Controversial preacher Nicholas Osei, known as Prophet Kumchacha, recently stirred debate by attributing Ghana’s entertainment industry’s struggles and the Black Stars’ inconsistent performance to a “spiritual curse” .
Speaking to media, he emphasized that untapped talent in film and football is less about lack of infrastructure and more about metaphysical forces. He urged spiritual remedies and moral reforms within creative and sports circles.
The preacher’s remarks elicited backlash from industry insiders, critics, and fans, who called for tangible investment and systemic accountability rather than mystical explanations. Still, his statements reignite age‑old conversations on the role of spirituality and superstition in Ghana’s public life.
A recent feature highlights how dance remains essential to Ghanaian entertainment, shifting from tradition to modern performance art . From durbars to Afro‑street festivals, dance is no longer just heritage but a commercial powerhouse—fueling music videos, stage shows, and livestream performances.
Urban choreographers like Dancegod Lloyd and AfroBeatz Kings are merging highlife with street dance and global moves to create visually striking routines. Dance competitions and TV dance shows are now thriving, with producers scouting dancers as brand ambassadors and performers.
Critically, dance is emerging as a voice of identity and empowerment—women and youth especially are finding creative expression and economic opportunity in performance. As Ghana stages global festivals and hosts the African Games, dancers are stepping into international choreography roles, with Ghanaian troupes touring globally.
Music duo DopeNation shared their struggles inside Lynx Entertainment during a frank interview on 3Music TV’s Big Conversation on July 22, 2025 . They described feeling constrained by contractual terms and a lack of artistic autonomy, saying they were often sidelined in promotion and planning.
The duo recounted stories of delayed releases, misaligned creative decisions, and internal disagreements about royalties and branding. Despite these difficulties, they credited the label for initial exposure and industry access. Ultimately, the duo made the bold decision to leave Lynx, prioritizing control over their work and relationship with fans.
Now independent, DopeNation are on a mission to redefine Ghana’s Afrobeat and hiplife landscape. The pair disclosed they’re reinvesting profits into their own brand and forging direct audience connections—streaming live shows, hosting workshops, and collaborating internationally. They expressed gratitude for lessons learned but confirmed the exit was necessary. Their transparency is resonating, inspiring other artistes to seek fairness and voice in their careers.
Richie Mensah, founder of Lynx Entertainment, recently addressed the recurring cycle of artiste‑label separations in the Ghanaian music scene. In a poignant interview with Kafui Dey, he stated, “Eventually, every artiste has to leave,” highlighting the inevitability of parting ways when career directions diverge .
He reflected on the complexities of managing emerging talents—emphasizing that growth often leads artistes to seek new horizons. Richie acknowledged that while signing artistes is beneficial initially, labels must adapt to evolving artistic visions. The conversation turned introspective when he shared how Lynx Entertainment proactively nurtured careers but also recognized when independence served artistes better.
Richie also cautioned against labels retaining artistes beyond their creative lifespan, noting that stifling growth can backfire. This departure is not solely financial—it’s about mutual respect and long-term strategic alignment. Looking ahead, Richie revealed Lynx plans to innovate contract models, focusing more on development and flexibility to accommodate evolving creative ambitions.
In closing, Richie urged budding artistes to engage labels strategically—fostering collaborations that build and respect autonomy simultaneously.
Mohammed Aminu—known to some as Aminu Mohammed—once stood as one of Ghana’s most promising football talents. Born and raised in Ghana, his rise began at the renowned West African Football Academy (WAFA), where his dribbling flair and goal-scoring instinct turned heads both locally and abroad.
At just 17, Aminu made waves at the 2017 Al Kass youth tournament while guest-playing for Red Bull Salzburg. His two goals against Paris Saint-Germain didn’t just win the match—they sparked a frenzy of interest from top European clubs, including Real Madrid, Bayern Munich, and PSG. But it was Manchester City who secured his signature in a £2 million move later that year.
Back in Ghana, Aminu was already making a name for himself. In early 2018, he netted three goals in five Ghana Premier League games and was crowned Player of the Month—a confirmation that the hype around him was real.
Yet, his journey with Manchester City never truly took flight.
After officially joining City, he was immediately sent out on loan to gain experience—a common path for young talents under City’s global football network. His first stop was NAC Breda in the Netherlands, where he initially joined on a short internship before turning out for their U-21 side. He scored some goals, showed flashes of brilliance, but never broke into the senior team.
