The singer made the revelation while speaking about his relationship with the club, explaining that the song, titled “Can’t Tame Us”, is one of several activations being undertaken through his partnership with Chelsea.

King Promise, who is a lifelong Chelsea fan, said he had deliberately kept the collaboration under wraps until now, describing the project as a major achievement for both himself and Ghana.

“Obviously, I’m a Chelsea fan. I do have a partnership with Chelsea Football Club and this is one of the few activations that we’re doing together. I haven’t said it anywhere, but I’ve done the official song for Chelsea Football Club for this season,” he said.

According to the musician, the song is set to be launched as part of a broader campaign around Chelsea’s new season.

He revealed that the project will include a documentary being filmed in Ghana, as well as a music video for the song.

“We’re about to launch the song. So the new season for Chelsea, I’ve done the song, we’re doing a documentary, we’re shooting in Ghana, doing the video and then we’re just doing a tournament just to cap it all off,” he explained.

He described the development as “a very big deal” and a major win for Ghana, particularly as a Ghanaian artiste gets the opportunity to create music for a globally recognised football brand.

Listen below:

Headless, who was known in music as Kula, told Kwame Dadzie and Doreen Avio on Hitz FM’s morning show, Daybreak Hitz, that although he initially ventured into content creation to fund his music career, he has since decided not to return to music.

“Honestly speaking, music is so stressful. When I started content creation, the plan was to do it to get money to do music but chale, it’s stressful. You need to go to studio, you finish doing the song, you have to pay dancers to dance for you, you go for radio and TV interviews, you shoot music video, you go and perform.

“And also, I am an introvert, so I don’t like being at the backstage late at night waiting for my turn to go on stage to perform. So I would rather just create content during the day and spend time with the family,” he noted.

He further indicated that he has intentionally decided not to work on weekends.

“I don’t create content on weekends. It’s intentional. Regardless of how big a story is, if it breaks on weekdays I will not do it. I will rather push it to Monday,” he said.

For the past five years, Headless YouTuber has been curating compelling content that reflects the tastes and interests of the growing social media audience.

When he was a musician, he released songs such as Amen, Interview, One and Meye Yie, among others.

In 2019, he was the winner of the Ghana Music Awards’ ‘Unsung’ project. 

The Homecoming, held at the Infinity Stars Hotel at Penyi, marked Togbe Afrika’s return to music after more than two decades.

Mr Gunu’s support was warmly appreciated by Togbe Afrika, who commended the Regional Minister for his leadership and commitment to initiatives that bring people together while creating opportunities for young people.

Togbe Afrika said the initiative goes beyond entertainment, noting that it seeks to use music to inspire young people to shun drug abuse and pursue education, entrepreneurship and other positive opportunities.

“I sincerely appreciate the Hon. Regional Minister, Hon. James Gunu, for his support and for believing in this vision. This is not only about Togbe Afrika; it is about our youth, our music, our culture and our Volta Region,” he said.

He expressed gratitude to the Regional Minister for believing in the vision and supporting efforts aimed at promoting the talents, culture and development potential of the region.

Togbe Afrika subsequently called on other leaders, businesses and development partners to support initiatives that create opportunities for young people and contribute to the growth and development of the Volta Region.

Sharon Dede Padi died on Tuesday, July 7, 2026, at the age of 50. She was the Guinness World Record holder for the Largest Leaf Print Painting, a feat that brought international attention to her work and Ghana’s visual arts sector.

According to the funeral arrangements released by the family, the rites will be held at the Forecourt of the State House in Osu on Saturday, September 26.

A pre-burial service is scheduled for 7:30 a.m., followed by the burial service at 9:00 a.m. Interment will be private, while the final funeral rites and reception will take place at the State House forecourt after the burial service.

The family will hold a memorial service on Sunday, September 27, at the Calvary Methodist Church in Adabraka at 10:00 a.m.

She is survived by her three children, Ama Kwatchey, a student of the University of Ghana, Legon; Bradley Kofi Antwi, a student of Achimota School; and Marcia Darkoa Antwi, a pupil of Garrison Primary School.

The rapper took to social media after performing on the second day of the festival on Saturday, September 5, saying he had to mentally prepare himself before eventually taking the stage.

“Almost cancelled my performance at Afro fest tonight but the fans always a good reason not to … literally had to psych myself to get on that stage,” Sarkodie wrote.

He added that the experience reminded him why he rarely accepts invitations to perform on certain platforms, describing the organisation of the event as “extremely disorganized.”

Despite his disappointment, Sarkodie said the response from the audience made the experience worthwhile.

“Glad at least the fans had a good time … y’all get your sh*t together,” he added.

Sarkodie’s frustration appeared to resonate with some fans, with social media users also expressing disappointment over the organisation of the festival and the treatment of the rapper during his set.

His performance time was reportedly delayed, while his set was cut short along with those of other artistes. His microphone was also reportedly cut off while he was performing, further frustrating fans who had turned up specifically to see the Ghanaian rapper.

Despite the setbacks, Sarkodie still delivered one of the memorable Ghanaian moments of the festival when his hit song Adonai came on.

As the song played, the rapper proudly raised the Ghanaian flag before a large crowd, with fans singing and responding enthusiastically to the performance.

The festival has brought together major names from Afrobeats, hip-hop, dancehall and other African and Caribbean music scenes, with organisers expanding the event following its debut in 2025.

The rumours gained fresh attention after Regina was recently spotted at Nwoko’s residence, where she was seen spending time with her children.

Netizens also pointed out her protruding tummy they speculated to be pregnancy.

Her appearance quickly triggered speculation on social media that the actress could have reconciled with the senator and was possibly expecting another child with him.

However, Regina’s younger sister, Destiny Daniels, has dismissed the pregnancy claims, explaining that she had simply gained weight.

She also debunked that the actress’ presence at Nwoko’s residence should not be interpreted as a return to the marriage.

In a post on her Instagram Story, Destiny said Regina was only granted permission to visit her children and urged the public to stop drawing conclusions about her sister’s personal life based on the viral footage.

“Y’all should chill. She was granted a visit to see her children just last night. No, she’s not pregnant either; it’s called putting on weight. She’s still very much single for now,” she wrote.

Regina Daniels and Ned Nwoko married in 2019 and have two children together. Their relationship has attracted considerable public attention, particularly since reports of problems in the marriage emerged in 2025.

Their subsequent appearances, statements and social media activity have repeatedly triggered speculation about the state of their relationship.

According to an inquest at Inner West London Coroners’ Court, Ubiribo died on March 6, 2026, a day after undergoing the cosmetic procedure at a clinic in Bangkok. The cause of death was linked to the procedure by coroner Jean Harkin, according to reports by TMZ and E! News.

Ubiribo had been on holiday in Thailand with his wife, Danielle Simba Allen, when he visited a local clinic on March 5 for the procedure.

Medical staff reportedly injected 40 millilitres of hyaluronic acid and lidocaine into his penis as part of the enhancement treatment. The procedure reportedly cost about US$9,000.

Hyaluronic acid is a gel-like substance commonly used in cosmetic procedures, including treatments designed to add volume to tissue. In Ubiribo’s case, however, the procedure was followed by a medical emergency.

After the treatment, Ubiribo and his wife reportedly went for a massage. It was there that he began complaining of chest pain before losing consciousness twice, according to details reported by TMZ.

He was subsequently taken to hospital, where doctors determined that he had suffered a pulmonary embolism.

A pulmonary embolism occurs when a blood clot blocks a blood vessel carrying blood to the lungs. It can be life-threatening and requires urgent medical attention.

Doctors at Sukhumvit Hospital reportedly performed CPR on Ubiribo for more than 100 minutes in an effort to save his life, but he died from complications linked to the procedure on March 6.

The subsequent UK postmortem examination reportedly found traces of the filler material in his lungs, adding to the evidence considered in determining the cause of death.

Coroner Jean Harkin concluded that the cosmetic injection caused the fatal embolism, according to reports on the inquest.

Ubiribo was known online for documenting a luxury lifestyle and had built a following under the names “Tiny,” “Denisi” and “Ego.”

His death came months before the details of the medical procedure and its fatal consequences were reported publicly.

The case has since drawn attention to the potential medical risks associated with cosmetic enhancement procedures, particularly when injectable fillers are used in sensitive areas of the body.

Foreign Affairs Minister Samuel Okudzeto Ablakwa inspected the project on Friday and expressed satisfaction with the progress of work and the quality of execution.

According to Mr Ablakwa, the project is expected to be completed and handed over before the end of 2026.

The ongoing works form part of efforts to provide a modern VIP facility at the airport, with the project now at an advanced stage as contractors put finishing touches to the facility.

Photos from the Minister’s inspection show the extent of work completed on the project and the developing features of the new lounge.

Mr Ablakwa also disclosed that the project is being delivered without the use of taxpayer funds.

He said the facility is being funded through a corporate social responsibility arrangement involving local Ghanaian businesses, which release funds directly to local contractors working on the project.

The Foreign Ministry’s Estate Bureau, he explained, is supervising the works to ensure that the required standards are met.

Mr Ablakwa described the project as an example of what can be achieved through private-sector support without relying on public funds and conventional public procurement.

With the completion date approaching, attention is now on the final stages of work before the facility is handed over later this year.

The rapper has come under discussion among music fans who believe the timing of his release may have worked against him, with Kweku Smoke’s No Days Off album and Black Sherif’s Sun Sherif also commanding significant attention in the music space.

