State Champ Radio dancehall
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After dominating the year with “Mute” and “Whites,” a late 2024 release that quickly took over the diaspora and received a remix from French Montana, Masicka is closing out 2025 with a tender new EP dedicated to the ladies.
Titled Her Name Is Love, the new EP arrives on Dec. 19 via Def Jam Recordings, following the October release of lead single “Keys,” which recently crossed over one million Spotify streams. For Masicka, “Keys” opens the door to the EP’s celebration of women, desire, closeness and the emotional richness that can be found in relationships. “Baby, your body speaks to me, free to me/ She got the keys to my heart,” he croons over the 1Mind & Westen Weiss-produced riddim.
“Her Name Is Love is really me tapping into another dimension of who I am, not stepping away from the grit, but showing that there’s more to the man behind the music,” he exclusively tells Billboard. “The ladies always support my work, and I wanted to create something that speaks directly to them… their stories, their strength, their emotions and the energy they bring to the culture. This EP is about connection, emotion and the different forms love can take.”
Despite waiting until the twelfth month of the year to unleash his new project, Masicka has had a very busy 2025. At August’s Caribbean Music Awards, he won four trophies, including dancehall song of the year (“Hit & Run,” with Shenseea and Di Genius) and reggae song of the year (“Been There Before,” with Romain Virgo). Those new pieces of hardware also complemented his string of buzzy collaborations with artists like Kranium (“Cut the Link”), Mahalia (“Different Type of Love”), Rvssian (“Rich Sex”) and Lila Iké (“Romantic”).
After a banner summer season, Masicka focused on helping his home country rebuild in the wake of this fall’s devastating Hurricane Melissa. His MADE foundation teamed with representatives from Member of Parliament Floyd Green’s office, renowned producer Dunw3ll and Red Stripe to bring food supplies, construction materials, steel and cement to St. Elizabeth.
Masicka made his Def Jam debut in 2023 with Generation of Kings, a 17-song set that reached No. 2 on Reggae Albums. That album, which featured collaborations with the likes of Dexta Daps and Spice, followed two independently released LPs: 2018’s Start from the Grung and 2021’s 438.
“Women always show me love, and this is my way of giving that energy back in a full, meaningful way,” Masicka says. “After the year I’ve had, everything aligned for me to put out a project that celebrates them and shows this refined side of my artistry.”
Check out the official artwork for Masicka’s Her Name Is Love EP below.
Masicka, “her name is Love”
Courtesy
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In an impressive year for Caribbean music, Jamaican-born, New York-based rising star Cjthechemist is one of the few artists who can say they produced the riddim for their own hit song.
“Me like good girls, weh love badness/ Me like independent bad b—h/ Drive-by any time, love e madness/ Me like f—k inna e party, me toxic,” goes the seductive intro of Cjthechemist’s Chronic Law-assisted runaway dancehall hit, “NY Girls.”
Built on a trap-dancehall foundation and laced with finger-picked guitar and solemn brass, “NY Girls” is an ode to the Big Apple’s finest women. But Law’s sultry vocal and the pair’s hyperspecific, borough-name-checking lyrics are what encouraged the ladies of NYC’s Caribbean diaspora to embrace the track as their latest anthem. Originally released on May 9, “NY Girls” quickly became one of the hottest songs in its namesake city, prompting other dancehall stars to put their own spin on the riddim.
Now that Armanii (“Link Up”), Valiant (“All Ova”), Kkrytical (“Bring It”), Yaksta (“Hooked on You”), Shaneil Muir (“Hurt”), Kraff Gad (“Maniac”) and Bayka (“Baddie”) have graced the “NY Girls” riddim, The Chemist has recruited Grammy-nominated rap superstar French Montana for the latest remix. After appearing on Masicka’s “Whites” remix earlier this year, French is a smart addition to “NY Girls.” His cadence pairs well with the foreboding nature of trap-dancehall production, and his Bronx roots only bolster the song’s claim to the title of new-age NYC anthem. On Friday (Nov. 21), The Chemist will unveil an NY Girls Riddim album, compiling 15 different spins on the hit riddim, including new tracks from Pablo YG, Dre Island and Dejor.
“He’s the OG,” Cjthechemist tells Billboard a few days after shooting the music video for the remix. “I wanted somebody from New York. He reached out, and I accepted. It’s a big move.”
After exploding onto the scene in 2021 with the smash “1Matik” riddim and his debut album, The Formula, Vol. 1, Cjthechemist has spent the past two years cementing his status as one of the most consistent producers in the dancehall game. At August’s Caribbean Music Awards, “Higher Life,” which he produced for Kranium and Chronic Law, earned three nominations, including dancehall song of the year.
Below, the multi-hyphenate speaks with Billboard about producing the “NY Girls” riddim, the contemporary Caribbean music that excites him most right now, and the new songs he has on the way with Dexta Daps.
What’s the first song you remember getting stuck in your head as a kid?
It was at DF Kelly Production. [1998’s] “Bashment Party” by Rayvon and Red Fox. That’s from primary school. I could visualize everything he was saying, so that song really stuck with me.
What are some of your earliest musical memories?
When I was around 14, I put out my first official track with an artist called “New York, New York.” I wasn’t even producing at the time, just making beats. I remember seeing my name on the CD, and it was mind-blowing — even though mi neva mek a dollar because I didn’t know the mechanics behind it. But that was the first time I was like, “Yo, I really want to do music.”
Do you remember when you started DJing?
I was a DJ before a composer. I was originally named DJ Frax, and I used to make mixes on an Atomix MP3 player. Once I found out how to record the mixes, I started selling them to my friends, which brought me to FruityLoops. And I just started making beats from there.
Which producers inspired you?
The first producer whose beats I really analyzed was Tony Kelly and his [1998] “Bookshelf” riddim. My father had the instrumental on the computer, and I would listen to it over and over — not to add to it, but to deconstruct it. And it was so simple. I knew immediately that it was the sound I wanted to go with.
Where did you first get the idea for the “NY Girls” riddim?
Well, just like KFC, mi nuh give out di full recipe. [Laughs.] I was talking to my friend RJ about what records work for him more; he said the uptempo stuff works better, but people still like to hear him talk slow. I thought I could meet him in the middle, so I found the right tempo for the beat, but didn’t know what to sing about. For him, “gyal songs” are not one of his biggest strengths, so I told him to sing about girls in his own way.
