Ghanaian musician Kelvyn Boy has opened up about how loyalty to Stonebwoy influenced some of his past comments about members of another camp in the Ghanaian music industry.

Speaking in an interview on Hitz FM on September 25, 2026, Kelvyn Boy was asked about a recent comment by rapper Sarkodie concerning the way loyalty can sometimes influence fans and artistes to attack others.

Kelvyn Boy said Sarkodie’s observation resonated with him because of his own experience while he was associated with Stonebwoy.

“When I was with Stonebwoy, I used loyalty to say things about the other camp, and I feel bad for taking sides at that time.”

He explained that during his time with Stonebwoy, there were occasions when he felt compelled to defend the dancehall musician, particularly amid tensions involving rival camps within the music industry.

According to Kelvyn Boy, loyalty sometimes influenced the things he said, leading him to make comments about people on the other side of the rivalry.

He acknowledged that, with hindsight, he regrets allowing his allegiance to influence his public statements.

“What Sarkodie said is true because when I was with Stone, we sometimes used loyalty to say some things about the other camp. I mean, I feel bad for taking sides because of where I was at the moment. But we love them all,” he added.

Kelvyn Boy also reflected on his past exchanges with Shatta Wale, admitting that his loyalty to Stonebwoy had previously led him to insult the dancehall artiste.

He said he understood why Shatta Wale was offended by some of the things he said but revealed that Shatta Wale eventually forgave him.

“I mean, people bashed me too, and then the Militants used me. We said some things. I’m like, you know, loyalty said all those things, and Shatta even forgave that, and I don’t take that lightly, you understand?” he said.

Kelvyn Boy described Shatta Wale as a “very free-spirited person” while recalling how their relationship eventually developed.

He mentioned his song Excellent, explaining that Shatta Wale heard the song, contacted Medikal, and later linked up with them.

“He is a very free-spirited person… We dropped Excellent, and he called Medikal and he liked the song, and we linked up. The time I met him and the energy and …”

The available quotation ends at that point, so the remainder of his statement could not be established.

Kelvyn Boy’s latest comments suggest a more reflective view of the intense rivalries and loyalties that have characterized sections of Ghana’s music industry.

While acknowledging that he took sides during his time with Stonebwoy, he said he now regrets some of the things he said because of where he was at the time.

His remarks also reinforce his agreement with Sarkodie’s observation that loyalty can sometimes become a reason for people to make negative comments about artistes from another camp.

Kelvyn Boy, however, stressed that despite the divisions and rivalries, “we love them all.”

https://x.com/Hitz1039FM/status/2103429276569833747?s=20

Ghanaian musician, broadcaster, songwriter and Pan-Africanist Ras Caleb Appiah-Levi has built a career spanning more than four decades, combining music, cultural activism, trade union engagement, Pan-African advocacy and organised efforts to promote the development of Ghana’s creative industry.

Born on June 26, 1957, Ras Caleb Appiah-Levi was born to the late Cofie Essah Appiah of Boso near Anum and Mary Maku Hadjor of Ada-Alata.

He speaks English, French, Akwapim Twi, Guan and Ga-Adangbe, reflecting the cultural and linguistic experiences that have influenced his work as a musician and Pan-Africanist.

His formal education began at Hecta International School in Akim Oda in 1959, before he later attended the Emit Electronics Institute at Mataheko in Accra in 1978.

His involvement in Ghana’s music industry dates back to June 1982, when he became a member of the Musicians Union of Ghana (MUSIGA).

From Charlie Buck to Ras Caleb

Ras Caleb’s professional music journey took a major turn in February 1984, when, then known as Charlie Buck, he made his professional stage debut as a member of Alpha Blondy and the Natty Rebels, later known as the Solar System, in Côte d’Ivoire.

His early career saw him perform on major stages and television platforms in both Côte d’Ivoire and Ghana alongside internationally recognised reggae musicians including Alpha Blondy, Burning Spear and Jimmy Cliff.

He also worked as a radio broadcaster and presenter, interviewing prominent reggae figures including Alpha Blondy and Burning Spear on Radio Côte d’Ivoire Internationale.

His first major music concert came on December 15, 1984, at Samedi Soir in Abidjan, followed by what is described as his first reggae festival in Abidjan at the Palais d’Sports in Treichville on September 28, 1985.

