Sarkodie Debuts “Rapperholic” Concert in London on Ghana Independence Day

Legendary rapper Sarkodie has continually put his home country, Ghana, on the world map since his rise. With a career spanning almost two decades at the forefront of African music, the Ghanaian superstar continues to set the pace. 

In 2012, Sarkodie released an album titled Rapperholic. That album later yielded an eponymous concert held on December 25th in Accra annually. Following years of sold-out shows in Accra, Rapperholic made a yearly move on Kumasi as well. After over a decade of sold-out Rapperholic shows in Ghana, Sarkodie unlocked a new achievement by exporting the show in 2026. Not only is this new venue outside of Ghana, but it is also outside of Africa. 

The Adonai crooner makes history as the first Ghanaian musician to perform at the prestigious Royal Albert Hall in London. As usual, he carries his country with him as he slates the debut international Rapperholic on the same day as Ghana Independence Day—March 6. Furthermore, he pays homage to the International Women’s Day weekend, promising a strong female presence in the surprise star-studded lineup. 

This concert is a cultural landmark that promises to deepen cultural ties between Ghana and the British-Ghanaian community. Backed by the British High Commissioner, Rapperholic has landed on the UK Government website. 

H.E. Dr Rogg, the British High Commissioner to Ghana, said: “From Afrobeats and hiplife to fashion and film, culture and creativity remain one of our strongest bridges. The British-Ghanaian community is championing the redefinition of cultural identity across both cities. A real example is Sarkodie’s annual Rapperholic concert debuting at the Royal Albert Hall in London in March 2026; a landmark moment for Ghanaian music on the global stage. This collaboration exemplifies the pose of cultural exchange and diaspora creativity in shaping international narratives.”

In awe of this accomplishment, New Wave discussed with Sarkodie about his stance on this groundbreaking show, its dedication to Ghana and women, and what the future holds for both Rapperholic and Sarkodie. 

You’ve spent nearly two decades at the top of Ghanaian music and remain one of the continent’s most consistent voices. When you look back, what parts of the journey feel most defining for you personally, beyond the awards and accolades?

I would say consistency, because not everyone has it. Personally though, family is everything to me. 

‘Adonai’ became a cultural timestamp across Africa and the diaspora. Do you see it as your most impactful record, or are there songs in your catalogue that you feel deserve that title more?

‘Adonai’ is definitely my biggest song. At first, I was trying to compete with it. Then I realised that it was best to let it be. I don’t think any of my other records can compete with that, and it remains my closing song at shows.

You’ve evolved from a young freestyle prodigy into a global brand and family man. How has fatherhood reshaped your ambition, creativity, or even your definition of success?

I’ve always had a soft spot for kids. When my sisters had kids (before I did), I was all up in their business and taking care of them. I think children are pure, innocent, and good spirited. So, having my own children, you can imagine how that feeling was for me. It made me zone out and focus on that 1000%. That’s the most important thing in my life and, till today, I will choose that over anything. 

Definitely, fatherhood changed my writing skills and my approach to certain decisions that I would make both professionally and personally. Also, having a girl child is something that shapes you as far as how you approach music in general. You have to be responsible for what you say because you have these immediate people that will be questioning you on what you are saying. The good side is it gives me the drive to go for more and do more, to be able to get them to be proud of their dad. It keeps me on my toes and makes me very careful, but also pushes me to go for the max. 

Rapperholic has always been a Ghanaian institution. Taking it to London feels symbolic. Why is this the right time to export the experience, and why London as the first international stage?

It’s been about 13 years since we started Rapperholic. The story behind Rapperholic was just an album launch, one of the best albums to come out of Africa is titled Rapperholic. The album launch turned out to be very good, you know, the numbers were crazy. So we decided to keep it as an annual thing. 

In the beginning, we were going to change the name every year but we realised that wouldn’t make any sense. So we kept the album name every year and it’s always been sold out for 13 solid years. We recently moved out of Accra. I tried Kumasi, and we sold out the stadium there as well. But we’ve always wanted to take it out of Ghana. I guess we only needed time for the brand to really establish before deciding to take it outside. 

