Reggae
British R&B star Mahalia has made a comeback with lively new single “Pick Up the Pace.” The track, which sees her team up with Jamaican artist Bayka, incorporates elements of dancehall and reggae – a sonic development for the 26-year-old and her typically soulful sound.
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“I wanted to celebrate artists like Bayka – these incredible Jamaican voices – and give the U.K. a moment to reconnect with the dancehall and reggae that helped shape our sound,” Mahalia said in a press release. The singer added that the track also serves as an ode to her Afro-Caribbean roots, having grown up with a Jamaican mother in Leicester.
Explaining the meaning behind “Pick Up the Pace,” she continued, “I love love. But lately, I’m embracing the fun, unserious side of it all. There’s so much heaviness in the world, so I’m just trying to find those moments of joy and playfulness in my music.”
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Writing on her Instagram, Mahalia spoke on the fitness-inspired music video. “I’ve held onto a lot of insecurities about my body that were born in school that I haven’t been able to shake as an adult,” she shared. “And being an artist/maybe a role model to some has forced me to keep those insecurities tightly away in Pandora’s box so nobody can see that I am also a little broken.”
“Broken by the impossible beauty standards of western society. Broken by all of the men and women who told me my boobs were too big or my belly not toned enough,” she continued. “Broken by my own insomniac thoughts about my body whenever I’m going through a depressive phase.”
The single marks the first offering of new material from Mahalia since her second studio album, IRL, which was released in July 2023 via Atlantic Records. The LP reached No. 31 on the U.K.’s Official Albums Chart and was supported by a run of U.K. headline shows, including a night at London’s iconic Hammersmith Apollo. In the year since, she has also toured Europe, North America and Australia.
IRL included a wealth of guest artist features, including Stormzy, Joyce Wrice and JoJo. The latter featured on single “Cheat,” one of the album’s key singles. Speaking to Billboard, Mahalia explained the significance behind choosing JoJo as a collaborator. “I just really, really wanted her. There wasn’t really anyone else that I wanted on that record, to be honest,” she said.“I think I had ideas of backup plans if she said no. But I hit her [up] and said, ‘Would you be up for doing this?’ She was like, ‘Absolutely. Send it to me.” I sent it and we got it done within a few weeks. We had a great time.”
Over the course of a 12-year career, Mahalia has been nominated for multiple MOBO and BRIT Awards, plus a Grammy nod for “All I Need,” her 2020 collaboration with Jacob Collier and Ty Dolla $ign. In 2019, she released her debut album “Love And Compromise,” which featured the likes of Burna Boy, Ella Mai, and New Orleans vocalist Lucky Daye.
Check out “Pick Up the Pace” below:
Between the triumphant, box office-topping Bob Marley biopic and the long-awaited release of dancehall legend Vybz Kartel, Jamaica has had a lot to celebrate in 2024. This year also marks the ten-year anniversary of Where We Come From – the landmark 2014 debut studio album from Popcaan, one of the most important dancehall artists of the past decade and half.
Following early Stateside crossover success with heaters like “Only Man She Want,” “The System” and “Unruly Rave,” Popcaan released Where We Come From via Mixpak Records, the Brooklyn-based indie label founded by record producer Dre Skull. Upon release, Where We Come From became the first of Popcaan’s five consecutive projects to reach the top three on Reggae Albums. According to Luminate, Popcaan has moved over one million career album equivalent units, with Where We Come From accounting for 130,000 of those units.
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To commemorate ten years of Popcaan’s debut, Mixpak has released a new deluxe edition featuring three previously unreleased songs: “Beat the Struggle,” “Don’t Finesse Me” and an acoustic version of the set’s title track.
“Part of me wonders why the hell they weren’t a part of the original album,” Dre Skull tells Billboard. “It’s exciting to dust off some songs from that era and share more about what was happening in the studio and in Popcaan’s head at the time.”
As executive producer of Where We Come From, Dre Skull developed an incredibly intimate partnership with Popcaan. The two dancehall maestros first crossed paths in 2010 during the recording sessions for Kartel’s Kingston Story, the first full-length release for Mixpak. Though they met before “Clarks,” a globe-conquering collaboration between Popcaan and Kartel, dropped, Dre Skull instantly recognized Popcaan’s “natural star power.” By the end of 2011, he signed Popcaan to a three-single deal that yielded “The System,” a song that combined the politically conscious lyricism of roots reggae with the bombastic tempos of dancehall, laying the groundwork for an album that would usher dancehall into a new era.
