dancehall
In a year that has already seen explosive comeback concerts (Vybz Kartel‘s Freedom Street and subsequent sold-out Brooklyn shows) and head-turning headliner announcements (Buju Banton leads this year’s BET Experience lineup) from reggae and dancehall‘s brightest stars, Alkaline is looking to add his name to the list.
The dancehall icon, whose hits include anthems such as “My Side of the Story,” “On Fleek” and “Move Mountains,” is set to bring his eight-year-old New Rules concert series back to Jamaica — this time at Trelawny Stadium, on the west side of the island, in collaboration with New Era Productions. Slated for Saturday, July 5, the concert marks the first time Alkaline has mounted New Rules in JA since its 2022 staging at Kingston’s National Stadium. Most live events that grace Jamaica often opt to visit Kingston and St. Andrew, which tends to exclude music lovers from the island’s west side to a degree. Having already visited Kingston twice, New Rules’ Trelawny stint will allow a wider range of fans to enjoy Alkaline’s concert.
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“It wasn’t really so much of a surprise [telling my mother New Rules would be coming to her hometown of Trelawny] because we always visit Kingston, but I wanted to give fans a different experience,” he tells Billboard. “They can expect high-energy entertainment as usual, but with a twist. It’s been a long time coming!”
The Trelawny date is the third stop on Alkaline’s New Rules 2025 route, which includes a stint in London on April 17 and a show in Canada on June 21. The face of Givenchy’s spring-summer 2023 men’s global campaign is most excited to perform “all of his big hits,” including “Bruk Out,” as well as some songs he hasn’t performed in a long time — and some that he’s never performed before. After all, the “unpredictability” of dancehall sustains his love for the genre, a space he’s been navigating for over 15 years now. He famously started releasing music in 2013, eventually breaking through the following year and launching a career that traded on massive hit singles, global appeal and a penchant for controversy. Over the past decade, he’s also added a litany of international collaborations to his catalog of solo hits, including 2017’s “Formula” (with French Montana), 2018’s “Nonchalant” (with A Boogie wit da Hoodie) and a 2018 remix of Chip‘s “My Girl.”
“[The name ‘New Rules’] came from my entry into the music industry and bringing my ideas and vibe to the scene,” he explains. “We came in set in our ways. We didn’t take anything away from [what was already there], we just added to it. I brought a youthful exuberance to [dancehall] because I jumped out very young, younger than most.”
In 2021, Alkaline released Top Prize, his second consecutive album to reach the top two on Billboard‘s Reggae Albums chart. While he isn’t promising a new album before New Rules touches down in Jamaica this summer, fans can certainly “expect new music” from the star, which he’s already started rolling out with January’s “Earn Your Way.” The Autobamb and Sponge Music-helmed track continues Alkaline’s streak of standalone singles following his 2022 Ripple EFFX EP, which won EP of the year and the inaugural Caribbean Music Awards (Aug. 31, 2023).
As for this year’s New Rules lineup, Alkaline has yet to confirm who will appear at the Trelawney edition, but he’s already announced Loyal Squad, Andrew Fresh and Movie Star Johnny as supporting talent for the concert’s London staging at OVO Wembley Arena. Dancehall stars Armanii and Rahjahwild are also slated to perform. Earlier this year (March 30), Alkaline brought New Rules to Boston, where Massachusetts State Senator Liz Miranda honored him with a citation lauding his contributions to Jamaican music and culture and international influence.
Though it marked his first show of 2025, Boston isn’t the first American city to experience New Rules. Alkaline mounted the concert series in New York in 2018 and 2023, the latter of which boasted additional performances by Mavado, Charly Black, Skinny Fabulous and 450.
With Europe and North America on lock, Alkaline is now eyeing stages in “China, Japan and Africa” for future editions of New Rules. “New Rules is a worldwide ting!” he declares.
When asked where he was most excited to perform after finally regaining his freedom following a 13-year prison stint, Vybz Kartel responded, “The entire Caribbean and New York — that’s Jamaica outside of Jamaica!”
In the eight months since he walked out of prison, the King of Dancehall has barely taken a minute to sit down. To ring in the new year, Kartel mounted Freedom Street on Dec. 31, 2024, marking Jamaica’s largest live music event in almost 50 years. The stadium-sized event featured appearances by dancehall giants like Skeng and Popcaan, as well as Kartel’s sons — both recording artists in their own right — Likkle Vybz and Likke Addi. Freedom Street kicked off a global comeback tour for Kartel that has since included an appearance at February’s Grammy Awards (where he enjoyed his first nomination for best reggae album, thanks to his 2024 Party With Me EP), a performance at the U.K.’s MOBO Awards (where he was honored with the impact award), and the announcement of a set at Wireless in support of Drake‘s three-night takeover of the Finsbury Park festival.
