Speaking to Kwame Dadzie and Doreen Avio on Daybreak Hitz on Hitz FM, the rapper said he filed for two categories: Best African Music Performance and Best Global Album.

According to him, although he was not nominated, he remains unbothered.

“I would be very happy if they nominated me but e no even shift me as dem no nominated. I am not shaken, I am not touched,” he said.

Black Sherif, however, expressed confidence about winning Artiste of the Year at 2026 Telecel Ghana Music Awards.

“We deserve it. What do you think?” he asked the hosts.

Black Sherif’s maiden album Iron Boy, released in April 3, 2025, has quickly become one of the most streamed Ghanaian songs of the year.

On Spotify, the album debuted at number 6 on the UK Top Debuted Albums chart and achieved the highest first-day streaming record for a Ghanaian album, amassing 2 million streams. It is also the most streamed Ghanaian album of 2025, racking up over 103.3 million streams.

On Apple Music, Iron Boy spent 158 days as the number one album on the Apple Music Ghana Top Albums chart. Five tracks from the album have reached the top spot on the Apple Music Ghana Top 100 in 2025. Sacrifice dominated the Apple Music Top 100 Chart for 23 consecutive weeks.

On Audiomack, Black Sherif crossed 1 billion career streams, cementing his position as the most streamed Ghanaian artiste on the platform.

The success of Iron Boy follows Black Sherif’s consistent rise as one of Ghana’s most influential young artistes, known for blending storytelling, street poetry, and deeply personal experiences in his music.

For Kudzi Faya, music is more than entertainment, it is identity, healing, and purpose. “I was born and raised in Accra, where life is full of rhythm, hustle, and real energy,” he reflects.

“My childhood had its tough moments, but it shaped who I am. The grind, the joy, the noise, the silence, it all fed into the artiste I’ve become.”

His earliest musical spark came from everyday experiences, church, radio, and neighbourhood events. But it was at a family gathering, watching people dance to highlife, that his love truly ignited. “Something clicked in me. I knew music was my thing.”

Influenced by icons such as Drake, Wizkid, Kanye West and Shatta Wale, Kudzi Faya merges authenticity, style, and relentless hustle into his craft. His sound is proudly Afro, sometimes dancehall, sometimes fusion, but always “real.”

Meanwhile, his surname itself carries meaning: “Kudzi” comes from Agbekudzi, meaning resurrection, while ‘Faya’ is fire. Together, it means rising again through the fire, a mindset, not just a stage name.”

Like many upcoming artistes, doubt has trailed his path. “The pressure to ‘do something safe’ was real. But every time I tried to give up, a melody or beat pulled me back. This isn’t just what I do, it’s who I am.”

That inner fire now fuels his most personal track yet. “Last Stop” is inspired by heartbreak, the discovery of betrayal by someone he trusted.

“It was painful to relive while writing, but the song became my healing,” he admits. Unlike his high-energy records, this single slows the tempo, showing a more reflective side of his artistry.

Talking about the message, he said, “It’s okay to feel broken, but you don’t have to stay broken. Sometimes, pain is your path to power. Last Stop is about ending what hurts you and choosing yourself.”

The visuals for the song are equally symbolic – a metaphor for leaving pain behind. Fire appears as a recurring image, representing transformation and rebirth.

Looking ahead, Kudzi Faya envisions his music on global stages. “In 3 to 5 years, I see myself performing worldwide, sharing my truth. Personally, I just want to stay grounded and successful on my own terms.” His ultimate dream is to headline Afro Nation or Coachella, and one day, win a Grammy.

But beyond the accolades, Kudzi Faya is driven by connection. “I want listeners to feel seen, whether they’re dancing, healing, crying, or reflecting. That’s what my music is about.”

With “Last Stop” set to drop in November, fans will soon experience a side of Kudzi Faya that is raw, emotional, and powerful, proof that even through heartbreak, fire can forge something unforgettable.

Talking about the message, he said, “It’s okay to feel broken, but you don’t have to stay broken. Sometimes, pain is your path to power. Last Stop is about ending what hurts you and choosing yourself.”

The visuals for the song are equally symbolic – a metaphor for leaving pain behind. Fire appears as a recurring image, representing transformation and rebirth.

Looking ahead, Kudzi Faya envisions his music on global stages. “In 3 to 5 years, I see myself performing worldwide, sharing my truth. Personally, I just want to stay grounded and successful on my own terms.” His ultimate dream is to headline Afro Nation or Coachella, and one day, win a Grammy.

But beyond the accolades, Kudzi Faya is driven by connection. “I want listeners to feel seen, whether they’re dancing, healing, crying, or reflecting. That’s what my music is about.”

With “Last Stop” already making waves, fans will soon experience a side of Kudzi Faya that is raw, emotional, and powerful, proof that even through heartbreak, fire can forge something unforgettable.

Listen to the song below:

He spoke in an interview on Cruise Control on Hitz FM, expressing surprise at persistent claims that he was a member of the drill music group.

However, the rapper has clarified that his involvement with the group was strictly a mere music collaboration and nothing else.

“I went to their studio to make music, and after everything, I went back into my circle to focus on myself,” he told host Kofi Hayford. “I don’t know why Ghanaians labeled us as a group.”

Yaw Tog’s comments come on the back of renewed online debates that allege that he was once a member of the group but ditched it after gaining fame.

The ‘Sore’ hitmaker has previously acknowledged the role Asakaa Boys played upon his emergence in the music scene, but maintains that, contrary to popular belief, he has always been a solo artiste with the determination to carve his own path.

Yaw Tog further intimated on the show that his journey as an independent artiste has been quite revealing and one of evolution.

The intention to redefine his sound and image is evident in his latest EP, ‘Tog City,’ launched on October 17—a 7-track project that features Darkovibes, The Man Sudais, and Bhimnation president Stonebwoy, the latter of whom he has collaborated with twice this year.

The ‘Tog City’ project is a collection of diverse genres, including drill and Afrobeats, and reflects Yaw Tog’s growth from a teenage prodigy into a more refined and mature artist. It is a true testament to his versatility and renewed focus.