In 1986, he performed at the Accra and Kumasi Sports Stadia with Alpha Blondy and the Solar System on August 2 and August 9, respectively.

He later supported Burning Spear and the Burning Band Côte d’Ivoire in December 1986.

In 1987, Ras Caleb toured Côte d’Ivoire and Burkina Faso with Ismael Isaac et les Frères Keita, further expanding his experience across the West African music circuit.

He returned to Ghana in 1989, performing at the Independence Festival at Orion Cinema on March 6.

On March 18, 1989, he served as the opening act for Jimmy Cliff and the ONENESS Band at the Accra Sports Stadium, backed by the BIBIBA Band.

His involvement in major reggae and cultural events continued through the 1990s. In 1991, he participated in a Tribute to Bob Marley Concert in Accra and won the Reggae Dance Competition at the Afro Caribbean Center in Kokomlemle.

In 1992, he represented Ghana at the Ouidah ’92 Festival in Benin, travelling through Cotonou, Ouidah and Porto Novo.

He also participated in various editions of PANAFEST, including the 1992, 1994 and 1997 editions.

In 1994, Ras Caleb launched the Cultural Divine Music Festival of African Rhythms project, linking his musical activities to wider cultural promotion.

His international engagements later included participation in the World Association of Non-Governmental Organizations (WANGO) Annual Conference in Bangkok in 2003, the World Press Conference in Accra in 2004, and the 2nd International Conference of African Renaissance Ambassadors in Cotonou, Benin, in 2004.

In 2005, he coordinated the first Nescafé African Revelation event at the Black Star Square in Accra.

His music

While his career has involved extensive organisational and Pan-African work, Ras Caleb has continued to identify himself as a roots-reggae musician.

His recorded works include Ghana Is Calling, How Long, Life Is a Beach, Jah Sacred Feast, Slimbelly Man, and Suffer in a Limbo.

His music catalogue is also represented on digital platforms, with songs such as Slimbelly Man, Jah Sacred Feast, Life Is a Beach, How Long, and Ghana Is Calling listed among his recordings. His album Have Faith (African Teacher) was released in 2018.

How Long, one of the songs from the album, was released on May 1, 2018, through GAO Records Label, with Ras Caleb credited as performer and songwriter.

The themes of his work have generally reflected his interest in African identity, spirituality, social conditions, peace, development and Pan-African consciousness.

Building PanAfrica-Ghana

Beyond music, Ras Caleb has played a prominent role in Pan-African activities through PanAfrica-Ghana (PAG).

The PanAfrica movement seeks to promote Pan-Africanism as a dynamic force for the development of African peoples through economic integration, enlightenment, human rights, freedom and stronger relationships between Africa and its diaspora.

The movement’s strategy is linked to the 7th Pan-African Congress held in Cotonou, Benin, from February 11 to 15, 1991.

Following the congress, the World Council of PanAfrican Organizations (PANAFRICA) was formed, with Vizir Olofin II Akande Olofinji serving as Founding President.

The Ghana Section was subsequently established on February 24, 2004, with its Certificate of Incorporation issued on April 8, 2004, and its Certificate to Commence Business issued on April 13, 2004.

Ghanaian Pan-Africanists led by Ras Caleb Appiah-Levi established PANAFRICA-GHANA (PAG) as part of efforts to advance the movement’s objectives in Ghana.

Among PAG’s stated objectives are the promotion of Pan-Africanism and the African Renaissance, the protection of ties between Africa and its diaspora, the preservation and promotion of African culture, the promotion of human rights and fundamental freedoms, and the advancement of economic integration.

The organisation also advocates the free movement of goods and people, cooperation among African states, support for non-governmental and commercial organisations, and collective action on issues affecting Africans.

Another central objective is the promotion of worldwide brotherhood and sisterhood, with Africa recognised as the cradle of humanity.

Pan-Africanism through music and development

Ras Caleb has sought to use his position as a musician to connect culture with broader development objectives.

One of the projects associated with his Pan-African work is the Music for Development initiative.

The project was presented to the African Union Commission and the Pan-African Parliament in Addis Ababa on April 23, 2025, and was also presented to the President of Ghana at Jubilee House on March 7, 2025.

The initiative seeks to position musicians and creative arts practitioners not only as entertainers but also as participants in national and continental development.

His work has also earned him roles including Founding President of PanAfrica-Ghana, Global Ambassador for PANAFEST and Emancipation Day Celebrations through the PANAFEST Foundation, and Global Ambassador for Apprise Music and Media and Distribution.