But Kofi Mole appears unfazed by the competition, as he insisted that the presence of bigger artistes on the release calendar will not make him reconsider his decision or retreat from a date he has chosen for his own project.

Regardless of who releases on same day, his project will still make airwaves.

“Once I set my release date I set am! Make Tupac resurrect then decide to drop album same day, we go drop together,” he said.

His stance comes at a time when the Ghanaian music scene is witnessing a particularly competitive period, with several established names releasing projects and competing for listeners, streams and chart positions.

While some fans may see the clash of major releases as a disadvantage for Kofi Mole, his response suggests he is more interested in standing by his decision than waiting for a less crowded moment.

The 116.1-kilometre project, which began in 2016, has faced significant delays since QG Construction Limited, the contractor, abandoned the site in 2022.

Mr Agbodza disclosed the government’s renewed commitment to the project during a working visit to the Upper East Region as part of his nationwide inspection of road projects.

He explained that efforts were being made to settle outstanding payments to the contractor to pave the way for the resumption of construction.

According to the Minister, the government owes QG Construction Limited approximately €28 million, with the debt affected by the Domestic Debt Exchange Programme.

He said government was working to resolve the financial obligations and ensure the contractor returns to site to complete the road within the revised deadline.

Mr Agbodza described the project as a major priority because of its strategic location and importance to trade and transportation, particularly its links to Togo and Burkina Faso.

“Where it ends is almost like a place where we have a connection with Togo and Burkina Faso. It is such an important road for those who live here and are traders. It is priority number one,” he said.

The Minister said government was also determined to complete other road projects along the corridor that have remained unfinished since 2016.

He explained that the broader objective is to ensure that the various suspended projects along the corridor are completed by the end of 2027.

“The many road projects suspended since 2016 on this corridor, which are all part of what we are trying to complete, the idea is to get them done by the end of 2027,” he said.

Mr Agbodza said completion of the Bolgatanga-Bawku-Polimakom Road would strengthen connectivity, support cross-border trade and reduce transportation difficulties for residents and businesses in the Upper East Region.

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The 29-year-old singer shared the unusual plan during an interview with British media personality Madame Joyce, explaining that he is attracted to the idea of starting a family young and entering his 40s with teenage children.

Joeboy said his perspective on early marriage was influenced by comments from Nollywood actor Timini Egbuson, who had spoken about wishing he had married earlier despite his reputation as a ladies’ man.

“I saw an interview of Timini. He’s like the ideal playboy; almost all the girls claim to love him, and he was like, he wished he got married early. I was like, if you’re a playboy and you can say this, that means marrying early might actually be nice,” he said.

For Joeboy, the appeal lies in building a family with someone he genuinely loves rather than waiting until a later stage in life.

“Marrying early to someone who you genuinely love is going to be cute. Being 40 and having a 16-year-old kid is cute,” he said.

The singer, however, stressed that early marriage should not be treated as a trend or something to pursue simply because it seems attractive.

“But marriage is not really about whenever it feels cool. If it just feels right to you and you love the person, do it,” he added.

While Joeboy made it clear that he would personally choose to marry early, he said fans and the wider public may not know about it if it happens anytime soon.

“Personally, I would rather get married early. But if I get married right now, nobody is going to know,” he said.

He suggested that he could keep the marriage completely private until he and his partner have built a sizeable family, joking that the public might only discover his secret much later.

“Maybe when I have like three kids, people will now find out that Joeboy has a whole family somewhere,” he added.

The comments offer a glimpse into a side of the singer’s life he appears keen to protect from the intense public attention that comes with his music career.

According to Ogulu, she sometimes has to step in and take his phone away when she feels his online interactions are getting out of hand.

She made the revelation during an interview with media personality Ebuka Obi-Uchendu on Channels TV, where she discussed Burna Boy’s personality and the challenges that come with managing an artiste who is known for being outspoken.

Ogulu said she has learnt not to suppress the qualities that make her son who he is, explaining that the emotions behind some of his controversial moments are also part of what connects him with his audience.

“You can always notice the difference between when I tweet and when Burna tweets. What I’ve come to learn is that artists like him, they’re like a tapestry. If you pull at one thread too hard, everything will unravel,” she said.

She explained that rather than attempting to completely change his behaviour, she tries to make room for his individuality while intervening when necessary.

“So you must make allowances for this person being himself, because it’s the same emotion that what you love about him comes from. Within, we do what we can,” she said.

Ogulu then revealed one of the more direct ways she deals with Burna Boy during particularly heated Instagram Live sessions.

“I usually grab his phone from him anytime he goes wild on Instagram Live,” she said.

Burna Boy has built a reputation for his candid and sometimes controversial social media presence, with his Instagram Live sessions regularly drawing attention from fans and critics alike.

For Ogulu, however, managing the superstar appears to involve striking a balance between allowing him to remain authentic and knowing when it is time to step in.

According to her, the fastest way to ruin a child’s life is by preventing them from experiencing hardship or working hard.

Speaking in a recent interview with media personality Femi Baba, Mama G recalled that she once evicted her son from home so he could go out and make a living for himself.

She said, “The fastest way to ruin a child’s life is to say you don’t want them to suffer the way you did. 

“When you’re gone, they may start fighting over your property. I told my son, ‘My house isn’t yours. Go and work for your own.’”

Ozokwor explained that because she raised her children with discipline and hard work, they were doing well.

The movie icon urged parents not to deny their children the experience of struggle and hard work out of love.

Yet industry reports over the past year continue to highlight an uncomfortable reality: a song going viral in Ghana does not always translate into meaningful income for the artist who created it.

Part of the problem is structural. Streaming payouts are notoriously low, often cited at around GH¢0.05 per stream, meaning artists need significant volumes of streams to recover the costs of producing a song, including beats, studio sessions and music videos.

Royalty collection through the Ghana Music Rights Organisation (GHAMRO) has also faced criticism over the years, particularly over concerns about delays and transparency. Some artists have publicly questioned the organisation’s payout processes.

GHAMRO, however, has pointed to progress in addressing some of these concerns. In July 2026, the organisation announced the distribution of more than GH¢1.4 million in royalties, describing the payment as one of its highest-ever digital royalty distributions. It also introduced personalised royalty statements aimed at improving transparency for members.

Another major challenge is piracy, which remains more difficult to tackle.

Industry estimates put annual losses from unlicensed music distribution in Ghana at more than GH¢10 million. Previous efforts to introduce a dedicated national streaming platform to help address the problem have struggled to gain traction, amid challenges including piracy, high data costs and limited local catalogue access compared with platforms such as Boomplay and Audiomack.

This points to a problem that is not only about distribution, but also discovery.

A fan who hears about a new song has historically been just as likely to find an unofficial “download MP3” blog as the artist’s official Spotify, Apple Music, Audiomack or YouTube page.

Every time that happens, the artist potentially loses a legitimate stream, royalty and valuable audience data that streaming platforms use to determine which artists and songs receive greater visibility.

It is a gap that some smaller Ghanaian and Pan-African platforms are attempting to address from the discovery side rather than through enforcement.

One such platform is ghanasong.org, founded by Ghanaian entrepreneur Bright Dwomoh. The platform covers new releases from more than 300 Ghanaian and Pan-African artists but deliberately avoids the unofficial-download model.

Instead, its features embed artists’ official YouTube videos and direct users to their verified streaming platforms rather than hosting or redirecting them to unauthorised download files.

“Piracy doesn’t usually start with someone trying to steal from an artist — it starts with someone just trying to find the song,” Dwomoh said.

“If the first link a fan sees after hearing about a new release is a real Spotify or Apple Music link instead of a download blog, that’s one less stream the artist never gets credited for. It’s a small piece of a much bigger problem, but it’s a fixable one.”

The approach does not solve the broader questions surrounding royalty collection, nor does it replace the policy and enforcement measures Ghana’s music industry needs to combat piracy.

However, as artists, platforms and regulators continue searching for ways to ensure that successful songs translate into sustainable income for their creators, improving the path between discovering a song and accessing its official release could be a practical place to start.

For Ghana’s music industry, the battle against piracy may therefore begin not only with stopping illegal downloads, but with making it easier for fans to find and support the music they love through legitimate channels.

Readers can see how the approach works in practice at ghanasong.org.

Speaking after the presentation, the Foundation’s Chief Executive Officer said the gesture forms part of efforts to empower young people and provide platforms for them to showcase their talents.

“We are delighted to support the Meko Bono Hemaa Beauty Pageant and celebrate these young women for their talent, confidence, culture and leadership. Our support is a demonstration of our commitment to empowering young people and providing them with opportunities to realise their potential.”

As part of the support, the CEO presented a 32-inch television set to the winner, a smartphone to the first runner-up and an undisclosed cash amount to the second runner-up.

He congratulated all the winners and participants, stressing the Foundation’s commitment to initiatives that promote youth development.

“We congratulate all the winners and participants. We are proud to be associated with an initiative that gives young people a platform to express themselves, build confidence and inspire others. We believe investing in the youth is an investment in the future.”

The Agyenim Boateng Foundation said it will continue to support programmes focused on youth empowerment, talent development and the promotion of Ghanaian culture and leadership.

News of his passing was announced on Thursday, September 3, 2026, sparking an outpouring of tributes from music lovers who celebrated his contribution to highlife, particularly in the Nzema and Western regions.