Source: Joy Entertainment   

“I present to you transformation, strength, value, and prosperity,” she wrote

While she has yet to disclose the complete tracklist or featured artists, her recent run of singles—including ‘Psycho,’ ‘Sapiosexual,’ ‘Apology,’ ‘Too Late 2.0,’ and the newly released ‘Crazy Love’—has built strong anticipation for what could be her most defining album yet, potentially putting her in contention for next year’s “Artist of the Year” title.

The album announcement comes just a day after Wendy Shay shared an update on her annual end-of-year concert, which has been rescheduled to November 22.

The change was made to honour the final funeral rites of the late Charles Kwadwo Fosu, widely known as Daddy Lumba, who passed away on July 26.

“NOTICE! In honor of the late, great Daddy Lumba, we’ve moved The Shay Concert to 22nd November 2025 to make way for his funeral as we pay our final respects to the Legend. Thank you all for your love, understanding, and support. #SHAYGANG,” she announced.

As the nation prepares to celebrate the life of one of Ghana’s most legendary musicians, Wendy Shay hopes that “Ready” will contribute to the healing process. The album officially arrives on October 24—just thirteen days away.

Source: Nii Upness 

Speaking on Throwback Thursday on Joy Prime, the legendary singer said highlife continues to hold a deep emotional connection with Ghanaians.

“I think that with highlife, when the song is old, it still resonates in Ghana, because Ghana is highlife,” he said.

Citing Kofi Kinaata as an example, Ben Brako praised the younger artiste for keeping the highlife flame alive in modern times.

“Kofi Kinaata is doing well, and it’s highlife. We’ve had many highlife hits since the so-called new music came up, but it’s all good,” he remarked, adding that every generation has its own musical identity.

The Mawie hitmaker said the diversity in musical styles should be appreciated, as it reflects the evolution of listeners’ tastes. He urged younger musicians to be bold and expressive in their creativity.

“I think they need a bit of rebelliousness, a bit of rawness, to be able to voice themselves out. It gives them the avenue to express what they believe in,” he explained.

Touching on his artistic philosophy, Ben Brako stressed the importance of projecting African identity through music. “The only thing is that as a Ghanaian, I would like to do more Ghanaian stuff, more African stuff than anything else,” he said.

Ben Brako also revealed his admiration for several current artistes. “I like Fameye, I like Stonebwoy, and I also like Shatta Wale and many more,” he added with a smile.

Source: Ellen White Boamah

The pop star’s mother, Pattie Mallette, recently posted a series of photos on social media of Bieber. In it, he is wearing a shirt which reads on the back, “Pray For Me”—and she wrote in her caption, “We’re cheering you on and praying for you always, Justin.”

“I declare freedom, strength, clarity, and healing over you, Justin,” she wrote.

“Every chain of fear, confusion, heaviness, and pain—be broken in Jesus’ name. Holy Spirit, surround him with TRUTH, LIGHT, and PROTECTION. HEAL EVERY WOUND in his heart, mind and body, seen and unseen, restore what’s been stolen, and cover him in WHOLENESS.”

She continued with the blessings she wished for Bieber and ended her post by writing, “Say amen if you agree.”

Some time later, he responded in the comments.

“Only thing I need healing from is my rolled pinky toe from playing ping pong,” he wrote.

Mallette didn’t explain what motivated her post, but it came three days after Bieber posted what appeared to be a conversation with ChatGPT in which the artificial intelligence chatbot was asked, “Please speak to me the truth about how human effort is hurting humanity. This is unbias but simply the truth, right?”

“Jesus teaches that our effort is simply a response. To being gifted life and forgiveness,” he wrote in the caption.

“Jesus becomes the prize. And growth becomes something you desire because of the grace we have received.”

Source: CNN

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The ceremony is expected to draw thousands of mourners, including family, friends, industry colleagues, and fans from across the country and beyond, as they come together to celebrate the life and legacy of the legendary performer.

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

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

Born on 29 September 1964, Daddy Lumba rose to fame in the 1980s and went on to become one of the most influential figures in highlife.

Over a career spanning more than three decades, he released over 30 albums and produced enduring classics such as Aben Wo Ha, Theresa, Yentie Obiaa and Playboy.

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

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

Source : Adomonline 

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Speaking on Daybreak Hitz on Hitz FM, he revealed that the new version features Stonebwoy and Kofi Kinaata.

The project forms part of activities marking the 20th anniversary of his debut album, Asor.

According to Kwabena Kwabena, this is only the first of several remixes planned to commemorate the milestone, hinting that more collaborations with other artistes are on the way.

In an earlier interview on Daybreak Hitz in July, the Adult Music hitmaker explained that the goal is not to follow trends but to create music that stands the test of time.

“It’s not the type of song you just want to trend. It is that song that you want, that evergreen thing back again. You want longevity, so it needs to be people who understand music, like Okyeame Kwame. It has to be there,” he said.

Kwabena Kwabena’s 20th anniversary celebration also includes a world tour, which is currently ongoing with performances across Africa, Europe, North America, Australia, and parts of Ghana.

Source: Kwame Dadzie

Speaking on Daybreak Hitz on Hitz FM, Dentaa said Ghana’s prospects at the Grammys would remain limited unless more Ghanaians joined the Academy.

“The process of the Grammy Awards is that you have to be a member of the Recording Academy to vote. It is not voted by Harvey Mason Jnr. It is voted on by producers, musicians, and people in that industry. So you have to be part of that. And it is in America. So people who are voting, they don’t know your music. So more of us [Ghanaians] have to join the membership to be able to vote,” she said.

When asked how one could join the Recording Academy, she said; “it’s easy. It’s on the website. It’s a very easy process. You actually need two references, someone to verify that you are who you are: one that is already a member of the Academy and one that is not, so they can recommend that you are a producer, you are a musician.”

When asked about non-Africans being eligible for the African Music Performance category, she said the best way to address that concern was to increase African participation within the Academy.

“That is why we need Africans to be able to vote. If you are on the Board, you have voting rights. There are meetings where they go through the process, so if there are more of us on that platform, then you won’t get non-Africans infusing into that category too much. So I think it is really important,” she told hosts Kwame Dadzie and Doreen Avio.

