In an industry often shaped by convention, it takes an artist with a singular vision to shift the course of a genre. Ghanaian reggae and dancehall icon Stonebwoy recently offered high praise to Moliy, a rising Afro-fusion star, for her pioneering contributions to dancehall music—celebrating her for “taking dancehall to where nobody expected.”
During a media interaction captured by GhanaWeb, Stonebwoy reflected on the evolution of dancehall and the unique cultural contributions being made by young artists like Moliy. “Thank you for taking dancehall to where nobody expected,” he stated, underscoring Moliy’s bold experimentation with the genre’s sonic and thematic boundaries.
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Moliy, known for her breakout feature on Amaarae’s global hit “Sad Girlz Luv Money”, has continued to forge a distinctive musical path. Fusing elements of Afrobeat, dancehall, R&B, and alternative pop, she challenges rigid genre definitions and introduces a fresh voice to the West African music scene. Her style is fluid, genre-bending, and boldly feminine—pushing the boundaries of what dancehall can sound like and represent.
Stonebwoy, a long-standing advocate for innovation within African music, highlighted how artists like Moliy are expanding dancehall’s reach beyond its Jamaican roots, contextualizing it within Ghanaian and broader African narratives. “What Moliy is doing proves that dancehall can evolve. It doesn’t have to look or sound one way,” he affirmed.
Historically, dancehall has been male-dominated, often associated with gritty urban storytelling, bravado, and political commentary. In this context, Moliy’s approach—softly melodic yet lyrically potent—feels both radical and refreshing.
Her sound reframes the dancehall aesthetic through a feminine, genre-fluid lens that appeals to younger global audiences. Songs like “Ghana Bop” and “Mahogany St” showcase her versatility, weaving multilingual lyrics and breezy melodies into bass-driven instrumentals rooted in Afro-diasporic rhythms.
Stonebwoy acknowledged this dynamic shift: “Sometimes we expect one sound, one look, one narrative from dancehall, but Moliy is reminding us that this genre has the elasticity to reflect many different identities.”
The recognition from Stonebwoy—an internationally acclaimed artist with accolades including a BET Award for Best International Act—marks a significant moment not just for Moliy but for the broader movement of Ghanaian artists redefining mainstream genres.
His remarks come at a time when African music continues to assert its influence on global stages. From Afrobeats to Amapiano, genres are increasingly blurring. Moliy’s work exemplifies this transformation, positioning dancehall not as a static tradition, but a dynamic platform for cultural expression.
Beyond his praise, Stonebwoy’s comments function as a powerful endorsement of creative risk-taking. For emerging artists, particularly women navigating male-dominated genres, Moliy’s trajectory offers a blueprint: one rooted in authenticity, experimentation, and refusal to conform.
“She’s not following the rules,” Stonebwoy concluded. “She’s writing her own—and that’s what’s pushing dancehall forward.”
In an era where global music thrives on fusion and fearless innovation, Moliy’s approach to dancehall marks a vital evolution in Ghanaian soundscapes. Backed by the praise of veterans like Stonebwoy, she stands as a testament to the genre’s limitless potential.
Dancehall is no longer confined to borders—geographical or creative. And thanks to artists like Moliy, its future looks more inclusive, expansive, and unexpected than ever before.