When we got to that, we realised this is just the right time, and where else to choose if not London? You know, as far as Afrobeats and African music, they both have strong presences in the UK and Europe as a whole. So, we chose London. But it’s not going to be the last outside Ghana, we will definitely choose other places as well. We are yet to announce other countries. But yes, London is our first step to move the brand outside Ghana and just because of the energy here in London, it’s only right that we start here. 

The Ghanaian and wider African diaspora in the UK has become increasingly influential in shaping global culture. When did you realise the diaspora was no longer just supporting African music, but actively steering it?

I would say the Azonto era from Ghana made me realise how powerful music is. When Azonto came out, anywhere you went in the world during that era, everybody was jamming it, especially in the UK and Europe. At that point was when I knew this whole Afrobeats thing is destined for greatness. 

Sonically and energetically, do you approach Western audiences differently, or is the mission always to bring them fully into your world?

To be honest, I don’t really think much about it. I believe that music is a language itself. You have to feel it, you have to make sure that it’s coming out of passion, it’s coming from a real place, and people will definitely relate. There’s a lot of people who I listen to, but I have no idea what they are talking about. But if it’s great and the music is presented the right way, the audience is gonna find it. 

For me, being Ghanaian and making sure that identity is there is very necessary. That’s why rapping in my native tongue; choosing some of my native drums, horns and instruments in our highlife music is very necessary for me. Even if that was going to limit me, I didn’t have a problem with that. I have to be fulfilled within me. But thank God it wasn’t something that limited me. Rather, it took me out there.

So, to try to please anybody but not be myself, I can only imagine how stressful that career will be. I want to be free. It was deliberate that I keep what I like and what I know. I think you were placed in Ghana for a reason, so you can’t change that just because you want to please other people. 

Performing at the Royal Albert Hall places you in the lineage of global greats. What does it mean to you to represent Ghanaian rap in such an iconic space?

I think it’s a blessing, especially at this point in my career where I’ve been doing this for a very long time. Normally, at this point is when most artistes are probably taking a bow or moving away from their supposed prime. Notwithstanding, having this much love at this point, people pulling up, and selling the tickets within a week is incredible. 

As you said, the venue is historical. To me, it wasn’t even about the numbers, it’s about what the venue stood for. For our first time bringing the brand here and to be able to do the show there, it’s a big blessing that I don’t take for granted.

This show aligns with Ghana’s Independence Day. Does celebrating that milestone abroad feel like an extension of the nation’s story, or does it come with a sense of distance from home?

Nah, I don’t feel a sense of distance. Because in Ghana, we’ve been celebrating independence. So wherever you are, it feels the same when it’s Ghana’s independence. It’s even better that you can tell the rest of the world your story and I’m a very proud Ghanaian, I think people know by now. 

The pride that I have on this special day is amazing. Also, for the fact that I’m in a different place in the world where I can push—what I call—our birthday to the world, it doesn’t get better than that. Of course, there will be a lot of festivities back home in Ghana. It’s only right that some of us will be in the world to spread word about our country as well. 

I’m super proud that, on this special day, we will be at this iconic venue celebrating with my people and other people who are about to witness what Ghana is about. So, I love that we are pushing Ghana to the world on its special day. 

You’re also aligning this moment with International Women’s Day. In an industry often criticised for its portrayal of women, what statement are you hoping to make through that dedication?

There’s top 5 things that Sarkodie really loves, we just ticked boxes for two—me representing Ghana and also celebrating women. I don’t take women for granted. My wife, my daughter, my mum, my sisters; I’ve been around a lot of females and I’ve seen the power of women. 

When this aligned, I was like ‘this is something special’, because it wasn’t planned. Then I realised it falls on the same weekend. Definitely, we will have to use this platform to celebrate our beautiful women worldwide and throw some shine on what these amazing women have done to keep us here today. 

