dancehall

From its ‘00s chart-topping splendor to its trap-inflected late ‘10s iterations, Spice has seen it all in the world of dancehall. The Grammy-nominated deejay has launched countless hits – including 2005’s “Fight Over Man,” 2009’s “Romping Shop” (with Vybz Kartel), 2013’s “So Mi Like It,” and 2021’s “Go Down Deh” (with Sean Paul & Shaggy) — and made inroads on American reality TV as well, with appearances on Love & Hip-Hop: Atlanta and Baddies Caribbean. 
Since her debut at the 2000 Sting Festival, Spice has cemented herself as one of the most fearless onstage performers in dancehall — and one of the most provocative artists. From her fearless embrace of her femininity and sexuality to her eye for conversation-provoking visuals, Spice has built a brand and character unlike anything dancehall has ever seen. She has the hit records to back up her Queen of Dancehall title – though some may argue otherwise – but her real claim to the title comes from her ability to pull tactics from the pop world and apply them to dancehall, while retaining her authenticity and globalizing her fanbase. 

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With Billboard chart-topping albums and hit singles under her belt and two nominations at the upcoming 2024 Caribbean Music Awards (female dancehall artist of the year and dancehall performer of the year), Spice is ready to unleash her third studio album, Mirror 25. Led by the Busta Rhymes-assisted “Round Round” and featuring songs such as the soul-baring “2085 Tea” and “Gangster,” which features Chronic Law and Ireland Boss, Mirror 25 promises to be Spice’s most introspective and musically ambitious offerings yet. 

Equal parts a celebration of her quarter-century in the music industry and a reflection on past traumas, a life-altering health scare and industry sabotage, Mirror 25 finds Spice injecting her dancehall sonic foundation with notes of country, Afrobeats and R&B. The album’s latest single, the evocative “Ex-Boyfriend,” presents a Spice that is primarily concerned with tackling the harsh realities of domestic violence.  

“It creates an important conversation surrounding how women should value themselves and not settle for less. I wanted to remind women that it’s OK to have an ex-boyfriend if their current relationship has red flags and that includes domestic and emotional abuse,” she tells Billboard. “I’ve been caught in domestic violence situations before and walked away without hesitation. I need women to sing this song with ease, knowing with that same intention that it’s that easy to walk away and move on from toxic relationships. I want to be the voice for empowering women to leave toxic relationships.” 

In a candid conversation with Billboard, Spice unpacks her 25-year career, details her new album, reflects on her time within the reality TV circuit and opens up about the health scare that almost killed her.

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How’s your day been?

So far, it’s been good. I’m feeling good and the [release] date for the album is drawing near. That [stress] is going to be off my shoulder [now.] Because I’m the [executive] producer, all the weight is on my shoulders — wanting to make sure that you’re not biased to your own songs, that you chose the right song, that you’re going in the right direction, etc. Being that one person that’s doing everything, [I’ve been] getting a little bit nervous leading up to it. Also, as an independent artist, it’s not easy. You are doing literally everything, making every decision by yourself. 

You kicked off the Mirrror 25 era with “Round Round,” which features Busta Rhymes. Tell me more about how your relationship with him has evolved over the years. 

So a lot of people don’t know, but I’ve known him for over 10 years. I met him when he came to Jamaica around the time I had just released “So Mi Like It,” which is one of my biggest songs. A friend of mine who was his friend was taking us around and she introduced us. I remember him going everywhere and just hearing, “Yes, that’s how mi like it!” And he was like, “Yuh song bad!” With my little shy self, I was like “You should do the remix!” And he was like, “Yea man, this hot man!” because every party, everywhere he went, he would hear it.  

He did do the remix, but at the time, I didn’t have the resources to really get it out there. Fast forward to us building that friendship and stuff, [now] I have the opportunity to do it again. It means so much to me, and I’m just so grateful for someone with a legendary status like Busta to jump on it. 

Getting the clearance as an independent artist was very humbling. It was refreshing to have someone at his level look out for me., so I have to big him up fi that. I think he’s just so humble and 0I’m grateful for this opportunity. 

How did “Round Round” come together? 

The composer — who is [YowLevite], a super talented producer from Jamaica — built the riddim. When he presented it to me, I immediately was just going “Hee-haw!” because it gave [me] that country feel. We wasn’t sure about it, because we’re like, “We’re doing a dancehall album.”But that’s where the versatility comes in. What I like about the song is that my fan base is so diverse, so I get to reach my fans in [different] parts of the world [through the music.] So, when he came with the riddim, I was like, “No man, let’s work and see what we come up with.” 