Nana Safohene Gyeni enjoyed a long and productive career, recording more than 100 songs across multiple albums.

His music also reflected his versatility, with songs performed in Nzema, Fante and Twi, allowing him to connect with audiences beyond his immediate community.

One of his celebrated compositions, “Nea Ye Boe”, is regarded as one of the works through which he influenced a younger generation of musicians.

His contribution to music in the Western Region was also formally recognised when the organisers of the 610Music Western Music Awards honoured him with a Lifetime Achievement Award.

Beyond his recorded works, Nana Safohene Gyeni’s enduring influence was rooted in his career as a broadcaster.

He served West End Radio for a decade, from 2016 To 2026 until his passing after a short illness.

According to Kwaku Manu, his choice is not necessarily based on the musical abilities of the artistes, but rather on the reception and personal connection he experiences whenever they meet.

Speaking in an interview on Joy Prime, he said Shatta Wale gives him a different level of comfort whenever they meet.

Kwaku Manu explained that Shatta Wale’s welcoming nature is what makes their relationship particularly special to him.

“I love all the musicians. They are my friends. Everyone and their musical prowess, but the one I am most comfortable with is Shatta. Whenever we meet, it’s a different level. The way he is welcoming and all,” he added.

It is based on this relationship that he attends all of Shatta’s concert, and even flew to UK for the maiden edition of ShattaFest Party in the Park.

When asked about female musicians, Kwaku Manu mentioned rapper Eno Barony as the artiste he is closest to.

Watch video below:

Speaking after he was discharged by the Dansoman Circuit Court, Powers said he was grateful to God for helping him through the difficult period and insisted that the circumstances surrounding his arrest did not reflect his character.

Powers was arrested by the Accra Regional Police Command on August 24, 2026, after reporting himself to the police following an invitation over a viral social media video.

He was subsequently arraigned before the Dansoman Circuit Court and charged with threat of death. The court remanded him for one week and scheduled him to reappear on September 2 as investigations continued.

He was, however, discharged by the court when he appeared on the scheduled date.

Reflecting on the case, Ayitey Powers maintained that he does not insult or physically attack people and questioned how he found himself at the centre of the controversy.

He attributed the situation to spiritual forces, saying, “I have never threatened to assault someone or even insult someone online before so I don’t know how this happened. Later I can say that, it’s the work of the devil. Satan has planned it, yet it should not be.”

Ayitey Powers also spoke about the financial dispute surrounding the matter as he revealed that he is willing to let it go

“The money is almost one year. And this same money send me to custody, one week,” he said.

The controversy followed an ongoing disagreement between Powers and authorities over the cancellation of a boxing event he was promoting and financial losses he claimed to have suffered.

The Ghana Boxing Interim Management Committee (GBIMC) had called on the police to investigate and prosecute him over comments in a viral social media video and also initiated disciplinary proceedings against the former boxer.

Ayitey Powers, however, says the ordeal has strengthened his reliance on his faith. He expressed gratitude to God for seeing him through the case and said he hopes to return to his worship activities.

Sharing her humble beginnings in an interview on Joy Prime, the gospel star revealed that the song was a message she received directly from God during a season of disgrace and disappointment.

The incident happened in her early days as a pupil teacher, when she was publicly disgraced by a loan shark in her classroom.

“I remember when I was in a classroom, I was owing someone, and a person came around to collect the money. I didn’t have so I decided to flee. While I was leaving the classroom, one of my shoes got torn, and I have to carry it in my hand in my presence of my students. I was so embarrassed by it that I forget I was being humiliated for owing,” she recounted amid tears.

Ohemaa Mercy said it took the intervention of a passerby to plead on her behalf and settle her debt before she was freed from the drama.

She added that the experience deeply affected her, and after eventually returning to her office, she broke down in tears.

It was during that emotional moment, she recalled, that she heard a voice telling her, “Si abotre twen me,” which she explained as a message to be patient and wait for God’s redemption.

She said the experience has remained with her throughout her life because of how difficult that period was.

For Ohemaa Mercy, however, the painful experience eventually became the inspiration for a message that would go on to touch the lives of many people through her music.

With the help of producer Nacee, she was able to put her thoughts together and craft an inspiring song that has since resonated with listeners.

Watch video below:

Speaking to Kwame Dadzie on Joy FM’s Showbiz A-Z, she recounted a situation where she felt sick prior to an event.

“I do a lot. I remember one time I did what we call A Dine With Diana at Movenpick Hotel. At a point I thought I was unwell. I felt like I had a fever. I was having chills. I had to get in the bed and cover myself a bit,” she said.

Asked if she had the same feeling during her performance at the 2026 Telecel Ghana Music Awards, Diana answered in the affirmative.

She also noted that what people described as “composure”, “aura” and “steeze” was a result of paying attention to the loops in the instrumentation so that she would not derail from the performance.

At the TGMA ceremony, Diana sang about five different songs within six minutes. Many music lovers and critics lauded her performance and costume.

Diana Hamilton is one of Ghana’s prominent contemporary gospel musicians, with a career spanning several years. Her music has earned her a strong following in Ghana and among Ghanaian communities abroad.

She has also built a reputation for combining traditional gospel influences with contemporary sounds, with songs such as Adom, My Meditations, Ahe Ye, Yehowa Behwe and Mo Ne Yo, further establishing her presence in Ghana’s gospel music scene.

In the meantime she is out with a new song titled Nyame Banbofo. 

The 63-year-old was last seen on Tuesday, September 1, 2026, at Nyaho-Tamakloe Street in Agbogba, Accra.

A missing-person notice circulated with details identifying her, prompting members of the public to assist in sharing the information.

An update confirming her safe recovery has since been issued, with appreciation extended to everyone who helped circulate the alert and supported efforts to locate her.

The update also credited the public’s vigilance and prayers for contributing to the successful outcome.

Further details on where she was found or the circumstances surrounding her disappearance have not been disclosed.

Richie checked himself into a local hospital after performing at The Muny in St. Louis on Saturday, August 29. A source close to his tour told Rolling Stone that the singer was doing okay and had sought medical attention as a precaution.

The latest reports, however, indicate that Richie remains in intensive care while undergoing cardiac tests. According to People, he is expected to return home on Wednesday, September 2, although no detailed medical diagnosis has been publicly announced by Richie or his representatives.

Concern about the singer’s condition emerged during Saturday’s performance when he appeared to struggle toward the end of his set. Witnesses reported that Richie requested a chair while performing his closing number, the 1983 classic “All Night Long”, and completed the song while seated.

The hospitalisation comes just over two months after another health scare during the opening night of his current tour with Earth, Wind & Fire.

Second health scare in two months

On June 24, Richie became dizzy and ended his concert in St. Paul, Minnesota, earlier than planned. Two subsequent shows were postponed after doctors advised him to rest.

He returned to the stage on June 30 and later reassured fans that he was recovering. Reports at the time attributed the episode to dehydration.

The latest incident has therefore renewed concerns about the veteran performer’s health, particularly as he continues a demanding touring schedule at 77.

Despite the latest development, Richie’s tour has not been broadly cancelled. His official website currently lists his next performance for September 26 at Chase Center in San Francisco, followed by shows in Chicago on September 30 and Columbus, Ohio, on October 2.

He is also scheduled to begin a Las Vegas residency at the Encore Theater at Wynn Las Vegas in October.

A career that continues to span generations

Lionel Richie remains one of the most influential figures in popular music, having built a career spanning more than five decades.

He first achieved international fame as a member of the Commodores before establishing himself as a solo star with hits including “Hello”, “All Night Long”, “Say You, Say Me”, “Easy” and “Three Times a Lady”.

His career has earned him multiple Grammy Awards and a place among the world’s most recognisable entertainers. In recent years, he has also remained visible to younger audiences as a judge on American Idol.

For now, attention remains focused on his condition as doctors complete their assessments.

While reports have described the hospital visit as precautionary and a source close to his tour has said he is doing okay, there has been no official confirmation of a specific heart condition or other serious diagnosis.

The organisers described the claims as false and urged the public, particularly indigenes of Komenda, visitors and festivalgoers, to disregard them.

Among the rumours is a claim that persons with dyed hair, dreadlocks or Rasta hairstyles would be barred from entering Komenda during the festival and fined.

Another claim suggests that Komenda natives living in Tarkwa would be required to undergo health screening before they could enter the town for the celebration.

There have also been reports that masqueraders would only be allowed to display on the streets of Komenda on Sunday, September 13, 2026.

However, the Komenda Traditional Council and KNAPC have categorically denied issuing any such directives or making arrangements of that nature.

In a statement issued on behalf of the Paramount Chief of the Komenda Traditional Area, Okatakyi Komeh VIII, and the Komenda Traditional Council, Justice Ghartey Jones said none of the reported restrictions had been sanctioned by the traditional authorities or the festival planning committee.

“There is no such directive, prohibition or arrangement from the Paramount Chief, the Komenda Traditional Council or the Nyeyi Afahye Planning Committee,” the statement said.

The organisers have therefore cautioned the public against giving credence to the claims, circulating them or acting on information that has not been officially confirmed.

They said any legitimate information or directive concerning the 2026 Nyeyi Afahye would be communicated through the authorised channels of the Komenda Traditional Council and the Nyeyi Afahye Planning Committee.

The committee has encouraged residents, visitors and other stakeholders to disregard the misinformation and join in the celebration in a spirit of peace, unity and enthusiasm.

