ explained that one of the ways he got involved was by helping radio presenters carry their CDs to events. Most of them, he said, doubled as DJs, and he followed them from radio stations to pubs just to learn the ropes of the trade.

“I used to carry their CDs on my head and follow them everywhere they went. At the time, DJ Willie was hosting Drive Time on Top Radio.

“I was like a CD boy and also acted as a producer. I would carry his bag, go to the studio with him, help set up, and then we’d move from one pub to another because he had gigs almost every night,” he shared.

He mentioned that his routine was exhausting. He often left home around noon and didn’t return until the early hours of the next day.

“I would leave home at 12 midday and go to his house. From there, we’d head to Top Radio, work from 3 pm to 7 pm, and after that, I would follow him to the various events he had lined up. I usually went to bed at 4 am,” he recounted.

One of the most difficult parts of that period, he disclosed, was not having enough money to get home after the gigs.

According to KMJ, because he lived at Banana Inn and couldn’t afford transportation late at night — and walking home was unsafe — he resorted to sleeping at taxi ranks.

“I’ve slept at taxi ranks before. After we were done with events, I often didn’t have money to go home. DJ Willie would leave his bag with me, and I’d help load the speakers into a car. The car would drop off the equipment, but I always held onto the CD bag because it meant everything to me. If it got lost, I’d be in serious trouble,” he recalled.

“At the time, I was living at Banana Inn, and finishing around 3 a.m. or 4 a.m. made it dangerous to walk home. Since I couldn’t afford a taxi either, I chose to sleep at taxi ranks and wait until 6 a.m., then walk home. This became a daily routine,” he continued.

KMJ said he could have asked DJ Willie for help but chose not to, fearing he’d be seen as a burden and possibly lose the opportunity to learn.

“I couldn’t tell DJ Willie I didn’t have money. Even when he asked if I was okay, I lied and said I was fine. I didn’t want to say I was struggling because I feared he might feel I was disturbing him and eventually cut me off,” he said.

Despite the hardships, KMJ remained determined. He said his vision was to become like DJ Willie or even better, and that burning passion kept him going through the rough times.

“I was determined to learn and grow. So I kept pushing,” he highlighted.

That persistence eventually paid off. KMJ’s hard work, humility, and relentless drive landed him his first job as a radio host, marking the beginning of a successful career in media.

Listen to KMJ’s full story in the video below:

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He disclosed this in an interview on The Career Trail, aired on Joy Learning TV and Joy News.

According to him, although he had always been good at entertaining people and hosting small events as a media personality, he never seriously considered emceeing as a professional path until that pivotal experience.

“I discovered that part of myself when I was in Koforidua. I realised I could connect with people in a unique way. I love making people happy, and that side of me has always been there,” he shared.

He continued, “However, one show I did was Sarkodie’s album tour in Koforidua. It was held at the stadium, and I hosted it. After the show, I felt within me that I could take this seriously. I told myself, ‘I can do this.’”

What began as a small realisation in Koforidua has since evolved into a thriving career.

“I’ve lost count of the events I’ve emceed. I’ve profiled events here in Ghana and in the US,” he stated.

For KMJ, it’s not about the number of events he hosts each year but the lasting impression he leaves on his audience. He believes in delivering performances that people can remember long after the event is over.

“I’m not particular about how many events I get to host in a year. Even if it’s just one, I tell myself I have to do it well—so well that people will look back and say, ‘Three years ago, you hosted this event and I loved it,’” he explained.

He also emphasized that not every media personality is automatically suited to emceeing. While the skill can be learned, he pointed out that it requires a different mindset and level of presence.

“If you’re a radio or TV presenter, you’re often confined to a studio with a limited technical audience. But when you’re standing in front of 100, 1,000, or even 40 people watching you live, that’s an entirely different experience,” he said.

“The fact that you can speak into a microphone on radio or TV doesn’t mean you can be an MC. It takes understanding the craft, but it’s something that can be developed with time,” he highlighted.

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Speaking to Irene Adubea Aning on The Career Trail, KMJ recounted the uncertain period in his life after leaving Vision FM in Koforidua.

Following the passing of his former boss, Oliver Desbordes, he was encouraged by Sammy Flex to move to Accra and pursue bigger dreams.

“After my boss passed, I remember Sammy saying, ‘You’re a big guy. You’ve done so much in Koforidua, everybody knows you. Pack your things and come to Accra and start a new life.’ It was tough because I was so attached to the man, but I made the bold decision and left,” KMJ recalled.

Upon arriving in Accra, KMJ faced a difficult five-month period without a job. Eventually, Sammy Flex reached out again and invited him to join his show on Pluzz FM as a pundit.

“For five months, I was just home, trying to figure things out. Then Sammy called and said I should come to Pluzz FM. He was a presenter there at the time. So I joined as a pundit, and we talked about entertainment,” he recounted.

This arrangement continued until one day, an unexpected opportunity presented itself. Sammy Flex was unavailable, and KMJ was asked to host the show in his absence. The episode was streamed on Facebook, and KMJ’s performance garnered attention and praise from viewers.

“That Sunday changed everything. Sammy wasn’t around, so he asked me to sit in for him. I agreed. The show was streaming live and, surprisingly, everyone was talking about me,” he emphasized.

It was during this show that KMJ had a fateful encounter with Socrate Safo.

“Socrate Safo walked into the studio and started asking me questions—who I was, what I was doing there, and if it was my first time. We were on a commercial break, so I asked him to wait and said I’d talk to him after the show. My producer explained I was sitting in for Sammy, so he waited,” he explained.

After the show, they had a conversation, and Socrate asked if KMJ was employed. Upon learning he wasn’t, Socrate approached the station’s manager to recommend him, but the attempt was unsuccessful.

“He went to the manager, requesting that they employ me, highlighting that I was good. However, it didn’t work out,” he shared.

Two weeks later, KMJ was at home when he received a call from Socrate Safo, asking him to meet the then Programs Manager at Hitz FM, Mark Okraku Mantey.

“Socrate called and told me he had spoken to Mark Okraku Mantey, who requested to see me immediately at Multimedia,” KMJ disclosed.

He made his way to the Multimedia offices, where he finally met Mark Okraku Mantey after the morning show on Hitz FM.

“I sat at the reception waiting. When the show ended, Mark came and said Socrate had recommended me. I told him to give me just five minutes on air, and if he didn’t want me after that, I’d leave. He agreed and put me on the morning show as a pundit,” KMJ recalled.

Once again, fate intervened. The main host of the morning show went on leave, and KMJ was asked to fill in temporarily. His performance impressed the team, and when the original host eventually resigned, KMJ was offered the role permanently.

“The host went on leave, so I was asked to step in. One thing led to another, and after some months, he resigned and I became the substantive host of the show,” he added.

KMJ’s talent and growing popularity soon prompted a transition from radio to television. After two and a half years on Hitz FM, Multimedia management encouraged him to try TV, believing he had the charisma and presence to succeed.

“At first, I was hesitant. But after successfully hosting a few shows, I accepted. That’s how I moved from radio to TV,” he stressed.

Today, KMJ is a household name in the Ghanaian media, hosting major entertainment shows and successfully transitioning into more serious roles, including a morning show where he discusses political and social issues.

Reflecting on his journey, he expressed deep gratitude to God and to the individuals who played key roles in his rise.

“How my life has transformed—I can never take credit for it. It was God’s doing. You can prepare yourself, but it takes grace. I’m thankful to those who helped me, and I’m glad I didn’t disappoint them. I don’t joke with Socrate Safo because he did this for me without even knowing me. I’ll forever be grateful to him,” KMJ acknowledged.

When asked how he earned the moniker The Royal Host, KMJ revealed it came during his coverage of the royal wedding between Prince Harry and Meghan Markle.

“I hosted a four-hour special on their wedding. During the show, KKD said, ‘It’s your first time doing this up close, and though I’ve never had a conversation with you, talking to you now, you are The Royal Host.’ That name stuck,” he revealed.

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“I got my first radio job through Facebook,” he disclosed.

Speaking on The Career Trail on Joy Learning TV and Joy News, KMJ recounted how years of unpaid hustle and consistent learning eventually paid off in the most surprising way.