When I recorded my part, we started brainstorming and I [thought] it would have been great if I had a collab on it. I start to think of who would be that person that would bring the elements of Jamaica, country and also authentic hip-hop, and Busta was the first person that came to mind. It was a no-brainer. I sent him the track and I was nervous, [but] in two days he sent it back to me and I was blown away. 

The second single, “2085 Tea,” is pretty explosive. Why did you feel that now was the right time to address those controversies and sort of reclaim your truth and reclaim your narrative? 

The name of my album is Mirror 25 because I’m celebrating 25 years in the industry. I came up with the name because I’m in the era of reflecting on all the things that I’ve been through. 25 years is a long time in a business. In reflecting, I started to think of all the things that I overcame. When you look in the mirror, you also have to be true to yourself. I could have dished the tea on a lot of gossip on a lot of other people, but this album is personal. It’s about me. It was just the perfect way to dish the tea on myself. And it was a funny way to speak about my truth.  

Everything in that song is true: the betrayals, the heartaches, the pain. I’ve managed to overcome them, and I also wanted to be vulnerable with my fans to remind them that I’m also human, so they can understand that we have been through similar things. If I was able to overcome them, you too can overcome them. You have a lot of women out there who are going through depression, who have mental issues, suicidal thoughts, a lot of things. I wanted to be vulnerable. My friends betrayed me. I was stuck in a contract for 10 years. People held me down in the music business. I’ve been targeted. But here I am as the Queen of Dancehall, I was able to do it. You can do it too. 

In “2085 Tea,” you allege that people were paid to not play your songs. How did you come to believe that? 

I’ve had people in the industry come to me and say: this person — and mentioned people name — is paying us to not play your song. And I’m like, “Wait, what?” I’ve had people confess to me about people that tried to sabotage my career. I haven’t done anything, but I also know I’m super-talented. I’m not sure why people feel like they need to move someone out the way for them to also progress. I always tell people that the cake is big enough to share for everyone. You don’t have to move anyone. There will never be another Spice. You will be you and I will always be me. We all can still make it in the business. It’s just sad. Anything that I put out that they thought would be successful, they would try to have people not play it. Anywhere that they could find a person that they could call, they tried to sabotage my career. I appreciate when people [tell me this] because it shows a lot of respect. When they’re able to tell you that, you know this is not fair. 

In that song, you also said that when the cameras come out, people start to cap. Who was capping on Love & Hip-Hop? 

The TV World was a shocker for me. I used that line because it wasn’t specifically targeted to one person. Oftentimes there would be situations where we’ll be in a room on Love & Hip-Hop and people are voicing their opinion on a specific topic. Everybody knows how everybody feels about a certain topic, but when the camera come on, it’s a switch-up. Coming from Jamaica trying to make it big in America, I always felt like a loner. I’m the only Jamaican on Love & Hip-Hop. I always felt like I had to change my dialect so they could understand me a little bit more. I always felt like I was looked at differently from them, so it was very weird to me. It was just strange. When they start shooting, it’s like a different person I’m looking at. That’s not even who you are. 

When you look back at your time on Love & Hip-Hop, do you have regrets or mostly fond memories? 

I think that there are more fond memories. I don’t have regrets, but there are definitely bad moments. I think that the fun moments outweighed [the bad ones] because, at the end of the day, I do credit them for kind of opening the door for a lot of people to kind of get to know the brand Spice a little bit better. I remember when I went on Love & Hip-Hop, a lot of people felt like I was bigger than the show. But I also remember going on [the show] and a lot of people [were] getting to know who Spice was from Love & Hip-Hop. A lot of people were saying “Spice from Love & Hip-Hop” instead of “Spice, the Queen of Dancehall,” so it does come with a scale of ups and downs. 

I think the bad part about being on Love & Hip-Hop is that people don’t realize that the only difference [between] them and I is that I’m living my life out on TV. Sometimes they’ll be like, “Oh, why she gotta talk about that?” I don’t. I didn’t choose to. It’s because I’m on TV you’re seeing it. 

I also feel like there’s a lot of hypocrisy that I challenge [on the show.] I talk about a lot where I would probably show you a lot of emotions when I’m delivering certain [things.] And as a Jamaican, my dialect and my delivery comes off a little bit different than theirs. And they would say, “Why is she so angry?” Then someone else is allowed to be angry and deliver their tone however they choose. But when I do it, I’m labeled as the angry Black woman. 