Ras Caleb’s involvement with MUSIGA has been another major part of his career.

He served as Director of Reggae Music within MUSIGA from 2011 to 2015 and later became Chairman of the MUSIGA Greater Accra Regional Branch, a position he held from 2016 to 2023, according to his professional profile.

His tenure in Greater Accra involved extensive participation in welfare activities, cultural programmes, industry events, stakeholder meetings and initiatives involving musicians and other creative-sector workers.

In August 2016, he was elected Chairman of the Greater Accra branch.

One of his early activities was co-coordinating the Peace Walk – “Using Music for National Cohesion During Election 2016” on September 30, 2016, in collaboration with the National Commission for Civic Education (NCCE) and the Ghana Police Service, with support from STAR-Ghana.

He also played a role in the organisation of the 4th MUSIGA Grand Ball, held on November 4, 2016, at the Banquet Hall of the State House in Osu, Accra.

On December 6, 2016, he co-coordinated the National Peace Concert at the GBC forecourt. The programme was jointly organised by MUSIGA and the Ghana Broadcasting Corporation, with STAR-Ghana as sponsor.

Welfare and social protection for musicians

Ras Caleb’s activities within MUSIGA were not limited to concerts.

In March and April 2017, he participated in the UNIWA Welfare Scheme Training Programme at the TUC Conference Room.

On March 31, 2017, he attended the WASSA celebration organised by the Ghana Police Parliamentary Protection Unit at the State House forecourt, where he received a citation.

He also participated in the Informal Economy Needs Analysis Workshop on April 20, 2017, and the 2017 National May Day Forum on April 26.

His work with musicians also involved pension and welfare issues. He participated in meetings concerning the UNIWA Pension Scheme, attended the launch of International Pensions Day on September 15, 2017, and took part in a stakeholder forum on the three-tier pension scheme at the National Theatre on September 20, 2017.

These activities formed part of wider efforts to improve social protection and welfare for workers in Ghana’s informal and creative sectors.

Supporting veteran musicians

One of the areas that became particularly associated with his Greater Accra leadership was support for veteran musicians.

In July 2017, Ras Caleb sought sponsorship from Reginald Daniel Laryea, popularly known as Gaddy, Managing Director of Media Magique and Research Systems, for the Ageing Musicians Welfare Fund (AMWeF).

The initiative supported the participation of veteran musicians at the PANAFEST/Emancipation Highlife Legends Night at the Cape Coast Sports Stadium on July 28, 2017.

The programme featured legendary performers including Naa Amanua, Kente Queen Asabea Cropper and Bob Pinodo, backed by the King Shabo International Band.

Ras Caleb also personally assisted the veteran musicians during the event, including serving as their chauffeur.

On September 7, 2017, Ras Caleb received a trophy for the 12-minute MUSIGA Greater Accra Nation Peace Song.

The song had been recorded at Dr Ray Beat Studios ahead of the 2016 elections and featured 22 musicians.

A video was also produced for the song, which later received recognition at the maiden Ghana Peace Awards organised in late 2016 by Stability Foundation International.

His activities during the period also included stakeholder engagements on sanitation, pension schemes, copyright, the informal economy, tourism and the creative industries.

When veteran musician Paapa Yankson died, Ras Caleb was involved in preparations for his funeral.

On October 21, 2017, he helped distribute hundreds of letters and invitation cards to government institutions, diplomatic missions, media organisations, corporate bodies and members of the creative industry ahead of the funeral rites.

He also participated in meetings of the Ghana Culture Forum, including its general meeting at the National Theatre on November 9, 2017.

In December 2017, he participated in the UNIWA Leadership Retreat at Erata Hotel and later helped with arrangements for the 5th MUSIGA Grand Ball.

Ras Caleb was also present at the Marine Drive Project sod-cutting ceremony on December 15, 2017, an initiative announced as a large-scale tourism and development project involving Ghana’s coastline.

He later participated in the MUSIGA Greater Accra end-of-year activities on December 26, 2017.

His role within the union also involved attending funerals, cultural festivals, stakeholder meetings and industry programmes across the country.

Another significant episode came in February 2018, following the death of veteran highlife musician Awurama Badu.

Ras Caleb mobilised members of the MUSIGA Greater Accra branch to attend the funeral in the Ashanti Region.

