dancehall
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Katt Williams certainly set the tone for 2024. Less than a week after the Emmy-winning comedian fired shots at peers such as Rickey Smiley and Tyler Perry on Shannon Sharpe’s Club Shay Shay podcast, two of contemporary dancehall’s leading ladies launched their own lyrical battle.
Funnily enough, the two major January dancehall clashes — Jada Kingdom v. Stefflon Don and Teejay v. Valiant — center around the two biggest dancehall crossover smashes of 2023: Teejay & DJ Mac’s “Drift” and Byron Messia & Burna Boy‘s “Talibans II.” Thankfully, both clashes were kept on wax, as all artists involved participated in the battles for fans’ entertainment and the greater dancehall culture over anything else.
“This is dancehall music, and once it is [a] lyrical battle, I am down for it,” Teejay told DancehallMag. “Nothing violent; nothing out of the studio, nothing outrageous… just music, and if it seems like it’s getting too far, I will definitely wrap this up, because you know we have to get back to the money at times— that’s the bigger picture… for now, we have to just entertain people but nothing serious. I don’t know about the next side, but on my side I am positively sure that it is just music.”
While the hip-hop world is frenzied with haphazard rap beefs peppered with days of spiraling in lieu of actual good music, dancehall’s clash culture is still going strong and further emphasizing the global reach of this iteration of the genre — especially considering how much these battles dominated online conversations in January. If you’re not already familiar with the details, here’s a primer on both of them.
Jada Kingdom v. Stefflon Don
As the old saying goes: Think of the messiest person you know. It’s a man, ain’t it?
At the eye of the hurricane that was Jada Kingdom and Stefflon Don’s five-song clash lies Grammy-winning Afrobeats crossover star Burna Boy. The “Last Last” singer is an ex of Stefflon Don’s, and once pictures of Jada and him started making the rounds on social media, tensions began to rise. Before the ladies took it to the booth, Steff threw some vague Instagram Story shade that she later clarified as directed towards her former managers. The “Hurtin Me” singer would soon throw more shade that eventually sparked the first track in her clash with Kingdom.
Before that moment, however, Burna’s remix of Byron Messia’s breakout hit, “Talibans,” hit the airwaves. In verse three of the song — which hit No. 99 on the Billboard Hot 100 — Burna croons, “All of the best pumpum deh yah Kingston/ So me buy a Birkin fi Jada Kingdom.” Burna wasn’t just bragging about his new fling; the line is also a play on the “You gon need a Birkin if you wanna show me off” lyric from Jada’s “Turn Me On” (with The 9ine).
By autumn, Jada — also known as Twinkle — was seen with Pardison Fontaine, Grammy-winning songwriter and former beau of Megan Thee Stallion. But with the rumor mill swirling about a December reconciliation between Steff and Burna, the timeline between the two flings started to look a bit funky.
Naturally, months of tension gave way to Steff putting her feelings to wax. At the top of the new year, the award-winning Brit shared a teaser of a new song on Rvssian’s “Dutty Money” riddim, in which she threatens to “box” an unspecified woman who messed with her man. In total bad gyal realness, Jada not only confirmed a casual fling with Burna Boy, but she also pressed Steff to clarify just who was going to get boxed. After a bit more back and forth, Steff’s “Dat a Dat” arrived and the clash ensued, eventually ending after two tracks from Jada and three from Steff.
“For everyone who’s saying ‘war start’, war jus done! Well, for me that is,” Jada Kingdom wrote in an Instagram Story (Jan. 9). “I’m in a happy and healthy relationship now, I won’t be prolonging this nonsense.”
Teejay v. Valiant
Teejay & DJ Mac’s “Drift” was one of the defining global hits of 2023 — and debate over which artist is more responsible for the song’s success is the basis of this clash. During an Instagram Live a few months ago, Teejay blasted Mac for allegedly trying to swindle Panda out of production credits on the hit song.
On his October DJ Mac-produced “Beer & Salt” single — which was featured on that month’s Reggae/Dancehall Fresh Picks column — Valiant jabbed, “Mac them a link when them can’t find a hit song,” a clear hit at Teejay, who recently repped dancehall on one of Billboard‘s five Genre Now cover stories this month (Jan. 10). In a Jan. 14 interview on the Let’s Be Honest podcast hosted by Jaii Frais, Teejay acknowledged the shade, and soon enough, Valiant responded to the acknowledgement via Instagram, spurring Teejay to preview a diss track shortly thereafter.
Nonetheless, the clash stayed on social media for a bit longer. Valiant responded to Teejay’s preview with a message on his Instagram Story that read, “Me naah give you no strength for you EP sir, go work and promote it.” I Am Chippy — Teejay’s first project since signing to Warner Records last year — is slated for a Feb. 2 release. Right after the IG Story jab, Valiant then went live with DJ Mac himself as the “Drift” riddim played in the background. After one more Instagram Live from Teejay’s side, in which he doubled down on his DJ Mac’s disses, the musical phase of the clash began.
After two tracks each from both Teejay and Valiant, the two artists put their beef to bed. While all four songs are currently available on their respective official YouTube pages, both dancehall stars have since removed the songs from their respective official Instagram pages out of respect for one another.
Without any further ado, here’s a ranking of the eight songs that made up two of the biggest contemporary dancehall clashes of the young decade.But first be sure to check out our Spotify playlist highlighting January’s hottest new tracks across reggae, dancehall, soca, calypso and more.