In 2025, any Worl’ Boss performance is a special one, but the Billboard cover star wasn’t joking when he called New York “Jamaica outside of Jamaica.” On Friday (April 11), Kartel played his first of two sold-out shows at Brooklyn’s Barclays Center — his first Stateside headlining concert in over 20 years, organized by Reggae Fest. Brooklyn, which has an incredibly high population of first, second and even third-generation Caribbean-Americans, was the perfect host borough for Kartel’s return. For every BK neighborhood the DJ shouted out (Flatbush, Canarsie and Utica rightfully got a lot of love), a different island got the same amount of shine (Grenada, Trinidad, St. Vincent and, of course, Jamaica were among the most mentioned isles of the night). Kartel didn’t hit the stage until shortly after 10 p.m. E.T., but DJ Milan primed the crowd with over two hours’ worths of reggae and dancehall classics, spinning anthems by everyone from Buju Banton and Shenseea to Elephant Man and Teejay.
Kartel made his triumphant return to the stage with his legendary remix of Akon‘s “Locked Up.” “Look! 13 years inna prison, and mi come out a general!” he declared, sauntering across the stage and soaking up the rabid screams from the 19,000-capacity arena.
Worl’ Boss then launched into his litany of hits, tearing through “Dumpa Truck,” “Benz Punany,” “It Bend Like Banana,” “You and Him Deh,” “Street Vybz,” “Come Breed Me” and “Turn Up the F–k.” Kartel, who is currently dealing with Graves’ disease and a heart condition, smartly split up his set with cameos from several surprise guests, allowing him ample time to catch his breath and pace himself throughout the show.
Early in the night, Kartel brought out two former Portmore Empire affiliates, Jah Vinci and Black Ryno, both of whom helped amp the energy in the room. In fact, Black Ryno had so much energy, he got a little ahead of himself and wiped out while walking down the stage’s catwalk. Other special guests throughout the night included Latin Grammy-nominated producer Rvssian, Queen of Dancehall Spice and rap legend Busta Rhymes (who effortlessly rapped his entire “Look at Me Now” verse). Almost more impressive than Kartel’s stamina was just how much power he held over the crowd. If anyone sat down during his two-hour set, it was only for a brief minute to find their bearings after a particularly wicked wine. Kartel’s catalog isn’t littered with Billboard Hot 100 top 10 hits or U.S. radio smashes, but none of that mattered on Friday night. When a catalog is so beloved that fans are rapping deep cuts that dropped before they were even born, there’s something very special taking place.
To close out his set, Kartel fired off his biggest crossover smashes, including “Summertime,” “Clarks,” “Fever” and, of course, “Brooklyn Anthem,” gifting Kings County one of the most memorable nights of live music in the borough’s storied history.
Here are the five best moments from Vybz Kartel’s first U.S. headlining show in over 20 years.
Rvssian Hits the Stage for ‘Straight Jeans & Fitted’
Grammy-nominated pop-dancehall princess Shenseea and Jamaican dancehall hitmaker Masicka lead the nominations for the 2025 Caribbean Music Awards, with seven nods each.
Notably, Shenseea, who won her first Caribbean Music Award last year for female artist of the year (dancehall), scored her first solo Grammy nomination earlier this year. Her sophomore album, Never Gets Late Here, was recognized in the best reggae album category, ultimately losing out to the Bob Marley: One Love soundtrack.
Soca superstars Patrice Roberts and Kes follow with six Caribbean Music Awards nominations. Dancehall legend Vybz Kartel, genre-fusing soca star Nailah Blackman and Jamaican dancehall stars Chronic Law and Kranium each have five nods. In addition, Trinidadian soca titan Bunji Garlin and reggae luminaries Romain Virgo and Lila Iké are next in line with four nods each.
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The Caribbean Music Awards recognizes artists, producers and industry professionals who have significantly contributed to the Caribbean music landscape. This year’s nominations list includes more than 150 nominees across 40-plus categories spanning a diverse range of genres including reggae, soca, dancehall, calypso, R&B and gospel.
This year, the Caribbean Music Awards is introducing seven new categories: Caribbean R&B and Zess-Steam Artist of the Year, International DJ of the Year (Female), Reggae Collaboration of the Year, and Reggae, Gospel, and Caribbean Fusion Song of the Year. The new categories reflect the breadth of Caribbean music and the increasing consumption of particular styles and sounds. “The Greatest Bend Over,” Yung Bredda’s Full Blown-produced smash, became one of the biggest soca crossover hits of the year thanks to its incorporation of Zess.
“Zess has a very large following among the youth in Trinidad, but [those artists] have been struggling to be accepted by mainstream Trini music – which is soca,” Kevon Hart of Full Blown told Billboard in March. “For us, this was a very clever way of combining the two and showing the Zess artists that they do what we do, just in a different way.”
Other notable nominees include Jada Kingdom, Spice, Mical Teja, Lady Lava and Dexta Daps — last year’s most nominated artist — with three nods each.
The awards are presented by the Caribbean Elite Group, which also produces Caribbean Elite Magazine – a print and digital publication that highlights Caribbean entertainers, artists, producers, promoters, cuisine, travel, fashion and entrepreneurs.
