According to him, he was dismissed as merely a highlife artiste attempting to venture into gospel music.

He said the gospel artiste’s attitude during their interactions made him feel like an outsider—”a worldly person” unworthy of doing gospel music.

Speaking in an interview with Doreen Avio on Daybreak Hitz, he opened up about this challenge, which occurred before his eventual collaboration with gospel musician Obaapa Christy on his seventh album, God of Restoration EP.

“There was one particular gospel artiste—for obvious reasons, I won’t mention the name—but I believe it was a bit disrespectful. She made me feel like a worldly person. I called her personally, and she told me to speak with her husband,” he said on Hitz FM.

The musician went on to express appreciation to Obaapa Christy for honouring his request for a collaboration.

“I would like to appreciate Obaapa Christy. When I phoned her to talk about doing a song, she made me feel she was rather honoured to do a song with me. It was so humbling, and I say thank you and may God bless her very much. I now understand why she is quite unique,” he added.

The God of Restoration EP is a five-track project, with the first single, Fakyɛme, featuring Obaapa Christy.

She firmly stated that gospel music is not meant for entertainment. According to her, it is a tool for transformation that goes far beyond mere performance.

In her view, patrons of gospel events should not attend with the intention of simply having fun. Instead, she believes they should approach these gatherings with open hearts and minds, allowing the lyrics to inspire positive change.

In an interview with Graphic Showbiz on Tuesday, June 3, the reigning Telecel Ghana Music Awards (TGMA) Best Female Vocal Performance winner urged music lovers to shift their mindset.

She challenged the common expectation that gospel shows should mirror secular concerts filled with flashy stagecraft and high-energy acts.

“When people attend our events, they shouldn’t just look for entertainment. They should come with open hearts, ready to absorb the positive change the lyrics can inspire,” she said.

Esther sees herself and her fellow gospel artistes not as entertainers but as messengers carrying a divine mandate to uplift and restore hope.

“The gospel was never designed for fanfare or applause but to bring comfort, warmth, and joy,” she explained.

“While we may not entertain in the traditional sense, the light we carry has the power to brighten lives. This powerful perspective resonates deeply, inviting listeners to engage with gospel music on a spiritual level rather than a superficial one,” she added.

Gospel music, she noted, is currently going through a vibrant evolution, with styles ranging from traditional choir arrangements to trap, Afrobeats, and jazzy influences.

While Esther embraces these developments, she also acknowledges the need to stay grounded.

“Gospel music is stretching its wings,” she admitted, “but with that growth comes the responsibility to keep our focus clear.”

As styles evolve, she stresses that the core mission of gospel music must remain intact—to share God’s message with authenticity and spiritual integrity.

“Innovation is fantastic, but we must not lose sight of our spiritual purpose,” she insisted.

Although she may not yet be a household name, Esther is steadily making her mark. She pointed out that many young female gospel artistes like herself are developing their craft and serving faithfully in different roles.

“It’s not a competition. Trust me, there are many bold, talented women whom the Lord is preparing. A lot of up-and-coming female artistes are building capacity, and the assignment is not to dethrone anyone but to light up more corners of the world with our message,” she said.

Speaking on The Liz Show with Elizabeth Essuman, Adjorlolo shared that during his childhood, many believed he was destined for a music career due to his natural talent.

He recounted how his musical journey began at the age of eight when he started learning to play the trumpet. Over time, his dedication led him to perform with renowned musicians, including Gyedu Blay Ambolley and Sir Victor Uwaifo.

“I love music so much that as of 8 years old, I could play the trumpet so well,” Kofi disclosed.

Despite becoming a household name through acting, Adjorlolo expressed frustration with the challenges actors face in Ghana. He pointed to the lack of support systems and the absence of insurance as major setbacks for professionals in the industry.

“Honestly, I wouldn’t encourage my children to go into acting. The current situation in Ghana isn’t encouraging, attractive, or enabling for young ones to thrive in this field. Do we even have insurance to back our actors and actresses?” he stated.

In a statement released by the team, management expressed concern over what it described as a growing trend of negative commentary—both public and private—targeted at the musician.

“Management will pursue legal action against anyone who continues to defame Patapaa,” the statement read.

The notice highlighted the harm being done to the artiste’s brand, which gained national and international recognition following the viral success of his 2017 hit song One Corner. According to management, the continued attacks are undermining Patapaa’s image and reputation.

“It has become common practice for individuals to speak negatively about our artiste both privately and publicly,” the statement added.

The document, signed by Patapaa’s manager, Abdul M. Abass, emphasised the seriousness of the matter and urged the public to desist from making defamatory comments.

In an exclusive interview with DJ Slim on Daybreak Hitz, the award-winning producer made it clear that being a real producer goes far beyond just making beats.

“Before you call yourself a producer, you have to know how to produce — how to make beats, how to engineer audio, meaning proper recording as a recording engineer. You need to know how to mix, how to direct, how to write, maybe even how to sing. All of these are part of being a full producer,” he explained. “Some people are just beat makers, some are mixing engineers, others are recording engineers.”

Master Garzy emphasized that his strength lies in his ability to handle every stage of production — a skillset he believes sets him apart in the industry.

“Where I’m coming from, I was fortunate to learn all of these skills together, and that’s why I’m ‘Mix Master Garzy,’” he said proudly.

He also urged up-and-coming producers to take their craft seriously and strive to fully understand the scope of their role.

“Some people are just beat makers, but because they can record, they assume they can mix too. It’s time they understand the difference,” he said, calling for a more disciplined approach to music production.

Speaking to DJ Slim on Daybreak Hitz, Amerado opened up about the struggles that come with being in the limelight.

“The main reason I got into music was to survive — I just wanted to eat,” he admitted. “Most of the time, I don’t even enjoy being an artiste.”

He pointed to the many restrictions that come with the profession as a key reason for his lack of enthusiasm. One of the biggest challenges, he said, is the constant pressure to give money to fans in public settings, especially while stuck in traffic.

“I feel restricted,” he said. “Whenever you’re in public, especially in traffic, you’re expected to hand out money to fans.”

Despite the drawbacks, Amerado shared that performing on stage remains one of the few moments he truly enjoys his career, as it allows him to connect with fans and feel the impact of his work.

“The maintenance no be easy,” he added, stressing the demands and expectations that come with life as a musician.

When asked what other path he might have taken if not music, Amerado revealed that he would have pursued a career in football.

Ghanaian socialite Hajia4Reall, born Mona Faiz Montrage, has returned to the public eye with a new single titled ‘We Move’, following her release from prison in the United States.

The song, shared on her social media platforms, marks her first public statement since returning to Ghana after serving a one-year sentence.

The music video opens with a symbolic scene of Hajia4Reall in a prison cell, directly referencing her recent legal history.