Around the time Popcaan signed that initial deal, Kartel, his mentor since he joined Gaza Music Empire in 2008, was arrested for cannabis possession. That charge would trigger a decade’s worth of legal ordeals, including a life imprisonment sentence for a murder charge that would take until 2024 to overturn. With his mentor imprisoned, there was an opportunity for Popcaan to assume the leading role Kartel had occupied for years – but this time with a twist that prioritized emotional vulnerability and melodic delivery over brash braggadocio. Dre Skull started conversing with Popcaan’s team about a larger album deal around the end of 2012; though he encouraged them to pursue deals with majors should they be offered, his work with Kartel and on Kingston Story earned the trust of both Popcaan and his team, setting the stage for the first of two Mixpak-backed Popcaan LPs.
Contrary to America’s most dominant genres, dancehall’s affinity for the album as an artistic statement is relatively recent; dancehall albums are often compilations of an artist’s hottest songs from the past few years. “As a fan, I love that, but the press was not giving their full attention to pure singles,” Dre Skull says. “You’re going to be hard pressed to get on the cover of The Fader with just the hottest single. I’m not saying it’s never happened, but it’s rare.” Kartel did end up landing the cover of The Fader for Kingston Story, as well as a print feature in the Arts & Leisure section of The New York Times. Those PR wins provided a blueprint for Popcaan’s Where We Come From rollout – and foolproof confirmation that a fully realized LP was the best way to formally introduce and break Popcaan in America outside of hubs of Caribbean immigrants like New York City.
Ten years later, Where We Come From still stands as a stunning amalgamation of mid-2010s dancehall and the boisterous dance-pop that dominated top 40 at the time. “Everything Nice,” the album’s lead single – which was originally recorded on a completely different beat, according to Popcaan — slyly combines elements of dancehall’s sunny synths and drums with the languid emo-rap vocal stylings that were beginning to creep into mainstream hip-hop at the time.
There’s also “Waiting So Long,” a pop-dancehall fantasia that casts Popcaan as the conductor of a kaleidoscopic orchestra of syncopated handclaps, stirring strings, ethereal chimes and tinny synths that keep the track in lock-stop with the electro-pop of the times. Those EDM-adjacent flourishes also pop up on “Addicted,” a song tucked away in the album’s back half that flaunts Popcaan’s knack for catchy pop melodies that don’t betray the roughest edges of standard dancehall delivery.
“There’s so much subtlety. Because of his mastery with melody, his songs can be catchy in different ways,” says Dre Skull, who produced five of the album’s 13 tracks. “For a certain subset of songs, my view was the riddim should almost contrast with that.
Where We Come From was impressive upon its debut – and remains so – because of how deftly Popcaan balances the record’s party moments with its stints of introspection on tracks like “Give Thanks,” “Where We Come From” and cinematic album opener, “Hold On.” After impressing Dre Skull with his grasp on weightier topics like violence, poverty, remorse and guilt, the Brooklyn producer “had a feeling the melody and the chords on ‘Hold On’ would resonate” with Popcaan. And they did. “Everything we still get the minimal/ Society still treat we like criminals/ But one day we’ll be free at last/ Jamaica,” he croons at the end of the song’s first verse.
“At the time of creating Where We Come From, I said exactly what I wanted to say and sang about how I was feeling,” Popcaan tells Billboard. “I just wanted to touch people’s hearts while being real. I always try to motivate the yutes who are still in the struggle to never give up, and in doing that through music you expose some vulnerability.”
For Dre Skull, “Hold On” felt like a “mission statement.” “Some of those songs are like hymns,” he muses. “He’s giving music to help anyone get through their hardest day or week. At the same time, he’s singing hymns that are based on things going on in his life. I have come to see that he’s writing those for himself, and they serve a purpose internally.”
Notably, Where We Come From houses just one collaboration, the Pusha T-assisted “Hustle.” Popcaan and Pusha previously worked together on 2013’s “Blocka,” and the Virginia Beach rapper was the only artist he reached out to while making the album. “Sometimes it might make good business sense or a be a good look [to have big-name features on an album] – but this was a very important building block in Popcaan’s career. We wanted it to be a reflection of who he was,” notes Dre Skull.
