Accra: Two of Ghana's most prominent entertainers have recently made headlines by selling their personal cars to finance major shows, raising questions about the structural challenges faced by creatives in the country.
According to Ghana Web, Stonebwoy, a leading figure in the Ghanaian music scene, revealed that he sold his Range Rover and V8 to fund "The Torcher Experience," his first self-organised concert in his home region, the Volta Region. The concert, held in March, was seen as a long-term investment rather than a financial loss. Stonebwoy stated, "I even had to sell my two cars to invest in this show."
A similar story unfolded in London, where Dr Likee sold his personal car to finance his sold-out event, "Dr Likee Live at Indigo at The O2," in May. Despite the success of the event, Dr Likee acknowledged the financial strain it caused, mentioning in an interview with ZionFelix that he would return to Ghana without a car.
These incidents highlight a broader issue within Ghana's entertainment industry, where unreliable royalties and low streaming revenues force creatives to depend on live performances and seasonal events for income. This dependency creates vulnerability, as external factors like bad weather or economic downturns can significantly impact earnings.
In contrast, entertainment industries in other countries benefit from record label advances, corporate budgets, and sponsorships, providing more stable financial support for creatives. In Ghana, however, such support systems are often lacking when needed most.
Over the years, Ghanaian creatives have consistently called for stronger support from both public and private sectors, citing it as a major barrier to growth. The lack of infrastructure, investment systems, and corporate partnerships means that entertainers often have to make personal sacrifices to fund events, which may not guarantee sustainable returns.
Despite a GHS20 million budgetary allocation for the creative arts announced by the government in 2025, the industry remains fragile. Corporations typically sponsor events for brand visibility, offering little financial return, leaving entertainers to question the value of their investments.
Until more sustainable and profitable systems are established, Ghana's biggest stars will continue to fund their dreams by selling personal assets, highlighting the urgent need for reform in the country's entertainment infrastructure.