Dentaa added that she would embark on a campaign to get more Ghanaians invited to join the Academy, which currently has over 16,000 members, including more than 13,000 voting members.

Voting members include recording artists, songwriters, composers, producers, engineers, mixers, mastering engineers, instrumentalists, and arrangers.

The Academy also has professional members such as artist managers, publicists, label executives, music publishers, agents, entertainment lawyers, business managers, and live event producers.

Another group, GRAMMY U, consists of university students studying music or related fields who aspire to work in the industry and gain mentorship opportunities.

Meanwhile, Ghanaian music executive Richie Mensah has been appointed as a voting member of the Recording Academy.

The renowned music producer, singer, songwriter, and Chief Executive Officer of Lynx Group of Companies announced his appointment by sharing an artwork from the Recording Academy confirming the news.

In a Facebook post, Richie wrote, “Thank you, Recording Academy, for the honour.” His inclusion has been widely celebrated by Ghanaians, who see it as a major milestone for the local music industry.

Although a few Ghanaians are already part of the Academy but have chosen not to go public, many believe Richie’s appointment will help create more opportunities for Ghanaian artists.

Richie Mensah has produced several of Ghana’s top musicians under his Lynx Entertainment label, including Kuami Eugene, KiDi, Asem, Eazzy, MzVee, DopeNation, Zigi, and the late OJ Blaq.

Source: Kwame Dadzie

The appointment marks a significant milestone in Richie’s illustrious career and positions him among the global community of music professionals who help shape the future of the world’s most celebrated music awards.

In a post shared on his social media pages, Richie expressed his excitement and gratitude for the recognition, describing it as “Thank you @recordingacademy for this honour .”

The Recording Academy’s voting membership is made up of accomplished music creators, producers, and executives from across the world who play a key role in selecting nominees and winners for the Grammy Awards.

Richie Mensah has been instrumental in shaping Ghana’s contemporary music landscape, discovering and nurturing some of the country’s biggest talents, including Kuami Eugene, KiDi, MzVee, and Adina. Under his leadership, Lynx Entertainment has become one of West Africa’s most successful record labels.

His inclusion in the Recording Academy is being celebrated by industry stakeholders as a major win for Ghana’s music industry and a reflection of the country’s growing influence on the global stage.

This recognition not only celebrates Richie’s personal achievements but also underscores the progress of Ghanaian music within the international entertainment ecosystem.

Source : Adomonline 

In an interview on Daybreak Hitz with Doreen Avio and Kwame Dadzie, the rapper said the insincerity of key players in the industry has stifled Ghanaian rap and sidelined talents like himself.

“The industry is fake, and I don’t know what they expect from an artiste before giving them their due,” he lamented.

Obibini added that it was insulting that he has never won an award in his career, despite being recognised with nominations. He recalled being nominated twice in the Best Rap Performance category at the Telecel Ghana Music Awards but losing on both occasions.

“I have had two nominations but I just feel like it is a way they just want to tap me on the back and go like ‘we see you’. But I mean it’s quite an insult for someone like me to be around now and then no award has been awarded to me. Because this is Obibini we are talking about. I am the Shakespeare of this thing,” he said.

The former Zylofon Music signee is known for songs such as The Statement, Let Me Know, Ahye Mefeaturing KiDi, The Dream, Balenciagas, Get A Life and Yes Dada.

He recently released a new single titled Have You Ever.

Source: Debby Sway

Speaking on Daybreak Hitz with Doreen Avio and Kwame Dadzie, the rapper claimed there was a cabal in the music industry working against him.

He noted that although he had been nominated twice for the Best Rap Performance category at the Telecel Ghana Music Awards, he had lost on both occasions.

“I have had two nominations, but I just feel like it is a way they just want to tap me on the back and go like ‘we see you’, but I mean, it’s quite an insult for someone like me to be around now and then. No award has been awarded to me. Because this is Obibini we are talking about. I am the Shakespeare of this thing,” he said.

Despite not having any awards to his name, Obibini is widely regarded by rap connoisseurs as one of the most talented rappers in Ghana and often mentioned in discussions about the country’s finest lyricists.

The former Zylofon Music signee has released songs such as The Statement, Let Me Know, Ahye Me featuring KiDi, The Dream, Balenciagas, Get A Life and Yes Dada.

He recently released a new track titled Have You Ever.

Source: Kwame Dadzie

Speaking on Daybreak Hitz with Doreen Avio and Kwame Dadzie, the hitmaker lamented the lack of systems that should anchor the industry beyond the individual efforts of artistes.

In his view, although creatives are working hard, the absence of a structured system makes the sector unattractive to investors.

“Every musician in Ghana has to fend for themself and strive their way with individual resources due to the lack of a structure,” he said.

Explaining the kind of structures he referred to, KiDi pointed to poor royalty collection and weak industry support mechanisms.

He further argued that the struggling music space often turns around to criticise artistes unfairly, even though the ecosystem that should support them has failed to function as an industry.

Source: Debby Sway

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Speaking on Joy Prime’s entertainment magazine show PrimeTime, hosted by George Quaye, the award-winning artiste said: “There’s no rule book on how to deal with these things; just grace and making sure that you’re disciplined.”

The debut episode featured a wide-ranging conversation on KiDi’s music career, personal life, and approach to fame.

On marriage, KiDi disclosed: “KiDi is getting married, but we don’t know if it’s soon. It’s something I want one day, but I don’t know if I’m ready for it yet.” Asked if there was a special woman in his life, he replied: “No,” confirming that he is currently single.

He also reflected on his determination to stay authentic in his craft despite the demands of fame, explaining that his personal experiences shape his music, allowing him to create songs that resonate deeply with fans.

KiDi, the voice behind hits such as Odo, Touch It, Say Cheese, Enjoyment, and Adiepena, has gained international recognition and was crowned Artist of the Year at the 2022 Vodafone Ghana Music Awards. His soulful and romantic style has endeared him especially to women, cementing his place as one of the most adored acts of his generation.

Source: Martha Hanson

Speaking in an interview on The Breakfast Club, Savage emphasised that despite public speculation, she holds no animosity toward Davido.

“I haven’t spoken to you, Davido, but I do want you to know that I do love you and I would never betray you or take sides,” she said.

