Stonebwoy Criticizes Grammy Article for Excluding Him from Hiplife Influencers List

In a recent interview with Portfoliothemc, renowned Ghanaian artist Livingstone Etse Satekla, better known as Stonebwoy, expressed his frustration over an article published on the Grammy’s official website. The piece, dated August 21, 2024, aimed to spotlight influential figures in the evolution of Hiplife, a genre that merges Highlife with Hip-hop. However, Stonebwoy, a prominent figure in Reggae and Dancehall, was notably absent from the list, leading to his public dissatisfaction.

Stonebwoy took to social media on August 23, 2024, to voice his grievances. In a passionate post on his X (formerly Twitter) account, he criticized the article for what he saw as an oversight, stating, “Whoever wrote this article is interestingly missing the name ‘Stonebwoy.’ Recording Academy, do due diligence before you publish half-baked articles aiming to capture the true image of the Ghanaian Sound.”

This post triggered a flood of reactions on social media, with many questioning why Stonebwoy, who is primarily known for his contributions to Reggae and Dancehall, would expect to be featured in a list dedicated to Hiplife artists. The situation quickly led to a broader discussion about Hiplife’s history, its pioneers, and how Ghana’s music scene is documented.

Entertainment journalist Olele Salvador addressed the controversy, explaining that the Grammy article aimed to highlight key figures who had significantly influenced the rise of Hiplife, rather than those in Reggae or Dancehall. Salvador pointed out that while some artists, like Samini and Shatta Wale, have made notable contributions to both Hiplife and Reggae/Dancehall, the focus of the article was specifically on those who shaped the Hiplife genre. He conceded that artists like Yogi Dogi and Sonni Bali deserved “honorable mentions” for their roles in Hiplife’s development but noted that Stonebwoy’s prominence rose later, during the peak of Reggae and Dancehall in Ghana.

In response, Stonebwoy defended his position, arguing that his exclusion from the article was a slight against his contributions to Ghanaian music. He emphasized that his work has been influenced by the Hiplife pioneers mentioned in the article and that his impact on the music industry should be acknowledged. “When it comes to Hiplife, it is a serious disservice to Ghana music not to include STONEBWOY in any discussion about Ghanaian music today,” he posted.

Despite the controversy, Stonebwoy’s remarks have catalyzed significant conversations about the recognition and documentation of Ghana’s diverse music genres. Artists featured in the Grammy article, such as Shatta Wale, Samini, and Obrafour, have acknowledged their inclusion, while fans and industry experts debate the evolving narrative of Ghanaian music and its key contributors.

The debate underscores the need for a more nuanced and inclusive approach to documenting Ghana’s musical history, ensuring that all influential artists, regardless of their genre, receive appropriate recognition.