A Mic Drop for Ghana’s Creative Economy: Sarkodie’s Rapperholic to Boost Ashanti Economy by Over GHS 20 million – Mel Kwesi Davis

When Sarkodie takes Rapperholic 2025 to Kumasi today, it’s not just another concert, it’s an economic, cultural and technical mic drop. It’s proof that Ghana’s creative economy is not a “side hustle” industry but a full-fledged engine of growth, powered by indigenous know-how and event management brilliance.

The numbers speak louder than any verse. With 30,000–40,000 fans expected, hotels in Kumasi are already near full. Average nightly rates have jumped from GHS 600 to GHS 1,000, translating into an estimated GHS 8–10 million in hospitality revenue. Restaurants, bars and transport services tuned up for their share of the pie. In fact, some insiders are joking that kwen kwen, Fufu and waakye may be harder to find this weekend of Rapperholic.

The two-week setup has potentially created 500 direct jobs from stage riggers to sound engineers—and about 1,500 indirect ones, from chop bar owners to ride-hailing drivers. That’s about GHS 2.5 million in wages injected into the local economy before Sarkodie even grabs the mic. The wider creative supply chain designers, dancers, DJs, and costume makers are expected to circulate another GHS 5 million. By conservative estimates, Rapperholic 2025 could generate over GHS 20 million (≈USD 1.6 million) in economic activity for Kumasi.

And let’s not overlook the craft. Local carpenters, designers, and lighting engineers brought the stage to life. They didn’t just import expertise; they built it right here. This is indigenous technical knowledge, refined by experience and sharpened by hustle. It’s event management, not as decoration but as development.

Ghana has been flexing this muscle for years. Look at the energy of Tidal Rave, the global draw of AfroFuture, the creativity of Chale Wote Arts Festival, the community of Rhythms and Brunch, and the soul-stirring impact of Women in Worship. And it doesn’t stop at concerts, our theatre stage is booming too. Productions like Death and the King’s Horseman, Run for Your Wife, and other standout plays prove that Ghanaian theatre is alive, commercially viable, and employing dozens of creatives per show. Every event raises the bar, every stage pushes the industry forward, and every crowd proves that Ghanaians don’t just attend events; we build economies around them.

And yes, let’s give credit where it’s due: companies like Event Republic continue to show that world-class event management can be “Made in Ghana.” Pulling off large-scale productions isn’t luck; it’s planning, foresight, and execution. With proper investment, this sector can rival cocoa and gold in its contribution to national development (and it’s way more fun to dance to).

But here’s the challenge: will the government and corporate Ghana keep pace? Imagine tax incentives for event production, infrastructure designed for mega concerts, grant schemes for creatives, and stronger partnerships with the private sector. Imagine the creative economy treated not as an afterthought but as a national strategy.

As Kumasi lights up for Rapperholic 2025, we’re not just watching Sarkodie perform. We’re watching the creative economy perform. And the verdict is clear: it’s a hit.

So here’s to the team, the talent, the city and the fans. Rapperholic 2025 is nothing short of legendary, and as we say in event management, the show must go on.