It was like a raffle: Dexta Daps was on the riddim, then Kranium, then Chronic Law. A bunch of us were in the studio together, and I was [playing] different beats. The first time [“NY Girls”] played, Dexta was like, “What is that?” and Chronic Law was like, “It’s mine!” It was like a tango. I played a different beat, and Dexta took that one, so Law came back the next day and started writing “NY Girls” on his phone. That was the first time I’d ever seen him write lyrics on his phone. He asked me to help him with the second part of the song, and the rest is history.
When did you realize the song was gaining traction?
From the day I put it out. But I didn’t think it was going to go outside of the New York diaspora. Chronic Law had a priority record called “ATL” that was a similar vibe, but more about gangsters, so the art of this was incorporating the ladies into it. Soon enough, people from England and Italy and all over started using the song and tagging us, so I knew it was bigger than New York.
Why do you think people are connecting to the song so much?
The intro alone is crazy. Then, Law used the word “independent.” He gave the ladies something to hold onto and talk about. Even if you’re not from Brooklyn, you’re still a bad b—h, and you’re still independent.
Why did Chronic Law deserve to get that first spot on this riddim?
It’s just the closeness of me and him, and the chemistry that we create. It’s good when you have a friend and a music partner you can make a promise to. We’re just trying to give each other hits, so we meet at a common ground. I grew respect for him. He’s a fun, phenomenal artist. He’s very quick, and he challenges himself and me as a producer.
Did you feel any pressure to follow the “1Matik” riddim?
Yes. I had the “1Rifle” riddim, and I wouldn’t call it a flop, but it wasn’t as successful as the “1Matik” riddim. You’re only good as your next thing. I don’t really try to “follow” success because it’s a high; if you try to follow it, you’re a crackhead. So, I just do me, my way. I only do music with people around me. I reach out to people, don’t get me wrong, but I prefer to cater to those in my immediate space.
Last year, you also produced Higher Life, which earned three nominations at the 2025 Caribbean Music Awards. How did that song come together?
Me and Kranium go way back; I’m one of these personal engineers. He called me one Sunday morning, saying, “Come give me a hit song.” Those were his exact words. I said, “Aight, cool, mi dere!” I played him the “Higher Life” beat, and it wasn’t his first pick. We started working on a song, and I was like, “I have something else mi wan yuh fi listen to.”
I played it, and Kranium started humming, so I called my friend Ajji to slide through, and we finished the song. Then, Kranium asked me if I thought Chronic Law would cut a verse, and I was like, “Consider it done.” The song was really good without Law, but he completed it.
When you think of dancehall right now, what three words come to mind and why?
“It’s something new.” The music has changed, but I think we’re going back to the authentic-ness of the sound. We have room for improvement on a lot of things, but I think we’re going in the right direction. Now is the time when we’re separating the boys from the men, especially now that Vybz Kartel is back. It’s a level ball game. Nobody’s above nobody right now.
You said that “nobody’s above anybody,” but, in your opinion, who’s running the place right now?
I run di place. Dem try and keep up, but it’s hard!
We haven’t gotten an album from you since 2021. When can we expect the next one?
Soon. We’ll have a series of albums. I’m working on something called Chemist Presents to show Chemist as an artist, Chemist as a producer, etc. And we’re going to have a part two of the last album [2021’s The Formula, Vol. 1]. We’ll also put all of these tracks on a compilation and feed it back to the people.
What else do you have planned for the rest of this year?
I have a song with Dexta coming called “Rose,” and another one called “Champagne.”
What sounds across the Caribbean are most exciting to you right now?
I like Yung Bredda’s record, “The Greatest Bend Over.” Lady Lava is really fresh, too; she has that dancehall energy even if she sings soca. She will be accepted in any room.
What do you want to see from dancehall next year?
More and more records breaking through. I think we need that back in the space. I think we’re equipped now, and we have the knowledge now to go about it the right way.
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Few phrases define the year in music and culture like Moliy’s scintillating directive to “shake it to the max.” The Ghanaian singer’s sultry voice reverberated across the globe, blending her own Afropop inclinations with Jamaican dancehall-informed production, courtesy of Miami-based duo Silent Addy and Disco Neil. Originally released in December 2024, Moliy’s breakthrough global crossover hit ascended to world domination, peaking at No. 6 on the Global 200, thanks to a remix featuring dancehall superstars Shenseea and Skillibeng. Simply put, “Max” soundtracked a seismic moment in African and Caribbean music in 2025.
Given its blockbuster success, “Shake It to the Max” was widely expected to be a frontrunner in several categories at the 2026 Grammys. In fact, had the song earned a nomination for either best African music performance or best global music performance, many forecasters anticipated a victory. So, when “Shake It to the Max” failed to appear on the final list of 2026 Grammy nominees in any category earlier this month (Nov. 7), listeners across the world were left scratching their heads — none more than gamma. CEO Larry Jackson.
“It pains me to have to acknowledge this, because Harvey Mason, Jr. is a longtime personal friend, and I also don’t attribute any of this directly to him,” Jackson tells Billboard in an exclusive statement. “But I found it to be deeply disappointing that [the Recording Academy] subjectively chose to disqualify Moliy’s “Shake It to the Max (Fly)” remix – one of the biggest songs in the world this year – from the Best Global Music Performance and African Music categories.”
The “Shake It to the Max” remix arrived within the 2026 Grammys eligibility period on Feb. 21, with new verses from Shenseea and Skillibeng, and a revised intro from Moliy, which satisfies the Recording Academy’s definition of a “new recording.” As per the 68th Grammy Awards Rules & Guidelines, “new recordings” are defined as material that has been recorded within five years of the release date.
Beyond the performance and production criteria, the “Max” remix also holds a unique ISRC (International Standard Recording Code), a globally recognized digital identifier assigned to distinct sound recordings and music videos, confirming it as its own distinct master recording. The remix is also the only version of “Max” that has ever been submitted for Grammy consideration, which complies with the Recording Academy’s rule that “only one version/mix of a recording is eligible in the GRAMMY process in any year.”
Due to its fusion of Ghanaian Afropop and Jamaican dancehall, gamma. submitted the “Shake It to the Max” remix for consideration in the best global music performance category. On Sept. 20, the Recording Academy notified the Jackson-founded label that the song was deemed ineligible in that category but remained eligible for best music video and song and record of the year. The Academy did not allow the “Max” remix to compete in a different genre category, despite compelling arguments for the song fitting within the parameters of pop, melodic rap or African music.
“It really is unfortunate that ‘Shake It to the Max’ isn’t eligible in the best African music performance and best global music performance categories this year,” the Recording Academy says in an exclusive statement to Billboard. “We all acknowledge it is a massive song with significant cultural impact. Unfortunately, but quite simply, it was submitted as a remix, and as per our longstanding and published rules, remixes are just not eligible in these categories. Regardless, our goal is always to honor, respect and fairly represent creators and the music they make — so we will keep working to improve our entry processes and eligibility guidelines.”