Voting is currently underway at the Caribbean Music Awards website, and will conclude on Friday, May 1. Winners will be celebrated on Thursday, Aug. 28, at King Theatre in Brooklyn, N.Y.
For the complete list of nominations, visit the Caribbean Music Awards website. Here are the nominees in selected categories:
Reggae — Album of the Year
Various Artists — Bob Marley: One Love – Music Inspired by the Film (Deluxe)
Bugle — Apex
Etana — Nectar of the Gods
Mortimer — From Within
Romain Virgo — The Gentle Man
UB40 — UB45
Dancehall — Album of the Year
Dexta Daps — Trilogy
Govana — Legacy
Shenseea — Never Gets Late Here
Spice — Mirror 25
Vybz Kartel — First Week Out
People’s Choice Award
Joé Dwèt Filé
Kes
Lady Lava
Shenseea
Skeng
Skillibeng
Vybz Kartel
Yung Bredda
Dancehall Song of the Year
Squash, “Big Breeze”
Vybz Kartel, “The Comet”
ArmaniI, “HAAD (Fiesta)”
Busy Signal, “Happy Birthday”
Kranium & Chronic Law, “Higher Life”
Shenseea, Masicka & Di Genius, “Hit & Run”
Jada Kingdom, “What’s Up (Big Buddy)”
Masicka, “Whites”
Reggae Song of the Year
Romain Virgo & Masicka, “Been There Before”
Bugle, Buju Banton & Damian “Jr. Gong” Marley, “Thank You Lord”
Lila Iké & Joey Bada$$, “Fry Plantain”
Pressure Busspipe, “Haunted”
Protoje, “Legend Legend”
Marlon Asher & Sizzla, “Never See Us Fall”
Alaine & Usain Bolt, “Pile Up”
YG Marley, “Praise Jah in the Moonlight”
Soca Song of the Year
Patrice Roberts, “Anxiety”
Nailah Blackman & Lyrikal, “Best Self”
Blaka Dan, “Blessing”
Bunji Garlin, “Carnival Contract”
Problem Child, “Carnival Jumbie”
Mical Teja, “DNA”
GB Nutron & Farmer Nappy, “In the Center”
Trilla-G, Lil Boy & Quan, “Someone Else”
Musical Event of the Year
Buju Banton — Long Walk to Freedom
Dominica World Creole Festival
Patrice Roberts — I Am Woman
Konpa Kingdom
Saint Lucia Jazz & Arts Festival
Soca Brainwash
Stink & Dutty
Vybz Kartel — Freedom Street
With the first days of spring finally gracing New York City, the summer is just a few breaths away — which means dancehall riddims and reggae grooves are about to be heard on every block from Flatbush to the Heights.
After picking up some hardware at February’s MOBO Awards, Vybz Kartel picked up two more trophies at last month’s International Reggae & World Music Awards (March 30), taking home the Peter Tosh Award for recording artist of the year and concert of the year honors for last Decemeber’s Freedom Street extravaganza. New York will experience their version of Freedom Street when Kartel graces Brooklyn’s Barclays Center on April 11 and 12. On Tuesday (April 1), Worl’ Boss dropped the official DJ Khaled-starring “God Is Greatest” music video to reflect on his whirlwind journey since his release from prison last summer. Spice, who many hope will join Kartel at his New York shows next month, picked up a major win of her own with her victory at Red Bull Culture Clash London 2025 (March 7-8).
On the reggae side, we lost a legend. Jamaican singer Cocoa Tea passed on March 11 after going into cardiac arrest shortly after a recent six-month battle with pneumonia and his 2019 lymphoma diagnosis. Known for classics like “Rikers Island” and “Young Lover,” Cocoa Tea often infused poignant sociopolitical messaging into his hits, bolstering his cross-generational impact.
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Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: Joé Dwèt Filé & Burna Boy, “4 Kampé II”
Late last year, the original version of Joé Dwèt Filé’s “4 Kampé” appeared in our weekly Trending Up column, which tracks the myriad songs and trends that are catching the industry’s attention. Just a few months later, the Haitian zouk-konpa singer has reinvigorated his global hit with an assist from Grammy-winning Afrobeats superstar Burna Boy. “Deja konnen mwen pral brile sa/ Excuse-moi, veux-tu danser konpa/ Mwen pat konn fanm ayisyen dous konsa/ Ou met mande, mwen se yon neg naija,” he croons in the intro, dipping into Haitian Creole to set the scene and introduce himself to a lady he’d like to dance konpa with. Burna Boy’s and Filé’s tones are an excellent match; their rich lower registers nicely contrast with the track’s seductive background guitars.
Ding Dong feat. Skeng & Kaka Highflames, “Street Jump”
Last month, “Badman Forward Badman Pull Up” singer Ding Dong announced his forthcoming debut album — 20 years after “Badman” became an intergenerational and international anthem. Keeping with the spirit of dance that’s grounded his entire career, Ding Dong calls on Kris Kross’ 1992 Hot 100 chart-topper “Jump.” Not only does he reimagine that song’s timeless hook into a more dancehall-flavored affair, but he also recruits dancehall superstar Skeng and rising Jamaican dance-turned-artist Kaka Highflames to bring their own delightfully manic energy to the track. When it comes to dance anthems that actually make you want to dance, few can stand shoulder to shoulder with Ding Dong.
