Ghana – Bulldog Says He’s Moved On From Shatta Wale Rift, But Friendship Remains Off the Table

The world of entertainment management in West Africa is often as colourful and unpredictable as the celebrities themselves. This reality was brought into sharp focus recently when renowned Ghanaian music executive, Lawrence Nana Asiamah Hanson—known professionally as BullGod—pulled back the curtain on his years managing one of Ghana’s most recognisable artists, Shatta Wale. In an exclusive sit-down interview, BullGod reflected candidly on how handling the energetic dancehall star almost derailed several key industry relationships, revealing the profound challenges and personal lessons he gleaned over the years.

According to BullGod, working with Shatta Wale was, in his words, “one of the most difficult artistes I’ve ever worked with.” For the Nigerian audience familiar with showbiz icons like Burna Boy, Davido, or Wizkid, this sort of tension between artist and manager might not be new, but BullGod’s story offers a rare glimpse into just how complex those relationships can get on the Ghanaian scene. He cited Shatta Wale’s unpredictable behavior, frequent controversies, and a remarkable ability to ignore previously agreed plans as the primary challenges.

As BullGod recalled, the music business is rarely free of stress, but managing Shatta Wale took things to another level.

[From left to right] Bulldog and Shatta Wale

He insulted my boss at Charterhouse, and I was working with them at the time. That nearly cost me a lot. I made so many enemies just managing Shatta Wale.

Describing a particularly tough situation, BullGod said that his loyalty was often put to the test, leaving him balancing the interests of his artist with the trust he built across the industry. He shared, “Managing him felt like a test. I just hope I passed,” hinting at how emotionally taxing and professionally risky it could be to work under such pressure.

Among the many recurring headaches were Shatta Wale’s inconsistent commitments. According to BullGod, the artist would accept invitations to perform or attend shows, only to withdraw at the last minute—sometimes without giving any reason. This presented serious complications for event organisers and sponsors, a scenario not unfamiliar to Nigerian event promoters who have faced similar last-minute cancellations from high-profile stars.

In recounting such episodes, BullGod admitted that holding the fort as Shatta Wale’s manager required both a thick skin and a robust sense of humour.

You can have an agreement with him, and the next morning he will decide not to go for the engagement

One particular episode BullGod pointed out involved the prestigious Ghana Music Awards. He described how a very tight agreement was reached with the organisers—Shatta Wale was to deliver just a single song on stage. However, even such basic arrangements proved tricky, with last-minute surprises threatening the show’s smooth running. Nigeria’s own award ceremonies like The Headies or AFRIMA invariably encounter similar last-minute drama, especially when dealing with top-tier artists with fiercely independent streaks.

Giving more insight, he revealed:

We had an agreement during the meeting that he would perform only one song , but he went on stage and did something completely different

Shatta Wale’s habit of engaging in open disputes with media outlets also factored heavily into the chaos, according to BullGod. “He would go on Joy FM, have issues there, and before you know it, he’s moved to YFM continuing the same argument,” he said. The fallout from these public clashes often left BullGod scrambling for damage control, managing PR disasters and negotiating truces with journalists across the country.

Despite the constant turbulence, BullGod credited the partnership for some high points as well. One standout achievement was guiding Shatta Wale to a victorious homecoming at the Ghana Music Awards after a lengthy absence. “After he came back, we managed to get him nominated, and he won,” he stated, reflecting on how tenacity and teamwork ultimately yielded industry recognition.

He also pointed to Shatta Wale’s unrivalled fanbase and charisma, explaining that the artist’s knack for connecting to the everyday Ghanaian—whether in Accra, Kumasi, or even Lagos—has cemented his status as a true Dancehall icon. “He’s an incredible musician. He understands the streets, he knows the game, and whether people like it or not, Shatta is the Dancehall King of Ghana,” BullGod asserted, acknowledging the talent that powered their partnership despite the friction.

Beyond the drama and milestones, BullGod reflected on his own personal growth during this chapter. He emphasised that managing such a challenging artist broadened his skills in patience, creative problem-solving, and emotional resilience—qualities that are becoming increasingly essential for managers and promoters across Ghana, Nigeria, and the broader African music industry. This point should resonate with up-and-coming talent managers eyeing the ever-growing Afrobeats and dancehall market, where personalities can be just as big as the music.

Working with Shatta was tough, but it made me a better manager. I learnt how to navigate people and situations better

He rounded off his reflections by encouraging industry stakeholders to understand the double-edged nature of working with superstar artists—balancing loyalty and professional credibility while staying agile and receptive to lessons from each experience.

The Reality Behind Managing Africa’s Superstar Talents

BullGod’s account highlights issues familiar to many managers in West Africa. As noted by Lagos-based music business analyst, Adeola Okon, “Managing A-list artists across Africa means you have to juggle unpredictable egos, fast-changing schedules, and sometimes, the artist’s desire for independence over structure.” This is why managers in Nigeria and Ghana alike can relate—the high stakes and high rewards are part of the job.

Industry Expectations vs. Reality: Organisers and sponsors expect order; audiences demand a show; artists crave freedom and impact. Navigating these competing demands requires acute negotiation skills.
Global Impact: With African artists such as Burna Boy, Tiwa Savage, and Stonebwoy gaining international traction, the scrutiny and pressure intensify. Media controversies, unfulfilled contracts, and surprise stage moves can ripple across continents within minutes.
Local Relevance: For Nigerian and Ghanaian promoters, maintaining credibility is essential. When stars bail out on agreed shows in Lagos or Accra, refunds, reputational damage, and threats of lawsuits can follow. Lessons from BullGod’s journey are invaluable for upcoming event planners and managers.

Challenges That Persist and Lessons Learned

Industry stakeholders often face pushback when trying to enforce professionalism. As seen with Shatta Wale and other high-tension stars, artistic freedom can sometimes clash with management best practices. However, BullGod’s willingness to share his story is a reminder that growth often emerges from adversity. The evolving ecosystem—bolstered by local creativity and global ambitions—means it’s crucial to embrace adaptability and collective growth.

Looking Ahead: The Future of Entertainment Management in West Africa

The entertainment scenes in Nigeria and Ghana continue to expand into new frontiers. With the rise of pan-African collaborations and growing opportunities for international visibility, the next generation of talent managers are watching and learning. The complexities, emotional intelligence, and industry awareness BullGod recounts in navigating Shatta Wale’s career offer a roadmap—and a cautionary tale—for anyone hoping to shape the future of West African entertainment.

Conclusion

BullGod’s candid revelations underscore both the glamour and grit needed to thrive in Africa’s music industry. His experiences serve as inspiration and warning: while great successes are possible, resilience, negotiation, and adaptability are essential qualities for lasting influence behind the scenes.

For managers, fans, and industry hopefuls across Nigeria, Ghana, and beyond—this story asks us all: What does it really take to build and sustain superstar African talent in a rapidly evolving music landscape?

What do you think—are managers doing enough to manage superstar artists in Nigeria, Ghana, and across Africa? Have you had similar experiences with musicians or public figures? Drop your thoughts in the comments and let’s keep the conversation going!

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