Kojo Cue has revealed that he will be halting plans for his "For My Brothers Concert” due to the new strain of the coronavirus in Ghana. 

He announced the development on his Twitter fan page, as he explained his reason for the postponement.

According to him, he cannot knowingly put his fans in danger of the coronavirus just to make money. 

" “#FMBconcert Update As much as I want to share this experience with you, I can’t knowingly put you in harms way. So in light of the recent spike in COVID cases, the team has decided to postpone the concert. Your life is more important. Full refunds guaranteed. Love, Cue.”"

#FMBconcert Update
As much as I want to share this experience with you, I can't knowingly put you in harms way. So in light of the recent spike in COVID cases, the team has decided to postpone the concert. Your life is more important.

Full refunds guaranteed.

Love, Cue.

— Ko-Jo Cue (@KOJO_Cue) January 19, 2021

In January 2010, Ko-Jo Cue released the first instalment in a series he called ‘Growing Pains’.

The project which was titled ‘N.A.T.H.A.N’ attracted the attention of the online community on Facebook as well as the major Ghanaian blogs and websites most notable among them being Ghana Mixtapes and BigXGh.

It was the first project of its kind by a Kumasi artiste and it gained him regional recognition. Within the space of three months, he added two more instalments‘ N.O.N.A’ and ‘Now And Forever’ with the latter earning him respect amongst the Ghanaian Hip-Hop community and the former spawning his first viral hit with a track titled ‘Head Nod’ produced by Peewee.

The song made it onto radio rotation in his hometown and even caught the attention of Bradez and Okyeame Kwame (two of the biggest acts from his hometown as at that time).

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He then took 2 more months to release the last instalment in the series which he titled ‘The Wait’.

The buzz generated by ‘Head Nod’ attracted artists out of his region and soon he found himself working with acts like Kay-Ara, Klu, and Pappy Kojo.

He also worked on a cover of Kwaw Kesse's ‘Poppin’ with Flowking Stone (one half of the Bradez).

He kept his visual appearances minimal but managed to gather quite a cult following which expanded as he collaborated with more artistes outside his region.