Protoje, “Big 45”
Protoje isn’t one to inundate us with an incomprehensible amount of releases, but when he does drop music, it’s always worth the wait. He teased “Big 45” for several weeks before finally unveiling the official track, which boasts booming bass and sultry reggae groove courtesy of The Indiggnation and Winta James. Protoje’s rap-sung cadence pairs perfectly with their soundscape, effortlessly capturing the full-bodied sound of the peak sound system era.
Aidonia & Di Genius, “Agony”
“She waah agony oh she waah agony/ Early morning me a sleep and she a bother me/ She waah agony oh she waah agony/ Gyal waah wood, me give har the mahogany,” rhymes Aidonia at the onset of his new Di Genius-helmed single, “Agony.” Making the word “agony” shorthand for boning is certainly a choice, but if any deejay can make it work, it’s Aidonia with his sticky flow and devil-may-care delivery.
Yaksta, “Unconditional Love”
For his contribution to Crawba Production’s new Reggae Alive compilation, Jamaican singer Yaksta delivers a sweet, easy-rocking midtempo about the breadth of his unconditional love for his special someone. “I got this unconditional love/ And it’s only for you, baby/ No else but you,” he croons over steady classic reggae guitars and drums — a perfect soundtrack to a breezy summer evening. With an equally tender and earnest vocal performance, Yaksta infuses Crawba’s soundscape with the reverence that unconditional love often mirrors.
Mr. Vegas & Etana, “Trapped”
One of the best parts of trap dancehall is how the genre’s sparse, spooky snares allow artists the space to muse about society’s endless ills. “Trapped,” the new Rick Wizard-produced single from Mr. Vegas and Etana does just that. The two stars trade heady, heavy verses that zoom into the psyche of a child living in a fear and neglect-ridden household that only primes them for darker horrors. “Trapped, careless mumma wah mek you do your own pickney dat/ Yuh know sey di man a touch har and yuh nuh tell him fi stop/ Yuh turn yuh back pan har when di demon attack,” Mr. Vegas begins the song, immediately setting a chilling scene of child abuse and the nuanced conversations around it.
Pamputtae, “Rum Sexy”
To make a long story short, all Pamputtae needs is some rum to buss a wine. Though “Rum Sexy” has percolated on YouTube for a few years, the Jermaine Bailey-helmed track is finally on DSPs. A well-executed soca track that would sound right at home on any pre-game playlist for the road, Pamputtae’s animated delivery and bright tone are as effective as ever on this track.
Chronic Law, “Altar”
“If yuh pray, Jah will answer/ No weh yuh own anuh weh u can sponsor/ Have nuff things fi gave thanks for/ So me pray inna eh booth like altar,” Chronic Law sings at the end of the opening chorus of his new single, “Altar.” One of the hottest acts in dancehall, Chronic slows things down for a quieter, introspective moment in which he ruminates on the throughlines of prayer and his connection to God that have coursed through his life. Hungry Lion Records grants him the space to do so with an almost-morose mixture of trap snares and synths that invites listeners to focus on his soul-baring lyrics.
Najeeriii & Franc White, “Uptown”
Najeeriii doesn’t necessarily rewrite the trap-dancehall template — in fact, he explicitly leans on its most frequently used tropes here — but he does put his own stamp on it. Expected to appear on his forthcoming debut album, Book of Bob, “Uptown” finds Najeerii delivering a club anthem that sources its idiosyncracies from the way his youthful tone and nimble flows accentuate different pockets of Zini Record’s pristine beat.
Skeete, “Dem Dead”
Nottingham-hailing Afro-dancehall and R&B artist Skeete dropped his new 10-track mixtape Excuse My Language last month (March 20), and the saucy genre-melding set is every bit as global and unapologetic as its title suggests. Among the standouts is the tape’s penultimate track, “Dem Dead,” a fast-paced track that fuses the energy of ’90s dancehall with the melodic flourishes and warm electronic synths of ’10s R&B-informed hip-hop. He dexterously weaves in and out of different flows and dialects, never wavering in how comfortable he sounds playing the role of a dangerous uptown lothario.
It’s been 20 years since Ding Dong’s “Badman Forward Badman Pull Up” became an ocean-crossing, generational anthem for dancers and revelers — and the man behind the iconic track is finally unleashing his debut studio album.
Billboard can exclusively reveal that, on May 5, Ding Dong (born Kemar Ottey) will release From Ding Dong to the World, an album he promises will be a breath of fresh air for the dancehall scene. Featuring production contributions from Ricky Blaze, Khalfani, Felva, Dunwell, and Black Spyda — who mixed and mastered the entire project — From Ding Dong to the World will also house collaborations with scores of dancehall superstars, including Skeng, Skillibeng, Stalk Ashley, Govana, Afro B, Popeye Caution, Vanessa Bling and Grammy-nominated rap icon Busta Rhymes. Fans can pre-save the album here.
