State Champ Radio dancehall
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Between Teejay and Bryon Messia’s ongoing beef, a brand new From the Block live performance video from Shenseea, and the passing of dancehall star Gully Bop, it’s been a packed month for the West Indian music scene — and most of these things only happened within the past week!
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To help sort through all the new Caribbean music released in October, Billboard’s monthly Reggae/Dancehall Fresh Picks columns returns with a host of new selections for your listening and wining pleasure. Of course, as is the case across genres in today’s age, there’s an overwhelming amount of new music released every day, let alone every month. Naturally, this column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs.
Without any further ado, here are 10 tracks across reggae, dancehall and their cousin genres that are heating up both our personal playlists and late-night functions from Kingston to Queens:
Freshest Find: Teejay, “Unwanted Child”
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Although it’s still unclear what exactly sparked the beef between Teejay and Byron Messia, the new-school dancehall stars are continuing to fire off diss tracks. This week, Teejay sent some more direct hits to the “Talibans” singer with the blistering “Unwanted Child,” a scathing diss track that alleges that Byron is a literal unwanted child (“Act like a we mek him madda disown him”) who doesn’t live the life he raps and sings about in his music. The dark, grimy beat is a smart complement to Teejay’s sinister delivery; his voice drips with equal parts disdain and haughtiness, two of the most important feelings for a proper diss track.
Khalia feat. Shaggy, “Double Trouble”
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On this selection from Stay True, Khalia’s debut project, the Westmoreland singer joins forces with Shaggy for a conversational duet that traces the story of two partners with undeniable sexual chemistry who simply cannot work in a proper relationship. She employs a cadence reminiscent of contemporary R&B as she recounts this roller coaster of a relationship over the slow-burning dancehall-inflected beat. “Anuh any any man can win da spot ya inna my heart/ Keep it premium on a level affi inn a path/ You affi show me all your cards before let dung my guard/ And den I work it and reverse it so I’m keeping him sharp,” she croons.
Valiant, “Beer & Salt”
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When you reach the top of of the food chain, there are always going to be those people waiting for you to slip up — even Valiant can’t escape that phenomenon. After a less-than-impressive performance at Miami Carnival and a subsequent social media backlash, Valiant uses “Beer & Salt” as way to respond to his detractors and reflect on his tumultuous past few months. “And if a badness, just talk, make me load me strap/ I see them lurking on my IG/ I know your profile private/ All of this was a dream but you can’t ketch the flows I’m finding,” he spits over the slinky DJ Mac-produced beat.
Mavado, “No Sorry”
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Taking a similar approach to Valiant, Mavado uses “No Sorry” to champion his lack of regrets for the way he has chosen to live his life. Backed by a skittering trap dancehall beat, Mavado sings, “A ghetto youth pon the top of the mountain ah di greatest story,” once again reaffirming that his intentions are genuine and pure, even if his actions may garner mixed reactions from some. He’s unapologetic in who he is and where he comes from as he reflects on his life and success across the self-affirming track. After all, “Don’t make excuses, we make sacrifice,” he sings on “No Sorry.”
Chronic Law, “War Cycle”
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Moving away from the self-motivating introspection of Valiant’s and Mavado’s new tracks, Chronic Law opts for despondent piano to anchor his stab at trap dancehall — a solemn reflection on the emptiness he sometimes feels in spite of his success, likening the dynamic to the ongoing violence that plagues his home country. “What a cycle/ The likkle scheme warm than Grove Street turf/ Me a drink and pretend mi don’t feel hurt/ Cyaa describe mi pain with no real words,” he croons.
Mystic Marley, Nailah Blackman & Walshy Fire, “Jump”
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This new track from the granddaughters of Bob Marley and Lord Shorty, respectively — with production contributions from Walshy Fire of Major Lazer — combines bits of dancehall, reggae and soca for one of the most undeniable party records of the year. With bubbly brass stitching together elements of Marley’s “Rainbow Country” (1971) and Shorty’s “Endless Vibration” (1974), Mystic and Nailah balance the familiarity of old-school reggae guitars and infectious soca percussion as they implore their listeners to, well, “jump!”
Intence, “Lesson”
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Rising Jamaican dancehall artist Intence delivers a heartfelt reflection on the most pertinent lessons life has taught him. Staunchly within the modern trap-inflected dancehall arena, Intence offers up several nimble flows as he recounts various life-altering experiences that remind him of both his mortality and his divine protection. “Just another ghetto youth and if you ask me I would have tell you from the start the amount a times them double cross me/ Me a real youth me don’t need to tell you that so let them talk cause me don’t care as long as God see,” he spits in an impressive rapid-fire delivery.
