Jamaican reggae legend Duane Stephenson has made a passionate call for young Ghanaian artists, to embrace roots reggae and leverage it as a sustainable career path.
Speaking after his performance at the Kuchoko Roots Festival at La Pleasure Beach in Accra, Stephenson expressed optimism about the future of reggae in Ghana but emphasized the need for structured support to help budding talents thrive.
“Accra has about six million people, and it’s about time for the young ones to embrace roots reggae music and make a living from it to change their life projection as well,” he said. “I’ve seen great talent here, and I think all they need is strong support,” he said.
The Kuchoko Roots Festival, spearheaded by Blakk Rasta, has become a crucial platform for reggae artists across Africa and the diaspora. This year’s edition featured global reggae icons, including Kenyatta Hill and Duane Stephenson, who shared their music and insights with an energetic Ghanaian audience.
Dancehall’s Struggles: A Phase or a Permanent Shift?
Beyond discussing the future of reggae, Duane Stephenson also weighed in on the state of dancehall, a genre that has often run parallel to reggae but is currently facing sustainability challenges. He pointed out that unlike reggae, dancehall has struggled to produce long-lasting stars in recent years.
“Chaos doesn’t build. I remember years ago when Afrobeats was chaotic with all the gangsta Afrobeats, but once they got rid of that, the music took off. Dancehall is going through a phase right now, and hopefully, they can shake it off and get back on track,” he stated.
He observed that most new dancehall artists struggle to remain relevant beyond a few months, while the biggest names in the industry are still those who dominated in the 80s and 90s.
“It’s unfortunate that we don’t see younger names maintaining their spot in the genre. By now, there should be new faces standing strong among the legends, but that’s not happening. I think it’s a phase, and in time, dancehall will find its place again,” he added.
A Message of Gratitude & Future Plans for Ghana
Duane Stephenson, known for timeless hits like ‘August Town’ ‘Cottage in Negril’ and ‘Ghetto Pain’ , also took a moment to express gratitude to his fans in Ghana, acknowledging their unwavering support for his music.
“What can I say? Thanks for loving what I do. I could be singing to myself in my bathroom, but it’s your support and patronage that keeps me going and making strides. I’ll continue making good roots music, so keep supporting, and don’t worry, I won’t let you down anytime soon,” he assured.
Ending on an exciting note, Stephenson hinted at plans for a full-scale concert in Ghana, promising fans a more immersive experience when he returns.
“Hopefully soon, I’ll get to come back to Ghana and do a full-scale show where we’ll have proper time to rehearse and all that,” he revealed.
He also commended the local backing band that performed with him at the festival, noting how well they adapted to his music despite minor cultural differences in interpretation.
“Big ups to the band because when I sent my setlist over and got here, the only thing different was cultural nuances. Just little things, and that’s great because it made it easier for me to get on stage and deliver,” he said.
The Road Ahead for Reggae in Ghana
With calls from Duane Stephenson, Kenyatta Hill, and other reggae icons to strengthen Ghana’s reggae scene, it is clear that the genre holds immense potential in the country. The challenge, however, remains in providing consistent support, industry structures, and audience engagement to help young artists sustain reggae careers.
If Ghana’s music landscape responds to this call, reggae might just witness a powerful resurgence—one where the next generation of Ghanaian musicians embrace roots reggae as a viable, meaningful, and globally competitive genre.
DISCLAIMER: The Views, Comments, Opinions, Contributions and Statements made by Readers and Contributors on this platform do not necessarily represent the views or policy of Multimedia Group Limited.
