Speaking on Joy Prime’s Prime Time show on Wednesday night, the highlife pioneer criticised the current wave of music that prioritises speed and convenience over depth and effort.

According to Ambolley, many young artists now rely too heavily on computers and software rather than learning instruments or honing strong lyrical content.

“Shortcuts in music are not good. It makes your music ‘sharp sharp’; it doesn’t last,” he stressed, explaining that “sharp sharp” refers to a fast-food style of music production that lacks soul, substance, and staying power.

Ambolley, who is credited with pioneering rap-infused highlife in the 1970s, lamented that many artists are bypassing the learning process that once shaped musicianship. He noted that in earlier times, artists had to study music theory, master instruments, and perform live—disciplines that fostered originality and patience.

“Now, a beat can be downloaded, lyrics patched together, and a song uploaded within hours, often without much human interaction or creative collaboration,” he said.

The veteran also criticised the impersonal nature of modern collaborations, recounting how some younger artists send him tracks for features but release them without his input on the final version. “When they send the music, I do my part, but after that, they don’t come back for me to listen to the entire song. Before I know it, it’s on air,” he explained.

Despite his criticism, Ambolley acknowledged bright spots in the industry. He praised songwriter and performer Kofi Kinaata for maintaining storytelling and lyrical depth while remaining relevant in the modern scene. To him, Kinaata represents a balance between old-school discipline and contemporary creativity.

Ambolley also highlighted the importance of mentorship, warning that many upcoming musicians lack honest guidance. “If you don’t have good people around you, there’s no one to advise you when the path you’re taking is not the right one,” he cautioned.

He urged young artists to treat technology as a tool rather than a substitute for skill, practice, and cultural grounding, adding that Ghana’s music future depends on musicians returning to the fundamentals of their craft.

Prime Time airs every Wednesday at 9 p.m. on Joy Prime, featuring in-depth conversations with cultural icons, artists, and thought leaders shaping Ghana’s creative landscape.

Source: Lois Ampea-Badu

Speaking on his role, Bessa explained that leading MUSIGA demands much of his time and energy, leaving little room to focus on his personal craft.

“I haven’t released songs for some time now. The administrative work is taking the focus, but the passion still remains. By the time I finish MUSIGA and get home to my studio, I tell myself, ‘Go and sleep, you’ll do it tomorrow,’” he said.

Bessa assured fans that once MUSIGA’s operations are running smoothly, he intends to return to the studio to bring his unreleased songs to life.

“Getting MUSIGA airborne is my focus now. If everything is going well, then I can go back to making music,” he added.

Fellow musician Abena Ruthy shared similar sentiments, revealing that she is preparing to release new music either by the end of the year or early January.

SEE ALSO

The agreement was signed at NACSA’s headquarters in Johannesburg. Rex Owusu Marfo, Chief Executive Officer of the BSE, represented Ghana, while Julie Diphofa, Acting CEO of NACSA, signed on behalf of South Africa.

The partnership will focus on cultural and creative exchange programmes, heritage preservation, arts education collaborations and residencies, institutional exchanges, internships, training opportunities, as well as joint research and development projects.

Through the MoU, South African creatives will gain access to major Ghanaian cultural platforms including Creatives Connect Afrika, Afro Future, Tidal Rave Ghana, Beyond The Return and the Telecel Ghana Music Awards. These events, celebrated across West Africa and the diaspora, open doors to a combined market of more than 460 million people.

At the signing ceremony, Mr Marfo, who also serves as a Presidential Staffer and Black Star Experience Coordinator, said the partnership represents more than just an agreement.

“This is more than an agreement, it is a bridge between Ghana and South Africa, and by extension, between West and Southern Africa. Our nations share deep historical bonds. Ghana, as the first sub-Saharan African country to gain independence, and South Africa, whose liberation struggle inspired the world, have always stood as beacons of resilience, creativity, and leadership on the continent. It is only fitting that we formalise cooperation in a sector that speaks to the soul of our people, Arts and Culture.”

He explained that the collaboration would promote cultural and creative exchanges, preserve shared heritage, strengthen arts education, support institutional development, and drive research and innovation to position the creative industries of both countries at the centre of Africa’s development agenda.

NACSA Acting CEO, Ms Diphofa, described the MoU as a milestone for the continent’s creative ecosystem, saying it will strengthen cultural diplomacy and enhance opportunities for creatives across Africa.

Mr Marfo was accompanied by a high-level Ghanaian delegation including Mrs Charlotte Djan of the Ghana High Commission in South Africa; Mr Kofi Okyere Darko, Director at the Office of the President in charge of Diaspora Affairs; Mr Gilbert Abeiku Aggrey, Deputy CEO of the Ghana Tourism Authority; Ms Annabelle McKenzie, Director of the Beyond the Return Secretariat; Mr William Ahadzi, Regional Director (Upper East) of the Ghana Tourism Authority; and Mr Matthew Mensah, Chief Liaison Officer of the BSE.

The partnership affirms the BSE’s mandate to position Ghana as a hub for cultural exchange and creative collaboration. It also represents a step towards building cross-continental platforms that celebrate Africa’s heritage, strengthen people-to-people ties and expand opportunities for creatives globally.

Source: Kwame Dadzie

The group argues that since the airport is on Ga land, the signage should reflect Ga culture. Their demands, however, have generated heated exchanges, raising concerns over tribal sentiments.

Responding to the development, Akosua Agyapong described the agitation as unnecessary, emphasizing that “Akwaaba” has become a national symbol of hospitality. She noted that the slogan transcends ethnicity and is widely embraced across Ghana.

“Akwaaba is just like how we use Adowa to welcome dignitaries, even outside the Ashanti Region. If we say Akwaaba should be removed because it’s Akan, then by the same logic we shouldn’t perform Adowa to honor guests,” she said.

While acknowledging the importance of preserving Ga heritage, Akosua Agyapong suggested that a separate monument could be created to showcase Ga cultural elements, rather than removing an established national symbol.

She cautioned against actions that could escalate tribal divisions, urging stakeholders to prioritise unity over controversy.

]]> https://www.adomonline.com/gtdc-launches-new-strategy-to-boost-tourism-investment-and-revenue/ Fri, 29 Aug 2025 09:53:49 +0000 https://www.adomonline.com/?p=2572436 The Ghana Tourism Development Company (GTDC) has unveiled a new strategy aimed at driving investment and revenue growth in the tourism sector.

Under the plan, the GTDC will collaborate with institutions such as the Forestry Commission and traditional councils to manage tourist sites and curate events. Investors approaching the company for support will have the opportunity to acquire minority stock shares, allowing GTDC to participate directly in new ventures while protecting the government’s interests.

In a bid to modernise operations, GTDC has launched the Ghana Tourism Investment Platform (GTIP), accessible at investintourism.org. The web-based portal lists potential tourist destinations and investment opportunities, with projections to become Africa’s most extensive tourism investment hub.

The platform also hosts the Ghana Tourism Marketplace, an online service enabling travellers to book tourism-related services securely and reliably. This feature aims to enhance visitor confidence and ensure adherence to quality standards.

According to GTDC, the new strategy and digital platforms are designed to strengthen the viability of Ghana’s tourism industry while improving the overall visitor experience.

About GTDC

Established in 1972 as the Ghana Tourist Development Company, GTDC is one of 13 agencies under the Ministry of Tourism, Culture, and Creative Arts. Its mandate includes promoting tourism investment, participating in joint ventures, providing technical and financial support to small tourism businesses, and enhancing the profitability and value of its operations.

Source: Myjoyonline

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According to Ambolley, Kofi Kinaata is one musician he trusts to continue the highlife legacy.

“With the direction he wants to go, he is stepping out, out of the yo-yos. He is sticking to his highlife identity and even adding something to it. So it makes me know that he is musically inclined to be able to do that. We have to pass on the baton, and he is the only one I know who can do it,” Ambolley said on Joy Prime’s PrimeTime.

Speaking to host George Quaye, he explained that his endorsement of Kofi Kinaata is based on careful observation of the singer’s craft and consistent output.

Meanwhile, at the 20th Vodafone Ghana Music Awards held at the Grand Arena in Accra, highlife musician Kuami Eugene, who won Highlife Artiste of the Year, was crowned the “Future King of Highlife” by veteran musician Amakye Dede. Amakye Dede later revealed that the honour was arranged by the organisers, not his own decision.

Kofi Kinaata, who began his career as a rapper, has increasingly focused on highlife, producing records that resonate with fans across generations and remaining committed to Ghana’s indigenous musical heritage.

Source: Kwame Dadzie

Scheduled for Saturday, August 30, 2025, the solemn ceremony will now be held at Black Star Square in Accra.

Originally, the observance was planned for the University of Ghana Stadium. However, the plan was altered after the La State Council reminded the family that a ban on drumming and noise-making had taken effect in the La Traditional Area on August 11, 2025, and will remain in place until September 5.

Since the stadium falls within that jurisdiction, council officials advised that the event be either postponed or relocated.

In a statement, the family expressed regret over any inconvenience caused by the last-minute adjustment.

“We sincerely apologize for any inconvenience this change may cause and deeply appreciate your understanding and continued support,” the announcement read.

The one-week observance is expected to draw thousands of fans, fellow musicians, and dignitaries, celebrating the life and legacy of a man regarded as one of Ghana’s greatest musical icons.

Source: Adomonline

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• La Council upholds funeral ban amid plans for Daddy Lumba’s one-week observance

In a statement issued on Thursday, August 28, the Council noted that its attention had been drawn to media advertisements announcing the one-week funeral celebration of highlife legend Charles Kojo Fosu, popularly known as Daddy Lumba.

While extending condolences to the family, friends, and fans of the late musician, the Council stressed that the traditional ban, which began on Monday, August 11, 2025, remains in force across the La Traditional Area, covering the main township through Maalejor on the Dodowa road to Ayi Mensah at the foot of the Aburi mountains.

The directive prohibits all forms of noisemaking, including funerals and gatherings connected to them.

According to the Council, the period is sacred as traditional authorities enter the spiritual realm, and any act that disrupts cultural and spiritual order will not be tolerated.

“All persons, families, groups, and organisers are cautioned against attempts to hold or facilitate funeral events during this period. Any such activities must be postponed, rescheduled, or cancelled outright,” the statement said.

The ban is expected to remain in effect until Friday, September 5, 2025, at 6:00 p.m. The Council reiterated its sympathy to the bereaved family and assured its support after the ban is lifted.

Read the statement below:

LA COUNCIL WARNS ORGANIZERS AGAINST HOLDING ONE WEEK ‘FUNERAL’ CELEBRATION FOR LATE DADDY LUMBA

“The attention of the La State Council has been drawn to certain advertisements circulating in the media regarding the one-week funeral celebration of the late legendary highlife music icon, Charles Kojo Fosu (a.k.a. Daddy Lumba).

On behalf of Niimei and the good people of La, the La Homowo Planning Committee wishes to first express its deepest condolences to the bereaved family, friends, and the entire nation for the loss of such a towering international music icon whose legacy remains undeniable.