Do you think that the mess and the drama and the negative perception of reality TV was worth the exposure that you got from those shows? 

Yes, I think it was worth the exposure. There’s a popular saying, “There’s no bad press.” I believe that — because it doesn’t matter, as long as people are knowing about you, they’re speaking about you. It’s promotion for me. A lot of times you have celebrities who cover up, and then the big reveal comes and then the cancel culture gets them. I’m not sure if I’m going to have that moment, because my fans know who I am. Even though it may come with what people look at as backlash, it also gives my fans an opportunity to know the real me. They know that I stand ten toes down on certain things. I don’t stand for the for the cap. You got to accept me for who I am or don’t accept me at all. And I’m OK with that. I could have presented another person to you, but I’m not about that. 

I’m also the executive producer for the Love & Hip-Hop: Atlanta cast album, which is the first time that has ever happened. I’m trying to get people on the show to chase music. It felt like it was taking a backseat. Being a girl that is always producing my ow music, I wanted to open that door for my friends and my castmates to say, “Listen, let’s get back to the music. Let’s get back to what it really should be.” That’s the main storyline this season. I feel like I was just the right person to do it. 

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In “2085 Tea,” you also speak about a former dancer sleeping with your ex. That former dancer has alleged that she was sexually assaulted by said ex. Would you like to comment on that matter? 

I don’t know if I want to [comment] on that [right now].

Shortly after the release of “2085 Tea,” Mr. Vegas wrote a lengthy Facebook post calling the song a “tasteless insensitive jab” at that former dancer. He also wrote that you are a “mediocre recording artist” with “mediocre songs” who “is not talented enough to become a musical icon.” What did you make of that post? How does it feel to have a peer publicly disparage you like that? 

I didn’t read the entire post, but the minute I started reading it — because my fans were sending it to me, and they were very disgruntled and upset over the post — I immediately realized that it was jealousy. It’s a jealous reaction that I get not just from Mr. Vegas, but [also from] a lot of other people who are just not happy to see that I’m still leading. A lot of people who started out back in the day [are] not current right now.  

It’s also hypocrisy, because Mr. Vegas did a song insulting me over my surgeries that I did in the past, speaking on my breast augmentation and my liposuction. He was delivering the song publicly, promoting it, and it never became famous. So, for him to now say, “Oh, why would [she] sing a song trying to degrade a woman?” — it’s obvious that it’s hypocrisy and jealousy. I just skip over those jealous things because there’s so many of them that appear every day. 

When last Mr. Vegas did music? That should be his main target. All of a sudden, now that I’m doing music, I’m the main target for everyone. I’ve done so much for the culture and for dancehall. I have so many hit songs and Billboard songs. I’m not sure what his post was about. 

Do you ever feel like your controversies overshadow the music? 

I don’t feel like the controversies overshadow the music, because look at 2018. I used makeup to make my appearance seem lighter. That was a whole movement. Everybody was talking about “Black Hypocrisy.” I had the world’s undivided attention. The song was No. 1 on [Reggae Digital Song Sales]. 

The controversies set me apart. It makes me different with my delivery. It makes my fans feel anxiously over the edge with what I’m coming with next, because I’m always that entertainer. I’m not just putting out music, I’m always delivering good entertainment for them. I’m always coming with something different, revamping myself in an ever-growing music industry. 

The two Mirror 25 singles certainly feel fresh in terms of dancehall sonics. How else do you plan to evolve on the new album? 

By tackling different genres. There’s one song on the album called “D.D.D.” that is one of my favorites, because there’s a moment in there where nobody can tell me that I didn’t have my little Toni Braxton moment. [Laughs.] Nobody going to take that little moment from me! 

There’s gonna be a little Afro sound on the album. There’s a song where I start speaking Hindi, which I did because on my song that I did with Sean Paul [“Go Down Deh”], one of my biggest streaming markets was India. I also [spoke some] Spanish [on that same song], and I can’t speak Spanish! I had to Google the words to put it together! But it was fun, because I know that I have fans that speak Spanish and they will appreciate it. They’ll all feel included. 

So much of the album’s reflection is inspired by the near-death experience you had. How did that whole ordeal impact that way you approached this particular album? 