With lyrics like “If I fall, I go rise,” the song highlights themes of resilience, growth, and new beginnings.

The release signals not just a musical comeback but a fresh chapter in her personal journey.

Hajia4Reall rose to fame as a social media influencer before venturing into music. Her recent legal troubles attracted widespread attention in Ghana and abroad, and this release appears to be her way of reclaiming her narrative through music.

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Speaking on Joy FM’s Showbiz A-Z with Kwame Dadzie during a discussion on how creatives can leverage AI to boost productivity, Bobby acknowledged the potential benefits of the technology but cautioned against overdependence.

“AI is supposed to complement your creativity. It is not supposed to be the mainstay of your work. So don’t rely on AI alone,” he said. “The truth is, we often say technology has come to stay, but there is no technology that has remained stagnant—it evolves. The person who thought traditional cameras would last forever now has to deal with mobile phones.”

He warned that basing an entire creative career solely on AI could be risky: “We could wake up five years from now and AI may be overrun by another technology. What then? No technology has yet been developed that surpasses the human brain in the way it was designed to function.”

On the subject of copyright laws and AI, Bobby noted that global conversations are ongoing to create legal frameworks that address AI’s place in intellectual property law.

Source: Joy Entertainment

Speaking to Andy Dosty on Showbiz Review Xtra, Yaw Darling clarified that he is a singer, whereas Patapaa is not.

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

When asked why he didn’t mention other artists in different genres, he explained that Patapaa is a good musician and was simply the first name that came to mind.

“Patapaa is a good musician, and he came to mind, but I think people took it differently. If I didn’t express myself well, I want to use this opportunity to apologize,” he said.

Yaw Darling also responded to media personality Sammy Flex’s advice that he apologize to Patapaa. He revealed that apologizing has been his initial plan and that he intends to do so publicly on X (formerly Twitter), even while on tour in the Central Region.

“I didn’t say it in a nice way, but I didn’t mean what I said in a negative way. I meant that I would be glad to be compared to Kuami Eugene, who is one of the greatest singers in Ghana, rather than to Patapaa. However, Patapaa’s talent and craft are super great.”

When asked how Patapaa’s name came into the conversation, he said, “We have some who make music and others who simply sing. Patapaa’s music is different, trendy, and just jams. But with my kind of music, I take my time to write it, and that can be compared to Kuami Eugene and not Patapaa.”

He added, “I’m not saying Patapaa’s music isn’t good, but it’s different from my style. I mentioned his name because I love his music and we’re both from the Central Region.”

The issue began when Yaw Darling shared his thoughts on being compared to other artists in the music industry.

According to the 2025 TGMA Unsung Artiste of the Year, he considers it a compliment when people compare him to Kuami Eugene rather than Patapaa.

This comment sparked an uproar online, with some fans believing it was an insult to Patapaa’s craft.

In an interview with Kwame Dadzie on Joy FM’s Showbiz A-Z, Gyakie explained her choice.

“My favourite rapper in Ghana now is Omar Sterling of R2Bees. He’s always been. Yes, he’s my all-time favourite Ghanaian rapper.

Omar Sterling is a poet. I always say that his rap is always different. The storytelling—he shares stories about his life or things happening in real time, and the way he puts the lyrics together helps the listener understand what he is saying. That always makes me very happy. I think he’s a very good writer and storyteller,” she said.

While admitting she is not a rapper, Gyakie noted that she loves the genre and tries to fuse it into her musical works occasionally.

Gyakie further mentioned that her style of music is eclectic, influenced by a wide range of genres she grew up listening to.

She is currently out with a new song titled ‘Sankofa,’ ahead of her upcoming maiden album, ‘After Midnight.’

Reflecting on her early days, she admitted that some of her responses were childish and wished she had approached them differently.

“There were certain things I said in some interviews when I was 19-20 years old, when I first entered the industry, that I wish I had answered differently. At that age, that was how my brain was working, and I allowed myself to be who I was at that time,” she told Doreen Avio in an interview on Daybreak Hitz.

Gyakie also opened up about dealing with hate speech and negative comments.

“After ‘Forever’ dropped, I literally opened up and let the negative comments get to me. I used to read every single comment and even checked the person’s page to understand why they said such things. During that ‘Forever’ period, I was struggling in the studio, looking for the next song to drop that would match its success,” she said.

The singer revealed how she has since embraced self-motivation to overcome these challenges.

“Now, I post my music without reading comments or opening myself up to negativity. I had to speak to myself and just focus on making the music. If a song is meant to blow up, it will. As long as it’s good music, just drop it,” she added.

His remarks come after some music stakeholders, including artiste manager BullGod, suggested that visualisers have become more effective than professionally produced music videos in recent times.

Speaking on Daybreak Hitz with Doreen Avio and DJ Slim, Lyrical Joe argued that visualisers lack the impact needed to make strong business statements.

“Trust me, they’re not going to play your visualiser at the Grammys or MTV Music Awards. You need good music videos in your catalogue. That’s the way. When a label or company is considering signing you, they look at your catalogue, and if it’s just visualisers, it won’t carry the same weight. They want to see the investment you’ve made in your videos because it reflects how serious you are about your brand,” he said.

He also acknowledged that while freestyle videos are popular with audiences, official music videos remain far more important for an artist’s career.

“People love freestyles, but no matter what, they will never outweigh your official catalogue as a musician. You can do freestyles repeatedly, but you can only shoot the main video once,” he added.

Lyrical Joe’s stance highlights his commitment to building a strong artistic brand by investing in high-quality music videos.

Speaking to DJ Slim and Doreen Avio on Dabreak Hitz, he revealed that the loss was hard to swallow because of the immense effort and stress invested in creating his track, 5th August 8.

“Yeah, I was disappointed this year because last year’s 5th August caused me a lot of stress, and a lot of work went into it. Slim, you know it’s not easy to shoot a 10-minute hip-hop video and keep it top-notch,” he said.

Lyrical Joe also noted that he always campaigns for the Rap Performance of the Year category. “Anytime I’m nominated, I do it. Even my fans won’t let people sleep online. They want us to have the best rap performance and everything,” he explained.

Despite his disappointment, Lyrical Joe decided against making public complaints, acknowledging the difficulty of doing so without appearing disrespectful to the winners.

“There’s never any clean way to complain; you just leave it alone,” he added.

The award was won by Kwaku Smoke for his performance on Holy Ghost. Other nominees in the category included Manual by Eno Barony, No Competition by Okyeame Kwame, Brag by Sarkodie, and King is Back by Flowking Stone.

Lyrical Joe previously won the Best Rap Performance award in 2022 with his 5th August 5.

