The Recording Academy recently published an article highlighting the evolution of Ghanaian music, particularly dancehall and hiplife.
In the piece, Ghanaian artists like Root Eye, Samini, and Shatta Wale were acknowledged as key figures who helped shape the dancehall scene in Ghana.
The article noted, “While Gyedu-Blay Ambolley is often regarded as one of Ghana’s earliest rappers, particularly for his 1973 track ‘Simigwa-Do,’ the term ‘hiplife’ itself was only coined in the late 1990s by genre trailblazer Reggie Rockstone.”
However, by the early ’90s, American hip-hop had already made its way to Accra, inspiring local talent to create their own music.
Talking Drum, an early duo in the scene, released the underground hit “Aden” in 1993, which gained significant attention.
The article emphasized, “Hiplife, beyond just being a genre, is a movement and culture—a way for artists to experiment with sound boldly.
Pioneering figures like Root Eye, Samini, and Shatta Wale (known then as Bandana) were instrumental in blending dancehall with highlife in the early 2000s to resonate with local audiences.”
Stonebwoy noticed his absence from the list. He took to X (formerly Twitter) to express his disappointment, stating, “Interesting how the writer missed THE NAME @stonebwoy RecordingAcad. It’s important to do your research before publishing articles that aim to represent the true state of Ghanaian music.”
His post quickly went viral, gathering over 800 comments in just two hours. While some fans supported him, urging for a correction, others criticized his reaction.
Stonebwoy’s frustration stems from feeling overlooked in a significant report by Grammy organizers, despite his contributions to Ghanaian music.