However, the Council wishes to firmly remind the general public that, effective Monday, 11th August 2025, a ban on noisemaking came into force across the entire La Traditional Area stretching from the main La township to Maalejor on the Dodowa road and Ayi Mensah at the foot of the Aburi mountains. Aside from the general noisemaking, this ban also strictly prohibits funerals and all funeral-related activities of any kind. During this sacred period, Niimei would have entered the spiritual realm, and as such, no activity that contravenes the cultural and spiritual order will be tolerated.

The La State Council, therefore, cautions all persons, families, groups, and organisers against any attempt to hold or facilitate such funeral-related events within the La Traditional Area during the ban. Any such planned activity must be postponed, rescheduled, or cancelled outright.

Let it be made clear that there shall be no compromises whatsoever in the enforcement of this directive. Our duty is to protect, uphold, and preserve the rich cultural heritage and sacred traditions handed down to us by our forebears, and this will be done without fear or favour.

The La State Council further warns that any individual or group that disregards this directive does so at their own risk and will face the full weight of customary and lawful sanctions.

For the avoidance of doubt, the ban will remain in full force until Friday, 5th September 2025, at 6:00 pm.

Once again, the Council sympathises with the family of the late Daddy Lumba and assures them of the support of La State at the appropriate time when the ban has been duly lifted.”

Source: AdomOnline

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Speaking on Hitz FM’s Daybreak Hitz with Kwame Dadzie and Doreen Avio, Simons linked the situation to his “one musician, one musical instrument” campaign pledge, which he said has not yet been fulfilled but is still being pursued.

“When I said one musician, one musical instrument, it means it is very good if you learn how to play a musical instrument. It’s an added value. Because with music you need to have so many streams of income. We have a deal with Virtual Sounds that every musician can own an instrument so we can get you this facility that you can pay in instalments. You put a deposit down so you can learn,” he explained.

According to him, learning instruments is vital for musicians, particularly because of the scarcity of guitarists in Ghana.

“So the idea is if you don’t know how to play a guitar, [especially now] that we are running short of guitarists in Ghana, there is a lot of job for you out there. You can play in church, you can play in band, you can understand music better,” he added.

Simons further urged musicians to register with MUSIGA, noting that the union has rolled out several initiatives to improve members’ welfare and working conditions.

Meanwhile, MUSIGA is set to launch Ghana’s first all-female music festival, SheRhythms, on Friday, 29th August 2025, ahead of the main event in December.

Founded in 1975, MUSIGA advocates for the rights of Ghanaian musicians, focusing on fair remuneration, welfare, education and intellectual property. The union also facilitates training, insurance and cultural outreach, while preserving the country’s musical heritage.

Source: Joy Entertainment

Describing the project as a divine unveiling of God-given gifts, BB Solace aims to minister, edify, and draw lost souls back to Christ through her music. Her recent single, “Trinity” (June 2025), has already resonated with listeners, marking a significant step in her journey from Kaneshie’s streets to the National Theatre stage—a story of faith, resilience, and spiritual purpose.

Born and raised in Kaneshie with ancestral roots in James Town, Accra, Beatrice is the daughter of Henry Mills and Rita Cudjoe. Her early life was shaped by challenges, including a difficult relationship with her paternal grandmother, which she says matured her spiritually.

“No one could believe I was living with my own father,” she recalls, noting how God used these adversities to strengthen her faith. Her education at St. Martin’s Preparatory School, Korle-Gonno 3 JHS, and the Institute of Catering and Home Economics in Mamprobi helped shape her diverse talents.

BB Solace says her path to music was divinely ordained. While serving as an usher at her former church, more than four prophets foretold her destiny as a musician, despite her initial belief that her visions pointed to a prophetic calling.

“The music just erupted as directed by the Holy Spirit,” she shares. This spiritual journey has resulted in a catalogue of 18 songs, including “Trinity,” all registered with COPYRITE, GHAMRO, and MUSIGA, awaiting public release.

BB Solace: A Church Mother Grounded in Faith and Ministry

BB Solace’s journey of faith began when a friend invited her to a church near her Mamprobi home. Under the guidance of a spiritual mother who taught her the Word and the discipline of prayer, she grew closer to God. It was during this period that she discovered her future husband, Rev. Richard Anane, shared the same mentor.

Her spiritual disciplines—fasting, meditation on Scripture, and consistent prayer—have kept her grounded amid her dual roles as church mother and gospel artist. Reflecting on her past struggles, including her grandmother’s mistreatment, BB Solace says, “Those experiences God used to mature me,” noting how they influence her music and ministry. Her early songs, which proclaim God as her strength, are informed by these life lessons.

A Church Mother’s Heart for Ministry

At Kingdom Gate Worship Centre, BB Solace is a pillar of faith, leading worship, counseling, teaching, and supporting outreach programs, including hospital visitations and prayers for the sick. She instills the church’s motto—“patience, persistency, and consistency”—in young women, encouraging them to embody these virtues in faith and family life. “I practice what I teach through my dressing, talking, singing, and how I carry myself,” she notes, highlighting the positive impact on her congregation.

Her ministry has faced challenges, including a tense encounter during a women’s fellowship when a member rudely questioned whether the church belonged to her. Maintaining composure, BB Solace reaffirmed her husband’s teaching: “The church belongs to Christ, not any individual or the Anane family.” This incident underscores her commitment to humility and grace in leadership.

Married to Rev. Richard Anane, BB Solace credits her husband as her unwavering support, describing him as “solid as a rock.” He not only prays with her and encourages her music ministry but also acts as her manager, even joining MUSIGA to bolster her career. “We are more than one living in two bodies,” she says of their shared morning devotions, fasting, and Bible study with their children. This unity eliminates challenges in balancing family, ministry, and music. “There’s no secret between us; we do everything together,” she adds, highlighting how their partnership fuels her work.

A Revelation-Driven Musical Journey

BB Solace’s music is a product of divine inspiration, with songs born from revelations and shaped by biblical truths and personal encounters with God. “When inspiration comes, I record it, share it with my husband, and we go to the studio,” she explains. Her creative process is organic, relying on the Holy Spirit to craft messages that resonate across diverse audiences. “God brings songs that cut across all aspects of life,” she says, citing her faith and past hardships as key influences. Her early song, “You are my God and my Strength,” reflects her journey through trials, while Trinity teaches the triune nature of God—Father, Son, and Holy Spirit—as Creator, Redeemer, and Sustainer in an evil world.

A defining moment came at the 5th Akwaaba Festival at the National Theatre, her first major public performance under MUSIGA Ghana. “I tried to deliver my best,” she recalls, marking it as a breakthrough in her growth as an artist. Beyond music, her talents as a caterer and artist fuel her love for decoration, which she uses to recharge and maintain balance.

The December Launch: A Spiritual Milestone

The upcoming December launch at Kingdom Gate Worship Centre will showcase her full catalogue, including Trinity. “I’m expecting God to showcase what He deposited in me,” BB Solace says, aiming to edify the body of Christ and draw souls back to God. While open to collaborations with established artists or ministers, she emphasizes the project’s spiritual core. Hosting the event on church premises will ease the balance of her roles as church mother and wife, with Richard’s support ensuring a seamless execution. The launch, she hopes, will formally introduce her work to a broader audience while fulfilling her divine calling.

A Legacy of Eternal Impact

BB Solace’s long-term vision is to fulfill her God-given assignment, achieving the prophecies spoken over her life. “By the time I leave this world, I want to see all the prophecies fulfilled,” she says. Her legacy, she envisions, will be one where the name BB Solace evokes music that ministers eternally, living on in the hearts of her audience. As a gospel artist, church mother, and spiritual leader, her message is clear: faith, perseverance, and divine inspiration can transform lives.

Follow BB Solace’s journey on Instagram (@bbsolacemusic) and join her in December to experience the unveiling of her God-given gifts, a milestone that promises to resonate far beyond the walls of Kingdom Gate Worship Centre.

Source: Adomonline

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Reports on social media suggested that the traditional greetings “Akwaaba” (Akan) and “Woezor” (Ewe) had been swapped, following calls by some Ga citizens for inclusion of their language on the park’s signage.

In a statement, GTA Chief Executive Officer Maame Efua Houadjeto described the allegations as false.

“We wish to categorically state that at no point has the Ghana Tourism Authority ordered or approved the replacement of the culturally significant greetings ‘Woezor’ (in Ewe) and ‘Akwaba’ (in Akan) with ‘Oobakɛ’,” she said, adding that the inscriptions remain unchanged.

She further noted that any modification to the signage would require approval from the Ministry of Tourism, Arts and Culture and other relevant agencies.

The GTA CEO urged the public to disregard the misinformation and continue supporting the Kwame Nkrumah Memorial Park as a symbol of Ghana’s cultural diversity.

The controversy comes amid ongoing discussions about including Ga language in national infrastructure signage, including at Kotoka International Airport, where images circulating online—believed to be AI-generated—show altered inscriptions.

Speaking on Joy FM’s Showbiz A-Z with Kwame Dadzie, Zionfelix said bloggers must embrace modern technology to remain relevant.

“We all need to upgrade ourselves, we all need to learn. Most of us didn’t attend GIJ or any media school. We all found passion in the job and we entered into it. Thinking about the fact that we want to do this for a long time, we need to learn on the job. Some of us have learnt on the job because how we started years ago is not the same as how we are today,” he noted.

He further urged the New Media Association of Ghana to organise regular training programmes to build the capacity of bloggers.

“It’s not just about writing. It is not just about putting content out. A lot of things go into it. Even now we have people who go to events and take videos and put them together, and do very beautiful editing. So as you also go for events you need to know how to edit. It is not just about taking videos. It is not like the normal vlogging we did five years ago. People want to watch something that will appeal to them,” he explained.

Zionfelix, regarded as one of Ghana’s most influential bloggers, has gained wide recognition for his interviews, entertainment updates, and lifestyle content, building a strong following both locally and abroad.

Speaking on The Career Trail programme on Joy News and Joy Learning TV, he said he adopted this discipline deliberately to set a new standard in Ghana’s theatre industry.

“I will not start any show late. For the 17 years that I have been doing this, with four shows a quarter and 63 plays staged, we haven’t started one show late ever,” he said.

Uncle Ebo explained that his commitment to punctuality stemmed from lessons learned during his earlier failures in theatre.

“I don’t believe in Ghana Man Time. These are the same Ghanaians who go abroad and are never late. So why should it be different here?” he asked.

He added that such discipline, coupled with consistency, has helped establish Roverman Productions as one of Ghana’s leading theatre companies.

“The three failed productions taught me a lot. If you want to succeed, you must be disciplined, and for me that discipline begins with starting on time. Being on time is one way of respecting the audience and respecting your own craft. That is why, no matter what, I will not start a show late,” he noted.

That same discipline and dedication, he said, continues to guide him into the next chapter — his latest production Voices in My Head, scheduled to run from 5 to 14 September at the National Theatre.

Early bird tickets are going for GHC 250 until August 31, after which the price will be GHC 300. Tickets can be purchased via the Korba shortcode (365535#), the Roverman app, or from outlets including Joy FM, East Legon Shell, Dansoman Shell, Airport Shell, and Comm 11 Shell.

