The Creative Arts Agency has announced a National Candlelight Vigil in memory of Ghanaian highlife music legend Daddy Lumba, set to take place on August 2, 2025, at Independence Square in Accra.

This significant event will run from 6:00 PM to 10:00 PM and forms part of a global tribute being held simultaneously in Ghana, Germany, the United Kingdom, the United States, and the Netherlands.

The vigil is being organized to honour the life, legacy, and immense contribution of Daddy Lumba to Ghana’s music and cultural landscape. Known for his distinctive voice and timeless songs, Daddy Lumba remains one of Ghana’s most celebrated music icons.

In a letter signed by Mr. Gideon Aryeequaye, Acting Executive Secretary of the Creative Arts Agency, the public is warmly invited to join in this solemn and inspirational event.

 “Your presence will not only honour the legacy of an icon but also unite us in celebrating the power of music, culture, and community,” the letter stated.

Members of the public and stakeholders in the arts are encouraged to RSVP by July 31, 2025, to confirm their participation in this historic occasion.

The event promises to bring together fans, artists, and cultural enthusiasts in a unified show of respect and remembrance for a man whose music touched lives across generations.

In recent years, beefs have become a dominant force in Ghana’s music industry. From lyrical jabs to full-blown social media feuds, artists regularly go head-to-head, sometimes for fame, other times for pride. But the question remains: Are beefs truly necessary in our music industry?

From one angle, beefs can energise the music scene, stir conversations, and drive massive attention toward artists and their works. It keeps the industry competitive and exciting, pulling fans deeper into the culture. However, beefs can also sow division, fuel unhealthy rivalries, and even threaten the unity and growth of the creative space. On the flip side, they can fragment the industry, spark unnecessary tension, and even escalate into dangerous conflicts.

A historical example that still echoes in the global music scene is the infamous feud between Tupac Shakur and The Notorious B.I.G., which not only divided the hip-hop community but tragically led to the loss of two great talents. What began as a lyrical rivalry ended in bloodshed, costing both men their lives. It’s a harsh reminder that when egos clash without boundaries, the consequences can be devastating. It reminds us that beefs, if not managed, can do more harm than good.

Back home, the Ghanaian music industry has not been immune to such confrontations. High-profile artists have often clashed publicly, leaving fans and observers questioning the real purpose behind these feuds. While beefs have existed in the industry for decades, the pressing question remains: Are they truly necessary?

Ghana’s Long History with Beefs.

Ghana is no stranger to artist rivalries. The likes of legendary DADDY LUMBA and Nana Acheampong to Paa solo and the Sibo brothers, e.t.c. In the early 1990s, Richard Kwasi Siaw Afrofi, popularly known as EX Doe, and his former collaborator, Patrick Gogoh, a.k.a. Chicago, shook the scene with diss tracks that thrilled fans and elevated their careers, at least temporarily, but decades later, one wonders: Did it build legacies or fade as industry noise?

The feud between Shatta Wale and SAMINI marked one of the longest-running beefs in Ghanaian music history. Though the reasons were never obvious, their clashes dominated headlines, disrupted award shows, and split fans into camps. While both artists gained visibility, the industry was left to deal with the aftermath.

The New Age of Lyrical Warfare.

Modern-day rivalries have taken beefs to a more digital, and sometimes theatrical, level. The 2016 lyrical clash between M.anifest (god MC) and Sarkodie (Kanta) revived the essence of pure rap battles in Ghana. Though intellectually stimulating and creatively executed, it sparked debates about respect, originality, and authenticity in Ghanaian hip-hop.

Soon after, rappers like EL, Strongman Burner , Eno Barony, Obibini, Sister Afia, Medikal, among others, also found themselves on the battlefield. The Strongman-Medikal beef, in particular, was a lyrical spectacle, with tracks like “Don’t Try” and “Last Burial” igniting the rap scene and captivating audiences. But again, was it its artistry or animosity?

Beyond the Lyrics: Personal & Industry Beefs.

Feuds aren’t always about the music. Female artists like Wendy Shay, Fantana, and Sister Debby have had their share of online spats, often centred around record label politics and personal branding. Such conflicts don’t just reflect personal differences; they expose the cracks in artist management and industry structure.

And who can forget the drama between Shatta wale(shatta movement) and Stonebwoy that climaxed at the 2019 Vodafone Ghana Music Awards? What should have been a celebration of excellence nearly turned violent, resulting in temporary bans for both artists. Though they’ve since reconciled, that moment raised serious questions about professionalism, security, and leadership in the music space.

Is It All Worth It?

Some industry players argue that beef is good for business. Some suggest that beefs sell the industry, make it louder, and keep fans engaged. In some cases, that may be true, streams increase, followings grow, and artists trend. But at what cost?

Beefs can also derail careers, discourage collaborations, and create toxic fan bases. Younger artists looking up to veterans may begin to see division as the norm, rather than unity and creativity.

The Verdict

So, is beef necessary in our music industry?

The answer lies in how the beef is handled. If rooted in creativity, mutual respect, and competition, beefs can sharpen skills and add spice to the culture. But when fueled by ego, hatred, and violence, they become poisonous to both artists and the industry.

As fans, let’s encourage lyrical excellence and constructive competition, not chaos. As artists, let the microphone be your sword, not your downfall. And as stakeholders, let’s create systems that reward artistry over the controversy.

Because in the end, music should unite more than it divides.

The third edition of Ghana Chieftaincy Awards and the Royal Investment Summit have been launched.

This year’s edition, themed “A United Front for Environmental Awareness, Royal Investment and Tourism Promotion”, was officially launched at the Swiss Spirit Alisa Hotel at North Ridge, Accra, on Thursday 17th July 2025.

The launch marks a significant expansion of the awards’ scope to include environmental advocacy, investment promotion and tourism development, alongside its core mission of recognising excellence in chieftaincy.

The launch was held under the auspices of His Majesty Daasebre Kwebu Ewusi VII, Paramount Chief of Abeadze Traditional Area and Board Chairman of the Ghana Chieftaincy Awards.

The 2025 award ceremony is scheduled to take place on 3rd and 4th October at the Kwame Nkrumah University of Science and Technology in Kumasi.

Speaking at the launch, Nana Obokese Ampah, Chief Executive Officer of the Obokese Foundation, organisers of the Ghana Chieftaincy Awards, outlined the four thematic pillars of the scheme.

“We have four thematic areas. The first among them is the development of Chieftaincy as an institution, women and youth empowerment, rural support and number four is Diaspora integration,” he noted.

He also announced a partnership with the Blackstar Experience for this year’s awards.

Rex Owusu Marfo, Co-ordinator of the Blackstar Experience, expressed his office’s commitment to the success of the 2025 Ghana Chieftaincy Awards and Royal Investment Summit.

“The Blackstar Experience in partnership with the Obokese Foundation envisage a Ghana where royal investments translate into tangible opportunities for our youth and women. By leveraging the importance of chieftaincy, we can attract ethical investment, revival cultural enterprises and create jobs that will honour our heritage,” he said.

The Ghana Chieftaincy Awards, also known as the Nananom Honours, are organised by the Obokese Foundation to recognise traditional leaders who exemplify leadership, good governance, community development and cultural preservation.