He said his media journey began with shadowing radio presenters who doubled as DJs in Accra, despite not earning a pesewa. One of the personalities he worked closely with was DJ Willie, then host of Drive Time on Top Radio.

“I used to carry their CDs on my head and follow them everywhere they went. At the time, DJ Willie was hosting Drive Time on Top Radio. I was like a CD boy and also acted as a producer. I would carry his bag, go to the studio with him, help set up, and then we’d move from one pub to another because he had gigs almost every night,” he shared.

Although many saw him as a background assistant, KMJ was quietly documenting his experiences. He began sharing event updates and behind-the-scenes content on his Facebook page.

“When I was doing all these, I was posting them on social media. Back in 2011, social media was still new, and everyone was just doing their own thing. So I would attend events and post what happened,” he explained.

Eventually, a message landed in his inbox that changed everything.

“There was this man, Oliver Desbordes, who sent me a message via inbox saying he loved what I was doing. He said, ‘I have a new radio station coming up. If you don’t mind, I want you to be part of the team.’”

Initially skeptical, KMJ assumed it was a scam.

“I thought it was a scam, so I told him, ‘I don’t believe this is true. If it is, prove it.’ So he sent me his number. But for a whole week, I didn’t call because I was scared my phone might be hacked.”

The man followed up a week later, prompting KMJ to finally respond.

“He said, ‘You still haven’t called. Can you leave your number?’ So I dropped my number. Then he called and asked to meet at Accra Mall. He introduced himself as a boss at a radio station in Koforidua and said he wanted me to join his team. I told him I hadn’t done radio before, but he said he saw something in me.”

Still unsure about relocating to Koforidua, KMJ asked for more time. When they met again weeks later, the man brought a draft of a Drive Time show designed specifically for him.

“I was amazed and confused at the same time, but eventually, I accepted the offer.”

When he arrived in Koforidua, the station — Vision FM — was still in its test transmission phase. But just days later, KMJ became the first official voice on air.

“They had done test transmission. They had not even started programming. On Monday, I was the first person that opened the station. We didn’t even start with the Morning Show. I remember my intro so well. I said, ‘Good evening to the capital and everyone doing the listening. My name is African Baby. I am the African boy that you’ve been waiting for all this while here in the capital. I get to drive you all the way to 7 p.m. Why don’t you be my guest?’”

KMJ said his presence was immediately felt, and he quickly became a listener favorite.

“I became a favourite. Everyone was talking about me — even market women, who on a regular day wouldn’t listen to Drive Time. Eventually, I rose to become the Programs Manager of Vision FM.”

He expressed deep gratitude to the late owner of Vision FM, crediting him for believing in his potential.

“He is late now. May God rest his soul. He believed in me and did so much for me. I had never seen anyone do so much for people like that.”

KMJ encouraged young people to always prepare for opportunities.

“Be prepared enough even before an opportunity comes. Imagine if I had not prepared and I messed up, I wouldn’t be here today. So it’s always the preparation before the opportunities even come.”

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The pair first got together in 2016, going Instagram official in May of that year when Katy, 40, shared a funny photo of herself and Orlando, 48, dressed in bathrobes. They dated for a little over a year before calling it quits in early 2017, however they later reconciled in 2018 and announced their engagement in 2019. Daughter Daisy Dove, now four, was born in August 2020.

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The graduation ceremony, held on Friday, June 20, 2025, saw Recruit Course 55—comprising 843 men and 815 women—officially inducted into the service.

The recruits were trained in fire science, breathing apparatus operations, first aid, electricity, building construction, physical fitness, fire prevention, and parade drills, equipping them for the demanding realities of firefighting and emergency response duties.

The colourful ceremony featured a parade and firefighting demonstrations, drawing admiration from dignitaries, invited guests, and families of the graduates.

Addressing the new recruits as Reviewing Officer and Special Guest of Honour, Minister for the Interior, Hon. Muntaka Mohammed-Mubarak, commended them for their resilience, discipline, and commitment throughout their 28-week training.

In a move to enhance welfare and morale within the service, the Minister announced a new insurance scheme for all GNFS personnel.

Under the scheme, firefighters who suffer non-permanent injuries while on duty will receive GH₵50,000.

Those who sustain permanent injuries or die in the line of duty will be entitled to GH₵100,000, while natural deaths during active service will also attract a GH₵50,000 benefit.

Hon. Muntaka emphasized that the insurance package is part of a broader initiative to support the Ghana National Fire Service. He added that additional resources, logistics, and welfare programmes will be rolled out to empower personnel across the country.

He urged the newly graduated firefighters to uphold the values of professionalism, dedication, and integrity in their service to the nation.

Spokespeople for the couple remain tight-lipped and one guest told CNN they signed an NDA, but a lid cannot be kept on widespread speculation about every detail of the event that is expected to take place this week.

At Harry’s Bar, a fabled institution that once counted Ernest Hemingway among its customers, the waiters are hoping some of the 200 guests — a mix of A-list celebrities, political dignitaries and powerful business executives — might stop in for one of their famous Bellini cocktails.

Whether or not Bezos will bring his yet-unnamed groomsmen there, as George Clooney did when he married Amal Alamuddin in 2014, is anyone’s guess. “We hope so,” one of the waiters told CNN. “We can’t divulge anyone who has made a reservation. We protect the privacy of all of our guests, not just the billionaires.”

From the date to the guest list, possible venues and the bridal gown and budget of $50,000 per guests, the rumor mill is spinning at a rapid pace.

Proceedings are being overseen by boutique event planners Lanza and Baucina, the Italian duo who transformed Venice’s Grand Canal into a red carpet for the Clooneys’ glitzy wedding.

Protesters believe there’s no space for a Bezos wedding in Venice, but the company has insisted that its plans are respectful of the city and the unique set of challenges it faces as one of the most overpopulated tourist sites in Europe.

“Rumors of ‘taking over’ the city are entirely false and diametrically opposed to our goals and to reality,” they said in a statement shared with CNN.

The night before, Luca Zaia, president of the surrounding Veneto region, announced that Bezos and Sanchez were donating €1 million ($1.16 million) to the Corila Consortium, an international scientific research group doing work on the Venice lagoon — a gesture of “love and responsibility” toward the city, he said.

The couple is sourcing some 80% of wedding provisions from local vendors, including pastries from the Rosa Salva pastry shop, the oldest in Venice, whose owners told CNN they have been commissioned to create “about 200 goodie bags.”

Murano glassware designer Laguna B also confirmed to CNN that it is creating special party favors. The company declined to share any further details.

Zaia is not concerned about the city’s plans to manage the wedding, telling one local paper, “I repeat, this is a city that handles 150,000 people a day. George Clooney, François-Henri Pinault and Salma Hayek, Alexandre Arnault, Elton John and many others got married here.”

He also surmised that the President of the United States, who is in Europe this week for the NATO summit, could conceivably be on the guest list, telling Corriere della Sera, “Of course, Donald Trump could also come to this wedding.” One imagines that Trump’s priorities may have shifted considerably over the weekend.

While the guest list has not been made public, Sanchez’s very public bachelorette party in Paris last month may offer clues as to who will watch on as she and Bezos say “I do.”

Kim Kardashian, Kris Jenner, Katy Perry and Eva Longoria all took part in celebrations that included a boat trip along the Seine. Oprah Winfrey, Mick Jagger and Ivanka Trump have also been invited, according to the Associated Press, and Trump was photographed arriving in the city with her husband Jared Kushner, on Tuesday.

As is tradition, Sanchez will be keeping details of her wedding gown, and its designer, under wraps until the big day, but close followers of her fashion will know she is a regular wearer of Dolce & Gabbana.

Around 30 of the city’s elite water taxis, out of 280 total, are also thought to be reserved. One taxi driver told CNN he has been booked from June 25 through June 30 for “a big wedding,” but declined to say more on the subject. Gondolas have also been put on hold, with the city’s gondola association confirming they are ready for the event.

The city’s nine yacht ports have also been booked for the week leading up to the main event. Bezos’ $500 million Koru, which is always tailed by the smaller L’Abeona, are both in the Adriatic Sea already, according to the Marine Traffic website.

Venice’s airspace is closed to drones and non-authorized traffic, but one source told CNN that permission has been granted for private helicopters, particularly for anyone needing special security, such as heads of state.

