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Kwesi Arthur accuses Ground Up Chale of blocking his independence, demanding $150,000

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Ghanaian rap sensation Kwesi Arthur has publicly accused his former management, Ground Up Chale, and its founder Glen Boateng of deliberately obstructing his artistic independence and placing financial and legal barriers in the way of his music career. In a strongly worded statement shared across all his social media platforms, the award-winning artiste alleged years of intimidation, manipulation, and attempts to silence him from releasing music independently.

The statement, which has since sparked intense debate within Ghana’s entertainment industry, marks the most direct and detailed account yet of Kwesi Arthur’s ongoing dispute with the label that helped launch his career.

Kwesi Arthur accuses Ground Up Chale
Kwesi Arthur accuses Ground Up Chale of blocking his independence, demanding $150,000 2
Allegations of control and financial demands

In his post, Kwesi Arthur claimed he is currently being asked to pay $150,000 simply to use images of himself for a project he is attempting to release independently. According to the rapper, Ground Up Chale insists it owns his image, music, and all related intellectual property dating back to 2016, despite his assertion that he has not worked with or been affiliated with the company since the release of Son of Jacob.

Kwesi Arthur further alleged that during the years he worked under Ground Up Chale, he did not earn any income from his music, a claim that has raised serious concerns about transparency and artist compensation within the music business. He accused Glen Boateng of “living off” his hard work while subjecting him to constant threats and manipulation.

The rapper also warned that any attempt to take down his current independent project should be attributed directly to Glen Boateng, whom he accused of working “around the clock” to ensure he never releases music again. In one of the most alarming parts of the statement, Kwesi Arthur said that if anything were to happen to him, Glen Boateng and all members of Ground Up Chale should be held responsible.

Impact on mental health and personal safety

Beyond the business dispute, Kwesi Arthur revealed that the situation has taken a heavy toll on his mental health and overall wellbeing. He stated that he had remained silent for a long time in an effort to avoid public conflict, but the prolonged pressure and threats left him with no choice but to speak out.

According to the artiste, his decision to go public was motivated not only by frustration but also by concerns for the safety of himself and his family. He described his post as an attempt to “share the truth” and protect those close to him after years of what he characterized as emotional and psychological distress.

The deeply personal nature of the message has resonated with fans and fellow creatives, many of whom have expressed solidarity while calling for greater protection of artists’ rights in Ghana’s music industry.

Industry reaction and broader implications

Kwesi Arthur’s revelations have reignited conversations around artist contracts, ownership, and power dynamics between creatives and management companies. As one of Ghana’s most successful contemporary musicians, his experience has highlighted the challenges artists may face when attempting to regain control of their work after early career deals.

While Ground Up Chale and Glen Boateng are yet to publicly respond to the allegations at the time of writing, the situation has placed renewed scrutiny on record labels and artist-management relationships across the country. Industry observers note that the outcome of this dispute could have lasting implications for how emerging artists negotiate contracts and protect their intellectual property.

For now, Kwesi Arthur remains focused on releasing music independently and maintaining a direct connection with his fans, many of whom have rallied behind him following the statement. As the situation continues to unfold, the music community will be watching closely to see how the allegations are addressed and what they mean for the future of artist independence in Ghana.

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