A bus carrying members was arranged through the Ghana Tourism Authority, with about 27 Greater Accra MUSIGA members participating.

According to his profile, he also helped the Ashanti branch reach out to a number of prominent personalities for support for the funeral.

Those contacted included business leaders, politicians, media personalities, public officials and figures within the creative industry, among them Dr Osei Kwame Despite, Dr Kwame Kyei, Dr Ernest Ofori Sarpong, former President John Agyekum Kufuor, Oscar Yao Doe, Nana Appiah Mensah, Kennedy Agyepong, former President John Dramani Mahama, Vice President Mahamudu Bawumia, Samira Bawumia, Frema Osei-Opare, Nana Asante Bediatuo, Kwasi Agyeman, Stephen Amoah, Maame Afia Akoto, David Asante Apeatu, Kwadwo Odame Antwi, Oheneba Akua Manfo, Akwasi Agyeman, Rebecca Akufo-Addo, Nana Akomea, Kwame Osei Prempeh, John Ofori Tenkorang, Jerry John Rawlings, Nana Konadu Agyeman-Rawlings, Mike Ocquaye and Barbara Ayisi.

Ras Caleb was also involved in the activities surrounding the death of Ghanaian dancehall artiste Ebony Reigns in 2018.

He co-led the MUSIGA leadership in activities surrounding her one-week observance on February 18, 2018, and her funeral on March 24, 2018.

He helped secure the Ghana International Trade Fair Centre for a tribute concert held on March 23, 2018.

The concert was organised by Ruff Town Entertainment, MUSIGA, the Ministry of Tourism, Arts and Culture and Kasapreko, with more than 300 invitations dispatched to stakeholders.

Earlier that year, he had also organised the Time With MGA Variety programme at Alliance Française in Accra on March 2, 2018, as part of Ghana’s 61st Independence celebrations.

The programme brought together different genres, including Highlife, Hiplife, Reggae, Traditional and Gospel music.

Ras Caleb’s welfare activities extended to musicians and industry professionals facing difficult circumstances.

In March 2018, he assisted then-MUSIGA Administrator Rev. Fiifi Khan Agyarkwah during his treatment at the 37 Military Hospital.

Rev. Agyarkwah was later discharged on March 10 but died on March 11, 2018.

Ras Caleb also mobilised members of the Greater Accra branch and Women in Gospel for the funeral of Emmanuel Alfred Ofori Gyamo.

According to the profile, Obour contributed GH¢500, Women in Gospel contributed GH¢1,000, while the bus cost GH¢1,600, with contributions from the Greater Accra branch, Women in Gospel and Ras Caleb himself.

On March 14, 2018, Ras Caleb participated in a stakeholder dialogue on Ghana Culture Day and Ghana Month at the Ghana-India Kofi Annan ICT Centre.

He served on the Performance Task Team for MUSIGA.

He also participated in a Copyright Industries Contribution Workshop on May 10, 2018, and another Informal Economy Needs Analysis Workshop on May 14.

On May 31, 2018, he represented the MUSIGA President at a Music Business Dialogue on TV3’s Adesa programme.

Ras Caleb has also been involved in attempts to expand the international distribution of Ghanaian music.

On July 9, 2018, Apprise Music and Media and the MUSIGA Greater Accra branch signed an MOU aimed at promoting and distributing the music of members internationally.

The platforms involved included iTunes, Spotify, Tidal, Apple Music, Deezer, Amazon, Google Play and YouTube, among others.

The agreement was intended to create additional opportunities for Ghanaian musicians to reach international audiences through digital distribution.

Okomfour Kwadee and musician welfare

On July 24, 2018, Ras Caleb joined a MUSIGA delegation that visited Ghanaian rapper Okomfour Kwadee at the Willing Ways Foundation at Kwamo near Ejisu.

The delegation included the MUSIGA Greater Accra leadership and representatives from the Ashanti branch.

The visit was aimed at assessing the musician’s situation and exploring ways of supporting him.

The delegation also included welfare officials, while support was received from institutions and individuals including the Ghana Tourism Authority, Kasapreko, Natural Way Herbal Clinic and Ras Caleb.

The visit was reported publicly at the time, with Ras Caleb identified as MUSIGA Greater Accra chairman and part of the delegation.