At a succinct 13 tracks, Ding Dong’s new album aims to place him in the pantheon of dancehall greats, several of which he names as inspiration, like Elephant Man, Bounty Killer, Beenie Man and Sean Paul, whose 2002 “Gimme the Light” music video he cites as one of the most important moments of dancehall’s dance culture being highlighted on a global scale.
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“This album is the evolution of Ding Dong,” the dancer-turned-recording artist declares. “I want to show people that I am a rounded artist, not just a dancer. This style of dancehall hasn’t been done on an album in a long time. I never knew the difficulties and the challenges of doing an album. It’s not a simple thing to get [samples] cleared, so I think the time is now. I am always current. It’s God’s will!”
Ding Dong finished the album last year, but sample clearances cosmically delayed the album release timeline to coincide with the 20-year anniversary of “Badman Forward.” One of those samples was Kris Kross’ “Jump,” which Ding Dong lifts for his new Kaka Highflames and Skeng-assisted single, “Street Jump.” Serving as the set’s lead single, “Street Jump” transposes the audacious energy of Kris Kross’ 1992 Billboard Hot 100 chart-topper into a floor-quaking dancehall banger that plays on Skeng’s own penchant for leaping into the sky during his live performances. The new single arrived alongside its official music video on Thursday (March 27).
“Kris Kross was one of the artists I really messed with growing up,” explains Ding Dong. “I remember when Khalfani did the riddim and I walked in the studio and he played it – without thinking, the first thing I did was [start rapping “Jump”] over the riddim. I recorded that right away, and then mi seh, “I haffi get Skeng pon di song.”
And he did. On a clip shared to his official Instagram page — which has amassed nearly 200,000 views — Ding Dong plays the “Street Jump” riddim for Skeng as he characteristically vaults into the air because the beat moved him so much. It’s similar to what happens when a DJ drops “BadMan Forward” at a function, people simply feel compelled to move. Playing on the legacy and timelessness of “Badman Forward,” Ding Dong also included a bombastic remix of the classic featuring new-age dancehall giant Skillibeng.
“’BadMan Forward’ is the first song I recorded. If you notice, there are no verses, I just wanted to buss a dance, not a song. The version that you hear is the demo version, it’s not mixed,” reveals Ding Dong. “At the time, the willie bounce was everything but I realized di people dem wan change. So I made the song with the dance to make my mark as a dancer. When I chose the name of the song, I was told it was too long. Mi seh mi nah change it. If you wan mek change inna your life, you have to do things differently. It started in Jamaica, went to England, and then New York. The energy, the kick of the riddim and the dance itself made the song a staple within so many generations.”
Watch the official “Street Jump” music video below.
The style of dancehall currently dominating the streets of England is quite different from the dancehall that ruled the Billboard Hot 100 in the early 2000s. Trap dancehall — the aptly named subgenre of trap-infused dancehall — has been king for the last couple of years, and Manchester-bred Jamaican dancehall artist 1Ski OG is looking to leverage his new stage name into a grand return to the royal court.
“When I came up with the name 1Ski Mask, it wasn’t planned,” he exclusively tells Billboard over Zoom while visiting family back home in Manchester, Jamaica. “I was just having fun and called myself that, it went viral and the name stuck with me at that time. Some artists already had the name overseas, so I was informed that for new releases I could no longer release under that name. I never wanted to stray from the name or change it completely, so I just removed the mask part. The ‘OG’ is a shortening for ‘original,’ I wanted people to know it’s still the same original 1Ski Mask.”
A former social media comedian, 1Ski OG rose to prominence as 1Ski Mask with “Dawkniss,” a Falconn-assisted single that arrived in spring 2023. To date, the song has amassed more than 1.5 million streams on Spotify alone, helping him score a deal with Against Da Grain/Epic Records by October 2024. In the years that followed, 1Ski’s musical output slowed down, due in large part to him taking some time to recalibrate following his signing and name change. Now, he’s readying a new project due later this year and launching his 1Ski OG era with a pair of new songs that he calls “more universal”: “Feel Like” and “Double Life.”
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For both songs, 1Ski took inspiration from his personal life. His “gyal at di time” served as the muse for “Feel Life,” which was recorded a year ago, and “Doube Life” is the product of his desire to “speak to the experience of living a double life with [yourself] and your partner” and his general observations of toxicity in daily interactions. The new songs build on the trap dancehall foundation he established upon his debut, but the melodic flourishes of their respective soundscapes signal a push into a more expansive sound.
“I’m not the kind of person who sticks to one sound because I’m thinking about longevity,” he says while musing over trap dancehall’s current dominance. “You have to create music that can last and trap dancehall is not so lasting. I don’t think it’s fully crossed over yet outside of New York, Florida, and Connecticut – places with a lot of Jamaicans. But what if you want to reach Africa or England or Canada? You have to always be open to change. The more potent and structured songs that we can all relate to are the ones that last. I still have trap and hardcore dancehall, but you have to have a mixture.”
