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'Shaboman' is an ironic self-designated nickname, used by young male band musicians who rush from one gig to another in Accra, Ghana. Being active in diverse musical genres (gospel, highlife, brass, neo-traditional, [afro-]pop), they pursue professional aspirations with dedication, favor wistful romantic love songs, and train girls how to play musical instruments. As these young men present a contrast to dominant narratives on young African men, this paper aims to disrupt and complexify such masternarratives by documenting various facets of masculinities the instrumentalists (aged between 20 and 32) perform in their music practice. In the process, microprocesses of gender production in popular music are traced. Based on extensive ethnographic work in Accra between 2013 and 2018, the analysis draws on two distinct bodies of theoretical work: on cultural performance and performativity of gender in music (Butler; Madison and Hamera 2005; Livermon 2014a, 2014b); and on insights from studies on gender and masculinities in Ghanaian popular music (Asante-Darko and Van der Geest 1983; Adomako Ampofo and Asiedu 2012; Shipley 2013a). Contextualizing the shabomen's staged masculinities among a variety of other manly ideals in Ghanaian popular culture, I highlight how acts of maintaining and subverting gender conventions are intertwined in popular music practice. Furthermore, I depict how gender performances are linked to age group, and to place and belonging at the same time. [ABSTRACT FROM AUTHOR]