Dr. Manfred Takyi widely known as Joy Daddy, CEO of Joy Industries Limited stated that he will not issue any tribute to the newly deceased Highlife legend Charles Kwadwo Fosu, aka Daddy Lumba. Lumba allegedly defaulted on an endorsement deal involving both cash and a luxury vehicle.
Dr. Takyi claims that during a campaign, Joy Industries paid Daddy Lumba a considerable sum and gifted him a customized Toyota Tundra to perform at brand-related events which Lumba did not fulfill. According to the CEO, Lumba “did not deliver even half of his duties,” and as a result, the company is still awaiting return of the vehicle and repayment of the funds.
He further accused not only Daddy Lumba but many other Ghanaian artists of being ungrateful despite enjoying corporate support during tough periods, they never promoted Joy’s products on their social media platforms unless contractual obligations were signed as something rarely reciprocated when called upon.
With Daddy Lumba’s death on July 26, 2025, at the Bank Hospital in Accra, public pressure mounted for corporate entities and public figures to issue tributes. However, Dr. Takyi resisted, stating he would not honor someone who personally wronged him financially and failed to meet commitments.
“I will not mourn someone who took our money and car and failed to deliver,” he reportedly said, drawing backlash from some quarters but also resonating with others who view his stance as principled
This controversy parallels another posthumous accusation by film producer Paul Gee, who claims Daddy Lumba owed him GH₵ 40,000 for event rights and never refunded the amount. Paul Gee says he paid in good faith years ago and only pursued recourse after Lumba’s passing, reaffirming a pattern of unresolved debts tied to the musician.
Joy Industries has worked with several high-profile artists such as Sarkodie, Obrafour, Stonebwoy and others as most of whom are accused by Dr. Takyi of failing to promote their collaborative work with the company post-COVID‑19 period when live concerts were scarce.
As the nation mourns a music icon, questions linger, was legal recourse ever exhausted? Are these claims documented in signed agreements or handled informally? Dr. Takyi’s public announcement suggests deep frustration with both professionalism and accountability in Ghana’s entertainment industry. The unfolding narrative highlights tensions between corporate sponsors and artists over obligations, gratitude, and legacy.
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