Teejay, ‘Chapter 2’
September’s Hip-Hop Forever show at Madison Square Garden in New York — part of the yearlong celebration of the genre’s 50th anniversary — brought the stars out. Alongside legends who helped build hip-hop’s storied past was a slightly more unexpected booking: Jamaican dancehall king Sean Paul. He tore the house down with hits like “Give It Up to Me” and “Like Glue,” reminders of a time, in the early 2000s, when dancehall records topped the Billboard charts — when Paul, who has now traded his trademark cornrows for a crisp, neat Caeser, effortlessly mixed dancehall’s infectious riddims with hip-hop sensibilities and aesthetics. Blending reggae and dancehall with other popular genres wasn’t a new idea when Paul did it, but no one else besides Bob Marley and Shaggy had done so to greater effect.
At least until now. That night, Paul wasn’t the only dancehall MC to bless the stage. One of the “special guests” teased on the show’s flier was a comparatively little-known 29-year-old guy from Montego Bay, Jamaica, that most audience members couldn’t pick out of a lineup if they were promised the numbers to the next Powerball. But though silence at first overtook the crowd when he stepped onstage, Teejay looked every inch the star when he arrived.
Invited as a guest of Funkmaster Flex, the longtime Hot 97 DJ who oversaw the night’s proceedings, Teejay emerged dripped out in a Gucci jacket and matching sneakers. And when the opening chords of his current hit, “Drift,” blared out of the speakers, concertgoers slowly caught on: This was the guy who made the song that had taken over TikTok for a few months last year. As Teejay warmed up to the crowd, so did they, breaking into the signature dance that would help propel “Drift” to a No. 47 debut on Billboard’s R&B/Hip-Hop Airplay chart three weeks after the Garden performance.
It was a big night for Teejay — one that affirmed that the hard work he’d been putting in over the past three years was finally paying off. So what if few can yet recognize him by face? They recognize his music. Well, sort of.
“Most people still don’t know what I’m saying,” says Teejay with a laugh, thinking back to the Garden show. We’re in Los Angeles, meeting for the second time at his Billboard photoshoot, and his fit looks as if it costs more than most people’s monthly income. “But they love the vibe. They love the music. They love the sound. So, I just work with it.”
This digital cover story is part of Billboard’s Genre Now package, highlighting the artists pushing their musical genres forward — and even creating their own new ones.
Born Timoy Janeyo Jones in Montego Bay, Teejay learned early on to just work with it. To most people from outside Jamaica, Montego Bay is an idyllic resort city, but it has a shadier side that doesn’t make travel brochures or TV commercials. One in which families of nine like Teejay’s — he grew up with his mother, uncle, five brothers and one sister — live in small board houses, in sometimes dangerous neighborhoods (like Glendevon, where Teejay’s family lived). His brothers were all musicians who as kids picked up digital production and recording software like FruityLoops and Pro Tools to produce music. Naturally, Teejay took to them as well.
“I started recording myself at the age of 9,” he says. “Every day, I would come home and see them recording with Pro Tools and I’d just sit there for hours, and when they’d gone, I’d just record myself.”
Michael Buckner
The autodidactic method worked. By the time Teejay was in seventh grade, he decided to leave school behind and focus on music full time. “My teacher asked me, ‘What do you want to be in life?’ And everybody in the class said they want to be a policeman, a lawyer, a judge, a doctor. I tell the teacher I want to be an artist. She said, ‘That’s not professional. Give me something else.’ I said, ‘Entertainer!’ ” When he was supposed to be taking notes, Teejay was instead tapping out riddims on his desk. His teacher told him that he needed to take that noise to the music class — so he did.
The way he saw it, he could help his family much more financially if he dedicated his time to growing into an artist like 2Pac or the Jamaican great Jah Cure — two of the MCs idolized in his neighborhood. “Growing up in my community, we listened to 2Pac every single day. Once you’re a Montegonian, you’re going to know about 2Pac and Jah Cure music.”
His focus paid off when Tommy Lee — fellow Montegonian and controversial mentee of incarcerated dancehall star Vybz Kartel — let Teejay rock with him and his crew, even helping the fledgling artist score his first live performance in 2010. The experience left Teejay feeling like he could actually become a star. But it would take a good while longer before the dreams in his mind materialized outside of his head.
Steve Jobs famously said, “Good artists copy, great artists steal.” Teejay watched the artists who were remaking dancehall in the early 2000s — artists like Movado, Aidonia, Busy Signal and Tommy Lee, who were all more different than similar — and studied what made them connect not only with Jamaican fans, but the throngs of dancehall fans around the world. He took bits and pieces from each one’s style, creating a dancehall sound that was fluid, melodic and, at times, lyrically crazy.
Over the next eight years, he produced a torrent of music, culminating in his 2018 regional hit, “Uptop Boss.” Though it didn’t make much noise in the United States, the slinky gangster dance track was a massive hit on the island; its official video has racked up over 16 million views on YouTube.
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Then, tragedy struck: Two of Teejay’s close friends, who often appeared in his videos and lyrics — Romario “Grimmy Boss” Wallen and Philip “Afro-Man” Lewis — were gunned down in St. Andrew, Jamaica, on June 4, 2020. (The two were reportedly just hanging out on the block when a shooter pulled up and opened fire.) Condolences poured out from fans and fellow dancehall artists, with many posting photos and comments on Instagram. But Teejay went quiet: He deleted everything on his Instagram page except for two posts of his departed friends.
Wallen’s and Lewis’ deaths derailed Teejay’s momentum just as he was finding his footing as an artist — but they were also a wake-up call. He took time away from music, leaving the country for a bit and settling at a friend’s house in Miami to refocus his energy and clear his head. His friends’ deaths affected both his physical and mental health: He changed his diet and started to eat healthier, in turn losing a lot of weight. But the biggest change wasn’t what he was putting into his body — it was what he put into the world.
