Ghanaian musician Kwaw Kese has vehemently declared that the tragic death of his friend and fellow artist Fennec Okyere was not a random robbery gone wrong, but a deliberate contract killing. In a detailed interview in the aftermath of the incident, Kwaw Kese pushed back against widely circulated narratives that the killing was a by-product of criminal opportunism, asserting that the evidence and circumstances clearly point to a targeted execution.
The comments come in response to public speculation surrounding the brutal murder of Fennec Okyere, which shocked the Ghanaian entertainment industry and fruitfully led to debates about crime, protection and justice for musicians in the country. Kwaw Kese, who was a close friend and collaborator of the deceased, shared his perspectives and insights to clarify what he believes really transpired.
Kwaw Kese emphasised that those spreading the robbery narrative are overlooking crucial details about the case, arguing that “it was a contract killing, not robbery.” In his words: “This thing was a contract killing. It was not a robbery. Those who are saying that it was a robbery don’t know what they are talking about.” His remarks were aimed at redirecting public understanding toward a more intentional and sinister motive behind Fennec Okyere’s death.
He further explained that the sequence of events and the manner in which the killing was carried out did not align with how robberies typically occur. He questioned why, if robbery was the motive, the attackers left valuables behind and only took actions that appeared designed to ensure the artist’s life was extinguished. “In a robbery, people take valuables. But in this case, what was taken? Nothing worth noting was taken. So how do you call it a robbery?” Kwaw Kese stated, highlighting his belief that the incident was premeditated.
Kwaw Kese also underscored the emotional impact of losing a colleague and friend under such circumstances. For him and many in the entertainment community, Fennec Okyere’s death transcended statistics about crime rates, and instead became a deeply personal tragedy warranting serious investigation. “For us in the music industry, it was a blow. We lost someone who was not just a colleague but someone who had a bright future ahead. It hurts, and we need answers,” he remarked.
In dissecting the narrative further, Kwaw Kese challenged the notion that Fennec’s death was opportunistic, pointing to inconsistencies in the initial accounts and the lack of credible evidence supporting the robbery theory. According to him, a crime of passion or a crime committed as part of a professional hit leaves distinct traces, both in behaviour and in execution, and those traits dominated the circumstances of Okyere’s demise.
The musician’s passionate intervention sparked renewed calls from fans, colleagues and civic-minded observers for a thorough and transparent police investigation into Fennec Okyere’s death. Civil society groups and entertainment associations have since echoed the need for authorities to leave no stone unturned, ensuring that justice is served not just for the sake of one individual, but as a deterrent to future attacks on public figures.
While law enforcement agencies initially described the case as part of rising gang-related violence in some areas and suggested robbery as a likely motive, Kwaw Kese’s assertions have stirred debate about how cases involving public personalities are handled and interpreted in the media. Many have suggested that police should examine leads beyond the robbery lens and consider individuals or groups who might have had cause, motive or connections that extend into the professional or personal spheres of the victims.
Fennec Okyere’s death had already highlighted wider concerns within Ghana’s creative arts community regarding safety and security. Artists, promoters and cultural stakeholders have increasingly been vocal about the need for better protection, access to rapid response services, and clearer pathways to legal recourse when threats or violence arise.
Kwaw Kese’s forthright statements have intensified discourse around these critical issues, leading to broader conversations about how society values the lives of its artists and the systems in place to protect them. Whether law enforcement will reframe its investigation in light of these assertions remains to be seen, but the public attention generated continues to ensure that the case remains at the forefront of national discussion.
In closing his remarks, Kwaw Kese implored supporters and the public at large to demand clarity and accountability. “We want justice for Fennec. We want the truth, and we will not rest until those responsible are held to account,” he said, reaffirming his stance that this was not merely an act of robbery but a calculated and deliberate attack on a rising artist whose life was cut tragically short.
Kwaw Kese’s testimony and unwavering belief that Fennec Okyere’s death was a contract killing has shifted public dialogue, amplifying calls for justice and deeper scrutiny into one of the most unsettling losses in Ghana’s entertainment history.