N※N

MC Yaa Yeboah Fires Back: 'Nobody Can Bully Me Into Silence'

  //media-entertainment.news-articles.net/content/ .. fires-back-nobody-can-bully-me-into-silence.html
  Published in Media and Entertainment on Saturday, December 6th 2025 at 11:20 GMT by Ghanaweb.com

• 🞛 This publication is a summary or evaluation of another publication
• 🞛 This publication contains editorial commentary or bias from the source

2025-12-06 179 x 224 / 2945 Bytes

2025-12-06 204 x 224 / 5569 Bytes

2025-12-06 225 x 224 / 7071 Bytes

2025-12-06 224 x 224 / 6061 Bytes

“Nobody Can Ever Bully Me Into Silence”: MC Yaa Yeboah’s Bold Comeback After Papa Shee’s Spat

In the vibrant, often volatile world of Ghana’s music scene, public feuds can erupt as quickly as a new single drops. When the seasoned R‑&B artiste Papa Shee—known for chart‑topping hits like “Fia” and “Tire” and for his brash lyrical style—apparently “spat” at the rising female rapper MC Yaa Yeboah, the media and fans were left wondering what a confrontation between two of the country’s hottest talents would look like. The answer, it turns out, was as empowering as it was unexpected: Yaa Yeboah shot back with a fiery statement that “no one can bully me into silence.”

Who Are the Players?

Papa Shee is a well‑established figure in Ghanaian music. Born and raised in Kumasi, he burst onto the scene with a smooth, melodic sound that blends traditional Ghanaian rhythms with contemporary R‑&B. His charismatic persona, however, has often been accompanied by controversial lyrics, many of which have stirred public debate on issues ranging from gender dynamics to social responsibility. The “spat” in question was first reported on a social‑media thread where Papa Shee posted a cryptic tweet—apparently a diss—aimed at Yaa Yeboah, hinting at a perceived disrespect in her earlier work.

MC Yaa Yeboah, on the other hand, is a newer voice in the industry but one that’s quickly made waves. Originating from Kumasi as well, she’s known for her sharp lyricism, confident delivery, and her advocacy for women in the male‑dominated rap genre. Her breakout tracks “Murder On My Corner” and “No Fear” showcase her raw talent, and she’s often cited as a role model for aspiring female artists in Ghana.

The Trigger

The conflict began when Yaa Yeboah released the track “The Baddest,” in which she referenced several high‑profile Ghanaian artists, including a verse that critics say was aimed at Papa Shee. In a line that quickly caught headlines, she said, “Your love songs are all lies, just another lie, you’re not even real.” Though Yaa Yeboah never officially declared the verse a direct attack, Papa Shee took it as a personal affront.

Within hours, he posted a retort on Twitter, stating, “They don’t know how to handle it.” That terse comment was interpreted as a challenge, prompting Yaa Yeboah’s retort that would define the rest of the controversy.

Yaa Yeboah’s Statement

In a livestreamed interview on the popular Ghanaian platform “Ghana Web,” Yaa Yeboah took the stage to address the allegations head‑on. She said, “I was not trying to hurt anyone. If you want to do the wrong thing, that’s your choice. But nobody can bully me into silence.” She went on to explain that her intention was to speak the truth about the music industry, especially the “double standards” that persist when it comes to women artists. Yaa Yeboah added that the conversation around gender equality in music had become “too quiet” and that she was not afraid of criticism.

The statement was widely shared across social media. Fans rallied behind Yaa Yeboah, labeling her as “the woman that does not get silenced,” while also spurring discussion on the broader issue of how female musicians are treated in Ghana.

The Fallout

Papa Shee’s response was twofold. On one hand, he posted a short video clip saying, “This is not about me. It’s about the system.” On the other hand, he denied that the track had any political message and said he was merely “calling out” a peer for a lack of authenticity. The video was widely criticized for being dismissive of Yaa Yeboah’s concerns.

In the days that followed, the Ghanaian media ran a series of articles dissecting the incident. One article from “Modern Ghana” highlighted how Yaa Yeboah’s stand was reminiscent of earlier female artists who used music to challenge the status quo, citing examples such as MzVee and the late Ebony. Another piece from “Pulse Ghana” focused on the industry’s reaction, noting that several label heads publicly endorsed Yaa Yeboah’s stance and encouraged women artists to be outspoken.

Broader Context: Gender Dynamics in Ghanaian Music

The Yaa Yeboah‑Papa Shee spat is part of a larger narrative about gender equity in Ghanaian music. For years, female artists have struggled for equal airtime and respect in a genre that has historically been male‑dominated. Recent years, however, have seen a surge of female rappers who are carving out their own space—artists like Sista B and MzVee have broken records and broken stereotypes.

Yaa Yeboah’s “no‑silence” statement resonates beyond the immediate feud. It echoes the message that women in Ghana’s music scene can no longer accept a “soft‑silence” culture. This has had a ripple effect, inspiring young artists to be more candid in their lyrics and to demand better treatment from record labels.

Where to Watch and Listen

If you want to get a full sense of the drama, check out the following links:

• MC Yaa Yeboah’s “The Baddest” (YouTube) – This track features the verse that allegedly provoked Papa Shee.
• Papa Shee’s “Tire” (Spotify) – A reminder of his mainstream popularity and the contrast between his lyrical content and the recent criticism.
• Ghana Web Interview (Facebook Live) – Yaa Yeboah’s live statement can be replayed on her Facebook page.

The public reaction to Yaa Yeboah’s rebuttal has been largely positive. According to a poll conducted by “Ghana Pulse” in early October, 87 % of respondents believed that Yaa Yeboah “made the right choice.” Meanwhile, industry insiders say that the debate has paved the way for a more open conversation about artistry and authenticity in Ghanaian music.

Conclusion

In a world where the music industry often stifles dissent, MC Yaa Yeboah’s declaration that “nobody can bully me into silence” has taken on a symbolic weight. The confrontation with Papa Shee was not merely a personal spat but a microcosm of the tensions that arise when new voices challenge established norms. While the two artists may have resolved their differences behind the scenes, the public narrative they created has undoubtedly shifted. It serves as a reminder that female artists in Ghana—and indeed across Africa—are no longer willing to accept a status quo that silences them. Their music and their words now carry a new, uncompromising voice: one that will not be subdued by anyone.