In an interview on Adom FM morning news, Clarence Kenneth Ekow Peterson, known in showbiz circles as King Pee, revealed that Dada KD was turned away by three hospitals due to the absence of doctors.

Although King Pee did not mention these hospitals, he noted that Dada KD was eventually admitted to a facility in Gbawe.

Unfortunately, he was pronounced dead shortly after a doctor attended to him upon arrival.

The veteran musician, best known for timeless hits like Fatia Fata Nkrumah, is said to have died around 4:00 PM on Friday, May 16, 2025, while on oxygen support.

He was 56.

Asked whether the late musician suffered any sickness, King Pee noted that he complained of mild malaria symptoms earlier in the day but remained relatively stable.

His condition, however, worsened unexpectedly, prompting an urgent rush to nearby hospitals.

“We did everything we could. He was strong in the morning, but things changed so quickly. Sadly, he couldn’t survive,” King Pee told Baffour Owiredu Amoh.

The exact cause of death is yet to be officially confirmed by medical authorities.

Dada KD’s illustrious career spans decades, marked by rich vocals, soulful melodies, and poignant lyrics that resonated deeply with Ghanaians across generations.

His passing leaves a void in the highlife fraternity and the hearts of music lovers worldwide.

Tributes have already begun pouring in from across the creative industry, with fans and fellow musicians expressing shock and grief over the sudden loss.

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He died on Friday, May 16, 2025, aged 56.

Scores of Ghanaians and celebrities, who simply cannot believe the devastating news, have taken to social media to pay glowing tributes.

Industry players, including Empress Gifty, Broda Sammy, Dada Hafco, Fred Kyei Mensah (Fredyma), among several Ghanaians, have reacted to the news of his demise.

His death comes a few days he was billed to perform with artistes, including Obrafour, Slim Buster, and Kojo Blakk, for a show in London on May 25.

Dada KD is best known for songs such as Tekyere Ma, Ene Menye, Wosuro a Wondi, Honey Love, among others.

Below are some tributes:

Rest In peace Dada KD

pic.twitter.com/P5rwGnGZzY

— Dr Sneaker Nyame (@_sneakernyame) May 16, 2025

RIP DADA KD! Your music healed me ! pic.twitter.com/w4NrgiO6p8

— Freedom Official (@FreedomOffici16) May 16, 2025

He went to the VFS on Thursday for appointment because he is supposed to travel to the UK soon for a show and yesterday he d!ed. Life is indeed a mystery and must be lived right. Ahhhh Dada KD this hurts rest in peace The highlife world lost a legend oh so sad pic.twitter.com/MmNU6OwqMd

— CHARLOTTE NICOLE (@charllycolegh) May 17, 2025

RIP Dada KD
Fatia fata Nkrumah ampa pic.twitter.com/1BXWbbN1P5

— Adwoa Kakra (@kakra19) May 16, 2025

Oh Dada KD

pic.twitter.com/lfaW9qQATA

— Bismark (@Obese_67) May 16, 2025

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In an interview with DJ Slim and Doreen Avio on Daybreak Hitz, he mentioned that music is his calling and that the award will instead spur him on to do more.

“I mean, the only thing I say to that is, even when I didn’t win one, I kept coming back to back. So imagine now that I have the main one. I’m just gonna keep working, bro. I love making music — it’s not just a passion; I feel like, for me, it’s kinda like a calling. I was born for this, so for me, it doesn’t stop. Something like this doesn’t pause the work but instead pushes me to go harder,” he noted.

King Promise’s winning mindset and passion for music are evident in his work and experiences over the past years. He sees this award as a step forward rather than a chance to relax.

Speaking in an interview with DJ Slim on Daybreak Hitz, King Promise reflected on how resilience and self-belief guided his journey after facing multiple disappointments in previous editions of the TGMAs.

“It’s really just one lesson — just keep pushing, bro. You need to believe in yourself. What people see that you don’t see in yourself, you need to work so hard that you turn non-believers into believers,” he said.

The “Terminator” hitmaker admitted that in previous years, he didn’t approach the awards with the same mindset as he did this year.

Asked how he felt after losing out on all seven nominations during his first TGMA appearance, he responded: “It’s really just one word — resilience. That day, I was very excited to be there. First of all, I didn’t go there with any high expectations like I did this year. I wasn’t too hard on myself. For me, I thought it was a nice experience.”

He further attributed his eventual success to consistent dedication and a unique artistic vision.

“I feel like the hard work is quite evident with regards to what I have done with the music — from when I landed on the scene. Where I always wanted to take this, there wasn’t really a template as to how to do it. So I had to carve my own path, just dey my own lane with my team working together,” he added.

King Promise’s long road to winning the coveted Artiste of the Year award serves as a powerful reminder of the importance of perseverance, self-belief, and innovation in the face of setbacks.

According to the ‘Terminator’ hit maker, it will take unity to build a better industry.

“What we can change as artiste is to come together. We can’t take Ghana to the world and moving individually. Which is one thing I try to not do, I try to involve and engage my brothers in the industry from time to time,” he said while responding to what he believes needs to change about the attitude of Ghanaian musicians.

King Promise, who appeared on Daybreak Hitz, added, “so I believe is about time we also come together and make music with each other, we need to push together as a unit. We need to stop seeing each other as a competition rather than letting it inspire ourselves.”

He emphasised the need for change in mindset among the industry stakeholders, while urging artistes to see each other’s successes as motivation.

“I’m not your enemy. I mean the mindset has to change where if you see your brother going on or doing something it has to be nice to you and be like damn if my brother did this I can do that too, rather than why is it him and not me?” he told the hosts Doreen Avio and DJ Slim.

King Promise’s call for unity among Ghanaian artists highlights the need for a shift in mindset. By working together and supporting one another, artistes can inspire each other to greater heights and take Ghanaian music to the world.

An interview with Hitz FM, however, suggests King Promise might not reply to Stonebwoy’s post on X.

When asked if he had seen Stonebwoy’s congratulatory message on X, King Promise responded that he had only been told about it and did not see it as a big deal.
“I’ve been told of it, I have actually. Haven’t been on Twitter today. I don’t think it’s a big deal; I’ve received the congratulations. I don’t want to talk about it. I don’t really think it’s anything to speak about,” he disclosed in an interview with DJ Slim and Doreen Avio on Daybreak Hitz.

Earlier in an X post, Stonebwoy wrote:
“Congratulations @IamKingPromise on your win and your debut entry into the league of AOTY winners. You’re welcome.”

The two were locked in a duel over the topmost award during the 2024 edition of the scheme, but Stonebwoy ultimately emerged winner. The 2025 TGMA got even more competitive with King Paluta in the picture.

This year, King Promise beat off competition from Stonebwoy, Joe Mettle, Black Sherif, King Paluta, Team Eternity, and Kwaku Smoke to win the most coveted award of the TGMA.

