The lingering controversy over Alhaji Adebisi “Taye Currency” Adebisi’s performance at the coronation of His Imperial Majesty, Oba Senator Adewolu Akanmu Ladoja (ARUSA I), the 44th Olubadan of Ibadanland, has taken a new turn as his son, Hon. Yusuf Adebisi, stepped forward to defend him.

Hon. Yusuf Adebisi, who represents Ibadan South-West I State Constituency in the Oyo State House of Assembly, broke his silence during the Oyo State PDP Congress, where journalists pressed him for comments on the trending issue.

The lawmaker emphasized that the now-viral “werey la fin wo werey” line from his father’s Fuji rendition was not an act of disrespect but rather a spontaneous, situational response.

“People need to understand the context and the atmosphere of the moment before rushing to judgment,” Yusuf explained. “That single line was just one moment out of many brilliant and electrifying moments in Baba’s performance. It has to be understood within the circumstances of what was happening there and then.”

The performance, which was part of the coronation celebration, has sparked widespread criticism across Yoruba communities at home and abroad. Many observers condemned the lyric as “insensitive” and argued that it was unfit for such a grand and historic occasion. Some even suggested that Taye Currency should never have been chosen to perform at the coronation.

However, Yusuf’s defense of his father has been described by political watchers as both an act of courage and a public declaration of love. While the Fuji maestro himself has yet to respond directly to the outcry, his son’s intervention appears to be the family’s first attempt at clarifying the narrative.

Adding to the drama, speculation is now rife that Alhaji Taye Currency was deliberately excluded from performing at today’s PDP State Congress—a significant move considering he has long been regarded as the “official musician” of both the PDP in Oyo State and the state government. For years, his voice and rhythms have been a staple at major political gatherings. His absence today has fueled suggestions that the ongoing backlash may have cost him his usual spotlight.

For now, the controversy remains alive. While critics hold fast to their disapproval, others argue that the criticism has been exaggerated, insisting that the Fuji star’s artistry should not be judged by a single line but by the totality of his decades-long contribution to Yoruba music and culture.

One thing is clear: the “werey la fin wo werey” saga has become more than just about music—it is now a talking point at the intersection of culture, politics, and family loyalty in Oyo State.