The clarification comes as preparations continue towards the 2026 Komenda Nyeyi Afahye, with the organisers seeking to prevent misinformation from creating confusion among residents and visitors ahead of the festival.

The blogger got tongues wagging on Jux’s birthday after sharing a rather intimate photo of them kissing, a photo that was taken during their relationship.

As though that gesture was not enough, she also shared photos from the birthday celebration organised by Priscilla for her husband while pointing out how much weight Juma Jux had lost.

Her posts did not exactly receive the warm reception she may have expected.

Some social media users questioned why she was still publicly displaying affection for her former partner when he had already moved on and married, with others describing the posts as distasteful and urging her to respect the couple’s relationship.

One commenter bluntly asked why she could not leave Jux alone and move on with her life.

Her response was just as direct: “I still love him”, that one confession only added more fuel to the already blazing online conversation.

The blogger later became emotional and was seen shedding tears after being criticised over her reactions to Priscilla’s surprise birthday celebration for Jux.

For many followers, the biggest question is not whether she still has feelings for Jux, but whether those feelings should be playing out so publicly now that the musician is married.

Juma Jux, meanwhile, celebrated his birthday surrounded by his wife and loved ones.

The family will receive mourners at No. 13 Calvary Street, G.E., on Wednesdays from 12 noon to 5 p.m., and Saturdays and Sundays from 11 a.m. to 5 p.m.

In a statement, the family said it was open to receiving loved ones and members of the public who wish to join them in honouring the life and legacy of the celebrated actress.

Grace Nortey passed away on Wednesday, August 26, 2026, at the age of 89.

Announcing her death, the family paid tribute to her as “a mother to our family” and “a legend to the nation.”

The veteran actress was widely recognised for her contributions to Ghana’s theatre, television and film industries, with a career spanning several decades.

Her death has triggered an outpouring of tributes from colleagues, fans and industry stakeholders who have remembered her for her talent and longstanding contribution to Ghana’s creative arts.

The family said details of her funeral arrangements and final funeral rites will be communicated at a later date.

Also read:

• Veteran actress Grace Nortey dies at 89

• She was a trailblazer and cultural icon – Bawumia mourns Grace Nortey

The family is appealing to the public for information that could help locate the veteran gospel musician and ensure her safe return home.

Anyone with information about Bernice Offei’s whereabouts is urged to contact 024 878 1971 or 024 755 3431.

Members of the public may also report any information to the nearest police station.

The family is urging the public to share the information widely to help bring Bernice Offei home safely.

In a Facebook post, Mrs Dumelo expressed her grief over the passing of the former minister, describing death as cruel and reminiscing about the long conversations and gossips they shared.

“Oh how I miss you already death is so cruel… I will miss our long conversations and gossips,” she wrote.

She recalled a conversation about how fortunate her parents were to have had two MPs and Ministers as in-laws.

According to her, what intrigued them most was the coincidence that both Ibrahim Adam and her husband, John Dumelo, were assigned to the same ministry.

“I remember our conversation about how fortunate my parents are to have had two MPs and Ministers as in-laws. What intrigued us the most was the fact that you both were assigned to the same Ministry (Agric) you were deputy and rose to Minster and now John filling your position as Deputy….life hmmm.”

Mrs Dumelo described the late Ibrahim Adam as a “legend,” saying his memory would forever remain cherished.

“You were a legend and we will forever hold you dearly in our hearts. Hon. Adam Ibrahim our Hero rest in power,” she added.

The musician, born Grace Kaki Awo Ocansey, is now professionally known as Dr. Grace Aidoo, DNP, APRN, PMHNP-BC. She recently introduced Kaylora Holistic Wellness & Recovery, a US-based mental health practice providing psychiatric and therapeutic services.

In announcing the practice, Kaakie said her approach is centered on compassionate and individualised care, with attention to the broader circumstances of each client rather than focusing solely on a diagnosis.

Kaylora’s services include psychiatric evaluations, medication management, ADHD care, treatment for anxiety and depression, bipolar disorder care, trauma and PTSD support, psychotherapy, couples’ therapy, and child and adolescent psychiatric care, as well as court-ordered psychiatric and DUI evaluations. The practice also offers telehealth services.

From nursing to dancehall

Kaakie’s latest achievement brings her career full circle, having started out in healthcare before becoming one of Ghana’s prominent female dancehall artistes.

She studied nursing and midwifery at the University of Ghana and gained public attention after participating in the television music competition Stars of the Future, where she finished fifth.

Her appearance on the competition eventually led to a professional music career. She later connected with producer JMJ and signed with Xtra Large Music, establishing herself as a major force in Ghana’s dancehall scene.

Kaakie recorded several popular songs during her music career, including “Ewoo,” “Too Much,” “Toffee Pon Tongue,” and “Zuuchia.” She also won Best New Artiste of the Year and Reggae/Dancehall Song of the Year at the 2013 Ghana Music Awards.

Even at the height of her music career, she continued to work in healthcare. In a 2014 interview with Graphic Showbiz, she spoke about the challenge of balancing her work as a registered general nurse with her music career.

Returning to healthcare

Kaakie eventually stepped away from music to focus more extensively on healthcare and further education.

She earned a master’s degree from Anglia Ruskin University in the United Kingdom in 2019. In 2020, she explained in an interview with Joy FM that her desire to contribute to healthcare, particularly in the area of maternal health, had become stronger than her desire to continue making music.

Her professional journey later shifted toward mental health.

In 2025, she announced that she had earned a Master of Science in Nursing with a Psychiatric Mental Health Nurse Practitioner specialisation from Walden University.

Her latest qualification takes that journey another step forward, with her Doctor of Nursing Practice placing her at the doctoral level of nursing education.

Professional listings identify Dr. Grace Aidoo as a board-certified psychiatric-mental health nurse practitioner and associate her with Kaylora Holistic Wellness & Recovery.

A new professional identity

The launch of Kaylora represents a significant transformation for an artiste who became widely known for her energetic performances and contribution to Ghana’s dancehall movement in the early 2010s.

While Kaakie’s music career established her public profile, her latest work places healthcare and mental well-being at the centre of her professional identity.

Her journey from nursing student to dancehall star, and now to a doctoral-level mental health practitioner and healthcare entrepreneur, has connected two areas that have defined different stages of her life.

For fans who remember her as Ghana’s “Dancehall Queen,” the emergence of Dr. Grace Aidoo signals a new chapter in the career of one of the country’s most distinctive female entertainers.

In a Facebook post announcing his arrival, Baba Sadiq said he was taking up the role with a commitment to strengthening the longstanding Ghana-Nigeria relationship and creating new opportunities for cooperation between the two countries.

“September begins in Abuja.

I arrived in Abuja yesterday to commence my national assignment as Ghana’s High Commissioner-designate to the Federal Republic of Nigeria and Permanent Representative to ECOWAS, with a commitment to strengthening the enduring Ghana-Nigeria relationship and building bridges of opportunity,” he stated.

His new diplomatic assignment comes as Ghana and Nigeria continue to deepen cooperation across areas including trade, investment, regional integration, security and people-to-people relations.

Baba Sadiq is expected to formally take up his responsibilities following the completion of the required diplomatic processes.

PENYI HATA, VOLTA REGION — After more than two decades away from the active music scene, Togbe Afrika has made a remarkable return, culminating in a historic homecoming in Penyi Hata where Togbe Ekle II, Chief of Penyi Hata, enstooled and honoured him as the King of Music.

The symbolic enstoolment, which took place before Togbe Afrika’s headline performance on Saturday, August 29, 2026, represented more than a ceremonial honour.

It marked what many described as the return of an original occupant of the music throne after more than 20 years away from the industry.

For years, Togbe Afrika had been away from active music, leaving what supporters described as a musical throne occupied by other artistes and performers acting as regents in his absence.

But on August 29, the story changed.

The King came home.

With the traditional authority of Togbe Ekle II, the homecoming reached its defining moment when Togbe Afrika was formally enstooled and honoured as King of Music.

The ceremony became a powerful symbol of his return to the music industry and his re-emergence to reclaim the place he had established through his music decades earlier.

A homecoming that became a musical statement

The Togbe Afrika Homecoming was more than a concert.

It became a celebration of heritage, music, community and the enduring power of songs that have survived generations.

People travelled from near and far to Penyi Hata to witness the historic occasion.

From the beginning of the programme, Togbe Afrika demonstrated a deliberate commitment to the next generation by giving emerging artistes the opportunity to perform before a large audience.

That gesture earned considerable praise from attendees, with many describing the programme structure as one of the reasons the event stood out.

The Homecoming created a platform where established musicians could share the stage with emerging talents, effectively bringing Volta’s musical past into conversation with its present and future.

For many observers, it represented a new model for event organisation—one where entertainment, cultural identity, mentorship and talent development could exist on the same stage.

When 30-year-old songs came alive

Perhaps the most remarkable part of the night was the audience’s response to Togbe Afrika’s older music.

The artiste opened one of his performances with songs from his first album, “Menyabe,” a gospel project released decades ago.

Despite the age of the songs, the audience immediately connected with them.

People sang along, danced and responded to the music as though the songs had been released only yesterday.

Songs including “Frank Nero Deye Ne Kua” and the much-loved “Danye Sidzima” remained firmly etched in the memories of many attendees.

The moment provided perhaps the strongest evidence that great music does not necessarily become old.

As the songs played, different generations came together to sing the same lyrics.

