Joyce Blessing - Adam Nana Lyrics
Lyrics
[INTRO] Je m’appelle unbreakable Still unbreakable Only God ɛnyɛ wo dɛ, ɛnyɛ wo dɛ ɛnyɛ wo dɛ ɛnyɛ ɛno no
[VERSE 1] Ɛdora anwummerɛ me hyiaa Yeshua Hamashiach He says He is coming down today To perform a miracle For you and I Na me sie ɛyɛ me adam nana Sɛ anka me bone ahyɛ me ma Very far from the mercy But He have given me opportunity To worship your majesty Till eternity, to the holy trinity Tie! (Listen) angels are singing Seraphim and Cherubim Ɔkoto, na ɛnyɛ me adam nana Me nso me koto bi oo Mebɔ ne din daa oo Na maka sɛ Igwe Nyame sɛ aseda
[CHORUS] Mo mma yɛn tɔ ɛɛ Igwe! Nyame sɛ aseda Igwe! Nana Nyame sɛ aseda Igwe! nyame sɛ ayeyi oo Aseda aseda nkoaa oo
[VERSE 2] The calm those above, He quite those below Yeshua Hamashiach is coming down today Nsenkyerene ne sɛ nsenkubɔfo di n’akyi Ɛbi nso di n’anim, unbreakable medi n’anim Tie! na eguamma no nso woso akasaa Ɔbo mmrane de hyɛ Nyame anuonyam Tie! (Listen!) Angels are singing: hallelujah Seraphim and Cherubim: hosanna Ɔkoto, na ɛnyɛ me adam nana Me nso me koto bi oo Me bɔ ne din akyerɛ aman, Nyame Igwe! Nyame sɛ aseda [CHORUS] Wo nsomu na yɛn tɔ sɛ Igwe! Nyame sɛ aseda Igwe! Nana Nyame sɛ aseda Igwe! nyame sɛ ayeyi oo Aseda aseda nkoaa ni oo Igwe! Nyame sɛ aseda Igwe! Nana Nyame sɛ aseda Igwe! nyame sɛ ayeyi oo Aseda aseda nkoaa ni oo
[HOOK] Wo mma nsenku no mbom ɛɛ Wo mma menta no mbom ɛɛ Dɛwuruta no mbom Yesu ba Mpintin no mbom Unbreakable Yeda wase daa Nana Nyame Yeda wase daa Igwe! Nana Nyame sɛ aseda Kaywa bɔ me piano
Video
Joyce Blessing - Adam Nana (Official Video)
Meaning & Inspiration
Joyce Blessing isn’t playing a game with the term "Adam Nana." In the Twi language, calling yourself a grandchild of Adam—Adam Nana—is a heavy piece of self-identification. It’s an admission of inherited frailty, a nod to the fact that we are all, by nature, kin to the one who hid in the garden. When she sings, “Na me sie ɛyɛ me adam nana / Sɛ anka me bone ahyɛ me ma,” she’s locating herself in the mud of the human condition. She’s saying, "I’m just a descendant of Adam, and honestly, my sin should have swallowed me whole."
This is where the contrast hits hard. You have this high-energy, infectious rhythm—the kind that makes you want to move in a crowded Ghanaian church—clashing with a lyric that is essentially a confession of total bankruptcy. It feels like a friction between the "vibe" and the reality. Can you actually dance while admitting you’re a broken descendant of a fallen ancestor?
Blessing bets everything that the answer is yes.
She weaves the title Yeshua Hamashiach in there, which is a deliberate choice. By using the Hebrew name for Jesus, she isn't just reciting a standard church song; she’s reaching into the roots of the faith, grounding the song in something ancient and definitive. It moves the conversation away from casual Sunday morning praise into a space that feels more like a claim of authority. It’s a bold move to layer this over a modern beat. You hear the percussion—the mpintin drums mentioned in the hook—and it forces you to acknowledge that this isn't just an American CCM import. It’s distinctly West African, using the rhythm not just to keep tempo, but to build an atmosphere of anticipation.
When she sings “Ɔkoto, na ɛnyɛ me adam nana / Me nso me koto bi oo,” she’s describing a posture of bowing. If Adam’s grandchild is bowing, it’s not out of religious obligation; it’s out of necessity. It’s the "I shouldn't be here" realization. Think of Romans 5:19: For as by the one man's disobedience the many were made sinners, so by the one man's obedience the many will be made righteous. Blessing is standing right in that transition point. She acknowledges the Adam-inheritance of sin, but she’s banking her entire existence on the "Unbreakable" nature of the one who came to fix the lineage.
The tension is that we want the upbeat chorus to mask the heavy confession. We want to hear "Igwe! Nyame sɛ aseda" (God deserves praise) without having to sit with the "I was so far from mercy" part. But Blessing refuses to let the groove bury the truth. The language here is sharp. She isn't using polite, soft-edged religious talk. She’s using the language of someone who knows exactly what the alternative to grace looks like.
It’s messy, really. You’re dancing to a song that’s reminding you that you’re a sinner who only exists by a miracle. And yet, maybe that’s the only way to truly praise. If you forget the "Adam" part, the praise loses its gravity. If you forget the "Yeshua" part, the weight of the sin crushes you. Joyce Blessing keeps both in the room.