Ofori Amponsah Asserts Ownership of 'Odo Nwom' Amidst Legal Threats Over Upcoming Remix

The Ghanaian music industry is facing a significant copyright showdown as Highlife veteran Ofori Amponsah asserts his rightful ownership of the 2004 classic hit "Odo Nwom." This declaration comes in response to legal threats from King Pee, the CEO of Central Multimedia and former manager of artist Kofi Nti, who is challenging the legality of an upcoming remix of the track. The dispute has gained momentum following news that contemporary stars Stonebwoy and KiDi are involved in the reimagined version of the song, sparking a heated debate over intellectual property rights within the Highlife genre.

Nana Poku Ashis, the current manager of Ofori Amponsah, confirmed in a statement on July 23, 2026, that the musician possesses all necessary documentation to prove his sole ownership of the work. While Ashis admitted he was not managing Amponsah during the song's original production in 2004 and therefore lacks intimate knowledge of the initial recording sessions, he emphasized that Amponsah remains firm in his stance. The manager’s comments serve as a direct rebuttal to King Pee, who has signaled his intention to pursue legal action against Amponsah, Stonebwoy, and KiDi, arguing that the parties involved do not have the authority to proceed with the remix project without proper clearance from all original stakeholders.

The conflict highlights the complex nature of music ownership and legacy in Ghana, particularly regarding collaborations from the early 2000s. King Pee’s grievance appears to stem from his historical association with Kofi Nti, who was featured prominently on the original version of "Odo Nwom." The former manager’s threat to sue highlights a potential disagreement over whether the song was a joint work or if the rights were held exclusively by Ofori Amponsah as the primary artist. With Stonebwoy and KiDi—two of Ghana’s biggest modern music exports—attached to the project, the stakes are remarkably high, as any legal injunction could stall one of the most anticipated Highlife-Afrobeats crossovers of the year.

As the industry awaits the next move from King Pee and the Central Multimedia team, the case underscores the critical importance of clear, documented contractual agreements in the Ghanaian creative arts sector. Whether the parties will reach an out-of-court settlement or proceed to a full-blown legal battle remains to be seen. For now, the "Odo Nwom" controversy serves as a cautionary tale for artists looking to revitalize classic catalogs, reminding them that historical hits often come with intricate legal legacies that must be carefully navigated to avoid modern-day litigation.