By Andrew Nsoseka
Cameroonian music star Stanley Enow, celebrated for hits like “Hein Pere” has become the object of social media ridicule after appearing on CRTV, where he spoke about his “Living Together” concert. Viewers were derailed by the “Bayangi Boy”’s new American accent, or something close to it. His intention, as reported by CRTV Web on their Facebook page, was noble: to promote his “Living Together Festival” as a powerful platform for fostering “peace and love, social cohesion in Cameroon.” Enow passionately argued that music was the most effective tool to instil these crucial values.
However, for many viewers clicking on the video, Enow’s message of unity and Cameroonian pride was immediately overshadowed by something unexpected: his drastically altered accent. The artist, known for his deep Cameroonian Pidgin and Francophone-inflected English in his music and past interviews, appeared to be speaking with a deliberate, somewhat forced American accent.
The reaction on the CRTV Web Facebook post was swift, brutal, and overwhelmingly focused on the accent shift rather than the festival’s message. The comment section transformed into a roasting pit, with viewers expressing disbelief, amusement, and sharp criticism, accusing Enow of “inferiority complex”.
The comments, heavily laden with sarcasm, revealed the depth of the audience’s scorn for Stanley Enow’s newfound accent. “Abeg oh! Stanley Enow, wetin happen to your tongue? You don forget say you na Make Am king for Bamenda? Now you dey talk like say you just land from Atlanta yesterday. Peace and love, but your mouth dey do yanga for America, someone wrote.
Another viewer commented, “Inferiority complex don catch am proper! He dey talk about Cameroonian unity but dey ashamed of Cameroonian accent. Irony dey wound person!”
“Chai! The ‘Living Together’ Festival, but Stanley mouth don pack bag comot go USA. Make he tell us which part of America ‘social cohesion’ sound like that? Na forced labour?”, a viewer asked.
An apparent follower of Stanley Enow commented, “Wahala dey! Person wey sing ‘Hein Pere’ with full Bamenda flavour, now dey speak like fresh NYSC corper wey just watch too much Hollywood. Stanley, be yourself joor! Your real voice sweet pass!”
While a few comments defended Enow’s right to evolve or speculated it might be high on some substance, the overwhelming sentiment was mockery and disappointment. Short clips focusing solely on his accent began circulating on social media, amplifying the ridicule beyond the CRTV post.
The core message of the “Living Together Festival” – promoting peace and unity in a culturally diverse and often divided Cameroon – was tragically lost in the noise. Instead of discussing the festival’s potential impact, the conversation became solely about Enow’s perceived artificiality and the perceived rejection of his authentic Cameroonian identity in favour of an unconvincing American caricature.
This incident starkly highlights the delicate balance African artists navigate regarding global appeal and local authenticity. For many fans, Stanley Enow’s attempt to sound “international” backfired spectacularly, making him the subject of intense online scorn and derailing what should have been positive publicity for his peace initiative. The CRTV interview has become less about “Living Together” and more about a star seemingly running away from his own sound.