He no longer wanted to make music that was overtly gangster. “Hardcore music has a barrier,” he says. “It can’t be played in a Christian home or in certain homes. I decided that we’re not going to go violent; I want to do something happy.” To achieve that, he decided to make some changes — starting with who handled his business. “Jamaican artists don’t even know what a proper management is,” Teejay says. “As a Jamaican artist, we have to still go out there and look for a chauffeur ourselves and an interview, everything. Some people don’t even know that some people in Jamaica who say that they’re a manager are basically a booking agent.”
Sharon Burke, the leader of Teejay’s new management team since 2021, is much more than a booking agent. Co-founder and president of the Kingston, Jamaica-based Solid Agency, Burke has worked for years to bring reggae and dancehall music to a global audience. She has had a hand in the success of many of Jamaica’s biggest superstars, including Freddie McGregor, Barrington Levy, Bounty Killer and Aidonia. And her company produces the annual Island Music Conference, bringing the wider music world to Jamaica. When it came time to set up the Verzuz battle between Bounty Killer and Beanie Man — ultimately watched by over 3 million — it was Burke who Verzuz creators Swizz Beatz and Timbaland turned to.
Burke believes in Teejay — that he has what it takes to really leave a mark on the game much as some of her previous clients have — but she has impressed upon him that good music alone won’t take him to the top “I said, ‘Listen, if you’re just going to sit by and think it’s talent alone, I can’t work with you. It’s hard work. It’s about presentation. It’s about excellence. It’s about choreography in the way you move. So, if you’re ready for that journey, I will go it with you.’ ”
Michael Buckner
One of the first things Burke did was to connect Teejay with Panda, one of their in-house producers. While Teejay was in Miami getting his mind right, he began to think beyond the boundaries of the genre he’d worked within for so long. He loves dancehall — it’s the music he was raised on and the music that changed his life — but he understands that, right now, dancehall and reggae aren’t as popular as they once were.
Back in 2003 — when Sean Paul was hopping on remixes with Busta Rhymes, when LL Cool J jumped on Wayne Wonder’s “No Letting Go” remix, when Elephant Man had everyone ponning de river — new dancehall artists were making serious waves in rap and R&B music. Fast forward to 2021, when the bestselling reggae and dancehall artists in the United States were Paul, Bob Marley and Shaggy. No new artists broke onto the Billboard Hot 100 that year.
Now, another type of Black diasporic music, Afrobeats, has assumed the position reggae and dancehall once occupied. Over the past three years, an increasing number of new African artists have broken onto the charts with big singles, like Wizkid and Tems’ 2020 hit, “Essence,” the first Nigerian song in history to appear on the Hot 100, reaching No. 9 on the chart. Now, mainstream American rappers like Drake and Future and singers like Chris Brown are tapping the genre’s ascendant stars to help them move units. Future’s first Hot 100 No. 1 as a lead artist, for instance, came courtesy of a song that heavily samples Tems’ song “Higher” from her 2020 EP, Broken Ears.
“They’re saying now that Afrobeats is bigger than dancehall,” Teejay says. “I was at a show where there was an Afrobeats artist on the stage — I won’t say any names — and he was saying ‘our music is your music’ because they took pieces of all the legendary [dancehall] artists’ music.”
He took to the makeshift studio in the garage of his friend’s Miami house, puzzling over a riddim he’d had in his head for close to three years but couldn’t quite figure out how to translate into a workable beat. He wanted to make something that was new but also paid homage to the warm dancehall feeling that radiated from songs made by legends like Supacat and Shabba Ranks. Then, one day in 2022, he received a batch of beats from Panda. “I called the beat-maker and said, ‘Bro. You got it. This is good.’ ”
What he got turned into “Drift,” the slick dancehall ditty that could easily be mistaken for an Afrobeats song if not for its decidedly dancehall drum programming and, of course, Teejay’s perfectly syncopated bars that swell into what has become an inescapable chorus.
“Me and the team, we created something called ‘Afro dancehall,’ ” he says with a laugh. “It’s more of an Afrobeats song with a dancehall artist on it. At the time, dancehall music was kind of slow and really toxic, based on everything that was going on in Jamaica. I was like, ‘We need to embrace happiness [in] the world. Something everyone can dance to.’ We created that old dancehall feeling where people just want to dance. It’s simple math. We used less words and more melody so people can remember it.”
That last, key idea came to Teejay from his mentor, Shaggy, the platinum-selling superstar who’s also one of Burke’s partners at Solid Agency. Combining reggae and dancehall with music from around the world and making it as simple as possible to sing along to has been a Shaggy trademark since he dropped the Marvin Gaye-sampling “Boombastic” back in 1995. “He has been telling me, ‘Listen: choice of words,’ ” Teejay says. “ ‘Try to say less, but make sure it’s effective and that people can understand it.’ ”
“[Teejay’s] incredibly talented. He’s a guy that is making music outside of the box and he also works extremely f–king hard,” Shaggy says. “And I think that is the formula that is needed to have a very long and successful career.”
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A little luck also helps, and it was on Teejay’s side when it came to promoting “Drift.” He gave the song to a DJ who then leaked it on TikTok, and it took on a life of its own, becoming a top-used sound on the platform. Soon, celebrities like Jamaican Olympic gold medalist Usain Bolt and Cardi B were making TikToks doing the dance from the music video. “Drift” became Teejay’s first Billboard chart entry, landing at No. 47 on R&B/Hip-Hop Airplay.
While the song took Jamaican and U.S. audiences by surprise, its success isn’t that shocking to Shaggy. “In the early days, when I played stadiums in Africa, the majority of the music they were playing was dancehall,” he recalls. “The traditional music that you might hear from Fela Kuti and some of these original artists over there wasn’t the type of music you would hear in the nightclubs. Dancehall is what you heard in the nightclub. Whether it be Uganda, Kenya, Tanzania, those are the songs that were played — dancehall. It has had a very strong influence on the African culture. So, to me, it’s all one.”