With a new name, new music, and a clear, intentional focus behind the next stage of his career, 1Ski OG is ready not just to reintroduce himself, but also establish himself as one of the leading Caribbean artists of his class.
“We have to evolve and put the face behind the brand,” he stresses. “[The new name] gives you different options in terms of styling because nothing is tied to the mask anymore. The power is not in the mask, the power is in me.”
Watch the official “Feel Like” music video below.
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Right on the heels of Trinidad Carnival — where she mounted the sixth iteration of her own Sokah Origins concert — Caribbean Music Award-winning soca superstar Nailah Blackman is ready to launch her next era.
Billboard can exclusively reveal that Born A Diamond (B.A.D.), Nailah’s sophomore studio album, will arrive via Big Money Records in the second half of 2025. The new record is the follow-up to 2022’s Teknique, her debut full-length album, and promises to uphold Nailah’s commitment to deepening and broadening the scope of her soca foundation. Featuring collaborations with Grammy-nominated pop-dancehall princess Shenseea, rising genre-bending Canadian star Sadboi and Latin Grammy-winner Nicky Jam, Born A Diamond finds Nailah with her eyes set on global domination.
“I feel like Iike I’ve always known who I was from the beginning, but for whatever reason, I got lost in the woods, and I’m trying to head back home,” she muses. “But every thought process made me feel like I was already there. Precious gems — or people who are supposed to do big things — I don’t think that they are made. I think they’re born, and they will always have their purpose even if they don’t know it yet. I believe I was born a diamond, not just made one.”
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In a way, she’s correct. Nailah is the granddaughter of Garfiled Blackman, better known as Lord Shorty, the inventor of soca music, which soundtracks Carnival celebrations across the Caribbean. Fans can expect an abundance of soca on Born A Diamond, specifically some splashes of bouyon soca from Dominica. The new record will also feature dashes of R&B, Afrobeats and dancehall, further cementing Nailah as one of the most limitless and versatile artists of her class.
“I think with the music that I do and how I do it, it’s inevitable for me to cross over because I’ve been a crossover artist from the beginning of my career,” she stresses. “My sound has never been completely defined, but it has redefined the sound of soca. Being the granddaughter of the creator of the genre, I know the sound that is dynamic and ever-evolving. I’ve never necessarily followed the rules, and I believe the purpose of soca is to bring nations and people together, and that’s what I want to do.”
On Friday (March 14), Nailah released the lead single from Born A Diamond, “Feels Like Love.” With an assist from OVO Sound’s Roy Woods, the new single infuses its Jakey Krumm and Hunter Tomeo-helmed pop&B soundscape with a healthy dose of Jamaican dancehall. With Trinidad and Guyana both represented on the steamy new track, “Feels Like Love” proves everything’s better when the Caribbean joins forces.
“I went to Toronto for Caribana last year, and we did the song in a writing camp,” says Nailah. “I’ve never done a dancehall fusion like that before, and I knew I wanted somebody to bring a Caribbean element but still keep that hip-hop influence. I’ve always loved Roy Woods’ music, so when I heard about the possibility [of collaborating] with him, I was super excited. We met the same night I flew into Toronto, and we did another studio session. We shot the video the next day at my show with 15,000 people, which was incredible.”
Born A Diamond will also serve as Nailah’s first project since signing with Philadelphia-based label Big Money Records in 2024. “When I saw her stage presence and music and everything she’s doing in the Caribbean, I knew I wanted to be a part of this to help soca crossover to the U.S.,” says CEO Jamelia “Whoa” Ho-sang. While she’s still finalizing tour plans, Nailah is prepping for an intense global promotional run, including a performance at D.C. Carnival and her historic appearance as the first soca act to grace Roots Picnic (May 31-June 1). Last winter, she brought soca to On the Radar, a rare foray into Caribbean music for the live performance platform.
Watch the official “Feels Like Love” music video below.
Less than a year after dropping his Jamaican Situation EP, two-time Grammy-nominated Jamaican reggae star Protoje is set to embark on a world tour — and he’s also just dropped his highly anticipated new single.
On March 9, Protoje will hit the stage at Australia’s WOMADelaide festival before spending the rest of the month hitting stops across Europe, including Lisbon, Portugal; Berlin; and Copenhagen, Denmark. On April 4, the “Who Knows” singer will kick off the U.S. leg of the tour with an appearance at the Reggae Rise Up festival in Tempe, Ariz. Over the following month and a half, Protoje will visit fans in Southern cities across the states, including Miami, Atlanta and Asheville, N.C. By July 25, he’ll return to Europe for the final leg of the tour, playing festivals across the continent, including Sweden’s Uppsala Reggae Festival (July 25) and Austria’s One Love Reggae Festival (Aug. 9). The international trek will conclude on Nov. 29 at La Cigale in Paris.