I had problems with my hernia. When it erupted, it sent my body into a sepsis, and they literally had to open me up to save my life because the sepsis was poisoning my body. I still have hernia issues to this day. I’ve done maybe six surgeries because of it.  

When they opened me up, it also caused another hernia — because they left my stomach walls open, since they weren’t able to sew me back up, because the sepsis was leaking into my entire body. They had to leave me to self-close and then go back in again. It was a lot of going back in and repairing, which took two years — which I’m also grateful for, because I didn’t even know that my body could really sustain six surgeries. 

Every single time I went in there, God came through for me. I just feel even more blessed and more grateful for this journey. I’m not sure why he loves me so much, because I’ve been a bad girl so many times, but I know I’m here for a reason. I’ve definitely drawn closer to him. I started the album with a gospel song that I had to dedicate to him because of what I’ve been through. I came up with the [title] celebrating 25 years because I feel like it’s something to celebrate because I could not have been here. But I’m supposed to be here because God saved my life for a reason. I escaped death. I don’t take that lightly. 

You are the executive producer for the album, and it’s coming out on your own label. That’s a level of freedom that so many artists dream about. How does it feel to operate in that space after so many years of label woes? 

This is the first time I’m owning something after 25 years. I feel like I’ve fought through so much to be independent. I don’t know if my fans even understand what it means to just be independent — to be doing it on your own, to have your own, to be able to make your own decisions on what you’re doing and what songs you’re putting out and what you’re recording. It’s a breath of fresh air for me, and it makes me feel more accomplished because I’m my own music boss. 

Who’s helping you with radio and streaming promotion? 

We are. It’s not easy. I’m not going to pretend that it’s easy. It’s very difficult. It’s not easy being an independent artist overall. I’ve had days where I crash out, where people were just pulling me from all angles. I’m still in the process of learning and figuring out stuff. 

Getting things playlisted is not easy as well, so I’m not going to lie to anyone and let them believe anything else. It’s difficult. But I feel like once you have the right team and the right mindset and the knowledge on music business and you know what to do and who to reach out to and you remain consistent, it’s just a matter of growing relationships. And I feel like I’ve built a brand that when we get a hold of someone and you say “Spice,” they always welcome me with open arms. 

You’re also working with Empire on the distribution side. Why were they the right partner for you? 

I felt like they were the right partner because they have so much history with Caribbean artists and African artists. I wanted a [distributor] that knows or has a background in our music. 

Any plans to tour this album? 

Absolutely yes! I’m definitely planning to go on tour. I already have so many single shows that were booked previously, so I’m not sure how far back I’ll have space to accommodate the tour. I wanted to go on tour as early as October. 

What’s on your playlist right now? 

YG Marley, “Praise Jah in the Moonlight.” Shaggy and Lavinia, “Move.” Me and Busta, “Round Round.” 

Back in 2002, Sean Paul’s “Gimme the Light” reached No. 7 on the Billboard Hot 100, kicking off one of the most prolific crossover careers in dancehall history. Two decades later, Ice Spice, one of the hottest names in contemporary hip-hop, announced her own “Gimme the Light”-sampling single during her 2024 Coachella performance — just one example of how seminal Sean Paul’s contributions to the fabric of American pop culture have become.
On May 2, Paul willl launch a 22-date U.S. trek – crowned the Greatest Tour – at House of Blues in Orlando, Florida, marking his longest Stateside tour in over 10 years. The production will visit major U.S. cities such as Las Vegas, Brooklyn and New Orleans, before concluding at the Fillmore in Charlotte, North Carolina, on June 16.

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“I feel that the people are ready for me again,” Paul recently told the Associated Press. And he’s correct: His last two studio albums – 2021’s Live n Livin (No. 9) and 2022’s Grammy-nominated Scorcha (No. 6) — both reached the top 10 on Top Reggae Albums, becoming his seventh and eighth consecutive titles to hit that region. 

With timeless classics like “Get Busy,” “Temperature,” “We Be Burnin” and the Beyoncé-assisted “Baby Boy” to his name, Sean Paul is armed with an arsenal of smash hits that few can rival – and he intends to re-explore his sprawling catalog on his new tour. Far from a mere nostalgia grab, the Greatest Tour also grants Paul the opportunity to bring his recent Latin music collaborations to life across the U.S. So far in the 2020s, the dancehall legend has already joined forces with major Latin stars such as Wisin & Yandel (“No Sales de Mi Cabeza”), Manuel Turizo (“Dem Time Deh”), Feid (“Niña Bonita”) and Billboard 200 chart-topper Karol G (“Kármika”).

