Meet Stonebwoy – Africa’s newest Reggae Ambassador

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.

“I’m blessed to come from Africa, there’s never been a better time to be an African”, adds Stonebwoy,

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 –something that Stonebwoy unquestionably is. “…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”, he is regularly found charging his many disciples.

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”.

Although Reggae became a name out of Jamaica, we all know that you can’t talk about Reggae without linking it to the roots …me being next in line only means that we’re gonna take over the world just like they have”.

“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 in a unique way: “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 Afrobeats. Indeed, quite a number of his most-known submissions have arrived as Afrobeats. “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 Afrobeats sections. That is testament to what a major component Afrobeats is to the modern African sound.

It would appear that on the continent, Reggae falls in 3rd place behind Afrobeats and Hip-hop, in terms of popularity. But Stonebwoy argues that the reverse is the case, indicating that while Afrobeats and Hip-hop may be dominant today, Reggae is better-known and established, often serving as foundation for Afrobeats. “Everybody knows Reggae”. That statement, with which he ends with, makes better sense upon second thought.

Aside his acclaim as talisman for the youth, he’s also seen as perhaps, the foremost African reggae ambassador; the others being Patoranking, Buffalo Souljah, Samini, Shatta Wale, among others.

Relentless at this point, Stonebwoy looks not just to participate, but also compete on the global scale, while still remaining true to the path charted by the Lucky Dubes and Rocky Dawunis: “Reggae music has gone far, and these names have represented the culture –the Reggae music that is from Africa.

Although Reggae became a name out of Jamaica, we all know that you can’t talk about Reggae without linking it to the roots …me being next in line only means that we’re gonna take over the world just like they have”.

Sidi, Stonebwoy’s manager, who has all this while, observed from a chair behind us, rises gently to his feet. Dark and well-built, he possesses a persona similar to Stonebwoy’s: imposing from a distance, but a charming fella up-close. He says nothing, but it is interpreted all around that we should be wrapping up.

A minute later, the conversation comes to a close.. We shake hands and exchange goodbyes and, flanked by an entourage of two or three, he swaggers to a room out back, where he had changed into his costume for the shoot, and where presumably, a table has been set before him.