To accompany his tour announcement, Protoje also unveiled a new single titled “Big 45.” Inspired by Jamaica’s iconic sound system culture, the St. Elizabeth-hailing artist-producer has crafted a booming, bass-driven track that playfully teases a rap-sung cadence over a sultry, groovy instrumental. “Big 45” — produced by The Indiggnation and Winta James — also arrives alongside a SAMO-helmed music video. The clip prominently features the massive sound systems traveling through the streets of JA.
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“This is just a reggae and dancehall anthem,” Protoje said in a press release. “It’s talking about sound system, it’s talking about live music … the moment we started [playing] it, everybody got excited because we knew it was one of those ‘bring everyone together’ type of songs.”
After teasing “Big 45” on socials and in his live shows, Protoje has finally released the song. The new track is a natural progression from the national pride that colored tracks such as “Where We Come From” from last year’s Jamaican Situation EP. Protoje’s last solo full-length album was 2022’s Third Time’s the Charm, which featured collaborations with Jorja Smith, Lila Iké, Samory I and Jesse Royal.
Protoje has sent five consecutive projects to the top 10 of Reggae Albums, including two chart-toppers: 2015’s Ancient Future and 2018’s A Matter of Time. In 2018, he entered the Emerging Artist chart for the very first time at No. 42.
Check out the dates for Protoje’s 2025 world tour below.
March 9 — Australia @ WOMADelaide
March 14 — New Zealand @ Womad Aotearoa
March 19 — Aarau, Switzerland @ KIFF
March 21 — Barcelona, Spain @ Razzmatazz
March 22 — Lisbon, Portugal @ Disaster Club
March 25 — Berlin, Germany @ Maaya Club
March 26 — Hamburg, Germany @ Fabrik
March 27 — Cologne, Germany @ Die Kantine
March 28 — Copenhagen, Denmark @ Grey Hall
March 29 — Legorreta, Spain @ Legoreggae
April 4 — Tempe, Ariz. @ Reggae Rise Up
April 16 — Miami, Fla. @ Miami Beach Bandshell
April 17 — St. Petersburg, Fla. @ Jannus Live
April 18 — Ormond Beach, Fla. @ Granada Theatre
April 19 — Atlanta, Ga. @ Sweetwater 420 Fest
April 20 — Asheville, N.C. @ Orange Peel
May 23 — Monterey, Calif. @ California Roots
May 30 — Durango, Colo. @ Rise and Vibes
July 12 — Marshfield, Mass. @ Levitate Music Festival
July 25 — Uppsala, Sweden @ Uppsala Reggae Festival
July 26 — Fraga, Spain @ Monegros Desert Festival
Aug. 1 — Geel, Belgium @ Reggae Geel Festival
Aug. 2 — Milton Keynes, U.K. @ Reggaeland
Aug. 9 — Wiesen, Austria @ One Love Reggae Festival
Aug. 10 — Saint-Malo, France @ No Logo BZH
Nov. 20 — Amsterdam, Netherlands @ Paradiso
Nov. 21 — Zurich, Switzerland @ Rote Fabrik
Nov. 29 — Paris, France @ La Cigale
Two months removed from his Billboard cover story, Vybz Kartel is effortlessly maintaining his comeback momentum.
After attending last month’s Grammys (Feb. 2) on the heels of his very first nomination (best reggae album for Party With Me), Worl’ Boss received the Impact Award at the MOBO Awards, where he performed a medley of “Fever” and “Clarks.” This summer (July 13), he’ll join three-day headliner Drake as a special guest alongside PARTYNEXTDOOR, Summer Walker and Burna Boy.
Of course, the Caribbean music scene has been buzzing outside of Karrtel and dancehall. Earlier this week (March 3-4), Trinidad celebrated its Carnival with a explosive collection of new soca anthems. Machel Montano’s “Pardy” was crowned the Road March winner, racking up 267 plays. Bunji Garlin’s “Carry It” — a heavy favorite for the title — landed in a close second with 253 plays. The Arima-born artist also placed in third with “Thousand.” Montano’s victory marked his 11th Road March title, tying him with the late Aldwyn “Lord Kitchener” Roberts for the most of all time. The King of Soca also claimed first-ever Chutney Soca Monarch title with “Pepper Vince,” but he came in fifth place at Calypso Monarch behing Yung Bredda’s third place-finishing “We Rise.”
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Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
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Valiant, “Whole Lotta”
One of dancehall’s brightest stars, Valiant continues his streak of solid rap performances and trap dancehall offerings with “Whole Lotta.” Fingerpicked guitar introduce the track, eventually slinking into the background and serving as warm complement to the dark underbelly of the song’s dancehall soundscape. “Rick Owens beats currency/ Gyal, come with me cah yuh man n’ave no sense/ Travel ’round the world, we nuh travel inna comments/ Compare me and me take that as a offense,” he raps in the first, immediately establishing an arresting cadence that nods to the agression of classic gun chunes without visiting that space lyrically.
