Shatta Wale’s Freedom Concert Performance Defended by Evangelist Suro Nyame Amid Criticism

Evangelist Suro Nyame, a fervent supporter of the Shatta Movement, has stepped forward to defend dancehall artist Shatta Wale’s controversial performance at the Freedom Concert in Jamaica, following criticism of his song selection and performance style. While the concert was a major event that brought together prominent figures like Vybz Kartel, it wasn’t without its share of debate, particularly regarding Shatta Wale’s deviation from traditional Jamaican dancehall tracks. Nyame took to social media to address the criticisms, arguing that the focus should not be on whether Shatta Wale stuck to a specific genre but rather on the connection he made with the audience.

He pointed out that great performances go beyond song choice and are about engaging the crowd and leaving a lasting impact. “It’s not about sticking to one genre or set of songs; it’s about engaging the crowd and leaving a lasting impact,” Nyame explained on his Facebook page, stressing the significance of connecting with the audience in a way that transcends traditional expectations. The criticisms primarily stemmed from Shatta Wale’s choice to perform songs that differed from the typical Jamaican dancehall vibe, with many in the audience expecting a more conventional setlist.



However, Nyame was quick to remind critics that while dancehall music is inherently Jamaican, it is not confined to just traditional sounds. “No matter what song Shatta performs, it’s not guaranteed to resonate with every Jamaican audience,” Nyame asserted, underscoring that the Ghanaian artist’s decision to showcase his unique style was a testament to his artistry. One of the standout moments of the performance was when Shatta Wale knelt as a sign of respect to Vybz Kartel, a gesture that Nyame interpreted as a deep, heartfelt tribute to the Jamaican dancehall icon.

This act of humility added a layer of depth to the performance, reminding fans that Shatta Wale’s respect for the genre and its pioneers runs deeper than just his music. “Shatta Wale isn’t just about the music; he’s a man of respect and principle,” Nyame remarked, highlighting how the kneeling moment was a powerful symbol of admiration for Kartel’s contributions to dancehall. Nyame’s comments reflect a broader sentiment within the Shatta Movement: that Shatta Wale’s performances are not only about the songs he chooses but also about the message he conveys and the respect he shows for the culture.

In an era where the line between local and international music often blurs, Shatta Wale’s performance in Jamaica has sparked an ongoing conversation about artistic freedom and the evolution of dancehall music. For many fans, this debate is less about Shatta Wale’s place in dancehall and more about his ability to carve out his own niche in a genre that has long been rooted in Jamaican tradition. Nyame’s defense further cements Shatta Wale’s status as a global ambassador for African dancehall, one who respects the roots of the genre while pushing its boundaries in new, exciting ways.

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