Source: Irene Adubea Aning

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Speaking with Irene Adubea Aning on The Career Trail programme, he recalled how his debut production was financed with a loan from his boss, which took him two years to repay.

“The first one, I took a loan from my boss, and it took me two years to pay because the production did not work. I had to recover financially and emotionally before trying again,” he said.

Determined to succeed, he tried again—this time selling his brand-new Skoda Octavia to fund the project.

“On the second attempt, I sold my car to finance the production. That car never came back. The second one was also a disaster,” he recounted.

Even his third attempt, though not a loss, still left him discouraged.
“It was on the third try that I broke even. I did not make money, but for the first time, I also did not make a loss. After the third one, I was totally discouraged. It took me another two years to pick myself up,” he explained.

Breakthrough in 2008

Uncle Ebo revealed that his breakthrough came in 2008 after preaching at a church service at the Osu Children’s Home. As he drove out of the compound, an idea for a play struck him suddenly.

“It was almost as if a tap had been opened. I drove straight to a friend’s office and started writing. That play became Unhappy Wives, Confused Husbands,” he narrated.

Although financial constraints delayed production, unexpected support from his business partner, Charles, made it possible.

“He went to his drawer, brought out a cheque book and wrote me 5,000 Ghana cedis. He didn’t even know I had a script ready,” he said.

With the seed money, Uncle Ebo boldly booked the National Theatre for two shows on 6 September 2008—something no one had attempted before. To his astonishment, both shows sold out, with over 1,000 people turned away at the gates.

“That was the first time the National Theatre was filled to capacity for a stage play,” he recalled.

A Historic Cast of First-Timers

Even more remarkable was the fact that his cast of nine actors were all first-timers.
“None was a professional actor. Many were going on stage for the very first time. All those nine are still with me after 17 years,” he noted proudly.

The runaway success of Unhappy Wives, Confused Husbands established Uncle Ebo in Ghana’s commercial theatre space, paving the way for subsequent productions under Roverman Productions.

Reflecting on the journey, he said his story proves that patience is vital.
“When God’s time is ripe, He makes it amazing. Many of us wear ourselves out trying to make things happen when the time is not right. If you have the patience to wait for the right time, when it comes, it’s always amazing.”

Source: Irene Adubea Aning

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Speaking on The Career Trail programme on Joy News and Joy Learning TV, he revealed that his first encounter with theatre came during his secondary school days, when a friend introduced him to a drama group.

“My encounter with theatre was as an actor in secondary school. A mate of mine, who is now deceased, told me about the Youth For Christ Ministry’s theatre company in town. I joined as an actor, then later became the artistic director. Within three months, I found myself inheriting the group because the leader had been transferred from Accra to Tamale,” he recalled.

According to him, the group, made up of about 40 to 45 young people, met every Sunday. Hence, in order to keep them engaged, he began writing plays.

“That is how I became a playwright. I started writing because the group kept meeting although there was nothing happening. To keep them occupied, I learned to write and direct. I did this for about 11 years,” Uncle Ebo explained.

He added that for more than a decade, he balanced this passion with full-time jobs, including his role with First African Group Limited.

Uncle Ebo also noted that although he had long recognized theatre as his calling, as far back as 1976, he initially struggled to see how it could be viable as a career.

“I knew without a shadow of a doubt that this is my calling. But at the time, there was no way of knowing how it could be commercially viable. So I did all kinds of things while still trying my hands at theatre,” he said.

He eventually decided to fully commit to his gift, moving into commercial theatre and later establishing Roverman Productions, which has grown into one of Ghana’s leading theatre companies.

Looking back on that moment, he remembered a voice that changed his direction in life:

“The voice that spoke to me said, a lot of people work with their certificates and training, but real fulfilment and success come when you work within the area of your gifting. That was when I accepted the challenge to enter commercial theatre,” he recalled.

Source: Irene Adubea Aning

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Speaking on The Career Trail programme on Joy Learning TV and Joy News, Uncle Ebo said the dismissal left him at home for a year and a half with no income to support his family. Despite the hardship, he recounted how he and his household never lacked food.

“It looked like somebody had put a camera into our kitchen. Anytime we were running out of food, we would wake up to find rice, oil, and other items left at the door,” he recalled.

Sharing one memorable experience, he said:
“I remember praying to God for chicken for Christmas, but instead, we woke up to find the biggest white sheep tied to a tree in our compound. That was the only time my family had sheep for Christmas.”

According to him, his first breakthrough came when his former junior in secondary school secured an accounting contract and asked him to supervise it.

“Though he struggled to offer me the role because I was once his school prefect, I accepted it with humility because I needed the job. That was my first job after being fired,” Uncle Ebo noted.

He further revealed how Mr. K.T. Dadzie and his wife, Gifty Affenyi Dadzie, later employed him at First African Group Limited despite his past dismissal history.

“I told Mr. Dadzie my case was still in court and promised to resign if found guilty. He simply said, ‘Okay.’ That was it. They trusted me, and I really enjoyed working with them,” he said.

Uncle Ebo also recounted his transformative experience as General Manager at Kinapharma under Mr. Kofi Nsiah-Poku and his wife, Florence.

“Working with Kofi Nsiah is the reason I can run my own business today. I had front-row seats to how he operated, and I learned a lot about running a business in Ghana. Even today, he still treats me like a brother,” he added.

Reflecting on his journey, he expressed deep gratitude to those who gave him opportunities when society had written him off.

“So, I owe those people a lot,” he said.

Source: Irene Adubea Aning

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In an interview with Kwame Dadzie and Doreen Avio on Daybreak Hitz, the young actor explained that he has not yet reached the point in his career where he has done anything worth celebrating.

“I am not a celebrity and have not done something worth celebrating yet. I am a working actor,” he said.

Melvin added that established figures such as Jackie Appiah, Shirley Frimpong-Manso, and Ivan Quashigah, who have contributed immensely to the film industry over the years, deserve to be called celebrities.

Although he has featured in several films and television series including Shadows of Ambition (2025), For Love and Country (2025), Guess Who (2024), and Terminus (2022), the actor insists he is focused on creating impact rather than pursuing fame.

He is best known for his role in the popular Akwaaba Magic series House of Klu as Sena Klu, where his performance has earned him recognition among viewers.

Melvin Dain remains determined to let his work speak for itself as he continues to build his career in Ghana’s film industry.

Source: Nii Upness

He made the remarks when a delegation from the musician’s family visited the Jubilee House on Monday, August 25, to officially announce Lumba’s passing.

“The President loved Daddy Lumba’s songs. When he sat in his car and sang along, you’d be amazed, so this is a great loss to all of us,” Mr. Debrah said.

“I can’t sing like that, so you can see there was a special connection.”

According to him, Lumba’s music carried deep emotional value for many Ghanaians, including the President, resonating in both joyful and sorrowful moments.

He emphasized that the artiste’s legacy transcended generations, leaving an indelible imprint on Ghana’s cultural heritage.

“His songs touched us all, whether in sadness or happiness, Daddy Lumba made a lasting impact,” he noted, assuring that government would stand by the family during this difficult time. “We can’t say we won’t honour him, especially considering how he honoured Ghana with his music.”

Reflecting on the magnitude of the loss, Mr. Debrah added: “If money could save a life, we would have found a way. This is not just a loss for his family but for the entire nation.”

Daddy Lumba passed away in July at The Bank Hospital in Cantonments, Accra. Born on September 29, 1964, he rose to fame in the 1980s and went on to release more than 30 albums, producing timeless classics such as Aben Wo Ha, Theresa, Yentie Obiaa, and Playboy.

On Monday, 25 August, the family paid a courtesy call on Chief of Staff Julius Debrah at the Jubilee House to observe traditional protocol and formally communicate the news.

The meeting also opened discussions on funeral arrangements and possible state support to honour the late music icon.

Daddy Lumba passed away on 26 July at The Bank Hospital in Cantonments, Accra, a loss that sent shockwaves across the nation and beyond.

Since his passing, tributes have poured in from musicians, political leaders, and fans, all celebrating his immense contribution to Ghanaian music and culture.

Born on 29 September 1964, Daddy Lumba rose to fame in the 1980s and went on to become one of the most influential figures in highlife. Over a career spanning more than three decades, he released over 30 albums and produced enduring classics such as Aben Wo Ha, Theresa, Yentie Obiaa and Playboy.

His artistry, marked by wit, soul, and incisive social commentary, earned him a cherished place in the hearts of Ghanaians. His breakthrough came with the Lumba Brothers, a collaboration with Nana Acheampong, before embarking on a hugely successful solo career.

Widely decorated with awards and accolades, Daddy Lumba inspired generations of musicians and cemented his legacy as one of Ghana’s greatest musical icons.

Source: MyJoyOnline

Speaking on Joy FM’s Showbiz A-Z with Kwame Dadzie, Eugene admitted his transition from traditional media to blogging was anything but smooth.

“Let me say on record that I was one of the people that thought that social media was part of the anti-Christ. I didn’t like it at all. I thought that it was exposing us too much. I didn’t know that there was a business side to it,” he confessed.

His perspective changed through the influence of fellow media personality Ameyaw Debrah, who encouraged him to explore digital opportunities alongside his work in newspapers and radio.

“Ameyaw said, ‘Chale, this is something you can add to what you do in mainstream media, and I always say that I registered my company in his house,” Eugene recalled.

Today, as the founder of Nkonkonsa.com and President of the New Media Association of Ghana, he champions blogging as a space of immense opportunity.

The association, which brings together bloggers, podcasters, vloggers, and digital content creators, focuses on professional development, networking, and advocacy for digital media rights. It has already rolled out training programmes on journalism ethics, monetisation, audience growth, and cybersecurity.

It also organises workshops across Kumasi, Accra, and other regions, fosters collaboration among members, and hosts an annual awards scheme to celebrate excellence in Ghana’s digital media industry.

Headquartered in the UK & Ghana with strategic operations across Africa, the company is rapidly becoming the go-to partner for independent artists, record labels, and music entrepreneurs seeking transparency, speed, and global reach.

Founded on the principle of empowering creatives, iNMusic Distro provides 100% FREE DISTRIBUTION to major digital service providers (DSPs), including Spotify, Apple Music, Boomplay, Audiomack, YouTube Music, Beatport, WhatsApp, and over 150+ global platforms.

What sets the company apart is its commitment to fast payouts, comprehensive publishing administration, and its robust support system for artists at every level.

“We believe African talent deserves a global platform with global treatment,” says Fusani Acquah, CEO of iNMusic Digital Distribution Ltd.

He added, “Our mission is to make sure that artists get paid fairly, get published properly, and go global from day one.”

In a bold move to expand its African operations, Lusimadio Soki Simao was recently appointed as Label Manager for South Africa, tasked with onboarding and supporting artists and labels across the continent of southern Africa.

This strategic appointment is expected to deepen inMusic Distro’s presence in markets like Nigeria, Ghana, South Africa, and Kenya.

With a user-friendly onboarding process, FREE artist/label account creation, and integrated royalty collection systems, iNMusic Distro is designed for the digital age.

It also handles publishing administration without stress, collecting mechanical and performance royalties from global sources like The MLC, SoundExchange, and worldwide PROs.

