Shatta Wale – Stonebwoy VGMA 2019 Brawl: What Really Happened According to Bullgod

The 2019 Vodafone Ghana Music Awards (VGMA) is forever etched in Ghana’s entertainment history not for the glitz and glamour, but for a shocking on-stage altercation that stopped the show. The violent clash between two of Ghana’s biggest dancehall exports, Shatta Wale and Stonebwoy, sparked national debate, international headlines, and endless speculation. Years later, a key figure from one camp has provided a detailed, behind-the-scenes narrative. Lawrence Nana Asiamah Hanson, widely known as Bullgod—Founder and Creative Director of Bullhaus Entertainment and Shatta Wale’s former manager—shared his comprehensive version of events in an interview. This article synthesizes Bullgod’s testimony, the established public record, and expert analysis to present a clear, verifiable, and pedagogical breakdown of the incident, its triggers, and its lasting implications for the Ghanaian music industry.

Introduction: The Night the Music Stopped

The Vodafone Ghana Music Awards are the pinnacle of musical recognition in Ghana, a night where artists celebrate achievements and unity. The 2019 edition, held at the Grand Arena of the Accra International Conference Centre, took a dramatic and violent turn during the Reggae/Dancehall Artiste of the Year award segment. As Stonebwoy (Livingstone Etse Satekla) prepared to accept his award for a category he had fiercely contested, Shatta Wale (Charles Nii Armah Mensah) and his entourage mounted the stage, leading to a physical brawl that involved punches, chairs, and the infamous brandishing of a firearm by Stonebwoy. The incident, broadcast live, became a defining moment of discord in Ghana’s showbiz landscape. Bullgod’s account, years after the fact, aims to demystify the chaos by focusing on logistical details and immediate intentions, rather than premeditated aggression.

Key Points: Bullgod’s Eyewitness Narrative

During his interview with Roselyn Felli on Joy Prime’s Changes show, Bullgod methodically reconstructed the sequence of events, emphasizing accident over conspiracy. His main points form the core of this alternative perspective.

The Simple, Misunderstood Objective

Bullgod states unequivocally that Shatta Wale’s primary goal that night was not to confront Stonebwoy but to use the restroom and then greet his father, who was seated in the front rows of the venue. He explains that Shatta Wale’s seating arrangement was complicated: he had initially paid for and seated his team (“his boys”) at the back but was expected to sit with his father, a respected figure who had a dignitary he wished to introduce to Shatta.

The Critical Factor of Seating and Movement

The Accra International Conference Centre’s Dome has a specific seating layout that makes movement, especially during a live broadcast, exceptionally difficult. Bullgod highlights that Shatta Wale, known for his bold and direct demeanor (“he moves with a storm”), would not attempt to sneak away discreetly. His natural, conspicuous movement pattern, combined with the crowded and obstructed pathways, set the stage for the unintended encounter.

The Timing and Coincidence

The pivotal moment occurred during a commercial break or “advert roll.” It was at this precise time that Shatta Wale decided to make his move towards the front to find the washroom and his father. Coincidentally, this is the exact moment when the winner of the Reggae/Dancehall Artiste of the Year award was being announced—Stonebwoy. Bullgod clarifies that Stonebwoy and his team were positioned “up there” (towards the stage/front), while Shatta Wale’s group was moving from the back.

The Reaction and Escalation

According to Bullgod, the initial reaction from Stonebwoy’s camp was inappropriate and escalated a simple crossing of paths into a full-blown conflict. He points to the video evidence, noting that Stonebwoy himself appeared calm and not “jittery” until the situation devolved into chaos. The pulling of the gun, a shocking act captured on camera, was, in Bullgod’s view, a reaction to the perceived threat from the approaching entourage, not a preemptive action.

The Aftermath and Reconciliation

Bullgod concludes by noting that both artists have since moved past the incident. He explicitly states they are “cousins,” a familial tie often cited in Ghanaian media, suggesting the feud was a professional rivalry that spiraled out of control rather than a deep-seated personal hatred. He frames the entire event as a tragic misunderstanding that has been resolved.