It was a powerful reminder that while music may age, the memories created through music can remain timeless.

Togbui Anyigbanya returns to the fire

Following his first performance, Togbe Afrika invited another veteran of the Volta music scene, Togbui Anyigbanya, to the stage.

Togbui Anyigbanya, who also began his musical journey approximately three decades ago, delivered a performance that immediately transformed the atmosphere.

The audience sang along to his songs and responded enthusiastically throughout his set.

For many, it was another emotional reunion with the music of an earlier generation.

His performance also demonstrated that the Homecoming was not only about Togbe Afrika’s comeback but about reconnecting Volta’s musical heritage with its present.

The Highlife and Hiplife revival

Togbe Afrika later returned to the stage for another major performance, this time delivering songs from his Highlife and Hiplife catalogues.

What followed surprised even some of the organisers.

As DJ Dynamics began playing the familiar songs, the crowd immediately recognised them.

People screamed, sang along and danced to songs released decades earlier.

The reaction captured the central message of the Homecoming:

Music is never old. Once it starts playing, it becomes new again.

Jah Phinga: A new chapter begins

Togbe Afrika then introduced his son, Jah Phinga, to the stage.

Jah Phinga, a guest artiste from a nearby community, came prepared to prove himself—and he did not disappoint.

He delivered a high-energy performance, commanding the stage and keeping the audience engaged.

The crowd responded enthusiastically, with many describing his performance as one of the major highlights of the evening.

For Jah Phinga, however, the significance of the night went beyond his performance.

In an interview after the event, he acknowledged that the Togbe Afrika Homecoming had become an important platform not only for his father’s return to music but also for his own musical revival and that of other young artistes.

The event therefore became a bridge between generations, connecting pioneers of Volta music with musicians emerging today.

The King returns with a new sound

Just when the audience thought the night could not get any better, Togbe Afrika returned to the stage for the third time.

This time, he presented his new-school Afropop sound.

The response was remarkable.

Young people and older audiences danced together as Togbe Afrika performed songs including “Fire On The Floor,” “What’s My Name,” “Happy Wedding Day” and “Move Your Body.”

When “Move Your Body” began playing, particularly among the young women in the audience, the response was immediate, with many singing along.

It was a striking demonstration that Togbe Afrika was not returning to music simply to reproduce the past.

He was returning with a sound designed to connect the past, present and future.

ENAM takes the stage

Togbe Afrika subsequently introduced ENAM, who also delivered a memorable performance.

Her songs were already familiar to many in the audience, with fans singing along word-for-word.

Some enthusiastic supporters even joined her on stage during her performance.

ENAM also used the opportunity to reveal that August 29 was Togbe Afrika’s birthday, adding another emotional dimension to the celebration.

She noted that without Togbe Afrika, she would not have had the opportunity to be in Penyi Hata that day.

Her words reinforced the wider significance of the Homecoming as a platform for artistes and emerging talent.

A show that people are already calling a new standard

Throughout the event, audience members expressed their satisfaction with the programme and performances.

Some fans interviewed after the show described the Togbe Afrika Homecoming as one of the best paid musical events they had experienced in the region.

Unlike free community events, attendees had purchased tickets to be part of the experience, yet the audience remained fully engaged throughout the night.

The carefully structured programme—from emerging artistes to established veterans, from gospel to Highlife and Hiplife, and finally to contemporary Afropop—created a musical journey across generations.

Many attendees were heard asking:

“When is the next show?”

That question may be the clearest indication of the success of the Homecoming.

A peaceful and incident-free celebration

The event was successfully concluded without any reported major incident.

Togbe Afrika acknowledged the support received from the Volta Regional Minister, Hon. James Gunu, and the Volta Regional Police Command in helping to create a safe and peaceful environment for the programme.

The Dzodze Police Unit, under its commander, also played an important role in maintaining security and ensuring that the celebration remained peaceful.

For an event that attracted a large gathering from different communities, the incident-free nature of the programme was another major achievement.

More than a comeback—a new musical chapter

The significance of the Togbe Afrika Homecoming may ultimately extend beyond one night of entertainment.

It demonstrated that an artiste can step away from the music scene for more than two decades and still return to an audience that remembers the songs.

It showed that old music can still move young people.

It gave emerging artistes an opportunity to perform before a major audience.

It reignited the musical careers of artistes such as Jah Phinga and Togbui Anyigbanya.

And it created a platform where established musicians could inspire the next generation.

Most importantly, the Homecoming transformed Togbe Afrika’s return into a story of restoration.

The King travelled.

The throne remained.

The music continued.

But after more than 20 years, the King has returned.

And with Togbe Ekle II, Chief of Penyi Hata, presiding over the traditional enstoolment and honouring Togbe Afrika as the King of Music, the symbolism could not have been stronger.

The King has come home.

And the music throne is alive again.

Next stop: Adutor

The Togbe Afrika Homecoming may have ended in Penyi Hata, but the musical journey is continuing.

According to Togbe Afrika, the next show will take the experience to Adutor, bringing the celebration closer to music lovers from Keta, Anloga, Dabala, Sogakofe, Adidome and surrounding communities.

Next show

Date: September 26, 2026
Venue: Nitrogen Beach Resort, Adutor

If Penyi Hata was the place where the King returned, Adutor will be the next chapter in what is shaping up to be a new era for Togbe Afrika and the wider Volta music scene.

The King has returned.

And the music throne is alive again.

The nominations took an unexpected turn after Big Brother nullified the housemates’ earlier saves for discussing nominations and conspiring. This left the House with a fresh nomination slate, putting Barry, Keivo, Gerard, Aikou, Tram, Araga, Flora, Bells, Oyin, Nomy, Yusuf, Chimsom Chuka, Temi Nkem, Ricky and Bluethopia up for possible eviction.

Operation Release the Gambit

The nominations come in the same week that Aikou and Flora officially shed their Gambit status. During Sunday’s live show, Big Brother introduced Operation Release the Gambit, giving viewers the power to decide whether either or both Gambits would be released and allowed to compete for the grand prize.

Voting ended on Monday before nominations, with the decision clearing both Aikou and Flora to play for the prize after five weeks as Gambits. Their new status also means they can now face the same risks as the other housemates, including eviction.

Abi Wins HOH Again

Abi has secured another week of safety after winning the Head of House challenge for the second time this season. Bells, meanwhile, has been named Benchwarmer for the second time after a five-way tie between Yusuf, Sheba, Ricky, Bells and Nomy to determine the week’s worst-performing housemate. With the tie unresolved, Biggie turned to a dice roll to decide who would take on the Benchwarmer role, with Bells emerging as the final choice.

The housemates also faced the consequences of their actions from last week. Following their repeated disregard for Big Brother’s rules, ₦5 million was deducted from the prize money, bringing the total prize money to ₦90 million. 

Voting lines are now open, with viewers deciding which of the 15 nominated housemates will remain in the competition. Voting closes at 9:00 p.m. on Thursday.

With Aikou and Flora now released from their Gambit status, the game has taken another turn, with both housemates now eligible to compete for the grand prize. As the competition continues to shift, viewers can follow all the developments in Biggie’s House on DStv Channel 198 and GOtv Channel 49, or stream live on DStv Stream and GOtv Stream.

For more information, please visit www.africamagic.dstv.com/BigBrotherNaija.  You can also follow the Big Brother Naija social media fan pages for news and updates with the hashtag #BBNaija on X @bbnaija, Instagram @bigbronaija and Facebook www.facebook.com/bigbrothernaija 

He was found guilty of the murder of rapper Tupac Shakur, who died when the black BMW he was travelling in was sprayed with bullets in a drive-by shooting in 1996.

“This is huge. It was a tough case. It’s a cold case,” former prosecutor Neama Rahmani told the BBC. “We’re talking about the greatest rapper of all time, an icon, and not a single arrest or prosecution for 30 years.”

The conviction gives closure to Shakur’s family and has prompted questions from observers as to what it could mean for an almost identical case — the unsolved murder of Notorious B.I.G. or Biggie Smalls, also known by his legal name, Christopher Wallace.

Wallace, a New Yorker, was once one of Shakur’s friends, but the two became rivals and embodied the East Coast-West Coast feud that dominated 1990s hip-hop. Wallace was killed in Los Angeles a few months after Shakur and in similar circumstances – a drive-by shooting. No one has ever been charged.

“Tupac’s murder and Biggie’s murder are two of the great cultural touchstones of our lives,” said Justin Tinsley, a journalist for ESPN’s Andscape and the author of “It Was All a Dream: Biggie and the World That Made Him.”

“Those two men, they were so unique, talented, and impactful, separately,” Tinsley told the BBC. “But it’s impossible to tell each of their stories without telling the other’s.”

“When you talk about these cases, they’re always going to be connected because there are so many mutual figures involved with them, and ancillary figures,” he said.

Theorists have long believed the two murders were linked. Wallace’s name came up during Duane Davis’ trial. He and Davis were at the same party the night Wallace was killed, and police interviewed Davis about it.

The investigator who conducted that interview even testified at the Tupac murder trial.

The breakthrough in finally solving the Shakur case largely came down to one thing: Davis’ own words.

Through documentaries with the media, his own memoir, podcasts and even a secret police interview, he acknowledged his role in Shakur’s death.

Davis said he tossed a firearm in the backseat and his nephew, Orlando Anderson, used the gun to fatally shoot Shakur as they pulled up alongside his vehicle in Las Vegas on 7 September, 1996.