What does the future of dancehall look like if one of its most popular artists is co-opting the sound of another genre to make waves internationally? “If you listen to dancehall from the 2000s, it’s a totally different dancehall than what we have today. The sound of it is different,” Shaggy says. “The dancehall they make today is more a trap kind of dancehall. That’s just evolution at the end of the day. With an artist like Teejay, it gives him the opportunity to experiment and try a different vibe.”
On Dec. 15, 2023, Teejay released an official remix of “Drift” featuring none other than leading Afrobeats artist Davido (the song also has a couple of rap remixes at this point). He sounds perfectly at home on the track; if you didn’t know any better, you might assume that Teejay was the guest feature. Its success, and Teejay’s own, are proof that there’s an audience for this new sound, one that keeps dancehall’s driving groove intact while mixing in the breezy and blithe feel of Afrobeats. And if anything, it proves dancehall is at its best when pushed to new limits.
“I hope [new artists] keep experimenting and keep finding new ways,” Shaggy says. In other words, they just got to work with it.
We finally made it, folks! 2024 is here. To kick off the new year, Billboard’s monthly Reggae/Dancehall Fresh Picks column is back with the best selections from December 2023.
As the world celebrated the various December holidays, the biggest names in reggae and dancehall convened in Portmore, Jamaica, for the 40th edition of Sting — the iconic music festival that served as both a debut stage for future reggae superstars and a host site for legendary clashes. The 2023 edition of the festival featured headliners such as Bounty Killer and Capleton, although severe delays prevented several headliners from performing, drawing heated responses from musicians such as Tanya Stephens.
Elsewhere in the reggae and dancehall worlds, Masicka notched a second consecutive No. 2 peak on the Reggae Albums ranking thanks to his new 17-track Generation of Kings album. Teejay, Shenseea, Bunji Garlin, Rupee and Ding Dong all lit up the Hot 97 Winter Jam stage on Dec. 30.
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: Lila Iké, “Good & Great”
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Jamaican reggae star Lila Iké has been performing “Good & Great” in live settings for most of last year, but she finally gifted fans with an official streaming release at the tail end of 2023. Equal parts reggae and gospel, “Good & Great” finds Iké singing her praises to Jah and thanking him for keeping her and blessing her. The lyrics read as confessionals, dripping with vulnerability that’s accentuated by the string arrangements in the background. “Sometimes I fail, oh gosh/ Sometimes I falter/ And feel as though you’ve left me in a corner/ But here you are the light upon my tunnel,” she croons with her irresistably buttery tone.
DEV & Millbeatz, “Rum Hit Meh”
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It is truly a testament to how strong the “Jouvert Jam” riddim is that every song on the five-track compilation is a banger. For his take on the riddim, Trinidadian soca artist DEV shifts his focus to the intricacies of his vocal performance. “Di rum hit meh bahhhhd,” he chants and the chorus, doubling down on the airy qualities of the vowel in the word “bad,” and delivering a level of animation that embodies the balls-to-the-wall energy of J’ouvert festivities.
Dan Evans & Nessa Preppy, “By Mehself”
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Wining is synonymous with much of dancehall and soca, but contemporary cultural conversations concerning consent have sparked some reevaluations of the social cues that are integral to the dance style. For her take on Dan Evans’ “90 Degree” riddim, Nessa Preppy delivers an ode to wining for yourself, not for a man or any other dance partner. The brightness of her tone pairs well with the fairly sparse instrumentation in the beginning of the song, but it’s the giddy glee in her vocal performance that truly conveys the feeling of liberation that comes from dancing for, with and by yourself.
Bunji Garlin, “Forward”
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Three days before he graced the Hot 97 Winter Jam stage, Bunji Garlin provided the opening track to his collaborative “Smoke Riddim” double single with Shurwayne Winchester. On “Forward,” Garlin rides on high-octane soca percussion to deliver a track that doubles as both an anthem of West Indian pride and a party track that is sure to rule the coming year. “Rags in the air is the forward!” he proclaims.
Nicki Minaj, Skeng and Skillibeng, “Forward From Trini”
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Tucked away in the middle of her sprawling, Billboard 200-topping Pink Friday 2 album, “Forward From Trini” stands as the latest in a string of Nicki Minaj’s musical odes to her home country of Trinidad & Tobago. Minaj has collaborated with both Skeng (“Likkle Miss”) and Skillibeng (“Crocodile Teeth”) in the past, but this is the first time all three artists have appeared on the same track. A loving mixture of hip-hop, dancehall and soca (with notes of calypso), “Forward from Trini” serves as a reminder of both the interconnected lineage of those styles and Minaj’s boundless versatility.
Tech Sounds & Millbeatz, “Doh Run”
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As the opening track on Millbeatz’s Jouvert Jam Riddim compilation, “Doh Run” needed to feel massive. With his booming “Doh run!” chants juxtaposed against ever-so-slightly hollow percussion, Tech Sounds delivers a worthy kick-off to the J’ouvert tape. The funky riddim isn’t just infectious, it almost demands listeners to get up and wine their waists.
Fay-Ann Lyons, “Miss B-tch”
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There’s already a litany of songs reclaiming the word “b-tch,” and Fay-Ann Lyons is seeking to add to that legacy with “Miss B-tch.” For her contribution to DJ Avalanche’s “Do You” riddim, Lyons coasts over the electro-soca beat with a tone that can only be described as “gangsta.” There’s a certain bite and assertiveness in her tone that balances out the inherent humor in the drawn-out “This biiiiiitch” chant that punctuates the chorus. While, lyrically, she doesn’t offer any new spins on the word “b-tch,” Lyons’ conviction is far more than enough.