Arriving on June 10, 2014, Where We Come From materialized at the same time the music industry was on the precipice of a culture-shifting transition to streaming as the dominant form of consumption. Billboard started incorporating YouTube data into its chart rankings the year before Where We Came From dropped – but Dre Skull was already familiar with just how important the video-sharing app was to the dancehall ecosystem. He remembers a digital scene dating back to 2009, where kids in Brooklyn would run YouTube channels like music blogs, uploading the year’s hottest dancehall singles to their tens of thousands of followers. “Dancehall artists and their managers were paying those teenagers to upload their music, because they wanted to be part of that stream of consumption,” he recalls. “It was a similar thing to rap’s mixtape era, where there was all this unmonetized and uncheckable consumption happening. Those artists weren’t getting money off those streams, but they were getting show bookings.”
Following the strategy they employed with Kartel’s Kingston Story – Dre Skull notes they were an early adopter of uploading lyric videos for every song on an album – Mixpak capitalized on Popcaan’s YouTube pull with complete uploads of his early radio interviews, “Unruly Clash Wednesdays” series (a weekly showcase for burgeoning deejays to battle-test their skills in front of live, participatory audience) and commercials compiling the album’s rave reviews. Though streaming would truly explode by the time Popcaan’s sophomore effort, 2018’s Forever, rolled around, the inroads he made on those platforms with Where We Come From set the stage for streaming juggernauts like 2020’s Drake and Partynextdoor-assisted “Twist & Turn.”
In the ten years since he dropped his debut album, Popcaan has morphed into one of the most recognizable dancehall stars of the 21st century, working with everyone from Chris Brown to Burna Boy. To date, he’s earned over 1.7 billion official on-demand U.S. streams – a testament to his remarkable ability to sustain crossover success.
“Popcaan showed how to be a successful artist in this new era,” proclaims Dre Skull. “He’s proven to be a very strong operator who knows how to follow his own vision for his career instead of another person’s template. With [Where We Come From], he showed other dancehall artists that albums are important and reminded them that they’re a very good way to push your career to career to new levels. More people are putting out proper albums as an artistic statement and not just a compilation of previously released singles. And musically, he also showed that you can make a serious album and not go chasing hits but still end up with some.”
As dancehall figures out where the genre is headed next, other stars looking to emulate Popcaan’s success would do well to revisit Where We Come From and its pivotal rollout. Though his focus is currently on celebrating the 10-year anniversary of his debut, Popcaan has new music on the way with Dre Skull. Now signed to Drake’s OVO Sound label, Popcaan and Mixpak formally parted ways in 2020, but their work together continues to inform the future of both Popcaan’s career and dancehall as a whole.
“We made a classic,” exclaims Popcaan. “A timeless and boundary-breaking album that still resonates today. 10 years later and still going strong!”
The 2025 Grammy nominations landed this morning (Nov. 8), and two Jamaican powerhouses have earned their first Grammy nods for their own work.
In 2017, Shenseea made waves with a remix of Vybz Kartel‘s “Loodi”; today the dancehall star joins Kartel as a 2025 Grammy nominee for best reggae album thanks to Never Gets Late Here. Released on May 24, Never Gets Late Here serves as Shenseea’s sophomore studio album and features collaborations with Masicka, Di Genius, Anitta, Coi Leray and Wizkid. The album reached No. 4 on Reggae Albums, becoming Shenseea’s second consecutive LP to reach the chart’s top five.
“I was in the office getting my ID done, and I started screaming. The people in the office were like, ‘Oh my God! Who died?’” Shenseea exclusively tells Billboard about her initial reaction to her nomination. “I finally made it amongst the greats, that’s what I first thought. It’s [been] a long road to get here for my country and my culture. Momentum and hype [are] more quickly accepted than quality sometimes, especially in this new generation. For me to even make it here after all I’ve been through from stage zero, I feel like I’m at ten. It’s just the icing on the cake to win.”
Shenseaa earned a pair of Grammy nominations (album of the year and best rap album) in 2022, thanks to her work on Ye‘s Billboard 200-topping Donda LP. She appeared alongside Roddy Ricch on “Pure Souls,” which reached No. 52 on the Billboard Hot 100. “I told myself I would not attend the Grammys until I get nominated for best reggae album for my own project,” she reveals. “Even when Donda got nominated, I did not go to the awards. [This nomination] means everything to me. I feel like my hard work continues to pay off. I’ve been dreaming about this moment ever since I found out I could sing!”
