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Ghana’s Highlife Icon Pozo Hayes Honored by Apprise Music

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Ghana’s Highlife Icon Pozo Hayes
Apprise Music Distribution, a leading independent music platform in Africa, has bestowed a prestigious plaque upon Pozo Hayes, recognizing his “outstanding musical achievement” and decades-long contribution to Ghanaian highlife music.
The ceremony, held in Accra, marked a moment of celebration for the artist, born *Nana Boakye Ofori Atta,* whose timeless hits have entertained Ghanaians and fans worldwide while preserving the rich cultural heritage of highlife.
The honor, accompanied by an undisclosed cash award and a gift hamper, underscores Apprise Music’s commitment to spotlighting Africa’s musical pioneers.
Pozo Hayes, a revered figure in Ghana’s music scene, was lauded as a “highlife cultural ambassador” whose catalog—including classics like “Akika Akikayi” and “I’ve Got The Feeling!”—continues to inspire generations.
 “This recognition is about more than one artist,” said Michael K. Bamfo, founder of Apprise Music. “It’s about connecting emerging musicians with the sounds that built our industry, fostering innovation rooted in legacy.”
Pozo Hayes, who has navigated personal challenges including a disability that left him wheelchair-bound after a teenage accident, as he shared in a 2022 interview, expressed gratitude for the accolade.
“Music has been my life, even when work as a public servant kept me from it,” he said.
Now, with Apprise Music’s support, his catalog is poised for rediscovery by a new wave of artists eager to blend highlife with modern genres.
The significance of such honors extends beyond celebration.
Highlife, a genre born in Ghana’s coastal cities in the 19th century, has long been a cornerstone of West African music, blending traditional rhythms with jazz and other influences. By honoring legends like Pozo Hayes—alongside peers such as Amakye Dede and Kojo Antwi—Apprise Music aims to bridge generational gaps, encouraging rising Ghanaian artists to fuse these classic sounds into contemporary styles like Afrobeats.
The success of Nigeria’s Burna Boy, who has woven the legacy of Fela Kuti into global hits, and Tems, whose Grammy-winning “Love Me Jeje” evokes soulful roots, serves as a blueprint. “Ghanaian artists could dominate world stages with this approach,” Bamfo noted. “It starts with knowing our roots.”
Pozo Hayes’ journey reflects resilience and creativity.
In a 2018 interview, he revealed how he coined his stage name “Pozo,” embracing it as a symbol of strength despite its association with physical challenges. His dream, shared in an online press release, remains to headline a major concert—a goal Apprise Music’s spotlight might help realize. The platform’s extensive reach, distributing to over 150 digital stores, ensures Pozo Hayes’ music remains accessible, from Accra to the diaspora.
Industry observers see this as a pivotal moment for African music.
These honors illuminate our heritage,” noted Ras Caleb Appiah-Levi, a Music and Cultural Ambassador.
 “They nudge young creators to fuse past and present. Honoring figures like Pozo Hayes not only preserves that legacy but fuels its evolution.”
“Highlife is Ghana’s gift to the world,” said Kwaku Mari Agya Paye, a renowned Ghanaian music producer. For emerging artists, the exposure to Hayes’ catalog offers a treasure trove of inspiration—rhythms and melodies ripe for fusion with today’s beats.
As Apprise Music continues to champion Africa’s musical heritage, the recognition of Pozo Hayes signals a broader mission: to elevate the continent’s giants while paving the way for its future stars.
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Makra Mo Under the Stars: Candlelight Vigil Held for Daddy Lumba

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🕯️ “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.

 

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Bank Hospital Breaks Silence: Dismisses Claims of Leaking Daddy Lumba’s Medical Info

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The management of The Bank Hospital has strongly denied allegations that it breached the privacy and confidentiality of the late Ghanaian music legend, Charles Kwadwo Fosu, popularly known as Daddy Lumba, who passed away at the facility on July 26, 2025.

 

In an official statement, the hospital described the circulating claims—allegedly made by social media personality Afia Schwarzenegger (Valentina Nana Agyeiwaa)—as false, misleading, and defamatory.

 

“The Bank Hospital is an internationally accredited institution, staffed by committed and professional healthcare workers. We remain dedicated to upholding the highest standards of care and confidentiality for every patient,” the statement affirmed.

 

The hospital stressed that Daddy Lumba received professional treatment in line with global medical standards and that his family was fully engaged in every step of his care—from admission until his passing.

 

“Transparency and patient-centred care are at the heart of what we do. Mr. Fosu’s family was involved throughout the process,” the management reiterated.

 

In addressing concerns, the hospital also noted that it routinely conducts internal reviews to improve services and understand patient outcomes. It assured that any findings will be communicated respectfully and directly to the family.

 

“Internal procedures are underway, and relevant information will be shared with the family in accordance with ethical medical practices and confidentiality policies,” the statement added.

 

The Bank Hospital concluded by cautioning the public against spreading unverified health information and encouraged reliance on credible sources before making such claims public.

 

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Counsellor D Y Donkoh Apologizes to Shatta Wale Over Prophecy

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Counsellor D Y Donkoh has issued a public apology to Ghanaian music star Shatta Wale after sharing a prophecy that reportedly left the artist “visibly shaken and traumatised.”

In a statement dated July 27, 2025, Donkoh admitted the prophecy—shared on social media—sparked widespread concern and was never meant to cause fear.

 

He expressed regret and pledged to be more cautious when sharing future revelations.

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