Zagga, “Believe & Pray”
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Released near the top of last month (Oct. 13) as the penultimate song on his Energy Never Lie album, “Believe & Pray” finds Zagga both talking with God and encouraging his listeners to have faith and trust in the power of prayer. “Prayer move mountain, prayer with faith, dawg/ Jah Jah eva on time, never yet late, dawg/ Whula we a sin but mi no ready fi graveyard/ Conscious, but the world mek mi behave bad,” he sings over the solemn, uplifting beat, which is part of a new riddim produced by Shane Creative.
Talia Goddess, “Forever Young”
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Guyanese-British multi-hyphenate Tayahna Walcott, aka Talia Goddess, perfectly captures the buzzing sensuality of hot summer nights during the prime of your youth with this smooth dancehall and R&B-inflected banger. In the hook for “Forever Young,” which is built around a thumping dancehall riddim, she reaches for high-pitched, Amaarae-esque tone as she sings, “Tell me is you really mine my lover?/ Cah you make me feel alive, so true/ I can take you to the light my darling/ I just wanna live my life with you.” Both the track and its globe-trotting music video are testaments to the rich global legacy of West Indian music and culture.
Roze Don, Countree Hype & Konshens, “Unch It Remix”
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Some of the best dancehall tracks are the instructive ones; they’re inherently interactive and personable. For the official remix of their function-rocking “Unch It,” Roze Don and Countree Hype recruit dancehall star Konshens to add his own spice to the steady, percussive beat. Their tones are calm, just shy of nonchalant, but glimpses of staccato flows and the sneaky sensuality of a whisper add dynamics that elevate the song nicely. From the booming bass to irresistibly danceable melody, the “Unch It” remix is nice update of the August orignal for the autumn season.
For good measure, here are two bonus Fresh Picks that are only available to stream via YouTube.
The myriad sounds of the West Indies have captivated the world for decades, from Bob Marley’s all-conquering reggae classics to more contemporary offerings from the likes of Shenseea and Masicka.
In recent years, following a relatively quiet period bereft of proper crossover hits from the region, a number of hit records drawing on contemporary renderings of dancehall and reggae — Byron Messia’s “Talibans,” Ireland Boss & Malie Donn’s “V6” and Teejay’s “Drift,” among them — have made major waves around the globe. That’s not to mention the recent global dominance of reggaetón, a widlly successful offshoot of dancehall’s wide-ranging legacy.
Just as the ’90s and ’00s were pivotal decades of record-breaking crossover success for Caribbean artists, the ’20s are starting to show signs of a mainstream resurgence in that direction. This new generation of Caribbean artists aren’t just building on the foundation of West Indian greats, they’re also subverting traditions by blending elements of dancehall, reggae, soca, calypso, Afrobeats, R&B, hip-hop, gospel, and pretty much every other musical style, into an exciting new frontier for Caribbean music. Along with artists actually living in the Caribbean, a new generation of the children of Caribbean immigrants in cities like New York, Toronto, Miami and London, are also making their presence known with a number of attention-grabbing genre-fusing tracks like Capella Grey’s “Gyalis” and Cochise’s “Buff.”
To help celebrate and honor the storied influence and and ever-increasing diversity of contemporary Caribbean music, Billboard is launching a new, monthly column to highlight 10 of the best new reggae and dancehall (and their cousin genres) songs each month. Of course, as is the case across genres in today’s age, there’s an overwhelming amount of new music released every day, let alone every month. Naturally, this column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs.
Now, to finally kick things off, here are 10 reggae and dancehall tracks that are heating up both our personal playlists and late-night functions from Kingston to Queens:
Millbeatz & Lyrikal, “Blessed Day”
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A standout track from Millbeatz’s new Real Live Riddim project, “Blessed Day” finds Trinidadian artist Lyrikal leaning into the celebratory energy of soca music. With an anthemic hook that rejects the negative energy of doubters and naysayers, Lyrikal rides Millbeatz’ horn-laden riddim with equal parts gratitude and glee. There’s a genuine appreciation for the gift of life coursing through each phrase Lyrikal delivers. Despite the catchy percussion and horns, it is his voice that is the song’s driving force. “So tell them don’t worry, don’t worry about me/ I already prove di people who doubt me,” he proclaims.