Of course, I’m not allowed to reveal who’s coming. But as part of our act, we have to make the females represent because it is a special day. We will have special guests, African queens coming to represent Afrobeats and African music on the stage. Also, you know I have a song called ‘Strength of a Woman’, which further tells you what my stance on women is. This Rapperholic is a very special day, celebrating both Ghana and women at the same time. 

Rapperholic in Ghana is always on the 25th of December. Why was the usual date shifted from December to March for its international debut?

As far as PR and marketing wise, we need time in between the shows. Now, we have Kumasi in September, and Accra in December. I don’t want the shows to be too close in dates.

In fact, we actually didn’t plan to use the Royal Albert Hall this year. We had a list of venues we were considering, but the Royal Albert Hall wasn’t even part of our options. However, we got feedback that the hall is free on a date that coincides with Ghana Independence Day. When we got that opportunity, we took it. It worked out with timing as well, as we diverted all energy towards it. 

When we are done from here, our next focus is Kumasi. Right after Kumasi is Accra, then we start the cycle again. That way, the shows are evenly spaced out. For now, we are working with three locations yearly. But locations will definitely increase with time. 

Is there a side of Sarkodie the public still hasn’t seen, perhaps something the Royal Albert Hall show might reveal?

There could be a lot of sides to me that I keep away from people unintentionally, because I’m private. But I don’t take life too seriously, people think that I look like that but I’m totally opposite. I love things that make me laugh and smile. I think people haven’t noticed my humour. For some reason, when there’s a camera, I don’t turn on that side of me. I don’t think there’s much that people don’t know about me; except that they think I’m a serious person when, in reality, I’m really far from that. 

After Royal Albert Hall, what’s the next ceiling you’re aiming to break in music or any creative outlet?

Right after this show, we have an announcement which I can’t disclose yet. That will be the next height.

But the next stage and forthcoming years of my career will be focused on trying to push all these young artistes and the whole ecosystem as far as music is concerned in Ghana. Trying my best to get us (Ghanaian musicians) to position ourselves on the global platform is where my strength will be going. 

Of course, Sarkodie will still drop music and everything, but it will be more about Sarkcess Music as a collective henceforth. 

As someone who has collaborated widely across Africa and beyond, which UK artists feel like natural creative alignments for you right now?

People ask me this question a lot in the UK and I always have the same answer because I’m an old-school person who’s stuck in time. Basically, I listen to Giggs, that’s my guy. I could listen to Giggs all-day.

Stormzy is doing amazing as well, that’s my countryman. I listen to him too. But my go-to musician is Giggs. Furthermore, Giggs and I worked together on ‘Round 2’, a song on my album No Pressure. We have about two unreleased songs as well. I’m yet to do something amazing with Stormzy though. 

Streaming has changed the economics of music. How have you adapted your strategy to maintain longevity in this era?

By embracing it. You don’t have to criticise everything just because it’s not something you are used to. If you love something, you will find a way to deal with it—I use this line in reference to relationships as well. You know, when you love someone, the person might change. But because of the love you have for the person, you try to adjust to be able to accommodate them. 

I have the same feeling with music. I love music. I didn’t start music to trend or become famous or make money, that was never the intent. I just love expressing myself through music, and if there’s any change that I can still use to express myself, why shy away from it? 

To answer your question—loving every era, embracing it, not dwelling on ‘this isn’t for me’, and trying not to lose your purpose. If you start pursuing only numbers, you will become drained and feel unfulfilled. My passion for doing music is why I don’t stop. 

You’ve often balanced commercial success with lyrical depth. In today’s fast-paced, viral-driven industry, what are you currently working on to maintain your level of craftsmanship?

There’s always going to be ears for everything. Any type of music you are doing, even if it’s trash, some people are interested in that. That’s why I don’t worry much about that. The problem, however, will be when you try to capture everyone’s ear, which is almost impossible. As legendary as Michael Jackson remains, I’m pretty sure there’s somebody out there who doesn’t like his music. You won’t win everyone, just focus on what you are doing. Personally, I would listen to the type of songs that I make. I can’t change from that. I can adapt, but I won’t change my core. 