Later, he joined FC Dordrecht, but work permit issues and the sudden disruption of the season due to COVID-19 meant he didn’t feature in a single match. A loan spell at Belgian side Lommel S.K.—a club also owned by City Football Group—followed, but again, Aminu couldn’t find a place in the senior squad.
After three challenging loan spells and no first-team appearances, Manchester City released him in 2022. For a player once tipped as a future star, it was a bitter pill to swallow.
Fast forward to 2025, and Aminu, now 24, is back where it all started—Ghana. He’s signed with Bechem United in the Ghana Premier League, hungry to reignite his career and prove that his story is far from over.
His journey serves as a reminder that talent, while crucial, isn’t always enough. Work permits, competition, timing, and opportunity all play a role. For Mohammed Aminu, the dream may have taken a detour, but his passion and perseverance remain undimmed.
Now back on familiar soil, he’s determined to write a new chapter—one driven by the same fire that once caught the eyes of Europe’s elite.
Since its release on April 3, 2025, Black Sherif’s sophomore album Iron Boy has taken the music world by storm. The blend of highlife, Afrobeats, hip-hop and drill has earned critical acclaim and massive streaming numbers. It became the first Ghanaian album to spend two full weeks on Apple Music’s US Top 50, while breaking Ghana’s 24‑hour Spotify streaming record with over 2 million plays.
The album peaked at No. 10 on Billboard’s World Albums chart and No. 5 on Nigeria’s TurnTable Albums chart, cementing his rising global influence. Artists such as Shatta Wale, Sarkodie, and Efya showered praise on Iron Boy, calling it a masterpiece rich in writing and spiritual depth.
Sherif’s success is not limited to music. He is the only Ghanaian artist nominated for the 2025 BET Awards in the Best International Act category—a testament to his unique storytelling and fan connectivity.
In April 2025, Nigerian superstar Davido jokingly appealed via Instagram for Sherif to yield the Ghana Apple Music chart’s top spot to his collaboration “With You,” after Sherif’s songs occupied 15 of the top 16 positions. This playful exchange underscored Sherif’s chart dominance and the respect he commands among Africa’s elite musicians.
Sherif has also maintained his position as Ghana’s most streamed artist on Spotify for 2024, showing sustained engagement and relevance . As his global tours roll out, and collaborations continue, the music world is watching what Black Sherif will conquer next.
From skateboarding in Accra’s Urban Sports Festival to its participation in the inaugural Kho Kho World Cup in India in January 2025, Ghana is making strides in non-traditional sports. While the national Kho Kho team did not advance, victories over Argentina and the Netherlands showed promise.
With urban youth sports gaining visibility and traditional games finding fresh audiences, Ghana’s sporting culture is diversifying—and attracting attention.
In a move hailed as a strong endorsement of Ghana’s economic reform efforts, the International Monetary Fund (IMF) has approved the release of $367 million to the country following the successful completion of the fourth review under the Extended Credit Facility (ECF) agreement.
This brings the total disbursement under the $3 billion bailout package to $2.3 billion, providing vital foreign exchange support and reinforcing confidence in the government’s economic program. The review, concluded in early July, noted that Ghana had met key structural benchmarks, including fiscal consolidation, debt restructuring, and monetary policy tightening.
According to an IMF statement, Ghana’s performance under the program has remained “broadly satisfactory,” despite lingering challenges posed by global economic volatility, domestic inflation, and debt-related pressures. The disbursement, expected to hit the Bank of Ghana’s reserves this week, will boost the country’s international reserves and help stabilize the cedi.
Finance Minister Mohammed Amin Adam welcomed the disbursement, saying, “This injection is a major milestone in our journey to restore economic stability and regain investor confidence. It proves we are on track, and reforms are working.”
The IMF praised Ghana for reforms aimed at improving tax revenue collection, enhancing transparency, and restructuring its domestic and external debts. Notably, Ghana has reached agreements with bilateral creditors under the G20 Common Framework and is close to concluding external debt deals with Eurobond holders.
Despite the positive review, the Fund also flagged several vulnerabilities. Ghana’s debt remains elevated, and further work is needed to improve state-owned enterprise governance and ensure fiscal discipline, particularly with the 2026 general election on the horizon.
Analysts believe the latest tranche will ease short-term pressures on the cedi, which has appreciated by over 10% in 2025. However, with inflation still above 20% and interest rates at 29.5%, the economic recovery remains fragile.