The Marco Polo airport, no stranger to private jet traffic, already has a secluded area with direct access to private water taxis, making it easy for stars to slip into the city unseen.

The wedding date itself, by far the most protected detail, still remains unconfirmed and the couple seem hellbent on keeping everyone guessing up until the last minute. A person close to Venice City Hall told CNN that the wedding planners secured a variety of venues over a period of days and will decide what happens where and when based on the most uncontrollable factors — weather and protesters.

The wedding is expected to use a small handful of hotels in the city to accommodate guests or host events. One of the most talked-about possible venues is the Cini Foundation on the island of San Giorgio Maggiore, which has hosted everything from G7 events to private concerts.

The sculpted gardens and monastery, where monks still pray, sit across the lagoon from the famous Piazza San Marco and would provide an intimate setting ideal for a dinner. Building work being carried out in mid-June looked suspiciously like a set being built — perhaps for a wedding concert?

The Aman hotel on the Grand Canal, where the Clooneys chose to wed, has also been mentioned as a potential location. Another top contender is the Scuola Grande della Misericordia, a 16th-century armory that would be perfect for the ceremony itself — although it is more vulnerable to protesters, who have already threatened to block the canals if the wedding party tries to reach the venue.

Interestingly, a rather wedding-esque gazebo has been erected next to the Excelsior Hotel on the Venice Lido, a stone’s throw from where the Venice Film Festival is held each year. But, as with the rest of the venues, nothing is confirmed.

In a grand gesture to celebrate the birthday of his longtime personal assistant and childhood friend, Lati, the singer gifted him a brand-new Range Rover Vogue.

The surprise presentation took place in Paris, France, where Davido and his crew are currently enjoying a fun getaway.

Taking to social media, the “Unavailable” hitmaker shared a heartfelt message alongside a video of the lavish gift: “To my favorite person, happy birthday! May your day be as awesome as you are.”

Lati, who has been a loyal member of Davido’s inner circle since childhood, appeared visibly emotional and grateful for the unexpected gift.

The celebrations didn’t stop there, as the birthday bash continued into the night with a club party filled with music, champagne, and close friends.

The moment quickly went viral, warming the hearts of many across social media platforms.

Returning with a heart full of gratitude and a playlist filled with uplifting gospel songs, Doreen’s voice carried both relief and reflection.

“Forever thankful, abundantly blessed and always grateful. Thank you for tuning in. Hello Monday, it’s 24 past 10 am. It is a pleasure to be back with you this morning. It is a good day. Exactly two months ago, and we thank God.”

Queen of the Airwaves, Doreen Andoh.

“With a crack in my voice…”

In her first moments back on air, Doreen opened up to listeners about the difficult journey she’s been on:

“With a heart full of gratitude, folks, I thank God for His goodness, His healing, His love, His grace and His blessings. I say this with a crack in my voice because I haven’t worked for two months, and everyone thought I was on a jolly break. I fractured my right leg – hospital, surgery, recuperating, and physiotherapy – but just watching the goodness of God at work.”

Her story struck a chord with fans, many of whom flooded JOY FM’s social media platforms with messages of love and support.

In good hands: Akorfa steps in

During Doreen’s absence, Akorfa, a rising voice in the JOY FM family, held the fort on The Cosmopolitan Mix. Known for her warmth and eloquence, Akorfa brought her own unique energy to the show while openly expressing how much she draws inspiration from Doreen’s legacy.

Listeners praised her seamless stewardship of the show, even as she shared on air how much she looked up to Doreen both personally and professionally.

A trailblazer’s return

Doreen Andoh returns to continue her remarkable journey in Ghanaian broadcasting. With a career spanning nearly three decades, she is celebrated as the first woman to win the Best Presenter of the Year award in 2001 and has remained a powerful and influential voice on the airwaves ever since.

Music, gratitude, and healing

Monday’s comeback show was filled with Thanksgiving music, praise and honest reflection. Listeners could feel the emotion as Doreen curated a playlist that captured her gratitude for life, healing, and support from her team and fans.

Tune in to The Cosmopolitan Mix on JOY 99.7 FM, weekdays from 10:00 AM to 12:00 noon—now with renewed energy from Doreen Andoh, and the continued support of Akorfa, who carried the torch with excellence.

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With viral skits that regularly surpass a million views and collaborations with global brands like Nike and McDonald’s, Joey has cemented his position as one of Africa’s most influential digital creators.

From his early recognition by Oscar-winning actress Lupita Nyong’o to features on BuzzFeed and The Shade Room, Joey’s journey reflects both consistency and creative evolution.

His iconic “in-law of Bill Gates” persona and viral hits like “POV: Your Friend Just Joined the Gym” (25M+ views) showcase his ability to turn everyday scenarios into comedic gold while maintaining global appeal.

Beyond laughs, Joey’s work, spanning political satire, biblical reenactments, and social humor—has made him a marketing powerhouse, with over 370K Instagram and 220K TikTok followers.

In this exclusive interview with culture journalist Kenneth Awotwe Darko for Myjoyonline.com, Joey reveals his creative process, brand collaboration philosophy, and vision for the future of digital comedy.

Here’s what ensued during the interview:

1. You’ve spent nearly a decade shaping digital comedy. How did you find your niche in blending humor with cultural commentary, and how has your content evolved since your early days?

“I found my niche by leaning into my reality. My earlier content was more reactive and random, but over time, it’s become more intentional. I started by making content that reflected my experiences growing up Ghanaian, moving abroad, being part of different cultures and I noticed people connected most when it felt real.

Over the years, I’ve shifted from just being funny to being intentional. Now, I focus on intelligent comedy, the kind that still makes you laugh, but also makes you think. Whether I’m touching on identity, social norms, or politics, I like when someone watches a skit and goes, “Wait… that’s actually true.” The goal isn’t just virality anymore; it’s to create stories that spark both laughter and reflection.”

2. What do you think makes your comedy so universally relatable, and which viral moment surprised you the most?

“I think it’s the way I tap into shared human experiences. I tell stories from my world, but I make sure they’re rooted in things everyone can feel: embarrassment, pride, confusion, joy. For example even if you’re not African, you know what it feels like to be misunderstood by parents or embarrassed in public. These are things people all over the world go through, regardless of where they’re from.

I also play a lot with nuance so even when I’m talking about something specific to Ghana or the diaspora, there’s always a deeper emotion or truth people can connect with. One viral moment that really surprised me was the “In-law of Bill Gates” skit. I was just having fun with the idea of false entitlement, and it ended up blowing up globally. That’s when I realized comedy doesn’t have to be loud or forced, if it’s honest and clever, it travels.”

3. Your skits, from biblical reenactments to political satire, require sharp wit and storytelling. Walk us through your creative process: How do you turn everyday scenarios into comedic gold?

“It usually starts with one silly “what if?” moment. This is one of the tactics I always use anytime I have a mental block. That allows you to think of scenarios people never think of . Like, “What if Judas Iscariot did a street interview?”

Then I sit with that idea and stretch it. I look for the layers the cultural undertones, the subtext, the double meanings. From there, I write the dialogue to feel real, like something you’d overhear on a bus or during FaceTime. I also try to twist the ending people know I love a good plot twist. That’s how I make it memorable.”

4. One of your most memorable roles is the self-proclaimed “in-law of Bill Gates.” How do you develop these recurring characters, and do you have a personal favorite?

“I actually don’t have a favorite character. Each one has its own moment and purpose and once it’s done what it needs to do, I move on. The “in-law of Bill Gates” stands out because it was just pure delusion and confidence — and that kind of bold, unnecessary entitlement is hilarious and oddly familiar to a lot of people. But honestly, none of my recurring characters are ever planned.”

I don’t go in with the mindset of building a series. I just create freely. I experiment a lot and when the audience really connects with something, that’s what signals me to revisit it or build on it. It’s never strategic at first it’s instinctive. I hate being boxed in, so I give myself the freedom to try all types of comedy. And when something hits, I double down not because it’s trending, but because it still feels fun.”

5. Your humor often highlights social and political issues. How do you balance satire with sensitivity, especially when tackling controversial topics?

“For me, comedy is how I express myself and speak on things that matter. It’s not just about making people laugh it’s a way of showing concern and starting conversations. Yeah, it might come across as funny at first, but if you really watch, there’s usually a deeper truth in it.

