I inspired the movement – Samini fires back at Stonebwoy’s Afro-Dancehall claims

Ghanaian dancehall icon Samini has weighed in on the ongoing conversation surrounding the origins of Afro-dancehall, following recent comments made by Stonebwoy that sparked widespread debate on social media.
The controversy began after Billboard described Moliy’s new track “Shake It To The Max” as an Afro-dancehall record. In response, Stonebwoy took to X (formerly Twitter) on 30 June 2025, declaring himself the originator of the genre, which blends African musical elements with traditional dancehall.
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In a series of tweets posted on 2 July 2025, Samini addressed the discussion, stating that Afro-dancehall naturally evolved from what he had long been promoting as African Dancehall. While acknowledging his significant role in shaping the genre’s sound, Samini made it clear he is not seeking credit for inventing the term.
I’d be lame to claim #Afrodancehall. I saw and inspired it with my #Africandancehall… JMJ was my witness when I told my boy to tone down the patois and fuse Ayigbe since he’s more comfortable with that over Twi
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Samini further stated that his influence helped shape Stonebwoy’s style, particularly encouraging him to blend his native Ewe language into his music while under Samini’s mentorship.
African dancehall birthed #Afrodancehall. #Gboi birthed #bhim. #SummerKing go open keys. Man vex madd @stonebwoy. I dey watch how you go educate these new people. You know me better. Akyesaaaaaaaaaa
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Beyond Stonebwoy, Samini also claimed to have had a notable influence on Shatta Wale, another major figure in Ghana’s dancehall scene.
I’ve always represented African dancehall, my guy. I inspired @shattawalegh to start looking this way, lol. ‘Cause I directed and put out @stonebwoy’s first album and it was a hit. I’ve never been mute when it comes to Stone. Sometimes I come out to defend when I don’t have to. Don’t push me
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Samini’s comments have reignited debate among fans and industry players about the roots of Afro-dancehall and the rightful custodians of its legacy, highlighting ongoing tensions between Ghana’s top reggae-dancehall acts.