dancehall
Last year, the returns of Buju Banton and Vybz Kartel catapulted Jamaica back to the forefront of the global music conversation. With reggae and dancehall giants coming back to the stage as several subgenres of the two styles continue to gain traction worldwide, the future is looking particularly bright for Caribbean music.
Back with Blood & Fyah, his second full-length album (due late spring/early summer 2025), Keznamdi is looking to add his flair to that momentum as an independent reggae artist. Combining traditional reggae with dancehall, Afrobeats, R&B and hip-hop, Blood & Fyah continues Keznamdi’s yearslong exploration of the limitless potential of contemporary reggae. He introduced the new set with “Time,” a heartfelt single accompanied by a cinematic video shot in Ghana, one of several African countries that significantly impacted Keznamdi’s life and the new record.
“In the process of making the problem, the music just sounded like Africa,” he tells Billboard. “It was a far-fetched idea at the time [to shoot the video in Ghana] because we didn’t know anybody there, but we just packed up our things, brought two cameras and went down there with the whole team. The reception was crazy; [on] the second day, we were summoned by the Ghanaian president. At the time, his parliament won some kind of office, and they wanted to play my song with Chronixx called ‘Victory’ on the radio. They called the station, and the DJ told him that I was actually in Ghana at the time. Shortly after that, we were at his palace.”
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Before he received royal welcomes, Keznamdi lived a regular life across Africa for years. Born in Jamaica, he lived on the island until he was 13, by which point he and his Rastafari family moved to Tanzania, where they lived for three years. They then moved to Ethiopia, where Keznamdi lived for another three years, eventually graduating there as well. To support Blood & Fyah, Keznamdi is formulating a tour that will reach parts of the world that the reggae industry tends to neglect.
“Reggae is huge for the next generation in Africa,” he stresses. “There’s a lot of countries like Burundi that listen to reggae every single day and not one reggae artist has gone there. Africa is a very untouched place for reggae, which is a genre that sings to Africa. Our generation is playing an important role in bridging that gap and continuing the work our elders have already done. We spend so much time touring in America and Europe, and, truly, Africa is where the music is really made for. We’re singing about that third-world struggle. Everything is pointed towards Africa, which was something that all of the elders inna reggae and inna Jamaica and inna Rastafari always prophesize.”
While reggae is the core of Blood & Fyah, Keznamdi is also treating fans to a pair of two blockbuster dancehall collabs. Dancehall superstars Mavado and Masicka – whose “Whites” single continues to dominate the Caribbean – will both appear on Keznamdi’s new record. Through Vas Productions’ Richardo Vasconcellos and producer Don Corleonie, Keznamdi (who also co-produced the track) was able to get in contact with Masicka for “Forever Grateful,” which features production contributions from Off Grid and Major Seven.
“I always envisioned him on this record,” Keznamdi gushes. “Masicka is the voice of the streets right now. He’s inspirational and uplifting; when you listen to him you want to get up and do better in your life, so I wanted him on this track.”
Vas Productions also helped Mavado and Keznamdi join forces. “Bun Di Ganja” — which also features Marlon Asher — was initially created for a Vas project, but the irresistible banger found a home on Blood & Fyah.
“Because I’m so focused on what I’m doing, it’s hard for me to do features unless the track is inspiring,” Keznamdi explains. “As soon as I heard it, I sent him my vocals the next day. It was a little struggle getting Mavado for the video because he’s an elite artist, but we were able to shoot it in Miami with him.”
Listen to “Time” below.
After winning performer of the year (dancehall) at last year’s Caribbean Music Awards, Jamaican reggae sensation Dexta Daps is set on securing the next Valentine’s Day anthem with his new “Lockdown” single. Over waltz-evoking guitars, Dexta forgoes the fete to spend some intimate one-on-one time with his special lady singing, “I’ve been staying home lately […]
Between Vybz Kartel‘s blockbuster Freedom Street homecoming concert, Machel Montano‘s historic NPR Tiny Desk set and the slow-burning crossover of new soca anthems like Kes‘ “Cocoa Tea” and Yung Bredda’s “The Greatest Bend Over,” Caribbean music has gotten off to an excellent start in 2025.
On Sunday (Feb. 2), music’s biggest stars will convene in Los Angeles for the 67th Annual Grammy Awards, which will be turned into a fundraiser for relief efforts in the wake of several devastating fires in the greater Los Angeles area. At this year’s ceremony, Kartel (Party With Me), Shenseea (Never Gets Late Here), The Wailers (Evolution), the Bob Marley: One Love soundtrack, and Collie Buddz (Take It Easy) are the nominees for best reggae album. Kehlani‘s “After Hours,” which samples Codell “Skatta” Burrell’s Coolie Dance riddim, is nominated for best R&B song. Just three weeks later, Popcaan, Shenseea, Skillibeng, Spice, Valiant and YG Marley will duke it out for best Caribbean music act at the MOBO Awards (Feb. 18), while the Bob Marley: One Love film will compete in six categories at the NAACP Image Awards (Feb. 22).
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As these ceremonies celebrate the best of 2024, the new year is already heating up with new earworms to soundtrack the forthcoming Carnival season. 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: Kranium & Masicka, “Cut the Link”
“You give dem everything dem ask for/ And dem end up turn dem back yeah/ Now I know/ Mankind, you can’t tame them/ Dem wah you die, mi realize/ Dem wah fi own di place where you reside/ Mi cut the link, I know the deal,” Kranium croons in the opening verse of “Cut the Link,” a somber rumination on overcoming leeches and detractors. Produced by TJ Records and featuring an assist from Masicka, “Cut the Link” delivers a dancehall track that deals with raw emotion and real-life struggles, topics that are always welcome and cherished in a sea of gun and gyal chunes. “Cut The Link” marks the third collaboration between Kranium and Masicka, following 2016’s “Beach House” and 2017’s “Fire in the Rain.”
Shenseea, “Puni Police”
In a few days, Shenseea could become a first-time Grammy winner, but her current focus is lambasting the “Puni Police.” “Hot gyal a nuh fi everybody, my yute/ Comment pon mi picture dem, a that a mad you/ You too insecure, so you lose/ That’s why I’mma need you to/ Gimme some room to breathe,” she spits over Di Genius’ siren-evoking riddim. Her self-assured lyrics of self-respect in the face of an overly possessive partner add beautiful color to the ever-evolving portrait of woman-helmed dancehall songwriting. Shenyeng and Di Genius last linked up for two Never Gets Late Here tracks: “Neva Neva” and the Masicka-assisted global hit “Hit & Run.” Clearly, the two artists have A1 chemistry.