From managing catalogs of over 5,000+ releases to representing artists such as Fimy Baby, Deon Boakye, and Rap Fada and labels like Dark Music Distribution (Ghana) and BeeyondTek Synergy Music (Nigeria), iNMusic Distro is positioning itself as a trusted leader in the independent music movement.

About iNMusic Distro:

iNMusic Distro is a leading global digital music company offering free music distribution, publishing administration, royalty services, and catalog monetization for independent artists and labels. iNMusic Distro is also offering video distribution as well to help every artistes and label to understand the business side of music.

Powered by iNMusic Digital Distribution Ltd, the company delivers music to over 150 platforms and ensures creatives are paid what they deserve.

The launch coincided with the International Day for the Remembrance of the Slave Trade and its Abolition, underscoring the day’s symbolic significance for both Ghana and the African diaspora.

The renaming follows a two-year consultation process led by Toronto’s Recognition Review Community Advisory Committee (CAC), which included Black and Indigenous leaders, residents, and business owners.

The move was sparked by a petition calling for the removal of the name “Dundas,” after Henry Dundas, an 18th-century Scottish politician, criticised for delaying the abolition of the transatlantic slave trade.

After extensive community dialogue, the CAC reached consensus on “Sankofa Square,” a name rooted in Ghanaian heritage that symbolizes learning from the past to build a better future.

The official launch, themed “Looking Back, Building Forward,” featured cultural performances, art exhibitions, storytelling, sports, sales of Ghanaian-made products, food, and displays of paintings and sculptures.

The Ghanaian Canadian Association of Ontario (GCAO) led the Ghanaian community’s participation, showcasing the richness of Ghanaian culture and tradition.

Representing President John Dramani Mahama at the event were the Minister for Tourism, Culture and Creative Arts, Abla Dzifa Gomashie, and the Deputy Minister for Foreign Affairs, James Gyakye Quayson.

In her address, Madam Gomashie said the renaming was “not merely a change of name, but an act of remembrance, reclamation, and reparations.”

She described it as a bold step toward justice and healing for Africans both on the continent and in the diaspora.

“In renaming the Square, Toronto sends a powerful message to the rest of the world that it is possible to face history with honesty, dismantle legacies of oppression, and commit to building an inclusive future,” she added.

She further tied the moment to Ghana’s Black Star Experience, the government’s flagship cultural programme that builds on earlier initiatives such as PANAFEST/Emancipation, the Year of Return, and Beyond the Return.

Deputy Minister Quayson highlighted the shared history of the African diaspora within Canada, stressing that “healing is collective” and must involve all communities. He also announced the upcoming Sankofa Freedom Movement Project, set to be unveiled in Toronto next year.

On behalf of the Canadian Government, Toronto Mayor Olivia Chow and Councillor Chris Moise reaffirmed Canada’s commitment to supporting the project while deepening bilateral ties with Ghana.

The decision to rename the square was passed by Toronto City Council in a 17–6 vote. City officials say the new name reflects Toronto’s resolve to confront anti-Black racism, acknowledge the enduring scars of slavery, and foster truth, reconciliation, and inclusivity.

The word Sankofa, of Ghanaian origin, translates to “Go back and get it.” Its symbol is a bird with its body facing forward but head turned back, retrieving an egg—representing survival, remembrance, and learning from history.

Also present were representatives of the Ghana Tourism Authority (GTA), including Kofi Atta Kakra Kusi, Deputy Director of Corporate Affairs, and Sena Sadat Abdulai, Project Officer.

Speaking on behalf of GTA CEO Mrs. Maame Efua Houadjeto, they used the occasion to market Ghana as a prime destination for Canadians, diasporans, and global tourists.

Source: Adomonline

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Selorm Betepe watched the viral videos and posted two insightful threads explaining why Ghana’s Senior High School fashion successes point to a broader opportunity.

“With modelling software, a student can create, test, and experiment with dozens of designs virtually. They can arrange digital fabric, see how a garment moves on a virtual model, and test different materials and colours in real time without wasting physical resources,” he wrote.

Why software matters

Physical prototyping is slow and costly. A student with limited resources may afford only one or two samples, restricting experimentation and narrowing creative horizons.

Design and manufacturing software changes the game. It allows rapid iteration, larger portfolios, and the production of industry-standard files that global manufacturers can use directly.

“Software like Autodesk Fusion 360 generates files such as STEP, STL, and DWG. These are universal formats used by manufacturers worldwide. A designer in Accra can share a single file with a factory in Milan, Guangzhou, or Istanbul, and the receiver will understand the design, materials, and technical parameters needed for production. That one step removes friction, reduces errors, and opens doors to global supply chains,” Selorm added.

From art to industry

Selorm is not speaking from theory. He has led research and development at Seloart for two decades. The company grew from a signwriting shop in Achimota into a production house using multiple software platforms for design and manufacturing.

He says the same digital fundamentals that power sign making and CNC production can and should power fashion training.

“By teaching students to design with production data in mind from the start, we are not just teaching them to be designers—we are teaching them to be entrepreneurs and production managers. Software platforms can automatically generate a bill of materials, 2D technical drawings for cutting patterns, and machine parameters for automated cutting. Those are the exact outputs manufacturers need to scale a concept into mass production,” he wrote.

Wider benefits for TVET and the economy

Selorm argues the push should not be limited to fashion. Technology integration could transform all TVET disciplines by equipping students with job-ready skills at graduation.

Digital design knowledge enables faster prototyping, less waste, and better opportunities in fast-growing fields such as 3D fashion design, digital pattern making, virtual fit technology, and sustainable design.

Global brands are already seeking talent with these skills. Companies such as Nike, Adidas, Zara, and luxury houses look for professionals who can bridge creative and technical workflows. Equipping students with these tools means Ghanaian graduates can compete for high-value roles or run export-ready small manufacturing businesses.

What it would take

Selorm Betepe calls for practical policy moves. He wants design software taught in classrooms, industry partnerships, and access to hardware and the internet.

“Autodesk software such as Fusion 360, which facilitates the modelling of parts for processing and mass production including material lists, should be mandatory for these students,” he wrote. He also urged schools and training centres to forge links with industry so students learn real-world production requirements, not just theory.

A clear pathway

If schools mandate core software training, pair students with industry mentors, and invest in basic lab facilities, the benefits would be immediate. Students would graduate with portfolios full of testable digital samples, familiarity with production data, and the capacity to collaborate across borders. The result would be less craft and more industry, fewer one-off pieces, and more stable businesses and jobs.

A closing note from experience

Having overseen R&D at Seloart and trained on CNC and laser technologies abroad, Selorm speaks from a career lived at the intersection of craft and technology.

“Technology is the great equalizer. It provides the platform for unlimited creativity, ensures seamless integration into the global market, and gives our graduates the technical prowess that international companies actively seek. By mandating these tools, we are not just teaching a software program—we are granting our students a passport to the global stage,” he wrote.

If the viral Keta student represents raw talent, then Selorm Betepe’s prescription shows how talent can scale. For Ghana to turn flashes of brilliance into a sustained industry, schools, policymakers, and the private sector must invest in the digital tools that transform creative work into global commerce.

Source: Amelley Djosu

The event, part of the Black Star Experience initiative, is being organised in partnership with the African Continental Free Trade Area (AfCFTA) Secretariat and Africa Tourism Partners (ATP). It was officially launched on 22nd August 2025 at the AfCFTA Secretariat in Accra.

The programme is expected to bring together participants from across Africa’s tourism, culture, and creative arts sectors. Key figures at the launch included Emily Mburu-Ndoria, Director of Trade in Services, Investment, Intellectual Property Rights and Digital Trade at the AfCFTA Secretariat; Francis Doku, West Africa Representative for ATP; Rex Owusu Marfo, Coordinator of the Black Star Experience; and MC Samuel Agyemang, a broadcaster.

Ghana has secured the right to host the event for three years, after which it will rotate to another African country.

The objectives of Creatives Connect Afrika include advancing continental integration in the creative and cultural industries, promoting intra-African collaboration and trade in film, music, and fashion, building capacity for industry growth by equipping creatives and entrepreneurs with skills to leverage AfCFTA opportunities, identifying and addressing barriers to trade, facilitating business partnerships and co-productions, strengthening private sector collaboration, and celebrating Africa’s rich heritage through the arts.

Organisers noted that Creatives Connect Afrika builds on the success of the AfCFTA Tourism, Creative and Cultural Industries Forum, previously held in Gaborone, Botswana, over the past three years under the African Tourism Leadership Forum. The new platform expands its scope to integrate tourism with the wider creative and cultural industries.

Highlights of the programme will include masterclasses in film, music, and fashion, with sessions focusing on trade rules, market access, intra-African opportunities, content development, financing, production, distribution, and regulatory frameworks for creative industries. Other areas of focus will include visa and mobility challenges, the role of creatives in driving intra-African trade, storytelling, cultural diplomacy, creative infrastructure, emerging technologies, the gig economy, and financing for the tourism, cultural, and creative sectors.

Source: Kwame Dadzie

]]> https://www.adomonline.com/the-us-teenagers-wowed-by-african-prom-dresses/ Mon, 25 Aug 2025 07:45:00 +0000 https://www.adomonline.com/?p=2570649 “I felt like a princess,” says US teenager Brianna LeDoux about her prom gown, which she specially commissioned from Nigeria.

“I wanted my dress to stop people in their tracks.”

The 18-year-old from Florida, who has Haitian and Dominican roots, wore a black garment made from a sequined and beaded lace fabric, which is commonly used in traditional Yoruba designs for events where people want to wear matching clothes.

“I didn’t just want a dress,” Brianna tells the BBC.

“I wanted a story I could wear – something that said: ‘This is who I am, and this is where my roots run.'”

High-school proms in the US are a rite of passage – long-idealised in countless coming-of-age movies – and are an opportunity for some to make a statement about identity and fashion.

The event is more than a party, it is a spectacle: part red carpet; part social milestone and for many young women – a powerful moment of self-expression.

But when Brianna made a TikTok video of herself in her African prom gown, she did not expect the reaction she got – it went viral and her post now has more than 1.1 million views.

This reflects a growing interest that has driven demand for custom-made outfits with bold designs and unique embellishments.

What began as a TikTok and Instagram trend – with people like Brianna flaunting their garments – has led to a booming business that links fashion designers in Africa to young people outside the continent.

The average price for an African-made prom dress ranges from $600 to $1,000 (£440 to £740), depending on the complexity of the design, fabric choice and added details. Custom luxury pieces can exceed $1,500.

This may sound expensive but is much cheaper than having a garment custom made in the US – where the cost starts at around $3,500 and can go much higher depending on the designer and materials.

The BBC spoke to five fashion designers in Nigeria and Ghana who, in all, fulfilled more than 2,800 orders for prom dresses during the 2025 season, most of them bound for the US.

Designer Shakirat Arigbabu and her team, based in south-western Nigerian city of Ibadan, were responsible for 1,500 of those.

She has carved out a niche for herself even though the prom tradition is not popular in her country.

“Ninety-eight per cent of dresses we made went to the US. We were working in shifts, just to meet deadlines,” Ms Arigbabu says.