Background: The Rivalry and the Stage

To understand the 2019 clash, one must appreciate the context of the Shatta Wale-Stonebwoy rivalry and the high-stakes environment of the VGMA.

A Decade of Dancehall Dominance

Both artists emerged in the late 2000s/early 2010s to dominate Ghana’s dancehall and hiplife scene. Shatta Wale, with his “Dancehall King” persona, and Stonebwoy, with his “Bhimit” brand, cultivated massive, often opposing, fan bases (Shatta Movement vs. BHIM Nation). Their rivalry extended beyond music into social media wars, diss tracks, and competing concerts, creating a tense atmosphere whenever they were in the same space.

The 2019 VGMA Stakes

The 2019 awards were particularly contentious. Stonebwoy’s album Epistle and Shatta Wale’s After the Storm were both major contenders. The Reggae/Dancehall Artiste of the Year category was a direct head-to-head. Stonebwoy’s win was a significant victory, and the presentation of that award was always going to be a charged moment. The stage was set for high emotion.

The Night’s Chronology: The Public Record

As the ceremony progressed, Stonebwoy won the Reggae/Dancehall Artiste award. He was escorted on stage by his team to accept. During his speech, Shatta Wale, followed by a large group of fans and his own team, ascended the stage from the opposite side. What followed was a melee. Punches were thrown, chairs were wielded, and in the most viral moment, Stonebwoy reached into his trousers, pulled out a pistol, and brandished it in the direction of the approaching group before quickly holstering it and continuing his speech with an apology. Security eventually separated the camps. Shatta Wale later took to Twitter, calling the incident “a disgrace to Ghana’s music capital.” The Ghana Police Service later invited both artists for questioning, and Stonebwoy was charged with offensive conduct and causing a breach of the peace, though the case was later withdrawn after an out-of-court settlement and reconciliation efforts facilitated by industry stakeholders.

Analysis: Deconstructing the “What Really Happened”

Bullgod’s account provides a specific lens. A critical analysis must weigh his testimony against the visual evidence and broader industry dynamics.

The Plausibility of the “Bathroom Excursion”

Bullgod’s narrative hinges on Shatta Wale’s mundane, non-confrontational motive. Is this plausible? Given the artist’s known impulsive and direct personality, a simple desire to use the restroom and greet his father is certainly possible. The timing—during a commercial break—was logical for such a movement. However, critics argue that given the known tension and the fact that Stonebwoy was on stage for an award, any movement by Shatta Wale and a large entourage towards the front was inherently provocative, regardless of intent. Intent is internal; perception is external. The optics of a rival artist and his squad approaching the stage mid-speech were disastrous.

The “Sitting Arrangement” as a Key Variable

Bullgod’s emphasis on the complex seating is a crucial, often overlooked detail. If Shatta Wale was seated separately from his father due to having prepaid for his team’s seats, it creates a logistical need to traverse the venue. This isn’t an excuse but provides context for why he was moving *at that specific time* and *in that specific direction*. It transforms the movement from a deliberate stage intrusion to a coincidental path crossing that collided with a high-profile moment.

Security and Venue Management Failure

Regardless of Shatta Wale’s intent, the incident represents a catastrophic failure in event security and management protocols. Why was there no controlled access to the stage wings? Why were rival entourages allowed to freely roam the auditorium during a live broadcast? Why was there no pre-emptive separation or clear communication between the teams’ handlers and VGMA security? Bullgod’s story implicitly highlights these systemic failures. The “storm” of Shatta Wale’s movement should have been anticipated and managed by professionals, not left to erupt on live TV.

The Gun: Self-Defense or Reckless Endangerment?

This is the most legally and socially grave aspect. Bullgod suggests Stonebwoy pulled the gun *after* the situation “started going haywire.” Video evidence shows Stonebwoy appearing startled as Shatta Wale’s group closes in, then drawing his weapon. In Ghana, publicly displaying a firearm without lawful authority is a serious offense. Stonebwoy’s legal team argued self-defense and protection of his person and property (the award). The subsequent out-of-court settlement and police case withdrawal suggest the authorities accepted, or were persuaded to accept, this narrative of spontaneous, defensive action rather than premeditated aggression. However, the act itself was undeniably reckless and endangered everyone on stage.

