In recent years, one of Ghana’s most respected and decorated artists, Stonebwoy, has found himself at the center of unfair treatment and double standards within the music industry.

Once framed as the most loved and supported artists by the Ghanaian media, he now endures constant ridicule, insults, and false narratives, especially from rival camps.

Stonebwoy, despite consistently showing love and support to fellow artists, has been painted as “jealous” or a “hater.” A striking example came just before Sarkodie’s Rapperholic Concert 2025, where social media was filled with shades and negative commentary simply because Stonebwoy was not listed as one of the performing artists. Stonebwoy was called a ‘fanfooller’ when he posted sarkodie’s flyer on his Instagram story. Instead of focusing on celebrating Ghanaian talent, many chose to drag his name unnecessarily.

This pattern of disrespect is not new. In 2020, Stonebwoy flew in to support Sarkodie’s Black Love Virtual Concert. Instead of being appreciated, he was involved in a backstage misunderstanding with Sarkodie’s team, which left him totally disgraced. Again, in 2023 at Tidal Rave, while Stonebwoy was on stage performing, a DJ linked to Sarkodie’s team reportedly switched off his microphone an action many saw as intentional sabotage.

These repeated incidents raise critical questions: On what grounds is Stonebwoy expected to continue showing up to support platforms that consistently fail to respect him? How long will one of Ghana’s finest international exports be unfairly treated despite his remarkable achievements and global recognition?

It is time for the industry, media, and fans alike to reflect. Instead of tearing down our own, we should recognize the unity, respect, and collaboration needed to push Ghanaian music to greater heights.

Stonebwoy’s contributions to Ghana’s music scene are undeniable, and it is only fair that he is given the same respect he has always shown others.

This is not just about Stonebwoy, it is about fairness, respect, and the future of Ghanaian music.

SEIDU COLLINS