The disbursement also unlocks potential funding from other development partners, including the World Bank, which is finalizing a separate $360 million budget support program. The synergy between these funds is expected to aid in clearing government arrears, particularly in road infrastructure and education.
Outlook: The IMF board will conduct its fifth program review in October 2025. Ghana’s continued access to these funds hinges on staying the course with reforms—especially in areas like energy sector debt, SOE governance, and broadening the tax base.
For now, however, the approval marks another step forward for a country rebuilding its economic credibility after years of financial turbulence.
The Monetary Policy Committee (MPC) of the Bank of Ghana has opted to maintain the benchmark interest rate at 29.5%, signaling a cautious stance despite signs of economic recovery. The decision follows the latest quarterly meeting chaired by Governor Dr. Ernest Addison, where economic indicators showed a mixed outlook.
Inflation, though reduced to 21.3% in June 2025—its lowest in over two years—remains a concern, especially with global oil prices surging again. Ghana’s cedi has strengthened against the dollar, driven by increased exports and the IMF’s recent $367 million disbursement. Yet, high debt servicing and persistent fiscal deficits temper optimism.
Dr. Addison noted in a press briefing: “We acknowledge the gains made in stabilizing inflation and the exchange rate, but caution is warranted. Premature easing may undermine the hard-won macroeconomic stability we are experiencing.”
Analysts had speculated a potential rate cut of up to 100 basis points, but the Bank’s conservative decision was praised by economists who feared a policy misstep might fuel inflation again. “It’s the right call,” said economist Priscilla Boakye of Databank. “Ghana has been here before—early celebration can reverse everything.”
The MPC’s decision comes amid a brighter economic backdrop. Ghana’s GDP grew by 5.3% in the first quarter of 2025, buoyed by agricultural and service sectors. Gold exports are projected to rise by 6.25% this year, and Fitch recently upgraded Ghana’s credit rating outlook to ‘stable.’
Still, risks loom large. Utility tariffs are expected to rise in Q3, and global geopolitical tensions continue to impact commodity prices. The upcoming fiscal budget will be crucial in determining whether monetary policy can afford to ease in Q4.
In the coming months, the central bank is expected to monitor key inflation drivers—including food prices and transport costs—before considering a rate cut. Stakeholders across banking, commerce, and industry are hopeful that a favorable policy environment will soon follow.
Ghana continues to receive technical assistance and funding from development partners, but all eyes remain on how it balances recovery with long-term debt sustainability.
Conclusion: With macroeconomic conditions showing early signs of stability, the Bank of Ghana is wisely prioritizing inflation control and fiscal discipline. The next MPC decision, scheduled for September 2025, may bring a different tone—provided current gains hold firm.
Ghanaian‑German gospel minister and pastor, Daniel Jeddman has found himself at the center of controversy after leaving a comment on a TikTok video posted by Nana Agradaa’s daughter. In the clip, the child sings while dressed in church attire—an image that many interpreted as the next generation of spiritual influence. Jeddman’s comment, intended to sympathize with Ghanaians by urging mercy on Agradaa, triggered backlash. Critics accused him of taking sides in a highly publicized feud involving defamation and legal battles.
Agradaa, also known as Evangelist Mama Pat, has been embroiled in a prolonged conflict with gospel artist Empress Gifty, who filed a GH₵20 million defamation suit against her for allegedly making false claims about her personal life and her late mother Agnes Aba Annan (“Agaga”) . The conflict escalated after Agradaa drew in Empress Gifty’s deceased mother by asserting that calling on “Agaga” calls her own spirit.
In this highly charged context, Jeddman’s mild encouragement to “have mercy” on Agradaa sparked criticism from Ghanaians who feel he underestimated the gravity of her alleged defamation and legal issues. Many on social media questioned why an outside gospel minister would comment on such a polarizing local dispute—especially one involving accusations of slander, court orders, and a public ultimatum from Empress Gifty’s legal team.
Supporters of Jeddman argue that his comment was not an endorsement, but a call for compassion. Detractors see it as misplaced interference that downplays the hurt felt by those defamed. Observers note the sensitivities around children becoming symbols in adult controversies; Agradaa’s daughter’s TikTok has now been politicized in the online war.
As the legal battle continues—with courts already dismissing parts of Agradaa’s defense and ordering costs in favor of Empress Gifty —Jeddman’s involvement highlights the risks public figures face when engaging in volatile online debates. The broader conversation underscores the need for discretion when interweaving spiritual commentary with personal reputational disputes.