I’m intentional with what I say and how I say it. I don’t like attacking people I prefer to highlight the systems, behaviors, or mindsets we’ve normalized. That’s where I find the humor and the message. I also try to be mindful of timing. Some topics are still raw for a lot of people, so I approach them with care. If someone can laugh and then pause and say, “Wait, that’s actually true,” then I know I’ve done what I set out to do.”

6. You’ve partnered with some major brands. How do you maintain authenticity while creating branded content, and what’s your key to making ads entertaining?

“I always tell brands: “The audience comes first.” And also not all money is good money. If it doesn’t feel like something I’d actually post, I won’t do it. I always ask myself, “Would my audience still enjoy this if they didn’t know it was an ad?” That’s the standard.

What’s worked for me is finding the humor in the product’s purpose not just promoting it, but building a storyline around it that’s entertaining on its own. Whether it’s a skit, a plot twist, or a parody, I make sure the ad blends into my world naturally. The best compliments I get are when people watch a brand deal and still forget it’s an ad because to me, that means I’ve done it right without losing myself in the process.”

7. What sparked your transition from being just funny to using comedy as a marketing tool?

“I noticed that people skip ads — but they don’t skip jokes. So I thought, why not put the ad inside the joke? I didn’t want to be another guy just holding a product awkwardly on camera. I wanted to weave the brand into the story so well that even if you weren’t interested in the product, you’d still share the video because it made you laugh.”

8. How do you strike that balance between making people laugh and subtly delivering a brand’s message?

“Simple, I start with the story because that’s what makes people stay. The best way to spotlight a brand is to wrap it in something people actually want to watch. I always ask, “How can this product live inside a moment that feels real or funny?” That way, the brand isn’t just inserted it’s integrated. Viewers laugh, stay engaged, and the brand ends up being the punchline they remember in a good way. People want to laugh, not feel like they’re in a digital market. But with the right balance, they’ll laugh — and still remember the brand.”

9. With such a strong digital presence, where do you see the future of online comedy heading? What mark do you hope to leave as Joey?

“I think we’re moving into a space where comedy isn’t just about making people laugh, it’s about making them feel something too. People are drawn to creators who can entertain but also offer depth, originality, and a unique point of view. It’s no longer just about quick trends it’s about building something that lasts.

For me, I want to be remembered as someone who made intelligent comedy engaging and global the kind of content that’s funny, but also clever and thought-provoking. I’m definitely considering stand-up in the future, but only when the timing is right. I want it to feel natural, not forced. When I step into that space, I want it to hit just as hard as my skits sharp, honest, and unmistakably me.”

10. You’ve built a loyal global fanbase. How do you stay connected with your audience, especially those back home in Ghana, and what’s the most rewarding part of being a content creator?

“I’m very intentional about keeping my content rooted in home, even when I’m abroad. Whether it’s shooting in Ghana, using local slang, or referencing our culture it’s my way of saying, “I haven’t forgotten.”

The most rewarding part? I would say the networks and opportunities this gives you and also when someone messages me from a random part of the world saying, “You made my day” or “This reminded me of home.” That’s when I realize it’s bigger than views — it’s impact. It’s legacy. And it’s laughs that travel.”

11. You’ve got fans across the world. How do you manage to stay relatable across borders?

“I tap into the universal truths. No matter where you’re from, you’ve felt those things. My goal has always been to go global so I create content that cuts across. I avoid relying too heavily on language or hyper-local references that might box me in.

I focus on human experiences that translate universally. I want someone in Accra, London, or Atlanta to laugh the same way without needing someone to explain the joke to them .The goal has never been to blow in one country. It’s to connect everywhere.“

Speaking in an interview on BTS with Creatives, a YouTube series hosted by JoyNews’ Jacquline Ansomah Yeboah, Maya Blu said the music industry is evolving and artistes should not be limited to a single genre.

“The world has evolved, and people are just doing what audiences love,” she said.

According to her, the move away from highlife by younger artistes should not be seen as a rejection of tradition but rather an expression of creative freedom.

“Everyone is doing what they do best, and we have to respect that,” she added.

Her comments come amid growing concern from veteran musicians and cultural commentators over the perceived neglect of highlife music by today’s artistes.

Once Ghana’s dominant genre, highlife is known for its rich guitar rhythms, brass instrumentation, and lyrical storytelling. It played a foundational role in shaping Ghana’s popular music and influenced modern genres like hiplife, Afrobeat, and more recently, Afropop.

However, critics argue that contemporary musicians are shifting focus to Afrobeats, amapiano, and other global trends, raising fears about the gradual erosion of Ghana’s musical heritage.

As the debate over preserving highlife continues, Maya Blu’s remarks highlight the tension between cultural legacy and artistic evolution — a dilemma many young musicians are grappling with today.

]]> https://www.adomonline.com/jack-alolome-explains-why-he-left-npp-for-ndc/ Tue, 24 Jun 2025 13:24:20 +0000 https://www.adomonline.com/?p=2547702

]]> https://www.adomonline.com/i-didnt-want-to-show-my-face-at-first-but-i-do-now-arathejay/ Tue, 24 Jun 2025 09:50:16 +0000 https://www.adomonline.com/?p=2547630 Ghanaian musician Arathejay has explained why he now shows his face in his music productions after initially choosing to remain anonymous.

While he maintains that music should not be overly focused on image, he acknowledged that visuals can help reinforce the message of a song.

Speaking with Doreen Avio on Daybreak Hitz, Arathejay said it was after discussions with his team that he decided to reveal his identity.

“It’s like a masked thing. Initially, I didn’t want to show my face, but now I’m showing it. I still believe music is not so much about image, but there has to be an image to buttress the songs,” he said.

“I didn’t want anybody to see me, but as time went on, after talking with my team and finding an image, I had to show my face a little,” he added on Hitz FM.

Arathejay also said his original decision was to ensure that listeners focused more on his lyrics than his appearance.

“I personally believe it’s so much about what I have to say, so you will have to focus on what I have to say,” he explained.

Despite occasionally revealing his face, he noted that his signature look still helps him maintain a level of anonymity.

“I do take it off sometimes, but if I don’t have it on, you may not make me out in public,” he said.

Speaking in an interview with Doreen Avio on Hitz FM, Arathejay said the visit happened shortly before Stonebwoy’s headline concert in London earlier this year.

The show, held on March 8, 2025, at the O2 Shepherd’s Bush Empire, featured a lineup of guest artistes, including Arathejay and Fameye, who performed alongside the Bhim Nation President.

Recounting the moment, Arathejay said Stonebwoy came to his home after hearing he was sick—particularly with a leg injury.

“I didn’t even know about it. He didn’t tell me, so I was excited because I was sick. I had this issue with my leg some time ago. And the next moment, Stonebwoy called that he was coming to where I was. The next moment, he was outside—and he was alone,” he said.

Arathejay noted that Stonebwoy didn’t mention anything about the London show during the visit, even though he had already planned to include him.

“That’s just him. That is how he is. That’s the kind of person he is. He said he just wanted to know how I was doing. He wanted to see my leg,” he added.

He said it came as a surprise when he later discovered he had been added to the list of performers for the London concert.

Stonebwoy’s London concert formed part of his UP & RUNNIN6 tour. Arathejay’s inclusion in the show was seen as a major opportunity—and the behind-the-scenes gesture highlighted the genuine relationship between the two artistes.

Speaking on Hitz FM’s Hitz Praise Zone with Nii Noi, the Yesu Nyame Ba hitmaker said the decision to leave the intelligence agency came after he received a formal query from his superiors while granting a live interview on the same station.

“I have left the BNI for about four years. It was in the studio that I received my query letter. Yes, in this house. I came for an interview. It’s a broken record, but this is the first time I am being explicit about it,” he stated.

He explained that the ethics of the Bureau did not permit officers to publicly engage in music or related activities.

“I was given the opportunity to resign or quit everything relating to music—pull down all my YouTube stuff, you know. Those are the ethics. I’m saying this so that if you are in it and want to do music, you know what you are getting yourself into,” he added.