Lu City & Didi B, “Petit Bonon”
St. Lucia’s Lu City and the Dominican Republic’s Didi B are a match made in heaven on their sultry “Petit Bonbon” single. A slinky mélange of Afrobeats-inflected dancehall and slight notes of soca drums, “Petit Bonbon” finds the cross-Caribbean collaborators joining forces to tribute an eye-catching young lady who’s reigning over the club on a given night. With a greater emphasis on melody and feeling over rapid-fire wordplay, “Petit Bonbon” is a nice conduit to bring the evening into a slower, more seductive place.
Hector Roots Lewis featuring Johnny Cosmic, “Celebration”
After spending last year basking in the success of the box office-topping Bob Marley: One Love soundtrack, Hector Roots Lewis is back with a brand new single. A modern roots reggae tune produced by Johnny Classic, “Celebration” serves as the fifth single from Lewis’ forth-coming project. “To my brothers in the streets/ To my sisters in the streets/ Leave the guns and leave the knives/ We don’t want no fuss or fight,” he implores over the easy-rocking reggae guitars and breezy percussion, maintaining the peaceful proclamations that decorated Marley’s catalog. Lewis’ voice is incredibly charismatic on “Celebration,” seamlessly switching from warm sustained notes in the verses to more staccato delivery in the outro.
Machel Montano, “Pardy”
After making history by bringing soca music to NPR’s Tiny Desk concert series for the first time ever, Machel Montano hopped on a few more riddims in anticipation of Carnival season. Among his new drops is “Pardy,” a reminder that we all work hard, so we all deserve to party. “All work and no play/ Mi seh, ‘No way’/ We don’t want no part of that/ I need a stress reliever, two drinks in mi hand a gyal in the middle,” he sings in the opening verse, expertly setting the scene for an explosive release in the chorus soundtracked by Badjohn Republic and XplicitMevon’s high-octane drums. Packaged with a music video suitable for all ages and generations, “Pardy” is primed to take over the season in due time.
Lyrikal, “Road Anthem”
At this point, is it really a surprise when Lyrikal drops off another road march anthem? With some help from KesKeyz, the Trinidadian artist debuted “Road Anthem,” a song that accomplishes exactly what its title suggests. “Like the government, we go on di road/ Dem go talk about we for centuries/ There’s no other place that is on this Earth/ There’s no other place, there’s no other place/ I never want to miss this feeling again!” he sings, effortlessly invoking the inimitable energy and rejoiceful spirit of the road during Carnival. Like any great soca artist, Lyrikal is a master at pacing, always allowing the verses enough breathing room to stretch out the song’s ascent into a bombastic chorus.
Foreign Dan, Yung Bredda & Venumm, “Cocoa She Want”
After topping Trinidad & Tobaga’s Apple Music chart with his runaway hit “The Greatest Bend Over” late last year (Dec. 30, 2024), Yung Bredda found some time to link with Foreign Dan and Venumm for “Cocoa She Want.” “She don’t want no Lipton, she don’t want no Milo/ All she askin for is the pure cocoa,” Venumm croons over Foreign Dan’s jaunty production. When the soundscape opts for a sparser percussion line halfway, Yung Bredda flaunts his versatility, weaving in and out of harmony with Venumm as he delivers his own promises to share his “cocoa.”
Jahshii & Pop Style, “E.G.Y.G. (Every Ghetto Yout Great)”
With his new Pop Style-helmed single, Jahshii uses the gritty template of trap dancehall to craft an uplifting anthem for Jamaica’s ghetto yutes. When his impassioned, Auto-Tuned voice creeps into its upper register to proclaim that “every ghetto yout great,” Jahshii reaches an emotional apex rarely visited by his trap dancehall contemporaries. On this track, perhaps more than any of his previous efforts, Jahshii intricately understands how to find the emotion and humanity in an expressly digitized landscape, and he fills those pockets with the kind of gut-wrenching wails that demand not just attention, but close listening too.
Adam O & ARK Productions, “Ms. Masquerader”
With “Ms. Masquerader,” a tribute to the countless beauties on the road, Adam O makes himself at home in the role of ultimate ladies’ man. The St. Vincent and the Grenadines-born artist incorporates more Haitian and Dominican musical influences than your typical soca anthem, but between his raspy vocal performance and live instrumentation by Chryston Floyd (guitar), Konata (percussion) and Geremi Webb (bass), “Ms. Masquerader” stands as a smashing success. It’s a Carnival jam to keep your waistline moving and facilitate a steamy dance or two on the road.
Nailah Blackman & Skinny Fabulous, “Forever”
Both Nailah Blackman and Skinny Fabulous are likely to have yet another dominant year in 2025, and their new “Forever” collaboration is a reminder of why that’s the case. “Carnival, it is my time/ I wanna catch the spirit, it is high time/ Twice is not enough, I need it five times/ For a lifetime,” they plead in unison on the pre-chorus, personifying Carnival as a being that holds the key to a very special kind of unfettered joy and celebration. With CMungal Music, Keiron “Ogoshhoyte” Hoyte, Anson Pro, David “Millbeatz” Millien, Evolution the Band and Johnny Q all contributing to production, “Forever” has notes of all the different traditional and innovative elements that made 2016 such a beloved soca year.
Latin Grammy-winning DJ and producer Michaël Brun has been churning out bangers for over a decade — but his latest single shifts him into history-making territory.
Out Friday (Jan. 31), “Touchdown” — the Haitian star’s new anthem – features Billboard Hot 100 chart-topper J Balvin, Jamaican dancehall legends Bounty Killer and Beenie Man, and rising Jamaican singer-songwriter Tasan, the daughter of reggae legend Papa San. Izy Beats, who helmed Koffee’s 2018 crossover hit “Toast,” helped co-produce.
A celebratory anthem, tailor-made for major sports victories, “Touchdown” beautifully marries the already closely intertwined genres of dancehall and reggaetón, using their shared DNA to combine contemporary Latin superstars with dancehall giants of eras past. J Balvin first premiered the track on ESPN as the network’s Monday Night Football ambassador, marking a rare usage of Caribbean music on the iconic sports brand’s broadcast. The cross-genre collaboration served as the official promotional anthem for the 2025 NFL Wild Card Weekend games.
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“Touchdown” previews a busy year for Brün that includes his first-ever arena show. On June 28, Brün will mount his BAYO! Festival at Brooklyn’s Barclays Center. The festival’s steady growth over the past half-decade is just one segment of Brün’s efforts to uplift Caribbean music around the world.
