Those perusing the history of Africa’s entanglement with Jamaican sound can anticipate frequent mention of Stonebwoy’s name. Throughout his career, the Ghanaian Afro-dancehall artist has connected sonic and cultural dots on a scale scarcely rivaled in Ghana’s music history.
Beginning with the release of his vibrant 2012 debut album Grade 1, Stonebwoy has meshed dancehall, reggae, Afropop, and hiplife with ease. Five studio albums, multiple collaborations and a growing number of accolades later, Stonebwoy is back with UP & RUNNIN6. Out Oct. 24, the album aims to turn back time, bringing audiences back to the “basics” of authentic Ghanaian and African sound.
“The nature and the mood of the album is going to give people authentic sounds from all the styles that I represent,” the artist tells GRAMMY.com. “I just got drawn to selecting songs that give me that authentic feeling, and I realized that other people would love it too.”
Stonebwoy’s authenticity and lasting dedication to amplifying Africa through music has resonated with a global audience, as well as a number of major acts. His unmatched vitality has led to collaborations with fellow Afro-dancehall mainstays such as General Pype, Cynthia Morgan, and Patoranking, as well as Jamaican legends Beenie Man, Shaggy, and Sizzla. The release of Anloga Junction in 2020 marked a critical shift in Stonebwoy’s career, projecting his story and signature sound to the world (while tying in international features such as Keri Hilson, Nasty C, Alicaì Harley, and Diamond Platnumz and Morgan Heritage). By 2023’s The 5th Dimension, Stonebwoy was moving beyond his archetypal Afro-dancehall approach in favor of Afropop, amapiano, and Afro-R&B.
After much sonic exploration, UP & RUNNIN6 is a welcome return to roots that still feels as timely as ever. The album’s early singles reveal its vast range: “Pray for Me” is a reflective number featuring Wycelf Jean, while the buoyant “JEJEREJE” takes listeners to new heights.
GRAMMY.com spoke with Stonebwoy about connecting Africa and the Caribbean through music, Ghana’s #StopGalamseyNow protests, and the road to UP & RUNNIN6.
This interview has been edited for clarity.
Congrats on “JEJEREJE”! It’s been very well received both in Ghana and abroad. What tone did you want the track to set before the album officially drops?
I think the feeling has been that Ghanaians would love to hear some authentic Ghanaian style coupled up with today’s sound. I realized that the people needed some nostalgic feeling, an authentic feeling. And we can use “JEJEREJE” as a very typical example of “African sound.” This is what the world wants to listen to right now, especially Africans globally.
Tell us more about how you want to chanel authenticity through UP & RUNNIN6.
To cut a very long story short, this whole album is actually supposed to complement The 5th Dimension, which was more present and futuristic. UP & RUNNIN6 is also very present, but it taps into the original African sounds that a lot of people have been missing. I decided to tap into that energy to bring back some originality and remind us of the times before.
You’ve been in the game for over a decade now, and you’ve worked with a myriad of artists across five projects and countless singles. What do you want to convey with UP & RUNNIN6 that you feel you haven’t yet shared with your audience?
I see life as a continuous process. From [my debut album in] 2012, there’s definitely going to be a build-up, so UP & RUNNIN6 is [a combination of] everything up till today. I’m still running with it. But I am making sure that I am creating music with a lot more reasoning in terms of satisfaction, and with an intense sankofa [a Twi word and phrase that connotes learning from the past to inform the future] kind of mentality.
For me, my vibration is well synced to music of Black origin. Therefore, I have the liberty to latch on to whatever vibration that is inspiring the world and inspiring me too. I merge both to stay true to my roots. That is what UP & RUNNIN6 is about for me.
Let’s talk about the feature selection on this album, because it seems very particular. In addition to the big names like Wyclef, Spice, and Duncan Mighty, you heavily represent rising talents from across the Caribbean and Africa such as Kaylan Arnold, Blvck H3ro, and Larruso. Were you intentional about platforming emerging voices on this project?
I’m just paying attention to an inner quest of moving in the UP & RUNNIN6 direction, without necessarily looking at the technicalities. I am moving with a vibrational understanding, but I’m just realizing now what meaning I’m making on a technical level.
I have two songs that have more than two features: “Geography” and “Overlord.” These are the two songs that speak to my Caribbean Afro dance style, and they also open a platform for other people to get up and run.
I’m happy because Blvck H3ro just hit me up recently and said, “Yo bro, thanks for putting me on the album.” I’m like, “Why not?” Kaylan is on the album too, and you know Chi Chi Ching has also been around for some time. But the variety and the uniqueness that they all carry is incredible.
grammy.com