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“I’ve been doing a lot of different types of genres, stepping into the Latin world and stuff like that,” he says. “I’m just ready to connect back with everybody who loves dancehall, and the people who are being drawn to the new music that I’ve been doing lately in the States.”

Between the promising crossover success of recent dancehall hits like Teejay’s “Drift” and the box-office-busting success of Bob Marley: One Love, the worlds of reggae and dancehall are gearing up for another wave of global attention, and Sean Paul is here to help guide those genres once again – both as a mentor and as a performer.

In an entertaining conversation with Billboard, Sean Paul details his new tour, explains his controversial stance on the Jada Kingdom-Stefflon Don clash, ponders the dynamic between dancehall, afrobeats, and reggaeton, and recalls his earliest musical memories.

1. Where are you in the world right now? How’s the day treating you? 

Sean Paul: I’m good! I’m in my studio Downstairs in my house and I just put my kids to watch [the 2024 Netflix docuseries] Moses — because I’ve been reading them Moses, so I’m trying to get them interested more. 

2. In just over a month, you’re kicking off your Greatest Tour. What are you most excited about for this specific tour? 

I’ve been touring the world for a long time… it’s been quite a long time [since I’ve hit] the States in terms of a long tour. I’ve done [one-off] dates here and there, but the last time I did a long tour like this [was] probably 10 years ago. I’m very excited about connecting back with people. 

3. What are your three favorite songs to perform live and why? 

That would definitely be “Temperature,” “Get Busy,” and probably “Gimme the Light” — because it didn’t hit No. 1 on the Billboard charts, but it was the [biggest] video that I had back in the day for a minute. “Get Busy” was my first [Hot 100] No. 1 and “Temperature” was my second No. 1. It’s always fun to perform those. 

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4. Which cities are your favorite to perform in? Are there any cities or venues that surprised you with how hype they were?

Usually, New York’s really dope, Miami as well, and I would say most of the East Coast. But L.A. has come up! Traditionally, L.A. would be a more reggae area. On the West Coast, it’s a lot more reggae-oriented — but L.A. kind of surprised me in terms of the love they have for my music, and for dancehall especially. It has grown over the years.  

But I haven’t been to Chicago or Atlanta in a long time. I’m looking forward to [being] back in those states because I used to have fun there. I have friends that I’ve seen in a minute, so it’s good to connect. I don’t think I’ve been [in Atlanta] since COVID, so that’s gonna be a good vibe. 

5. What’s the first concert or tour you remember attending? 

Young MC! [He] came to Jamaica and he was in the Guinness Book of World Records for the most words in a rap song, and that night Papa San was also there and he was in the Guinness Book of World Records for the most words in a song. So, we all thought they was gonna clash, because [Jamaica] had a thing – we still do – with clashing, and I thought that was gonna happen. We was like, “Yo, what’s going down?” I remember the girls shouting, “Marvin! Marvin!” because Young MC’s name was Marvin. They didn’t clash, but I had a great time. It was in National Arena in Jamaica. 

The next one I went to was a group called 2 in a Room. [Sings “Wiggle it, just a little bit.”]  My aunt had a sound system, so she was a person that was chaperoning them around, and all of her equipment was being used at the show. So those two first come to mind in terms of big concerts that I’ve been to. 

6. Who are your biggest influences in terms of live performance and crafting your stage show? 

One of my biggest influences from my genre is Capleton. He’s a very enigmatic. He’s full of energy all the time, no matter how old or how much time passes, the dude is amazing to me and I think he should be revered much more than he is. [He’s] someone with a message, but he also keeps the crowd very entertained.  

Of course, Bob Marley is someone who we all look up to. He’s like a national hero to me. When he performed, you felt his soul. You feel the content of his lyrics, it hits you that it means that much to him. Most of the time, he performed [with] his eyes closed, so you can tell it’s coming from a deep place. Of course, Super Cat and Shabba Ranks. I do have influences from hip-hop, like LL Cool J [and] Rakim — all these influences come together to make me the dynamic performer that I am. 

7. You’ve done a lot of crossover collaborations for the Latin market recently and you even picked up a crossover artist of the year nomination at the 2023 Billboard Latin Music Awards. What drew you to that market and those sounds? 

Reggaetón is very close to what dancehall has been for years. I like to say that reggae is the father of the music, and hip-hop and dancehall are brothers. It’s a vibe. 