Skippa, Najeeriii & Sulfa Ge, “Like Bob”
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Leaning more into the grittier trenches of trap dancehall than the sunny sounds of soca, “Like Bob” — a new collaboration between Skippa, Najeeriii & Sulfa Ge — finds the the three artists expanding on the DNA that connects hip-hop, specifically gansta rap, and dancehall. Their gruff tones pair nicely with the soft piano and twinkling background synths, a contrast that creates ample tension for their high-stakes, shot-calling rhymes.
Nailah Blackman & KANIS, “Follow Follow”
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On this sultry upbeat duet, Nailah and Kanis trade come-hither verses with a whispery, restrained hook that really drives home the slow-burning flirtatiousness of the track. Their alluring vocal tones are natural fits for the production’s intersection of Afrobeats and soca — and Trinidad and Haiti, by way of their respective backgrounds — further showcasing the diversity of sounds present in contemporary Caribbean music.
Bounty Killer & Cham feat. Dexta Daps, “Slow Motion”
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Technically “Slow Motion” was released in May, but it found a home on Bounty Killer & Cham’s Time Bomb album, which hit streaming platforms on Sept. 22, so we’ll bend the rules here a little bit. The name of the game here is texture. Bounty Killer’s rugged tone is worlds away from Dexta’s fluttery falsetto, but when the two are juxtaposed against each other by way of the song’s verse-chorus structure, it makes for a truly dynamic song that breathes even more life into the sexy riddim — especially once the percussion drops out in the last 40 seconds.
Capleton, “Say Them Love You”
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Probably the closest thing to traditional reggae in this week’s column, “Say Them Love You” finds reggae legend Capleton addressing hidden haters who pretend be friends with you while they’re actively praying on your downfall. Ever the animated vocalist, he plays up both the roughest and most tender pockets of his voice, bringing a sense of grounding to his cutting analysis of illegitimate friends and supporters. The new track appears on the Precious Time Riddim (Vol. 2) three-pack.
System32 & Lyrikal, “Stick On”
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It’s fair to say that Lyrikal is on something of a hot streak right now. “Stick On” is the immediate standout of System32’s Sine Wave Riddim three-pack. With its hearty use of snare and tom drums setting the foundation for an ode to a woman who has completely taken over Lyrikal’s mind and heart, “Stick On” is a proper soca song that packs in jaunty chants, an infectious melody and a dynamic structure that moves through various refrains and hooks with reckless abandon.
Popcaan, “Nyqui” (with Anju Blaxx)
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Squarely sat in the heart of modern dancehall, Popcaan’s new collaboration with Anju Blaxx isn’t particularly innovative, but it’s definitely enjoyable. An uninhibited ode to “freaky” women, “Nyqui” uses a simple hook, a reliably smooth melody and an eye-popping music video as a three-story Trojan Horse to respond to a recent spat with Denyque, in which the dancehall artist promoted her hew single by posting a picture of her wearing a t-shirt showing Popcaan (tagged as “somebody’s son”) eating watermelon (tagged as “me”). In the “Nyqui” music video, Popcaan features a plethora of beautiful women seductively chowing down on some watermelon.
Mr. Vegas, “God Out (Enuh)”
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Although a solid chunk of mainstream dancehall prioritizes songs about sex and partying, the genre has myriad foundational topics — including God. On his new single “God Out (Enuh),” dancehall icon Mr. Vegas delivers a heartwarming hybrid of dancehall and gospel as he proclaims that he is “God pickney.” The song is characteristically confident and self-assured, but not from a place of arrogance. “God Out” champions God’s power over Mr. Vegas’ every turn and against all things that attempt to take him off of his destined life path.
Skeng feat. Valiant & Jiggy D, “Loyal Gyal”
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It’s always a beautiful thing when collaborations between massive artists live up to the hype. On “Loyal Gyal,” Skeng and Valiant — alongside Jiggy D — lay down their requirements for “loyal” women. In actuality, these requirements are just the two men trading verses that paint some of their raunchiest and most explicit fantasies. Given that Skeng tends to operate in the gun chune lane, the pivot to this sound and theme is welcome. In addition to the smooth production, both men’s vocal performances — which feature a combination of Auto-Tune and slurring — make for a sonic environment that truly feels drunk on lust.
Nadia Batson, “Market”
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To bring it back to soca, Trinidadian recording artist Nadia Batson delivers a pitch-perfect party anthem with “Market.” Seamlessly combining elements of traditional soca, a mood that carefully balances comedy and seduction and an extended “market” metaphor, the new song harnesses all of the joyous energy that makes soca music so infectious. She commands the track with a powerful vocal performance, assuming a position of control and agency throughout the entire song. “And if you lookin’ for sexy to throw inside a basket/ I am de whole, de whole, de whole blinkin’ market,” she sings winkingly.
