Two Kumasi rappers who built one of 2024’s biggest Ghanaian street anthems together are now trading shots in public.
Oseikrom Sikanii and Beeztrap KOTM, former collaborators on the smash hit “Fly Girl,” have fallen out in a dispute that touches on credits, gratitude, support, and the uncomfortable question of who actually opened the door for whom.
The feud escalated sharply in August 2026 when Beeztrap dropped a diss track titled “GANGSTA,” and Oseikrom responded by doubling down in interviews. Ghana’s rap Twitter has been loud about it ever since.
To understand how this happened, you have to go back to early 2024, when a song produced by Pixel brought these two together on a record that neither of them could have predicted would become the flashpoint it is today.
How “Fly Girl” Built Two Careers
“Fly Girl” was released in March 2024 as a Beeztrap KOTM record featuring Oseikrom Sikanii. The production was clean, the chemistry between the two rappers was undeniable, and the song moved fast.
It picked up momentum on social media, spread across streaming platforms, and became one of the most talked-about Ghanaian rap records of that year.
A remix followed, pulling in Gyakie, which pushed the song even further into mainstream spaces.
For Beeztrap KOTM, the song arrived at exactly the right time. He had been building steadily since 2018 in Kumasi’s Asakaa drill scene, releasing early singles like “Cinderella” and “Distance Relationship” and carving out a reputation as one of Kumasi’s sharpest young voices.
But “Fly Girl” gave him something the underground work had not yet secured: mainstream reach. The song helped fuel his run to the Next Rated Act award at the 2024 3Music Awards and, by 2025, the Best New Artiste award at the Telecel Ghana Music Awards.
His debut studio album “Power,” released in August 2025 as a 16-track project featuring Sarkodie, Stonebwoy, Gyakie, and Reggie, cemented his place as one of Ghana’s genuinely exciting artists.
For Oseikrom Sikanii, “Fly Girl” added to a career that had already been moving.
Ransford Brefo had been rapping since 2013, broke through with viral videos in 2020, and announced himself properly with “Twetwe Mu” in 2021. A collaboration with Medikal on the “Sika Duro Remix” gave him broader visibility within the Kumasi-to-Accra rap corridor.
By the time “Fly Girl” arrived, he was the more established name on that record. He released his fourth studio project, “9,” in June 2026, with Beeztrap still appearing on the tracklist, suggesting the two had maintained at least a working relationship even as tensions were apparently building behind the scenes.
The Credit Dispute That Broke the Bond
Oseikrom Sikanii’s version of events is specific. In a recent interview that set off the public phase of this beef, he claimed that he was an early and active supporter of Beeztrap’s career, not just a collaborator who showed up to record a verse.
He described investing in Beeztrap’s career, including contributing to video shoots, at a time when Beeztrap was still working to establish himself. His argument is that “Fly Girl” was the breakthrough that launched Beeztrap into the awards conversation, and that the foundation for that breakthrough was partly built on support he provided.
The credit issue he raised is concrete. According to Oseikrom, the song’s billing was originally intended to go out as “Beeztrap KOTM and Oseikrom Sikanii .” Instead, it was released and credited as “Beeztrap KOTM featuring Oseikrom Sikanii,” a reversal that placed Beeztrap as the lead artist on a record Oseikrom claims he had a foundational role in building.
In the music industry, the distinction matters beyond just ego. Lead artist placement affects chart positioning, streaming credit aggregation, how awards bodies evaluate a song’s ownership, and whose name gets associated with the record’s success in public memory.
Oseikrom positioned himself as the “gate opener,” a phrase that carries weight in Ghanaian music culture. He said plainly: “don’t bite the hand that feeds you.” The implication was clear.
In his reading, Beeztrap had absorbed the benefits of support, a hit record, and the platform that came with it, and had not given adequate credit or shown sufficient appreciation in return.
“I Didn’t Want to Release Fly Girl” – Beeztrap’s Counter-Narrative
Here is where the story gets complicated, because Beeztrap’s side of the narrative does not align with the portrait Oseikrom painted.
In an interview from November 2025, before the beef had fully gone public, Beeztrap made a statement that has since taken on new significance: he said he did not want to release “Fly Girl” with Oseikrom Sikanii featured on it.
That admission changes the framing of the entire dispute. If Beeztrap is telling the truth, then he was not a passive beneficiary of a collaboration that Oseikrom engineered for him.
He had reservations about the record. He may have gone ahead with it for reasons that had nothing to do with Oseikrom’s support, or he may have been persuaded to release it despite those reservations. Either way, the claim that Oseikrom opened the gate for Beeztrap takes on a different texture when Beeztrap’s own account suggests he was hesitant about that particular door.
Beeztrap has also pointed to his own trajectory as evidence that he was not a beneficiary propped up by someone else’s investment.