According to gamma., the Recording Academy notified the label of the song’s ineligibility on Sept. 20. The gamma. team tried to appeal the decision from Sept. 20-26, looping in Jackson on Oct. 1 — who then notified Mason Jr. on Oct. 2, the day before first-round voting began.
“To be disqualified because we decided to call it a remix instead of ‘Part Two’ in our submission process is an interesting choice,” Jackson says. “This is especially odd, given the fact that 50% of it is a new composition… The answer of ‘That’s just the way we do things, and that’s just the rule’ doesn’t feel respectful toward what these artists achieved.”
In addition to topping U.S. Afrobeats Songs (26 weeks), Rhythmic Airplay and World Digital Song Sales, the “Max” remix also reached the top 10 on R&B/Hip-Hop Airplay (No. 8), helping the song reach No. 44 on the Billboard Hot 100 — one of the best showings for a 2020s dancehall track on Billboard’s marquee singles ranking. Crowned one of the defining songs of the summer by Spotify, “Max” also garnered remixes from Sean Paul, Major Lazer and more major artists.
Notably, “Shake It to the Max” is not the first time a global crossover collaboration — even one initially dubbed a remix — lit up the nominations ballot. Luis Fonsi and Daddy Yankee’s “Despacito,” which received a Justin Bieber remix three months after the release of the original, earned nominations for best pop duo/group performance and record and song of the year at the 2018 Grammys, ultimately losing all three. The word “remix” does not appear in the title of “Despacito” on any publicly available GRAMMY-related documents or media, despite appearing in the song’s title across DSPs. A similar naming convention was utilized for Ariana Grande’s “The Boy Is Mine.” On DSPs, the Grammy-nominated version of the song featuring Brandy and Monica includes the word “remix” in the title.
There is also a Grammy category specifically for remixes. The best remixed recording category honors “remixed recordings (‘remixes’) where the remixer takes previously recorded and released material and creatively adds to, alters or transforms it in such a way as to create a new and unique performance.” The 68th Grammy Awards Rules & Guidelines also state that “the addition of a vocal performance by a featured artist without substantive change to the original music recording is not eligible as a remix.” The Skillibeng and Shenseea-assisted “Max” remix does not substantively change the music of the original track beyond the addition of new vocal performances by featured artists, so it would not have been eligible to compete in this category.
“How symbolically discouraging is it for up-and-coming artists from Africa or the Caribbean that such an undeniable global success may have a likelihood of not being honored by the Academy in the future because of rigid conventionalism,” Jackson continues. “The concept of it all is at best devoid of any common sense or any fluidity in thought, and at [worst], screams the lack of leverage that independent artists and independent music companies systematically have against the machine.”
Moliy signed to gamma., a fast-growing independent media company rivaling major labels in areas like music distribution, in 2024. At the 2026 Grammys, hundreds of indie artists will compete for golden gramophones, including Durand Bernarr, Destin Conrad and Shaboozey — though they’re still in the minority in the ceremony’s biggest categories compared to artists on majors.
Despite two global smashes in “Max” and Full Blown & Yung Bredda’s “The Greatest Bend Over” this year, Caribbean music continues to be sidelined at the Grammys. While this year’s all-Jamaica best reggae album lineup is cause for celebration (non-Caribbean winners have courted controversy as recently as 2022), the region’s myriad culture-driving, arena-headlining sounds (soca, konpa and bouyon, chief among them) remain overlooked.
Even though “Max” will not get the chance to compete for a Grammy, hopefully its absence at the 2026 ceremony encourages the Academy to fine-tune their rules regarding remix submissions — and better serve and honor Caribbean artists and music.
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When Hurricane Melissa made history as the strongest storm ever to make landfall in Jamaica, the island nation’s biggest stars immediately sprang into action to help provide relief to their home’s most devastated areas. Now, led by Sean Paul, Shaggy and Kes, several of the Caribbean’s brightest stars have teamed up for a massive benefit concert to further support relief efforts.
Announced Wednesday (Nov. 12), the Jamaica Strong benefit concert will take place Dec. 12 at UBS Arena in Belmont Park, New York. At press time, additional confirmed performers include Chronic Law, T.O.K, Tessane Chin, Aidonia, Inner Circle, Ky-Mani Marley, Teejay, Richie Stephens, Gramps Morgan, and Mikey Spice, with more artists yet to be announced. Pre-sale begins on Thursday (Nov. 13) at 10 a.m. E.T., while general on-sale kicks off on Friday (Nov. 14).
“This is more than a concert — it’s a movement,” Jammins Events organizer George Crooks said in a statement.
With a death toll of over 75 across the Caribbean, Hurricane Melissa significantly impacted the region, particularly Jamaica, Cuba and parts of Haiti. Jamaican superstars like Shenseea, Beenie Man, Sean Paul and Spice have all documented their respective relief efforts via their social media channels.
Earlier this month, Shaggy spoke with Billboard about the destruction he witnessed in the days immediately following Melissa’s landfall. “We got [to Jamaica] early enough to reach the people, because it took me around six hours to get from Kingston to St. Elizabeth in Black River, which is normally a two-and-a-half-hour drive at most,” the reggae icon said. “We had to chop [tree] limbs down, move things out the way, and drive through high puddles of [runoff], so we got there in the middle of the night. At that point, all we could do was pass water out, so we had to regroup and drive six hours back to Kingston. The next day, we went to the Junction side of St. Elizabeth, which took us four hours. The square itself was shut down. It was ground zero because it wasn’t livable anymore. Nobody could stay there.”
UBS Arena is a worthy venue for the benefit concert, given its connection to New York’s Caribbean diaspora. This spring, Billboard reported that, in under a year, New York’s UBS Arena hosted five $1 million-grossing Caribbean-headlined shows across four different genres. From Buju Banton and Carimi to Machel Montano and Beres Hammond, the rhythms of reggae, dancehall, konpa, and soca ricocheted across the arena in 2025.
As Jamaica continues to rebuild, its people can find a moment of solace in the 2026 Grammy nominations. At the upcoming ceremony, all five nominees for best reggae album — Vybz Kartel, Lila Iké, Mortimer, Jesse Royal and Keznamdi — hail from Jamrock.
Check out the official Jamaica Strong benefit concert announcement below.