Her business, Keerah’s Fashion Cave, employs 60 full-time staff and at least 130 contract staff have been brought in during peak periods.

In 2019, when she had her first major prom order, she had 50 dresses to deliver. By 2024, the orders passed 500, and this year that figure trebled.

Even though for the wearers of the gowns, post-prom may be a chance to bask in the afterglow of June’s event, those making them are back at work.

Every July, Ms Arigbabu’s team of tailors start preparing for next year: corset bases are cut; silhouettes are sketched; fabrics are sourced.

“It’s not seasonal anymore – it’s an entire cycle. Prom consumes everything,” she says excitedly.

Business has also boomed for designer Victoria Ani and her workshop in Uyo, south-eastern Nigeria. She says she has shipped more than 200 gowns to New York, New Jersey and California.

She began tapping into this market in 2022 and now has a team of eight. A single gown takes three to seven days to complete, depending on the design, she says.

Ms Ani believes choosing an African designer is a cultural statement.

“They say there is this pride when they can say: ‘My dress came from Nigeria,'” she says. “We had about three clients who won ‘best dressed’, and two who were prom queens.”

Popular styles include corseted bodices, high slits, feathered trains, detachable capes and beaded sleeves. Some are inspired by Met Gala themes, Yoruba bridal looks or Afrofuturist aesthetics.

“We get requests like ‘Coachella queen’ or ‘Cinderella but African,'” says Accra-based Ghanaian designer Efua Mensah, adding that the prom season has become a reliable sales cycle for businesses like hers.

Nian Fisher, 17, from Miami in Florida, describes the experience as “unique”.

She found her designer on Instagram, drawn to their 200,000-strong following and “work ethic that goes above and beyond, they don’t do the bare minimum”.

All arrangements were made over WhatsApp, including a live video call where a tailor in Nigeria guided her and her mum through taking measurements.

“They made sure every number was perfect so my dress would fit like a glove,” she says.

When the emerald gown arrived, “everyone was amazed”, Nian says.

“The veil dragged across the floor, the fabric was heavy, and people kept saying: ‘Wow… a beautiful black queen.'”

Her mother, Tonya Haddly, admits she was nervous about ordering from abroad.

“But when I saw that train flowing from her head to the floor and catching the light, I knew instantly this was not made in America.”

Social media has been a meeting place for US teenagers and African fashion designers who are taking advantage of the market opportunity.

When Memphis high schooler Trinity Foster, 18, went searching for a prom dress, she wanted something “rare to see” in the US and found it on TikTok from a Lagos-based designer.

Even though she had never worn a super-formal gown before – only loose sundresses – Trinity trusted the designer’s guidance, settling on a fitted look with “at least one over-the-top piece”.

The two-week process was smooth, the vacuum-sealed package nerve-wracking to open, but inside was a perfectly fitting gown that made her feel like “like Tiana” on prom night – referring to Disney’s first African-American princess.

“I was super excited… happy we didn’t have to send it back or anything,” she says.

Her Instagram post drew sweet comments, curious questions and more than a few people asking who made it.

The hashtag #AfricanPromDress now has more than 61 million views on TikTok.

“Instagram brings the sales,” Ms Arigbabu says. “TikTok brings the fame.”

For the Nigerian designer, most orders come through Instagram DMs, after potential clients have browsed photos of dresses tagging her brand and then get in touch.

But social media also brings complications.

Ms Arigbabu recalls a few frustrated clients who went public with their complaints instead of contacting her directly: “One girl said: ‘I don’t want it resolved – I want to go viral.'”

Efua Mensah, a designer in Accra, who shipped 404 dresses to the US this year, says: “Sometimes, dresses arrive late because of customs issues or courier backlog.”

Sometimes, they are simply overwhelmed. “There are days we are working 20 hours fixing one gown while packaging another,” she says.

Still, designers say most clients are satisfied – often filming detailed unboxing videos, tagging the brand and helping to fuel visibility and a surge in orders.

African designers who spoke to the BBC said that US prom dress orders accounted for a big chunk of their annual revenue – in one case up to 25%.

With Ms Arigbabu’s team in Ibadan already preparing for next year’s prom season, she says for the first time she will not have to lay off temporary staff.

However, the new 15% US tariff for goods imported from Nigeria presents an immediate challenge.

“The tariff will increase the cost… making them less competitive in the US market,” the designer says.

While the higher price may reduce sales, she says she is considering making small adjustments, cutting costs, improving efficiency and exploring alternative markets to stay competitive without overburdening her customers.

“Of course, I’m worried,” she admits, reflecting the wider anxiety among Nigerian businesses navigating US President Donald Trump’s trade policy shift.

Another big change will be that instead of operating on the old model, where each dress was crafted only after an order, she plans to transition to a ready-to-wear system, with garments being available to ship immediately.

Affordability is also a key issue – and while cheaper than buying an equivalent piece in the US, a prom dress requires significant financial resources.

As the market is growing in sophistication so are the ways to pay, with designers starting to use online payment plans to spread the cost.

Looking back, Brianna says the price tag was worth it as prom was everything she had hoped for since she was little.

“I reminisce about prom a lot – it’s something girls dream about since childhood.

“Honestly, if my nails were ugly, my make-up was disgusting, and my hair wasn’t cute, as long as I was in that dress, I was fine.”

Source: BBC

He described the arrest as a deliberate attempt to suppress musicians and the creative industry.

“I think it is more of a witch hunt. There is more to it than people might not even understand. The system has been designed for musicians and celebrities to be poor so that they can suppress us,” Bullet said.

He argued that the establishment was unsettled by Shatta Wale’s financial success and influence in the industry.

“They don’t understand that a musician has been able to make so much money. They don’t understand that a musician has been able to buy a house in Trassaco, own Shaxi company, own estates and do oil business. So the system will hold you back and tell you that you can never make it or shouldn’t make it. Nobody should be happy that Shatta Wale has been arrested,” he added.

Bullet credited Shatta Wale with transforming the fortunes of Ghanaian musicians by raising performance fees.

“Back in the day, even when we were A-list artistes, the highest we received was GH¢3,000. Shatta Wale came into the industry and changed everything. Now, artistes can charge GH¢200,000 or GH¢300,000 for a show. Shatta Wale came into the industry and started taking $100,000 or $150,000 for a show, so he changed something. He showed the way that musicians, too, can make money,” Bullet said.

He further argued that the system is unhappy with the wealth and success that some artistes now enjoy.

“Before, musicians couldn’t even afford a BMW, but now boys are building mansions, boys are buying Range Rovers and Rolls-Royces. Boys are making money and owning estates, so the system is not happy; they want us to be poor,” he stated.

Bullet made these comments when he joined Shatta Wale’s fans who had gathered at the EOCO offices in Accra on Thursday to demand his release.

Meanwhile, EOCO has granted Shatta Wale bail in the sum of GH¢10 million with two sureties to be justified. In a statement, the office said he remains in custody until the sureties’ properties are verified to match the bail conditions.

Shatta Wale was invited on Wednesday, August 20, to assist investigations into the purchase of a Lamborghini Urus, allegedly linked to proceeds of a US$4 million crime involving Nana Kwabena Amuah, a Ghanaian currently serving a prison term in the United States.

According to EOCO, after nearly four hours of interrogation, the artiste could not identify the seller of the luxury vehicle, stating only that he bought it from the “street.”

Source: Graphic Showbiz

ALSO READ:

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Her 15th studio album, Odeneho (The Sovereign One), was released on July 31, 2025, and it’s already making waves across both gospel and secular circles.

But it wasn’t just the album that got people talking. It was the moment the world saw Obaapa Christy and Sarkodie, two giants from different ends of Ghana’s musical spectrum, come together on a track that is now being called a spiritual crossover, “Odeneho.”

“This was more than a feature. It was a testimony,” Sarkodie reacted to the collaboration.

The track is raw, reverent, and real. Sarkodie, known for his lyrical precision, opens up like never before, pouring out one of the most emotional verses of his career.

According to him, this wasn’t just a studio job, it was a “bucket list achievement.”

“If you see how Sarkodie sang ‘Odeneho’ with such emotion,” Obaapa Christy shared, “you’d know he truly loves God. I’ve never seen him sing with so much feeling. God bless him.”

A short teaser of the music video has already gone viral, sparking a wave of curiosity and anticipation. Both artistes promise the full video is coming soon, and it’s set to be more than a visual; it’s a testimony.

Meanwhile, Odeneho is not just a collection of songs, it’s a spiritual journey. With 12 tracks that cover themes of hope, worship, thanksgiving, and personal breakthrough, the album feels like a modern-day psalm book.

Among the standout tracks is “No Weapon”, a soul-piercing message of resilience and spiritual warfare.

The official video is slated for release on September 4, 2025, and fans are already calling it one of the most comforting gospel songs in recent memory.

Other powerful tracks include: “Gyae Su” ft. Brother Sammy – a cry of comfort; “Thank You Jesus” ft. Junior (Obaapa Christy’s 2nd Son) – a celebration of gratitude.; “Yesu Mo”, “Waye Yie Nwom Ni”, and “Omma Me Nte Nhwe” – solo works full of depth and fire among others.

A Night to Remember: The Official Launch:

The Alisa Hotel in Accra set the stage for a historic launch event. The red carpet was lined with celebrities, politicians, and spiritual leaders, a rare fusion of entertainment and ministry.

Attendees included Kwabena Kwabena, Dr. Likee, Andy Dosty, former Education Minister Dr. Yaw Osei Adutwum, Sammy Awuku, Kwame A Plus, loved ones and a host of pastors who filled the room with prayer and presence.

What was supposed to be a launch became a night of worship, testimonies, and heartfelt music, a true reflection of Obaapa Christy’s identity as both an artist and a minister.

Why An Album — and Why Now?

In an exclusive reflection, Obaapa Christy shared what makes this release so significant in an era dominated by singles and streaming stats:

“God gives me songs, in dreams, in worship, during church services, driving in a car, listening to other songs, even in silence. I’ve had songs sitting in the studio for years, waiting for the right time. I don’t want to serve snacks; I want to offer a full spiritual meal. That’s why I do albums.”

And that decision wasn’t just personal, it was spiritual. After her powerful collaboration with Prof. Kofi Abraham on “Wiase Mu Abrabo”, gospel legends began reaching out. Many asked her to help revive their classic songs, not for fame, but to keep the fire burning for future generations.

“They don’t want to be forgotten,” she said. “They want today’s youth to feel the power that moved crowds decades ago. I owe it to them.”

Prof. Kofi Abraham himself responded with deep admiration: “She’s not just singing. She’s preserving history. Gospel music is safe in her hands.”

More Than Music – A Ministry of Memory;

Obaapa Christy’s Odeneho is not just an album; it’s a bridge between generations, a movement that honours the past while pointing to the future.

It reminds listeners that the gospel is not about trends, it’s about truth. And sometimes, truth sounds like worship, rap, drums, tears, or even silence.

From her early days with “Me Te Ase”, to this landmark 15th album, Rev. Obaapa Christy has carried one mission: to uplift souls and draw people closer to God.

