Ghanaian dancehall artist Shatta Wale has stepped in to protect veteran highlife legend Gyedu-Blay Ambolley from an online backlash by his own fanbase, publicly declaring a deep personal reverence for the older musician despite a fresh round of critical remarks directed at him.
After Ambolley’s latest comments questioning the legitimacy of Shatta Wale’s “Dancehall King” title reignited debate across the entertainment space, supporters of the dancehall star moved to confront the veteran online. Shatta Wale responded by calling them off, saying he had loved Ambolley since childhood and urging his fans to leave the legend alone.
The position from Shatta Wale is notable given the history between the two. Ambolley, who is recognised as the first Ghanaian musician to formally incorporate rap forms into local highlife rhythms and the creator of the Simigwa genre, has consistently argued that Ghanaian artists have no standing to claim kingship over genres born outside the continent. His criticism of Shatta Wale on this front is not new. He has long questioned Shatta Wale’s assertion that he is the Dancehall King, arguing that the genre was created in Jamaica, and that an imitator cannot rank above those who originated it.
Ambolley has also broadened his argument beyond any single artist over the years. He has called on Ghanaian radio stations to stop promoting reggae and dancehall in favour of highlife, which he describes as Ghana’s original musical identity and one that every station has a responsibility to protect and amplify.
Shatta Wale’s public response this week, however, chose affection over confrontation. Rather than pushing back at Ambolley’s remarks, the artist framed his relationship with the veteran as one of longstanding admiration rooted in his upbringing, and made clear he has no interest in watching fans weaponise that debate on his behalf.
The moment drew wide attention online, with many pointing to the gesture as one of the more gracious public responses Shatta Wale has given during any industry controversy. It also placed a brief but genuine spotlight on Ambolley, a musician whose contributions to Ghanaian and African music stretch back decades and whose global recognition has grown steadily since Soundway Records featured his 1973 work Simigwa-Do on one of its landmark African music anthologies.
The broader question Ambolley has consistently raised, about whether Ghanaian artists should claim crowns in genres born elsewhere, remains an open and recurring conversation in the industry.