Trending on Billboard As Jamaica picks up the pieces in the aftermath of Hurricane Melissa’s historic devastation, the global reach of their artists remains cause for celebration. On Friday (Nov. 7), the Recording Academy revealed the five nominees for best reggae album at the 2026 Grammy Awards — and Jamaican musicians snagged every single spot. […]
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Not much rocked the Caribbean in October like Hurricane Melissa.
The historic storm made landfall in Jamaica (Oct. 28) and Cuba (Oct. 29), wrecked parts of Haiti, and caused heavy rain that resulted in fatal flooding across New York City. With a death toll of 75, as of Tuesday (Nov. 4), the devastation of Hurricane Melissa has spurred immediate action and support from some of Jamrock’s biggest stars. Shenseea, Beenie Man, Sean Paul and Spice have all documented their respective relief efforts via their respective social media channels, and, on Monday, Shaggy spoke with Billboard about what he saw on the ground in the immediate aftermath of the storm.
“We got [to Jamaica] early enough to reach the people, because it took me around six hours to get from Kingston to St. Elizabeth in Black River, which is normally a two-and-a-half-hour drive at most,” the reggae icon told Billboard. “We had to chop [tree] limbs down, move things out the way, and drive through high puddles of [runoff], so we got there in the middle of the night. At that point, all we could do was pass water out, so we had to regroup and drive six hours back to Kingston. The next day, we went to the Junction side of St. Elizabeth, which took us four hours. The square itself was shut down. It was ground zero because it wasn’t livable anymore. Nobody could stay there.”
In addition to Shaggy’s efforts alongside the Global Empowerment Mission, verified aid channels include World Food Programme, Project HOPE, GiveDirectly, American Friends of Jamaica, Food for the Poor and Friends of Caritas Cuba.
In lighter news, Trinidadian soca star Mical Teja made headlines after he shared a picture with his locs cut off, A$AP Rocky once again stoked marriage rumors by referring to himself as Rihanna’s “loving husband,” and Chronixx returned with Exile, his first new album in eight years.
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:
Trilla-G & V’ghn, “Take Me as I Am”
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“I’m on an adrenaline run at this point,” Grammy-winning reggae icon Shaggy tells Billboard less than a week after Hurricane Melissa made landfall on his home country of Jamaica. “I was around when [Hurricane] Gilbert happened, which [was] a Category 3… when I heard [Hurricane Melissa] was a Category 5, I [couldn’t] imagine what this would be.”
Last week (Oct. 28), nearly 40 years after Gilbert, Hurricane Melissa became the strongest storm to strike Jamaica in the island’s history. In the following days, the storm also made landfall in Cuba (Oct. 29), devastated parts of Haiti, and brought residual rainfall and intense winds to the rest of the Caribbean — and, later, to the Northeastern coast of the United States. According to The New York Times, the death toll in Jamaica from Hurricane Melissa is now a devastating 28 — and that’s with dozens of communities still awaiting aid, as local authorities and humanitarian workers continue clearing debris.
Shaggy, who topped the Billboard Hot 100 twice in 2001 with the reggae crossover classics “It Wasn’t Me” and “Angel,” was one of the first homegrown superstars to spring into action and spearhead relief efforts, alongside Beenie Man, Spice and Sean Paul. Once the airports opened on Thursday (Oct. 30), Shaggy mobilized a network of on-the-ground partners, including humanitarian NGOs and private donors, to coordinate and fund flights carrying food, water, medical aid and household essentials to Jamaica’s most impacted areas.
“We got [to Jamaica] early enough to reach the people, because it took me around six hours to get from Kingston to St. Elizabeth in Black River, which is normally a two-and-a-half-hour drive at most,” Shaggy tells Billboard. “We had to chop [tree] limbs down, move things out the way, and drive through high puddles of [runoff], so we got there in the middle of the night. At that point, all we could do was pass water out, so we had to regroup and drive six hours back to Kingston. The next day, we went to the Junction side of St. Elizabeth, which took us four hours. The square itself was shut down. It was ground zero because it wasn’t livable anymore. Nobody could stay there.”
According to Reuters, Hurricane Melissa left nearly half a million Jamaicans without power and destroyed critical water systems and supply lines. With the island’s southwestern parishes, specifically St. Elizabeth and Westmoreland, remaining difficult to access due to flooding, landslides and debris, thousands of Jamaicans remain housed in emergency shelters, which presents an entirely different set of challenges, such as overcrowding. Whether they’re braving shelters or making their way to the eastern side of the island, families across Jamaica are still reeling from Hurricane Melissa.
Shaggy helps with post-hurricane relief efforts in Jamaica on November 1, 2025.
JAY WILL
“The devastation and shock are real,” Shaggy notes. “For some of these kids, therapy is going to be [very important]. It’s not just food and clothes and shelter.
“You’re never really prepared for something like this; It’s the biggest [hurricane] on record,” he continues. “[The government is] doing their best to see what they can do to get in there. Large trucks are going to have a hard time going through the debris, so you’re going to need the military and urban development to clear up the roads so that supplies can come in, and that might take a couple of days. Smaller vehicles have the advantage of getting in there, so we’ve been doing that so that people are not starving until the big aid comes.”
In addition to delivering everything from roofing supplies and Pampers to “flashlights, batteries, everything that you can think of putting on a list,” Shaggy has also teamed with Global Empowerment Mission (GEM), which has been on the ground on the island since Hurricane Beryl in 2024. “Food for the Poor, of course, also has a major headquarters in Jamaica,” Shaggy adds. “I’ve done lots of work with them. Sean [Paul] is working with them closely right now, so I decided to work with GEM to spread it all around. There’s also the government site, www.supportjamaica.gov.jm.”
Jamaica is home to some of the music industry’s biggest and most iconic voices — from Shaggy himself and reggae iconoclasts like Bob Marley and Peter Tosh to dancehall superstars like Vybz Kartel and Shenseea. At the top of this year, Kartel made his Billboard cover debut with a whirlwind “24 hours in Kingston” interview ahead of his historic Freedom Street concert. This spring, Billboard also reported that, in under a year. New York’s UBS Arena hosted five $1 million-grossing Caribbean-headlined shows across four different genres. In days immediately following the storm, AccuWeather experts estimated up to $52 billion in damages and economic loss from Hurricane Melissa across the Caribbean.
“I don’t think anybody’s in any festive mood at this point,” Shaggy says of the future of Jamaica’s music and live entertainment industries post-Hurricane Melissa. “Jamaica is a land that doesn’t have any shortage of talent or artists or culture; it’s easier to get aid from people because of our cultural status. But we’re still not getting enough coverage. The minute you’re not in the press is when the aid goes, unfortunately. Keeping up awareness in the press is something that we need to do.”
