Who Is The King Of Afro-Dancehall? Samini & Stonebwoy Spar Over Genre’s Origin

A fiery debate has erupted on social media as dancehall icons Samini, and Stonebwoy lay claim as the pioneers of “Afrodancehall”  with each superstar staking their claim.

Recently, Stonebwoy congratulated rising star Moliy after her hit single “Shake It to the Max” dominated the US Billboard Afrobeats Song chart for an impressive six consecutive weeks. He praised Moliy for her groundbreaking achievement, describing it as a proud moment for Ghanaian and African music on the global stage.

Beyond commending Moliy, Stonebwoy used the occasion to spotlight the growth of Afro-Dancehall, a genre he claims to have pioneered over a decade ago. His post has sparked debate among fans and industry observers. While many praised his vision and contributions to the genre’s evolution, others questioned whether he can single-handedly claim credit for coining or popularising the term “Afro-Dancehall.”

Samini took to social media to address the ongoing debates, saying the emergence of Afro-dancehall is a natural progression from what he had already established with African dancehall. According to him, although he played a crucial role in shaping what is now known as Afro-dancehall, he does not seek to claim ownership of the genre

Widely regarded as Ghana’s dancehall godfather, Samini stated that he inspired Stoneowoy, who was under his tutelage at the time to fuse his local language (Ewe) into dancehall music and also blamed him for disrespect as netizens dragged him into the debate asking what his effort has been to bring the genre into global recognition.

Why This Matters

Afro-Dancehall fuses African rhythms such as Afrobeats, Highlife, and Amapiano with Jamaican Dancehall and Reggae influences, creating a distinct and energetic sound. and who earns credit shapes public perception and cultural history.

The Afrodancehall origin battle isn’t just a clash of egos, it’s a defining moment for a genre that has grown beyond local clubs to international stages. Samini wears the hat of a pioneer, Stonebwoy brands himself its architect, and Shatta Wale and many other artist embodies its soul. Perhaps the most powerful truth is this, Afrodancehall doesn’t belong to one man alone, it’s a vibrant tapestry woven by many.

This genre may never settle on a single founder, but what’s undeniable is the combined impact these artists have made. Their feud isn’t just history in the making, it will fuel the future of dancehall in Ghana and across Africa.