Anderson was shot dead in 1998, having denied killing Shakur.

During the trial, there were no eye-witnesses to place Davis as being in the car, no murder weapon presented, no video or photo evidence. His defence team went as far as to argue there wasn’t even proof that he was in Las Vegas that night.

Rahmani said it was a difficult case to prosecute. He noted the rumours and speculation surrounding Davis were nothing new and had been around for decades – but the decision to charge him and go to trial was an “uphill climb” – a gutsy move – for prosecutors.

“Look, when you’re a prosecutor, you’re expected to win every time. They made a difficult decision to charge a case that a lot of people thought might be a loser,” he explained. “And they got justice, where other people didn’t even bother trying.”

Davis’ attorney Michael Sanft asked the jury to consider “what facts do you have?” He urged the panel, before they decided their guilty verdict, to discredit his client as a liar who told tales to sell books and make money.

“There’s no proof,” he argued to the jury.

The moment the guilty verdict was read in court, there was an outpouring of emotion among Shakur’s family. Some cried and wiped tears with tissues. Others hugged and held hands. A family member embraced one of the prosecutors in the case.

At a press conference on Tuesday, Clark County District Attorney Steve Wolfson thanked the judge, prosecutors and Shakur’s family members, who he said were very relieved and “finally have justice.”

“Their loved one was murdered,” he said. “They waited 30 years for a trial. It’s very understandable that they were relieved.”

Trial lawyer Shaun Kent said the case really evolved with each interview and moment that Davis decided to talk about the case.

“There are no other witnesses, besides him,” Kent told the BBC before the trial, noting that the “strongest witness against him, is him”.

Rahmani believed Davis likely would have never faced charges if he had stayed silent.

“He really couldn’t stop himself,” Rahmani added. “Even when he was arrested and in custody, he was giving interviews.”

Much of the Shakur trial forced the jury to place themselves back in the 1990s, at a time of intense gang violence that had infiltrated roots into hip-hop music and rivalries between East-Coast and West-Coast rappers.

It was a time of deep-rooted mistrust in policing and a street code that forbade reporting to authorities.

Even Shakur, after being hit multiple times in the drive-by shooting that would later kill him, refused to talk to authorities. “We’ll take care of it,” he said in an ambulance as an officer tried to question him.

The silence was echoed months later in the shooting death of Biggie Smalls.

Biggie, one of the biggest East Coast rappers, was leaving an after-party in Los Angeles for the Soul Train Music Awards, when a black Chevrolet pulled up to his vehicle at a red light and opened fire on 9 March, 1997. It was almost exactly six months after the shooting that killed Shakur, one of the biggest West Coast rappers.

Both were Grammy-nominated artists at the top of their genre, making millions and receiving constant radio play. Their feud spilled over into their lyrics, and also led to threats and physical violence.

Violence erupted on the streets of Los Angeles following both shootings, as street gangs sought to hold one another accountable for the rappers’ deaths.

For years, neither murder led to arrests or convictions, just rumours and conspiracies.

“People will search for closure in any way they can get it,” Tinsley said. “People are trying to make sense of it for 30 years.”

Like Shakur’s death, countless theories and names have surrounded the death of Biggie in Los Angeles, but the Los Angeles Police Department (LAPD) have not made any arrests.

“It’s really a stain on the LAPD. The fact that this could happen and not a single arrest was made and no one was prosecuted,” Rahmani said, noting Biggie’s killing happened on a public street in the middle of the second most populous US city.

“Prosecutors don’t like to lose,” Rahmani explained. “But, maybe this [Tupac’s conviction] will embolden folks in Los Angeles to maybe take another look at it, a cold case that’s coming up on 30 years.”

Asked about the cases and whether the Tupac murder conviction could revive Biggie’s death, the LAPD told the BBC that it was aware of the conviction and the investigation into Biggie’s case remained active.

“The murder of Christopher Wallace remains an open, unsolved case within LAPD’s Robbery-Homicide Division,” Lt Elpidio Orozco said, urging anyone with any tips to call authorities.

Though Wallace’s case has gone cold, the public’s interest has not.

“They’ve been gone longer than they’ve been alive,” Tinsley said, “But the enduring mythology around these guys and their deaths will always be a topic of conversation.”

The President of the Ogun State chapter of the Theatre Arts and Motion Pictures Practitioners Association of Nigeria (TAMPAN), Owolabi Ajasa, announced Atinuke’s death in a statement shared on Instagram on Tuesday, September 1.

In the emotional statement, Ajasa expressed gratitude to individuals who contributed financially, offered prayers and supported the actress during her treatment.

Despite the collective efforts to support her recovery, Atinuke eventually lost her battle.

Her death comes only weeks after Nollywood mourned Temitope Osoba, another actress who had publicly battled breast cancer. Osoba, 40, had spoken about her cancer journey in 2024, underwent surgery and later returned to acting, before her death in August 2026.

The industry also suffered the loss of popular actor Alexx Ekubo, who died in May 2026 at the age of 40 after complications arising from advanced metastatic kidney cancer. His family said he had endured the illness privately and described his final battle as brief but courageous.

These successive deaths have once again brought attention to the devastating toll of cancer on Nigeria’s entertainment community, where colleagues often turn to public appeals and fundraising to support members facing serious illnesses.

As tributes continue to pour in, her colleagues and loved ones are remembering her life, career and the strength with which she faced her illness.

The royal couple visited the institution on August 31, 2026, where they were warmly received by Steve and Jackie Green, founders of the Museum of the Bible.

The visit offered Otumfuo and Lady Julia an opportunity to tour the facility and explore its exhibitions centred on the history, narrative and global impact of the Bible.

The Museum of the Bible, which opened in 2017, is a major cultural and educational institution in Washington dedicated to exploring the Bible’s history, preservation and impact on societies around the world.

Tthe museum grew partly out of the Green family’s extensive collection of biblical manuscripts and artefacts.

The visit forms part of a wider programme of engagements by the Asantehene during his stay in the United States, where he has been interacting with institutions, and members of the Ghanaian community.

Among the major highlights of his visit was an engagement with the Ghanaian community, as well as the Akwasidae celebration, which brought aspects of Asante culture and tradition to the Ghanaian diaspora.

Otumfuo was also scheduled to deliver a lecture at Howard University in Washington, D.C., as part of his engagements in the U.S.

His itinerary has also included discussions with business and institutional stakeholders, reflecting his continued engagements on issues relating to Ghana’s development, culture, education and international relations.

Ibrahim Adam, who also served as the Member of Parliament for Choggu/Tishigu and was the Nanton Kanshennaa, died in the early hours of today at the University of Ghana Medical Centre (UGMC), where he was receiving medical treatment.

Confirming the heartbreaking news, Selassie Ibrahim took to Instagram to pay tribute to her late husband, sharing a series of photographs capturing moments they spent together.

The tribute included intimate family moments and photographs of the couple, including one from his recent birthday celebration.

View this post on Instagram

A post shared by Selassie Ibrahim (@selassie_ibrahim)

“Rest well🙏🏼😭 our hearts are broken beyond words. Your legacy lives on,” she wrote.

Selassie Ibrahim and Ibrahim Adam were married and had two children together, a son and a daughter.

His family has announced that his remains are being airlifted from Accra to Tamale, where he will be buried according to Islamic rites.

In a heartfelt message, the veteran broadcaster said he never imagined he would have to publicly seek help but has been compelled to do so as his health continues to deteriorate.

DJ Candyman is currently receiving treatment at Walter Aiden Specialist Clinic in Asokwa, Kumasi, and is appealing to all well-wishers to support him through the difficult period.

“Any financial contribution, no matter how small, will go a long way towards my treatment and recovery. Please help me fight this battle. I believe that with your prayers, support, and God’s grace, I will overcome this,” he added.

DJ Candyman has been a familiar voice in Ghana’s radio and entertainment industry for more than three decades.

He has been associated with several radio stations including Radio Lynk, Fox FM, Hello FM, Rainbow Radio, Atinka FM and Asaase Radio.

His long career has earned him recognition as one of the veteran voices who contributed to the growth of radio broadcasting and entertainment in Ghana.

As he continues his treatment, DJ Candyman is counting on the support of the public to help him through his current health challenge.

This time, however, the controversy has little to do with the allegations against him.

Instead, attention has shifted to his girlfriend, Queenie, after a video circulating on social media captured her in the company of Detse, a close friend of Abu Trica.

In the video, Detse is seen planting a peck on Queenie’s cheek, a seemingly familiar gesture that quickly became fodder for speculation among social media users.

Given Abu Trica’s current situation, the footage triggered a wave of reactions, with some netizens questioning the nature of Queenie’s relationship with his friend and describing the encounter as a possible betrayal.

Amid the backlash, Queenie has responded, insisting that her friendship with Detse did not begin because of Abu Trica. According to her, Detse was already part of her circle long before she began dating the socialite.

She dismissed the claims of betrayal, explaining that the two were mutual friends and that she had known them since 2015.

“I’ve known them since 2015, and Detse was already one of my closest people even before I started dating Abu. The funny part is, Detse didn’t even know about it at the time,” she posted.

The debate has since produced a string of reactions, opinions and think pieces across social media.

The controversy has nevertheless pushed Abu Trica’s name back into Ghana’s social media spotlight, trending number 1 on X (formerly Twitter).

The event, scheduled for October 16, 2026, to coincide with World Food Day, is expected to feed more than 50,000 people across the two cities.