Additional verified aid channels include World Food Programme, Project HOPE, GiveDirectly, American Friends of Jamaica, and Friends of Caritas Cuba. Click here to see how more celebrities have been reacting to Hurricane Melissa.
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In the wake of Hurricane Melissa, a devastating Category 5 hurricane that made landfall in Jamaica (Oct. 28) and Cuba (Oct. 29) earlier this week, several musicians have offered words of support and shared resources to help rebuilding efforts.
The storm made landfall in New Hope, Westmoreland, Jamaica on Tuesday, marking the strongest storm in the island’s history. Hurricane Melissa surpassed 1988’s low-end Category 4 Hurricane Gilbert as the strongest such storm to hit the island. On Wednesday, the hurricane hit Cuba’s southeastern province of Santiago de Cuba. Hurricane Melissa has since continued its journey across the North Atlantic Ocean, bringing copious rain and intense wind to the Northeastern United States. On Thursday (Oct. 30), The New York Times reported over 20 deaths in Haiti, five in Jamaica and one in the Dominican Republic.
On Thursday, dancehall queen Spice shared a photoset chronicling the wreckage on her official Instagram page. “Together we gonna build back stronger,” she wrote in a caption highlighting her Grace Hamilton Foundation. “Even if it’s as small as [manpower] to help us for even a day, please reach out and let’s build together as a team!” Her frequent collaborator, King of Dancehall Vybz Kartel, also took to Instagram, reminding his followers, “This is not about politics, it’s about Jamaica. So, help if you can, and pray if you can’t, but keep your politics to yourself.”
Missy Elliott, who collaborated with Kartel on 2005’s “Bad Man,” wrote, “Prayers up for everyone in Jamaica,” on X, followed by several Jamaican flag and prayer hands emojis. When reminded to also pray for those in need in Cuba and Haiti, Eliott responded, “Absolutely.”
More of the island’s biggest stars sprang into action to assist aid efforts. Dancehall icon Beenie Man assembled a team to deliver supplies to hospitals in St. Elizabeth; “Bruk Off Yuh Back” singer Konshens shared an informative video directing social media users to government-approved aid channels, and Shaggy posted infographics explaining the collection process for those donating supplies from the Kingston area. Last week, shortly after the release of his long-awaited Exile LP, Grammy-nominated reggae star Chronixx dedicated an acoustic rendition of the aptly titled “Hurricane” to his beloved home country. “Stand firm, Jamaica,” he captioned the video.
According to Rolling Stone, the Catherine Hall Sports Complex, a Jamaican stadium that hosts the annual Reggae Sumfest music festival, is in the midst of rebuilding after being completely submerged in water. In addition, the Jamrock Reggae Cruise, an annual ship-set festival co-founded by Damian Marley, had to be rerouted to Cozumel, Mexico. Notably, all of the Marley properties in Jamaica, particularly the Bob Marley Museum, have been temporarily repurposed as relief centers for those in need of aid, food, and supplies.
Silent Addy, one of the producers of “Shake It to the Max,” the year’s biggest crossover dancehall hit, processed his emotions in an Instagram Story. “Finally heading home and really taking in everything Hurricane Melissa did to Jamaica,” he wrote. “It’s been hard to even pause and process… just ready to be home with my family and rebuild.”
Meek Mill also sent “prayers to Jamaica” via X, while RiotUSA, Ice Spice’s go-to producer, revealed that he was actually on the island when Hurricane Melissa hit. “I’m alive. I’m safe! [Fighting] to get off the island,” he wrote. “This is the most traumatic experience ever.”
Sevana, who starred in 2024’s Bob Marley: One Love film, lamented, “My beloved country. God know.” Grammy-nominated dancehall-pop star Shenseea expressed similar sentiments, writing “Praying for everyone on my island right now… We’re strong people and we’ll get through this together,” in a now-expired Instagram Story. On X, Armanii, who recently performed at Billboard’s R&B/Hip-Hop Live concert, wrote, “And once Jamaicans come together we are unstoppable! We will rebuild 10 times stronger, prayers up!”
As Jamaica, Cuba and several other Caribbean nations begin to pick up the pieces, residents across the islands have highlighted World Food Programme, Project HOPE, GiveDirectly, American Friends of Jamaica, Friends of Caritas Cuba, and the Jamaican government’s official hurricane relief portal as verified channels of support.
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Since it first roared onto the Billboard charts with 2009’s Guns Don’t Kill People… Lazers Do LP, Major Lazer has established itself as one of the most innovative collectives in mainstream music through its fusion of EDM, dancehall, hip-hop, reggaetón, trap and soca. Now, the group’s three current members — Diplo, Walshy Fire and Ape Drums — have officially added a fourth name to the lineup: America Foster.
A 28-year-old British-Jamaican artist, model and content creator, America Foster hails from the outskirts of London in South Buckinghamshire. As one of seven children in a household dominated by boys, she quickly learned how to lean into her knack for entertaining to ensure her voice was heard. She remembers developing her freestyling as a party trick as young as 10, and around age 15, she started playing around with accents and voice acting, sending friends into laughing fits with prank calls and her imitations of the London Underground voiceover. As she entered the final years of her adolescence and her creative friends started seriously pursuing their dreams, Foster brushed off countless requests to hop in the booth and freestyle over a track.
“I was completely opposed to it,” she recalls. “And then one of my friends [convinced] me to come to their studio session, the producers spun around in their chairs like, ‘Your turn!’ I was like, ‘Not happening!’ That ended up being the first time I ever put my vocals on a studio recording.”
Foster is the first to admit that those early songs weren’t the strongest — “They were very commercial, Chris Brown dance-pop; I call it McDonald’s music” — but she eventually landed on a sound that distilled the authenticity, cultural fluency and bubbly quirk of her off-the-cuff social media content, which garnered her hundreds of thousands of followers pre-Major Lazer and resulted in a Red Rat-informed approach to dancehall toasting and singjaying anchored by her striking charisma.
After a few viral clips caught Diplo’s attention, Foster quickly took advantage of the potential music industry connection. She thanked the Grammy-winning DJ for following her, and the two started exchanging music, culminating in an in-person meeting at his Roundhouse show last September. There, the pair planned a studio session in Jamaica, where Foster met the rest of Major Lazer, and by Paris’ Fête de la Musique in June, she made her live debut with the group. In July, Foster officially announced her addition to Major Lazer via Instagram.
Arriving as the group’s youngest and first woman member, Foster made her official Major Lazer debut with a freestyle remix of August’s “Gangsta,” a shatta-informed track that also features Kybba and Busy Signal. A few weeks later (Oct. 24), Foster joined forces with buzzy Toronto artist Sadboi and Emmy-winning choreographer Parris Goebel for “Bruk Down,” a standout ‘90s dancehall-inspired track that doubles as Goebel’s musical debut. Goebel also co-directed the track’s flashy music video alongside Philippa Price.