“I actually was part of the [Grammy] committee for best global music performance,” he exclusively tells Billboard hours before “Touchdown” hits DSPs. “At Spotify, I curate the ‘Haitian Heat’ playlist and help them with other Caribbean stuff.”
Last year, Brun prioritized collaborations, joining forces with artists spanning genres and generations, including Keyon Harrold (“Playa Noche”), Charly Black (“Jessica”) and John Legend (“Safe”). With an ever-growing festival and new music on the horizon, Michaël Brun caught up with Billboard to break down the making of “Touchdown,” his favorite Haitian artists and who he thinks will win the Grammy for best reggae album on Sunday (Feb. 2).
How did “Touchdown” come together?
This process has taken a couple of years. I’ve known J Balvin for years, and we’ve worked on a lot of projects together. My first platinum records and a lot of my No. 1s were with him. [Brun co-produced and co-wrote J Balvin’s Ed Sheeran-assisted “Forever My Love,” which topped Latin Airplay in 2022]. In the process of making some new songs together a couple of years ago, we started talking about the influence of dancehall in reggaeton and how much dancehall artists have influenced and shaped the global sound.
Then we had the idea to do something that honored [the songs] we used to listen to at parties. “Touchdown” came from the idea of that link between everything that’s happened in dancehall history and the way that Haiti has been influenced by the Caribbean, Latin America and our own local sounds.
Once we made that initial concept, I knew I wanted to tap in with some friends and icons from Jamaica. I reached out to Tasan, who sings the hook, and Beenie Man and Bounty Killer, who are two iconic dancehall artists from Jamaica. I also reached out to Izy – who produced iconic dancehall songs like Koffee’s “Toast” — to co-produce the song with me.
This is the first time Beenie Man and Bounty Killer have ever been featured on a track together, which is pretty monumental given their history. What does this moment mean to you as a dancehall fan?
I think that it’s really representative of what I believe in: [the power of] bridging different cultures and people. I want my music to make people feel good. I want you to feel that the culture is enriching you. I think that both of their careers have been incredible and have been so influential… not just in Jamaican sounds, but global sounds too.
We actually cut their verses around the time of their Verzuz battle [in 2020], it was literally that week that we started the process. It was really special. I’m grateful that we also got to link in Kingston and Miami. That’s all I care about: genuine cultural unity and authentic cultural portrayal.
Do you have any plans to get this performed live anytime soon?
I have BAYO coming up, and that’s been so much fun for me because it’s rooted in Haitian culture and history. I started it in Jacmel in the South of Haiti, but the music that I play and the artists that pop up for the show are from all around the world. Haitian music is very traditional — we have our genres like konpa and rara — but we also play music from everywhere. I’ve already had a couple of the artists on “Touchdown” pop up in past shows. We might get some really good surprises!
Talk to me a bit more about how BAYO! has grown over the past five years.
It’s been wild. The very first New York show we did was at Music Hall of Williamsburg, and there were about 500 people or so. BAYO! was such a crazy twist for me because, up to that point, I was a DJ doing electronic music and I wanted to set up this festival concept to bring the sounds that I love from the Caribbean and all the different global diasporas to New York and different parts of the U.S. Now we’re hitting Europe and Canada too. The energy at that first show was so special; it made sense to me as a concept, so to see it go from Irving Plaza to Brooklyn Steel and then to Central Park and Prospect Park has been a dream come true.
And the feedback I get from everybody that comes – whether it’s people flying from different cities or people in the New York community — is that it feels like a family. The show is the embodiment of my music. This is my claim, but BAYO! is the best party in the world!
Every festival has its own approach, but, personally, I love to be surprised. I work hard every year to surprise people with the lineup. We never announce who’s performing, so when you show up you might see Maxwell or J Balvin – anybody can pop up! This festival is my pride and joy.
It’s interesting to have a song like “Touchdown” arrive amid the ongoing “Dem Bow” copyright case. How do you feel the song honors and acknowledges the musical lineage of these genres?
We’re honoring icons for the work that they’ve done and creating new moments that incorporate different aspects of their lineages. We’re bridging culture-holders with modern-day and up-and-coming stars. Having these songs in these global moments is important for people to see. I feel like these cultures are very separate segments for a lot of people and if they’re not explicitly shown it, it’s hard for them to understand what the links are. This is my way of helping to create that mutual respect across the board and have all of us in community with each other. Everybody on “Touchdown” actually loves the other artists.
What’s the dream sporting event to perform “Touchdown” at?
Oh man, the Super Bowl! In terms of the song itself, it’s the perfect fit, and J Balvin has also already done the Super Bowl [as a guest of Shakira and J. Lo’s in 2020]. On a personal level, I really love football (soccer), so the World Cup too. Any stadium sporting event with people chanting works, that’s what the energy of the song was from the beginning. It’s also so cool to have Caribbean music on ESPN, I think it’s the first time they’ve ever done that! It’s pretty amazing to be part of that lineage now.
Is “Touchdown” leading to a larger project for you this year?
I’ve been working hard on a lot of stuff. There’s more music coming with some very special artists who I’ve been working with for the past few years, one of which everyone’s gonna be surprised about because she had such an insane 2024. I won’t reveal too much, but I feel like my entire bucket list has been checked off.
Who are some Haitian artists we should be keeping our eyes and ears on in 2024?
What Naïka is doing on a global scale with incorporating different sounds from Haiti — whether it’s twoubadou or konpa – is incredible. Her song “6:45” was pretty massive last year on socials and streaming. On the rap side, Baky is about to drop his new project which I know is gonna be crazy. One other person I think is fire is Rutshelle Guillaume; we worked on a song with John Legend together last year. She’s one of the big singers from Haiti. Everybody comes through to BAYO!, so you should pop out this year!
Who do you think will take home the Grammy for best reggae album on Sunday?
Oh, that’s a tough one. I think Vybz [Kartel] might take it, man. His comeback is a pretty big deal. It depends on the voter base, of course. What Vybz is doing right now is really important for the culture. I think it will probably go to [the Bob Marley: One Love soundtrack] though because of the movie. If the culture voted, it would be Vybz, in my opinion.
Outside of BAYO and your new music, what else can fans look forward to from you this year?
I’ve been producing a lot of projects. I’m really close with Naïka; she’s working on her debut album right now, and it’s a really, really special project that incorporates so many influences from her Haitian heritage. There’s a lot of really fun stuff that I’ve been involved with that I think will be rolling out at different points throughout the year.
On a personal note, my mom passed away in December, which was a pretty crazy journey because she had cancer for three years. With this show and my music, my career is all about honoring her. She was born in Georgetown, Guyana, and she was very philanthropic. I genuinely want to ensure that I’m continuing to honor her through philanthropy and community building. We created the Sharon Andrea Lee-Brun Memorial for BAYO Fund at the end of the year as opposed to people sending flowers and stuff. We ended up donating $12,000 to different education and food sovereignty organizations in Haiti.