Apart from the Artiste of the Year award, he also took home the Afropop Song of the Year with Paris, Best Afrobeats/Afropop Artiste of the Year, and Album of the Year with True to Self at the 26th Telecel Ghana Music Awards.

Stonebwoy, on the other hand, won Best Reggae/Dancehall Artiste of the Year, Reggae/Dancehall Song of the Year (with Psalm 23), and Best Music Video of the Year.

In the meantime, some have suggested that King Promise might just be reciprocating Stonebwoy’s gesture when he went silent over King Promise’s congratulatory message last year after his TGMA Artiste of the Year victory.

Others have also said that the tone of Stonebwoy’s post sounds condescending.

Speaking with DJ Slim and Doreen Avio, the award-winning singer said the recognition means a lot to him—not just as validation but as a sign that his people appreciate his work.

“I like this feeling. And it’s not even about validation—it’s also about, like I said, your people recognizing you and crowning you. I feel that moment is something special, and I would have shot myself in the foot if I didn’t push further,” King Promise said.

When asked what sets him apart from others in the industry, he pointed to staying true to his identity and craft.

“What sets me apart is just being myself. Just making music that I love. I don’t go to the studio thinking, ‘I have to make a hit today.’ I don’t follow trends. I just go to the studio to make music that feels real. I try to enjoy what I do, but I’m also very intentional with it. There’s a direction to everything I do, and I think that direction is what sets me apart,” he explained.

King Promise’s authenticity and dedication to his craft have clearly paid off, earning him one of the highest honors in Ghana’s music industry.

In a post on X (formerly Twitter), he wrote: “Congratulations @IamKingPromise on your win and on your debut entry into the league of AOTY winners. You’re welcome.”

The two were contenders for the top award during the 2024 edition of the scheme, but Stonebwoy emerged as the winner. However, the 2025 TGMA competition became even fiercer with King Paluta entering the picture.

This year, King Promise triumphed over Stonebwoy, Joe Mettle, Black Sherif, King Paluta, Team Eternity, and Kwaku Smoke to win the most coveted award of the night.

In addition to the Artiste of the Year award, King Promise also claimed the Afropop Song of the Year for “Paris,” Best Afrobeats/Afropop Artiste of the Year, and Album of the Year for True to Self at the 26th edition of the awards.

Stonebwoy, on the other hand, won Best Reggae/Dancehall Artiste of the Year, Reggae/Dancehall Song of the Year (for “Psalm 23”), and Best Music Video of the Year.

Other winners on the night included Ayisi, Empress Gifty, Kofi Kinaata, Esther Godwyll, Kweku Smoke, KiDi, Team Eternity Ghana, and Tulenkey.

The awards ceremony was a dazzling event, bringing together Ghana’s top music, fashion, and entertainment figures. The stage was set with stunning designs and high-energy performances, creating an unforgettable atmosphere as fans cheered for their favorite stars.

Kofi Kinaata, widely acclaimed for his thought-provoking lyrics and socially conscious music, emerged as a standout figure among entertainers whose works continue to inspire and influence society positively. His music often addresses pressing societal issues, earning him a reputation as a voice for the people.

In recognition of Kinaata’s impact, Otumfuo Osei Tutu II previously cited his hit song ‘Susuka’ as a song “full of wisdom” during the General Conference of the Ghana Bar Association in September 2024.

This recognition comes just a day ahead of the 2025 Telecel Ghana Music Awards, where Kofi Kinaata is nominated in multiple categories including Best Highlife Artiste of the Year, Best Highlife Song of the Year, Best Music Video of the Year, Songwriter of the Year, Record of the Year, and Album/EP of the Year.

The Otumfuo Millennium Excellence Awards, an initiative of the Manhyia Palace, celebrates individuals who have made significant contributions to national development across various sectors. The awards particularly spotlight those whose work supports the underprivileged, including the poor, widows, and orphans.

Other distinguished recipients of the Lifetime Africa Achievement Prize at the event included Dr. Osei Kwame Despite, CEO of Despite Group of Companies, Dr. Ernest Ofori Sarpong, CEO of Special Ice Water, Dr. Nick Danso, CEO of Ghana Link Network Services.

The ceremony had President John Mahama as the Special Guest of Honour.

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Speaking on The Career Trail programme on Joy Learning TV and Joy News, ACP Sarpong reflected on how his path shifted, guided by what he now believes was divine purpose.

Like every child, Kofi Sarpong had a clear vision for his future.

“My ambition for the future at that time was to be a teacher because I love children a lot,” he shared.

He noted that even during his secondary school days at Berekum Senior High School (SHS), his desire to teach remained strong, which led him to pursue General Arts.

However, an encounter with former Inspector General of Police (IGP), Nana Owusu-Nsiah, in Accra changed everything.

“I still wanted to be a teacher even when I was in high school, until one day, I came to Accra to pay a visit to some people I knew. I met the former Inspector General of Police, Nana Owusu-Nsiah.

“We came from the same town. When I met him, he told me that the police were conducting an enlistment exercise, so he advised me to join,” he narrated.

According to him, his initial reaction was to reject the idea.

However, he said that later that night, a news segment on television showing large crowds of hopeful recruits caught his attention and stirred something in him, leading him to reconsider his decision.

“Later in the evening, I was watching television and saw the crowd. So I quickly went to Berekum, picked up my certificate, and met the team at Kumasi, where they were conducting another round of recruitment two weeks later,” he recounted.

That decision marked the beginning of a new chapter. After passing the recruitment and completing his training, ACP Sarpong was posted to the Police Headquarters, where his life as an officer officially began.

Looking back, ACP Kofi Sarpong said he has never regretted taking that path.

“Through the service and the gift of God, I have been able to impact children, and even young men and women. Sometimes, when I’m walking, I hear children shouting my name, ‘Kofi Sarpong, Kofi Sarpong.’ I feel the joy. I do not regret it at all,” he remarked.

He describes his role in the Ghana Police Service not as a job, but as a calling.

“God made us and everything around us. He protects life and property, and by extension, He has given me the opportunity as a police officer to do the same. If I do it well, then I’ve fulfilled what I wanted to do because life and property, including children, are protected,” he stated.

What started as a dream to educate has blossomed into a life of service, and in the eyes of ACP Kofi Sarpong, it is all part of a greater plan.

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“These people, if we even perceive them to be what we perceive them to be, if we do not go to them, if we do not get close to them, how will you get them to where you want them to be? Because even those that are in the church we are not able to keep them, we allow them to go because of the mindset we have developed about them,” he noted.

ACP Kofi Sarpong clarified that while he respects others’ reservations on the topic, he chooses not to judge. For him, collaborations with secular artistes that inspire and motivate the youth, especially, are always welcome.