“She understands what she’s good at, and she understands that she’s got a market for it. It’s genius to me,” Foster tells Billboard about working with Goebel. “I’ve heard some of her songs that are due to come out, and they are amazing — especially for the dance community.”
In a candid conversation with Billboard, America Foster details her origins, integrating herself into the Major Lazer family, fashioning “Bruk Down” out of a freestyle and what else she’s cooking up with her new groupmates.
What are some of your earliest musical memories?
[They’re] definitely attached to dance. Rhythm and beat [were] my first introduction [to music]; I never really heard lyrics for what they were when I was younger. I’d be able to recite a whole song, but I wouldn’t be able to tell you the content.
Where do you consider home?
Growing up, I lived just on the outskirts of London. But my heart was always in Northwest London; I was always there. That’s where my mum and her sisters were raised, and my gran still lives there. During weekends, half-terms and school holidays, I’d be in London. And then I’d be living in South Buckinghamshire, which is where I was raised.
How did you land on the “America Foster” sound?
Eight years ago, when I first got into the studio, I didn’t understand my sound, so I started trying to develop it. I really captured my sound in the last four years. I made a couple of demos that were getting close, but they weren’t the final sound, which were the demos that I actually sent to Diplo.
You connected with him over Instagram, right?
He came across my page from a viral moment; I’ve had quite a few of those on Instagram from my content creation. I was trying to figure out how to transition into being a respected artist, so I started dropping bits of content surrounded by my music. Whether I’m talking about the weather or my menstruation, I put it in a rhyme pattern and people love it — especially because you don’t expect me to have such a strong Jamaican accent, because I’m light-skinned and from England, and my name’s America. It’s like, “What the f—k is going on?” [Laughs.]
He followed me off a viral freestyle, and I was really excited, because I was seriously making music at the time. I knew that he was behind Major Lazer, and I also know he was behind [M.I.A.’s] “Paper Planes.” I grew up to that song, just banging it out constantly. So, obviously, I shot my shot. I thanked him for the follow and sent about four demos. We started exchanging music on WhatsApp, and he’d send me beats he heard my voice on.
Last September, he came to London, and I met him at the Roundhouse while he was performing. The next day, we went to a football game and planned for a studio session in Jamaica, which is where I met the rest of Major Lazer.
What was that first meeting like?
It was amazing, we just clicked. Me and Walshy were bantering left, right and center; it felt like I had known these guys for ages. It didn’t feel like the first initial meeting at all. I went to Diplo’s home in Jamaica, and it’s quite a showroom home, but it still has this beautiful, homely vibe. I had 32 hours in Jamaica, and we made six songs, one of which was “Bruk Down.”
“Bruk Down” started as a freestyle, right?
Diplo just had the beat running, and we all knew it was f—king hard. He kept it running to see if we came up with anything; he even freestyled a little bit, which was quite funny. And then I just heard, “Bruk out, bruk out, waan fi.” I knew I liked that, but I wanted to repeat it twice, and then change it a bit the third time. Walshy was in the room, and he was like, “Yea, man, dat fyah!” Diplo also liked it, so I continued freestyling and writing at the same time.
It’s crazy how the final version sounds like a completely different song from how it first started. My initial freestyle was shared with Parris Goebel and Sadboi, and when I heard it with their parts, it sounded so good. I was only briefly familiar with Sadboi, and I hadn’t connected the dots about who Parris was. I didn’t know she was making music. I was like, “Oh my God, my music video’s gonna be sick!” [Laughs.]
Did you have any initial reservations about pursuing your music career through a collective as opposed to just going solo from the jump?
About two years before Major Lazer was on the table, I thought about being in a girl group. And I was like…. no. I just couldn’t see that for me. Part of me felt like I had to really weigh it up and see what the exit would look like.
When Major Lazer came into the picture, I was like, “Oh my God, this is the best group that could have ever asked me to join them.” Firstly, it’s all boys. Secondly, they’re not vocalists; they’re producers and DJs, so I’d be the only vocalist, which gives me the opportunity to still be a solo artist.
Being the only woman and the youngest, what made you trust these guys?
My familiarity [with them] through their music. Through being a consumer, I felt like I knew them already. That’s why it felt so family-oriented in the first meeting. I’m big on signs, energy and spirituality, and I just followed my gut.
What does your contract look like?
It’s a featured artist agreement. I’m contracted as the fourth member.
So, you’re technically an unsigned artist?
Yes.
Is America a stage name or your given name?
Birth name. I was orphaned by the age of four, and my mum gave me my name. I look at it as if that was the best and final gift that my mum could have given me. I can’t change it, even though I hated the name when I was younger. I’m the only one out of my siblings with the name of a country or state or continent. I don’t have a middle name.
My mum knew something that no one else knew. She knew what she gave birth to. I can’t put a different name on my stardom. I don’t feel like that would be paying homage to my mum. She would have been a performer if she was still about; she had the essence that I do, but I’ve just been able to live and show it.
What else from your childhood do you see reflected in the music you make today?
My inspirations. When I’m freestyling, I hear Beenie Man, Elephant Man, Vybz Kartel, a little bit of Lady Saw, all of that. I hear their attitude in my freestyles. The sound I’m running with at the moment is Red Rat’s; I’m paying homage to him. I’m tuning in to the things that made me love music in the first place, taking elements of all of that at combining it with who I am to produce something that the world will just say “yes” to.
How do you anticipate your content creation might evolve as your artist career grows?
I’m not creating content; I’m capturing moments. There’s a difference for me. It’ll be exactly the same. I’ll just be capturing bigger moments and things that people will want to see: being on the road with the boys, backstage banter and little humorous exchanges.
Do you feel embraced by Major Lazer’s fanbase?
I’m definitely taking it in. With my social media content, I was becoming a little bit more known in London. A year before [joining] Major Lazer, I went to Barbados, and someone recognized me. That was like one of the first moments that I realized how far my reach is.
Major Lazer’s fan base is great. They’ve taken me in like I’ve been a member since day one. It feels like they have literally said, “Oh, Diplo, you like her, yeah? Walshy? Cool, we like you too.”
Top three Major Lazer songs of all time?
“Pon de Floor,” “Hold the Line” and “Watch Out for This (Bumaye).”
MOLIY was working at a Victoria’s Secret in Orlando, Fla. after dropping out of college at 19 when her back started hurting from all the restocking. One day, “they were calling me in for work. I just muted my phone and never went back,” she tells Billboard with a chuckle.