I’m in my next life now without my mom, so I’m trying to keep her in mind always.
Vybz Kartel has kept his foot firmly planted on the gas pedal ever since his release from prison last summer (July 31, 2024).
In celebration of the ten-year anniversary of his seminal Viking (Vybz Is King) album, Kartel is releasing a special deluxe edition of the set featuring seven new songs on Friday (Jan. 31). From the sanctified Sunday mornings (“God Is the Greatest”) to unruly Saturday nights (“Str8 Vybz”), the new additions to Viking expand on the equally vulnerable and anthemic qualities of the original tracklist. The expanded version of Viking (released via Adidjahiem Records/TJ Records) also boasts an eye-popping, X-rated collaboration with dancehall star Ishawna titled “Porn Flick.”
Released in 2015 — three years into his incarceration — Viking became Kartel’s fourth consecutive project to reach the top 10 of Reggae Albums (No. 3). The LP spawned several hits, including “Unstoppable,” “Enchanting” and “Gon Get Better,” which was sampled by Fifth Harmony on their decade-old debut studio album.
The new deluxe edition of Viking follows a hectic past few months for Worl’ Boss. Mere months after regaining his freedom and serving 13 years of a now-overturned life sentence for murder, Kartel mounted Freedom Street — a star-studded New Year’s Eve homecoming concert that stood as Jamaica’s biggest musical showcase in nearly 50 years. In addition to his dancehall deejay sons Likkle Addi and Likkle Vybz, several other stars came out to support Kartel at Freedom Street, including Spice, Popcaan, Skeng, Busta Rhymes, Shatta Wale and more.
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Less than a week after Freedom Street, the “Fever” deejay graced Billboard’s first cover of 2025, in which he discussed recording music while incarcerated, new music with Cardi B and whose side he chose in last year’s bombastic Drake–Kendrick Lamar feud. In the cover story, Kartel also reacted to his first career Grammy nomination, which he earned in the best reggae album category with his Party With Me EP.
“If I wasn’t incarcerated, I would have been nominated already,” he candidly told Billboard. “But I understand, why would they want to nominate a dude in prison? I know if I wasn’t arrested, based on the trajectory that my career was on, I would have definitely won. But I’m very, very grateful.”
At the Feb. 2 ceremony — which will be held at Crypto.com Arena in Los Angeles, Calif. — Kartel will vie for best reggae album against Shenseea (Never Gets Late Here), Collie Buddz (Take It Easy), The Wailers (Evolution) and the Bob Marley: One Love soundtrack. This year’s Grammys will serve as a fundraiser to help the greater Los Angeles rebuild after several devastating fires.
See the album’s full tracklist below, and pre-order it here.
1. God Is the Greatest*2. It A Tape*3. Polite*4. Dreams Are Made Of*5. Str8 Vybz*6. Porn Flick featuring Ishawna*7. Gon’ Get Better8. Enchanting9. Dancehall Cyah Stall10. Unstoppable11. #AmOut*
*new songs
Nominees: Take It Easy (Collie Buddz); Party With Me (Vybz Kartel); Never Gets Late Here (Shenseea); Bob Marley: One Love – Music Inspired By The Film (Deluxe) (Various Artists); Evolution (The Wailers)
Technically, there are only two original reggae albums nominated here this year. Incredible.
Vybz Kartel and Shenseea scored their first career nominations for their own music this year with Party With Me and Never Gets Late Here, respectively, both dancehall records. Reggae legend Bob Marley is represented through the One Love soundtrack, which features covers of Marley classics from several artists, including Grammy winners Kacey Musgraves, Daniel Caesar, Leon Bridges and Wizkid.
Collie Buddz’s Take It Easy and The Wailers’ Evolution are the remaining nominees. This is Buddz’s second nod in this category in as many years, while Take It Easy features contributions from Caribbean music giants such as Bounty Killer, B-Real and Demarco. The Wailers — formed by former members of Bob Marley’s backing band — are nominated with Evolution, which hit No. 5 on Reggae Albums.
As previous nominees, Shenseea and The Wailers are likely the frontrunners here, but keep an eye out for Vybz Kartel. Last summer (July 31, 2024), the King of Dancehall walked out of prison a free man after serving 13 years of a now-overturned life sentence for the murder of Clive “Lizard” Williams. By New Year’s Eve, the legendary deejay mounted Freedom Street — his first performance since his release, and the biggest concert the country had seen in nearly 50 years. Though Party With Me lacks an all-out smash à la “Fever” and “Clarks,” Kartel’s narrative may prove too irresistible for any of his competitors to put up a fight. The Freedom Street concert dominated social media, but it happened near the very end of the voting period (Jan. 3), when many voters had presumably cast their ballots already.
Shenseea is probably his stiffest competition here. Never Gets Late Here reached No. 4 on Reggae Albums and incorporates notes of pop-dancehall, R&B, rap, Afrobeats and, most importantly, reggae. With Grammy-approved producers like Di Genius, Tricky Stewart, Ilya, Stargate and London On Da Track in tow, Never Gets Late Here could muster up enough support to pull ahead of Worl’ Boss.
Nonetheless, there’s also a scenario in which Marley’s legend and the film’s box office success lifts the One Love soundtrack to a victory — even if the more exciting win would be Buddz’s project. Traditional reggae projects tend to triumph here anyway, which counts against Kartel and Shenyeng despite their strengths elsewhere.
Prediction: Vybz Kartel, Party With Me
Look Out For: The Wailers, Evolution
From dancehall to soca, here are a few rising stars of the West Indies to keep an eye on in the new year.
In July, Jamaica’s most influential living artist walked out of a Kingston prison after 13 years, drove straight to his mother’s house for a tearful reunion over steamed fish and okra — and dove immediately into preparations for Freedom Street: his first performance since his release, and the biggest concert the country would see in nearly 50 years.
Locked up for the murder of Clive “Lizard” Williams, Vybz Kartel went away as a 35-year-old man at the height of his career with seven children, two of whom would make their own musical debuts in 2014. But even behind bars, he never stopped making music — managing to secretly record and release five projects that would reach the top 10 of Billboard’s Reggae Albums chart.
“Being in prison, you can’t feel sorry for yourself. I didn’t have time to do that. I had kids to feed. I had family to take care of. I had health issues, too,” Kartel tells Billboard in a private room at Downsound Records, the live-entertainment producer behind Freedom Street, in Kingston. “There was no time to be weak. You just fight the case and do the right thing.”
