Black Sherif Lights Up New York
:Ghanaian music star Black Sherif brought New York City to life with a powerful performance at the Hammerstein Ballroom, Manhattan Center, delivering a night filled with energy, excitement and a celebration of Ghanaian music on an international stage.

The Black Sherif New York performance attracted fans who gathered to experience the unique sound and stage presence of one of Ghana’s fastest-rising music stars. The artiste thrilled the audience with a catalogue of his popular songs, blending his signature rap style, African rhythms and emotional storytelling.

Performing at the iconic venue, Black Sherif showcased why he has become one of Ghana’s biggest music exports, connecting with fans through his energetic delivery and authentic representation of Ghanaian culture.

The atmosphere inside the Hammerstein Ballroom was electric as fans sang along, danced and celebrated the artiste’s journey from Ghana to the global music scene.

The event also highlighted the growing international influence of Ghanaian music, with Black Sherif using the platform to project the country’s creative talent to audiences in the United States.

His New York show adds to a growing list of international performances that continue to expand his global fanbase and strengthen his reputation as one of Africa’s most influential young artistes

Videocredit@pulse Ghana

Ghanaian dancehall star Shatta Wale has supported the decision by UK authorities to stop ShattaFest UK, saying the intervention may have prevented a more serious situation at the event.

The musician, who was scheduled to headline the Ghana Party in the Park/ShattaFest UK event at Copthall Playing Fields in North London on Saturday, August 1, 2026, said he was relieved that police stepped in after safety concerns emerged at the venue.

The event was halted following a crowd-related incident that left some attendees injured, with reports indicating that emergency services responded after tensions developed during attempts by patrons to access the venue.

Shatta Wale, in reacting to the cancellation, said the decision by authorities should not be viewed as a setback but as a necessary move to protect lives. According to him, allowing the programme to continue under the circumstances could have created a dangerous outcome.

The artiste also criticised aspects of the event organisation, suggesting that some arrangements were not handled properly ahead of the show.

He explained that while he was responsible for travelling to the United Kingdom for the performance, other responsibilities, including arrangements for his team’s travel, rested with the organisers.

“It was my part to move myself here and I came with my wife. It was your part to also get my team here,” Shatta Wale stated.

His comments come as attention remains focused on the events that led to the cancellation of ShattaFest UK 2026. Reports suggest that a situation near the entrance of the venue contributed to a sudden movement of the crowd as people attempted to enter the event grounds.

Several attendees were reportedly injured during the incident, with some receiving medical assistance at the scene.

Rather than blaming UK authorities for stopping the festival, Shatta Wale said he appreciated the police response, stressing that protecting attendees should be the priority whenever large public events are organised.

The dancehall artiste further argued that organisers must place public safety above financial interests, adding that no event should put lives at unnecessary risk.

His comments follow a statement from his management after the cancellation, which expressed regret over the incident and maintained that the safety of patrons, staff and performers remains the most important consideration.

Meanwhile, event organisers Akwaaba UK have rejected claims circulating online that people were stabbed or killed during the incident, describing such reports as inaccurate.

Stonebwoy reacts to ShattaFest UK cancellation by expressing heartfelt sympathy to fans, organisers, promoters and everyone affected after the annual concert headlined by Shatta Wale was called off following a serious crowd incident outside the event venue in London.

The award-winning Ghanaian dancehall musician shared his reaction in a post on his X (formerly Twitter) page on August 1, 2026, describing the development as heartbreaking for Ghana’s music industry and everyone who supports its growth on the international stage.

“This is definitely not the kind of news any event organiser, artist, fan or promoter of the Ghana music agenda wants to hear. Our hearts go out to all those affected,” Stonebwoy wrote.

His message came shortly after Shatta Wale’s management officially confirmed that ShattaFest UK 2026 had been cancelled due to safety concerns following the incident.

The event, organised in collaboration with Ghana Party in the Park, was scheduled to take place at Copthall Playing Fields, London, but was called off after police intervened following reports of a crowd crush outside the venue.

According to reports from the scene, heavy congestion outside the venue reportedly resulted in a stampede that left several attendees injured.

A police officer addressing the crowd announced that the concert had been cancelled in the interest of public safety, explaining that the decision was taken because a significant number of people had reportedly been injured during the incident.

Organisers initially informed patrons that the interruption was temporary, raising hopes that the event would resume once the situation had been brought under control. However, after consultations with the relevant authorities and assessing the safety situation, they later confirmed that the concert had been officially cancelled.

In a statement issued after the incident, Shatta Wale’s management described the decision as difficult but necessary, stressing that the safety and well-being of everyone attending the event remained their highest priority.

The statement read in part:

“It is with a very heavy heart that we address the unfortunate events surrounding SHATTAFEST UK. Following reports of a serious incident outside the venue, the difficult decision was made to cancel the event. Nothing is more important than the safety and well-being of every single person who came to celebrate music, unity, and love.”

The organisers also expressed sympathy to those affected by the incident.

“Our hearts are with everyone who has been affected by this tragic situation. We are deeply saddened by the reports of injuries and the alleged loss of lives.”