She moved back home to Accra, Ghana soon after and decided to pursue music full time after her friends connected her to local creatives, and she constantly found herself in the studio. MOLIY grew up around all kinds of music: Her mother owned a restaurant/bar called The Gomeries right next to their house that played Céline Dion, Michael Jackson and Whitney Houston all night long. Meanwhile at the crib, MOLIY listened to Rihanna, Beyoncé, Missy Elliott and Keri Hilson as well as Ghanaian acts like Eazzy, Itz Tiffany, Sister Deborah and MzBel. Her eclectic music taste, paired with the rise of Nigeria’s subcultural alté scene that has also influenced some Ghanaian artists, “opened my mind to thinking even though I may not sound like the ideal Ghanaian artist, I could create a space for myself,” she says. “That just kept me going.”
Months after dropping her introspective, Afro-fusion debut EP Wondergirl, MOLIY garnered buzz in 2020 when she appeared on fellow Ghanaian artist Amaarae’s Afropop bop “Sad Girlz Luv Money.” The remix, featuring Kali Uchis, reached No. 80 on the Billboard Hot 100 the following year, and it hit No. 28 on Rhythmic Airplay.
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Then at the end of last year – after months of teasing it with a now-viral dance of her whining her waist while covering her face with her hands – MOLIY released “Shake It To The Max (FLY),” an Afro-dancehall club banger that’s bound to make any listener “bend your back,” “bend your knees” and buss it down once the bass-bumping production and scratching hits. Jamaican stars Shenseea and Skillibeng – the latter of whom assisted another African darling, Tyla, on last year’s “Jump” – enhanced the dancehall vibes when they hopped on the remix. And Davido, Victoria Monét, Ciara, J-Hope, Spice and many more have been shaking it to the max all over the internet.
With the help of the remix, “Shake It To The Max” has spent six weeks (and counting) at No. 1 on U.S. Afrobeats Songs and is in the top 10 of the Billboard Global 200 and Billboard Global Excl. US. Four years after her feature on “Sad Girlz Luv Money,” MOLIY has returned to the Hot 100, as “Shake It to the Max” has reached No. 55 (chart dated June 21), and she’s back at radio with the song reaching No. 18 on R&B/Hip-Hop Airplay. “Shake It to the Max” has registered 47 million official on-demand U.S. streams and 289.3 million official on-demand global streams (through June 12), according to Luminate.
Billboard spoke with June’s African Rookie of the Month about reflecting on the success of “Sad Girlz Luv Money,” creating a more “upbeat and energetic” vibe with “Shake It to the Max,” officially meeting Vybz Kartel after performing with him at his first U.S. show in 20 years, and anticipating the remix with him and Stefflon Don.
How did your upbringing impact the music you listen to and the music you make?
Although we have our own local music heavy on rotation, we’re also very in touch with worldwide music. There’s a lot of music that tends to cross over especially from major acts, like Céline Dion, MJ, Whitney Houston, Chris Brown. I went to an international high school, so [I was] around students from different cultures who would play stuff. I was lucky enough to have heard lots of different styles that I was drawn to, like hip-hop, R&B, dancehall, Afrobeats, highlife, hiplife.
And what kind of music do you listen to now?
I’m listening to Brazilian funk, Caribbean music, soca, EDM-infused Caribbean music as well like Major Lazer. I’m trying to create a sound that’s in that realm, so that’s all I listen to right now.
While you were in Florida, you started studying business administration in college but eventually dropped out. What made you decide to move back to Ghana?
My brother and sister were able to figure out [work and school] a lot better. I don’t know why I didn’t feel like it was working. I don’t think I was making friends that much, and the whole job thing was not what I expected when I was moving to the U.S. There’s a certain fantasy of how people assume leaving Ghana and going to live outside is. For more fortunate people with heavy bank accounts, it’s probably easier to adjust. But when you’re trying to hustle and figure it out by yourself, and you’re young, it’s difficult. I gave up. I wasn’t down for that, so I went back to my mom. I’m like, “Mom, I’m home!” [Laughs.]
How did you transition into making music full time in Ghana?
It started with me listening to YouTube beats and trying to write music. I would pour myself a glass of wine in the middle of the night and just be vibing, freestyling melodies and writing. I was also observing the music industry in Ghana and Africa, especially in Nigeria, because Nigeria has this whole scene of alternative music, and people were coming out with some crazy sounds — sounds you wouldn’t expect to hear from an African. It opened my mind to thinking even though I may not sound like the ideal Ghanaian artist, I could create a space for myself. That just kept me going.
What kind of sounds and styles does your music encompass? How would you describe your music in your own words?
It’s very worldwide. I sing in English even though I could try to tap into some of the Ghanaian dialects like Twi. Sometimes people ask me, “Why don’t you make music in this language?” That’s because I feel English is the most universal language. My sound is worldwide, but it’s Afro-fusion because you can hear it in my accent, in my wordplay and even in some of things I speak about. It’s very influenced by hip-hop, dancehall and a lot of the music I grew up listening to.
I remember early stages of being obsessed with music. The first stage was pop, which is Michael. And then the second stage was hip-hop. Oh my God, did I love Eminem! I would just listen to an entire song, especially “Mockingbird,” and write down all the lyrics and try to sing it in the same way. Then after hip-hop, I graduated to dancehall. From dancehall is when I started listening to Afrobeats because at that stage, the sound was growing globally. I was being introduced to Wizkid, Davido and Burna Boy. I went through all these stages of loving these genres so much that now [my music] is a combination.
Prior to the success of “Shake It to the Max (FLY),” you debuted on the Hot 100 in 2021 with the Kali Uchis remix of Amaarae’s “Sad Girlz Luv Money.” Four years later, what does the success of that song mean to you and your career?
When that happened, it made me a big believer in what I was doing. You can have success at home, but once it’s crossing over to the U.S. and the rest of the world, it grew my faith a lot more. It’s a reassuring feeling because I’m living in my purpose when I’m making my music. When something like that happens, it’s a big pat on the shoulder like, “OK, babes, you’re on the right track. Keep going.”
Outside of “Sad Girlz Luv Money,” you appear on another song on Amaarae’s THE ANGEL YOU DON’T KNOW album: “Feel a Way,” alongside your sister Mellissa. You and Mellissa are also both featured on Boj’s “In a Loop” in 2022. Were those merely coincidences, or did you two purposefully hop on those songs together?