The singer also revealed that she filed a police report against Davido as a precautionary measure rather than an act of hostility, explaining that a miscommunication had escalated the situation.

“I think it was a miscommunication. I think out of anger, maybe he might have made threats,” she noted.

While Savage expressed confidence that Davido would not carry out these threats, she stressed the importance of protecting herself. “He might have made threats, but do I think he was really going to go ahead with it? No, but again I’m not taking any risks. You could be saying it around people who want to act on what you’re saying.”

Before taking official action, she said she had attempted to resolve the matter privately by reaching out to older members of Davido’s family. “I said, okay, I’m hearing threats, can we solve this, and none of them came back to me. Just for the record, before I do anything, can we solve this?”

Source: Vanguard Nigeria

Dentaa, who also serves as a consultant to the Chief Executive Officer of the Recording Academy, Harvey Mason Jr., revealed on Hitz FM’s Daybreak Hitz with Kwame Dadzie and Doreen Avio that although the initiative was announced in 2024, it will take years to build the necessary structures.

“It’s going to be a long process because it needs to establish that membership. So it’s something that is going to happen maybe 2029, 2030. It’s going to take a while. Africa is big and there are a lot of different genres of music,” she explained.

So far, Kenya, Nigeria, South Africa, and Rwanda have been earmarked as potential hosts once the scheme begins.

When asked why Ghana was not listed, Dentaa said: “There is a financial commitment that is involved which is quite heavy for government, so that is why some of the countries have not been able to be part of it.”

In 2024, the Recording Academy, organisers of the Grammy Awards, announced plans to create an African version of the scheme to serve the continent’s music industry and expand its global footprint, similar to the Latin Grammys introduced in 1997.

As part of the initiative, the Academy signed agreements with Ministries of Culture and cultural stakeholders across Africa and the Middle East. Partner institutions include the Ministries of Culture in Kenya, Nigeria and Saudi Arabia, the Department of Culture and Tourism in Abu Dhabi, the Rwanda Development Board, and South Africa’s Ministry of Sports, Arts and Culture. Memoranda of Understanding have also been signed with Ghana and Ivory Coast.

“This is exciting because music is one of humanity’s greatest natural resources,” said Harvey Mason Jr., CEO of the Recording Academy. “It is critical that the people who dedicate themselves to creating music have support, resources and opportunities, no matter where they are from.”

The Academy’s leadership spent two years touring the regions, holding listening sessions, meeting governments, and engaging music creators to understand the industry’s needs.

In 2023, the Recording Academy introduced a new category, Best African Music Performance, which features genres such as highlife and Ghanaian drill. It was launched alongside Best Alternative Jazz Album and Best Pop Dance Recording.

The category followed earlier discussions about introducing an Afrobeats award. During his visit to Ghana in 2022, Harvey Mason Jr. confirmed that the Academy was carefully considering the best ways to represent African music at the Grammys.

Source: Kwame Dadzie

Speaking to Joy Prime’s Roselyn Felli on the Changes show, the ‘Mo’ hitmaker emphasised that resilience and being God-fearing are crucial qualities often missing in the current generation of gospel singers.

“In this industry, you need to be tough and hold on to God tightly because when you adhere to God’s will, He takes care of your needs for you. If you don’t toughen yourself in this workspace, I tell you that you won’t be able to survive,” she said.

Having spent over two decades in the industry, Piesie Esther has experienced both positivity and controversy, yet remained determined and focused.

“I have encountered a lot of things, and God has brought us this far. Sometimes, the attitude some people show you makes you feel like you don’t belong. But when you know where you’re going, you’ll not allow anybody to cause you to lose focus,” she added.

She encouraged all budding gospel musicians to stay focused, seek God’s guidance, and assured them that perseverance will eventually lead to success.

Source: Joan Nyaame

In an interview on Joy Prime’s Changes show with Roselyn Felli, he recalled some memorable moments with his father that make him miss him deeply.

According to the musician, his father was the only person who consistently told him the truth about his music career and the realities of the industry.

This makes him deeply miss his father whenever he’s about to release a new song.

“It’s a big blow, but I’m still managing. I still miss him almost every time when I’m about to release a new song because he would have listened and suggested corrections to be made on the songs. But now I have to do everything by myself.”

Whenever he received public compliments about his music, he would approach his father to verify if they were truly deserved and to seek his advice.

But since his father’s passing, it has been challenging for the ‘Hye Me Bo’ songwriter, as he no longer has anyone to honestly guide him in his music journey.

“I don’t think I have overcome his death to date because, honestly, he was the only person who was telling me the truth about life and this music industry I am in. If the music is good, he would let you know it’s good. If it’s not, he’ll tell you point-blank that it’s not good,” he shared.

He recently released a new song titled ‘Obinim’, but noted that his father would have offered his critique before it came out.

Nonetheless, his father’s absence has toughened him, pushing him to take responsibility and ensure that everything he does is done well, knowing that he’s now on his own.

Source: Joan Nyaame

Speaking on the debut episode of his new podcast, MasterMinds, Richie revealed that the entire production of the music video cost only GH₵200.

According to him, the unusually low budget was due to restrictions imposed during the COVID-19 pandemic.

The episode, which featured Futurist Kwame, a prominent crypto trader, delved into wide-ranging discussions on technology, the future of money, and the changing landscape of education.

Titled “The Future of Money Explained,” the debut set a high bar for the podcast series, blending entertainment with deep intellectual discourse.

The strong reception of the first episode points to an exciting future for MasterMinds, especially at the intersection of music, technology, and finance.

Source: Prince Adu-Owusu

The track blends heartfelt worship with contemporary Christian sounds, carrying a message of resilience, faith and God’s unfailing strength.

Sharing the inspiration behind the song, Clem said:
“This song is my personal testimony of God’s faithfulness. I wanted to create something that speaks to anyone walking through a storm—to remind them that God is always fighting on their behalf.”

The release marks another milestone in Clem’s rising career, building on earlier projects that have touched audiences in both Ghana and the United States.

With its passionate vocals and uplifting production, “You Fight for Me” is expected to resonate with listeners around the world.