Announcing the initiative, Chef Abby called for support from individuals, organisations and other stakeholders to help make the second edition a success.

She said the scale of this year’s event means she cannot undertake the project alone and urged the public to contribute towards the initiative.

“The Big Street Feast 2.0 is here. On World Food Day, October 16th, we are feeding OVER 50,000 people on the streets of ACCRA & KUMASI.”

THE BIG STREET FEAST 2.0 IS HERE🥹❤️

On World Food Day October 16th, we are feeding OVER 50,000 people on the street of ACCRA & KUMASI. But I can’t do this alone. We need all the support we can get 🥹❤️! Let's do this pic.twitter.com/ZqgEgFDJfA

— Chefabbys (@chefabbys) August 31, 2026

“But I can’t do this alone. We need all the support we can get.”

The initiative is expected to bring together volunteers and supporters to provide food to people who may otherwise struggle to afford regular meals.

Also read:

• Chef Abbys to celebrate World Food Day with ‘Big Street Feast’ in Accra

• Office of Diaspora Affairs partners with Chef Abbys to showcase Ghanaian cuisine globally

The award-winning musician has been lined up to perform at the highly anticipated fixture, adding to the excitement as the Yellow and Mauves begin their campaign on the continental stage.

Medeama have also announced ticket prices for the crucial encounter, with fans able to gain entry for as little as GH₵100.

Tickets for the Yellow Stand, White/Blue Stand and Pitch are priced at GH₵100, while the Gold Stand goes for GH₵150.

Fans seeking a premium experience will have to pay GH₵500 for the VIP/Red Stand.

Tickets are available for purchase online through Medeama’s official website.

King Promise’s appearance is expected to provide an added attraction for supporters, with the club hoping to fill the TNA Stadium as they take on one of Africa’s most decorated clubs.

On the field, Medeama will be determined to make home advantage count by securing a favourable result against the Congolese giants.

The Tarkwa-based side will be looking to build a strong first-leg advantage before travelling to Lubumbashi for the return fixture on September 12.

Organised by Freeway LLC, the annual festival seeks to promote Ghana’s iconic Kente fabric while providing a platform for designers, models, entrepreneurs and lovers of African culture in the diaspora to showcase Ghanaian fashion and creativity.

The 2026 edition will be held across four venues, giving patrons multiple opportunities to experience a blend of fashion, music and culture.

The first show is scheduled for October 24, 2026, at Sterling Banquet Hall, followed by the second show on October 31 at Ehall South.

The third show will take place on November 14 at Big Field Pavilion, while the final show is scheduled for November 21 at African Palace.

A major attraction of this year’s festival will be the performance by Lord Paper and his band, who are expected to entertain patrons with some of the musician’s popular hits while adding a vibrant musical dimension to the celebration of Ghanaian heritage.

According to the organisers, the festival remains committed to promoting Made-in-Ghana apparel, fashion accessories and locally inspired designs, while strengthening the connection between Ghanaians in the diaspora and their cultural roots.

“We live in a globalised world, and it is important that we celebrate Ghanaian fashion and culture wherever we find ourselves. Through the Kente Wear Festival, we continue to preserve our traditions, tell our stories, and introduce the elegance of Ghanaian craftsmanship to a global audience,” the organisers said.

Beyond the fashion runway, the festival will feature cultural performances, exhibitions, networking opportunities and displays of traditional and contemporary Kente-inspired designs.

The organisers believe the four-show format will further expand the festival’s reach and provide greater opportunities for creatives and businesses to engage with audiences.

With four shows and a headline performance by Lord Paper and his band, the 2026 Kente Wear Festival is expected to offer patrons a vibrant celebration of Ghanaian fashion, music and cultural pride.

The colourful event offered the Ghanaian community an opportunity to reconnect with its ancestral heritage while promoting and preserving the customs, values and cultural identity of the Asante people.

The celebration featured a range of traditional activities, including rites, drumming, dancing and cultural performances, highlighting the rich heritage and enduring significance of Akwasidae in Asante culture.

Watch more photos below:

The highly anticipated event is scheduled for Saturday, September 5, 2026, at the Wood Green Dominion Centre, Wood Green, London N22 6DS, with the programme beginning at 6 p.m.

The Maestro, Kojo Antwi, will not only entertain fans on the night but will also sign copies of his memoir, Mr Music Man: The Journey, for fans and admirers in London.

Organised and presented by Davision Events, the concert is expected to attract lovers of African music and culture from London and surrounding communities.

Kojo Antwi, widely celebrated for his distinctive style, has enjoyed a remarkable career spanning several decades. His music has earned him a devoted following in Ghana and across the African diaspora, with his songs continuing to resonate with audiences across generations.

Joining him on stage will be Ivorian singer, songwriter and multi-instrumentalist Meiway, one of the key figures behind the development and international popularity of Côte d’Ivoire’s Zoblazo music genre.

The pairing of the two musicians promises a unique musical encounter that crosses national and linguistic boundaries, bringing Ghanaian highlife and Ivorian musical traditions together on one stage.

The organisers say the event is designed not only as a concert but also as a celebration of African identity and the continent’s rich cultural heritage.

Under the theme “Two Icons of African Soil, One Night on a Different Continent,” the concert will celebrate the enduring influence of African music and its ability to connect people across borders.

Fans are expected to enjoy performances of some of the artistes’ legendary songs, alongside live entertainment celebrating Africa’s diverse musical traditions.

For members of the African diaspora in the United Kingdom, the event also offers an opportunity to reconnect with the sounds and cultural traditions of home while celebrating the global impact of African music.

With Kojo Antwi representing Ghana and Meiway showcasing the rich musical heritage of Côte d’Ivoire, the Wood Green Dominion Centre is set to host a memorable night of African music on Saturday, September 5, from 6 p.m.

The achievement marks a significant boost for the emerging artiste as he continues to establish himself in Ghana’s competitive music industry.

The song, which features the acclaimed vocalist Kurl Songx, has attracted attention from music lovers and placed Stylen Boy ahead of several Ghanaian and international releases on the chart.

Kurl Songx brings his experience and distinctive vocals to the collaboration, giving ‘Adole’ an added appeal.

The chart success comes as Stylen Boy continues to pursue his ambition of reaching a wider audience with his music.

With ‘Adole’ now generating attention, fans will be watching to see whether the emerging artiste can build on the momentum and establish himself as one of Ghana’s promising new musical talents.

Also read:

• Leaving Kaywa’s label too quickly thought me a lesson – Kurl Songx [Video]

• TikTok influencer I dated broke my heart after becoming popular – Kurl Songx spills

The partnership, which began in 2019, saw the MP serve as the group’s investor, manager and executive producer.

In a statement issued on Monday, August 31, 2026, through GEM Multimedia Ghana Ltd, Ms Gyan Cudjoe said the agreement had expired and she had decided not to renew or extend it.

She said Keche Global would now operate independently without her financial, managerial or business support.

According to the MP, the decision was made purely on professional grounds and reached “with peace, humility, kindness, love and respect.”

She stressed that the separation was not the result of any disagreement, hatred or controversy.

Reflecting on their seven-year partnership, Ms Gyan Cudjoe said she made significant investments in the duo’s career, supporting music production, video projects, marketing, branding, artist development, travel, performances and other creative ventures.

She also disclosed that she rebranded the group from Keche to Keche Global as part of efforts to expand its presence and appeal beyond Ghana.

Despite the end of their professional relationship, the MP said her personal and family ties with the duo remain unchanged.

Keche Andrew, whose real name is Andrew Kofi Cudjoe, is her husband, while Joshua Kojo Ampah is the second member of the duo.

“KECHE WILL ALWAYS BE FAMILY,” the statement said, as Ms Gyan Cudjoe wished the group success in its new chapter.

She said her attention would now shift towards nurturing emerging talents and pursuing new music projects, investments and other creative opportunities through GEM Multimedia Ghana Ltd.

Also read:

• ‘Even with DopeNation, we’d still have won’ – Keche on Best Group win

• No artiste in Ghana has a fanbase – Keche

The development follows public concern over the veteran musician’s condition after a distressing video of him circulated widely on social media, prompting an outpouring of concern from Ghanaians at home and abroad.

Ghana’s High Commissioner to the UK, Mrs Sabah Zita Benson, subsequently travelled to Manchester to meet Barosky and members of the Ghanaian community as part of efforts to determine how best to assist him.

Mrs Benson said the intervention was initiated after the High Commission received several messages drawing attention to the video.

“When the video came out, a lot of people forwarded it to us. So immediately, I instructed our consular office to reach out and see how we can resolve it,” she said.

According to the High Commissioner, her decision to personally meet Barosky was informed by his contribution to Ghanaian music and the need for the Ghanaian community to rally around him.

“Barosky has contributed immensely to Ghanaian music, and we all need to come together as a community to help him get back on his feet,” she said.

Mrs Benson said the High Commission was prepared to facilitate Barosky’s return to Ghana should he choose to come home.

“So, I decided to make this move to hear from him and see how to help him settle, and, if he is willing to go home, we will assist him to do that,” she said.

She stressed that restoring the musician’s wellbeing would require a collective effort from the Ghanaian community.

“Getting him back on his feet again means we must come together as a community and help him.”

‘Such a great talent’

The High Commissioner also paid tribute to Barosky’s musical talent, expressing concern about his current circumstances.