They added that they would continue to await official confirmation from the relevant authorities regarding the circumstances surrounding the incident while keeping the affected individuals and their families in their thoughts and prayers.

https://x.com/stonebwoy/status/2083687233849053303?s=20

Prophet Eric Uche Boahen, the founder and Leader of Reign House Chapel International, has opened up about his longstanding relationship with Ghanaian gospel musician Florence Obinim, describing her as a virtuous woman and reflecting on a journey that dates back approximately 17 years.

The respected Prophet made the revelation during an exclusive interview on Atinka TV’s flagship entertainment programme, Entertainment Lounge, hosted by veteran broadcaster Roman Fada.

In the interview, Prophet Uche took viewers through aspects of his personal journey within the Christian ministry, including his early encounter with Florence Obinim and her husband, Bishop Daniel Obinim.

According to him, his relationship with the couple goes back many years, at a time when he was involved in serving them and supporting their ministry. Recounting his early years, Prophet Uche explained that his relationship with Florence Obinim was not simply one between a preacher and a gospel artiste known to the public.

He revealed that, about 17 years ago, he served Florence Obinim and her husband, a period he considers an important part of his personal and spiritual journey. His revelation provides a different perspective on the relationship between personalities who have become prominent figures within Ghana’s Christian and gospel entertainment space.

For Prophet Uche, the experience represents part of a much longer journey that predates the level of public recognition associated with the individuals today. Beyond recounting how they met, Prophet Uche spoke positively about Florence Obinim’s character. Describing her as a “virtuous woman,”. He further suggested that his assessment is informed by his personal interactions and experiences with her over the years.

His comments present Florence Obinim not only as a gospel musician who has built a public profile through her music and ministry but also as someone he has known personally for a significant period. The description is particularly notable because Prophet Uche’s account is based on a relationship that, according to him, began long before the personalities became as widely known as they are today.

The revelation also highlights an often-overlooked aspect of the journeys of public figures within Ghana’s gospel community: the relationships and experiences that exist behind their public careers.

For many personalities in the Christian entertainment and ministry space, their journeys often begin in relatively private settings, with individuals serving, learning, supporting ministries, and developing relationships before eventually establishing independent identities. Prophet Uche’s account reflects this dimension of the industry and ministry landscape, offering audiences an insight into an earlier chapter of his life.

His story also demonstrates how professional and spiritual relationships can evolve, particularly within Ghana’s closely connected gospel and Christian community. The reference to a 17-year relationship adds significance to Prophet Uche’s account.

Over nearly two decades, Ghana’s gospel music and Christian entertainment landscape has undergone considerable transformation, with gospel artistes increasingly becoming influential figures in the country’s wider entertainment industry.

Florence Obinim has been part of that evolving gospel music space, while Prophet Uche has continued his own journey within Christian ministry. Looking back on their early connection, Prophet Uche’s testimony offers a glimpse into a time when their respective journeys were still unfolding.

His account therefore goes beyond a simple revelation about knowing a celebrity; it is a reflection on the people and experiences that shaped his journey before attaining his current position.

President of the Foundation of Concerned Arts Professionals (FOCAP), Kojo Preko Dankwa, has criticised the Minister responsible for Tourism, Culture and Creative Arts over what he describes as the lack of progress and communication on stalled theatre and amphitheatre projects across Ghana.

Speaking on GBC Spectacle with host Hegar Owusu, Kojo Preko Dankwa said the creative arts industry continues to suffer because critical infrastructure promised to support the sector has been left abandoned.

According to him, while government continues to announce plans to build new theatres and amphitheatres, existing projects initiated under the previous NPP administration have seen little or no progress.

“They can promise us one theatre in Kumasi, they can promise us amphitheatres and all those things, but for them to materialise is another matter,” he said.

The FOCAP President expressed disappointment in the current minister, stating that stakeholders have not received any updates regarding the status of theatre and amphitheatre projects already under construction.

“I am seriously disappointed in the minister. We are not getting any updates when it comes to the amphitheatres and theatre projects that the previous government started. We have not been given any information on what is happening to them,” he stated.

Kojo Preko Dankwa further alleged that some of the abandoned project sites are deteriorating due to neglect.

“When you go there, weeds have taken over the sites and the iron rods are being stolen. The infrastructure is simply being left to waste,” he claimed.

He stressed that the creative arts industry cannot achieve meaningful growth without investment in performance venues and cultural infrastructure.

“We are always calling for infrastructure on the ground. We are also the same people asking for spaces where we can organise events and other creative activities, yet we are still not getting anything,” he lamented.

While acknowledging that the government has its own priorities, Kojo Preko Dankwa maintained that he remains disappointed with the handling of infrastructure development for the creative arts sector.

“So for me, I think government will do what it wants to do, but I am disappointed in the Tourism Minister,” he concluded.

His comments add to growing calls from stakeholders in Ghana’s creative arts industry for the completion of abandoned theatre and amphitheatre projects, arguing that modern performance venues are essential for promoting Ghanaian culture, creating employment and supporting the country’s entertainment industry.