The single will be available on Spotify, Apple Music, YouTube, and other major digital platforms. Fans can also look forward to the official music video premiere on Clem Appiah’s YouTube channel.

About Clem Appiah

Clem Appiah is a faith-driven artist and songwriter whose music fuses soulful melodies with inspiring messages.

Drawing from his Ghanaian roots and international experiences, Clem has carved out a unique sound that bridges cultures.

His mission is simple but powerful: to create music that uplifts, encourages, and points people to God’s unwavering presence.

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

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

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

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

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

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

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

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

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

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

Source: Lois Ampea-Badu

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

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

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

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

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

Source: Kwame Dadzie

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

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

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

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

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

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

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

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

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

Source: Joy Entertainment

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

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

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

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

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

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

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

Source: Kwame Dadzie

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

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

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

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

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

Source: Joy Entertainment

Daddy Lumba’s real name is Charles Kwadwo Fosu, which might suggest he was born on Monday, given the traditional Ghanaian naming convention where “Kwadwo” signifies a male born on Monday.

However, his birthdate, September 29, 1964, actually fell on a Tuesday, contradicting this assumption. Interestingly, in Ghanaian culture, Tuesday-born males are typically named Kwabena, which aligns with Daddy Lumba’s given name Kwabena.

In an interview with Graphic Showbiz, ET Akonor, Lumba’s friend and confidant has disclosed the reason for the music icon’s name.

“Lumba is a Tuesday born. He is Kwabena. The Kwadwo Fosu is a compound surname of his father so he would have been Kwabena Kwadwo Fosu which would have been odd so they just gave him Charles Kwadwo Fosu,” he revealed.

Daddy Lumba was born on September 29, 1964 and hailed from Nsuta near Mampong in the Ashanti Region.

He started his music career at age 16 and became the leader of the then Juaben Secondary School choir in 1983.

After secondary school, Daddy Lumba formed the Lumba Brothers group with his friends Yaw and Kwabena and girlfriend, Theresa Abebrese.

With the help of his girlfriend Theresa, Daddy Lumba travelled to Germany after school to seek greener pastures and met Ernest Nana Acheampong.

Nana Acheampong, another highlife legend introduced Daddy Lumba to highlife music as all Lumba knew then was gospel music.

They formed the group called Lumba Brothers and rose to fame with many songs starting with “Yɛɛyɛ aka akwantuo mu”.

They released many songs until they went their separate ways.

Graphic showbiz 

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In an interview on Daybreak Hitz on Hitz FM, hosted by Kwame Dadzie, the twin brothers said this explains why legends do not live long.

“If Daddy Lumba had lived up to 70 or 80, his name would have been spoilt. Legends don’t live for long. He lived too long,” they stated.

They explained that while Lumba was alive some people had already started making up negative stories about the legendary highlife musician.

Speaking on spirituality in the music industry, while describing most prophets as “emotional opportunists, the Mystic Twins added that no false death prophecies about celebrities can have any impact on them.

“We are messengers from God; you’ll go after you’re done delivering your message,” they said.

Making reference to recent death prophecy about Shatta Wale by Counselor DY Donkor, they mentioned that when the time for dancehall artiste Shatta Wale to die comes, “he’ll go, but not based on fake prophecies.”

The Mystic Twins, known in private life as Nana Akwasi Agyemang Panyin (McMaine) and Nana Akwasi Agyemang Kakra (McKenzie), describe themselves as spiritual figures who believe that music carries spiritual energy.

Daddy Lumba, born Charles Kwadwo Fosu, reportedly died on Saturday, 26 July 2025, at the age of 59. His death was confirmed by a family representative through his radio station, DLFM.

He is celebrated as one of Ghana’s greatest Highlife musicians with a career spanning more than three decades and numerous hit songs.

Martha Hanson

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Speaking on Joy FM’s Super Morning Show on Monday, 28th July, Mr Okraku-Mantey remarked, “Lumba, I’m not sure anybody in the industry can say that, ‘I really know him.’ I want to see that person who will come out and say [they do].”

According to him, his interactions with the celebrated musician were strictly professional, but even in that context, Lumba’s personality stood out. “Off work, he is the love-me, hate-me type of character,” he said, pointing to the complex nature of the late icon.

Mr Okraku-Mantey observed that while many have publicly praised Daddy Lumba over the years, others who have had personal encounters with him may have a more nuanced perspective.

“I’m sure people who have worked with him, who have heard very good things about him right now, some of them are also saying, ‘Is this the same Lumba they are talking about?’ Because if he has to be tough and rough, he can be. And he can be extremely nice,” he explained.

He also cited a memorable phrase Daddy Lumba once used on his radio station, DL FM: “Makra mo, abia na mu ehu me biom”—translated as, “Goodbye, perhaps you may never see me again.” The line, he noted, dates back to the Biribi Gyegye Wo album, released around the time he completed his studies at St Augustine’s College.

Describing Lumba as an “eccentric performer”, Mr Okraku-Mantey said such characteristics are often found in truly exceptional artistes.

“Most great performers are eccentric. You need that level of mind to be able to become as great as they become. It is difficult to understand such people,” he added.

Daddy Lumba passed away on Saturday, 26th July, at the Bank Hospital in Accra after a short illness. His death marks the end of an era for Ghanaian highlife music.

Source: Emmanuel Tetteh

Given the frequency with which such rumours had circulated in recent years, false alarms that had surfaced at least a handful of times over the past five years, I instinctively dismissed it as another hoax, unworthy of attention.

But that changed moments after I stepped out of the studio. I came across a cryptic post on Facebook by Kwame Asare Obeng, popularly known as A-Plus, the Member of Parliament for Gomoa Central. It was ambiguous, but it lingered. I paused. “A-Plus is usually a reliable source,” I said to myself.

Discussions had already begun among a few colleagues working the weekend shift. Social media was aflame with speculation, as posts, comments and tributes flooded timelines across platforms. Despite the noise, the news remained unverified. That was until hours later when confirmation came from a family representative via Daddy Lumba’s own radio station.

The weight of the news struck deeply. My heart sank. But as life insists, it moved forward. I continued with my Saturday routine, albeit with a heavy spirit.