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Now, just days before Freedom Street — his New Year’s Eve show that will draw over 35,000 people to Kingston’s National Stadium — Kartel tells me he’s been holding daily three-hour rehearsals to ensure a “Taylor Swift- or Madonna-style” show while he records a new album at several studios, including one his children built for him while he was away. As I follow the Teacha around Kingston over the course of a sunny December day, fans of all ages stop him to profess their love and grovel for selfies — and if they aren’t trying to get his attention, they keep their eyes glued to him and hum whatever song of his comes to their minds.
It’s no exaggeration to say that Vybz Kartel is the most influential Jamaican recording artist since Bob Marley. But understanding Kartel’s singular career means grasping that his pop stardom and underground dominance have always worked in tandem. For every song of his that became a global mainstay, one of his raw, evocative mixtapes simultaneously ruled the streets of Kingston. Born Adidja Azim Palmer in Portmore, Jamaica — a coastal municipality about 15 miles outside of Kingston — Kartel has racked up 1.58 billion official on-demand U.S. streams, according to Luminate, making him one of dancehall’s commercial giants. But his countless controversies and towering sociopolitical influence have also made him a divisive cult figure.
His ’90s Alliance era cemented him as one of dancehall star Bounty Killer’s protégés and the genre’s fastest-rising star, wielding an impressive songwriting approach that blended his private and public personas through riveting gangster narratives and sexually explicit anthems. In the early to mid-2000s, Black Kartel reigned, with spunky, lewd hits like “It Bend Like Banana” launching his near-absolute rule over Jamaican society, which culminated in a seismic yearslong beef with fellow dancehall star Mavado (born David Brooks). By the dawn of the ’10s, White Kartel — by this point, the skin-bleaching he controversially sung of in 2011’s “Cake Soap” had visibly altered his skin tone (and spawned a new nickname) — had achieved several bona fide global crossover hits despite Jamaica’s banning of “daggering” songs (extremely sexually explicit tracks).
Fittingly, the Kartel I meet today is clearly a changed man. This newest iteration of Kartel is calmer and more collected; he seems firmly in his Unc era — cream Amiri beanie, custom tour T-shirt and a naughty joke always in his back pocket. His excitement for his upcoming show beams through the black sunglasses he never takes off, and the reverent air of gratitude around him is unmistakable. Kartel and his co-accused — Shawn Campbell, Kahira Jones and Andre St. John — have always maintained their innocence, and their second chance at freedom was hard-fought. According to a unanimous Court of Appeal ruling in summer 2024, the trial judge marred the original guilty verdict by allowing the jury to proceed despite knowing that one juror had attempted to bribe the others.
“Towards the end of my incarceration, I started connecting more with God. That’s why I tattooed ‘love God’ on my forehead,” Kartel reveals. “Nobody can tell me that God isn’t real. Ten years ago, I would have been saying something else, but God is real.”
Destinee Condison
Kartel’s return marks the start of a new era for both him and dancehall at large. In a Downsound Records rehearsal room, a poster displays five different Kartels with varying hairstyles, fashions and skin tones, each representative of a different chapter of his illustrious career. But whether he’s sporting a New York fitted or showing off his locs, the 48-year-old man known to his fans as Worl’ Boss has always been a chameleon, unafraid to alter his appearance to deepen his own mythos.
Inspired by dancehall icon Ninjaman and uncles who “used to DJ around the sound system,” Kartel began “writing 10 to 15 songs a day” as a teenager and released his debut single, “Love Fat Woman,” in 1993, which eventually landed him a spot in The Alliance, a group of dancehall DJs. “I’ve been fascinated with writing ever since I found out Babyface wrote [Karyn White’s 1989 hit] ‘Superwoman,’” he recounts. “As a kid, I was like, ‘How does a man write a song for a woman?’”
Two major factors ignited Kartel’s mainstream ascent in 2003: The release of his debut album, Up 2 Di Time, and a contentious clash with Ninjaman at Sting, Jamaica’s longest-running one-night-only reggae/dancehall showcase. At the time, Sean Paul was leading the early 2000s stateside dancehall crossover wave, but Kartel’s gritty “gun tunes” and X-rated “gyal tunes” were a far cry from the sugary-sweet riddims that made their way to top 40 radio. He smartly gilded his edgier lyrics with slick wordplay and head-spinning flows; Kartel could, and still can, dictate Jamaica’s culture with the flip of a single phrase. But some of those lyrics courted levels of controversy that threatened his — and the genre’s — continued crossover: In 2004, the U.K. Music of Black Origin Awards revoked Kartel’s nomination for best reggae act, alongside fellow Jamaican dancehall artist Elephant Man, over homophobic lyrics — a longtime point of tension in the genre as a whole. Twenty years later, speaking to Billboard, Kartel alludes to an evolution in his point of view: “The world has changed, and sometimes, you got to change with the times.”
By 2006, Kartel’s highly publicized split with The Alliance culminated in him joining the Portmore Empire — a collective of artists hailing from the neighborhood and signed to his Adidjahiem Records, which he’d established three years prior — leading to a feud with The Alliance’s Mavado, who took it upon himself to reply to Kartel’s disses. From 2006 to 2009, Kartel and Mavado lobbed searing disses at one another over the hottest riddims; Kartel even once carried a coffin with Mavado’s name on it onstage. Jamaica’s youth divided themselves between the camps — Kartel’s Palestine-referencing Gaza crew and Mavado’s hood-repping Gully clan — and, in certain cases, committed street violence in their names. On Dec. 7, 2009, in an effort to end that strife and unite the country’s youth, the two officially ended their feud with a joint performance; the next day, both met with Jamaican Prime Minister Bruce Golding.
Like any good dancehall clash, the Gaza-Gully feud only boosted Kartel’s popularity. Buoyed by its irresistible interpolation of Ne-Yo’s “Miss Independent,” Kartel and Spice’s intensely carnal “Ramping Shop” duet reached No. 76 on Billboard’s Hot R&B/Hip-Hop Songs chart in 2009, marking both artists’ charts debut. His crossover continued with 2010’s “Straight Jeans & Fitted” and “Clarks,” the latter a team-up with Popcaan, Kartel’s most successful protégé — a testament to his influence on late-’10s dancehall crossover artists. But as Kartel finally started to snag true crossover smashes, he continued oscillating between being dancehall’s global face and an underground provocateur: In 2011, he became the first musician to receive an artist-specific ban from Guyanese radio.