Fall is here, and so is a fresh crop of African music releases that’ll help you get into the swing of the new season.
Juls, one of the most sought-after modern Afrobeats producers, tries his hand at palmwine music — which incorporates Portuguese guitars brought from sailors, local West African melodies and Trinidadian calypso rhythms and is named after the traditional homebrew made from the sap of special palm trees — with his latest EP Palmwine Diaries Vol. 1. Rising Nigerian rapper ODUMODUBLVCK also introduces more listeners around the globe to his “okporoko rhythms,” his self-defined genre that blends hip-hop, grime, Afrobeat and progressive R&B.
Meanwhile, young singer Khaid drops another melodic banger, budding superstar Ayra Starr gets more personal than ever (without dropping the energy), BNXN releases another slow-burning single and the fusion of Afrobeats and Latin music continues with another potential hit from Feid and Rema.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and kick off the new fall season with our latest Spotify playlist below.
Ruger, “Tour”
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The Afro-dancehall star reassures his mother that he’s doing well for himself and he’s only concerned about his money on “Tour,” the trap-tinged opener to his latest album RU the World. Ruger recorded “Tour” while shortly after wrapping up his tours in the U.S., Europe and Canada, and he revealed that his righthand producer Kukbeatz “made this beat in the toilet.” But regardless of where the song was made, Ruger’s here to remind everyone that he’s made it.
Patoranking feat. Zion Foster, “Woman of the Year”
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Following his and Wande Coal’s 2014 Afropop hit “My Woman, My Everything,” Patoranking delivers yet another sweet ode to women who deserve to be celebrated for their everyday contributions to others’ lives. With a sultry verse from British-Nigerian singer Zion Foster, and Dhannyjazz’s sumptuous saxophone leading the production, the Nigerian star serenades the only lady in his life as a way of thanking her for everything she does for him.
ODUMODUBLVCK, “MC OLUOMO”
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The Nigerian rapper gives us a taste of his upcoming EZIOKWU mixtape, due Oct. 6 via NATIVE Records/Def Jam, with his invigorating new single. “MC OLUOMO” first samples a video of a fan jokingly taunting the MC by yelling “Odumodu, on your feet, run!” after the fleeing MC during an event at Lagos State University (LASU). But his hustle, even in the literal sense, comes from his hard work, and he wouldn’t be able to get to the bag without it. ODUMODUBLVCK delivers this message over a flamenco-esque drill beat, a taste of his unique “okporoko rhythms.”
Juls, “Palmwine Riddim”
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British-Ghanaian producer Juls set out on a mission to bring his Ghanaian motherland back into the conversation about African popular music with his six-song set, Palmwine Diaries Vol. 1. The first single, “Palmwine Riddim,” is a lilting, laid-back instrumental that pays homage to highlife’s jazzy horns, and even though it incorporates Juls’ harmonies, he lets the music do most of the talking and solidifies its timelessness.
June Freedom, “Say Salud”
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The Cape Verdean American artist’s newest single deserves a toast. “Say Salud” is as refreshing as the Dom Pérignon, DeLeón or whatever drink you should be sipping on while getting lost in its irresistible rhythm. “Go-golo, go-golo, go-golo, ah/ You cool my temperature/ Making me sweat like you drippin’ agua/ Hamduli-hamdulilah,” Freedom sings, mesmerized by the way a woman moves (because who could stay still to this song?).
Khaid, “No Time”
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Khaid is not reinventing the wheel, but the teenager’s output this year is full of earworm melodies that are irresistible, and his voice has an emotional maturity beyond his years. “No Time” continues his hot streak, which dates back to 2022, and it’s a worthy addition to a catalog that is growing with one formidable banger after another. It should be exciting to see where he goes from here.
BNXN, “Sweet Tea”
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BNXN’s work this year has included a series of slow burners, and this one fits the bill as well, with an understated, almost wistful vocal propelled by contemplative production. But his songs often have the ability to fly under the radar until you wonder what, exactly, you’ve spent all day humming, only to revisit them and realize you’ve connected with them on an almost subconscious level. His songs demand repeat listens, and the rewards more than not reveal themselves.
Feid & Rema, “Bubalu”
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The fusion of Afrobeats and Latin music, in the broader senses of each, has been steadily gaining in popularity for months now, and this collaboration between two young yet established hitmakers from each sector was always likely to spark interest. But the result is something special, a danceable backbeat with vibes that are through the roof, which should find a home on plenty of dance floors even as the weather gets colder. This heralds a strong future for collaborations like these.