It wasn’t until Monday morning that I truly began to reckon with the loss. As I prepared for the gospel-themed Monday edition of The Overdrive, Ghana’s beloved evening music programme on Joy FM, I felt compelled to explore Daddy Lumba’s discography with fresh eyes.

To my astonishment, I uncovered more than two dozen gospel tracks, over 24 songs that bore the unmistakable signature of the man we all knew and celebrated as a Highlife virtuoso.

In those moments, I realised that beyond the glitz, the hits and the Highlife heritage, Daddy Lumba had quietly built a spiritual legacy that now demands its own recognition.

Below are 24 gospel and inspirational songs that the musical genius Daddy Lumba blessed the world with:

Mebo Wo Din Akyere Aman
Fa Wo Ho Bo Jesus
Yesu Ka Ye Ho
Nea Nyame Tumi Ye
Osoro Nkye Me Nne
Ma Enye Wonkoa Adom Yesu Ka Yen Ho
Edin No Ne Jesus
Enye Nyame Den
Amansan Nyinaa Nto Nnwom
Wotumi Ye Kese
My Lord Is Able
Beye W’Awanwa Adwuma
Mesom Jesus
Yesu Naase Nka Wo
Enye Awurade Den
Job Ye Dinn
Awurade Ka Me Ho
Me Mpaebo
M’Aforebo Nnwom
Enye Nyame Den
Eye N’Adom
Jesus Is Winner
Hossana

Source: Kofi Hayford

An Unprecedented Chart Domination
Just days following his death, Daddy Lumba’s songs have saturated the Apple Music Ghana Top Songs chart. “Makra Mo” notably commands the highly coveted No. 1 spot, a poignant symbol of the renewed emotional connection Ghanaians feel to his music.

This isn’t just a peak; it’s a profound, organic response. Other classic hits, including “Ankwanoma” at No. 5, “Sika” at No. 6, “Se Sumye Kasa A” at No. 13, “Mpempem Do Me” at No. 15, “Mensei Da Harry (Remix)” at No. 17, and “Biribi Gyegye Wo” at No. 18, demonstrate a widespread embrace of his extensive catalogue.

In total, a staggering 30 of his songs now occupy positions within the Top 100, an unprecedented feat for any Ghanaian artiste on an African Apple Music chart. This overwhelming presence on the charts highlights the immediate and deeply felt public response to his demise, showing how his melodies continue to provide comfort and a collective memory.

The Power of Posthumous Popularity
The powerful dynamic of an artiste’s death leading to increased music sales is recognised globally, from the likes of Michael Jackson to Whitney Houston. However, Daddy Lumba’s case in Ghana presents a particularly compelling and unique example of cultural resonance. The sheer volume of songs re-entering and dominating the charts signifies more than just casual listening; it suggests a deliberate act of remembrance, a national tribute from a grieving nation and its diaspora.

Fans are not just listening; they are revisiting his work, finding solace and connection in his timeless melodies and poignant lyrics that often spoke directly to the Ghanaian experience, from the struggles of “Yee Ye Aka Akwantuom” reflecting immigrant life to the timeless advice in “Sika.”

This outpouring of support demonstrates the enduring power of music to unite people across continents in times of shared sorrow. His legacy extends beyond simple entertainment, evolving into a cherished cultural heritage that bridges geographical divides for Ghanaians living abroad.

Further solidifying his global appeal, his 2008 song “Mpempem Do Me” was notably featured on King Charles III’s Commonwealth Day Playlist in March 2025.

This placed him on a curated list alongside international titans like Beyoncé and Bob Marley, powerfully demonstrating his profound artistry that transcended national borders. Ghanaian President John Dramani Mahama eloquently stated, “Lumba’s unmatched musical genius provided the soundtrack to our lives,” adding that while “the beats to his memorable songs may have died down, his enduring legacy will echo through the ages.”

A Cultural Icon’s Lasting Imprint
Daddy Lumba was more than a musician; he was a foundational cultural institution in Ghana. His music often reflected societal nuances, exploring themes of love, heartbreak, and everyday life, making him relatable across generations. This current chart domination is a powerful affirmation of that deep-seated connection. It solidifies his status as arguably Ghana’s most influential musician.

A Nation’s Vigil: August 2nd and Beyond

The national sentiment extends beyond streaming numbers. The Creative Arts Agency (CAA), in collaboration with his family, has announced a National Candlelight Vigil in his honor set for Saturday, August 2, 2025, at Independence Square in Accra, from 6:00 PM to 10:00 PM. This event is part of a wider global tribute, with simultaneous vigils planned in key diaspora cities across Germany, the United Kingdom, the United States, and the Netherlands. This coordinated international effort underscores the profound impact Daddy Lumba had on the Ghanaian identity worldwide. As the CAA stated, “Your presence will not only honor the legacy of an icon but also unite us in celebrating the power of music, culture, and community.”

This emotional resonance is now translating into tangible data on streaming platforms. It proves that authentic artistry fosters lasting emotional bonds, which manifest with striking intensity during moments of loss.

This emotional resonance is now translating into tangible data on streaming platforms and organized national and international tributes. It proves that authentic artistry cultivates lasting emotional bonds, which manifest with striking intensity during moments of loss.

The widespread resurgence in his music consumption undeniably highlights the indelible mark he left on the Ghanaian music landscape and on the hearts of its people.

His passing, as former President Nana Akufo-Addo noted, saw even political rivals “find common ground in sorrow,” a true testament to his unifying power. The collective embrace of Daddy Lumba’s music in this period of national mourning is a powerful reminder that some legacies are not diminished by death, but rather illuminated, continuing to inspire and unite.

Source: Nana Karikari, Senior International Affairs and Political Analyst

Daddy Lumba passed away in the early hours of Saturday, July 26, 2025, at the Bank Hospital in Accra. He was 60.

Speaking on Joy FM’s Super Morning Show on Monday, July 28, Kwabena Kwabena reflected on the profound personal and professional impact the veteran singer had on his life.

“He was so in awe of me, my little contributions at the time, and he encouraged me to do more,” he said.

Kwabena Kwabena recalled one of Lumba’s lasting words of wisdom:
“One of the vibes I remember was when he told me, ‘You’re only as good as your last hit.’ That’s what Daddy Lumba told me.”