Kartel calls Lil Wayne his “favorite rapper,” and his life outside the studio mirrored that of the hip-hop legend in 2011. Charged with two separate murder counts, Kartel was found not guilty of murdering Jamaican businessman Barrington Burton by one jury, while a different jury found him guilty of the murder of Clive “Lizard” Williams. On April 3, 2014, Kartel was sentenced to life in prison after a 65-day trial, one of the longest in Jamaica’s history.
While incarcerated, Kartel clandestinely recorded — with the help of an iPad and his producer, Linton “TJ” White — a litany of projects, including 2016’s King of the Dancehall, which spawned “Fever,” arguably the biggest dancehall crossover hit of the latter 2010s. “Fever” entered two Billboard airplay charts and has earned over 104 million official on-demand U.S. streams — a win for Jamaica in a year when non-Jamaican artists such as Drake and Justin Bieber had propelled dancehall back onto top 40 radio. But between his incarceration and dancehall’s nonstandardized approach to music distribution (compilations of years-old singles tend to lord over regular studio album cycles), Kartel’s impressive consumption numbers don’t paint the full portrait of his cultural impact.
“Freedom Street [will] bring dancehall back as a serious contender in the international market,” says Downsound Records owner and CEO Joe Bogdanovich, who also notes that 700 police officers and private security workers were enlisted for the event. “[Kartel] is more conscious of good over evil and he’s doing something really positive for the youth and himself. That kind of positivity is going to make Jamaica uplift fans around the world.”
Destinee Condison
The concert — which featured explosive appearances by Spice, Popcaan, Busta Rhymes and more dancehall heavyweights — set the stage for Kartel’s incredibly busy 2025. A deluxe version of his 2015 Viking (Vybz Is King) album is due later in January, while a proper comeback album is currently in the works. “Kartel won’t say nothing. Then, tomorrow, he drops a banger that he recorded last night or the day before,” producer Cordell “Skatta” Burrell jokes. “So there’s not much I can say!”
Outside of the studio, Kartel can finally focus on the kinds of major life activities he couldn’t address in prison — like treating his Graves’ disease and wedding planning (he got engaged in November). The evolved, post-incarceration Kartel is ready to reclaim his throne — but don’t expect a run for Parliament. “Everybody loves me on both sides — I want to keep it that way!” he quips.
“Freedom Street is about Vybz Kartel’s journey for the past 13 years,” Worl’ Boss explains. “The concept is me coming out of prison, the road to that freedom and celebrating with the fans as I go into the new year a free man. We were planning this concert before I even got released. I’ve been prepping for this concert since birth.”
What was your first time back in the studio like after you were released?
The first song I recorded when I came out was at my house. When I got arrested, my kids were [so small]. Now, I’m out and recording in a studio that my children built.
How exactly did you record while incarcerated?
Initially, I figured out how to record using an iPad but a lot of times, the sound was metallic because the cell didn’t have padding like a recording studio. The sound bounced all over the place. Then, I figured out that I could use my mattress as a sponge over my head.
Me and Linton “TJ” White produced the riddim for “Fever.” At the time — don’t come for me! — I used to love watching Gossip Girl and Vampire Diaries. Every time this show ended, a voice would say, “XOXO, Gossip Girl,” so that’s where I got the concept from to start “Fever” with “XOXO, my love is very special.” I recorded the song line by line, looking outside to see if anyone was coming. One line, look outside; two lines, look outside. It was necessary at the time to do what I love most. I would send the iPad out to TJ and then he got it mixed by Dunw3ll and the rest is history.
The entire process probably took a half hour. If I was in a studio, it would take maybe five or six minutes.
Did you ever get caught?
Never. I had people in other cells. If someone was coming, they would knock on the grill. [The guards] found a recording device lots of times, but they never caught me in the act of recording.
Were you aware of just how big “Fever” was even while you were away?
Not initially, but when we released the video and the numbers started going up, I [understood]. I wanted to shoot a video for “Colouring This Life,” but TJ thought how I was flowing on “Fever” was tough. I was like, “Alright, do whatever, man,” and he shot the “Fever” video. Bro, in a few months… Jesus Christ! I was like, “Good choice!” (Laughs.)
Being in prison, you can’t feel sorry for yourself. I didn’t have time to do that. I had kids to feed. I had family to take care of. I had health issues, too. There was no time to be weak; you just fight the case and do the right thing. It was crazy seeing the impact the song had, especially when it [got certified] gold [by the RIAA].
How far into your sentence were you when you started recording new material?
In 2013, we started running out of prerecorded material, so we started recording new songs. I dabbled in it one time in 2012 with “Back to Life,” but the quality [wasn’t the best]. Young people were in the comment sections of the new songs like, “No way Kartel can see the future!” (Laughs.) They knew what was up.
What went through your head when you learned your sentence was overturned?
We had been fighting for so many years, so the feeling was overwhelming. The other guys I was charged with started getting ready and putting their clothes on, but then the judge said, “The case is overturned, but we are sending it back to Jamaica [from the United Kingdom] to let them decide if they’re going to retry the case or throw it out.” I was just listening because, as a ghetto yute, I’m used to disappointment. I don’t get excited too quickly. It’s never over till the fat lady sings, right? I was sitting with my legs crossed in my cell, listening to the radio and talking to my lawyer on my cell in my cell — get it? (Laughs.) He was like, “Yo, I think this is it,” and I said, “I’m going to put my clothes on.”
Immediately as I hung up, it was like an earthquake. [The decision] came over the radio and everyone in the prison was listening. Imagine 2,000 people shaking the bars and rumbling and celebrating — that’s when I knew, “Yeah. This is it.” I put my clothes on, jumped up, they came for me, I packed and left. I didn’t even bring anything with me; I gave my sneakers and TVs and stuff to the guys still in there.
What was the first meal you had after your release?
Steamed fish with okra. My mom made it for me. I went to her house first before I went anywhere else. It was a tear-jerking moment; tears of joy, and, in a sense, tears of sadness to know that I missed out on so much with my mother and my kids. [Kartel has five sons and two daughters.] My mom didn’t say anything to me when I went away because I never made her come visit me. It’s not her fault that I was in there. Why would I want her to see me in that place? I only saw her once during my incarceration; I was so sick that they had to take me to the hospital. I said to the superintendent, “Can you grant me a special visit, so I can see her?” And she and my dad came to the hospital.
How does present-day Kartel compare to the man that went away 13 years ago?
The Vybz Kartel of now is more chill and more mature. He’s more laid-back. The one that went in was a beast. I’m still a beast musically, but Iooking back at my personal evolution, I like who I am now. The Vybz Kartel of old gave me musical fame and fortune, so I don’t have any regrets about him. But I don’t want to go back to that Kartel. I’m good right here. That evolution was something I never knew I needed, but I did — especially having faith in God and believing and seeing him work.