Nailah Blackman & Pumpa, “Born to Fly”
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Just as the Jouvert Jam Riddim compilation captured the rambunctious celebratory energy of J’ouvert festivities, so does “Born to Fly” for the Carnival season in general. Blackman’s piercing, saccharin upper harmony pairs well with Pumpa’s gruff tone as the two recount the feeling of freedom and catharsis that characterize partying during Carnival. The duality of their respective voices — a siren-esque timbre and a rousing roar of rasp — cover the wide expanse of Carnival energies. As they croon in the song and display through their collaboration, the true essence of the season is coming together as one to celebrate.
Masicka & Spice, “WOW”
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At the top of last December, Masicka dropped off his Generation of Kings album, which featured collaborations with a wide range of artists, including the likes of Dexta Daps, Fridayy and Chronic Law. On “WOW,” Masicka teams up with dancehall queen Spice for a no-holds-barred ode to tantalizing sexual chemistry. In a typical fashion, Spice is just as brash and forward as Masicka with her demands for sexual gratification, and the pair’s rhythmic flows recall dancehall’s influence on hip-hop.
Popcaan, “Life Is Real”
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On Christmas (Dec. 25, 2023), Popcaan gifted fans a surprise mixtape titled Best Mood. The project’s closing track, “Life Is Real,” is both an easy standout and a clear continuation of the crossover star’s penchant for somber evaluations of life, with all of the violence and riches that complicate it. “People you show your love and give your things often/ Same one will pop your neck just like a guitar string,” he warns, before proclaiming that no one can ever take his life from him — either literally or metaphorically. There’s a current of hope that courses from the song’s opening notes to those closing piano keys, but it’s Popcaan’s interpolations of family lessons and conversation that truly show just how much he has matured and grown over the past decade.
December may traditionally signal the end of the calendar year, but for Masicka, the twelfth month of the year houses plenty of new beginnings. The dancehall superstar opened the month with the release of Generation of Kings last Friday (Dec. 1), his sophomore studio album and first full-length release since signing to Def Jam in February. The 17-song set comes on the heels of his summer hit “Tyrant,” which sat alongside Byron Messia’s “Talibans” and Chronic Law & Ireland Boss’ “V6” among this summer’s defining crossover dancehall hits.
Upon Masicka’s signing to Def Jam, CEO Tunji Balogun said, via a press release, “Def Jam has always been the home for great artists across the wide spectrum of Black music, and Masicka is very much emblematic of that vision.” That may seem like a catch-all corporate platitude, but Masicka truly does embody the ever-evolving spectrum of Black music. Hailing from Portmore, Jamaica, Masicka grew up listening to not just dancehall and reggae, but also rap music. As Hip-Hop 50 has acknowledged, the relationship between dancehall and hip-hop is as storied as it is symbiotic, and Masicka continues that legacy with a stage name partially derived from his favorite blockbuster 50 Cent album.
Across Generation of Kings, Masicka infuses his trap dancehall foundation with flourishes of R&B (“Wet”) and Afrobeats (“Fight For Us”), calling on a globe-spanning collection of collaborators to bring his vision of collective royalty to life. Equally introspective and biting, Masicka’s lyrics — which explore everything from settling beef to reflections on his childhood — perfectly complement his penchant for lush melodic lines and reverb-drenched harmonies. With such a strong ear, it’s no surprise that, despite dancehall’s current Stateside commercial stagnancy, Masicka has been able to truly break through.
438, his debut album which also won dancehall album of the year at the 2023 Caribbean Music Awards, has earned over 50,000 equivalent album units in the U.S. since its Dec. 3, 2021 release, according to Luminate, and his overall catalog has collected over 258.8 million on-demand streams. Upon release, Generation of Kings looks poised to explode those numbers. In just over a week, the album has hit No. 1 on Apple Music in 16 countries, scored the eighth biggest album debut on Spotify U.K. for the period Dec. 1-3 and reached No. 11 on U.S. Apple Music. Furthermore, with Generation of Kings, Masicka became the first artist in history to simultaneously occupy the top 17 on Apple Music in Jamaica — and he even surpassed Bob Marley & the Wailers‘ unmoveable Legend compilation for the No. 1 spot on both U.S. iTunes’ and Apple Music’s reggae albums charts.
Still basking in the glow of the immediate success of Generation of Kings, Masicka stopped by the Billboard offices to chat about his future as a Def Jam recording artist, his formative musical influences and 50 Cent’s influence in Jamaica.
Let’s talk about Generation of Kings. Where was your head while making this album? What were you drawing inspiration from?
After the first album [438], mi feel like mi cement myself inna di dancehall space with a great body at work. So, with Generation of Kings, mi just feel like it’s my time. The whole era, the whole music, the whole feel, just how everything’s going.
How did you go about assembling the tracklist?
I think that was the hardest part, being we had quite a number of great tracks on the album. So, you kind of get them fi tell a storyline. Mi went back in the studio a couple of times, link up with di team, we decipher a likkle bit and then we think what we choose was more of the songs that were what people can relate to. They’re like the motivational songs you can get a positive vibration from.
So, what exactly was the storyline you envisioned for the record?
Triumph. Just transitioning and taking a greater step towards fulfilling your dreams. This album was basically telling the people dem that I’m ready.
You have some fire collaborations on the album – Popcaan, Spice and Fridayy, to name a few – tell me about bringing those artists into your vision.