“If we are to do something that will especially encourage the youth and motivate others, I will do,” he affirmed.

He, however, emphasized that while he is open to collaborating with secular artists, the lyrics would be a key factor in his decision.

Speaking on The Career Trail on Joy Learning TV and Joy News, he shared how life was tough for his family, and how he had to drop out of school several times because there was no money to pay his fees.

“There were a lot of orphans in the family that my mother had to take care of. So you could imagine, that meager salary was what she used to cater for all of us. It was difficult. I dropped out of school about three to four times because the school fees were difficult to pay,” he recounted.

He explained that, despite his mother’s efforts to support him, the burden was heavy due to the number of dependents she cared for. To change the cycle of dropping out, he made a bold decision at just 13 years old to prepare and sell kenkey.

“I decided to help myself. So I started preparing kenkey. There is no kenkey that I do not know how it’s prepared; Ga kenkey, Fante, you name it. Up to Secondary School Form 5, I used to prepare and sell kenkey because I needed to help myself,” he said.

But the journey was far from easy. ACP Kofi Sarpong recalled moments of embarrassment and shame while selling by the roadside.

“Sometimes I would be selling at lorry parks and stations, I would meet some of my mates and decide to hide behind cars. But they would make sure they had seen that I was selling kenkey,” he shared.

He also disclosed that balancing the kenkey business with school was very challenging. He had to sell in the mornings before heading to class, which made him late almost every day, and as a result, he was often punished.

“In the morning, I had to prepare the Ga kenkey, sell to people, then wash down before joining my mates at school. I was always late and punished all the time,” he narrated.

Despite the hardships, he refused to give up. He said he could have easily chosen to stay out of school to save his family money, but he had a dream and a purpose.

“I never gave up because I had an aim. At that time, in the house, you could decide to go to school or not. Because the little that we were sharing if you decide not to go, it would help the rest. But I decided to help myself,” he stated.

His hard work paid off. The money he earned from selling kenkey helped him continue his education at Berekum Senior High School. Later, he had the opportunity to join the Ghana Police Service and worked his way up to the rank of Assistant Commissioner.

Today, he is not only a respected police officer, but also a popular gospel musician and fashion entrepreneur. Using his story as a yardstick, ACP Kofi Sarpong encouraged the youth never to let their circumstances define their future

“God has purpose and plans for everyone. If you are born into a rich family, thanks be to God. If you are born into a low-class family, still give thanks, because the vision you carry rests in His hands. If you depend on Him, you will realize your vision in no time. Never let your present situation weigh you down. Keep pushing. Never be despaired. Move on,” he urged.

When asked if he plans to go into the kenkey business again someday, he laughed and said, “One should not be surprise if you hear Kofi Sarpong Kenkey House.”

While some artistes have hired Public Relations personnel to push their agenda, others are personally canvassing for support on various platforms.

Ghanaian Afrobeat artiste KiDi, as part of his campaign efforts, took to his social media handles to assert that his song towers over any other in the 26th edition of the awards.

“No song should beat Lomo Lomo in ANY category! But I need you to vote, my loves,” he wrote.

Lomo Lomo, which features Black Sherif, has been nominated in the following categories: Best Afrobeats/Afropop Artiste(s), Best Afrobeats Song, Collaboration of the Year, and the coveted Telecel Most Popular Song of the Year.

The 26th Telecel Ghana Music Awards is slated for May 10, 2025, at the Grand Arena.

Posting to Instagram from hospital, the star told his 10.4 million followers that he has “lost control” of the right-hand side of his face.

“This is me doing a full smile right now, by the way,” he said in a video, as he unsuccessfully tried to grin. “Bro, I can’t even laugh right.”

In a follow-up post, Lil Nas X reassured fans that he was “OK” and asked them to “stop being sad”.

“Shake ur ass for me instead!” he joked.

In a third post, he wrote: “I’mma look funny for a lil bit but that’s it.”

In the comments section, his fans and celebrity friends expressed their concern.

“Get well baby,” said actress Taraji P Henson. “Sending you love,” wrote Garbage singer Shirley Manson.

Comedian Wanda Sykes added: “Sometimes your body tells you to sit down somewhere. Rest up.”

The 26-year-old, whose real name is Montero Lamar Hill, appeared to be in good spirits, despite his condition.

In one video, he panned the camera from the left side of his face to the right, joking: “We normal over here, we get crazy over here!”

The star did not disclose the cause of his condition, but fans speculated it could be Bell’s Palsy, a nerve condition that causes paralysis to part of the face, or Ramsay Hunt Syndrome, in which a shingles outbreak affects the facial nerve near the ear, and cause hearing issues such as tinnitus.

Both conditions are usually temporary, and can be triggered by infections or stress.

 

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Justin Bieber cancelled several dates on his 2022 world tour after contracting Ramsay Hunt Syndrome.

In a video, he showed fans that he was unable to blink his right eye and, although the symptoms persisted for some time, he recovered fully.

Musician and TV presenter Tulisa Contostavlos also has recurring instances of Bell’s Palsy, which developed after she suffered nerve damage in a horse riding accident.

Speaking in 2020, she said that an attack could last up to seven months if she didn’t take steroids within the first 72 hours.

Before his hospital visit, Lil Nas X had been promoting his eight-track EP Days Before Dreamboy, which previews the highly anticipated follow-up to his 2021 debut album, Montero.

Speaking to Atlanta radio station Hot 107.9 last month, he said the album had had a painful gestation.

“At the top of 2024… I feel like I was very lost and trying to cater to everybody except myself,” he said.

The Old Town Road rapper said he had started trying to cater to what he thought “the world wanted from me” – including the need “to be outrageous all the time”.

“But it’s like, no, sometimes I can just be on my chill [side],” he added.

Speaking at last month’s GLAAD Awards, the star added that he’d recently turned down the opportunity to collaborate with Taylor Swift.

“We were working on something,” he told E! News on the red carpet.

“She offered to let me try a verse on something, but I couldn’t catch a vibe for it, so it didn’t happen.”

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• ‘Old Town Road’ rapper Lil Nas X bashed on social media after coming out…

With the popularity component playing a crucial role in the scheme, several artistes have intensified their public relations strategies, with some hiring communication experts to boost their chances ahead of the May 10, 2025, event.

On April 9, 2025, Ghanaian media personality Tilly Akua Nipaa was announced as the head of the PR team for global hitmaker King Promise, who has secured 10 nominations at this year’s TGMA.

Tasked with leading King Promise’s award season publicity, Tilly Akua Nipaa is expected to amplify conversations around the artiste’s achievements in 2024. The goal, according to the team, is to clinch the coveted Artiste of the Year award—an honour that narrowly escaped King Promise in last year’s edition.