I was born in the ’70s, so of course I grew up going to church. I started going around 11 years old, and, like most Jamaicans, when you reach a certain age, you start to fuss about going. I haven’t been to church yet since I’ve come home; every day my mom is asking me, but I’m going soon, mom!
Destinee Condison
How has Kingston changed from when you first went away?
The roads look different. The other day, my fiancée [Sidem Öztürk] had to tell me where to drive, and I’m like, “You’re from England!” But she’s been here for two years while I was locked down, so she got to know the place. Even on the highway going to the country, she had to drive me. It’s like relearning your own country. It’s fun, though! The other day, I literally got lost. I couldn’t believe it. I eventually figured it out, but so much has changed.
In hip-hop, there have been a few instances where prosecutors tried to use artists’ lyrics against them, which has sparked interesting debates about music censorship. Do you have any thoughts?
I don’t think art should be censored for the artist. It should be censored for the consumer. For example, “Vybz Kartel does adult songs, don’t let your kids listen.” But you can’t tell me that, because your children have ears, I can’t sing what I want to sing. That’s rubbish. The same shop that sells sweets also sells alcohol. If you catch your 10-year-old son drinking a beer, you’re not going to run to the beer-maker like, “What the hell are you doing?” So, if you catch your child listening to Kartel, don’t come to me. That’s a “you” problem.
Drake has called you one of his “biggest inspirations.” How do you think he handled his feud with Kendrick Lamar last year?
I’m not a fan of Kendrick. I don’t even listen to Kendrick, so I wouldn’t know. What does he rap? I saw it on the internet, but no disrespect to the dude, I hear him, but I don’t listen to him. Drake is more in tune with Jamaica and the culture. Drake is a better and bigger artist.
When did you and Mavado last speak?
When I came out! But we spoke a lot of times while I was inside. His son is also in the same prison that I was in. His appeal is coming up next year. Our sons grew up together, were in the same class at school and went to each other’s houses for birthdays. They’re still friends to this day. Me and David cool.
Since you went away, Afrobeats has exploded in global popularity. How in tune with that world are you?
Shatta Wale, Wizkid and Burna Boy are my three favorite Afrobeats artists. I like Tems too. Afrobeats is nice, you can just vibe to it. I think Buju Banton was saying something [controversial] about it [during an interview last year], but I understand where he’s coming from. Buju is a dancehall/reggae artist, so he’s going to be singing more conscious stuff about society. But there is a space for happy, fun music.
Destinee Condison
How can dancehall score another crossover moment?
What they do now is called trap dancehall, so it’s going to take a minute for the big markets to get used to it. It’s the kids’ time now. I like Kraff Gad and Pablo YG. Once the sound catches on in mainstream markets — London, New York, Toronto — I think they will have success.
There was a big thing a few years ago — I was even a part of it — with older artists saying, “This music is not going to go anywhere!” The music that runs the place is dictated by the kids at all times. That doesn’t mean the legends can be removed, but don’t fight the kids. Let them do what they’re doing.
I think the lyrics could [also] be a bit more tolerant and less X-rated. Says Kartel! (Laughs.) Afrobeats made such a big global impact because it can be played anywhere and for all ages. The lyrics need to be more commercialized and more tolerant, and sky’s the limit. Jamaica gave the world five genres: reggae, rocksteady, ska, mento and dancehall. We had hands in creating hip-hop and reggaetón. We’re not short of talent.
You’re nominated for your first Grammy, for best reggae album for Party With Me. How does it feel to finally earn that recognition?
If I wasn’t incarcerated, I would have been nominated already. But I understand, why would they want to nominate a dude in prison? I know if I wasn’t arrested, based on the trajectory that my career was on, I would have definitely won. But I’m very, very grateful.
[The 2024 Party With Me EP] was done in prison. I was under a vibe and got some beats from [producer] Din Din. It was getting closer to crunch time because the case was now in England. I was writing to keep my mind occupied, ended up with these songs and said, “Let me just put them on a little EP.” Bam, Grammy.
How’s the process of organizing your catalog been going?
Slowly but surely. I’m going to shoot videos for a lot of those songs I released while in prison. I’m in talks right now with a few American companies that want to give me a distribution platform so I can sign artists and get Jamaican dancehall music released in a more standardized way. We’re also working on a new album.
Destinee Condison
When will you be back in the United States?
We put the documents in. It would be a good look for all of us who are nominated to be at the Grammys. I’m headlining Wireless Festival in England this year. I’m already booked for some German shows in July. My No. 1 market was always America, but, over the last two years, my biggest streaming market is now the U.K. My fiancée is from the U.K. too. [The couple met during his incarceration in 2015 after she found him by “stalking his babymother’s Instagram”; he moved her to Jamaica in 2022.] I think that has a lot to do with the love, like, “Oh, wow. He’s dating one of us.”
When’s the wedding?
We wanted to do it in January on my birthday, but we’re going to wait because of unforeseen circumstances. Maybe Valentine’s Day. I’m such a romantic, right?
How did you prepare for Freedom Street?
We did roughly three hours of rehearsal each day, but the first one was four hours and eight minutes — and we still didn’t DJ half of the songs. We sacrificed around 1,000 songs and ended up down to three hours. And that’s just like my performance. Everybody and their mom wanted to come. And I have no problem with that anyway, because it’s New Year’s! Let’s ring it in in a star-studded manner.
Where are you most excited to perform?
The entire Caribbean and New York — that’s Jamaica outside of Jamaica.
Speaking of New York, would you ever hop on a song with Cardi B? She recently jumped to your defense when people criticized your post-release appearance.
I love Cardi! We got a song coming out next year. We are actually in the process of writing it. Even if I have to walk, I’m performing that song in New York!
In July, Jamaica’s most influential living artist walked out of a Kingston prison after 13 years, drove straight to his mother’s house for a tearful reunion over steamed fish and okra — and dove immediately into preparations for Freedom Street: his first performance since his release, and the biggest concert the country would see in […]
Decemeber has arrived, and that means we’ll be getting more than a few tastes of the soca anthems seeking to dominate Carnival season next year. But December also means the return of Sting — a notoriously length reggae and dancehall showcase that has been held annually in Jamaica on Dec. 26 since 198. Home to countless iconic moments in the worlds of reggae and dancehall, Sting will return this month with a genreation-bridging lineup, including Tommy Lee Sparta, Turbulence, Teflon, Gyptian, Jamal, Quada, Jahmiel, Bushman, Dwayne Stephenson, Shane O, Macka Diamond, Laden, Skippa, Kant10t, Ace Gawd and more.