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If given the opportunity to perform at either the telecast or the premiere ceremony, Shenseea selects “Face Lift (Intro)” — which features her son — as her song of choice. Should she take home the Grammy next February, Shenseea would join fellow JA star Koffee as the only women to ever win best reggae album.
Just a few months after he regained his freedom, Portmore’s very own Vybz Kartel earned his first career Grammy nomination with Party With Me, which was released this spring (May 31) via Adidjahiem Records. For over three decades, Kartel has been a leader in the dancehall genre thanks a near-constant stream of releases and sizzling crossover joints ranging from 2009’s Spice-assisted “Romping Shop” to 2016’s “Fever.”
Earlier this summer (July 31), Kartel regained his freedom after the Court of Appeal unanimously ruled that he and his co-accused — Shawn Campbell, Kahira Jones and Andre St. John — will not face a new trial for the 2011 murder of Clive “Lizard” Williams. Kartel was originally sentenced to 35 years in prison after a historic 64-day trial back in 2014, but he and his co-accused have always denied their involvement in Williams’ death.
The 2025 Grammy nominees for best reggae album are Play With Me (Vybz Kartel), Never Gets Late Here (Shenseea), Take It Easy (Collie Buddz), Bob Marley: One Love – Music Inspired By The Film (Various Artists) and Evolution (The Wailers).
The Grammys return to Los Angeles’ Crypto.com Arena on Sunday, Feb. 2.
With just days to go before the reveal of the 2025 Grammy nominations, a few of the hottest stars from across Caribbean music could earn their first nomination for best reggae album.
This year, Teejay (I Am Chippy), Masicka (Generation of Kings), Jah Lil (Can A Man Cry), Govana (Legacy), Shenseea (Never Gets Late Here), Gyptian (Guarded), Stalk Ashley (Stalky the Brat), Romain Virgo (The Gentle Man) and Vybz Kartel (Party With Me) are among the artists who have submitted their eligible albums from consideration. Previous nominees such as Spice (Mirror 25), The Wailers (Evolution) and Protoje (In Search of Zion) are also in contention.
If the final slate of nominees once again includes American reggae band SOJA — who’s contending this year with Beauty In the Acoustic — stay tuned for a repeat of the controversy that their 2022 triumph (for Beauty in the Silence) sparked.
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Outside of Grammy news, all eyes are on the United States presidential election (Nov. 5), where Vice President Kamala Harris, who is of Jamaican and Indian descent, could become the first Asian-American and first woman president.
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: Protoje, “Barrel Bun”
On Oct. 18, two-time Grammy nominee Protoje released a collection of tracks previewing the full soundtrack to a forthcoming short film. Stacked with songs specifically written to accentuate the film’s storyline, The Jamaican Situation: Side A houses several knockout tracks — including the fiery “Barrel Bun.” A straightforward, brass-accented reggae jam, “Barrel Bun” finds Protoje calling for radical systemic change in a country marred by government corruption and violence, with Ziah.Push’sstine production beautifully complementing Protoje’s narrator-esque delivery. “It depends pon what you choose/ Fi make it out or make it pon the news/ The system ya rough/ Everybody wicked and tough,” he croons in the chorus, between verses that follow different characters as they fight to survive and live with themselves under varying systems of oppression.
Skip Marley, “Close”
Maxi Priest’s “Close to You” — which topped the Billboard Hot 100 in 1990 — already put the “pop” in reggae-pop, and Skip Marley’s reimagining of the track doubles down on its dancefloor bonafide. Produced by Rykeyz, Marley ups the reggae feel of Priest’s original chorus, his raspy upper register playing well against the groovy percussion that grounds the smoldering verses between each party-ready hook. Marley has already visited the top 10 of the Hot 100 (alongside Katy Perry with 2017’s No. 4-peaking “Chained to the Rhythm”), and “Close to You” has the potential to bring him back there.
Teejay feat. Masicka, “Never Complain”
You know it’s serious business when two of dancehall’s hottest stars join forces. With “Never Complain,” Jamaican powerhouses Teejay and Masicka a menacing dancehall track that finds the former delivering a smooth, coolly confident hook, while the latter spits rugged, rapid-fire verses that offer a peek into how fame and success have altered the outlook of both stars. With slinky guitar riffs providing a lighter complement to the brooding lyricism and overall production, “Never Complain” is a surprisingly texturally rich offering that previews just how incredible a joint project between Teejay and Masicka could sound.
