Kwame Adinkrah celebrates Daddy Lumba’s one-year anniversary with his favourite song “Biribi Gyegye Wo”
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Today marks exactly one year since Ghana and the rest of the world lost music icon Charles Kwadwo Fosu, professionally known as Daddy Lumba.
A memorial was held by his family, and his final resting place was revealed to the public for the first time.
Many people have reacted to the anniversary, and the latest to add his voice is popular media personality Kwame Adinkrah of Pure FM in Kumasi.
The celebrated morning show host, in a post, revealed his favourite song by the late musician and went on to explain the meaning of the song. According to him the song which has passed three decades after its release, continues to stimulate excitement because it mirrors the emotional complexity of human relationships. Beneath its memorable melody lies a timeless reminder that self-worth should never be measured by another person’s acceptance or rejection.
Read his full post below
One Year On… Daddy Lumba’s Biribi Gyegye Wo
By Dr. Luther King Adinkrah
Very few Ghanaian musicians have mastered the art of telling emotionally layered stories through music. Daddy Lumba was exceptional at storytelling. His songs often transcend romance, becoming philosophical reflections on human relationships. One such masterpiece, which is one of my favorites, is ‘Biribi Gyegye Wo.’ While the title may appear straightforward, its deeper meaning lies within the shades of Ghanaian folklore expressions.
A literal translation of ‘Biribi Gyegye Wo’ may suggest that “something is affecting you.” It is commonly used to question a person’s behaviour, implying that something is wrong with them or that they are acting irrationally. Depending on the context and tone, it can even suggest that someone has “lost their senses.” This idiomatic usage provides the key to understanding the emotional depth of the song.
Contrary to interpretations that portray the song as a celebration of love, ‘Biribi Gyegye Wo’ is fundamentally a post-breakup narrative. It captures the emotional confrontation between two lovers whose relationship has ended. Speaking from a place of wounded pride, Lumba addresses his former lover who seemingly believed that her departure would leave him broken and insignificant.
Instead of accepting that fate, he delivers a powerful declaration of self-worth. His central argument is simple: his value did not begin with the relationship and certainly will not end with it. To wit, ‘Ɛnyɛ afei na me wea, na wabɛ gye me taataa.’ He reminds his former partner that he was already a jewel long before she entered his life. His dignity and worth are intrinsic rather than dependent upon her affection.
Throughout the song, Lumba predicts a future reversal of fortunes. He assures his former lover that the day will come when she will realize what she has lost.
His assertion that she will “bow” is not merely an expression of arrogance but a symbolic prediction that success and time will eventually compel her to acknowledge his true value. ‘Me hyɛ wobɔ sɛ ɔdɛ wobɛhu me dabi asi wo tiri ase o.’
The song further reveals Lumba’s emotional maturity. He insists that this is not his first romantic disappointment. He has experienced previous relationships and encountered women whom he considers even more attractive or accomplished. Consequently, he argues, this particular separation cannot define his life or determine his future.
More than three decades after its release, ‘Biribi Gyegye Wo’ continues to stimulate excitement because it mirrors the emotional complexity of human relationships. Beneath its memorable melody lies a timeless reminder that self-worth should never be measured by another person’s acceptance or rejection.
In the end, Daddy Lumba leaves us with an enduring paradox: sometimes the strongest declarations of independence are spoken by hearts that are still healing. It is this delicate balance between confidence and concealed pain that has secured ‘Biribi Gyegye Wo’ a lasting place in my heart and among the classics of Ghanaian highlife music.
Source: SIRKENN.com