NSG, “NELLA ROSE”
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The latest single from the London-based six-piece group has plenty of energy and a fusion vibe, bringing in some amapiano drums to a distinctly British flair, and combining a wordless singalong hook with rapped verses in this cut named for the famous Belgian YouTuber. With a debut album out next month, the group has plenty more where that came from.
Ayra Starr, “Rhythm & Blues”
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After a breakout year-plus, the young singer decided to show off a more vulnerable side on her latest single. But don’t look at it as a simple R&B love song — there’s plenty of spark and even an urgent vibe to this one, as she sings about the type of relationship that provides energy and creativity rather than stress or anxiety. Perhaps the best thing about Starr’s growing catalog is that there are no limits to her sound — she’s succeeding on her own terms. This one reinforces that notion.
After 25 years in the music industry, Mýa is showing no signs of slowing down. The pop-R&B star made her debut in 1998, when she put out her self-titled studio album via Interscope Records. The debut single from the album, “It’s All About Me” with Sisqó, reached No. 6 on the Billboard Hot 100 and put the world onto Mýa’s sultry, angelic voice and cutting-edge R&B sound that infiltrated the mainstream pop market while drawing influences from hip-hop, dancehall, techno and more.
She revealed in a new interview with Billboard News that the outfit she wore in the “It’s All About Me” music video, which was inspired by the traditional red Chinese wedding dress, is her all-time favorite look. “I sketched that outfit on paper, drew the designs that I wanted and I saw it come to life,” she said. “But this is something that I’ve been doing for years. I have this whole sketchbook of outfits that I wanted to create before I signed my first deal. And so, that was one of them. The seamstress brought it to life, and that was an amazing experience for me as a brand new artist.”
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In June, she re-created the UNC jersey dress from her 2000 “Best of Me (Part 2)” video, featuring Jay-Z, while she was performing at Charlotte R&B Music Experience. (This reporter also re-created the UNC jersey dress look, as well as Mýa’s outfit from the 1999 “Take Me There” video with Blackstreet, Mase and Blinky Blink, due to endless claims that she resembles the singer. Decide for yourself in the video interview above!)
Aside from her iconic looks, pop-dancehall collaborations have been another constant in Mýa’s storied career. Over the years, she’s worked with Jamaican reggae and dancehall artists like Beenie Man (“Girls Dem Sugar,” “Lie Detector,” “Docta”), Sean Paul (“Things Come & Go”), Spice (“Take Him Out”) and, most recently, Bounty Killer, on her latest steamy single “Whine.”
“Funny story is I had a solo version of the video shot two years prior to reaching out to Bounty Killer,” she says. “And I’ve always wanted a feature on that record. And so we went back down to Jamaica two years later, to the same location, and put Bounty Killer in the video, inserted him, and it all looks cohesive now.”
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Of her pop-dancehall collaborations, Mýa says they feel like a family effort. “Every time I go down there, it’s usually for music. But then my associates, music friends, become like family over the years. We understand the beauty of independency but also working together. And so, that’s a big part of the culture, too,” she explains. “I think it’s important also to just be authentic for representation, so it was important for me to be in Kingston, in the heart of Jamaica, to capture the essence of the good vibes and the music, the culture and the people and the dance.”
Outside of her debut LP’s 25th anniversary this year, Mýa also celebrated the 20th anniversary of her third album Moodring, which peaked at No. 3 on the Billboard 200 and earned her another Hot 100 top 20 hit with “My Love is Like…Wo.” (Missy Elliott co-produced the track two years after working with her on the five-week No. 1, Grammy-winning smash “Lady Marmalade” with Christina Aguilera, P!nk and Lil’ Kim from the Moulin Rouge! soundtrack.)
Earlier this year, she collaborated with Interscope/UMe to release the digital deluxe 25th anniversary edition of Mya, the digital deluxe 20th anniversary edition of Moodring and the “25th Anniversary Remix” of “It’s All About Me,” accompanied by the Brian Friedman-directed choreography video. Come December, Mýa will ring in the 15th anniversary of her fifth album Sugar & Spice.
“I was a baby, I was a kid, everything was brand new. Working in the studio with Dru Hill for the first album was really like a family and a camp, so I had big brothers around me … I learned a lot from them, watching them,” she reflects. “It’s just a beautiful journey. I’m excited as well about what’s to come. I just love music, so it’s a blessing to just still be here 25 years later and still feel like it’s brand new.”
