Stonebwoy challenges Grammy article over omission from Hiplife Influencers List

In a recent interview with Portfoliothemc, renowned Ghanaian artist Livingstone Etse Satekla, better known as Stonebwoy, expressed his dissatisfaction with an article published on the Grammy’s official website. The article, dated August 21, 2024, aimed to highlight key figures who have influenced the evolution of Hiplife, a genre that blends Highlife with Hip-hop. However, Stonebwoy took issue with the article for failing to include him in its list of notable Hiplife influencers.

Stonebwoy, a prominent figure in the Reggae/Dancehall scene, took to social media on August 23, 2024, to voice his frustration. In a fiery post on his X (formerly Twitter) handle, he criticized the article for what he perceived as an oversight, stating, “Whoever wrote this article is interestingly missing the name ‘Stonebwoy.’ Recording Academy, do due diligence before you publish half-dozed articles aiming to capture the true image of the State of the Ghanaian Sound.”

The post sparked a wave of backlash on social media, with many questioning why Stonebwoy, primarily known for his contributions to Reggae/Dancehall, would expect to be included in a list focused on Hiplife artists. The controversy quickly ignited a broader conversation about the history of Hiplife, its pioneers, and the documentation of Ghana’s music scene.

Entertainment journalist Olele Salvador weighed in on the issue, explaining that the Grammy article was intended to focus on key figures who were instrumental in the rise of Hiplife, rather than Reggae/Dancehall. Salvador noted that while some artists, such as Samini and Shatta Wale, have made significant contributions to both Hiplife and Reggae/Dancehall, the article’s emphasis was on those who shaped the Hiplife genre specifically. He acknowledged that artists like Yogi Dogi and Sonni Bali deserved “honorable mentions” for their roles in the genre’s development but clarified that Stonebwoy’s rise to prominence came later, during the emergence of Reggae/Dancehall as a standalone genre in Ghana.

In response, Stonebwoy clarified his position, arguing that the omission of his name from the article was a disservice to his contributions to the Ghanaian music industry. He pointed out that his music has been heavily influenced by the Hiplife pioneers mentioned in the article and that his impact on the music scene should not be overlooked. “When it comes to HIPLIFE, it is a serious disservice to Ghana music not to Capture STONEBWOY in anything Ghana Music Today,” he posted.

Despite the controversy, Stonebwoy’s comments have sparked important discussions about the recognition and documentation of Ghana’s diverse music genres. Other artists mentioned in the Grammy article, including Shatta Wale, Samini, and Obrafour, acknowledged their inclusion, while fans and industry insiders debated the evolving narrative of Ghanaian music and the artists who have shaped it.

The debate has highlighted the need for a more nuanced and comprehensive understanding of Ghana’s musical history, ensuring that all contributors, regardless of genre, are given their due recognition.

Source: Starrfm.com.gh