Following the visit, a second welfare bank account for the MUSIGA Greater Accra branch was opened at the GCB Ministries Branch, with an initial GH¢1,000 contribution from the then-Ghana Tourism Authority CEO, according to the profile.

Ras Caleb continued to participate in creative-sector programmes throughout 2018.

He attended the launch of the Ashaiman Music Awards Festival on June 17 at Hotel Beulah. The main awards event was later held on August 31, with dancehall musician Stonebwoy among those honoured.

He participated in the Agoro International Symposium on Arts, Health and Wellness from June 25 to 27 at the National Theatre.

He also attended the launch of the KRAAPO Movement album on July 21 at Ultimate Bar & Restaurant in Teshie.

Other activities included the Ghana Modelling Industry Awards/Heroes Awards press launch on July 25 at the Accra Tourist Information Centre and the Ghana-Nigeria Tourism, Culture Showcase Conference and Awards on July 26.

He also attended the UNIWA/Accra Metropolitan Assembly stakeholder forum at Baiden Powell Hall.

Ras Caleb was involved in activities surrounding the death of veteran musician Jewel Ackah, including the one-week observance on May 12 and the funeral on August 4, 2018, at Community 11 in Tema.

He also participated in the EVAG media launch at the Red Carpet Events Centre in East Legon on August 7.

In October 2018, Ras Caleb was part of the Greater Accra leadership that participated in the first National Biennial MUSIGA Conference.

The conference was held in Cape Coast from October 13 to 14, 2018, under the theme Building a Vibrant Union for National Development.

Ras Caleb and five other executives served on the Business Development Committee.

Ras Caleb’s activities within MUSIGA eventually extended to the national leadership level.

In 2019, he launched his campaign for the MUSIGA presidency under the motto “Vibrancy – Taking Ghanaian Musicians Global.”

Contemporary reports described him as a veteran roots-reggae musician, broadcaster, songwriter and composer, as well as the then Greater Accra Regional Chairman of MUSIGA.

He subsequently filed his nomination to contest the MUSIGA presidency.

When the MUSIGA election process was revisited in 2022, reports indicated that Ras Caleb was among the candidates alongside Bessa Simons and Deborah Freeman, although the election was postponed indefinitely at the time due to issues surrounding the compilation of the voters’ register.

His campaign centred on strengthening MUSIGA, improving opportunities for musicians and taking Ghanaian music to a wider international audience.

A career that links music, culture and development

Ras Caleb Appiah-Levi’s career therefore extends beyond the recording studio and stage.

From his early years performing with Alpha Blondy and other reggae legends in Côte d’Ivoire, to his return to Ghana and subsequent involvement in MUSIGA, PANAFEST, PanAfrica-Ghana, cultural programmes and musician welfare initiatives, his work has consistently combined music with cultural and social engagement.

His professional journey has included performing, broadcasting, songwriting, music administration, Pan-African advocacy, cultural diplomacy, musician welfare and creative-industry development.

His recorded songs — including  Ghana Is Calling, How Long, Life Is a Beach, Jah Sacred Feast, Slimbelly Man, and Suffer in a Limbo — remain part of a musical catalogue that reflects his roots-reggae identity.

At the organisational level, his work through PanAfrica-Ghana has focused on Pan-Africanism, African unity, human rights, cultural preservation, economic integration and stronger Africa-diaspora relations.

Within MUSIGA, his record includes peace initiatives, welfare programmes, pension advocacy, support for veteran musicians, industry stakeholder engagements, international music distribution efforts and mobilisation around the funerals and welfare of musicians.

For more than four decades, Ras Caleb Appiah-Levi has maintained a presence across several interconnected areas of Ghana’s cultural landscape — from reggae and broadcasting to Pan-African activism, musicians’ welfare and the broader development of the creative industry.

Pan-Africanist and cultural advocate Ras Caleb has outlined a list of institutions operating under Ghana’s Ministry of Tourism, Culture and Creative Arts, highlighting the broad range of agencies responsible for the country’s tourism, cultural heritage and creative industries.

According to his assessment, the Ministry oversees several institutions and agencies with responsibilities spanning tourism regulation, cultural preservation, heritage management, creative arts development, hospitality training and the promotion of Ghanaian languages and literature.

Among the institutions identified by Ras Caleb is the Ghana Tourism Authority (GTA), which he describes as the primary state agency responsible for the regulation, registration, classification and marketing of tourism services and facilities across the country.

