“Up & Runnin6” by Stonebwoy: Racing through Afro-Dancehall’s fast lane

Ghanaian superstar Stonebwoy has returned with his sixth studio album, “Up & Runnin6” – a project that sees the artist continuing to refine his signature “Afro-dancehall” sound. While the album title promises forward momentum, longtime fans may find themselves in familiar territory as Stonebwoy delivers another collection of commercially-minded tracks blending African pop with reggae and dancehall influences. But does this latest sprint through well-trodden ground reveal any new artistic evolutions, or is it simply more of the same from the prolific hitmaker?

The Afro-Dancehall Formula Continues:

From the very first track, it’s clear that Stonebwoy is sticking close to the winning formula that has propelled him to superstardom. The album is packed with infectious rhythms, catchy hooks, and a mix of English, patois and local languages that has become his trademark. Tracks like “Your Body” and “Fvck Up Summer” (featuring Amaria BB) showcase Stonebwoy’s ability to craft radio-ready hits that blend dancehall energy with contemporary African pop production.

However, this adherence to a proven formula is also the album’s biggest weakness. For an artist six albums deep into their career, one might expect more artistic risks or thematic depth. Instead, “Up & Runnin6” plays it relatively safe, focusing primarily on party anthems, love songs, and celebrations of success. While undeniably entertaining, the lack of substantial evolution in Stonebwoy’s sound or lyrical content may leave some listeners wanting more.

Highlights: When Tradition Meets Innovation

Despite the overall familiarity of the album, there are moments where Stonebwoy’s talent truly shines through. “Jejereje,” produced by Grammy-winning Ginton, stands out as a highlight by successfully marrying traditional Ghanaian rhythms and folklore with modern production techniques. It’s in these moments of cultural fusion that Stonebwoy’s artistry feels most vital and unique.

Another standout is “Betta Tin,” featuring Nigerian artist Duncan Mighty. The track showcases Stonebwoy’s ability to craft a compelling romantic narrative while still maintaining his dancehall edge. The chemistry between the two artists is palpable, resulting in one of the album’s most memorable collaborations.

The Amapiano Influence:

It’s worth noting Stonebwoy’s foray into the wildly popular amapiano genre with the track “Shine.” While not groundbreaking, it demonstrates the artist’s willingness to incorporate trending sounds from across the African continent. This adaptability has been key to Stonebwoy’s longevity in the fast-paced world of African pop music.

Collaborations: Strength in Numbers

One of Stonebwoy’s greatest strengths has always been his ability to collaborate effectively with other artists, and “Up & Runnin6” is no exception. The updated version of “Overlord” featuring Larruso, Jahmiel, and 10Tik is a triumphant posse cut that showcases the diversity within the broader dancehall scene.

Perhaps the most intriguing collaboration comes at the end of the album with “Pray For Me,” featuring Haitian-American icon Wyclef Jean. This track stands out not only for its star power but for its more introspective lyrics touching on themes of struggle and perseverance. It’s a tantalizing glimpse of the depth Stonebwoy is capable of when he steps outside of his comfort zone.

The Commercial Balancing Act:

It’s clear that with “Up & Runnin6,” Stonebwoy is aiming to maintain his commercial dominance in the African music scene. The album is meticulously crafted to produce potential hit singles, with nearly half of the tracks having been released in some form prior to the full album drop. This strategy speaks to the current state of the music industry, where consistent content and strategic single releases are often prioritized over cohesive album experiences.

While this approach may disappoint some fans hoping for a more conceptual or thematically rich project, it’s hard to fault Stonebwoy for playing to his strengths. The album is, above all else, engineered for maximum impact on streaming platforms and dance floors alike.

Production and Sound:

Sonically, “Up & Runnin6” is a polished affair. The production throughout the album is crisp and modern, seamlessly blending elements of dancehall, afrobeats, and pop. Stonebwoy’s vocals are confident and charismatic, equally at home delivering rapid-fire verses or melodic hooks.

The album’s overall sound palette is diverse enough to maintain interest throughout its runtime, but cohesive enough to feel like a unified project. From the more traditional-leaning “Jejereje” to the amapiano-influenced “Shine,” Stonebwoy and his production team demonstrate a keen understanding of what makes a track work in various African musical contexts.

Lyrically Speaking:

Lyrically, “Up & Runnin6” doesn’t break much new ground for Stonebwoy. The majority of the tracks focus on familiar themes of love, partying, and self-aggrandizement. While there’s nothing inherently wrong with these topics, especially in the context of pop music, longtime fans may find themselves wishing for more of the social commentary and personal introspection that Stonebwoy has occasionally touched on in past works.

That said, Stonebwoy’s wordplay and delivery remain sharp throughout. His ability to switch between languages and dialects adds layers of meaning for those who can catch all the references, while still remaining accessible to a wider audience.

The Legacy of Afro-Dancehall:

One cannot discuss “Up & Runnin6” without acknowledging Stonebwoy’s broader impact on the African music scene. As he proudly proclaims on “Overlord”: “A me did a feel say fi go drop some hits pon di Afrobeats/ So nuh bother think otherwise, the dancehall give me name.”

Stonebwoy has indeed been instrumental in carving out a unique space for dancehall-influenced music within the wider Afrobeatsmovement. This album serves as a testament to that legacy, showcasing an artist who has mastered the art of blending Jamaican dancehall aesthetics with various African musical traditions.

A Comfortable Jog, Not a Revolutionary Run

In the end, “Up & Runnin6” delivers exactly what many fans have come to expect from a Stonebwoy album: a collection of well-crafted, commercially viable tracks that showcase his mastery of the Afro-dancehall genre he has helped to define. While it may not push many artistic boundaries or deliver the kind of thematic depth hinted at by some of his previous album titles, it’s undeniably effective at what it sets out to do.

For new listeners, “Up & Runnin6” serves as an excellent introduction to Stonebwoy’s infectious sound and undeniable charisma. Longtime fans, while perhaps not surprised by anything on offer, will find plenty of new additions to their party playlists.

As we look to the future, one can’t help but wonder if Stonebwoy’s seventh album might be the one to truly break new ground. The flashes of depth on tracks like “Pray For Me” suggest an artist capable of much more than just crafting dance floor fillers. For now, though, Stonebwoy remains comfortably up and running in the lane he knows best – and judging by his continued success, that lane shows no signs of ending anytime soon.

(Story: Richmond Adu-Poku)