Ghanaian Stallion is an emblem of musical versatility. Stallion’s journey is one of fusion; of cultures, sounds, and stories. As a German-Ghanaian producer and DJ, his music reflects the duality of his upbringing, weaving together the rhythmic heritage of Ghanaian highlife with the raw energy of hip-hop and drill.

His beats carry a sense of purpose, a signature style born from years of listening to everything from reggae to jazz in his parents’ home. It’s this versatility and depth that caught the world’s attention when he produced Black Sherif’s “Second Sermon Remix” featuring Burna Boy, a track that became an anthem for a generation.

At the heart of Ghanaian Stallion’s artistry is his commitment to authenticity and collaboration. From working with African and German-African artists to pushing the envelope with emerging talents like Black Sherif and AraTheJay, his journey is one of constant evolution and bold experimentation.

In our latest interview on #RVUnmute, we delve into the inspirations Ghanaian Stallion, his creative process, and his vision for African sounds in the global music landscape.

RV: As a German-Ghanaian music producer and DJ, how do your dual cultural roots influence your sound and perspective to music production?

GS: It definitely gives me a lot to draw inspiration from. Growing up in both Germany and Ghana broadened my horizon at a very early age. I was inspired by a lot of the music that my parents played when I was a kid. I’m used to listening to a great variety of different music. My parents liked Reggae, Jazz, Ghanaian Highlife as well as Rock and Blues. I would definitely attest a big portion of my versatility as a producer to the big range of music played at home.

RV: Can you tell us about your early years as a beatmaker? What initially sparked your interest in creating music?  

GS: I started out being a DJ and transformed into a producer over the years. I was DJing for a German rapper called Megaloh and at some point I got my hands on a cracked version of Logic. I started experimenting with sounds and samples and made my first beats that I then sent to Megaloh. The rest is history.

RV: Your sound is a blend of Hip Hop, Afrobeats, Trap, and Drill. How do you strike a balance between these genres while maintaining your signature style?  

GS: That’s actually a good question. It’s an ongoing process and sometimes a challenge to keep the focus and be clear with myself in terms of what I want to create when I open a new beat session. I could imagine it’s a bit easier for people who have a specific style they stick to. Then again it’s also nice to surprise myself because I don’t know what the outcome is going to be sometimes. Unless I’m working on a specific project that requires a specific sound. What I realized though is, that no matter what genre I’m working on, there are always certain things and elements you’ll find that are „Stallion typical“. For example, me mostly leaning more towards minor chords in my music or using vocal chops in nearly every production just to name a few characteristics.

RV: You’ve worked with a wide range of artists, including Black Sherif, AraTheJay, Megaloh, Peter Fox, Awa Khiwe and Joy Denalane. What do you look for in a collaborator, and how do you tailor your beats to fit their artistry?  

GS: Every artist that I work with needs to have a level of authenticity. I like to believe an artist when I listen to their lyrics. I also like to work with artists who are not afraid to push musical boundaries and are not just following popular trends. I always aim at creating something that has longevity and that people can still listen to after years.

RV: What’s the one song or beat you’ve produced that you’re most proud of, and why?

GS: There are obviously a few milestones in my career as a producer and I’m grateful for all of them. But if I had to chose one song or beat I’d probably say First Sermon with Blacko. We unlocked a new sound with that song. Even though Second Sermon was more successful and was on top blessed by Burna Boy hopping on the remix, there might haven been no second sermon without the first one. To make it short, it would definitely have to be between First and Second Sermon.

RV: How do you see the role of African sounds, like Afrobeats and Drill, evolving in the global music scene, and how do you hope to contribute to that evolution?  

