Entertainment
Black Sherif’s Kwaku The Traveller ‘floods’ TikTok
Millennials have taken the euphoria surrounding the ‘Kwaku The Traveller’ to another level.
Already the song has topped charts in Ghana, Nigeria Gambia and is currently Number 73 on Apple Music’s Global Top 100.
It has become the second most-streamed hip-hop song on Audiomack after YoungBoy NBA and on YouTube, the audio slide is just nearing 900,000 views.
While many continue to wonder what did it for the 20-year-old Black Sherif, the song’s enchanting vibe seems to have caught on with TikTok users.
It has over the past few days become the stock of influencers and ordinary users alike.
any of them are improvising to recreate the rain-esque performance of Blacko while others employ the now-famous “who never f*cked up hands in the air,” to convey a variety of massages.
And interestingly, it is gaining traction. The litres of water being used in getting some of the drama across are literally flooding timelines.
Nearly 45,000 videos have been uploaded onto the video blogging platform using the song as of Tuesday, April 5, 2022.
On the song itself, the Konongo-based musician expands on the shouldering of one’s mistakes in the search for greener pastures, the criticisms and the perseverance to push through nonetheless.
It is the third project to follow his breakout First and Second Sermons after the latter record drew in Burna Boy for its remix.
Black Sherif is signed to Road Boys Association (RBA).
Source: www.myjoyonline.com
Ghanaian music icon, Akwasi Poku Addae, known in Showbiz circles as Kwaisey Pee has honoured his promise to children suffering from cancer.
Ahead of his 25th anniversary event held at the D’ Icon Event Centre at East Legon last year, he made a promise to donate some funds to children suffering from cancer.
True to his word, the musician has recently made a donation of GHC50,000 to the Paediatric Oncology Unit of the Korle-Bu Teaching Hospital.
He told the Ghanaian Times that children are so dear to him, and was optimistic the support would go a long way too impact lives.
The music dynamo also promised that the gesture will not be the last,” it will be a continuous feature from me.”
He also called on Ghanaians home and abroad to lend a helping hand to children suffering from cancer.
According to him, children with cancer have many needs, and a helping hands will go a long way ease the suffering.
“Cancer treatment is very expensive, and leaving that to parents of the children alone, will be a huge burden, with support from you and myself, we can make some changes in other people’s lives,” he concluded.
By Edem Mensah-Tsotorme
In the ever-evolving journey of Ghanaian music, there are individuals whose contributions transcend the spotligh.
There are always men and women who work quietly yet powerfully to preserve culture, nurture legends, and keep the soul of the music alive across generations and borders.
One such figures is Jerry Amoah, widely known and affectionately called Nana Kobo.
This year, Ghana Music Awards-USA honours Jerry Amoah for his unwavering commitment to sustaining Ghanaian music, both at home and in the diaspora.
It is a recognition long deserved, a celebration of decades of passion, sacrifice, and cultural stewardship.
Jerry Amoah’s journey has never been about personal glory. Instead, it has been anchored in service: promoting Ghanaian sounds, advocating for artistes, and ensuring that the richness of Ghana’s musical heritage continues to resonate beyond national borders.
Through his tireless efforts, many Ghanaian musicians have found platforms, audiences, and renewed relevance, especially within Ghanaian communities abroad.
Central to his legacy is his steadfast support for gospel music and, in particular, his enduring association with legendary gospel icon Yaw Sarpong.
At times when gospel music needed champions, Jerry Amoah stood firm—protecting its values, amplifying its message, and honoring its pioneers. His respect for Yaw Sarpong is not merely professional; it reflects a deep appreciation for music as ministry, heritage, and moral compass.
Colleagues often describe Nana Kobo as a bridge—connecting generations, genres, and geographies.
He understands that Ghanaian music is not just entertainment, but identity. Through festivals, promotions, mentorship, and behind-the-scenes advocacy, he has helped ensure that Ghana’s rhythms, lyrics, and spiritual expressions remain relevant in a globalized world.
As Ghana Music Awards-USA prepares to bestow this honour, it is not simply recognizing one man—it is saluting a lifetime of dedication to culture, faith, and music.
Jerry Amoah’s story reminds us that true impact is measured not by applause, but by legacy.
And in the story of Ghanaian music, Nana Kobo’s legacy is written in bold, enduring notes.