Watch the full video interview above.
Simma down: The King of the Dancehall has returned.
Seven years after his last studio album — 2016’s Unstoppable — Beenie Man is back with Simma, his latest star-studded, genre-bending opus. Featuring collaborations with a plethora of artists ranging from Shenseea and Shaggy to Giggs and Stonebwoy, Simma effortlessly traverses the intersections of dancehall, roots reggae, drill, hip-hop, and Afrobeats.
The album arrives amid something of a revival for the Grammy winner. This year, his classic 1997 hit single “Who Am I,” became the soundtrack for one of social media’s most popular music trends — in essence, people sing the first two words of the chorus (“sim simma”) and wait in anticipation for their chosen subject to finish the rest of the lyrics. La La Anthony recently used the challenge, aptly named #SimSimmaChallenge, to quiz famous friends like Kelly Rowland, Ciara and Kim Kardashian on their Beenie Man lyric knowledge.
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The trend is a natural extension of the timelessness of Beenie Man’s music. Dating back to 1983’s The Invincible Beany Man — which arrived when he was just 10 years old — Beenie Man has been reigning over the dancehall. Although the title of his latest album doesn’t have anything to do with “Who Am I” or the #SimSimmaChallenge, the record still houses a few career throughlines, including reunions with Mýa (“Docta”) and Sean Paul (“Supa Star”), who he previously worked with in the early ‘00s and ‘10s.
Simma, originally completed in 2021, suffered a lengthy delay after Beenie’s mother passed in 2020 following complications from a stroke earlier that year. “At that time when the album fit for release, I was in bare depression, mourning, all of these things,” he reflects. The album also serves as his first LP since his instantly iconic 2020 Verzuz battle with Bounty Killer. In this way, Simma is an unbridled celebration of life, longevity and resilience.
Beenie Man has earned six entries on the Billboard Hot 100, reaching as high as No. 26 with “Dude” (with Ms. Thing), the lead single from 2004’s Back to Basics. On the Billboard 200, the dancehall legend has racked up five entries to date, peaking at No. 18 with 2002’s Tropical Storm. On Reggae Albums, Beenie Man has notched six No. 1 titles from 13 overall top 10 projects.
In a conversation with Billboard, Beenie Man goes behind the scenes of the creation of Simma, recounts that improptu mid-flight performance, reflects on his storied career and gives advice to the rising generation of dancehall artists.
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Simma has been in the works for some years now. Did anything about the album change between its original release date and Sep. 1, 2023?
There’s a lot of things that change about the album, because we mek an album before and then my moms drop out by the time when the album fi release. So at that time when the album fit for release, I was in bare depression, mourning, all of these things. I was in it for two years until my brudda Blue decide to say, “Alright, we need to get into this thing now. Get out di depression, get out all di things you going through.”
So, my natural instinct is to go into the studio and beat up some riddim. So we got some from Fanatix from England – them send first – and then we got some from Busy Signal, and then we start from there suh. Then we went to England and get some more riddims and different type of beats. I never know seh di album turn out di weh it turn out, but when it finish, the job was great. No disrespect. We make over 60 song for di album.
There’s a host of genres on Simma — from roots reggae to drill — what was your vision in terms of exploring different styles on the record?
We’re just making music. We do Afrobeats, we do everything. Just make some music. Because people love good music and good music lasts forever. Regardless. Good music outlives you. Trust me.
You mentioned that there’s some Afrobeats on this album. Recently, there have been conversations around Afrobeats “replacing” dancehall on the global stage, and here you are merging the two styles on Simma. What do you think about the two genres’ ability to coexist?
There’s no music that can replace dancehall. Dancehall will never go nowhere. Dancehall will always be here. Because if there was no dancehall, there would be no Afrobeats. That don’t make no sense. People haffi stop, because they don’t understand the lifespan of music. You have enough music that come and last 5, 6, 7 years, but dancehall have been here from before hip-hop! If hip-hop a 50-years-old, dancehall almost 100-years-old! [Laughs.]
We have been through Shabba Ranks, we have been through Ninjaman, we have been through the greatest – Super Cat, all of them. So, dancehall is not going nowhere. Not at all.
There are many collaborations on Simma. Was there any thought of making this a straight collaborative album? Why did you decide to keep the solo tracks on there?