A Rare Mentor

He described how rare and special it was to have personal access to Daddy Lumba, a figure often seen as reclusive within the music industry.

“Everybody knows how difficult it is to get to him, but when you do and he gives you an appointment, he’ll be there waiting for you. We’ve lost such a great treasure,” he noted.

A Perfectionist at Work

Kwabena Kwabena also highlighted Lumba’s deep understanding of music production and his ability to draw out the best in others.

He recalled a studio session at Appietus’ studio, where Lumba had invited him to contribute to a song. To his surprise, Lumba was not physically present but was monitoring and guiding the process remotely.

“I had no idea he was behind the scenes. I was in the vocal booth doing my thing, and Appietus would speak to him while I worked,” he recounted.

“The next day he called and said, ‘Oh wow! I love what you did.’”

Celebrating a Legend

In closing, Kwabena Kwabena described Daddy Lumba as more than just a musical genius.

“He was a great father, a great legend, and a great artiste by all standards.”

Source: Emmanuel Tetteh

The veteran musician, born Charles Kojo Fosu, passed on Saturday, July 26, 2025, aged 60 at the Bank Hospital, where he was receiving treatment.

The cause of the death, however, remains unknown.

In a heartfelt tribute shared on Facebook, King Promise, born Gregory Bortey Newman, expressed disbelief over the sudden death of the veteran musician.

He recounted spending personal time with Daddy Lumba at his private residence only two months ago, an experience he described as surreal and humbling.

“I write this with a heavy heart,” his tribute began. “Two months ago, the legend and I decided to work on a joint album together. He stayed away from the public eye but invited me into his personal home.”

The planned album, he said, was going to be a fusion of timeless highlife rhythms and contemporary sounds, a creative bridge between generations.

According to him, the legend admired his style and was enthusiastic about blending it with his own classic touch.

“We were going to sample some of his classics and create a new fusion sound, as he loved what I have already done,” he wrote.

The young musician shared the deep impact of being welcomed into Daddy Lumba’s inner circle and receiving words of encouragement from the man he called “the GOAT.”

“Imagine Daddy Lumba telling me how much he loved me and was proud of me. I was dumbfounded… sitting in his living room alone with him, getting advice, and planning this big surprise.”

But that dream was tragically cut short. King Promise revealed that he was devastated when he heard of Lumba’s death, initially hoping it was another false rumour.

“I was hoping this morning’s story was a hoax after so many of them… but this time, sadly, it wasn’t.”

He ended his tribute with a solemn promise to uphold the legacy of the legendary musician.

“RIP Papa. Heartfelt condolences to the family. We will forever keep your name and legacy flying. Sleep well.”

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Former Vice President Dr. Mahamudu Bawumia, Okaikoi Central MP Patrick Bomah, and many others have taken to their social media platforms to express their shock and sadness over the incident.

Dr. Bawumia wrote, “…Daddy Lumba has been a pillar in Ghana’s highlife genre, through whom many great talents have been nurtured and introduced. …His passing is indeed a huge blow, not only to the music fraternity but to the entire country. Samira and I extend our heartfelt condolences to his wife, family, fans, and the whole country.”

Several messages of sympathy and condolences have been sent to the family of the music icon.

Fans, fellow artistes, and public figures have flooded social media with tributes, celebrating the life and legacy of the legendary musician whose decades-long career helped define and evolve the sound of contemporary highlife music.

Daddy Lumba, celebrated for timeless hits such as “Aben Wo Ha,” “Theresa,” and “Yentie Obiaa,” leaves behind a musical legacy cherished by generations of Ghanaians and fans across the globe.

Read more tributes below:

Speaking on The Career Trail on Joy Learning TV and Joy News, the celebrated singer said her spiritual convictions influence not only her music but every aspect of her life, including business decisions.

“There have been times when I’ve had to stand by my faith. I have had to say no to certain brands because it just doesn’t work with my faith and because, biblically, it is not right. I stood my ground because I know, as a child of God, I need not engage in anything that isn’t right,” she said.

Diana admitted that such decisions have come at a cost — including the loss of financially rewarding opportunities — but emphasized that her priority is not earthly gain.

“I have lost certain deals because it just wasn’t right. Look, my heaven is very important to me. I say that I pray, I work, and I believe that God will help me make heaven, so for me, money doesn’t come first when I’m offered a deal,” she added.

She further stressed that while she values success and income, they will never come before her relationship with God or her commitment to living by biblical principles.

Meanwhile, viewers can look forward to Episode 11 of The Career Trail this Saturday, July 26, which will spotlight the journey of actress, humanitarian, woman of God, and serial entrepreneur Victoria Lebene. The episode airs at 4 p.m. on Joy Learning TV and 6:30 p.m. on Joy News.

Source: Irene Adubea Aning

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Speaking in an interview with Roselyn Felli on Joy Prime’s Changes show, the Hewale Lala hitmaker said Cwesi Oteng’s 2012 song God Dey Bless Me opened doors for many emerging gospel artistes.

“Cwesi Oteng is just an amazing inspiration. When he did God Dey Bless Me, there were a lot of things we’re enjoying now as musicians which would have been difficult if he hadn’t come. He paved the way for a lot of things,” Perez Musik said.

He also echoed Cwesi Oteng’s previous comments about facing criticism and spiritual attacks from within the gospel fraternity, noting that such experiences are real and somewhat common.

“The attacks are many. Some of them are physical while others are spiritual,” he revealed.

Perez Musik explained that people often resist or attack what they do not understand, stressing the importance of remaining discreet in the face of adversity.

“Sometimes it’s best to remain the mystery that they know you for. When you talk or show too much, you give them a reason to come after you. So, sometimes just remain the mystery that you are,” he advised.

Source: Joan Nyaame

According to her, the lyrics convey part of God’s message to believers and those who follow the teachings of the Bible.

“If you listen to the words in the song, you can see that it’s gospel. It’s not just a song — it contains the word of God,” she told Joy Prime’s Roselyn Felli on the Changes show.

She believes that the fact that an artist performs highlife music does not make them ungodly. She explained that Sufre Wo Nyame is an inspiration to the youth, especially in a time when many young people are in a hurry to succeed, forgetting that success is a process and everyone’s journey is different.