He also listed the National Commission on Culture (NCC) as the body responsible for overseeing the preservation, promotion and development of Ghanaian culture, including the various Centres for National Culture across the regions.

The Ghana Museums and Monuments Board (GMMB) was also included in the assessment. The institution is responsible for managing museums, historical sites, castles and national monuments that form part of Ghana’s cultural heritage.

Ras Caleb further identified the National Theatre of Ghana, which serves as a major centre for the performing arts and houses resident groups including the National Dance Company, National Symphony Orchestra and Abibigromma.

The National Film Authority (NFA) also featured on the list. It is responsible for regulating, developing and promoting Ghana’s film industry.

Another institution highlighted was the Creative Arts Agency (CAA), which focuses on the promotion and development of Ghana’s creative arts industry.

According to the assessment, the National Folklore Board is responsible for administering, registering and protecting Ghanaian expressions of folklore, while the Ghana Tourism Development Company (GTDC) serves as the commercial and investment arm involved in tourism-related projects and assets.

Ras Caleb also listed the Hotel, Catering and Tourism Training Institute (HOTCATT), which provides training and capacity development for personnel in Ghana’s hospitality and tourism sectors.

The Kwame Nkrumah Memorial Park and the W.E.B. Du Bois Centre were also identified as important heritage and tourism institutions. The former commemorates Ghana’s first President, Osagyefo Dr Kwame Nkrumah, while the latter in Accra preserves the legacy and works of renowned Pan-Africanist W.E.B. Du Bois.

The assessment further mentioned the Bureau of Ghana Languages, which promotes, researches and publishes materials in indigenous Ghanaian languages.

The Pan African Writers Association (PAWA), headquartered in Accra, was also included, with Ras Caleb noting its role in promoting African literature and supporting writers across the continent.

The assessment brings together institutions working across different areas of Ghana’s tourism, culture and creative economy and highlights the wide scope of responsibilities associated with the Ministry of Tourism, Culture and Creative Arts.

Ghanaian gospel musician Florence Obinim has officially dropped the Obinim surname from her professional identity following the traditional dissolution of her marriage to Bishop Daniel Obinim, popularly known as Angel Obinim.

The gospel musician has now adopted a new stage name, Queen Florence, the Lioness, signalling a change in her public and musical identity after more than two decades of marriage.

Florence confirmed the change in an interaction with blogger Tina News on September 23, 2026, stating that she would henceforth be known by her new music name.

“Now my music name is Queen Florence the Lioness,” she said.

The announcement comes shortly after the reported traditional dissolution of her marriage to Bishop Obinim, which became a major subject of public discussion in September 2026.

The former couple had been married for more than two decades, with their separation reportedly formalised through traditional rites.

One of the reported steps in the process involved the presentation and return of the Tiri Nsa drink, a traditional practice associated with the dissolution of a marriage.

The question of whether Florence would continue using the Obinim surname after the breakdown of the marriage had also generated public interest.

Bishop Daniel Obinim subsequently addressed the matter in an audio recording sighted by GhanaWeb on September 14, 2026.

In the recording, Bishop Obinim spoke about the end of their marriage and specifically called on Florence to stop using his family name.

He said Florence had publicly embarrassed him and argued that because he had accepted the drink presented to signify the end of their marriage, she should also remove Obinim from her name.

“You have embarrassed me, and I emphasise that when I die, don’t come to my funeral as a widow. Since I have accepted the drink, remove the name Obinim from your name,” he declared.

Bishop Obinim further indicated that their relationship had ended after he accepted the drink presented as part of the traditional process.

The development followed a series of public disagreements between the former couple earlier in September 2026, including remarks attributed to Bishop Obinim in an audio recording that circulated widely online.

Florence has now confirmed the change in her professional identity, moving away from the name that had been closely associated with her music career throughout her marriage.

She will henceforth be known in the music industry as Queen Florence the Lioness, marking a new chapter in her career following the end of her marriage to Bishop Obinim.

By Angel No Lie | KPD Online | Entertainment | 25 September 2026

American rapper Macklemore has announced a new “Free Palestine Tour,” days after his removal from Ed Sheeran’s Loop Tour triggered a dispute over artistic expression, political speech and the role of performers in responding to the war in Gaza.

The newly announced tour will initially include three European concerts in Dublin, Paris and London in late October 2026, with additional US dates expected to be announced later. Macklemore says proceeds from the shows will go to charities supporting Palestinians and the broader Palestinian movement.