GS: “The African sound“ is dominating and influencing the global trends. It has been going on for some time now and it’s not stopping anytime soon! New artists are developing new sounds and blending them with other genres to create a new waves. People like Rema, Asake, Blacko or AratheJay and producers like Sarz and P.Prime (to mention a few) are creating new sounds that people haven’t heard before. The music contains familiar elements like Highlife and Afrobeat but with a new modern twist to it. No matter if it’s Highlife mixed with Drill like on First and Second Sermon or Afrobeats blendend with Amapiano and Hip Hop like on Asake’s „Active“. The creativity is endless and it’s inspiring to see what some artists bring to the table. I’m definitely not done with pushing the boundaries of „African inspired music“ further. There is more coming!

RV: Over the past decade, you’ve built a solid reputation as a pacesetter and a dynamic producer. How has your creative process evolved from when you first started?  

GS: I would say I am more seasoned now. Even though I learn new things everyday with every new beat I create. Every session with an artist whether new or established is another learning process and adds to the experience. After being in the studio with so many different artists over the past years, I’ve definitely developed a level confidence knowing that I’ll always be able to create something dope if I put my mind to it. I’ve also learnt to read situations better and to know when not to force it.

RV: If you weren’t producing music, what would you be doing instead?  

GS: I have a masters degree in tourism management, so if it weren’t for the music, I might be on an island somewhere offering eco-friendly tourism activities. I’m grateful that I didn’t have to go that route though.

RV: What has been the biggest challenge in breaking into the international music scene as a producer, and how did you overcome it?  

GS: Before I started to shift my focus more to the African and Ghanaian scene I worked with a lot of German artists and was able to establish myself there. The thing with German music however, it’s quite limiting in terms of exposure. Because of the language barrier it’s hard to transcend borders beyond the German speaking markets. (Germany Austria, Switzerland). So what some German producers did was to try and connect more with international artists to be able to breakout. Nowadays you’ll find several German producers having huge international placements for artists like Kendrick, Drake or Rema. What did it for me was to put more emphasis on working with African artists, especially artists from Ghana. Obviously First and Second sermon were the songs that did it for me.

RV: What’s the experience of performing live as a DJ like for you, compared to the process of crafting music in the studio?  

GS: I will always prefer working in the studio because for me nothing beats the feeling of creating something new. The joy in the studio when you know „you got one“ is priceless. I am grateful though that through my work as a DJ I was and am able to play big festival stages, experience night liner tours and see the live crowd reaction to the songs I produced.

RV: If you could headline a dream DJ set anywhere in the world, where would it be, and what would the vibe be like?  

GS: I would do it in Winneba, where my father is from. I would try and get a nice location by the beach and invite quality people. Strictly good vibes, no mean mugging. A vibe that welcomes everyone who has good intentions. A place where women can feel free without having to worry about nasty guys worrying them.

RV: What does being a “household name” in the German and international producer scene mean to you, and what legacy do you hope to leave?  

GS: This is a question probably someone else needs to answer about me. :). In terms of my legacy, I would definitely want to be remembered as someone who dedicated his life to music and created sounds that made you feel something.

RV: Describe your ultimate studio setup—what are the must-have tools, vibes, or snacks?  

GS: I like to scale things down. I like a setup that gives me the possibility to be flexible and set up anywhere when it’s needed. I have a proper studio in Berlin but since I travel a lot and spend several months of the year in Ghana I heavily rely on my mobile setup: Laptop, Apollo Twin Soundcard, Akai MIDI Keyboard, external hard drives, power banks (highly recommended in Ghana ), Shure SM 7B microphone, headphones and speakers.

RV: With several top-ten placements and a growing discography, what’s next for Ghanaian Stallion? Are there any projects or collaborations you’re particularly excited about?  

GS: Yes, my album called “Bridges“ is dropping early 2025. 3 songs off the album are already out. The full body is on it’s way. I’m glad it’s finally coming out because it means a lot to me. Of course Stallion wouldn’t be Stallion if there weren’t several other projects also in the works. I am currently working on a joint project with Albi X an amazing artist from Cologne with Congolese roots. He was featured on the first single I dropped this year called “Pelé“. Just stay tuned and you’ll hear a lot more “Stallion On The Beat“ in the future!