Beach Boii & Simon Said, “Bad Gyal”
Who has the time to be worried about colder weather when Beach Boii and Simon Said are dropping sizzling joints like this one? “Bad Gyal,” a sultry trap-infused dancehall slow-burner, continues the genre’s long-standing tradition of tributing beautiful women, but Simon Said’s relaxed delivery and his and Beach Boii’s lyrics prioritize praising women’s independence as much as they express their desires to be with her. “Anything yuh want, baby girl that’s it/ Gucci from Milan, Louis Vuitton, Français/ Put it pon di Gram, make these hoes upset/ Real bad gyal, so mi know yuh don’t play,” Simon croons over Beach Boii’s string-inflected beat.
Major Lazer & Vybz Kartel, “Nobody Move”
Originally teased back in 2017 — with an additional Lorde feature, no less! — “Nobody Move” is finally here. Released as a part of the 15-year anniversary reissue of Major Lazer’s 2009 debut album Guns Don’t Kill People…Lazers Do, “Nobody Move” finds Kartel interpolating bits of Yellowman’s 1984 dancehall classic “Nobody Move, Nobody Get Hurt.” A far more traditional reggae joint than 2009’s “Pon De Floor” — the last time the two acts linked up for a collaboration with no other guests. It’s a brief track with just one full verse, but it’s prime for easy listening. “Nobody move, nobody get hurt/ Mi feel di vibes, put in di best work/ Jamaica land we love/ I love fi see di gyal dem inna short mini skirt,” Vybz proclaims in a curiously wistful cadence.
Juls, Black Sherif & Projexx, “Timing”
Released as a single from Juls’ Peace & Love album, “Timing” is a world-bridging collaboration between the British-Ghanaian producer, Ghanaian singer Black Sherif and Jamaican artist Projexx. Juls’ ethereal soundscape pulls from Afrobeats as much as it pays tribute to dancehall rhythms and grooves, with Black Sherif’s buoyant energy playing well against the laid-back, reserved approach Projexx takes, each style accenting different pockets of the airy beat.
Jada Kingdom, “Somebody Else”
Jada Kingdom kicked off the year with one of dancehall’s fiercest clashes, and now she’s back with “Somebody Else,” her first release under her new independent entity Kingdom Mab. A characteristically seductive kiss-off, “Somebody Else” finds Twinkle purring her way through an R&B-infused track that balances vulnerability with strength sourced from introspection. “Cause after all the heartbreak, I still gained nothing/ Best of luck, I’m sorry/ It’s too late to want me/ I got my eye on somebody else,” she declares.
Nailah Blackman, “Banana”
Nailah Blackman literally has soca history cousing through her veins — and she does her lineage proud with each successive release. “Banana,” Nailah’s take on the “Double Dip” riddim, brings her over to the power soca as she sings, “A girl no want no soft man/ Gimme a roughneck/ A man to slap it up and/ Gimme some roughness/ Want a man with strong back.” Tailor made for the road, “Banana” is sure to soundtrack some of the wickedest wines in the West Indies and beyond come next Carnival season.
Kenroy Mullings, “Brighter Days”
Analog instrumentation will never go out of style — and Kenroy Mullings is here to remind us of that. A renowned guitarist who works frequently with Buju Banton released his highly anticipated instrumental album, Brighter Days, on Oct. 23, and the title track is one of the strongest offerings. Centered on a sunny guitar melody and accented with ebullient horns and steady, earthy percussion, “Brighter Days” positions itself as the musical equivalent of the first few sun rays breaking through the clouds. There’s hope coursing through every chord, so much so that lyrics feel like a bonus accessory here as opposed to a necessity.
Patrice Roberts, “Kitty Cat”
At the top of October, Trinidadian soca icon Patrice Roberts put her own spin on Suhrawh’s “Cat Attack” riddim. “Yuh have a weakness for sweetness/ Beggin’ for the kitty cat/ So, you have a weakness for sweetness/ I have the sweetness,” she coos over the beat, which sounds just a step or two away from something you might hear on a poppier Brazilian funk track. A tantalizing ode to the power of the kitty and a sultry showcase of both Patrice’s power and sexual prowess, “Kitty Cat” is the perfect song to channel the flirtatious energy of Carnival — even if the season may be over.
