“Stop Boxing Me In” - Jah Lead Says He’s Bigger Than One Genre

In a music industry often obsessed with labels, Ghanaian artiste Jah Lead stands firmly outside the box. “You cannot put me under a genre,” he says calmly, “but you can put my songs under genres.” It’s a statement that captures his musical spirit being free, fluid and deeply human.

Born Emmanuel Essel, Jah Lead’s journey began long before fame. From performing at St. John’s School through to his university years at UCC, his path was always guided by melody and meaning. “I call myself a musician,” he explains. “My motive is to serve this therapeutic kind of music to heal people, to conscientize people and bring back that kind of music people connect to for life.”

A true blend of influences from Lucky Dube and Bob Marley to Nas and Ja Rule, Jah Lead’s sound stretches across cultures and emotions. But if there’s one home genre he gravitates to, it’s reggae and dancehall, particularly in Twi, his native language. “I love doing reggae in Twi. It feels natural like I’m giving my truth rhythm.”

Jah Lead’s new EP, GUILT OF MUSIC 101”, is a reflection of that philosophy. “It’s a class,” he laughs. “You can sign up and get schooled.” Designed by creative powerhouse Epixode, the album art features a golden crown of thorns symbolising pain, purpose and rebirth. “For a long time, I was holding back my truth,” he admits. “Now, I’m all out. I’m guilty of not being the artiste I could be.”

This project marks a new chapter where Jah Lead fully embraces vulnerability, life experiences and musical freedom. From HAVE FUN to RIDE WITH YOU, the EP fuses social reflection with dance energy. “People have known me for mellow reggae,” he says. “This time, I wanted to give them dance, something the coastal people can vibe to, something that makes the girls move and the guys have fun.”

Still, even amid the beats and basslines, Jah Lead remains intentional. His songs, he says, are “less about noise and more about soul.” Whether performing in Ghana or on stages in Europe, he continues to redefine what authentic African dancehall sounds like grounded, global and healing.

“I’m not chasing controversy,” he concludes. “I’m chasing connection. I just want people to feel seen, healed and free.