“This is more than music. It’s ministry. It’s memory. It’s me answering my calling.” – Obaapa Christy

Now available on all digital streaming platforms! Stream or download Obaapa Christy’s new album ODENEHO today and be blessed by every song. May the good Lord/Allah pour His everlasting blessings upon you as you listen.

Bookings, Interviews & Contact; PR Connie: 0241300662 / 0244962141 and for Foreign Programs contact (MD Nana Frankie): +491724161317.

Watch Obaapa Christy and Sarkodie’s Odeneho below:

According to him, opting for substance abuse, such as opioids, red pills, and marijuana, to boost energy as a youth will have negative impacts on future life.

Speaking to Adom News during the Willing Way Recovery and Rehabilitation Street campaign against red abuse, the hiplife artiste said the rate at which people are abusing substances puts the nation’s future at risk.

“I have devoted myself to joining the Ghana Against Red Abuse campaign by Willing Way Recovery and Rehabilitation to advise the youth because there is no better future in engaging in substance abuse,” he said.

The Chief Executive Officer of Willing Way Recovery and Rehabilitation Center, Madam Lydia Manu, called for a collaborative national effort to fight against the abuse of Tramadol 225mg, popularly known as “Red”.

She stressed that the youth are the future of the country and must be protected from the harmful effects of substance abuse.

“Government should restrict the importation of illicit drugs because the youth are dying,” she said, adding that it would be difficult to move all drug addicts from the ghetto because they are all suffering from addiction.

“Addiction is a chronic relapsing brain disorder, so anyone who is addicted to drugs finds it difficult to desist,” she stated.

She noted that aside from addiction, most people who have gone through rehabilitation face stigmatization from society, which often drives them back.

The Ashanti Regional Mental Health Coordinator, Faustina Nuako, said substance abuse among the youth in the Ashanti region is on the rise. “What we have realized is that if drug addicts start gaining mental problems, you will see them preaching instead of their families taking them to the hospital,” she stated.

The street campaign in the Ashanti region brought together some drug addicts who have been to rehabilitation centers and other health workers to advise the youth. The theme of the 2025 Ghana Against Red Abuse campaign is “Red means stop! Say no to Red.”

The Head of Chambers for Clinton Consultancy explained in an interview that the absence of criminal charges against the artiste so far points to a process aimed at repayment rather than prosecution.

The investigation by the Economic and Organised Crime Office (EOCO) was initiated at the request of the U.S. Department of Justice, which is seeking the repatriation of the vehicle as part of a forfeiture order.

The car has been identified as a “substitute asset” to satisfy a US$4 million restitution order against Nana Kwabena Amuah, a Ghanaian national convicted of fraud in the U.S.

Ms Clinton stated: “The lack of criminal charges suggests this is truly about restitution—not punishing Shatta Wale, but securing repayment via the car.”

She further clarified that EOCO’s role is to enforce asset seizure laws and ensure Ghana fulfils its international obligations under a Mutual Legal Assistance Treaty (MLAT) with the U.S.

The process in Ghana, however, is not automatic. While EOCO has seized the vehicle, it must apply to a Ghanaian High Court for an order to enforce the U.S. request. The court will then determine whether the car qualifies as “proceeds of crime” under Ghanaian law and whether Shatta Wale qualifies as an “innocent purchaser” who bought the car in good faith.

“The EOCO’s investigation is not a direct fraud case against Shatta Wale but rather an enforcement of a foreign restitution order,” she explained in an interview with Citi FM.

Ms Clinton’s analysis highlights the cooperation between international justice systems in recovering assets tied to global financial crimes.

Shatta Wale was detained for nearly two days over the matter and released on August 21.

]]> https://www.adomonline.com/nfa-governing-board-aims-to-engage-1-of-ghanaians-in-reviving-film-industry/ Fri, 22 Aug 2025 08:44:13 +0000 https://www.adomonline.com/?p=2570020 The newly inaugurated Governing Board of the National Film Authority (NFA) has announced an ambitious plan to engage at least 1% of Ghana’s population in efforts to revitalise the local film industry.

At its first meeting on 19th August 2025, the Board set out a clear vision to strengthen distribution and exhibition, two of the sector’s most persistent challenges. Chairman Ivan Quashigah said the revival of Ghanaian cinema hinges on building strong, accessible platforms that will attract both audiences and investors.

“Our priority is to restore confidence in the Ghanaian film industry by ensuring that local content reaches audiences effectively. Distribution and exhibition are the lifeblood of the industry, and we are determined to create opportunities that make Ghanaian films accessible to every citizen while positioning Ghana as a film hub in Africa,” Mr. Quashigah stated.

He explained that achieving consistent engagement from 1% of the national population—about 347,000 people—would significantly boost audience confidence and trigger growth across the entire value chain, from producers and distributors to investors and exhibitors.

The meeting also emphasised the Authority’s duty to assure both local and international stakeholders of its commitment to regulation, industry development, and collaboration with global partners. The NFA reaffirmed its mission to work with government, guilds, private stakeholders, and international institutions to build a sustainable and globally competitive film industry.

Those present at the inaugural meeting included Executive Secretary Kafui Danku-Pitcher, Deputy Executive Secretary James Gardiner, Mabel Cudjoe from the Ministry of Tourism, Culture and Creative Arts, Emmanuel Ofori from the Ministry of Communication, Digital Technology and Innovations, Dr. Rebecca Ohene-Asah of the Institute of Film and Television at UNIMAC, Augustine Abbey from the Film Producers Association of Ghana, George Bosompim from the Ghana Academy of Film and Television Arts, Aseye Tamakloe from Women in Film and Television, Zakaria Abdulai from the Collective Management Organisation of Audio Visual Rights Owners, Rukiyatu Naa Ayikaley Ankrah from the Film Distributors and Marketers Association of Ghana, Alejandro Peterson Davids White-Cross from the Film Crew Association of Ghana, and Kofi Adinkra, Head of Business Development and Marketing at the NFA.

The NFA has called on industry players, investors, and partners to support its agenda of building a dynamic distribution and exhibition ecosystem that will drive economic growth, strengthen cultural identity, and raise Ghana’s profile on the global stage.

In line with Ashanti tradition, all funerals across the Ashanti Kingdom will be suspended from September 1 until September 18 to give full reverence to the memory of the late Queen Mother.

As part of the arrangements, shops and businesses are expected to close on September 18 to enable citizens and visitors to participate in the solemn rites and pay their last respects.

The funeral rites of Nana Konadu Yiadom III, who played a pivotal role in the Ashanti Kingdom until her passing, are expected to draw large numbers of mourners, dignitaries, and traditional leaders from within Ghana and beyond.

Nana Konadu Yiadom III passed away at dawn on August 7, 2025.

A one-week observation of the late Asantehemaa, Nana Konadu Yiadom III, was held on August 21, 2025, at the forecourt of the Manhyia Palace in Kumasi.

He was released after a variation of his bail conditions, bringing a respite to the high-profile legal saga surrounding his acquisition of a luxury vehicle.

His manager, Samuel Atuobi Baah, also known as Sammy Flex, confirmed the artiste’s release to JoyNews, revealing a crucial revision to the initial bail terms.

He said that the initial bail sum of GH¢10 million was reduced by half to GH¢5 million with two sureties to be justified.

The new conditions also require Shatta Wale to report to EOCO three times a week as the investigation continues.

Shatta Wale’s detention and subsequent release are part of a broader, internationally coordinated investigation.

He was originally invited to EOCO to assist in a probe into the purchase of a 2019 Lamborghini Urus, a car authorities believe is linked to the proceeds of a US$4 million crime.

This financial scam was orchestrated by a Ghanaian national, Nana Kwabena Amuah, who is currently serving a prison term in the United States.

The luxury car was seized by EOCO in a joint operation with the U.S. Federal Bureau of Investigation (FBI) and the Department of Justice (DOJ).

According to an official statement from EOCO, Shatta Wale was questioned for nearly four hours and was unable to identify the person who sold him the car.

He instead claimed that he bought it from “the street”.

The EOCO statement further highlighted Shatta Wale’s inability to provide any ownership documentation for the vehicle, except for a customs declaration form bearing Amuah’s name.

The release of the artiste on the revised bail conditions comes after days of legal processes and public scrutiny.

His fans, known as the “Shatta Movement”, gathered outside the EOCO offices, chanting and showing support during his detention.

The case has underscored the growing collaboration between Ghanaian and U.S. law enforcement agencies in combating financial crimes and has sparked a national conversation about celebrity wealth and accountability.

Source: Myjoyonline

ALSO READ:

Shatta Wale’s fans block roads, mount motorbike displays at EOCO

Shatta Wale’s fans storm EOCO to demand his release [Video]

Clad in branded T-shirts and waving placards, the visibly emotional fans chanted his name and sang some of his popular songs while demanding his immediate release.

Some insisted that the artiste was being unfairly targeted, while others appealed to the authorities to handle the matter with fairness and transparency.

Police officers were on high alert to maintain order as the crowd continued to swell, causing traffic disruptions along nearby routes.

Shatta Wale, born Charles Nii Armah Mensah Jr., was interrogated by EOCO on Wednesday 20th August in connection with investigations into the tax status of a yellow Lamborghini Urus.

He was however, granted GH₵ 10 million with two sureties, but remain in custody as his legal team and management work to meet the bail requirements.

The detention follows the seizure of the luxury car in early August 2025 in ongoing by EOCO, in collaboration with the U.S. Federal Bureau of Investigation (FBI) into a suspected stolen vehicle.

The incident has since set social media buzzing, with “Free Shatta Wale” trending across various platforms as supporters and industry colleagues react to the arrest.

The charged crowd blocked sections of the road, staging wild motorbike displays while chanting “Free Shatta Wale” as EOCO officials continued deliberations with the musician’s legal team and management over bail conditions.

Many of the fans, who described the award-winning artiste as their “king,” vowed not to disperse until he is freed. “We will sleep here if we have to. Shatta must be freed,” some told Adom News.

Musician Bullet, who joined the gathering in solidarity, defended Shatta Wale’s flamboyant lifestyle, insisting it reflects the profitability of Ghana’s music industry. He also appealed to authorities to grant his colleague bail.

Adom News reporter Shine Acquah, who is stationed at the EOCO premises, reports that security has been heightened to control the growing crowd.

Shatta Wale’s current troubles with EOCO stem from investigations into tax issues. The artiste, born Charles Nii Armah Mensah Jr., was invited on Wednesday, August 20, to assist with ongoing probes.

His detention has, however, triggered a massive wave of support from his loyal fan base, the “Shatta Movement,” which has a history of rallying in defence of the star whenever he faces controversy.

Source: Adomonline

ALSO READ:

• EOCO grants Shatta Wale GH₵10m bail but…
• Shatta Wale’s fans storm EOCO to demand his release [Video]

According to him, while it is within EOCO’s mandate to investigate, the agency must focus on establishing the facts rather than fueling public speculation through the media.

Speaking in an interview on TV3, Mr. Adofo noted that Shatta Wale’s case is significant and deserves thorough scrutiny.

He explained that EOCO could easily determine the facts by assessing the cost of the musician’s vehicle, his income records from previous years, and his tax obligations.

