Entertainment
Ambolley apologises to Okyeame Kwame
Renowned Ghanaian highlife musician, Gyedu-Blay Ambolley has apologised to hiplife artiste Okyeame Kwame over claims that the latter received monies shared with musicians.
In February 2020, musician Gyedu-Blay Ambolley alleged that few musicians in the country were the sole beneficiaries of the GH¢2 million government gave to MUSIGA.
This claim that he (Okyeame Kwame ) was given a share of the government ¢2 million meant for the Musicians Union of Ghana (MUSIGA), was refuted and an apology was demanded which never materialised.
Following this, Okyeame Kwame sued Ambolley for defamation three years ago.
A release by Ambolley’s lawyers revealed that the parties opted to settle the matter “In a court-connected mediation process.”
In an apology on LinkedIn, Ambolley noted that he was ‘mistaken’, explaining that MUSIGA’s former President Bice Osei Kuffour aka Obour did not personally hand over any government fund as a loan to Okyeame Kwame.
He admitted that his claims that the ‘Made In Ghana’ hitmaker did not repay the money he received were also false.
Read the full statement below
RE: Kwame Nsiah Apau v Gyedu-Blay Ambolley; Suit No. GJ/0792/2020 In the course of an interview on 3FM on the 22nd of February 2020 concerning the use of some funds donated by the Government of Ghana to the Musicians Association of Ghana (MUSIGHA), I was mistaken concerning some of the details of the matter, particularly with respect to my colleague musician and MUSIGHA member Kwame Nsiah Apau also known as Okyeame Kwame and I wish to correct and clarify those facts as follows: Obour did not give Okyeame Kwame a personal loan from MUSIGHA funds. To support artistes and enable them access to loans, MUSIGHA entered an arrangement with Midland Bank and provided security/collateral for the arrangement. Okyeame Kwame only took advantage of the initiative and applied for a loan from Midland Bank which he was given. He has informed me that he has since paid back the bank in full. To the extent that my earlier statements may have affected the reputation of Okyeame Kwame, I apologize and state that the errors in my statements were not made maliciously.
Signed Gyedu-Blay Ambolley
Veteran Ghanaian actor, Fred Amugi, has been cast in the upcoming Pan-African television series, Kismet, where he will play the role of Chief Ademola, a wealthy and influential Yoruba patriarch.
The series, set for production in Abuja and other parts of Nigeria, brings together a diverse cast ensemble from Ghana, Nigeria, Cote d’Ivoire, South Africa, Cameroon, Kenya, and the United States.
A statement copied to the GNA in Accra said “It forms part of a broader effort to strengthen collaboration within Africa’s creative industry while positioning African stories for global audiences.”
Speaking on his involvement, Fred Nii Amugi, whose acting career spans more than four decades, described the role as a meaningful milestone.
“It is a proud moment for me at this stage of my career to be part of a Pan-African series,” he said.
“Playing a Yoruba character as a Ghanaian reflects something deeper about who we are as Africans. It reminds us that we are one people, connected beyond borders,” he indicated.
He added that his preparation for the role went beyond performance.
“As a Ghanaian of Ga heritage, I am taking time to study the historical and cultural links between the Ga and Yoruba people.
“I am learning about these connections so I can represent the character with truth and respect.”
“It is important that the world sees the shared identity that exists across our continent,” he noted.
Kismet is being developed as a high-quality thriller series with a Pan-African perspective, drawing talent from across the continent and the diaspora.
According to Nana Dwomoh-Doyen Benjamin, President of the African Chamber of Content Producers and production advisor for the project, the series represents the united image of Africa that is capable of contributing to the global creative economy.
“As part of building a Pan-African creative economy, Kismet is a call for Africans to come together and tell our stories as one people.
“We are also aligning this effort with the opportunities presented by the African Continental Free Trade Area (AfCFTA) to create a strong continental market for African content,” he underlined.
The producer of the series, Paul Joegad, emphasised the global ambition behind the project.
Based in the United States, Joegad noted that the production was designed to meet international standards while maintaining authentic African storytelling.
“We are leveraging diaspora networks and global experience to create a series that resonates across cultures,” he said.
“Our goal is to produce content that can stand on international platforms through quality and strong storytelling.”
He added that assembling the right team had been central to the project’s vision. Among those involved is Mawuko Kuadzi, a Casting Society of America (CSA) member and the first African to win an Artios Award in its 40-year history.
The producers say the series seeks to position Africa as a major player in global content, fostering international Pan-African partnerships. –GNA
The management of Prophet Joseph Atarah Ministries (PJAM) has announced the 2026 edition of the highly anticipated annual gospel concert, Atarah Praise.
This edition, under the theme: ‘Dalet,’ is scheduled for 4pm, Sunday, May 24, at the Bayview Village.
Patrons will enjoy an atmosphere charged with powerful worship, prophetic ministration, and spiritual renewal.
Against this backdrop, Prophet Joseph Atarah will team up with some of Ghana’s finest gospel ministers, including Piesie Esther, Kofi Owusu Peprah, Obaapa Christy, and Siisi Baidoo.
Over the years, Atarah Praise has evolved into one of Ghana’s most impactful worship gatherings, attracting thousands of believers seeking a profound encounter through music, prayer, and thanksgiving.
The 2026 edition is positioned as a divine platform for renewal, restoration, and spiritual awakening.
Patrons are encouraged to arrive early to secure convenient seats and be there with the heart of the worship.
By Edem Mensah-Tsotorme