When you put art out, some people appreciate the dexterity, flow, everything. Some people also appreciate you as a person and that makes them like the music. Somebody can like Sarkodie, and not necessarily like my music, especially if they are young and prefer trendy music. But because of the respect they have for you, they still like what you are doing. Whether you do new school or old school, you won’t get everyone. Might as well just stick to what I do best, improve while at it, and catch up with time, but never lose my core. 

There’s a new generation of Ghanaian artists gaining international visibility. Do you feel competitive, protective, or happy when you see them rising?

Yes, that last statement is everything. I’m just happy. It’s stronger that way, and my legacy is safe. Ever since I started, my main thing was wanting other Ghanaian musicians with me out there, achieving goals together. In the beginning, I was winning personally but I wasn’t fulfilled because everybody else from my country wasn’t with me. When it's one off, you are not safe. But when we come together from the same country, then it’s safe. 

To see this new crop of artistes achieving greater things, getting that recognition where I can visit other countries and hear Black Sherif playing in the club or mall. Hearing Stonebwoy, R2Bees, King Promise, KiDi, Gyakie; it’s amazing. I was praying for days like this and it makes me more secure. I’m up for it, I want more of them. There’s a lot of them that I still want to get deserved recognition, that makes the country way stronger. I have been praying for this, this is my dream and I thank God that I was able to live to see it. 

Also, most of them are my boys. Say, for instance, I kind of discovered King Promise. He’s always been part of me, we make a lot of music together. This week, we just recorded another new song together. I love new energy. They bring a different side of me. They send me songs that, on my own, I wouldn’t do. Like that, they put me in a different light. 

That also answers the question of how I stay relevant. I am looking to the younger generations teaching me and telling me about new sounds and styles. Of course, I have to like it to an extent, but I’m open to listen to it. Take a song like ‘Non Living Thing’ with Oxlade, I would not think about a song like that if I was by myself. But Oxlade made the song and put me in a different type of energy. So, I’m open to new competition. I want to see them do well, which in turn comes back to help my legacy. 

Speaking of legacy, what does “legacy” mean to you now? Is it about numbers, impact, infrastructure, or something more spiritual?

As Sarkodie, I want to make people believe they can do something. When I was rapping in Twi in the beginning, people thought it was a limitation. Then I get on the BET stage, the MTV stage, and sold-out shows outside the country. 

All these are things I want people to believe in themselves. Because if everybody has to pretend before winning at what they do, that’s not a life worth living. The best situation is loving what you do, being able to bring people into that world of yours, and still winning. My legacy would be like an inspiration, like a battery behind people’s backs to be able to get up and move. 

Afrobeats has become a global umbrella term, sometimes overshadowing distinct African genres. As a pioneer of Ghanaian rap and hip hop, how do you ensure Ghana’s identity isn’t diluted in the global conversation?

I’m a true African to start with. As far as that is concerned, I’m in support of anything that makes Africa stand as one because there’s nothing to lose. Trying to push my Ghanaian culture is fine, Nigerians trying to push their culture is fine as well. But at the end of the day, we all have to be under one umbrella and move as Africans. 

Yes, I do highlife and hiplife. I could have said that but, to me, we can’t be coming in as nationals if we are looking at the broader agenda and the bigger stage that we want to mount. For sure, we are all going to promote our individual countries. American rappers do the same. They represent ATL, LA, NY, but it’s all still America at the end of the day. 

I will rep Ghana, Davido will rep Nigeria, Diamond Platnumz will rep Tanzania. But when we go to the world, I’m in support of Afrobeats. Initially, I was a bit reluctant because rap is sensitive and you don’t want to dilute it into another genre. But when you think about it, it is way deeper than those sentiments. 

Until we get the luxury to do that, we are not there yet. Right now, we have to be able to hold this moment and make it bigger than how it is. Then you can branch out and tell them you are doing drill music or whatnot. Whatever African country you are from, let’s just push Afrobeats as a collective. It’s way bigger than just titles, this is a movement and all hands have to be on deck.