Kraff Gad, “Chant”
Leaning even more into trap than dancehall, Kraff Gad’s latest track is one that you can’t help but “Chant” along too. Kraff probably has the most interesting flow of his class; it shapeshifts effortlessly, going from rapid fire delivery one second to a more laid-back cadence that plays on the kick drum instead of the skittering hi-hats another. Less of a club track and more of a vibe, “Chant” offers an interesting look at what happens when you slow down the tempo and temper your trap with Jamaican patois.
Lila Iké, “Too Late to Lie”
One of the leading female voices in contemporary reggae, Lila Iké has been on a roll with her recent releases, including collaborations with Joey Bada$$ (“Fry Plantain”) and H.E.R. (“He Loves Us Both”). On this tender roots reggae ballad, Lila croons of the specific pain sourced from betryal and shattered trust. “I know my life will never be the same/ You made your choice and I will not complain/ Don’t raise your voice/ Please don’t speak my name,” she sings in the chorus. “Just say goodbye/ It’s too late to lie.”
Likkle Vybz, “Miss Independent”
Last month, we named Likkle Addi one of 10 Caribbean Artists to Watch in 2025. With the release of his Valentine’s Day-themed Love Lane EP, Likkle Vybz — Addi’s brother and fellow offspring of Vybz Kartel — lets it be known that he’s also one to keep an eye on. “Miss Independent,” a smooth, guitar-inflected dancehall midtempo dedicated to the baddest lady in the room, is a surprisingly solid showcase of Likkle Vybz’s vocal abilities. He tenderly sings the hook, bleeding into verses that echo his father’s cadence while opting for a notably lighter, flirtier tone.
Voice & Bunji Garlin, “Flatten”
Though he came up short for the Road March title at Trinidad’s Carnvial, Bunji Garlin was once again an inescapable voice and presence this season. Outside of “Carry It” and “Thousand,” “Flatten” stands as a winning tribute to the fetes of soca’s golden era. Anchored by relentless “Hand up, hand up, hand up” chants, vigorous drums and jaunty background brass, “Flatten” isn’t just a reflection of the road; it’s a reflection of the road before the commercialization of Carnival started significantly altering its vibe.
Lutan Fyah, “Pieces of Broken Soul”
“Abundance of weed, crack pipe and liquor so cheap, there’s a lot of hungry mouths to feed/ There’s a lot of hungry mouths to feed!” Lutan Fyah cries out in “Pieces of Broken Soul,” a heartwrenching reggae ballad that yearns for humanity to achieve some semblance of wholeness. Fyah’s voice is at once forlorn and cautiously hopeful, just like the horns that wail in the background across Zion I King’s lush roots reggae production.
Patrice Roberts, “The Great Escape”
“I’ll take you to a place not too far away/ Where all of your dreams come rushing in like a tidal wave/ You could be my Carnivl dahlin’/ And we gon’ fete till we fall in love,” sings soca queen Patrice Roberts. Written and produced by Tano alongside Kitwana Israel, Mical Teja Williams and Jovan James, “The Great Escape” is a classic, no-frills Carivnal jam. With her lyrics painting a gorgeous portrait of the road and Kyle Peters’ guitars adding a melodic touch to those pounding drums, “The Great Escape” is a welcome taste of musical escapism.
Yung Bredda, “We Rise”
This song helped Yung Bredda place third in his first-ever Calypso Monarch appeance — and it’s clear to see why. The Ato Williams-helemed track shifts Bredda away from soca and zess and toward classic calypso. His charismatic, animated vocal performance appropriately honors the message of the song: that Trinidad and her people will rise again despite the ever-changing forces of oppression that seek to keep them down. Written by Leeanna Williams, Kester Stoute and Ato, “We Rise” is calypso that you must listen and dance to — another stellar offering from Trinidad’s hottest new star.
Kes & Tano, “Last Drum”
Kes has been dominating the season with both the Full Blown-assisted “No Sweetness” and their own “Cocoa Tea,” and they’ve once again teamed up with longtime collaborator Tano for another anthem for the aunties. With his pleas for his lady to “show me your wild side,” Kes continues his streak of clean, digestible soca tunes that are perfect for all ages and audiences, while still maitaining the unbridled energy at the center of the genre.
Aidonia, “Waste Har Time”
Though Aidonia preceded the trap dancehall wave, he’s routinely proven that he can hang with the best of them in that space. As X-rated as the come, “Waste Har Time” is Aidonia’s personal lesson in seduction. “You don’t know what fi do with it/ She wine pon di cocky right to the tip,” he rhymes before slightly dipping in his falsetto for a hook that would make any avid reader of “spicy books” blush. “I get you wet, I make you cum/ She like when sex is fun/ We haffi go one more time when we done,” he proclaims.
“New York, that’s Jamaica outside of Jamaica!” Vybz Kartel told Billboard in his January cover story. And in March, the Big Apple will be able to prove Worl’ Boss correct. On Monday (March 3), Kartel announced his first U.S. live performance in more than 20 years, set to take place at Barclays Center in Brooklyn, […]