King Promise, who maintained dominance throughout 2024 with hit songs such as Paris, Continental, Favorite Story, and Too Sexy, earned nominations in the following categories:

1. Artiste of the Year

2. Best Afrobeats Artiste

3. Most Popular Song of the Year – Paris

4. International Collaboration of the Year – Continental ft Shallipopi

5. Collaboration of the Year – Favorite Story

6. Best Music Video – Continental

7. Best Music Video – Keep It Sexy

8. Best Afrobeats Song – Favorite Story

9. Best Afropop Song – Paris

10. Album of the Year – True to Self

About Tilly Akua Nipaa

Born Matilda Mensah Marfo, Tilly Akua Nipaa is a respected Ghanaian media personality known for her in-depth knowledge of the entertainment industry.

With a degree in Psychology, English, and Theatre Arts from the University of Ghana, she has become a prominent voice on platforms such as Peace FM’s Entertainment Review, TV3’s The Trendz, and Hitz FM’s Showbiz Review Xtra.

Her expertise in new media has earned her recognition as an influential online figure, further strengthened by her podcast, T Means Talkative.

With Tilly at the helm of his PR campaign, King Promise is looking to make a strong push for TGMA glory this year.

Speaking in an interview on Joy Prime’s Changes, Oteng revealed that his rise to fame was met with envy and resistance, especially because his music style was different from the established norm in the industry.

He explained that when he introduced a fresh sound to the gospel music scene, many of his colleagues became jealous of his success and feared that his new style could overshadow the popularity of existing musicians. Oteng alleged that his debut album, which featured hits like I Win and God Dey Bless Me, was taken to cemeteries and other mysterious places in an attempt to block his breakthrough.

“When I stepped into gospel music, I brought a fresh idea, and I started breaking new ground where gospel had not yet entered. Suddenly, doors were opening for gospel music, but it also came with a lot of attacks. At a point, it felt like a spiritual battle. Church people and gospel musicians were attacking me and saying all sorts of things. Some even took my album to places like cemeteries,” he shared with Roselyn Felli.

This resistance from industry peers and spiritual forces took a toll on Oteng’s career, causing his recent tracks to struggle in gaining traction and contributing to a decline in his prominence among Ghanaian music lovers.

However, Oteng made the decision to recharge and focus on producing music at his own pace.

He stated that stardom is not his primary focus, as he prefers to take time off when needed and return refreshed rather than constantly staying in the spotlight. “You also want to live long, so when you realize you need to re-energize yourself, you do it. Stardom isn’t really my thing. I can leave the scene, take care of myself for a year, and come back. Trying to be in people’s faces all the time is not for me,” he said.

Currently, Cwesi Oteng has released a new song titled Favour, which he describes as a reminder to believers of their favor and the importance of declaring it over their lives.

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Set to captivate audiences worldwide, Iron Boy, a moniker which pays homage to his hometown Highlife legend, Amakye Dede, showcases the artist’s signature storytelling, musical versatility, and fearless exploration of themes that resonate deeply with fans across the globe.

Across 15 songs, Sherif positions himself as an unstoppable sonic outlaw– a potpourri of sounds ranging from Highlife, Hip-Hop, Afrobeats and soul-stirring melodies – Iron Boy cemented Black Sherif’s place as one of Africa’s most compelling voices.

The album delves into a rich tapestry of emotions and experiences, tackling themes of love, resilience, personal evolution, and self-discovery. With each track, Black Sherif invites listeners into his world, narrating stories of triumph, stealth, and unyielding ambition with his distinctive voice and poignant lyricism.

IRON BOY is where peak optimism and anxiety meet the notion of perseverance and stealth, all coming together to build a self-supporting frame,” Black Sherif shared.

“Somewhere along the line, I got obsessed with my aspirations of getting the people to not see me past an art maker who got noticed. I couldn’t make it happen, so I let it be.

A sudden need to feel grounded came to shake up my whole frame, and so, I plan to build harmony between every line of my thinking,” says Black Sherif. “This album is for everyone finding their way, embracing their truth, and pushing against the odds.”

As an artist known for his raw authenticity and genre-defying sound, Black Sherif continues to push boundaries, blending traditional Ghanaian rhythms with contemporary influences.

Iron Boy promises a sonic experience that is both deeply personal and universally relatable, solidifying his evolution as a global icon in contemporary African music.

Following the drop of the two scintillating Iron Boy trailers under the vision of Ghanaian creative powerhouse David Nicol Sey of North Productions, anticipation building has heightened, with fans and music lovers worldwide looking forward to an album that not only redefines Black Sherif’s artistry but also leaves an indelible mark on the global music landscape.

In support of IRON BOY, Black Sherif is kicking off his headlining US tour tomorrow in Washington, D.C. The tour includes sold out shows in New York, Los Angeles and more, before heading overseas to Europe in May.

A native of Konongo, a small mineral-rich town in the Ashanti Region of Ghana, Black Sherif, born Mohammed Ismail Sharif Kwaku Frimpong, has risen against all odds to

become the country’s biggest star. Embracing a diverse musical palette, he bridges the gap between Afrobeats, highlife, and Ghanaian drill, showcasing his wordplay, storytelling, and linguistic versatility.

The breakout success of “First Sermon” and “Second Sermon” in 2021 propelled Black Sherif onto the international stage, with “Kwaku The Traveller” earning him superstar status in 2022.

Black Sherif’s global impact has continued to grow. In 2024, he was named to Rolling Stone’s Future 25, performed at SXSW for Rolling Stone Live, and spoke about the diversity of African music in an exclusive profile. He has taken the stage at major festivals like Afro Nation Miami, Pharrell’s Something in the Water, and Wireless Festival UK. His debut headlining concert at New York’s Palladium Times Square marked a major milestone, while his music has been recognised by NPR, The Fader, Complex, and The New York Times. In addition to his own work, he has contributed to high-profile collaborations, including ‘Wotowoto Seasoning with Odumodublavk, “Lomo Lomo” with KiDi and “Jesus Christ 2” with AratheJay.

Listen to Black Sherif’’s sophomore album, IRON BOY

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• Black Sherif links up with Fireboy DML for new song ‘So It Goes’ ahead…

She was buried in a microphone-shaped coffin.

The solemn ceremony which drew mourners from far and near took place on Saturday, March 29, 2025.

Her mortal remains were laid in state for viewing and filing past at the forecourt of the State House where family, friends, and fans gathered to pay their final respects to the iconic musician.

The sombre occasion was filled with tributes, as people from all walks of life gathered to honour a woman whose life was intricately woven into the fabric of Ghanaian music.