“We’re trying to slide away from all the things that may hamper us in the future,” said CEO of Supreme Promotions Tahheer Lain said at the press launch. “So, I’m trying to give the show a softer feel. As much as it’s a rough cut show, I’m trying to soften it because we realise that a lot of our younger artists they may not have the capability, or pattern of thinking as the older artists… one time it was just Sting, now it’s Sting Live.”
Trending on Billboard
There’s one other major performance set to take Jamaica by storm this month, and that’s Vybz Kartel‘s Freedom Street New Year’s Eve homecoming concert — his first live show since being released from prison after serving a 13-year sentence.
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: Bunji Garlin, “Carry It”
Bunji Garlin is one of the most dependable soca artists that we have, and he already has is eyes set on the 2025 road soundtrack. Self-written and produced by Stemz Productions alongside some live guitar from Kyle Peters, “Carry It” finds Bunji uses the frenetic energy of power soca drums to sing a triumphant story in remembrance of his roots and the unique dynamism that comes the resilience of soca music. “Where can I find that energy, the raw raw magic that comes down from the grass-roots/ Yes ah from a place where soca the resounding power/ Yuh could feel anytime any hour, sunshine or shower,” he proclaims in the opening verse.
Hey Choppi, “Titanic”
With production from Spine and Sucre and writing credits from soca legend Machel Montana, “Titanic” was always destined to be a homerun. Nonetheless, it takes a remarkably committed vocal performance — like that of Hey Choppi — to make sure every last piece falls into place. For his take on the “Kompa Fever” riddim, Choppi builds on Rose and Jack’s iconic Titanic love story with a tender, melodic vocal that plays well against the kompa guitars weaved throughout the soundscape.
Nessa Preppy, “Go Bestie”
To close out November, Badjohn Republic and NMG Music teamed up for the “Yes Please” riddim, which Trinidadian soca star Nessa Preppy absolutely slid across. “Go bestie, go twin/ Go bestie, go twin/ Yuh badder den alla dem/ Yuh hotter den alla dem,” she decalres at the song’s outset, seamlessly switching from a flirty flasetto to a comparatively more commanding chest voice as she sings her support for her bestie as they both enjoy themselves at a given function. “Yes Please” also appears on Nessa’s new Little Miss Arima album, which arrived on Nov. 11 featuring collaborations with Yung Bredda, Lady Lava, Freetown Collective and V’ghn.
Konshens, Silent Addy & 1Mind, “Slow Motion”
For the past decade, Konshens has been a formidable force across dancehall music and this new collaboration with Silent Addy and 1Mind’s Mac Sutphin only reiterates that fact. “Slow Motion” finds the Kingston MC relishing his time spent caught up in the hypnosis of the night’s reigning bad gyal. “How yuh full a style suh? How yuh full a vibes suh?/ What is it about you? How mi jus’ a smile suh?/ Tek di money, tek di money, baby hold a coil nuh/ Cool and deadly, dah love yah nuffi wild up,” he sing-raps over the slow-burninng, synth-laden production. A master when it comes to gyal tunes, Konshens adds another banger to his arsenal with “Slow Motion.”
Malie Donn & Byron Messia, “Alive”
This summer, Malie Donn quickly followed-up last year’s “V6” breakthrough with “Whats Popping,” and now he’s finally unleashed his debut studio album. One of the standout tracks on the album is “Alive,” a collaboration with Byron Messia that trades in a particularly grim brand of gratitiude. The two dancehall stars are, of course, happy with their success and riches, but even the twinkling piano can’t conjure up the warmth that’s noticeably missing from the simmering track.
Shuga, “Love Doctor”
Lovesickness is an emotion that thousands of songs across genres have explored — and Shuga has dropped off one of her own. Set as the lead single from her forthcoming Girl from Montego Bay album, the Donovan Germain-produced “Love Doctor” is inspired by Shuga’s then-boyfriend (now husband). “I’m calling for the love doctor/ ‘Cause tonight, I need some healing/ I’ve got to see the love doctor/ ‘Cause right now I’m in my feelings,” she earnestly sings over gentle reggae guitars in the hook. Grown and tasteful, “Love Doctor” is the kind of intergenerational banger that makes reggae so special.
Jaz Elise, “Unforgettable”
From an opening that recalls the synthesized harp of “The Boy Is Mine” to that whimisical swell of the final chorus, “Unforgettable” is yet another gorgeous release from Jaz Elise. “I won’t take this thing we have for granted/ Feels so good, so natural/ Nuh odda one compare to you, you have it/ A kiss from you, so magical,” she proclaims over a J.L.L. and IzyBeats-helmed soundscape that uses an ebullient horn section to contour its traditional reggae production. Following “Gunman” earlier this year, Jaz Elise is two for two when it comes to 2024 solo releases.
A-Suh Boss, “Chappa Cry”
Beyoncé gifted us her Renaissance album in 2022, and now it’s A-Suh Boss’ turn. For “Chappa Cry,” the opening track of his debut album — also titled Renaissance, to be clear — A-Suh Boss provides a gritty, reflective soundtrack for all the ghetto youths who dream far bigger than their present circumstances. “The house used to leak when rain fall/ Used to dress, guh school inna same shorts/ Life never sweet, dem days hard/ Life change from mi mek di sweepstakes call,” he sing-raps over the Monk Music-helmed production.
Kes, “Cocoa Tea”
Few can hold a candle to Kes when it comes to groovy soca, and “Cocoa Tea” is just further proof why. After dropping off Man With No Door earlier this year — the award-winning soca band’s first studio LP in a decade — Kes has returned with “Cocoa Tea,” an endlessly sweet ode to a love that warms you up like a mug of the chocolate-y beverage. “Darling, heat me up/ Only you alone could put fire back in me soul/ Heat me up/ And they telling me ah should leave that fire alone/ Well, the more they tell me is the more I holding you close,” lead singer Kees Dieffenthaller croons in the pre-chorus before the song explodes into a groovy soca fantasia in the chorus.
Lady Lava & Jordan English, “Baddd B”
For his “Bad B” remix, Jordan English staged a collaboration between Barbados and Trinidad, tapping Lady Lava, who recently received her flowers from Cardi B, for a sizzling guest verse. “Bad B” is English’s take on DJ Vibes, Hit It Records and Supa Nytro’s “Pressure” riddim — a sparse, percusssive number with ample room for MCs to flow over. An easy-rocking, tongue-in-cheek tune sure to set the dance floors ablaze as we enter the new year, look for “Bad B” to have some legs going into the spring.