Kofi Owusu Peprah, known for songs such as Big God, Matwen, and Amen, has steadily built a name for himself in Ghana’s gospel music scene. His sound blends contemporary worship with traditional highlife elements, drawing audiences across generations.

He is currently preparing for a major gospel concert scheduled for 17th August 2025 at Cedar Mountain Chapel in Accra.

The event is expected to feature live ministrations, guest performances, and a celebration of his musical journey so far.

Speaking at the Accra Tourist Information Centre on Monday, June 23, the CEO of the Ghana Tourism Authority, Maame Efua Houadjeto, welcomed stakeholders from across the country and the diaspora to the global cultural celebration.

This year’s festival theme, “Let Us Speak of Reparative Justice – Pan-African Artistic Activism,” highlights the urgent need for a united African voice to address historical injustices and reclaim cultural identity through art.

“This launch is not just a ceremony. It is a statement,” Madam Houadjeto declared. “Ghana, as the Gateway to Africa, continues to open its arms to the African family and lead the charge for cultural restitution, identity reclamation, and historical truth.”

PANAFEST, which began in 1992, has grown into a globally recognized platform fostering cultural reconnection, dialogue, and healing for Africans and the diaspora.

The 2025 edition promises a robust lineup of events, including dramatic re-enactments, academic symposia, diaspora dialogues, youth conversations, and artistic showcases.

“From spoken word to digital storytelling, our creativity has always been the heartbeat of our survival,” she said, underscoring the role of the arts in both protest and healing.

Houadjeto also emphasized PANAFEST’s alignment with Ghana’s National Reset Agenda, positioning culture and heritage tourism as critical drivers of national development.

She ended with a call to action: “Let us use PANAFEST 2025 as a platform to boldly speak the truths that must be heard and reclaim the narratives that have long been distorted.”

The media launch brought together government officials, traditional leaders, international partners, artists, and members of the public in anticipation of the upcoming festival.

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She said the GTA and its partners have put together several programmes starting from July, which would run throughout the year.

The “Black Star Experience” is a key initiative under the government’s flagship programme for the tourism, arts, and culture sector.

The project is designed to redefine and promote the Ghanaian identity, attract investments, generate employment, and boost tourism.

It will feature a year-round celebration encompassing all major entertainment, artistic, cultural, and educational disciplines.

In an interview with the Ghana News Agency, Mrs. Houadjeto said: “We are putting together a number of events that will be remarkable for anybody who comes in.”

She said that in July, there would be the Black Star Festival both in Ghana and abroad. Then in August, PANAFEST and Emancipation would take place in Accra and Cape Coast, along with food fairs and fashion shows.

“Apart from that, we are also putting together jazz and symphony orchestra performances, as well as a gospel fest. There will also be a highlife festival, as well as the usual concerts and music festivals.”

Mrs. Houadjeto noted that in September, FESTAC Africa would be organised for the first time in Accra, to coincide with the UNWTO Tourism Month celebrations.

“We will celebrate arts and culture, the movie industry, our youth, and our health,” she said.

“The whole of Africa will be in Ghana to display their diverse cultures and show the unity and beauty of Africans, because we are one people separated by artificial borders.”

She noted that the “Black Star Experience” is different from the ‘Beyond the Return’ initiative, which focused only on the diaspora.

“The ‘Black Star Experience’ is going to have a global feeling.”

“We want to go all out there and tell everybody to come to Ghana at any point to experience Ghana in totality. It is like imagining an experience, and overall, that is what we call the ‘Black Star Experience.’”

She urged Ghanaians to watch out for these programmes and more between now and December, while calling on the world to experience destination Ghana “with all the beautiful people, the food, the clothing, the culture, festivals, sites, and attractions.”

“My music career is not by passion. I’m hungry for it!” she declared in a revealing interview on Luv FM with Melvin Da Enigma on the DriveTime.

According to the “Need Me” hitmaker, passion alone is too fragile to sustain a dream as heavy as hers.

“With passion, you could be blown off. Anything can stop you,” she argued. “I’m not just passionate about music—I’m hungry and striving to push through.”

Gyakie’s statement may raise eyebrows, but it is backed by raw honesty and experience. Despite being the daughter of Highlife legend Nana Acheampong, she insists that nothing was handed to her on a silver platter.

“It wasn’t like it looked I was. I was really hustling,” she responded when Melvin quizzed that she looked like a hustler. “Though Nana Acheampong is my father, he taught me to do it myself”.

According to her, that drive to make a name for herself—not off the back of her father’s fame, but through grit and independence—has shaped the artist she is today.

She further disclosed that her upcoming album “After Midnight” is complete and deeply personal. “After Midnight is calm, you get to reflect, and the impact is great”
While the album explores love, she’s quick to clarify that it isn’t limited to romantic themes.

“I’m actually giving out love because I love to see people happy,” she explained. “I’ve experienced the positive aspects of love, and those are the things I want to share.”

For Gyakie, music is more than art—it’s therapy, connection, and purpose. But her path hasn’t been without setbacks. She admitted to battling self-doubt during the recording of one of her albums. “I felt I didn’t do much, but after the song came out, my fans made me realize it was the best,” she shared. “Sometimes I want to give up, and then I get a DM saying, ‘I love your music,’ and that’s my wake-up call.”

That emotional bond with her fans, she says, is sacred. “I don’t joke with my fans. They can make or unmake you.”

Gyakie also explained why she occasionally withdraws from social media. “That’s where the demons are hovering now,” she warned. “People have made their home on the internet. If you want to give up in life, go and live there. I regulate my life outside the internet—that’s how I’ve been able to stay true to myself.”

In a passionate message to the youth, Gyakie urged authenticity and self-love. “Baby girl, if you want to wear a skirt, go ahead. If you want to braid your hair, do it. Don’t live to impress people or you’ll lose yourself.”

Her advice? “Let’s live like we’re human beings. Let’s stay like there’s no Instagram, no Twitter, no Facebook—and life will be simple.”

With Sankofa already out and making waves airwaves and also the first single off the yet to be released album After Midnight, Gyakie isn’t just releasing music; she’s releasing a piece of her truth. And if hunger is her fuel, there’s no doubt she’s on fire.

The debate was reignited after film producer and director Shirley Frimpong-Manso expressed disappointment in an interview with Doreen Avio on Hitz FM, stating that Ghanaians appeared more excited about Tyler Perry’s new film Straw than her own project, Chasing Lullaby. Shirley suggested that Ghanaians have failed to support their own filmmakers.

While some sided with her, many others argued that the comparison was unfair and failed to take into account the level of investment Perry puts into his productions and promotion.

Leila Djansi took to Facebook to share her perspective, highlighting how Tyler Perry earned his support over time through authenticity, service, and commitment to his community.

“Let’s get one thing straight. Tyler Perry did not wake up one morning to that level of support. I used to attend his plays in Georgia. That man built his audience from the ground up. He carried his entire community with him… He never served Hollywood. He served his audience,” she wrote.

Leila, known for films such as Ties That Bind, Like Cotton Twines, and Where Children Play, further bemoaned what she described as clique behaviour, envy, and a lack of community spirit among Ghanaian creatives.

“In Ghana, too many people operate in cliques. Gossip cliques. You only reward people in your circle… And when Ghanaians, ordinary people, buy your movies, you reward them by posting pictures of your Gucci purse,” she added.

The filmmaker also suggested that unlike other audiences who focus primarily on the value of the work itself, Black communities often tie support to personal perception and emotional investment in the artist.

“There’s this thing I learned about us Black people. We use support as reward. We reward you with our support if we are happy with you,” she wrote.

Leila went on to share personal experiences where her efforts to support Ghanaian filmmakers were met with resentment or sabotage, leading her to withdraw from such efforts altogether.

She concluded her post with a critique of what she views as the toxic culture among some industry players and called for a shift in mindset, reminding creatives that storytelling is ultimately about service, not self-promotion.

“Being a storyteller is about service. Not fame. That gift is God’s gift. Use it to serve his earth. It’s not about you!” she noted.

Leila Djansi is a Ghanaian-American filmmaker known for tackling social issues through her works. She studied film in the United States and has earned awards and recognition for her strong female-led narratives and commitment to both African and diasporan storytelling. She has often spoken out about challenges in the Ghanaian film industry, particularly around professionalism, support systems, and creative integrity.