In attendance were traditional authorities, players in the creative artistes industry, members of the Musician Union of Ghana (MUSIGA) , Deputy Chief of Staff, Nana Oye Bampoe, La Dadekotopon MP, Rita Naa Odoley Sowah among others.

Following the burial on March 29, a thanksgiving service will be held on Sunday, March 30, at the Believers Sanctuary International, Jehovah Nissi Church at La.

Naa Amanua passed away on December 17, 2024, at the University of Ghana Medical Centre in Legon, leaving behind a legacy that resonated deeply within Ghana’s vibrant music scene.

She hailed from a family steeped in musical heritage with her father as a talented guitarist, and her mother a prolific dancer and singer.

This rich musical background played a pivotal role in shaping her passion for music from a very young age.

Growing up in an environment where rhythm, melody, and performance were a natural part of life, she nurtured a love for music that would go on to define her career.

Throughout her life, Naa Amanua was not just a performer but a symbol of Ghana’s cultural heritage.

As the lead singer of Wulomei, she helped bring traditional folk percussion music into the spotlight, ensuring its place in both the hearts of Ghanaians and the broader global audience.

Her unique voice and stage presence made her a standout figure in the music scene.

A host of Ga songs she featured on include , “Mebe shi Dinn” , “Takoradi” , “Akosua Serwa” , “Kpeshi wei” , “Woo we loo , “Medofo Taylar” , “Kaafo Ni moko kwe odaa” , “Sisa  he le” , “Awo Deme” among others.

Her contributions were recognized in 2018 when she was honored with the Vodafone Ghana Music Awards’ Lifetime Achievement Award, 1st Lady’s Excellence Awards, International Women’s Day 2019; Arts and Culture category ; by her Excellency Mrs . Rebecca Akufo – Addo among others , a fitting tribute to a career that spanned decades and left an indelible mark on the nation’s .

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Citing himself as an example, he noted that Kumerica embraces various musical styles, including Ghana’s indigenous highlife, which he personally represents.

Speaking with Andy Dosty on Daybreak Hitz, Tony Dath explained why he chose to focus on highlife, despite Kumerica being widely known for hip-hop.

“I’m a co-founder of Kumerica. Kumerica itself lost its identity to different camps, and we that owned it were not mature enough. Kumerica brought us here; it is what brought me here,” he said.

He further stated that the movement has been an eye-opener for musicians, inspiring him to showcase his highlife brand.

“Kumerica came to open our eyes, even though we didn’t use it well. But while doing interviews about Kumerica, we always said it was a channel for musicians, just like Kumawood is for the movie industry. So Kumerica is not just about hip-hop, but they championed it at the time because they had the audience. But now is the time to correct that perception—through me, Tony Dath,” he explained.

Tony Dath’s remarks shed light on the Kumerica movement’s impact on Ghanaian music. As a co-founder, he aims to redefine the narrative, asserting that Kumerica is not limited to hip-hop and rap but encompasses a broader spectrum of musical expression.

Speaking in an interview with Kwame Dadzie on Joy FM, Mzbel admitted that poor branding cost her several opportunities, including awards, despite being in the industry for two decades.

“I am not blaming anybody. I think it is the branding. If I were starting music today, I would put more effort into my branding. The branding wasn’t put together well. I was just put out like that, no proper branding. I would go on radio and say anything, put on any outfit, go where I was not supposed to,” she said.

She pointed to Becca as an example of a female artiste who was well-branded under the management of Kiki Banson. She advised up-and-coming female artistes to learn from her experience and prioritize branding.

Mzbel shot to fame in 2004 with her debut album Awoso Me and became one of the biggest female artistes of her time. Her music also gained popularity in countries such as Nigeria, Liberia, Ivory Coast, and Kenya.

However, despite her success across Africa, she claims Ghana has not recognized her contributions with an award.

“I received my flowers from other countries, but Ghana has never celebrated me with any award,” she lamented.

Known for her outspoken nature, Mzbel also clarified that she has not retired from music and is currently working on a new song that addresses the issue of bad friends.

She is best known for hit songs such as 16 Years, Awoso Me, Yopoo, Edey Be, Twe Ma Me, Braa Fiifi, and My Bonnet.

Speaking to Doreen Avio on Hitz FM’s Daybreak Hitz, the singer—who recently released her new album Did I Lie?—shared a list of artistes she hopes to collaborate with.

“I want to perform with Beyoncé, with Chris Brown, with Burna Boy, with Tems, with Ayra… who else? They are plenty,” she said.

She added that if Michael Jackson were alive, she would have loved to share a stage with him as well.

Cina Soul also revealed that she has an unreleased song with Efya, which she plans to drop soon.

“I want to release the song with Efya. We have a song together. But, you know, I didn’t want to put it on the album because, yeah, I wanted to give it special attention,” she said.

Her dream collaborations highlight her admiration for music legends and her desire to work with talented artistes from around the world.

Cina Soul made the revelation on Daybreak Hitz on Hitz FM on Friday, March 21, 2025, during an interview with Doreen Avio.

“I want to release the song with Efya. We have a song together. But you know, I didn’t want to put it on the album because I wanted to give it special attention,” she said.

Her collaboration with Efya has sparked excitement among music lovers, who have long admired both songstresses.

This follows Cina Soul’s open admiration for Efya, who has won the Female Vocal Performance category at the Ghana Music Awards multiple times. In 2019, when asked if her presence in the music industry posed a threat to Efya, Cina Soul paid tribute to her influence.

“I grew up listening to Efya and mimicking some of the things she did, so if you tell me that I sound like her or compare me to her, you’re blessing me because it’s such a privilege to be compared to Efya,” she said.

Beyond her collaboration with Efya, Cina Soul also has aspirations to work with some of the world’s biggest musicians.

“I want to perform with Beyoncé, with Chris Brown, with Burna Boy, with Tems, with Ayra Starr… who else? They are plenty,” she added.

Cina Soul recently released her latest album, Did I Lie?

Speaking on Channel One TV, he explained that Borga Highlife—popularized in the 1980s by artistes like George Darko and Ben Brako—maintained the core elements of traditional highlife while incorporating new digital sounds.

According to him, Borga Highlife not only modernised highlife but also paved the way for fusion with other musical styles.

“From those days, recordings became digital. What happened was that the sounds changed—there were synthesisers, electric drums, and lean drums, all of which transformed the sound. But still, Borga Highlife retained the proper highlife elements.

“When you hear George Darko on the guitar and singing Akoo ti brofo, no one will tell you this isn’t Ghanaian because no other person could sing like that. That is where the highlife element comes in.

“So, Borga Highlife really enhanced traditional highlife because people realised they could fuse it into other genres. That is why I keep saying highlife is the easiest genre to blend with any other—it just fits,” he stated.

