Entertainment
Mayford Muzik drops her maiden song Odo
Gospel singer Mayford Muzik is using her music to inspire people to trust in God’s love, especially during difficult times.
Her debut song, produced by Kaywa of Highly Spiritual Records, emphasizes the message of God’s unwavering love and its availability to those who are burdened.
In a world where life’s challenges can lead to depression, Mayford Muzik believes that holding onto God’s steadfast love was the key to overcoming adversity.
The song offers a positive and uplifting message, reminding listeners of the transformative power of faith and divine love.
Gospel singer Mayford Muzik, whose real name is Mavis Fordjour, believes that the love of God is often overlooked.
In her song ‘Odo,’ she openly shares her personal testimony of how trusting in God’s love has helped her navigate life’s challenges.
Mayford Muzik encourages her listeners to look beyond their own strength and find solace in God’s love, which she describes as a reliable ‘insurance’ policy for facing life’s battles.
“My journey has taught me that God’s love is the ultimate insurance policy – it’s the one thing that can never be taken away. This is the message I bring to the world as I release my first song and I know it will be a blessing,” she said.
The video, now available on YouTube, offers a visual representation of the theme. The scene of a woman lost in the desert, only to be rescued by an angel and led to a stream, serves as a compelling metaphor for God’s love and deliverance in times of desperation.
This vivid portrayal likely resonates deeply with viewers, conveying a message of hope and redemption.
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.