Every Ghanaian, male or female, Christian or Muslim, traditionalist or agnostic, draws a certain level of inspiration from music.

Still, the multi-million question is, where and when did Ghanaian music emanate?

Ghana has a very musical history that mirrors the radiant diversified culture and tradition of its people.

The route of Ghana’s music can be traced back to many centuries when different African music sounds and styles got fused, but highlife was Ghana’s maiden specified genre of music.

Since the emergence of authentic highlife music in the early 1930s, music has not been the same in the West African sub-region.

With your permission, let me drive you through the major musical genres in Ghana and the personalities who have worked themselves out to make the genres prominent in contemporary Ghana.

HIGHLIFE MUSIC

Highlife music is arguably the oldest indigenous African music genre . Highlife music is believed to have originated from Ghana.

The musical genre spread like wild fire to Western Nigeria and Sierra Leon in the middle of the 19th Century.

By 1950, highlife had gained grounds, power and prominence not only in Ghana but in Liberia and Gambia as well.

The infantile or earliest form of Ghanaian highlife was primarily performed by brass bands along the Ghanaian coastal enclave.

Singing groups and customary bands sprang up in principal towns and cities like Kumasi, Elmina, Accra,Takoradi, Winneba and Cape Coast.

By the 20th Century, these bands had gained massive eminence and had incorporated a broader array of instruments, primarily of European origin, a vocal musical component and stylistic elements fused with both local music and jazz.

In no time, highlife emerged as a unique synthesis of American, African-American and European musical aesthetics.

Highlife was associated with the local African Aristocracy during the colonial period and was played by myriads of musical bands enveloping the Jazz Kings, Cape Coast Sugar Babies and the Accra Orchestra.

The upper class audience who relished the music in select clubs gave the music its name.

The term ‘highlife’ appeared in the early 1920’s as a catch -phrase or jargon for the orchestrated indigenous and local songs played at exclusive clubs by the early dance bands such as the Jazz Kings, the Cape Coast Sugar Babies, the Sekondi Nanshamang and later the Accra Orchestra.

The people outside called it highlife as they did not reach the class of the couples going inside who did not only pay a colossal entrance fee of about 7 shillings but also had to wear evening apparels including top-hats.

In the late part of 1949, highlife as a musical genre diverged into two distinctive parts: Dance Band Highlife and Guitar Band hHghlife. Guitar Band Highlife heavily featured smaller bands and was initially highly common in rural areas.

As a result of stringed instruments like the seprewa in the West African subregion, musicians were happy to incorporate the guitar. They also used the Dagomba style, a style borrowed from the kru sailors from Liberia to create highlife’s two -finger picking style.

Guitar band highlife also featured singing drums and claves. E.K. Nyame played a fulcrum role in the popularization of highlife with the help of his Akan trio band and would later speed on to release over 400 records during his enviable musical career.

Dance Band Highlife by contrast was deeply rooted in urban settings.The post war period saw larger dance orchestras being replaced by smaller professional dance bands, typified by the success of the legend E.T. Mensah and the Tempos.

As foreign troops departed, the primary and secondary audiences became increasingly Ghanaian and the music evolved to accommodate their taste. Mensah’s fame soared after he performed with Louis Armstrong in Accra in May 1956 thereby earning him the nickname the “Highlife King”.

Unequivocally writing, the highlife genre would not have been firmly rooted and widespread accepted in our Ghanaian setting without some Musical geniuses. At this juncture, allow me to take cognizance of the men who have immensely contributed to the growth of highlife music in Ghana.

AMAKYE DEDE

Popularly known as ‘Serious’, Daniel Amakye Dede is a Ghanaian highlife legend , singer and songwriter. Born on January 5 ,1958, the native of Asante Akim Agogo begun his musical journey in 1973 and has never looked back.

The “Sokoo na mmaa p3” hitmaker is arguably one of the best musical talents Ghana has ever seen.

His unique personality coupled with his scintillating voice and humility has won him the admiration and support from a chunk of music loving Ghanaians. In 1973, Nana Abrantie Amakye Dede joined the Kumapem Royals as a composer and vocalist.

This band led by Akwesi Ampofo Agyei had hits such as “Abebi bewu a eso”, “ Wanware me a” and “ Odo m’ani agyina”.

Later Amakye Dede moved to Nigeria where he composed his hit song ‘ Jealousy go shame’. Amakye after breaking away from the Kumapem Royals formed his own band, the Apollo High Kings in 1980.

He dominated the highlife scene in the 1980’s and in the 1990’s and has continued to release hit songs in modern time.

He has also headlined many mega concerts in Ghana and abroad. He remains the mentor of Kwame Eugene the two time VGMA highlife artiste of the year.

C.K.MANN

Born Charles Kofi Amankwah Mann, C. K. Mann was a Ghanaian highlife icon and producer born in 1936 at Cape Coast.The multiple awardee’s music career spanned over four decades.

The man who succinctly worked as a seaman joined Moses Kweku Oppong’s Kakaiku band. After familiarizing with the Ghanaian Music scene, he joined Ocean Strings and led the band until 1965. When the band got disjoined, he joined a newly formed band in Takoradi called the Carousel 7.

He came to prominence in 1969 when he released his single “Edina Benya ”. It was C.K. Mann who impressed on the owner of his band to sign Paapa Yankson.

In 2006, Mann was awarded the Grand Medal of Ghana for his exceptional contribution to the growth of Ghana’s music. Mann died on March 20, 2018 after a short illness.

PAAPA YANKSON

The history of Ghanaian music will be woefully incomplete without the mention of Paapa Yankson. Born Benjamin Yankson on June 22, 1944 at Winneba, Paapa Yankson is conceded by many music loving fans as the greatest highlife composer to ever live.

The Ghanaian highlife maestro until his death in 2017 recorded dozens of hit tracks. Popular among them are “show your love”, “wo yere anaa wo maame”, “ tena menkyen” and “wiase mu nsem”. These and many other songs encapsulated the illustrous career of Paapa Yankson.

Like C . K . Mann, Paapa Yankson was a receipient of the Grand Medal Award for his exceptional contribution to the growth of Ghanaian highlife music. The veteran highlifer died in his sleep on July 21, 2017.

KWADWO ANTWI

“Goovey”, “ Afrafra”, “ Densu ” and “Dont stop the music ” were albums released in 1994,1998 and 2002 respectively by Kwadwo Antwi , a legend in the Ghanaian musical circle. Born Julius Kojo Antwi , Mr. Music Man as he is affectionately called was born into a family with 13 siblings.

The highlife maestro grew up in Darkuman a suburb of Accra. With a career that has spanned close to 30 years, he has not disappointed.

He can boast of 22 albums with “ Tom and Jerry” being one of his successful singles. Over the years, Kwadwo Antwi has established himself as a consummate, a prolific songwriter, producer and an enigmatic performer.

Daasebre Dwamena, Daddy Lumba, Nana Kwame Ampadu, Dr.Paa Bobo , Akosua Agyapong, Paulina Oduro , Ewurama Badu, Gyedu-Blay Ambulley ,Kwame Eugene, Bisa K’dei, Kidi, Kofi Kinasta, King Promise and Akwaboah are some honourable mentions. These people have all contributed creditably to the growth of the highlife genre in Ghana and Africa at large.

HIPLIFE MUSIC

Hiplife star, Barima Sidney is not the type to shy away from controversy, often producing hitsongs with political undertones. He and many other musicians have opined in diverse ways pertaining to the originality of the hiplife genre.

Sydney, the “Obia ny3 Obia” hitmaker together with Gyedu-Blay Ambolley have debunked assertions that Reggie Rockstone is the originator of hiplife in Ghana. R

elax, take a seat back and allow me to cruise you through the history of hiplife music in Ghana.

The origin of Ghanaian hiplife dates back to the late 1970’s with musicians like Gyedu-Blay Ambolley and K.K Kabobo on the music scene.

As early as 1973, Ambolley released his first single “simigwado” a partial-rap in fanti-style to a small audience.

This saw him perform highlife variations with fast tempo and fast-spoken poetic lyrics. Ambulley would go on to be eulogized as the father of Ghanaian rap among his contemporaries.