Every album I’ve been listening to is a million collaborations. You listen to Jay-Z last album, collaboration. You listen to Drake album, collaboration. So, why should not I? So you have a Busy Signal, Jamaican. You have a Shaggy, Jamaican. You have Sean Paul, Jamaican. These are superstars. So why don’t you use your own Jamaican superstars? In Africa, you have a pack of superstars. You have Stonebwoy, superstar. You have Giggs from England. We have all the superstars we can use. It’s my time. So, why not? [The King] has all his subjects.
We mek this album this way because the first part of the album was all me. Then I said, “Nah, get some people.” I’m still gonna be there. It’s not like somebody guh sing a song pon mi album which I’m not on. I am going to be inside that music. People sometimes dem like listen to other style or other version or other pattern, so mix up di ting.
Talk to me about the song with Tina (Hoodcelebrityy), “Let Go.” There’s this really dope conversational, back-and-forth vibe going on there. How did that song come about?
She even surprised me, because she never DJ my lyrics — she just get into the studio just like how mi know she a guh do. But mi nuh wan leave nothing to chance. So when she jump pon di record now and start do her ting, I say, “Oh, wow, murda.” She kill it. And the song wicked.
You and Teddy Riley have been friends for years. What was it like finally working together in a musical capacity on this album?
Teddy is a musician, and I’m a musician. Regardless of how long mi know him, it’s a matter of him a have time, because him always busy. The man spend six months a make a riddim for me. Six months. Every time I make di riddim, I finish the song, him send back fi di song and play a next riddim around it, and play a next riddim around it, and put on some other ting and mix the song different and send back di song inna different format and then mi haffi tell him “Stop!” [Laughs.]
And him say, “Hear this last mix, please listen to this last mix.” So, di man play di last mix fi me and mi seh, “Jesus Christ! Di brudda has a great mind. Just please gimme di last mix, don’t mek mi a beg.” And he gimme di mix. Cause mi nuh wan him fi touch di song again! But every time him touch it, the song get better.
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You’ve spoken before about modern dancehall shifting away from the tradition of riddims, who do you think shoulders the responsibility of maintaining that tradition?
It’s on us [as the older generation]. We are the artists that have been here before. We responsible, because it’s all music. Alright, say you’re having a dancehall stage show anywhere in the world, and you bring one million dancehall artists. You have dancehall artists from Africa, you have dancehall artists from Mexico, you have dancehall artists from America, you have dancehall artists from everywhere in the world!
But an artist like Ninjaman — none of these artists a bad like Ninjaman. They could never, because Ninjaman walk pon di stage — him don’t have to have a hit song today, him just need to present. Him just walk pon di stage, di people dem get crazy. Shabba Ranks. Him don’t have to have a new song today, all him haffi do is be present. So, imagine me now. I come after them, present, and get a response. Imagine a Buju Banton or a Sean Paul. Imagine a Shaggy, you get where I’m coming from? We will always be here. We nah going nowhere.
Music is not until death do us part. We dead and music still alive. So, this is what we are here for: longevity, to last, to be that person that people can always depend on. And this is why the album is called Simma, because the King is still here.
When it comes to the younger, rising generation of dancehall artists, who do you think are the emerging leaders?
Wow. Alright. I listen to Skeng. I listen to Skillibeng — sometimes I listen to him and laugh because I find him really hilarious. Valiant. Popcaan and dem are still my young artists dem still. They’re who I really listen to. You see, artists with substance and artists that make sense and take my brain somewhere. I don’t really listen to much new dancehall. I don’t — like, seriously. I’ll put in a Lauryn Hill CD and listen to that.
When did you first see the #SimmaChallenge online?
Well, somebody showed me, yuh know, because mi nuh pon di phone. [Laughs.] And then mi see a next person do it, and mi see another person doing it, and mi see dem still doing it. Then the challenge getting bigger and bigger. So, that’s the reason why I talk about songs with substance. The song outlasts you.
Alright, suppose I never have the courage fi still doing music, I would never have a new album. But the songs that I did from before gimme di courage fi know I can still do what I’m doing. You have to make songs with substance. Songs [where] we can hear inspiration, songs that can inspire you. You inspire your own self!
And I think that was really reflected at the West Indian Day Parade in Brooklyn over Labor Day Weekend. I heard different songs of yours all the time while I was out there.
Exactly. Alright, Bob Marley sing reggae. Mi sing dancehall. Bob Marley the King of Reggae, I’m the King of Dancehall.
I want to know the story behind that plane performance! They weren’t lit enough for you!