8. Why do you think cross-genre collaborations are important? 

The music is here to connect people. It’s just another form of reaching out to another side that’s maybe not familiar with your music or wants to see more of you.  

I always learn from my collabs, man. There’s no time that I don’t learn. I might go and collab and I’m doing what I do, and then all of a sudden, the producer or the artist himself might step in and be like, “Yo, do a harmony right here!” And I’m like, “Oh, I didn’t ever think of doing something like that.” It may be influenced from their style of music, maybe R&B, maybe hip hop, maybe reggaetón, even Afrobeats. I learn something every time and I take that with me, so it helps my songwriting. 

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9. We’ve been seeing a lot of Afrobeats and dancehall crossovers recently. What do you think is the potential of that musical dynamic and is there anything you think that two genres and industries can learn from one another? 

Jamaican dancehall music, to me, back in the late ‘80s and early ‘90s, was the most Afrocentric genre coming out of the Western world, so to speak. We didn’t, at that time, connect with African artists — but we spoke up [against] apartheid in Africa. The sentiment was always there that we are closer than we think, and that we can learn from each other. Sly Dunbar is a great producer and someone I learned from; the style of drums and how we played was very Afrocentric and reminded me of our African roots here. 

Then, years pass by, and I’m an artist and I go to Africa, and they are so appreciative of what we brought to the table. It’s been a symbiotic relationship back and forth over the years. We’re using drums from the sound that’s been Afro music, people like Fela Kuti and all of these great musicians, and we’re producing it the way we hear it [and] feel it. In Afrobeats [now], they have taken the hint from how we produce and done their own thing with it.  

It goes to show you, no matter how far away you are, there are still things about the culture that are important, that are upheld and that continue through life. The connection of blood, the connection of family through culture has been an important thing — and it lives in the music and it affects us symbiotically. 

10. In 2022, you dropped Scorcha, which earned you your 10th Grammy nomination. Where do you personally rank that album in your discography? 

I think albums define artists in a certain time period, so I don’t judge my own work in the respect of how well they do for sales or how well they do [in terms of] impact on the on the community. I judge it as, me then, right? So we had just been in COVID [with] the lockdowns and I  did two albums that year. I feel very proud of the work. Live n Livin [released on March 12, 20221] was a collaborative effort of me and about 19 other Jamaican artists, which I was very proud of. I hadn’t seen anybody in my genre do so much collabs, with each other, which I think has been needed.  

For Scorcha, it was definitely a statement of me still feeling myself. It’s still fun music, it’s music that people can vibe to and forget about their problems. I don’t call it escapism, but it does give you that space and time that you can feel like life ain’t so monotonous and hard and difficult to deal with. It gives you a little bit of light — that’s no pun intended, but that’s what my music is for. 

11. Do you still buy albums yourself? What’s the first album you remember buying and falling in love with? 

Oh man, I’m streaming now! [Laughs.] I’m in the modern day! It’s weird to me, because I liked owning the vinyl. I liked being able to just look at one picture all day long and imagine everything about Donna Summer that I could ever imagine. There was a lot to the imagination at that time and it was very magical. Nowadays, [with] streaming, I don’t own the album, but I stream songs for sure. 

Of course, my parents’ collection was there, so I mentioned Donna Summer, I can mention The Beatles, Neil Diamond — this is my mom’s music and influences on me — Paul Simon and Garfunkel. But the first one I bought was [Breakin’], to tell you the truth. Hip-hop was just becoming the “in thing” in my generation. It was around from before and we heard songs, but now, I was identifying stars and the break dancing was kicking off, so [Breakin’] was something that I wanted to own. 

It’s funny what happens when you’re coming up as a young kid, [buying] an album like that and then [learning] something from it. I didn’t know of Chaka Khan before that album. And then I found out more about Chaka Khan, and I was like, “Yo!” I got an introduction to her music through that album. 

My mom did buy me Steel Pulse[’s Earth Crisis] that same year as well — she’s someone who liked their music because it was kind of reggae, with a little difference. It had different melodies and harmonies, and what they spoke about, she was really into that. 

12. Who from the younger generation do you think is leading dancehall right now or charting a new path forward for the genre? 

Definitely Masicka. I’ve been supporting his career for a long time. He just reminds me of freshness. Every time that you hear a song from him, you could tell that he really put a lot into the wordplay, that’s very commendable as a younger artist. I like Skeng, I think his voice is awesome. I would like to hear some different topics from him, but still love the voice, love the vibe, it’s the right energy.  