He added that the tendency to try cases in the media rather than in court is not only worrying but also undermines the integrity of the justice system.

Meanwhile, Shatta Wale has been granted bail in the sum of GH₵10 million with two sureties, each to be justified.

EOCO noted that the artiste has so far been unable to identify the person from whom he allegedly purchased the luxury vehicle for $150,000, except to say he bought it “from the street” from someone probably called “ZAK.”

Dozens of his fans have gathered at EOCO headquarters demanding his release, chanting his name and displaying placards in solidarity with the dancehall star.

Mr. Adofo, however, insists that beyond the fanfare, EOCO must prioritize due diligence and ensure the matter is resolved fairly and without sensationalism.

]]> https://www.adomonline.com/shatta-wales-fans-storm-eoco-to-demand-his-release-video/ Thu, 21 Aug 2025 12:17:08 +0000 https://www.adomonline.com/?p=2569771 Fans of dancehall star Charles Nii Armah Mensah, widely known as Shatta Wale, thronged the premises of the Economic and Organised Crime Office (EOCO) on Thursday to demand his release after he was taken into custody over alleged tax compliance breaches.

EOCO officials confirmed that the artiste has been granted bail to the tune of GH₵10 million, with two sureties to be justified, pending the fulfillment of all legal requirements.

In a video on social media, Shatta Wale’s media manager, Samuel Atuobi Baah, popularly known as Sammy Flex, disclosed that the musician’s legal team and management are actively working to meet the bail conditions.

He also cautioned against misinformation, clarifying that the EOCO inquiry is linked specifically to taxes on Shatta Wale’s yellow Lamborghini and aspects of his business operations, not other allegations circulating online.

Shatta Wale was detained on Wednesday, August 20, 2025, as part of EOCO’s broader investigations into luxury vehicles and tax obligations.

Source: Adomonline.com

ALSO READ:

• EOCO detains Shatta Wale

• Shatta Wale alleges EOCO officials invaded his home with guns

This was contained in a statement issued by the Head of Public Relations at EOCO. The statement explained that the musician will be released from custody once the sureties are presented and inspection successfully conducted.

The development follows his detention by EOCO on Wednesday, August 20, 2025, a move that has sparked mixed reactions.

According to the statement, Shatta Wale, accompanied by his lawyers, reported to the EOCO offices at 5 pm for interrogation, although the session had originally been scheduled for 11 am.

Despite the late arrival, officers stayed beyond working hours to conduct the questioning, which forms part of an ongoing probe into his yellow Lamborghini and related tax compliance matters.

The interrogation was completed around 9 pm. However, EOCO noted that Shatta Wale has been unable to identify the person from whom he allegedly purchased the vehicle for $150,000, except to say he bought it “from the street” from someone probably called “ZAK.”

The artiste also reportedly told investigators that he has lost contact with the seller and has no supporting documentation, such as receipts, to prove ownership or purchase of the vehicle, aside from a customs declaration document currently in his possession.

Source: Adomonline

ALSO READ:

• EOCO seizes Lamborghini from Shatta Wale in joint operation with FBI
• 10 key things to know about the seizure of Shatta Wale’s Lamborghini by EOCO
• EOCO detains Shatta Wale

The Ghanaian music industry experienced a turning point in September 2021 with the global success of Amaarae’s remix Sad Girlz Luv Money.

The track not only showcased her unique artistry but also ushered in what many called a ‘disco-girl’ wave, introducing fresh sounds and melodies rarely heard in the region.

Amaarae, who grew up in New Jersey but remains deeply connected to her Ghanaian roots, has since become a trailblazer in creating music that resonates with both local and international audiences.

Her latest album is proof of that. Titled Black Star, with cover art as bold as expected from the singer, listeners are met with an alluring image of Amaarae reclining in glossy black latex. Her posture is both fierce and relaxed, set against Ghana’s red, gold and green flag. She positions herself as the missing Black Star, Ghana’s national emblem, presenting a striking showcase of Ghanaian identity to her vast global fanbase.

Having collaborated with international stars including Janelle Monáe, Rina Sawayama and Childish Gambino, Amaarae describes the album as “a genesis of me feeling sure and confident”. She also said she felt a stronger connection to her Ghanaian audience during its creation.

While carrying forward the emotive songwriting of her 2023 project Fountain Baby, on Black Star her delivery is sharper, more assertive and unapologetically dominant. Love and hate are expressed with equal intensity, while themes of sex and drugs, central to the disco-girl persona, run throughout the album’s storytelling. The production, led by Kyu Steed, underpins its bold, expansive sound.

The sampling on Black Star deserves special recognition. Nowhere is it more impactful than on Free The Youth, which reimagines Deeba’s classic Deeba, a song instantly recognisable to millions of Ghanaians. The title also echoes the revolutionary clothing brand and youth movement founded in 2016, making the cultural reference even more layered and powerful.

Other standout moments include Kiss Me Thru the Phone Pt 2, which flips The Thong Song into what feels like a spiritual sequel to Soulja Boy’s original hit. Starkilla borrows from Kelis’ Milkshake, while She Is My Drug, co-produced with El Guincho, hears Amaarae reflecting on her belief in “love off the drugs”, laid over the melody of Cher’s Believe.

The album has earned widespread critical acclaim. Pitchfork’s Walden Green awarded Black Star 8.8 out of 10 and the coveted “Best New Music” label, writing: “Black Star is the record you make when you can finally afford the best drugs and the suite with a view, lavish them on a lover (or several), and begin to ask yourself: Is this all there is?” Similarly, Shaad D’Souza of The Guardian, who gave the album four stars, observed: “It’s fitting for an album that is deliriously in love with wealth, celebrity and all the power it affords.”

Stream Amaarae’s Black Sar album HERE.

Source: Prince Nutifafa Letsu   

His death was confirmed by his niece, Uriel, who took to Instagram to share the sad news.

While announcing his passing, she expressed deep disappointment with the film industry, revealing that no colleague or industry stakeholder checked on her uncle throughout his illness.

Uriel further hinted at her frustration, stating that those who never reached out during his difficult times may now attempt to display what she described as “fake love.”

The late actor, whose career spanned decades, was celebrated for his contributions to Nollywood and left behind a legacy that shaped the growth of the industry.

Funeral arrangements are yet to be announced by the family.

Eyewitnesses claim the “Shoki” hitmaker was stabbed in the neck and sustained severe injuries, including a partially severed ear.

The attackers allegedly fled the scene with his multimillion-naira necklace and other valuables.

According to reports, Lil Kesh was rushed to a medical facility, where doctors stitched his ear and treated other injuries.

Sources close to the artist say he is currently recovering, although his full condition has not been officially disclosed.

The motive for the assault remains unclear, and neither Lil Kesh nor his management team has released a statement at the time of this report.

The celebrated gospel artiste said the incident happened at a church in Tema Community 25, where she ministered back-to-back with the assurance that she would be “sorted out” financially.

However, after the performance, the pastor only asked for her mobile money number and sent her away without paying her.

“Till date, I haven’t received my money. Anytime I call him, he starts speaking in tongues and says he is praying, promising to get back to me. It’s been three years now,” she disclosed.

She added that even when a colleague called on her behalf, the pastor employed the same prayer strategy.

Selina shared this ordeal while speaking about the setbacks gospel artistes face in the industry, particularly the lack of respect for their craft. She further recounted how, at the start of her career, some producers attempted to take advantage of her before she finally broke into the mainstream.

Despite such challenges, the award-winning singer stressed her commitment to her ministry, noting that gospel musicians deserve equal recognition and fair treatment for their work.

The detention follows the earlier seizure of the luxury car in early August 2025, when EOCO, in collaboration with the U.S. Federal Bureau of Investigation (FBI), impounded the vehicle.

Authorities allege the Lamborghini was stolen and linked to the proceeds of a major fraud scheme.

A statement from Shatta Wale’s management confirmed that the musician, accompanied by his lawyer Cephas Biyuo, voluntarily reported to EOCO’s office on Wednesday, August 20, 2025.

Management has appealed to his fan base, the “SM Family,” to remain calm and avoid speculation, assuring them that discussions with the authorities are ongoing. The legal team is expected to return to EOCO in the coming days to continue the process.

The action was carried out under the Economic and Organised Crime Office Act, 2010 (Act 804), and the Mutual Legal Assistance Act, 2010 (Act 807), which allow EOCO to seize assets suspected to be linked to criminal activity, even when the original offence occurs outside Ghana.

EOCO, which often works with global bodies such as INTERPOL and the FBI, has emphasized its mandate to investigate and prosecute organised crime.

The seizure and Shatta Wale’s detention have since sparked widespread debate among his fans and the wider public.

Source: Adomonline.com

ALSO READ:

• Shatta Wale alleges EOCO officials invaded his home with guns

• EOCO seizes Lamborghini from Shatta Wale in joint operation with FBI

Industry Selects is a curated showcase of 10 outstanding films chosen beyond TIFF’s Official Selection, reserved exclusively for accredited buyers and distributors.

It highlights works with strong global acquisition potential, making it one of the most anticipated categories at the festival.

Set in Lagos, Stitches follows the story of Boma, a talented young fashion designer who, after a personal tragedy, leaves her modest beginnings to join her estranged aunt’s high-society fashion house.

Caught between ambition, class struggles, and the search for acceptance, Boma’s journey intertwines with the city’s haute couture world and a budding romance with the son of Lagos’ leading philanthropic fashionista.

Speaking about the film, Frimpong-Manso described it as a modern African fairytale with universal themes.

“With its blend of glamour, grit, and raw emotion, Stitches is a story for anyone who’s ever felt the weight of societal expectation. This isn’t just a film. It’s a reminder that African stories – especially Nollywood ones – can inspire the world,” she said.

TIFF programmer Liane Cunje praised the film’s elegance and emotional depth, while Shirley herself reflected on the personal connection she found during production.

“Stitches stole my heart. I spent over a month in Lagos working on my first Nollywood film, and the experience was unforgettable. The story offered me refuge on my hardest days – a world of love, loss, family, and judgment that felt achingly familiar yet refreshingly new.”

Stitches will be screened exclusively for industry professionals at TIFF 2025, marking a significant milestone for Frimpong-Manso as she expands her filmmaking beyond Ghana to Nollywood, further cementing her reputation as one of Africa’s most visionary storytellers.

]]> https://www.adomonline.com/i-dont-go-to-the-gym-to-lose-weight-selina-boateng/ Wed, 20 Aug 2025 12:43:56 +0000 https://www.adomonline.com/?p=2569310 Gospel singer Selina Boateng has said she does not visit the gym to lose weight but rather to stay healthy and maintain her body.

Speaking on the Hitz Praise Zone with Nii Noi, Selina addressed body-shaming comments that have followed her for years. She said she has grown immune to them and sometimes even laughs at the remarks.

“I have no intention of losing weight,” she stressed. “I just want to maintain my body and keep it in shape.”

Selina added that she is not moved by social media trolls because she believes God created her beautifully.

The gospel artiste has in the past responded to critics who ridiculed her for her size after videos of her struggling to get up during a praise ministration went viral.