‘CHAANA’, ‘shine’, is a soul-stirring Afro Pop anthem that seeks to uplift and inspire Africans, reinforcing the continent’s limitless potential, resilience, and unity.

The song masterfully blends Samini’s distinct style with authentic African influences.

It incorporates the WALA dialect from Wa, the Upper West Region of Ghana—where Samini hails from—alongside Swahili elements delivered by the Soweto Gospel Choir.

This fusion creates a pan-African musical experience, celebrating diversity while emphasizing a common cultural heritage.

The track, produced by the acclaimed Francis Osei, features a vibrant mid-tempo rhythm that perfectly complements its powerful and empowering message.

Adding to the excitement, the music video, directed by Yaw Skyface, was shot in South Africa, featuring breathtaking landscapes and symbolic imagery that reinforce the song’s theme of African excellence and perseverance.

As the first single off ‘ORIGIN8A’, ‘CHAANA’ sets the stage for what promises to be an album celebrating African culture, music, and identity.

Even before its official release, ‘CHAANA’ has generated significant buzz within the music industry.

Industry players who have had an exclusive preview of the song have expressed their excitement and admiration, with some describing the collaboration as “mixing sugar and honey” and others noting that “Samini has unleashed the beast”.

Many believe that this release marks a strong comeback for Samini, as fans eagerly await his next chapter of musical greatness.

Fans and music lovers can expect ‘CHAANA’ to be available on all digital streaming platforms upon its release.

With this collaboration, Samini is once again proving why he remains one of Africa’s most respected musical legends.

Stay tuned for the official drop and prepare to shine with Samini!

In an interview on Daybreak Hitz with Doreen Avio, Skonti shared his admiration for Kofi Mole, saying, “I think Kofi Mole is the best rapper in Ghana. You see, it’s not just about the rap, it’s about delivery and style to me.”

Skonti also spoke about his close relationship with Kwaw Kese, revealing that people often mistake him for the rapper’s younger brother. “People think I’m his brother, wherever we go, people think I’m his brother. So I take it that I’m his younger brother, and still his younger brother,” he explained.

Despite his personal challenges, Skonti has been able to balance his music career and family life, thanks to having his own studio. “I have my own studio, me and Kwaw have our own studio, so it’s much easier,” he said.

He also shared his approach to music production, revealing that he prefers to work with a select few artists instead of producing for a wide range of people. “I realized people get to know your skill, and with time, you fade away. I’ve been there for a very long time,” he added.

Skonti’s music career, spanning over a decade, has seen him collaborate with several notable artists, including Rakil and Trigmatic.

An interview that Nigerian artiste Yemi Alade had with CNN’s Larry Madowo about three months ago has goaded me to write this piece.

A comment Yemi made in that interview with CNN’s Larry Madowo, claiming highlife did not originate only in Ghana but also in Nigeria, reeks of ignorance if not for ill agenda.

While talking about how successful her song ‘Johnny’ was, Larry Madowo made reference to the highlife elements in that song, crediting the genre’s origin to Ghana.

Obviously unenthused about that, Yemi Alade retorted: “you said first of all that highlife is originally Ghanaian? We have to talk about that. I grew up at a time in Nigeria when highlife was a big deal. And as far as I know, Nigeria, Ghana etc we have already been connected via music and everything so I feel like it originated in both Nigeria and Ghana.”

On the SAY IT LOUD segment on Showbiz A-Z aired on Saturday, February 15, 2025, I highlighted some historical facts about when highlife started in Ghana and when it got to Nigeria. Maybe Yemi Alade hasn’t learnt her history well. For someone born in 1989, maybe she thought highlife started around the time she claims “highlife was a big deal” in Nigeria.

This is not the first time citizens of other countries have tried to claim ownership of highlife. Some Liberians have also tried but to no avail.

Ghanaian ethnomusicologist Professor John Collins has spoken about how he had to school some Nigerians who made same claim during a conference in Nigeria, years ago.

Renowned for his sharp lyricism and mind-boggling wordplay, Lyrical Joe promises that this album will push the boundaries of his artistry and solidify his position as one of the best in the rap game.

Following the success of his debut album and a series of hit singles, I AM is expected to delve deeper into Lyrical Joe’s growth, versatility, and artistic prowess.

The album will offer fans an immersive journey through his personal experiences and powerful lyrical expressions.

“This project is personal,” Lyrical Joe shared. “It’s a reflection of who I am, where I’ve been, and where I’m headed. I can’t wait for my fans to experience this journey with me.”

With the album’s release just around the corner, fans can expect more information on the tracklist and special guest features in the coming weeks.

Stay connected with Lyrical Joe across all social media and streaming platforms for exclusive previews and updates on this groundbreaking project.

Noah kicked off the ceremony with an opening monologue that touched on some of music’s biggest stars, including Beyoncé, Taylor Swift, and Rihanna, while also making references to the new administration in Washington.

Trevor Noah took a jab at the Grammy voting process, which involves 13,000 members of the Recording Academy, jokingly suggesting that “20 million illegal immigrants” were part of the vote.

Later in the night, he made another politically charged remark, stating, “There’s been a few changes in Washington. So I’m gonna enjoy tonight because this may be the last time I get to host anything in this country.”

His comments came just days after a controversial immigration policy under Trump’s leadership resulted in Immigration and Customs Enforcement (ICE) raids, leading to the arrest of 1,179 individuals across major U.S. cities.

Several other artistes used their speeches to show support for marginalised communities and speak out against the divide in the country.

Trump had promised the American public that “it will all be worth the price that must be paid” to bring the “Golden Age.”

While accepting the Dr. Dre Global Impact Award, Alicia Keys took the opportunity to address another controversial policy from the Trump administration—the elimination of diversity, equity, and inclusion (DEI) departments.

In her speech said, “DEI is not a threat, it’s a gift. And the more voices, the more powerful the sound. When destructive forces try to burn us down, we rise from the ashes like a phoenix.” She added,

“This is not the time to shut down the diversity of voices we’ve seen on this stage: talented, hard-working people from different backgrounds, with different points of view. And it changes the game.”

Chapell Roan, who won Best New Artist during the star-studded night sent a message to the trans communities during her red carpet interview with GLAAD.

She said, “It’s brutal right now. Trans people have always existed and they will forever exist, and they will never, no matter what happens, take trans joy away. That has to be protected more than anything because I would not be here without trans girls.”

In a direct message to transgender Americans, the singer said, “Just know that pop music is thinking about you and cares about you, and I’m doing my best to really stand up for you in every way I can,” as reported by Daily Mail.

Lady Gaga also expressed her support for her transgender fans on the stage. She said, “I just want to say tonight that trans people are not invisible. Trans people deserve love. The queer community deserves to be lifted up. Music is love.”