For too long, Ghana’s entertainment industry has been guilty of one dangerous blind spot: the refusal to give the North the recognition it deserves. And nowhere is this clearer than in the case of Maccasio, the rapper from Tamale who has built not just a career, but a cultural movement that continues to transform lives.
Born Sherif Abdul Majeed, Maccasio rose from the humblest beginnings to become a voice for his people. His early albums, including Boussu (2014) and Ninsala (2017), did more than showcase Dagbani rap, they declared that Northern Ghana had its own rhythm, its own stories, and its own star.
He filled stadiums in Tamale long before many Accra-based acts could dare attempt the same feat. He mobilized a fanbase so large and committed, the “69 Fanbase” that it remains one of the most loyal followings in Ghana’s music history. Yet, despite these achievements, his impact is often treated as regional rather than national.
This must change.
Maccasio has gone beyond music. He revived the 69 Peace Concert, using his influence to preach unity in a country too often divided along political, tribal and regional lines. He has lent his name and energy to charitable work, feeding families during Ramadan and creating opportunities for others. Reports of him opening “69 Clothing,” a boutique meant to provide jobs for his fans, only underscores his commitment to turning fame into tangible development.
Even when personal challenges struck, like his near-fatal health scare during the shooting of MANI, he turned the experience into a lesson in resilience for the youth who look up to him.
And just this year, his marriage to Ihsan was not just a personal milestone, it was a community celebration, a reminder that Maccasio is more than an artist; he is family to thousands who see their lives reflected in his story.
So why, despite all this, does Maccasio remain largely sidelined in the national narrative of Ghanaian music? Why is his name missing when awards shows, media outlets, and industry gatekeepers compile their lists of “the biggest” or “the best” in Ghana? Is it because he is based in Tamale and not Accra? Is it because his language of choice is Dagbani, not Twi or English? If that is the case, then Ghana is failing itself.
Maccasio represents something far bigger than a “regional act.” He represents the possibility that success does not have to be exported to Accra before it counts. He is proof that Ghana’s creative heartbeat is not confined to the South. Ignoring his contribution is not just unfair to him, it is a disservice to Ghana’s cultural diversity.
It is time for Ghana to wake up. The media, the award schemes, the corporate sponsors and yes, even government, must recognize Maccasio as the national asset he is. His story is one of resilience, peace-building, cultural pride, and entrepreneurship. It is the kind of story that should headline Ghana’s narrative to the world, not remain hidden as a “Northern success.”
Maccasio has already done his part, building, inspiring, and uniting. The question now is whether Ghana is ready to rise above its old biases and give him the recognition he has long since earned.