Worl Boss is finally free — and now the Jamaican musical and cultural icon is getting the podcast treatment.
Worl Boss: The Vybz Kartel Story, an eight-part podcast series from SALT, Big Wave More Fire and Gulfstream Studios, is set to debut on Dec. 16, 2024. Created by Tahir Garcia and Sam Griesemer and executive produced by Nick Panama and Max Musina, the audio series will explore the life, career and influence of the dancehall icon.
“There’s so many incredible stories that exist within dancehall and reggae music and the culture here in Jamaica, and so many of them don’t get shared with the public. The only time you hear these stories is if you’re lucky,” Garcia, who also narrates the series, tells Billboard. “We took a step back, two or three years ago, and decided that we wanted this space to be able to tell the story properly. Obviously, podcasting has become this huge thing. But one thing that’s missing, especially in Jamaican culture, is this concept of [podcasts] being scripted. There’s so much more that can be brought to it with sound design and actually sitting down and editing interviews to tell the narrative in a way that captures everything and really preserved the essence of [Vybz Kartel’s] story.”
The new podcast series is told entirely by Jamaican voices and will exclusively feature interviews with important figures within Kartel’s circle, including the first female member of Kartel’s Portmore Empire crew Lisa Hyper, Kartel’s former DJ Creep Chromatic and famed musician Wayne Marshall. These key players will also be joined by Winford Williams — host of On Stage TV, the longest-runnning dancehall interview series — as well as essayist Carolyn Cooper, author and professor Donna Hope, and Milk and Jay Will, two important collaborators on Teacha’s Pet, Kartel’s reality show.
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Earlier this summer (July 31), just over a week before Jamaica’s Independence Day (Aug. 6), Kartel regained his freedom after the Court of Appeal unanimously ruled that he and his co-accused — Shawn Campbell, Kahira Jones and Andre St. John — will not face a new trial for the 2011 murder of Clive “Lizard” Williams. Although he was originally sentenced to 35 years in prison after a historic 64-day trial back in 2014, Kartel (and his co-accused) have always denied their involvement in Williams’ death.
“We have a lot of assets and we spoke to people at the source, including his camp, people in and around his orbit, fans and musicians. We did a pretty extensive job covering all the bases,” says Panama. “We have a lot of voices that are going to be represented and using that as a way to help breakthrough and create the world around the story is part of how we’ll successfully bring this to market. We’ve got some really great partners in the audio space that we’ll be announcing soon, and I think they’ll help amplify this project even more.”
Known for hits such as “Fever” and his Spice-assisted “Romping Shop,” Vybz Kartel’s raunchy music and slick wordplay have soundtracked multiple generations of dancehall listeners, and Garcia promises the new series will be for everyone: from first-time listeners to lifelong fans. “If this is your first introduction [to Vybz Kartel], it’s supposed to be just as impactful as it would be to someone who’s listened to him forever.”
In addition to his music and efforts to support Jamaica, Kartel’s legal woes have also become a major part of his legacy — one that Worl Boss does not shy away from. “Everything gets addressed and talked about. We just don’t dwell on that. It’s a part of the journey, but it doesn’t define the character,” explains Garcia, who also tells Billboard that, “the hardest part was getting people who are close to [Kartel] to speak freely — especially while he was still incarcerated — because nobody wanted to do anything that could potentially incriminate [him or themselves]. Everyone was very, very cautious about agreeing to do it, and what put them at ease was us not focusing on the mess.”
Although there are currently no additional details about the podcast’s distribution, Panama stresses that the podcast series is just one part of the story they hope to tell. “The second [part] is a documentary series and feature film that are in development with arguably one of the biggest Jamaican directors, and UTA’s representing the project,” he reveals. “That will probably be more of a late 2024 thing, but the reason we did those together is because the story is so dynamic. Dancehall is such a small genre from a small country that has an enormously outsized impact globally. To have a revered yet controversial figure at the heart of that with Vybz [Kartel] is such a fascinating character and cultural study.”
Since his release, Kartel has remained outside partying and enjoying his freedom ahead of a massive “Freedom Street” concert at the National Stadium in Kingston, Jamaica, on Dec. 31 — his first performance in 13 years. Production and filming for Worl Boss began before Kartel regain his freedom, but now “there’s a third act to his story,” Panama muses. “He wasted no time walking out of prison and getting his entrepreneurial and music endeavors back up and running and continuing to build his mythology.”
