Stonebwoy: Representing Ghana's youth is key

Always the humble youth, Stonebwoy is thankful that he comes up at all in conversation pertaining to reggae legends on the continent: “I’m grateful to even be spoken of, when it comes to names like these”, he tells me during his break, though he maintains that becoming a first-rate act has always been an ambition of his: “I’ve been at this dream for a long time. Only time is showing us what dream I have always had”.

Franchise act for Ghanaian creative arts giant Zylofon Music, Stonebwoy also runs his independent imprint, Burniton Music Group (BMG), and is ambassador for global lifestyle brand Tommy Hilfiger among other powerful brands. All through our dialogue, he maintains in his eyes, an intense yet warm look. His responses are conveyed in a voice that is molded by both dense conviction and magnetism. Everything that comes out of his mouth is intended, and most likely will cause you to nod…even when he jokes that the scene he just performed was done entirely on an empty stomach.

By illustrating superior spirit and drive, this humble ghetto youth has now grown to wield immense influence over fellow youth all over the country, especially those treading the specific streets which once served as setting for his own search for greener pastures. Just last September, a concert he held in honor of the inner city, attracted a crowd of over 50 000 strong.

A 2015 UN report estimates that some 226 million people aged 15-24 live in Africa, accounting for 19% of the global youth population. This number is expected to shoot up to 42% by 2030. With the continent being the only region with a youth populace that hasn’t peaked yet, much of development rests in the energies of young men and women waking the streets of Ashaiman and other such towns all around the continent.

The creative arts are, without question, pivotal towards reducing unemployment rates afflicting the youth. Though still not fully explored, the industry already employs millions across Africa, and serves as reference for the new wave of portraits of success. "Ambassador to the youth, me never force it,” he sings on 'Pepper Dem', fully embracing this new role that his success has bestowed him with. “Representing for the youth is key for me. I am one; I have to be one to represent. They [the youth] chose me, and I pray to keep living my life and making them understand what message I send across as a ministry”.

Whereas being a youth on the continent proves an especially mighty hurdle to surmount, Stonebwoy is confident that ultimately, opportunities exist for all, if only they’re willing to trust the process. “Be strong-minded. It’s ok to grow, it’s okay to be steady.”

The darling of his Jamaican counterparts (Morgan Heritage, Tarrus Riley, Sizzla, Chronixx among others –whom he frequently refers to as his “brothers” during our chat), Stonebwoy observes their mutual admiration for his craft, and how fittingly he represents the movement back on the motherland, as well as an unforced camaraderie when they meet, often enhanced by social media: “We are all still discovering. With the help of social media, we can all read and learn about each other’s endeavours. When you [finally] meet somebody who is in that line, you can click. That’s how it’s been with me and most of them — we meet each other at a certain level where we know we are fighting or standing, or representing for the same cause, so it’s easy to gel.”

“I’m blessed to come from Africa,” adds Stonebwoy, emphasizing that there has never been a better time to be an African, as people gravitate toward the identity. “It’s easy to find an African who can speak several other languages and relate to other people and sell their Africanness to them, than other people speaking African languages to sell their original ethnicities to us”, he further explains.

Stonebwoy leads the pack in reggae/dancehall on the continent, but he’s just as prominent in the field of African pop. Indeed, quite a number of his most-known submissions have arrived as pop. “Master of it all,” he proclaims of himself, and his ability to blend his influences. Epistles of Mama is a 24-track twin CD divided equally into reggae and pop sections. 

It would appear that on the continent, reggae falls in 3rd place behind African pop and hip-hop, in terms of popularity. But Stonebwoy argues that the reverse is the case, indicating that while pop and hip-hop may be dominant today, reggae is established, and often serves as foundation for African pop. “Everybody knows reggae,” he says. A statement that makes better sense upon second thought.

For full interview, visit TAP Magazine