Tennyson Quaye was often referred to as the backbone of Ghana music. In recognition of his own variation and introduction of Jama or Kpanlogo to fuse with hiplife.

The sound engineer has subsequently been commended in the music engineering field.

Reginald Osei, known in showbiz circles as Reggie Rockstone also begun to craft a nitch in an art form with producers like Mike Cooke, Rab Bakari and Zapp Mallet.

The “Tribe” was one of the first rap groups in Ghana consisting of Chief G now known as Jay Ghartey, Abeeku and Kweku T performing rap as back as 1989.

Reggie Rockstone forayed into what is now termed hiplife. In Twi, Reggie would flow over hip -hop beats, a style that had been used in Mahoney P’s debut album ‘Kofi Babone’.

Reggie Rockstone has been described as the “godfather of hiplife” since he spawned a new music genre in this country. After his debut album “Makaa maka” with the hit single “Choo Boi” the Ghanaian youth geared up for greater musical works.

A new era was born in the late 1998 when a young producer known as Hammer of “The Last Two” appeared on the Ghanaian musical space with original beats plus precision rap artistes.

Hammer, Born Edward Nana Poku Osei managed to fuse hip-hop grooves with local tempo street melodies, which caught the attention of both the young and the old , the elite and the masses as well.

Some of the biggest artistes in hiplife today were in Hammer’s line -up . Among them were Kwaw Kesse, Edem, Obrafour, Tinny and Sarkodie.

Sarkodie, Obrafour, Medikal, Okyeame Kwame and Yaa Pono are some of the notable hiplife artistes in Ghana.

DANCEHALL

Dancehall is a popular Jamaican genre that rose in the late 1970’s. Initially, dancehall was a sparse version of reggae.

In the mid -1980, digital instrumentation became more prevalent, changing the sound considerably with dancehall increasingly characterized with fast tempo rhythms.

In recent time, dancehall music has taken over the Ghanaian airwaves largely because of the emergence and dominance of Stonebwoy, Samini and Shatta Wale on the music scene.

Their tracks have dominated the music circles and seen them win numerous awards in and beyond the borders of Ghana.

As dominant as Stonebwoy, Samini and Shatta Wale may be in Ghana music today, they did not pioneer dancehall music in Ghana .

Before Shatta Wale, Samini and his progidy Stonebwoy came into full force, Yoggi Doggi was already doing his “ thing”.

Yoggi burst onto the scene at a very young age excelling as a guest on Akyeame’s “ Mesan aba”, a song released in 1999. Sonni Balli can not be kept out of the very few Ghanaians who upheld the banner of dancehall before it became what it is today.

Sonni Balli started as a rapper with the G-Life hiplife group. Balli ultimately decided to quit rap music after the G-Life group broke down.

Ghanaian music lovers will find it difficult to forget Terry Bonchaka, the man who served as the role model of Shatta Wale was so gifted that he could literally do everything with a microphone.

Essentially, the “Pulele” hitmaker was a dancehall artiste. In his short stint as a mainstream artiste, he dominated the music industry with his scintillating performance coupled with his startling voice and personality.

At just 21, he had attained Achilles status and had subsequently Conquered the Ghanaian music industry. Some of his records include “Poulele” and “zoozey”.

Terry Bonchaka died in a tragic accident in October 2003, a death that shook the foundation of the Ghana music industry .

GOSPEL MUSIC

For gospel lovers, this is for you. In Ghana, so much of Christian expression of spirituality at the popular level has been the result of charismatic movements.

Gospel music has become one of the most important expressions of popular Christianity.

Evidently, no other dimension of popular Christianity embodies the aspirations, fears, the self -understanding, the faith and hope of the ordinary Ghanaian Christian as the various strands of popular religious music, which has together been referred to as “Gospel Music”.

While many performers of commercial churches, bands, choirs and styles have circulated publicly, reintegrating them into the liturgical context of their worship has become difficult.

Gospel music is conceded the fastest growing genre of music in the country even today it cannot be contended. Gospel musicians are the most critiqued yet the less recognized. The Gospel music is a whole industry; the genre has maintained the music industry all this while.

There is a school of thought that spirit -filled gospel songs of these days are rare. The school believes that messages in the songs are not as edifying as they used to be.

Call it a lie, but there is a kind of fulfilment in “old gospel songs”. Could it be the production? I vehemently doubt because there is technological advancement and better equipment to record these days or I may agree because the “ better” technologies used these days even make music production less cumbersome.

At this writing barrier, let me sail you through some of the personalities who have worked ardently to project the image of Ghana.

PROFESSOR KOFI ABRAHAM

Born Abraham Kofi Boakye, Professor Kofi Abraham is a prolific writer and song writer. Kofi Abraham, who won an honourary award at the 20th VGMA’s was born on August 5, 1954 to strict Methodist parents at Sekyedumase in the Ashanti Region. He started as a terrazzo contractor but later went into music.

The voiceferous and enigmatic gospel icon once described some of the contemporary gospel songs as mere noise making.

Professor Kofi Abraham described as the doyen of Ghanaian gospel music had the title “Professor” conferred on him by a prominent member of the Late Hilla Limann’s administration.

With an illustrious career that has gone beyond 40 years, Kofi Abraham is mostly remembered for his hit songs, notable among them are “Yesu mo” and “wahye me” . There is no shred of doubt that Professor Kofi Abraham is a legend.

ESTHER SMITH

Born at Suame in Kumasi in the early 1970’s to Christian parents, Esther joined the Tesano Methodist Church Choir at a tender age of 14 and that was when she grew more into music.

According to Esther Smith, she started writing her songs after joining the Voices of Faith Choir in the early 1990’s.

Notwithstanding the difficulties she went through in her quest to release her maiden album “Gye no di”, Esther made a break through when she had support from Ankobea Music Production.

She affirmed her superiority in the gospel music by clinching the Best Gospel Album of the Year, Best Song of the Year and the Best Album of the Year at the 2004 Ghana Music Awards.

The likes of Amy Newman, Kwaku Gyasi, Mama Esther, the late Reverend Bonsu, Elder Mireku, Joe Mettle, the late Koda, OJ and a host of others have kept the gospel torch high and bright.

GHANAIAN DRILL MUSIC
Ghanaian drill music is a variant of hip hop. This exciting sound surfaced in Ghana as early as 2011 but gained national appeal and global recognition in 2020.

Influenced by American and UK drill , Ghanaian artistes imbued Ghanaian rhythms to create a distinctive sound that has since resonated with local and international audiences.

Ghanaian drill music is heavily youth-driven. Just like busking and pop music, Ghanaian drill swoops deep, creating an evocative picture of street life and activities.

Although myriad of Ghanaians refer to the music as “Asakaa”, the genre must not be misconstrued for the pioneering Asakaa Boys musical group.

“Asakaa”, comes from the “Saka”, a pronunciation of “Kasa”, the Twi word for “talk/ speak”. Influenced by the American and UK musical culture, Asakaa Boys americanised their home city “Kumasi” with a nuck name: Kumerica.

It became a strong movement for Ashanti or Kumasi based drill music artistes and influenced other famous Ghanaian artists like Black Sherif, Kwaku Darlington, Kwaku Flick and Yaw Tog.

The Grammy Awards recent inclusion of drill music in the African Music genre category is a testament to the growing impact of Ghanaian drill music on the international music scene.

Asakaa Boys’ “Akatafo)”, Yaw Tog’s ‘sore remix’, Jay Bhad’s ‘condemn’ , Black Sherif’s ‘first sermon’ are classical examples of Ghanaian drill music.

The aforementioned ‘drillers’ are breaking boundaries with their music and consequently influencing a new cadre of musicians with their sound.

To reckon, Ghanaian music is on the rise. We came from far and I believe we will surely make advances

The writer is an ardent music lover and critic , a political communications specialist and a netizen.

Her appointment, announced on 21st June 2025 and signed by the Secretary to the President, Callistus Mahama, is part of a list of 15 new diplomatic nominations. The appointments include ambassadors, high commissioners and a consul-general designate who are expected to represent Ghana’s interests across various countries.

Sinare, one of Ghana’s most respected actresses, brings decades of experience in film and public engagement to her new role.