Most of the time, we’re together. When I’m going into a session, I need her moral support. At the time, I felt like I would be more comfortable if she was there. She’s also super creative and talented, so if I needed help, she could tap in. Boj requested the both of us to pull up. But with Amaarae, she came with me to support me, but while she was there, she’s like, “Wait, I have this idea.” And then Amaarae is like, “Well, do it.” [Laughs.] That’s how that happened.
At the 2025 Telecel Ghana Music Awards, Stonebwoy shouted you out during his acceptance speech when he won best reggae/dancehall song of the year, saying that he “respected” how you’ve been “taking [dancehall] where nobody expected it to go within a very short while.” Why have you gravitated toward dancehall so much?
I wouldn’t say my initial decision was to just make dancehall music. I knew I wanted to make something that was upbeat and energetic, something people could dance to. Most of my previous music people would say is chill, sexy and vibey. I would hear comments like, “I love to hear your music when I’m taking a drive” or “I love to hear your music when I’m in my room chilling with my girl.” But I want to be heard in different places. I want to be heard in the club. I want to be heard at the festivals. When I met [producers Silent Addy and Disco Neil], it was a combination of me knowing I wanted to create a certain vibe and knowing that these guys make dancehall, we merged these two ideas and went from there.
Prior to “Shake It to the Max,” “Shake It” was featured on your 2022 EP Mahogany St. Is there any relationship between the two songs?
No, not at all. [Laughs.] It’s so funny because when I was teasing “Shake It to the Max” and it wasn’t out yet, I could see the streaming numbers for that song going up because people thought they were searching for it and they were gonna find it there.
Take me back through the making of “Shake It to the Max.”
I was in Orlando and I was speaking to this producer Tejiri, he worked with Tems on “Wait For U.” I found him on Instagram and I’m like, “Hey, let’s work.” We were trying to find ways to make it happen. I went to LA specifically to work with him, and then the second time, he was like, “I’m coming to Miami and I’m going to be working with a whole bunch of different people. You should pull up.” So we linked up. I met a couple different producers: Mr. NaisGai (he works with Rauw Alejandro), Silent Addy and Disco Neil. Tejiri was trying to work on something with them for their artists’ projects. At the time, we were thinking, “OK, MOLIY is here, maybe we can create something for her to collab on the projects, or we could just make some records.” Some of the work we did was a collaboration between Tejiri and Silent Addy and Disco Neil.
A year later, we had had three separate sessions together. The last session was in August, and we created three or four songs. The last one was “Shake It to the Max.” Earlier in 2024, I hadn’t dropped any music by myself. [My manager Therese Jones and I] were trying to figure out how we can take things to the next level for me. She was like, “You know what, MOLIY? Why don’t you tease some music?” I teased about three or four songs in one Instagram post. When I added “Shake It to the Max,” I was like, “Hmm, this song is actually a vibe.” After that post, I wouldn’t say anyone particularly screamed out, “Oh my God, we love that one!” I just kept doing videos to this one song on TikTok and that’s when I started trying to be creative with what I do and how I’m posting it.
Why were Shenseea and Skillibeng the right artists for the remix?
In my opinion, they’re the top of the top of the top, top, top of the top in Jamaica. I genuinely love each of their music, and I wouldn’t have had it any other way. I would not change anything with how that remix happened. They loved the song. The original song was No. 1 in Jamaica, and it was great leverage to make them feel like it was a good idea. I didn’t make it happen, however. It was Silent Addy and Disco Neil. The producers made the conversations happen.
Since that remix has blown up, you’ve released more with other artists like Major Lazer, Gladdest and Kalash and Maureen. What inspired that strategy?
With the Kalash and Maureen one, that was also the producers. They’re very hands-on with how these remixes came about. Even with Major Lazer, it was them as well. They have relationships with these people already [because of] the dancehall industry. The first time I came across Gladdest was [when] she was doing the dance challenge in the middle of NYC. The next time I came across her, she did a freestyle to it on her TikTok. It was [getting] a lot of positive reactions. The same way I was posting practically every day to promote the “Shake It to the Max” remix, she was posting every day to promote her freestyle. She was super passionate about it, and there was no way we were not going to put out the record with her as well. What I love most about all of this is the people that we’ve worked with genuinely wanted to be part of the moment. They’re supported it, they’ve promoted it, and it feels so organic and amazing.
When can fans expect the Stefflon Don and Vybz Kartel remix?
I honestly don’t know. I want it to come out. She wants it to come out. Vybz is also excited for it to come out. We’re working on it with our teams. There were some [Vybz] verses going around TikTok. I remember people asking me, “Why are you not putting out the Vybz version?” I’m like, “Guys, it’s not official.” Some DJ probably put one of his old verses on the song and it was making rounds on TikTok. And then Steff comes along and was like, “Babe, I got Vybz.” [Laughs.] It’s really dope, and I’m excited for it to come out.
Vybz brought you out as one of his special guests during his one of his two historic sold-out shows at Brooklyn’s Barclays Center in April. How did the opportunity come about? Considering dancehall is a crucial element in your music’s DNA, what was it like to share the stage with the King of Dancehall himself?
It’s insane. Everything happens so fast, you don’t get a moment to soak it all in. But every moment of that was super exciting. Prior to being on stage, I actually hadn’t met him yet. So afterwards, I got to meet him, and he was just so nice and so cool. The aura was there. Gamma made that happen. They spoke to him about it, and they also got Skilli and Shen to pull up.
Would you say that’s the biggest “pinch me” moment of your career so far, or does another moment come to mind?
It’s definitely one of the first “pinch me” moments during this entire process. No, the first one would be hearing Shen and Skilli on the song officially. People were dropping freestyles, and they posted their verses as freestyles. But me knowing that the song is actually coming out with them was the first “pinch me” moment because I wouldn’t have wanted anyone else for the first remix.
The second would be this Billboard Hot 100 second moment. When you’re an artist and people see you doing something great, it’s like, “Wow, amazing! But can you do it again?” Throughout this process, there are so many highs and lows and so many moments I’ve had to remind myself to be positive and be hopeful. It’s crazy to see when something amazing does happen. It’s not all for nothing.
Who would you love to collaborate with this year?
Me and Drake would be fire. Me and Wizkid would be fire. Doja Cat would be amazing. I also really like Ice Spice. That would be so, so, so cute. Cash Cobain would be dope.
What’s next for MOLIY in 2025?
There should be a project, I wouldn’t say an album, but there should be a project coming out. I would hope it would be more like I’m dropping singles and then at the end of it, there ends up being a project. I’m also on the road right now. We’re doing MOLIY on the road and I have so many shows lined up, just trying to spread the gospel of “Shake It to the Max.”