The Role of Media and Public Perception

Immediately after the brawl, narratives solidified. Shatta Wale’s tweet framed it as a national shame. Stonebwoy’s on-stage apology framed it as a regrettable accident. Bullgod’s later account attempts to reframe Shatta Wale’s role as passive. This battle of narratives is typical in celebrity feuds. The public, and especially each artist’s fan base, will interpret the same video through their loyalties. Bullgod’s account serves to complicate the simple “Shatta Wale attacked” storyline for a segment of the audience.

Practical Advice: Lessons for the Entertainment Industry

The 2019 VGMA brawl is a case study in crisis mismanagement. Here are actionable lessons derived from the incident:

For Event Organizers and Venue Security:

• Implement Rigorous Access Control: Stage areas, wings, and backstage must have single, monitored entry/exit points, especially during live broadcasts. No artist entourage should be allowed to move freely in performer pathways.
• Mandate Separate Green Rooms & Timing: For known rivals, assign physically separated waiting areas and schedule their appearances with significant time buffers to prevent backstage or on-stage encounters.
• Pre-Show Briefings with All Teams: Hold a mandatory security briefing with all artist managers and heads of security detail before the event. Outline clear movement protocols, no-go zones, and consequences for violations.
• De-escalation Training: Security personnel on the ground must be trained to physically interpose themselves between agitated parties and use non-violent intervention techniques.

For Artists and Management:

• Professionalize Entourages: Limit the number of companions on venue premises. Entourage members should be briefed on conduct and be identifiable (e.g., with specific passes). They are an extension of the artist’s brand.
• Designate a Lead Handler: Each artist must have one designated, responsible manager or security lead who communicates directly with event security and is accountable for their team’s behavior.
• Conflict De-escalation Protocols: If tension is anticipated, have a pre-agreed signal or plan to remove the artist from a situation immediately. The “storm” movement must be managed.
• Legal Counsel on Retainers: Have legal counsel aware of the event and ready to advise on immediate consequences of any altercation, especially involving weapons.

For Media and Broadcasters:

• Delay Broadcasts by 30 Seconds: A standard delay allows producers to cut away from unplanned violence, protecting audiences and the broadcaster from airing shocking content.
• Have a Crisis Plan: Rehearse what to do if a stage incident occurs: cut to commercial, have a host ready with a calming statement, avoid replaying the violence immediately.
• Responsible Reporting: Post-event, media should avoid sensationalist replaying of the violence without context. Focus analysis on systemic failures, not just fanning flames.

FAQ: Frequently Asked Questions About the VGMA 2019 Brawl

Was the brawl between Shatta Wale and Stonebwoy staged for publicity?

There is no credible evidence to support a claim that the violent incident was staged. Both artists’ reputations suffered significant short-term damage. Stonebwoy faced legal charges, and Shatta Wale was widely criticized. The level of physical violence and the brandishing of a real firearm make a publicity stunt theory highly improbable and dangerous. Bullgod’s account describes a chaotic accident, not a planned event.

What were the legal consequences for Stonebwoy pulling a gun on stage?

Stonebwoy was arrested and charged by the Ghana Police Service with two counts: “offensive conduct to the breach of the peace” and “causing unlawful damage” (to a chair used as a weapon). The case went through the Accra Circuit Court. In a widely reported development, the charges were withdrawn and the case struck out in 2020 after an out-of-court settlement and a formal reconciliation between the two artists, facilitated by the Musicians Union of Ghana (MUSIGA) and other industry leaders. This withdrawal was a legal resolution, not an exoneration, and the act itself remained a serious violation.

Are Shatta Wale and Stonebwoy really cousins?

Both artists have, at various times, referred to a familial connection, often described as “cousins.” However, the exact nature of this relationship (blood relation vs. extended family/ clan affiliation) has