The most anticipated collab was the Chronic Law [track], he’s a lyricist from Jamaican and people always wan us fi do a song together. That song also features Lila Iké too – bad upcoming female artist. Mi think di people dem really resonate with that collab. The song with Fridayy, it’s different, the one with Fave too. But I think all of the collabs went exceptionally well.
Did you reach out to Fridayy or did he reach out to you?
Tunji [Balogun] set that up! When I heard di track, I was like, “Yo, this dope,” and Fridayy connected right as his album dropped – mi love di album, it’s crazy.
Speaking of Tunji, you signed to Def Jam earlier this year, so congratulations! Why Def Jam? What drew you to them in particular?
The direction and empowerment for artists culture they have. Mi like how dem work. Mi like Tunji vision more than anything else. We spoke probably about a year and a half before [I] actually signed. Mi also like the humbleness. Mi think we share the same work ethic and vision all in one. Anything’s a risk, but mi think this a good risk.
Why did now feel like the time for you to sign to an international label?
I think, personally, mi cover a lot of ground throughout the Caribbean. I feel like I’ve done everything I needed to in the Caribbean. I’ve traveled the Caribbean like 6-7 times already, over and over again, and it’s just trying to get a greater reach. They see the talent, they see the creativity. It’s just trying fi expand the content and mek di ting grow and just build it. Nuh sense fi have all this talent and you remain on the same level.
There are a lot of hip-hop influences on Generations of Kings and the genre has a rich relationship with dancehall. Are there any rappers you’d like to get on a remix of one of these tracks?
Probably Lil Baby. Lil Baby dope. Jay-Z. 50 Cent.
Compare your headspace from the release of 438 to the release of Generation of Kings.
Mi think mi more mature. Mi think mi have more control in terms of how mi want di music fi sound. The ting before it was just di tip of di iceberg. Mi had just started to venture out into creating albums and creating projects. Mi think 438 was dope, just like Generation of Kings. But mentally, mi more mature, more settled, and the music a likkle bit more polished and direct.
What song on Generation of Kings took the longest to finish?
Mi think “Limelight.” Mi record “Limelight” and then leave it for like a month and then mi other verse come. Most of the time mi do something like that. Mi a just go inna di studio and spit something out. With “Limelight,” di riddim is different so mi actually do the chorus and then the verses.
Why did you decide to make “Limelight” a single?
Mi think di vibe — it was a likkle bit after summer, so you know everybody needs to be pumped. Mi think the vibe and the energy and the whole feeling of the song just felt victorious. Mi just feel like we had “Tyrant,” so mi haffi come with again with something sick. After the “Tyrant” success, mi just say, “Alright then, let mi listen through everything. What does it feel like?” “Limelight” was the next thing. It’s showing that it’s our space and we’re here.
Obviously, we’re in the Social Media Age — how has that been an effective tool for you as you continue to navigate your career?
Social media is the Golden Age, man. It mek it a lot easier and mek people from all over di world see your music. It helps a lot. It help to promote, it help to grow the fan base. Social media is one of the key things right now for musicians. They can just pick up the phone and see somebody in Guatemala and somebody one million miles away. We have a better advantage now than the generation of artists before us, so we just haffi make use of that.
What else do you have on the horizon to promote Generation of Kings?
Mi a shoot alla di music videos! Nuff video, nuff promo, mi already started working on a deluxe. Mi have some songs recorded. Mi think I have some sick collabs on it, it’ll be just as crazy as the album.
What do you listen for in new beats and riddims?
The thing is, you know, the beat don’t matter. It’s the once mi get the beat and mi feel a vibe, mi will record. The beat is a surface problem. For me to get a beat and really write to it, mi like pianos, beats with guitar, percussion. Mi like live songs that have a soulful feeling to it.
How do you approach songwriting? Are you more of a freestyler?
Normally, mi go inna di studio, play di beat for like 2-3 hours, and vibe it, vibe it, vibe it, vibe it, vibe it. Mi cyan write just sitting down. Mi write if mi haffi write, but mi like freestyle. Mi think the music better when mi freestyle. So mi would freestyle it and then go back inside, listen, see where we can make some more arrangements and stuff like that. That’s how mi create music. Mi have a studio at home, so mi inna di studio everyday majority of the time.
Sometimes it’s just the melody alone mi have, I just go inna di studio and mumble it. And throughout the day, when I’m playing a game or something, I just think about it subconsciously, and I finish it like that. Mi nuh have no songbook. I’ve never had a songbook.
Sonya Stephens recently praised you as an amazing songwriter, with a lot of that you can teach older generations of dance artists. I also spoke with Beenie Man few months ago about sharing knowledge across generations of dancehall. What do you think you and your peers can learn from your dancehall elders and vice versa?
Mi think we can definitely study the longevity of the artists dem before. All of them have amazing careers and dem stood the test of time, like Beenie Man and Bounty Killer. Mi think the difference is modern dancehall just gets five minutes of fame. Mi think them nuh love di craft. I think it’s more about getting out there than mastering the craft.
Bounty and Beenie Man start from when they was small, so dem actually really love di music, so they never had any other options. Now we have too much choices. There’s no appreciation for the music, so everybody feel like dem can just be a part of the music and just call themselves anything.
Definitely, mi think they can learn to take more risks, cause mi think we take a lotta risks, the younger generation. They could take more risks and pave more way for di yutes because dem have the opportunity and dem could do way more.
There were a number of global dancehall crossover hits this year, “Tyrant” among them. How do you think that momentum can be maintained?
We just have to realize it’s a bigger market out there. People with different ears, you know, so we just haffi try stuff. We just haffi try to be appealing, try the different music — but at the end of the day, keep originality and keep authenticity. We just haffi try and merge it with the Afrobeats – they’re on that level now. Dancehall was on that level, and it can be on that level again. It will, Imma speak it into being. I just think we need fi come together as people and push di music.
