The Ghanaian superstar discusses his new single Le Gba Gbe and dedication to pan-Africanism
There are no rules in 2020 when it comes to musical genres. Whether it’s a Summer Walker meld of trap and R&B or the afro swing and bashment of Yxng Bane, various soundscapes collide for listeners’ enjoyment right now - and Stonebwoy is no stranger to such sonic experimentation. Since he started out, the Ghanaian performer has explored Jamaican dancehall, carefully interweaving its fast-paced drum patterns with afrobeats. “Dancehall is in our DNA,” Stonebwoy says. “It’s deeper than just being inspired by dancehall or reggae. As black people, that is our sound and globally, we all have a connection to what [black people] create.”
Stonebwoy is a pan-Africanist and is outspoken about co-signing the global movement that encourages solidarity amongst descendants of the continent. These sentiments are felt on his latest album ‘Anloga Junction’. In an earlier interview with VICE this year, Stonebwoy insists that he’s African before being Ghanaian. Doubling down, the singer embraces stories from the diaspora and shares the importance of the strength of black people globally on this release.
On his latest single ‘Le Gba Gbe’, — meaning ‘Alive’ - Stonebwoy emphasises this unity in his native tongue Ewe throughout. Meanwhile in the video, shot in Ghana by director Rex, the singer is seen overcoming traumatic mental demons to gain true happiness. “The visuals and song are spiritual to me. It represents inner-hope and ancestral belief to persevere,” he explains.
Stonebwoy’s fourth long player came out in April and is devoted to his roots. “Anloga is a town situated right next to the town in which I was born. It symbolises the various experiences that I had growing up.” It’s where both of his parents were raised and where, as a child, he’d go in his free time to roam.
It was these early years that informed Stonebwoy’s love of the church choir and music more widely. Aged just 12, he and his school friends formed a rap group. “I was the leader but my other two friends were there to support and we were always causing trouble,” he recalls. Within two years he was regularly attending — and winning — local radio competitions such as Kasa Hari, and began building a following. “I never lost. From the years of 14 to 18, I had to win and to be able to go back every weekend.”
His relentless commitment and passion fuels the album track ‘Bow Down’, which sees Stonebwoy and rising South African rapper Nasty C encourage listeners to celebrate success. In adopted patois he sings “Mi steppin’ it harder,” and crowns himself a “real badman”. The relaxed dancehall mid-tempo track is a faultless balance of enthusiasm and leisure, also spotlighting the artist's now cemented sound.
“It’s like wine,” Stonebwoy explains of his music. “At first, you need to let the wine age and mature. My sound took a while to really clean itself up and translate to global audiences beyond Ghana.” It was after his sophomore album ‘Necessary Evil’ that helped Stonebwoy entrench himself, leading to his first BET win for Best International Act in 2015. As of late, he has continued to build, securing the Best African Reggae/Dancehall entertainer at the 2020 International Reggae And World Music Awards.
Stonebwoy is now so established that he managed to usher Keri Hilson out of hiatus. The Grammy nominated singer’s smooth, hypnotic vocals serenade him on the single ‘Nominate’. “I believe this was destined to happen. I was meant to collaborate with Keri Hilson,” he says. After being introduced through a mutual friend, they vibed on social media for a few months and decided to record together in Atlanta last November while he was on a US tour. “I’m so grateful to be attached to someone as talented as her. Everything was so organic during our recording. She’s great to be around.”
“We artists who are leading the way have to encourage the hard work that goes into being a musician”
The duo also shot a sultry video, directed by Denzel Williams, which sees them act as judges in an international beauty pageant. Naturally, Miss Africa wins. The success of the song reflects the fact that afrobeats’ global takeover is continuing apace. “We will be successful across borders. However, we have to be aware that it won't always come on a silver platter,” Stonebwoy warns.
A similar ethos is shared on album cut ‘Journey’, which advocates the idea of working hard not working smart. Although the context applies to life as a whole, Stonebwoy believes this extends to how musicians need to navigate the business. “Working smart increases a lot of vices and short-cuts. We artists who are leading the way have to encourage the hard work that goes into being a musician.”
Being a veteran also involves working with newer talent and helping to pass on the torch, as well as learning from those who pave the future of diasporic-originating genres. In addition to Nasty C, ‘Anloga Junction’ also features fresh names Alicai Harley and Jahmiel. “When I see the newcomers on the rise, I love it. We have to be humble enough to know that we can’t always steer the wheel. Musical fulfilment comes from so many people.”
‘Anloga Junction’ lastly hones in on Stonebwoy’s married life. On ‘Ever Lasting,’ the musician is passionate about his love and commitment to Louisa Ansong, his wife of three years. “I’ve learned so much,” he gushes. “[Marriage] has taught me about patience and balance when it comes to creativity and my career in music. Fatherhood has taught me a lot also. I take both really seriously.” Stonebwoy’s transparency here radiates through the screen. At the peak of his career, one of Africa’s most lucrative acts has found his personal and career equilibrium.