Ghanaian dancehall artist, Livingstone Etse Satekla, popularly known as Stonebwoy, has replied to criticism over his comments on a recent Grammy article discussing the history of hiplife music in Ghana.
The article explored the origins and evolution of hiplife from the late 90s to the present, highlighting pioneers like Reggie Rockstone, Mzbel, and Obrafour, as well as newer artists who are keeping the genre alive.
However, the article also mentioned Black Sherif and King Paluta for their contributions to putting Ghanaian music on the global stage, a move that Stonebwoy criticised.
In an interview with MC Portfolio, Stonebwoy defended his statement, clarifying that he’s not opposed to the mentioned artists but rather questions the relevance of Black Sherif and King Paluta to the 90s hiplife conversation, as they hadn’t yet entered the mainstream.
“I am a son of hiplife today, but it doesn’t change the fact that the article wants to capture the Ghanaian sound. The article captures the state of Ghanaian sound disguising under hiplife. We know better.
“We cannot sit here to have our sound captured, whereby it takes it all the way and comes back to Black Sherif and King Paluta. What are their roles in hiplife? Are they hiplife artists?”
He asked, “What are the roles of Blacko and Paluta in hiplife? One may argue that they tap inspiration from hiplife, but so do I.”
He further expressed disappointment over the omission of his name, which he viewed as part of a larger agenda to discredit his efforts in the industry.
“It’s not about my name being on the Grammy platform,” Stonebwoy remarked.
“I’ve had more articles written about me there. But the story should capture the true essence of Ghanaian music, especially hiplife, which is our foundation. The article didn’t do due diligence.”
The debate raises questions about the representation and recognition of artists in the Ghanaian music industry.