Do you feel that there’s any division that’s preventing that from happening?
Yeah, definitely. Dancehall is known for segregation, and that hinders the growth of the music a lot. Mi think once you have that togetherness and that unity… mi think that’s happening now. Yuh see di yutes dem now? I think the mindset is different, and mi think the yutes just work and take more risks. I venture to say that is why you have so many labels looking to the Jamaican market right now — because mi think there’s a change coming.
And I think that risk-taking, especially in terms of blending genres, is what’s really helping modern dancehall right now. Where do you think your courage to try new sounds comes from? Who were your main musical influences?
Mi love dancehall, but mi started off listening to rap. So, 50 Cent, Eminem, alla dem tings. Get Rich Or Die Tryin’, Massacre. Mi love music. Mi love dancehall, I’m a dancehall artist, but mi love music. Adele a one of my favorite artists of all time, mi listen to Lukas Graham, mi listen to so many different kinds of artists, so mi think with experimenting, it comes from feeling comfortable and mastering the craft and practicing every day. So, if mi get a beat, mi just look at miself like an instrument instead of just a dancehall artist. If I get a beat a need to sing in Spanish, then mi need fi guh learn Spanish! [Laughs.]
We only have one life, so why not experiment and why cage yourself into a box? Grow and try different stuff! Mi just think di music can be so big and diverse, you know?
You had a show in New York recently for your birthday, how was that?
Crazy, crazy. It was my birthday celebration. Di people dem love me out there. They love me in New York, so I always bring the energy. It was a crazy, crazy, crazy, crazy vibe.
Do you have any plans to tour soon?
I have a couple of shows, one in Miami. I have a show in Jamaica soon. And then we start off next year fresh. Right now, mi just a focus on GOK, and getting out there and pushing it.
So, I take it you’ll get some downtime with the family for the holidays.
Yeah, man, just spending some time. Family is big to me, so mi love fi get a likkle time fi spend with my family. I gotta take a break man. After next week, Def Jam cyan get to me! [Laughs.] Just kidding!
Looking out towards the next five years, what are some benchmarks that you want to hit?
In five years’ time, I really love fi become a fully established artist in the U.S. A fully established dancehall artist selling hundreds of thousands of records, start performing in stadiums, and sign some artists.
When it comes to signing artists, what you be looking and listening for?
Typically the same thing what mi have inna miself. Versatility, the love for di music first. You can have the talent, but if you don’t love it nah guh fully work. So them haffi have di love and di drive for it first.
Are there any notes you think the Jamaican recording industry can take from the American and African ones as you continue to work with international labels?
The professionalism. 100% the professionalism and the business behind the music. Mi think that is why the African industry is advancing now and booming like that. Mi think that’s what we lack, but we’re getting back there, right? Once we get back to that disciplinary level within di yutes and within di music, then we will have investors interested in working with dancehall artists cause you’re committed to your words and your work.
Before we go, I heard there’s a dope story behind your name.
You know, actually, it was 50 Cent’s album, The Massacre. Back in high school time, my auntie bought me the album. Initially mi never wan become an artist from di time mi was young, young, young. Mi coulda write songs mi nuh wan turn that.
What did you want to be?
A lawyer, mi was young! I still started my music career young, like 17, 18. But mi get the CD and I kept playing it. My friends dem used to call me Sicka, and then mi just decide say, Yo, Masicka, this is it.
50 Cent influence inna Jamaica is massive. You have the G-Unit tank tops, everybody loves Young Buck, Lloyd Banks — I think G-Unit was one of the crew that everybody inna Jamaica was just crazy about. You have other groups that’s mad talented, but the gangster thing, the aggressive thing just resonate with our culture.
As the penultimate month of the year comes to a close, it’s time to start reflecting on the past year in music and culture. This month, Billboard unveiled the 2023 Year-End charts across genres, including five rankings celebrating the year in reggae. Greatest hits sets from Bob Marley, Shaggy and Sean Paul ranked as the first, second and third biggest reggae albums of the year, respectively, while 2023 breakout star Byron Messia made an appearance in the top 10 with his No Love album (No. 8). Messia also made an appearance on the 2023 Year-End Billboard U.S. Afrobeats Songs chart thanks to his Burna Boy-assisted “Talibans II” (No. 26).
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Although our general focus has shifted to previewing the new year and reflecting on the current one, 2023 is far from over. To close out the year, Messia, Teejay, Shenseea, Jada Kingdom, Ding Dong and Nadg will perform at Hot 97’s Winter Jam on Dec. 30. There’s still one month to go before that concert, so let’s take some time to sort through the best November releases across reggae, dancehall, soca and their cousin genres and scenes.
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: Duane Stephenson, “Golden Nights (in December)”
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On the day after Thanksgiving, VP records dropped a holiday covers album titled Reggae Christmas Classics. Among the selections — which include a cover of “This Christmas” bv Christopher Martin and a Thriller U rendition of “Feliz Navidad” — is Duane Stephenson’s original track “Golden Nights (In December).” Built around a jazzy intro that launches into a blissful rocksteady groove, Stephenson’s honeyed voice croons about the irreplaceability of his lover on the coldest December nights. “If you’re not here with me in December/ There are no golden nights to remember/ If you’re not here with me in December/ Such a lonely, it’s a lonely time of year,” he coos.
Farmer Nappy, “How ah Livin”
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Relentless optimism and hope in the face of a world that seems hellbent on snuffing the light out of nearly every part of life is not just welcome, it’s vital. That’s part of why soca continues to resonate after so many decades, and it’s also the driving force behind Farmer Nappy’s “How ah Livin.” With joyous percussion sourcing accents from the ebullient background horns, “How ah Livin” is a purposeful reclamation of joy. “How ah livin’?/ Better than them!/ How I lookin’?/ Better than them!” Nappy sing-chants.
