Entertainment
Makra Mo Under the Stars: Candlelight Vigil Held for Daddy Lumba
🕯️ “Makra Mo, But The Legend Lives On” – Ghana Bids Farewell to Daddy Lumba
Highlife icon’s death unites a nation in sorrow, memories, and song
His music still dances through our speakers—on the streets, in trotro radios, and market stalls—but the man behind the voice now rests in silence.
Aben Wo Aha, but now, Lumba wɔ aseɛ hɔ.
Ghana is mourning the loss of a true musical titan, Charles Kwadwo Fosu, affectionately known as Daddy Lumba. A man whose voice defined generations, stitched memories into melodies, and captured hearts through every lyric, has taken his final bow after over 35 years of shaping the country’s soundscape.
Though the flames of his artistry burned bright, today the stage is quiet. Yet, the spotlight he earned refuses to dim.
A Candle for the King
Tonight, thousands will gather at Independence Square for a national candlelight vigil in his memory. Since last Tuesday, his family has opened a book of condolence at both his residence and DLFM, the radio station he founded (106.9 MHz), where his voice once ruled the airwaves.
Just last September, Lumba turned 60—celebrating with rare public appearances and laughter. In hindsight, many now see that glow as his final farewell.
A Life of Mystery and Melody
Daddy Lumba was a star who never chased the spotlight, choosing to let his music speak louder than interviews or headlines. His reclusive nature only heightened the anticipation whenever he emerged.
In 1998, Gaddy Laryea’s Media Majique and Research Systems pulled off a milestone: Lumba’s first-ever live performance at Miss Ghana. It shattered myths about his stage presence and proved his magic wasn’t limited to the studio.
His manager at the time, the late Kwasi Brenyah of Peace FM, helped pull the strings behind the scenes—true to Lumba’s quiet but powerful style.
Tributes: From Icons, Friends & the Nation
The news of his passing has sparked a wave of tributes from musicians, politicians, and fans alike.
The legendary gospel trio Daughters of Glorious Jesus remembered him as “a big brother” and a man whose gospel songs carried depth and divine sincerity.
“He wasn’t just a singer—he was a storyteller,” said Edna Sarpong. “Slow to anger, deep in soul. His silence spoke volumes.”
Monica Owusu Ansah added, “I wish he had left a protégé… The man had a heart for God. He could sing about anything—and make you feel everything.”
Gospel artist Diana Asamoah called him “a brother in the spirit,” saying, “His gospel songs were born from truth, not showbiz.”
Music executive Bullet called Lumba “a pillar of authenticity,” while NPP flagbearer hopeful Kwabena Agyapong described the loss as personal: “He was a friend. His voice walked us through both private pain and public joy.”
Former President John Mahama posted:
“Lumba’s unmatched musical genius carried us through the phases of life… His legacy will echo through the ages.”
Other stars including Sarkodie, M.anifest, Wendy Shay, Guru, Pat Thomas, and Sista Afia have also paid glowing homage.
His Music Lives On
In the wake of his passing, Daddy Lumba has re-entered the charts with a vengeance. On Apple Music Ghana, 30 of his songs hit the Top 100—Makra Mo surging straight to No. 1.
His 2008 political anthem Nana Ye Winner showed that Lumba could wade into politics without fracturing his appeal. His music transcended politics, class, and even religion.
From heartbreak to humor, sensuality to spirituality, Lumba was a lyrical genius. His use of Asante Twi—rich in proverbs, wit, and wordplay—gave his songs a rare, enduring texture.
Songs like Sika Asem, Tokuro Mu, Se Sumye Kasa, Yentie Obiaa, and Mesom Jesus tackled everything from love and lust to faith and truth.
Most hauntingly, he never feared death—he sang about it. Tracks like Adaka Teaa, Makra Mo, and Yemfa Odo were his own elegies, composed long before his final breath.
The Legacy of Charles Kwadwo Fosu
Born on September 29, 1964, in Nsuta, Ashanti Region, Daddy Lumba’s journey was as remarkable as his music. From humble beginnings to national treasure, he redefined highlife, fusing it with modern flair while keeping its soul intact.
His music wasn’t just entertainment—it was an emotional archive of Ghana’s soul.
Nigeria is mourns the death of Nollywood actor Solomon Akiyesi, whose passing was confirmed on Monday.
The President of the Actors Guild of Nigeria, Abubakar Yakubu, disclosed that the actor died in his sleep on Sunday in Abuja.
According to Yakubu, Akiyesi “slept and did not wake up.” He added that the late actor’s body has been placed in a morgue in the capital as the guild awaits further information from his family. The exact cause of death has not yet been made public.
Akiyesi, who began acting in the late 1990s, appeared in more than 100 movies and became known for roles in Marry Who You Love, Deadly Affair, and Desperate Ladies. Tributes have continued to pour in on social media, with colleagues and fans celebrating his impact on Nigeria’s film industry.
Ghanaian versatile artist CityGod Aruu has publicly expressed disappointment over what he describes as his unexplained exclusion from the hit song “Monto,” a track widely associated with Kweisey Pee, in which he was featured.
In a recent interview on Despite Media’s NEAT F.M with Abena Moet, CityGod Aruu lamented that despite his alleged involvement in the creative process behind the song, his name was not featured or credited when the record gained mainstream attention. According to him, the situation has left his fans questioning the circumstances surrounding the release.
“Only Kweisey Pee can explain why my name was not included on ‘Monto,’” Aruu stated, hinting at unresolved issues behind the scenes. While he stopped short of making direct accusations, his remarks suggest a deeper concern about recognition and fairness within collaborative projects.
The song “Monto” has enjoyed notable success since its release, gaining traction across streaming platforms and within Ghana’s music circles. However, Aruu’s statement has now shifted part of the conversation toward transparency in crediting contributions, an issue that continues to surface in the creative industry.
Industry observers note that such disputes are not uncommon, especially among rising acts navigating collaborations without clearly defined agreements. Situations like this often highlight the importance of proper documentation, communication, and mutual understanding among artistes and their teams.
As of now, Kweisey Pee has not publicly responded to the claims. Fans and stakeholders alike will be watching closely to see whether clarification or resolution emerges in the coming days.
CityGod Aruu’s remarks add to the ongoing dialogue about artist recognition in Ghana’s evolving music landscape, where talent, collaboration, and credit must align to sustain trust and growth within the industry.
CityGod is currently out with two singles, “ Obaa Hemaa” and “Day Dreaming, Featuring Qwesi Ded Buddy.
Amerado returns with Obiaa Nte Mase, a new single that strips things down to the core of real life, real pressure, and the reality of being misunderstood.
Over a soulful production by IzJoe Beatz, Amerado speaks from a place of experience, touching on criticism, survival, and the constant need to keep going even when people don’t fully see your journey. There’s no attempt to dramatise, just honesty, delivered with clarity and conviction.
The record leans into Amerado’s strength as a storyteller, capturing the everyday tension between doing what you must and being judged for it. It’s reflective, grounded, and relatable, especially for anyone navigating expectations while trying to stay true to themselves.
“Obiaa Nte Mase” is now available on all major streaming platforms. Fans may stream via https://music.apple.com/gh/album/obiaa-nte-mase-single/1894543625
Nigeria mourns the death of Nollywood actor Solomon Akiyesi
Kweisey Pee must Explain why I was left off “Monto Song” – CityGod Aruu Speaks Out
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