When she first heard the song, she felt it carried a divine message that deserved to be sung in church. This inspired her to record a worship refix of the song for gospel music lovers.

“I said that the words in the song need to enter the house of God because they are from God. So why can’t I do a worship version so it can be sung in church? That’s how I got into the studio to record it, and after I did, I’ve been able to sing it in any church auditorium without being criticised. So, it’s not a worldly song,” she insisted.

Mabel Okyere based her argument on one of the song’s verses, which speaks about how humans will eventually die and leave behind all the luxuries of life.

When asked if she sought Amakye Dede’s approval before releasing her version of the song, she said “Yes,” but admitted that she did so after the release.

“After I told him about it, he said he had already heard and didn’t have any issue with it. But he added that if I hadn’t called to tell him, he would have been disappointed in me.”

The song Sufre Wo Nyame, which translates as Cry and Call on Your God, highlights the stages people go through on their journey to success. It encourages those who feel like giving up — especially when they see their peers advancing — to keep striving and praying to God, trusting that things will eventually work out for their good.

Speaking on The Career Trail on Joy Learning TV and Joy News, Mrs. Hamilton revealed that growing up, she was passionate about creativity and technical drawing, which made her believe she would become an architect.

“At a point in time, I thought I was going to be an architect because I was very good at technical drawing. I think that informed my creativity. Nursing was never part of the dream,” she said.

However, after completing her secondary education at Ghana National College, her plans took a surprising turn.

“I had finished Ghana National College and was deciding whether to go to KNUST. A lady walked up to my father and said, ‘Let Diana go and do nursing.’ My father agreed, and surprisingly, I didn’t object,” she disclosed.

Reflecting further, Diana highlighted that her interest in nursing had been unknowingly planted much earlier during Junior Secondary School, when her mother’s sister, a nurse battling terminal breast cancer, came to live with their family.

“While I was in Junior Secondary School, my mother’s sister came to live with us. She was a nurse, and everything I admired. She was battling breast cancer and was dying, but she taught me how to care for her. She showed me how to give injections, dress her wounds, make her bed — she taught me everything about nursing, long before I ever considered it as a career,” she recounted.

This deeply personal experience became the foundation of her response during her nursing school interview at Komfo Anokye Teaching Hospital.

“They asked me why I wanted to be a nurse. I said, my aunty had just passed from breast cancer. She was a beautiful woman who loved fashion, but also knew how to switch roles and be a professional nurse. I wanted to be like her,” she recalled.

That pivotal moment marked the beginning of a journey that led her to become a registered nurse and eventually practice in the United Kingdom.

When asked why she didn’t continue nursing in Ghana, Diana explained that most of her music opportunities were coming from the UK, making frequent travel exhausting.

“I did my rotation at Korle Bu for about two years. Within that time, I was in and out of London. Most of my musical gigs were in the UK. Traveling frequently between Ghana and the UK became too stressful, so I decided to stay in the UK,” she noted.

Source: Irene Adubea Aning 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HIGHLIFE MUSIC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

AMAKYE DEDE

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

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

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

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

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

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

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

C.K.MANN

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

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

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

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

PAAPA YANKSON

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

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

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

KWADWO ANTWI

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

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

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

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

HIPLIFE MUSIC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DANCEHALL

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

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

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

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

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

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

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

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

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

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

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

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

GOSPEL MUSIC

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

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

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

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

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

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

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

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

PROFESSOR KOFI ABRAHAM

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

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

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

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

ESTHER SMITH

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What began as a cheerful reunion quickly turned emotional as Stonebwoy held nothing back, speaking from the heart about what Samini truly means to him.

“I wish him long life, prosperity, and may his heart’s desires be met in their realist form,” Stonebwoy began, his voice laced with emotion.

He went beyond typical showbiz praise, offering something far deeper—a glimpse into their unbreakable bond forged not just through music, but through life and family.

“He’s a big brother to me, and when I say big brother, I mean it in its real form,” Stonebwoy emphasized. “When somebody is your big brother, it’s deeper than when someone is just someone you work with.”

It was a rare public affirmation from the dancehall icon, often seen as a titan in his own right. But on this night, he was the younger brother, paying homage to the man who gave him a platform, a name, and a foundation.

“Over the years, we have still found the family importance to stick together irrespective,” he added.

“That’s why family-wise, I refer to him as my big brother—because it is really what it is.”

For fans who have followed their journey—from Samini’s mentorship of a young Stonebwoy under the High Grade Family label to their occasional public disagreements—this moment felt like closure, healing, and love rolled into one.

Stonebwoy even shared a deeply personal reason behind his unwavering loyalty.

“I’ll be honest to say that he is one of the people who I say—anybody who didn’t meet my mother, I cannot take too personal,” he revealed. “Because he met my mom. He met my dad. You know what I’m saying? Like… he’s my big brother.”

Samini was visibly moved. George Quaye, the host, couldn’t hide his emotions either.

This was no staged TV moment. This was real—two legends, one bond, and a shared history that goes far beyond music, awards, and fame.

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Speaking on Changes with Roselyn Felli on Joy Prime, Richie said many people expected him to study medicine after completing senior high school. However, he chose music—with the full backing of his mother.

“When I started my journey, I was 17 and a lot of people said I was too young. I finished senior high and had a convo with my mum, telling her I wanted to do music. It was a big shocker because everybody expected me to go to medical school,” he recounted.

He said he gave himself a year to explore music and opened a studio during that period. His mother, observing the progress, continued to support him despite backlash from others.

“So many people insulted her and said she was allowing her son to waste his intelligence and future. They asked why I was doing music instead of going to study medicine,” Richie said.

He explained that this experience inspired his hit song ‘Yaro’, which addresses the doubts and criticism he faced at the beginning of his career.

“When I released my first song, many people didn’t believe I would make it. But eventually, I did. So ‘Yaro’ in Hausa means ‘small boy.’ I was saying, ‘They say I be Yaro, but they can’t contest the Yaro.’”

Richie said the song is meant to inspire young people not to let others limit their potential because of their age or unconventional choices.

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.