Chronic Law & Ireland Boss, “Still Dark”
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Alongside “Talibans” and “Drift,” Ireland Boss and Malie Donn’s “V6” was another summer dancehall hit that dominated the year. After letting that track enjoy months of success, Ireland Boss has unveiled the latest take on his V6 riddim with some help from Chronic Law. “We nah love talk, yeah we popular fi dark/ Them ya gun ah go fi blood like Dracula mi dawg/ When we ah go ah school, have mi ratchet and mi dark/ Know mi and mi matic affi charge,” Chronic spits over the slinky, laid-back instrumental, opting for an approach that brings the riddim closer to the gun chune lane than the sexually charged braggadocio of the original.
Gbmnutron & Jus Jay King, “When Last”
Let’s face it: life has been different since the pandemic no matter how hard a “return to normal” is pushed. With “When Last,” Gbmnutron and Jus Jay King hold space for the feeling of longing for the fetes and parties of years past, infusing both the instrumental and lead vocal with an unmistakable dash of wistful nostalgia. “When last you been to a party?/ Plenty women looking so nice, we must be in paradise/ When last you had a time to remember?/ It’s only bumper to fender, and the drinks cyah done. big up di bartender,” he sings.
Protoje & Zion I Kings, “Jah Deliver Me”
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A delectable slice of more traditional reggae stylings, “Jah Deliver Me” is housed on In Search of Zion a remix album based by Zion I Kings based on Protoje’s 2020 release In Search of Lost Time. In the verses, the two-time Grammy nominee employs a hip-hop-influenced cadence, while the chorus finds him opting for a more legato, melodic approach in his singing. A solemn, introspective track, “Jah Deliver Me” is the perfect soundtrack for the darker moments of the winter months; “I hold my order, give my praises/ Oh, Jah, deliver me through these days/ Sometimes really hard to go and face this/ Oh, this life can truly be amazing,” he sings over hopeful brass.
DSL, “I’m High”
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A dancehall and reggae artist hailing from Ghana, DSL balances atmospheric guitar-tinged arrangements with a languid vocal delivery to embody the greened-out energy of the aptly titled “I’m High.” “Who are these people doing much good to we/ Why do you want to spoil my melody/ So what do you want from me/ The herb is my remedy,” he explains. It’s a simple song, but DSL creates an incredibly immersive sonic space through the attention he pays to the relationship between his rasp-accented vocal and the saccharine female voice in the background.
Darryl Gervais & Fryktion, “Over & Over (Cyah Stop It)”
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On this gospel-indebted selection from Fryktion’s The Rub-a-Dub Project EP, Darryl Gervais sings praises to the Most High over an instrumental pulls equally from modern reggae and soca. “It ain’t nothing that you can do to stop my blessings come through/ Yuh cyah stop it, no, yuh cyah block it,” Gervais proclaims. He delivers his lyrics with the gravity of a person who is unshaken in their face, completely wrapped in their trust in the Lord. Between a catchy melody and that irresistible hook, “Over & Over” achieves the perfect balance of being both a universal anthem of praise and a personal moment of thanks.
Ding Dong, “Rebel”
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Dance is, of course, one of the key cornerstones on dancehall, so it’s no surprise that Ding Dong’s new single celebrates Christina Nelson, also known as Dancing Rebel, one of the most popular Jamaican dancers and choreographers in the world. Already complete with a dance combination courtesy of Nelson, “Rebel” rests on Ding Dong’s commanding voice and engaging ad-libs to morph into what could very well be the next viral dance track from the dancehall scene.
Lyrikal, XplicitMevon & N.M.G. Music, “Fetin’ Mayor”
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XplicitMevon and N.M.G. Music’s resurgence riddim is one of the best riddims of the year, and everyone from Ricardo Drue to Preedy delivered electrifying takes on the accompanying Resurgence Riddim EP. Lyrikal’s version, however, reigns supreme: His magnetic voice booms across the track as proclaims himself mayor of “the nation/ the fetin’ congregation/ the party population.” He cheekily expresses his selflessness in making sure that everyone, not just himself, is having the time of their lives at whatever function they’re at. While the rest of the world is slowing down as winter takes over, Lyrikal is square in the middle of the dancefloor, beckoning us to join.
Viking Ding Dong, “Harder”
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In addition to the Resurgence Riddim EP, November also gifted us the Saying Something Riddim EP. With “Harder,” Viking Ding Dong delivers an anthem of resilience and gratitude. “Life hard but we harder!/ Life hard, but we harder!/ But we haffi give thanks to di Father,” he declares over the thumping percussion and cheerful guitar strums. Obviously we’re in a season of thanks, and Viking Ding Dong doesn’t take that lightly as he skates across the track with sanctimonious reverence.
Bonus Pick: Samory I feat. Lila Iké, “Outside”
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Over thumping, militant drums and a thumping bassline, Samory I and Lila Iké flex their vocal chemistry across “Outside,” an ode humility, perseverance, and faith. Lila’s dulcet timbre rings throughout her voice, providing a gorgeous contrast to Samory I’s soulful tone. When those rock-tinged guitars kick in, however, “Outside” evolves into something different: a genre-smattering love letter to the different sounds styles of the Black diaspora that find a common thread in their musical displays of Black tenacity. “Jah Jah we call upon your name/ Pray you lantern all our days/ When it gets dark, we know you’ll always make a way,” Lila croons. Existing while Black is a task that demands a certain level indefatigability, and the community that can be sourced through that is the backbone of “Outside.”
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.