“Your talent was what shocked people. You are such a great talent, and how are we allowing it to go to waste?” she said.

Mrs Benson noted that the Ghana High Commission continues to use the country’s creative and cultural industries to promote Ghana internationally.

“We at the High Commission are promoting Ghana through arts, culture, music and food,” she added.

Following the intervention, Barosky has indicated that he would be willing to return to Ghana if the necessary arrangements are made.

He expressed appreciation to Mrs Benson and members of the Ghanaian community for their concern and support.

The development has renewed calls for greater recognition and support for veteran Ghanaian musicians whose contributions helped shape the country’s highlife tradition.

The event, held on Sunday, August 30, 2026, combined entertainment, youth engagement and advocacy to deliver a strong message against drug abuse.

It featured music, dance, comedy, skating and biking shows, a food bazaar, youth exhibitions and other activities designed to attract young people while promoting the campaign’s core message: “Red Means Stop.”

Several major celebrities also joined the campaign, using their platforms and influence to encourage young people to reject drugs and other harmful substances.

The campaign’s central message was simple: “Red Means Stop” — urging young people to pause, reconsider risky choices and stay away from activities that could expose them to drug and substance abuse.

The NYA used the entertainment-driven event to demonstrate how music, celebrity influence, creativity and youth participation can be combined with public education to address substance abuse.

Participants were encouraged to channel their energy and talents into productive areas, including education, sports, entrepreneurship, skills development, music and the creative arts.

The event also provided a platform for youth advocates and stakeholders to stress the importance of collective action in tackling substance abuse.

The NYA said parents, schools, religious institutions, community leaders, celebrities and other stakeholders all have a role to play in educating young people about the dangers of drug abuse and supporting them to make responsible choices.

The Authority said it would continue the “Red Means Stop” campaign through public education and youth-focused activities aimed at reducing substance abuse and protecting the future of Ghana’s youth.

The Independence Square event therefore served not only as a celebration of youth talent and creativity but also as a call for collective action, with celebrities and young people taking a stand against drug abuse.

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Sultex, the first to leave, struggled to make sense of the result, admitting that he was shocked and unsure of what may have gone wrong. For Goddessa, the exit also came with some reflection on the relationships and experiences that shaped her time in the House.

Her relationship with Araga was one of them. Looking back on their time together, Goddessa made it clear that she never wanted the relationship to become the story of their time on the show. She admitted that Araga could be demanding and a lot to handle, giving a glimpse into some of the challenges that came with their relationship.

Operation Release the Gambit

With Sultex and Goddessa now out of the competition, Biggie left viewers with another decision that could change the course of the game.

Under Operation Release the Gambit, viewers now have the chance to change the fate of Aikou and Flora, the two Gambits who have so far been unable to compete for the grand prize.

The question now is whether either of them will get the chance to leave the Gambit status behind and become eligible to compete for the prize. Voting is now open and will close before the next nominations, putting the decision in the hands of the viewers.

Sheba Takes the MIPOW Advantage

There was also good news for Sheba, who emerged as the Most Influential Player of the Week (MIPOW). Her win comes with immunity from the next eviction and a betPawa Elite reward of AirPods, giving her some much-needed protection as the competition gets tougher.

With Sultex and Goddessa now out of the competition, the fate of the Gambits hanging in the balance and Sheba safe from the next eviction, the House is heading into another week with plenty still to play for. Voting lines are now open, giving viewers a say in whether Aikou or Flora gets the chance to compete for the grand prize, with voting closing before the next nominations.

Viewers can follow the unfolding stories in Biggie’s House on DStv Channel 198 and GOtv Channel 49, or stream the show live on DStv Stream.

For more information, please visit www.africamagic.dstv.com/BigBrotherNaija.  You can also follow the Big Brother Naija social media fan pages for news and updates with the hashtag #BBNaija on X @bbnaija, Instagram @bigbronaija and Facebook www.facebook.com/bigbrothernaija

The Ghanaian capital earned its place on the list for its established nightlife districts, growing variety of bars and clubs, live music venues and alternative entertainment spaces.

The ranking was compiled from responses from more than 24,000 locals, alongside assessments by Time Out’s city editors, culture experts and nightlife specialists.

Cities were assessed based on the quality and affordability of nightlife, clubbing and cocktail-bar scenes, community, safety, excitement, diversity and how welcoming each destination is.

Accra scored particularly well in areas relating to affordability, community and hospitality. According to the survey, 62 per cent of residents rated going out in the city as affordable, while 75 per cent said it was easy to find a sense of community. Another 65 per cent described Accra as welcoming and friendly.

Time Out highlighted the city’s expanding nightlife landscape, with Osu remaining one of Accra’s major entertainment hubs and East Legon increasingly emerging as another key destination.

The city’s after-dark culture also extends beyond mainstream Afrobeats, with electronic music, alté, R&B and other music subcultures contributing to Accra’s growing nightlife identity.

Only the highest-scoring city from each country was included in the ranking to ensure broader global representation.

Johannesburg leads Africa

Johannesburg was Africa’s highest-ranked city on the list, placing seventh globally and ahead of established nightlife destinations including Amsterdam, Madrid and Seoul.

The South African city was recognised for its ability to continually reinvent its nightlife, from its historic warehouse-party culture to contemporary venues centred around house, techno, Afro-house, gqom, drum and bass and experimental sounds.

Johannesburg also performed strongly in affordability and community, with 66 per cent of locals rating the city positively for affordability and 80 per cent saying it was easy to find connection and community.

Clubbing, casual pubs and cocktail bars were identified as the city’s strongest after-dark offerings.

Accra and Johannesburg were the only two African cities to make the global top 20, which was led by Bangkok in first place, followed by Berlin and Melbourne.

The recognition places Accra among an increasingly competitive group of global nightlife destinations and highlights the growing influence of Ghana’s capital as a centre for music, culture and entertainment.

According to Bulldog, Stonebwoy’s commitment to expanding the Ghanaian music brand globally is unmatched, describing his efforts as one of the most significant contributions by a Ghanaian artiste in recent times.

Speaking in an interview shared on social media, Bulldog said Stonebwoy’s international exploits reminded him of the pioneering impact of legendary Ghanaian music group Osibisa.

He specifically highlighted Stonebwoy’s recent concert at the OVO Arena Wembley in London, describing it as a major milestone for the artiste and Ghanaian music.

Bulldog said the significance of the performance went beyond the size of the audience, arguing that the decision to secure such a prestigious venue and successfully stage a concert there deserved recognition.

“Since the inception of Ghanaian music, no artist has worked harder than Stonebwoy in promoting and pushing the Ghanaian brand. You see what Stonebwoy did in the UK, very few artistes have done. Stonebwoy had a show at OVO Wembley Arena. Even if no one came, I would salute him,” he said.

He praised Stonebwoy for taking the bold step of booking the venue, travelling with a full team and delivering a major production.

According to him, such a move demonstrated ambition, courage and leadership, qualities he believes are important in taking Ghanaian music to new international markets.

Bulldog, however, acknowledged the contributions of other leading Ghanaian artistes and stressed that praising Stonebwoy should not be seen as an attempt to undermine their achievements.

Addressing comparisons with Shatta Wale, he said the accomplishments of both artistes should be assessed on their individual merits.

“I will not diminish Shatta Wale’s impact; if I do, I would diminish my own impact… But this is not about Shatta. His mandate was to host a show at that arena to prove that he could do it,” he said.

Bulldog maintained that Stonebwoy’s performance at the OVO Arena Wembley should be recognised as a significant achievement in his career and part of his wider contribution to projecting Ghanaian music internationally.

Watch the video below:

“Since the inception of Ghanaian music, no artist has worked harder than Stonebwoy in promoting and pushing the Ghanaian brand.”

—Entertainment analyst and artist manager, Bulldog, has commended Stonebwoy for his recent show in London and his continued efforts to promote… pic.twitter.com/8kmQvOVypJ

— SIKAOFFICIAL🦍 (@SIKAOFFICIAL1) August 29, 2026

In a social media post on August 28, 2026, the musician described her advice as potentially controversial but said it was necessary for artistes to take their health seriously.

“I’m going to say something controversial, but my fellow artists need to hear this. PLEASE DISINFECT THE MIC BEFORE YOU PUT YOUR MOUTH ON IT!” she wrote.

Sista Afia noted that artistes often move from one show to another, using the same microphones that have been shared by several performers.

According to her, microphones can come into contact with the mouths of different people, with artistes singing, talking and breathing into the equipment during performances.

She said she believed artistes should consider carrying microphone-safe disinfectant sprays or wipes in their bags to clean shared microphones before performing.

She also suggested that artistes who can afford it could consider carrying their own microphones to performances as an additional precaution.

While acknowledging that not every illness experienced after a show can be attributed to microphone use, Sista Afia said taking preventive measures could help reduce potential health risks associated with sharing performance equipment.

“I’m not saying every sickness after a show comes from a microphone, but with so many people sharing the same equipment, why not take precautions?” she said.

She urged her colleagues to take the issue seriously and prioritise their health by disinfecting microphones before performances.

See the post below:

I’m going to say something controversial, but my fellow artists need to hear this
PLEASE DISINFECT THE MIC BEFORE YOU PUT YOUR MOUTH ON IT!
We go from show to show sharing microphones with God knows how many people. Everyone is singing, talking, breathing and sometimes literally…

— QUEENSOLOMON (@sista_afia) August 28, 2026