She is known for her roles in films such as Out of Sight, Crossfire, Ties That Bind, and Trinity. Her screen presence and versatility have made her a household name, particularly in the late 1990s and early 2000s. She has also starred in a number of television dramas and stage plays, earning praise for her depth and delivery.

Kalsoume Sinare has won several awards throughout her career, including honours at the Ghana Movie Awards and recognition for her contribution to the arts and entertainment sector. In 2021, she was celebrated at the Golden Movie Awards Africa for her enduring legacy in the industry.

Beyond acting, Sinare is also a producer and advocate for women’s empowerment and creative arts development. She holds a diploma in Theatre Arts from the University of Ghana, Legon, and has used her platform to champion issues related to education, youth development and gender equity.

The 58-year-old actress also holds a master’s degree in International Relations and Diplomacy from the Ghana Institute of Management and Public Administration (GIMPA).

In 2021, she had her first degree in Public Service and Governance from the same institution.

Her diplomatic appointment comes at a time when Ghana is seeking to deepen cultural, economic and bilateral ties with European nations. Spain remains a key partner for Ghana, particularly in the areas of trade, tourism, renewable energy and migration management.

Other notable appointments include businessman Benjamin A. Quashie as High Commissioner to South Africa, former Kumasi mayor Kojo Bonsu as ambassador to China, and former Vice-Chancellor of the Kwame Nkrumah University of Science and Technology, Prof. Kwasi Obiri-Danso, as ambassador to India.

All appointees are expected to go through the required vetting and approval processes before assuming their diplomatic responsibilities.

Kalsoume Sinare adds to the growing list of creatives who have been appointed to various positions in President Mahama’s government.

The nostalgic clip, which began circulating on social media on June 21, 2025, features young Dumelo in his childhood role as “Saka” in the movie Baby Thief. The film was shot in 1991 and released in 1992.

One scene shows Dumelo in a classroom with a classmate, while another captures an emotional moment where he tells his teacher he wants to go to his father—even though class is in session.

The resurfaced footage has triggered a wave of admiration online, with many applauding Dumelo’s remarkable evolution from child actor to prominent figure in Ghana’s film industry and now a Member of Parliament.

Social media users have praised his consistency, talent, and the inspiring trajectory of his career over the years.

The First Movie of Ghanaian Actor and Politician, @johndumelo

John Dumelo was 7 years old when he played the role of Saka in the Ghanaian classic movie ‘Baby Thief’, which was filmed in 1991 and released in 1992. pic.twitter.com/qxoZDweLDs

— 𝐀𝐒𝐊 (@askghmedia) June 19, 2025

It wasn’t political – Samini clears air on Ghana Tourism Authority…

Samini reveals Mahama and judiciary actions make him a happy Ghanaian

Speaking on Prime Time with George Quaye, Samini responded to critics suggesting he benefitted from political perks, insisting the visit was purely professional and part of his efforts to promote an upcoming project.

“I went to introduce my project to Abeiku Santana. I did the same with KOD and tried to meet Rex Omar,” he explained.

According to Samini, the controversy was sparked by a miscaptioned post from a political footsoldier, which falsely implied he had been invited to the GTA and rewarded with “a slice of bread” — a metaphor suggesting partisan favouritism.

“That caption suggested I was invited and then given a slice of bread as a gift,” he recalled. “Implying that when your party is in power, you cut up the bread and pass it only to supporters.”

Samini, pictured during his visit with his team, Abeiku Santana, and GTA officials, emphasized that the Tourism Authority serves all Ghanaians—not just political loyalists.

“Tourism is open to everyone. Anyone in tourism should feel free to walk in and do business,” he insisted.

He also pushed back against a growing culture of political gatekeeping, calling for more respect for free speech and association.

“If a party falls out of favour, you should be able to step away and explain why,” he said. “That doesn’t make you an enemy.”

Samini’s remarks come amid broader debates about politics and partisanship in Ghana’s creative sector. A vocal advocate for unity across music, media, and tourism, the artist is currently preparing to release his eighth studio album, ORIGIN8A, later this year.

By addressing the rumours head-on, Samini reinforced his stance that national institutions like the GTA must remain inclusive and accessible to all.

His message is clear: Ghana’s creativity and tourism industry must rise above partisan lines and remain open to every citizen.

Speaking on Daybreak Hitz with Doreen Avio, the award-winning filmmaker expressed frustration over the widespread disregard for copyright laws in Ghana’s media landscape.

“I want to kill all of them. I have a personal concern and I do not watch pirated stuff — I don’t care,” she said passionately. “People have said, ‘Oh, have you seen it?’ I said no. They said, ‘Oh, use this link and you can watch it.’ I never do because I know how much it hurts to spend.”

Frimpong-Manso highlighted the intense labour and financial cost involved in producing films, stressing that each production is a demanding endeavour requiring significant resources.

“Movie making is excruciating — the money, having to have 30, 40-plus people on set every day, feeding them — it’s a lot,” she explained. “Even a five or ten-day production involves feeding everyone breakfast, lunch, and sometimes dinner. The emotional, financial, and logistical investment is massive.”

She described the emotional devastation of having those efforts undermined by piracy.

“To be able to put that movie out and have somebody just take it and show it… I can’t begin to describe it. It hurts more than anything in the world.”

Frimpong-Manso also questioned the lack of accountability and enforcement despite clear evidence of wrongdoing by media houses that air pirated content.

“I don’t understand why we know who the culprits are, and somehow they’re still out there doing it,” she said. “This is something we can’t keep warning people about — it’s a criminal offence. There’s evidence. I don’t understand why we’re babysitting this kind of thing.”

Her comments have sparked renewed calls within the industry for stricter enforcement of intellectual property laws and greater respect for the work of Ghanaian creatives.

Best known for creating the hit comedy franchise Jenifa and directing the box-office success Battle on Buka Street, Akindele revealed that the pressure to stay strong nearly broke her.

“I told myself I can’t continue like this. You need to speak,” she confessed, explaining that therapy provided a safe space to voice the emotions she could not share publicly.

Akindele shared how the loss of her mother left a deep void she initially tried to hide from fans and colleagues. Fearing gossip and judgment, she stayed silent—until therapy offered her a much-needed release.

“Things I couldn’t tell people out there, I spoke to my therapist. And I’m better,” she said, sending a powerful message that seeking help is not a sign of weakness, but strength.

Midway through the interview, the conversation took a bold turn as Akindele hinted at a political comeback. She reminded viewers of her 2022 run as a deputy governor candidate in Lagos State and made her intentions clear: “Ask me if I am going into politics again. Yes I am.”

Her statement reignited public interest and speculation about her next steps in public service.

“I ventured into politics to change lives. I will run for office again,” she declared, reinforcing her commitment to making a broader social impact.

Throughout the interview, Akindele credited her success to faith, discipline, and an unwillingness to settle for mediocrity. By opening up about mental health and grief, she challenged long-standing taboos—especially in a region where therapy is still often stigmatized.

Her honesty has already sparked conversations among fans and fellow creatives about the importance of self-care and emotional resilience.

As Funke Akindele charts her next chapter—whether behind the camera or on the campaign trail—her journey from silent suffering to vocal advocacy stands as an inspiration. She has turned personal pain into creative energy and community action, proving that vulnerability and ambition can not only coexist but can also drive meaningful change.

In an exclusive interview with Doreen Avio on Daybreak Hitz, the award-winning filmmaker recounted the backlash she received over her outfit at the Africa Magic Viewers’ Choice Awards (AMVCA), rather than being applauded for her success.

“I remember when I won, what people wanted to talk about was my dress, because they said it was too short and everybody else was wearing a gown,” she recalled.

“I remember someone commenting, saying ‘Ghanaians, are you for real? The girl goes and wins an award, and the only thing Ghanaians wanted to talk about was her dress and the fact that she didn’t wear a gown. Can you believe it?’”

Shirley expressed concern over what she described as a recurring fixation on trivial matters within the Ghanaian creative space—at the expense of recognising actual accomplishments.

She noted that such attitudes discourage creatives from striving for greater heights.

“And now you’re upset that nobody is winning anything,” she said. “When we have won, what have we done? Even when we’ve been nominated, do we make enough noise about it?”

The veteran filmmaker urged players in the Ghanaian creative industry to shift their focus from negative publicity and instead support and uplift one another in order to be competitive on the global stage.