Macklemore Takes His Palestine Advocacy to the Stage

New tour follows fallout with Ed Sheeran

Macklemore’s announcement comes after he was removed from Sheeran’s US tour following pro-Palestinian remarks during a performance at New Jersey’s MetLife Stadium.

During the performance, the rapper voiced support for Palestinians and performed Hind’s Hall, his protest song addressing the Gaza conflict and demonstrations in support of Palestinian rights.

The decision to remove him became a wider controversy after several other supporting acts—including Finneas, Lukas Graham, Aaron Rowe and Beoga—withdrew from Sheeran’s tour in solidarity. Sheeran has said that the decision was made by the tour promoter and venues, rather than by him personally.

Music and Activism Meet as Macklemore Announces New Tour

What Macklemore said about the new tour

In announcing the new series of concerts, Macklemore said the controversy had highlighted a wider discussion about the responsibilities of artists and the influence of powerful commercial interests.

He argued that remaining apolitical while civilians in Gaza face severe suffering is not an adequate response. His announcement also framed the concerts as opportunities for artists to use their platforms to support Palestinian liberation and humanitarian causes.

The tour poster reportedly features imagery associated with Palestinian solidarity, including doves carrying olive branches, a watermelon symbol and keffiyeh-inspired patterns. Macklemore said the artists joining him would be announced later and that they had already demonstrated support for Palestinians through their own platforms.

Macklemore Announces Concerts in Support of Palestinian Causes

Initial tour dates

The first announced shows are scheduled for three European cities:

Macklemore has indicated that US dates will be announced in a later update. The complete list of participating artists and supporting performers has not yet been released.

Proceeds to support Palestinian causes

A central element of the announcement is Macklemore’s pledge to donate the proceeds from the concerts to organizations supporting Palestine.

The announcement follows his earlier commitment to direct approximately $1 million in tour earnings toward Palestinian humanitarian assistance. The rapper also challenged Robert Kraft, a venue owner and prominent American sports executive who criticized his public statements, to match the donation.

The exact charities, distribution arrangements and final donation amounts associated with the new tour will need to be assessed once further details are made public.

The disagreement over artistic expression

The controversy has generated competing views about whether musicians should be free to make political statements during commercial performances.

Macklemore’s position

Macklemore has argued that musicians can use their visibility to draw attention to humanitarian crises. His support for Palestinians predates the dispute with Sheeran and includes the release of Hind’s Hall in 2024, with proceeds intended for humanitarian relief.

The venue and promoter concerns

The decision to remove Macklemore from Sheeran’s tour has been linked to concerns from venues and stakeholders about his political statements. Some critics have accused him of antisemitism, allegations he rejects, saying his criticism is directed at Israeli government actions and the treatment of Palestinians rather than Jewish people as a group.

Ed Sheeran’s response

Sheeran has maintained that he did not personally decide to remove Macklemore. During a later concert, he described the situation in Gaza as catastrophic and unjustifiable while emphasizing his desire for his shows to remain spaces for unity and inclusion.

These accounts reflect different perspectives on the dispute. The precise sequence of decisions involving venues, the promoter and the tour team remains a matter of public discussion.

Why the announcement matters

Macklemore’s new tour changes the focus of the controversy from a dispute over a support slot to an independent concert campaign built around political advocacy and fundraising.

The announcement raises several questions:

• Artist independence: How much control should musicians have over political speech during commercial tours?

• Venue authority: What responsibilities do concert venues have when performers make controversial public statements?

• Charitable transparency: How will ticket income and other proceeds be distributed to humanitarian organizations?

• Industry solidarity: Will other artists join Macklemore, and will the controversy affect future bookings?

The initial European dates could provide an early indication of how the campaign develops, although audience response and the participation of other artists remain uncertain.

Independent assessment

Macklemore’s “Free Palestine Tour” represents a continuation of his public activism rather than an isolated reaction to his removal from Sheeran’s tour. His announcement combines live music, political messaging and a commitment to humanitarian fundraising.

At the same time, the controversy demonstrates the competing interests involved in major concert events: artists’ freedom of expression, promoters’ contractual responsibilities, venue policies and the expectations of audiences.

The tour’s impact will depend not only on attendance but also on the transparency of its charitable commitments and whether it creates sustained attention for Palestinian humanitarian needs.