I know I wasn’t around when rock’n’roll started, but the raw energy that I feel when I listened to the early rock’n’roll — Chuck Berry and all of that – it’s the same feeling I get [with these younger dancehall artists]. It’s not overproduced at all. Big up to the younger dancehall artists. Skillibeng doing his thing. Big up to Popcaan, he’s a little older generation than them, but [he’s] somebody who still is making music that is making an impact here for me. 

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13. You had some controversial thoughts on the Jada Kingdom and Stefflon Don clash from earlier this year. Some people noted how global audiences really tuned in and paid attention to that clash, which brought more eyes to the contemporary dance hall scene. What purpose do you think clashes can serve in this particular era of dancehall? 

I’m against the clashing right now. I’ve been for quite some time — reason being, I’ve seen negative impacts in the community when it comes to people being childish about supporting their artists. Clashing does bring about attention, but does it bring important lessons? [That’s] what I think music is supposed to be. 

When I look [at] Marley’s career, people like Jimmy Cliff, Third World, Black Guru — this is where our music comes from. We are like hip-hop in a way, but we also have that root of the Burning Spear and all these people who spoke culture to us and fought Apartheid, as I said before. I just don’t want to see my people feel the need to clash talents. In that respect, I think our talents can be used more towards a greater upliftment of everybody. 

I have spoken about being against the clash with all types of artists — male artists from a long time ago, when Mavado and [Vybz] Kartel was clashing. Kids would ask me, “Gully or Gaza?” And I’d say, “Nah, mi seh Jamaican flag.” Even though my little utterances didn’t make a difference then, people still clash, people still enjoyed the clash, it showed them their technical skills. I didn’t feel the need as an artist to show my skills against another artist when I know exactly how hard it is to break in this industry, and how much I feel we should collab together more. 

When I spoke up about Jada and Steff, it’s because I know those two people. I also believe that women’s energy should reflect a different type of energy than a man. Yes, you can be a strong woman, you can be a leader, you can be someone that rebels against something that’s wrong. But the energy, and where they’re putting it, I just don’t find it attractive for women to be to be doing that to me.  

[There was] a lot of backlash. I got a lot of people saying, “Oh, so men can do it and women can’t do it?” And I’ve always said in my genre, the mandem shouldn’t be clashing. I was answering back everybody I could [on Instagram]. I’m not the type of vocal artist like that all the time, but when I do believe in something, I’m gonna say it. 

I just believe that those two women especially have a lot more talent and a far way to go in the business than to cement themselves to be known more as a clash artist. I’ve seen that happen with some of the males too. Some of the dudes come out, they’re clashing, and then you’re just known as a clash artist. I haven’t heard anything else from them. Not a song to entertain, not a song to educate, not a song to uplift, just a song to be derogatory about the other artists. I think we do that too much in this genre, also in hip-hop.  

I’m tired of it. I’m tired of childish behavior. I just think that we could spend our time doing way better things as a genre, especially coming from the root of reggae and what that’s been in the climate of music in the world. 

14. What do you love most about where dancehall is right now, and what do you wish was different? 

I wish clashing wasn’t as prominent, I’ll just say that first. [Laughs.] What I do love about our genre is that it’s been so infectious that other people have gravitated towards doing their own music that sounds [like] the same type of backbeat or feeling in the songs. 

For me, it’s a spirit. It’s an ancient spirit that comes through the music. When Sly Dunbar was making the music in the late 80s [and] early 90s, I felt this Afrocentric feeling. It felt third world, [like] this is my identity, and it still has that feeling and it’s giving that feeling to other genres as well. 

I’m proud of the fact that there are more producers and more artists. One thing that’s uneasy to see is that there’s a lot of people who just come up and they don’t go through a gauntlet like I did or artists before me, where you have to stay [in the studio] all day long sitting down, waiting for your turn to be recorded. It’s all on your phone right now or your laptop [with FruityLoops] and everything’s a lot easier. Sometimes when you don’t go through the fire, you don’t get to the point where you’re diamond. 

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15. What made it a fire or a gauntlet? 

Back in the day, having to wait in those lines, having to take the criticism from the producer himself — because nowadays the kid could just do his own thing and put his song out. Soulja Boy broke from that scenario. But the discipline ain’t there to me, and that discipline is a deepness that can help you to have more longevity, which I think I’ve had, and so I give thanks to everybody who, behind the scenes, criticized me, pointed the finger at me and told me, “Go do better.” 