It’s not a story behind it! Mi leave out mi seat, mi wan look fuh mi band members. So, I went down there and everybody was sleeping. So mi wake up alla di band members dem and everything. But by waking them up, mi a wake up everybody. By the time we reach through di place fi go through the door for first class, everybody a seh, “You have to give something!” So, mi a seh, “What??” Because myself, I was sleeping. So, I said, “Give me something.” So, I’m just standing around and start [singing the opening of “Who Am I”] and the plane start sing.
It never plan. It’s just something that happened.
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Were you able to attend to Caribbean Music Awards the other week (Aug. 31)?
No, mi never able to see it. But I can remember the first time I win one of those. 1995. It’s been going on for a long time. I went up against Capleton, [starts singing Capleton’s “Tour”]. It was live on TV in America in New York, a matter of fact.
For those awards shows, I really feel appreciative of them — because they’re giving us the opportunity so we can work harder to become the people that we are today. People appreciate your work, so all yuh haffi do is just give thanks and appreciate what they’re doing. So, I do respect the Caribbean Music Awards and all the years it’s been going. Sorry I don’t have a visa to be there!
In light of the Bob Marley biopic hitting theaters soon, what are your thoughts on who gets to tell the stories of our Caribbean icons and legends, and how those stories get told?
Bob Marley have over five sons that coulda play Bob Marley, cause alla dem look like him. But dem decide fi use somebody else. Really don’t make no sense. Well, it’s a Bob Marley movie. Mi wait till mi can get it inna my circle. But, I think dem shoulda use Skip Marley, who is the last Marley. Or use Stephen Marley or Ziggy Marley or Julian Marley. But Bob Marley a Bob Marley. If you make a movie about Bob Marley, everybody wan see it.
Since you have reached the highest heights that dancehall, and music in general, has to offer, do you have any advice for younger dancehall artists who are looking to follow in your footsteps?
Two: Work hard in the studio and work harder onstage. Because onstage, people remember you the person, and in the studio, people remember the songs. But if you don’t work harder onstage people will not remember you as an individual, but people will always remember your songs.
Michael Jackson mek an album every two years, but people still remember him for his performance. I nuh care how many hits Michael Jackson sing, it’s never greater than that Moonwalk. Never greater than that backslide. Yuh see Michael Jackson with spandex? Nobody remember dat. They remember di performance! [Laughs.]
Elvis Presley was the greatest entertainer before Michael Jackson. Dem still remember Elvis as in performance, not in song. When yuh go in Las Vegas, yuh find 10 Elvis Presley shows, because of his performance. That is my only advice to any artist.
“Sim-simma, who got the keys to my Bimmer?” opens the chorus to Beenie Man’s 1997 hit “Who Am I.” Could you finish the lyrics based solely on “sim-simma”? On Tuesday, La La Anthony tested her famous friends’ lyrical knowledge via a video posted to Instagram. Featuring celebrity pals like Kim Kardashian and Ciara, La La […]
Jamaican pop star Shenseea caught up with Billboard‘s Tetris Kelly to reflect on her journey from aspiring artist to Coachella stage commander.
During her set, Shenseea brought out “Players” rapper Coi Leray to perform a remix of the hit single alongside Dominican phenom, Tokischa. “Last year I came as a patron and now this year I’m performing,” Shenseea says. “I did not see it coming.”
The singer just released her latest single, “Curious,” which she hoped would serve to bridge the space between dancehall’s roots and its future. “I wanted to bring back a nostalgic feeling with the old school Dancehall and mix it with modern sound,” she explains. “A lot of people who know about the culture is like ‘Yo, we haven’t heard this sound in a long time,’ and that’s exactly what we were aiming for.”
The track’s steamy music video shows the 26-year-old in a number of attention-grabbing looks, as she drips in honey and grooves alongside a team of dancers. The YouTube video has already garnered 3.5 million views since its April 13 premiere.
Shenseea also released an impressive freestyle to Akon’s “Locked Up” earlier this month, shouting out her 7-year-old son with the memorable line, “Hard fi hold my tongue, sorry, I’m just a mom/ Tell di baby mother mi will go ah jail fi mi son.”
“When it comes down to my kid I don’t play,” she says. In 2022, Shenseea’s son walked the BBMA red carpet alongside mom, draped in a dapper gold and black suit and aviator sunglasses. The singer also teased new music alongside major features, adding to her long list of co-signers including Megan Thee Stallion, Christina Aguilera, Gwen Stefani and 21 Savage. “I believe in myself but seeing other people believe in me who are ahead of the game, It feels amazing.”
“I’ve been waiting on this moment for such a long time,” she says of her rise. “I just gotta give God thanks and try to relish the moment because it’s going by pretty fast.”
