For his sixth album, Ghana’s Artiste of the year continues to flourish thanks to good production, a type of production that has excelled his music into the global scene, allowing him turn his album into a sonic travelogue of his journey as an artiste and a family man.
2024 has been Stonebwoy’s year, from his grand win at the Ghana music awards to multiple shows outside Accra, he has moulded himself as one of Ghana’s most respected artiste. Stonebwoy’s style has traditionally been flecked with little rockabilly hiccups and reggae inspired fractures, but his last album took a different turn. Every note is articulated and sung with such purpose it’s as if he’s pulled each one individually from his throat. He sounds relaxed and in love, leaning more into love’s den, whiles keeping his originality, modernized dancehall. Personally, I like Stonebwoy’s approach towards music now, he is constantly in tune with artistes all over the globe, blending all sorts of culture in the process. “UP & RUNNIN6” holds that weight, with so many gems on there. The album’s lead single “Ekelebe” which features heavyweight rapper, Odumodublvck, still contends for the most solid feature. But there is more to the album than just that.
The intro “Psalm 23”, is peak 1Gad. A high-spirited tune that stays in touch with his religion, overseen by Ghanaian producer Samsney. But it is a song like “Memories” that reminds us who Stonebwoy is; Ghanaian reggae’s rawest voice – whether measured in the sheer volume of his thundering basso or the unfiltered violence and heartfelt parts of his lyrics. Featuring Ir Sais, the song languishes in slow Afro-pop corridors behind emotionally potent lyrics and a matching visual, which sees the duo appreciate their lover. It’s the type of song you put on when you miss your girl. But the transition from that to club banger “Jejereje” is one of the few flaws on the album, the cohesiveness in the tracklisting. “Your Body” threads on the same path as “Memories”, just that this time, Stonebwoy walks it alone, giving it all to his lover. “Geography” sounds like something you’ll hear at a Sound System, with verses from Blvk H3ro, Kaylan and Chi Ching, it wallows less and luxuriates more, coming off as soothing and sumptuous. Stonebwoy gets more time for himself on AfroPiano record “Shine”. After the success of “Apotheke”, he visits the log drums again, this time orchestrated by Magicsticks. The effect of the collaboration is electrifying, combining the gritty emotional pull of Ghanaian Highlife lyrics and the mystic aura of Amapiano, it sounds so fitting.
You’ve got to give it to the collaboration list here, it’s an eye-opener. An approach that seems to bring a different Stonebwoy out, in an industry which has grown out of it’s monolithic era. “Jiggle & Whine” sounds like a soundtrack that would’ve made it to Midnight Club’s tracklist; fast paced and dutty, the type of record that brings dancehall with all its complexity to the forefront. Amaria BB helps Stonebwoy “fvck up summer” with her verse, which stomps throughout the song. “Betta Tin” is calm but it’s my least favourite record on the album, even with a Duncan Mighty feature. “Pray For Me” sounds like a record that could fit as the album’s intro but also makes for a perfect outro. He sounds humble here, Wyclef’s blessings on the song adds more emotions to it, translating stories and combining styles into a spiritual anthem
His previous album played a pivotal role in the mission to cross over and become successful beyond the confines of dancehall. A year on, and he is back with “UP & RUNNIN6”, an album that carries the baton, while giving mainstream audiences a glimpse of the emotional complexity of modernized dancehall.