It’s happening not just with my genre, but with many other genres. Yes, there can be prolific artists like Prince, who will play everything on his album, but that’s a one in a million or one in a billion. You do need the guidance as a younger artist, and I think that’s missing from most genres, but especially this one. 

16. What business advice would you give younger artists who are striving to have a career with as much longevity as yours? 

I’ve never been [a good businessman] — I just feel what my crowd needs from me. I feel what works and what doesn’t. I don’t produce a hit song every day! For every one song you hear, I may have 25 songs that you will never hear. It’s about the work ethic, keeping your ears to the ground where the genre is concerned, but also keeping in tune with your crowd. 

A lot of ladies gave me the ideas to be like, “Yo, they like hearing this from me!” It’s a lot of gangsterism in music and hardcore stuff. While I don’t think I’m a soft artist, I do think that I give some form of romance to the ladies, and some form of closeness that you know that that they need from the music. 

You may be an artist that doesn’t connect in that way. I’m not saying everybody has to do that type of music, but connect to whatever it is from you that people are connecting with. Pay attention to that. 

17. How do you think mentorship can be most effective in dancehall right now? 

I think what I’m doing has been helping a few artists. I help to mentor people like Chi Ching Ching and a young cat Quan-Dajai [Henriques], who [was] in the Bob Marley movie.  I produced their music right now. I think it’s important because just by being in the studio one day and telling them a story about something I’ve seen in the business or some crazy stuff that happened behind the scenes with the red tape, the lawyers and other producers —  they learn from me.  

It’s important because it’s a slippery slope that we have as an artist. We create, we sit in the in the in the studio — we’re away from real life, but we’re talking about real life. It can be a very hard road, at times, for people, especially if you’re not being heard. To have someone to help you navigate through those times is an important thing. I feel that I’ve been helping to do that with quite a few artists. 

18. What’s the last song you listened to? 

Some music that I just did in LA last week. One’s called “Ginger,” nice vibe. It’s kind of like a blend of Afrobeat and dancehall music. It’s an Afrobeat producer and artist I worked with, so I’m really feeling that one. It sounds like now. I listen to a lot of my music because I have a lot that hasn’t even come out yet.  

I have listened to the verse that Kendrick [Lamar] spit. I’m more hearing the verse than the full song, but he did step on some toes there! So, some clashing a gwan again. [Laughs.] For me, all those artists have proven themselves to be great. I don’t need [a clash] to know that they are great. I might revere Kendrick’s lyrics more than Drake’s, but I still think Drake is a talented person to be where he is at this point. 

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19. For you, what makes the perfect dancehall song? 

It definitely has to do with the beat a lot. A lot. you could have a very great reggae song that’s an acoustic – there have been acoustic dancehall songs, for sure —  but the main driving force of our music is the riddim. It’s the drum and the bass. That’s what’s changed a lot with the younger [producers] nowadays, who don’t have that gauntlet to [and] don’t have the guidance of other people. It’s a lot more chord-oriented and keyboard-oriented, and it don’t have the crazy bass. I miss that. There’s a few songs that that still reflect that now, and those are the ones I enjoy more. 

I think that that’s the important thing that makes a dancehall beat. For me, Ed Sheeran’s “Shape of You” is a dancehall beat. I’ll beat you. The drums and the bass reflect that. When the radio people say, “Dancehall ain’t playing in the States no more on the radio, sorry!” I’m like, “F—k you, because you’re playing Ed Sheeran and to me, that’s dancehall.” Good songs are good songs, but the backbeat — the drum and the bass — is definitely what helps to make our genre the infectious thing that it’s become and that it is. 

20. What’s your all-time Carnival anthem? 

When I was a kid, you know, soca music comes from Trinidad and that’s the carnival music here. As a kid, I didn’t love it as much. I have five aunties, my father’s sisters, they loved it and I didn’t like it. 

But I’ve grown up now and I have a wife, so she’s immersed in Carnival. She makes costumes, so she’s giving me good insight as to what music is great. I think that one of my favorite anthems is a song from 2005, [sings Shurwayne Winchester’s “Dead or Alive”]. Also, “Like a Boss” by Machel Montano was probably just the baddest song. He’s like challenging me to party more! Those two songs for me are Carnival anthems.