A self-proclaimed Ghanaian prophet who predicted the world would end on Christmas Day with a catastrophic flood made a surprise appearance at rapper Sarkodie’s Rapperholic concert on December 25, 2025. Ebo Noah, also known online as Ebo Jesus, walked onstage at the Grand Arena in Accra to introduce the award-winning musician, leaving thousands of concertgoers stunned.
The controversial figure had spent months warning that God would unleash a biblical-style deluge starting December 25. He claimed divine visions instructed him to construct modern arks to save believers, and videos of him building wooden vessels circulated widely across social media platforms since August. His prophecy drew intense public scrutiny, ridicule, and reportedly led to a brief arrest amid growing public concern.
On Christmas Eve, Ebo Noah announced the destruction had been postponed, explaining that God reconsidered after he prayed and interceded for mercy. He said the delay would allow time to build additional arks, as a new vision revealed overwhelming numbers of people seeking salvation. The reversal came after crowds of men, women, and children had already begun trekking toward his ark site, carrying belongings, creating scenes reminiscent of biblical narratives.
His appearance at Rapperholic 2025, held on the exact day his flood was supposed to begin, sparked immediate reactions across social media. Video footage showed him introducing Sarkodie in what attendees described as a grand, theatrical entrance. The moment quickly became one of the most talked about highlights of the annual hip-hop festival, which drew thousands to celebrate Ghanaian music culture.
Social media users expressed a mixture of disbelief, amusement, and criticism. Many questioned why someone who had just warned of apocalyptic destruction would appear at a major entertainment event hours after his prophecy failed to materialize. Others suggested the appearance might be a publicity stunt, while some praised the unexpected collaboration between the prophet and the rapper.
The incident has reignited debates about celebrity influence and responsibility within Ghana’s entertainment industry. Some fans defended Sarkodie for including Ebo Noah, arguing that everyone deserves a platform regardless of recent controversies. Critics countered that giving prominence to someone whose claims caused public anxiety and panic was inappropriate and potentially harmful.
Ebo Noah’s flood prophecy had real consequences beyond social media buzz. Reports indicated some Ghanaians began selling property or preparing to abandon their homes, though the prophet later denied asking anyone to resign from jobs or liquidate assets. Heavy rainfall in parts of Ghana just before Christmas intensified fears among some believers, adding urgency to an already tense situation.
The prophet’s construction project reportedly included between eight and ten wooden arks, though engineering specialists never verified whether the vessels were seaworthy. Critics pointed out the apparent absence of engines, steering systems, or structural features needed for prolonged flooding. Scientific and meteorological agencies issued no warnings about any global flood threat, emphasizing that extraordinary claims require extraordinary evidence.
Videos surfaced showing Ebo Noah arriving at the concert venue in a compact luxury Mercedes-Benz B-Class while wearing his signature brown sackcloth. His wardrobe choice maintained the prophetic image he’d cultivated online, even as he stepped into the entertainment spotlight. The juxtaposition between his apocalyptic warnings and mainstream celebrity appearance struck many observers as jarring.
Rapperholic remains one of Ghana’s premier music festivals, organized annually by Sarkodie to celebrate hip-hop culture. The 2025 edition featured performances from several top artists and attracted a sold-out crowd despite the ongoing controversy. Ebo Noah’s involvement ensured this year’s festival will be remembered as one of the most discussed events in Ghanaian entertainment history, though perhaps not for reasons the organizers originally intended.
The broader implications extend beyond entertainment gossip. Religious figures making failed predictions is nothing new, but the speed and scale of social media amplification creates unique challenges. Ebo Noah built a following of hundreds of thousands across multiple platforms, demonstrating how quickly unverified claims can spread when packaged with compelling visual content and urgent messaging.
Neither Sarkodie nor his management team has publicly commented on the decision to include Ebo Noah in the concert lineup. The rapper’s silence leaves open questions about whether this was planned coordination, a last-minute addition, or something else entirely. For now, the focus remains on the spectacle itself and what it reveals about the intersection of faith, fame, and public responsibility in modern Ghana.
The story also highlights tensions within African religious communities about prophecy and accountability. Traditional Christian theology includes biblical promises that God would never again destroy the earth by flood, a covenant symbolized by the rainbow in the book of Genesis. Many Ghanaians referenced these teachings when challenging Ebo Noah’s claims, creating theological debates alongside practical concerns.
What happens next for Ebo Noah remains unclear. His social media accounts continue to attract attention, though the nature of that attention has shifted dramatically. The failed prophecy and subsequent concert appearance have made him a figure of either inspiration or ridicule, depending on perspective. Either way, he’s achieved what many online personalities seek: widespread recognition and the ability to command attention on a national stage.
The incident serves as a case study in how modern media ecosystems handle controversial figures. Traditional gatekeepers like concert promoters, media outlets, and religious institutions once controlled access to large audiences. Social media has democratized that access, allowing anyone with compelling content to build followings that rival established institutions. The results can be empowering for marginalized voices or dangerous when used to spread harmful misinformation.
For the thousands who attended Rapperholic 2025, Ebo Noah’s appearance will likely be remembered as either a surreal highlight or a disappointing low point. The concert itself succeeded by most measures, delivering the music and energy fans expected. But the inclusion of a figure whose recent actions caused genuine distress for some Ghanaians has ensured the event will spark conversation long after the final performance ended.