At the time, she stated that she was not embarrassed because her focus was on God, not people’s opinions.

Selina Boateng is known for several hit songs including Alpha and Omega featuring Uncle Ato, Menku Meho, Medofo Pa, and Eda Papa. Her music has earned her recognition as one of Ghana’s respected gospel voices.

On August 19, 2025, MOG announced on X (formerly Twitter) that he had taken down Shatta Wale’s Reign Album and Wondaboy Album, citing unresolved issues of credit and royalties.

“You sell my beats, erase my credit, then buy luxury cars,” MOG fumed in a post directed at Shatta Wale.

According to him, Shatta Wale wrongfully claimed production credit for songs he and other producers made in order to secure money from an international company without their knowledge or consent.

MOG warned that the removal of the albums was only the beginning.

“Two albums have already been taken down, and more are coming down soon. Sell your assets and refund the company you scammed. Leasing your catalogue just to survive? That’s the path you chose. This time, the talk will come with action,” he wrote.

The award-winning producer, who worked on tracks like Gringo, Bend Over, If I See, and Squeeze on Shatta Wale’s Reign Album, said he had been cheated despite his contribution to the project.

This fresh clash comes on the back of a long-running dispute between the two. In 2021, MOG Beatz publicly accused Shatta Wale of failing to pay him for 10 songs he produced on the Reign Album. Although Shatta Wale had promised compensation, MOG said he was never paid even after the album became a major success.

“Money Man @shattawalegh, me I dey see you as a big brother I never had. I know say you no be stingy like that lol, I produced 10 songs on the #ReignAlbum but ano see no cash from you since 2018. Seeing this made me laugh sooo hard,” MOG wrote at the time.

With tensions resurfacing, the battle between MOG Beatz and Shatta Wale over credits and royalties appears far from over.

Source: Joy Entertainment

Prof Collins, a respected scholar of African popular music and a key figure in documenting and promoting Ghanaian highlife, had suggested in an interview that Bisa KDei may have copied the highlife guitar pattern of Brother Brother from an old record.

“What Bisa KDei did in Brother Brother was that he picked the typical guitar band sample. I don’t even know which band he got this from, but it was very distinctive. He didn’t get a guitarist to play it. He just looped it and used it occasionally,” he claimed.

Reacting to the comment, Bisa KDei took to his Instagram story to stress that he never samples in his work and played the guitars himself.

“The fact that I got it so perfect doesn’t mean I copied it. I never sample. None of my songs is sampled because I understand originality very well. I also produce and play the guitar. The guitars in Mansa and Brother Brother I played myself, and I understand highlife, so I play according to flow. Someone should tell the professor to do proper research next time. lol,” he wrote.

Prof Collins is widely recognised for his extensive research on Ghanaian music, having worked with highlife greats such as Ebo Taylor, Koo Nimo, and Fela Kuti, and for setting up the Bokoor African Popular Music Archives Foundation.

Bisa KDei is one of Ghana’s leading contemporary highlife musicians, known for blending authentic highlife rhythms with modern production. His catalogue includes songs such as Mansa, Baba, Asew, Jwe, and Metanfo.

Apart from singing, Bisa KDei is also an instrumentalist and music producer.

Source: Kwame Dadzie

The award-winning singer also took home Gospel Song of the Year, securing a double triumph that night. She attended the ceremony with her husband, Mr. Hopeson Adorye.

For the top prize, Empress Gifty edged out King Promise, Stonebwoy, Shatta Wale, Diana Hamilton, Joe Mettle, Fameye, KiDi, King Paluta, and Team Eternity.

The event, which honors Ghanaian music talents both at home and abroad, also recognized U.S.-based artists, including Jay Hover, C-Ben, and Kay Rockz.

Tributes were paid to late Highlife legends Dada KD and Daddy Lumba, while Gyedu-Blay Ambolley received the Lifetime Achievement Award. Performances on the night came from Empress Gifty, Ambolley, Kofi Kinaata, and comedian OB Amponsah.

In her acceptance speech, Empress Gifty thanked God, her fans, her manager, and the organizers of the awards. She also expressed appreciation to the media and supporters, saying: “I have a grateful heart. Thank you to everyone who voted for me and continues to support my journey. God bless you all.”

Source: Joy Entertainment

Dancehall king Shatta Wale has added a brand-new Lamborghini Urus to his luxury car collection, marking his second Lamborghini within a year.

The award-winning musician celebrated the arrival of the sleek ride at his residence alongside his manager, popping champagne to mark the occasion. Speaking after taking delivery, Shatta Wale encouraged fellow musicians to work hard, stressing that Ghanaian artists must strive for success to “survive like this.”

This latest acquisition comes months after his flashy yellow Lamborghini was seized by the Economic and Organised Crime Office (EOCO) over alleged links to a theft case.

Unconfirmed reports suggest the car has since been returned, with the artist claiming he possesses all documents proving ownership.

Shatta Wale’s new Lamborghini highlights his flamboyant lifestyle, cementing his status as one of Ghana’s most talked-about entertainers.

Welcome home baby 👑 #Lamborghini pic.twitter.com/MC8nLZAm4u

— SHATTA WALE (@shattawalegh) August 19, 2025

Leading the pack is R2Bees’ 2009 hit Kiss Your Hand featuring Nigerian star Wande Coal, ranked as the highest Ghanaian entry. The song, which became R2Bees’ first major breakthrough outside Ghana, not only elevated the group but also boosted Wande Coal’s profile after his Bumper to Bumper success. More than a decade later, it remains a guaranteed crowd-pleaser across Africa.

Also on the list is Fuse ODG’s Azonto (2013) featuring Itz Tiffany, which captured global attention with its infectious rhythm and dance craze. The track reached No. 30 on the UK Singles Chart and even earned a remix with dancehall legend Elephant Man, cementing its international appeal.

Sarkodie’s Adonai (2014) featuring the late Castro follows closely—a timeless anthem blending hiplife and Afrobeats with emotional depth. The song became one of the most beloved records in Ghanaian music history and continues to resonate worldwide.

Mr. Eazi’s Skin Tight (2015) featuring Efya also made the cut. Produced by Juls, the sultry midtempo love song dominated clubs and parties across Africa, helping launch Mr. Eazi’s global Afrobeats career while showcasing Efya’s soulful vocals.

Representing Ghana’s new-school sound is Amaarae’s Sad Girlz Luv Money (2020) with Moliy. The viral track, boosted by TikTok, introduced a fresh, experimental edge to Afrobeats and positioned Amaarae among the genre’s most innovative voices.

Though outnumbered by Nigerian entries, Ghana’s five spots on the list reflect the country’s deep imprint on Afrobeats, from pioneering dance anthems to shaping new global sounds.

The prestigious ranking was topped by Nigeria’s 2Baba with African Queen (2004). Billboard staffers and contributors considered the following criteria: stylistic representation of the genre, local popularity, regional expansion, cultural impact, and commercial success.

]]> https://www.adomonline.com/full-list-2babas-african-queen-tops-billboards-best-afrobeats-songs-of-all-time/ Wed, 20 Aug 2025 07:32:36 +0000 https://www.adomonline.com/?p=2569126 Nigerian music legend 2Face Idibia, popularly known as 2Baba, has claimed the top spot on Billboard’s list of the Best Afrobeats Songs of All Time with his iconic 2004 hit, African Queen.

The ranking, compiled by the Billboard Staff, celebrates 50 of the greatest tracks that have shaped the Afrobeats genre, honoring both pioneering and contemporary artists who have taken African music to global audiences.

The list spans two decades of Afrobeats history, from Styl-Plus’ Olufunmi (2003) and Timaya’s Dem Mama (2005) to Rema’s Calm Down (2022) and Wizkid and Tems’ Grammy-nominated Essence (2020). It also features Ghanaian contributions, including Sarkodie’s Adonai featuring Castro (2014), highlighting West Africa’s pivotal role in the genre.

Other notable inclusions are D’banj’s Oliver Twist (2011), Davido’s Fall (2017), Yemi Alade’s Johnny (2013), Asake’s Peace Be Unto You (2022), and Ayra Starr’s Rush (2022), illustrating Afrobeats’ evolution from local dancefloors to international stages.

The full list showcases the genre’s enduring hits and groundbreaking anthems that continue to define Afrobeats worldwide.

Check out full list below:

1. 2Baba, “African Queen” (2004)
2. Wizkid, “Ojuelegba” (2014)
3. Flavour, “Nwa Baby (Ashawo Remix)” (2011)
4. Rema, “Calm Down” (2022)
5. Wizkid feat. Tems, “Essence” (2020)
6. CKay, “Love Nwantiti” (2019)
7. D’banj, “Oliver Twist” (2011)
8. Davido, “Fall” (2017)
9. Burna Boy, “Ye” (2018)
10. P-Square, “Chop My Money (Remix)” (2012)
11. Styl-Plus, “Olufunmi” (2003)
12. 9ice, “Gongo Aso” (2008)
13. R2bees feat. Wande Coal, “Kiss Your Hand” (2009)
14. Davido, “Dami Duro” (2011)
15. Yemi Alade, “Johnny” (2013)
16. D’banj, “Fall in Love” (2008)
17. Wande Coal, “Bumper to Bumper” (2008)
18. Fuse ODG feat. Itz Tiffany, “Azonto” (2013)
19. Sarkodie feat. Castro, “Adonai” (2014)
20. Phyno ft. Olamide, “Fada Fada” (2016)
21. Tiwa Savage & Don Jazzy, “Eminado” (2013)
22. Burna Boy, “Last Last” (2022)
23. Olamide, “Bobo” (2015)
24. Afro B, “Drogba (Joanna)” (2018)
25. Wizkid, “Pakurumo” (2011)
26. Mr. Eazi & Efya, “Skin Tight” (2015)
27. Wande Coal & DJ Tunez, “Iskaba” (2016)
28. Fireboy DML, “Peru” (2021)
29. Amaarae & MOLIY, “Sad Girlz Luv Money” (2020)
30. Burna Boy feat. Zlatan, “Killin Dem” (2019)
31. Ayra Starr, “Rush” (2022)
32. The Mavins, “Dorobucci” (2014)
33. Runtown, “Mad Over You” (2016)
34. P-Square, “Personally” (2013)
35. Tekno, “Pana” (2016)
36. Maleek Berry, “Kontrol” (2016)
37. Oxlade, “Ku Lo Sa” (2022)
38. Lojay & Sarz, “Monalisa” (2021)
39. Skales, “Shake Body” (2014)
40. Davido feat. Musa Keys, “Unavailable” (2023)
41. Asake, “Peace Be Unto You (PBUY)” (2022)
42. Libianca, “People” (2022)
43. Kizz Daniel feat. Tekno, “Buga” (2022)
44. Ice Prince feat. Brymo, “Oleku” (2010)
45. Olu Maintain, “Yahooze” (2007)
46. Victony & Tempoe, “Soweto” (2022)
47. Jazzman Olofin feat. Adewale Ayuba, “Raise Da Roof” (2004)
48. Timaya, “Dem Mama” (2005)
49. Nonso Amadi, “Tonight” (2016)
50. Weird MC, “Ijoya” (2006)