He had been grinding in the Asakaa scene for years before “Fly Girl.” His EP “Different Type of Gangster,” released in 2023, showed a rapper with a defined sound and a growing audience. The awards that followed, the 3Music Next Rated, the TGMA Best New Artiste, came off the back of a body of work, not just one song. His debut album “Power” then demonstrated range that stretched beyond the street rap that made him, bringing in Sarkodie for “Peace of Mind” and building a full artist statement across 16 tracks.
GANGSTA: Beeztrap Puts It on Wax
Words in interviews have a limited shelf life. Diss tracks are permanent. On August 5, 2026, Beeztrap KOTM released “GANGSTA,” a track described as part of a forthcoming EP but widely understood in Ghana’s rap community as his direct response to Oseikrom’s interview comments. The release date is significant: just days after Oseikrom’s interview set social media alight, Beeztrap answered not with a counter-interview but with music.
That is a choice that reveals something about how Beeztrap views this situation. He could have given another interview. He could have posted on X and matched Oseikrom in the social media war that had already begun there. Instead, he recorded a track and released it formally, which means he is treating this as something worth preserving, something he wants associated with his catalogue. In hip-hop, the decision to put a diss on wax rather than just in words is a statement about confidence. You do not record a diss track unless you believe you can win the argument in the format that actually matters.
Oseikrom’s response was to hold his position in interviews, doubling down on the substance of what he had said rather than backing away from it. Neither artist has publicly extended an olive branch. The feud, for now, remains active.
Comparing Where Each Artist Stands
Beyond the specific dispute, the beef has drawn attention to a broader question about where these two artists sit in Ghana’s current rap landscape, because the answer to that question shapes how each of them is receiving the conflict publicly.
Oseikrom Sikanii has been in the game since 2013. He founded his own label, Oseikrom Music, built a brand around the cultural weight of Kumasi and Asante identity, and carved out a position as a senior voice in Ghana’s street rap conversation. He has longevity, a loyal fanbase in Kumasi, and a catalogue deep enough that “Fly Girl” was one collaboration among many rather than a career-defining moment. His album “9,” released in 2026, showed he was still productive and still drawing features from relevant artists, including Beeztrap himself.
Beeztrap KOTM, at 26, is at a different point in the arc. He has less history but more current momentum. His TGMA Best New Artiste win in 2025 put him in front of audiences beyond the drill scene. His collaboration with Sarkodie on “Peace of Mind” placed him in a lineage conversation with Ghana’s most decorated rapper. His social media numbers reflect where the attention currently flows: 172,000 followers on Instagram, over 500,000 followers on TikTok with more than 7.6 million likes, and a Facebook presence of around 78,000 followers.
These are not the numbers of an artist who needed someone to open a gate for him in 2026. They are the numbers of an artist who has crossed over into mainstream Ghanaian music culture on his own terms.
Oseikrom’s social media footprint tells a different story numerically. His Twitter/X account sits at around 29,000 followers, and his Facebook presence trails Beeztrap’s. That gap does not settle the argument about who did what in 2024, but it does illustrate why the credit dispute feels particularly charged. Beeztrap has grown, visibly and measurably, since “Fly Girl.” Whether that growth is owed to the collaboration or to the body of work he built around it is the question neither of them can fully answer with facts alone.
What This Beef Reveals About Ghana’s Rap Industry
Strip away the personalities and this dispute is about something Ghana’s music industry encounters constantly: what happens to the people who invest early in an artist’s career when that artist outgrows the relationship? Oseikrom Sikanii’s argument is rooted in a real and recurring dynamic in the music business globally. Artists who come up together, who do favours for each other in the lean years, often find that success reshuffles the power balance in ways that feel unfair to whoever ends up on the lower side of that shuffle.
Beeztrap’s counter-argument is equally familiar. Success, when it comes, tends to be claimed by the person who achieved it. The years of independent work before the breakthrough, the calculated creative decisions, the sound built in relative obscurity, these all get reframed, from the successful artist’s perspective, as evidence that they were always going to make it. In that reading, any help received along the way was welcome but not decisive.
Both of those things can be true at the same time, which is what makes this kind of beef so difficult to resolve. Credit in music is rarely binary. “Fly Girl” almost certainly gave Beeztrap a platform boost. Beeztrap’s existing work almost certainly gave “Fly Girl” a credibility it needed. Oseikrom’s support, whatever form it took, existed within a relationship between two artists who were both building, not between a patron and an unknown. The song succeeded because both of them were on it.
Whether that means Beeztrap owes a public acknowledgement, a private conversation, or nothing at all is the disagreement that neither a diss track nor a counter-interview is going to resolve cleanly. Ghana’s rap community will keep watching. The music, as always, will outlast the argument.