From February’s box office-topping Bob Marley: One Love biopic to Worl Boss, Jamaica has remained at the forefront of global popular culture throughout 2024. For his part, Garcia hopes this new podcast series is the beginning of several projects chronicling and preserving Caribbean culture and music history. “That’s one of the things we spoke about very early on in this process, what does the next step within this space look like?” he says. “Once [Worl Boss] starts rolling out, hopefully it reshapes what people think is possible, and that’s going to be even more exciting.”
On Easter Monday morning, 1964, 14-year-old Marcia Griffiths stepped onto a stage for the very first time. The occasion was an annual concert held at the Carib Theater in Kingston, Jamaica. The late Philip James of vocal duo the Blues Busters, who discovered Marcia, pleaded with the concert’s promoter Byron Lee to include her in the lineup; Lee eventually agreed to let her sing one song. She rehearsed a rendition of Carla Thomas’ raw soul ballad “I’ve Got No Time to Lose” with Lee’s band The Dragonaires; some of the musicians, however, were unhappy backing an inexperienced teenager.
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Taking her place onstage, Griffiths nervously awaited the song’s jangly guitar intro. As the audience grew restless, she turned around and saw the band members laughing. “Although I was a little girl, I recognized sabotage,” Griffiths reminisces, “but it must have been the voice of God inside me that said, ‘little girl, start to sing.’ So, I did, and the musicians started following me. If you closed your eyes, you would think it was Carla Thomas. Every time I made a slur like Carla did on the original song, the place went up like the roof was going lift off; when I finished, the audience chanted, ‘bring her back, bring her back,’ but I only performed one song.”
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Fast forward 60 years to the second annual Caribbean Music Awards, held on Aug. 29 at Kings Theater, Brooklyn. Marcia Griffiths, elegantly attired in a shimmering purple dress with a gilded headwrap, strode onstage to a recording of her 1968 single “Melody Life.” Presented with a lifetime achievement award by Shaggy, who called the legendary singer “a timeless symbol of love, the very essence of reggae,” Griffiths reflected on her 1964 career-launching performance, which led to a Jamaican label bidding war and her first recording contract with Studio One, Jamaica’s Motown.
“When I walked onstage in 1964, no one could have told me that I would be standing here this evening,” said Griffiths, best known to international audiences for her 1989 single “Electric Boogie,” which spawned the Electric Slide dance, and as one of the I-Three alongside Rita Marley, Bob’s wife, and Judy Mowatt, who sang background vocals for Bob Marley. Griffiths thanked God for preserving her and concluded by reciting the refrain from her 1993 track that summarizes her ongoing commitment to her craft: “I shall sing as long as I live.”
There isn’t another Jamaican female artist who can claim the professional longevity Marcia Griffiths, 74, still enjoys. Griffiths was the headliner at the Oracabessa Festival in Queens, New York City, on Sept. 1; she then traveled to Brazil to perform two shows and in December she is one of the marquee acts performing aboard Damian Marley’s annual Welcome to Jamrock reggae cruise. Currently, the Kingston-born legend is in Jamaica preparing for her 60-year retrospective concert, Marcia Griffiths and Friends, to be held at Hope Gardens, Kingston, on Nov. 3. “I have collaborated with over 50 artists, singers and deejays (Jamaican patois rappers) so I’ll be performing with one or two of my collaborators from each decade,” Griffiths tells Billboard via Zoom. The lineup includes Shaggy, Tessanne Chin (season 5 winner of NBC’s The Voice), Tanya Stephens, deejays Busy Signal and Cutty Ranks and many surprise guest artists spanning different generations of Jamaican music. The program will include a tribute to the I-Three, with Shuga and Yashemabeth McGregor (daughter of Judy Mowatt and Freddie McGregor) singing alongside Marcia. All artists will be backed by an orchestra under the musical direction of celebrated Jamaican saxophonist Dean Fraser. “I will only see my 60th anniversary once, so I want to make the best of it,” declares Marcia.
Shaggy and Marcia Griffiths onstage at the Caribbean Music Awards on Aug 29, 2024.
Steve James
The undisputed queen of reggae’s vocals sound as pristine, controlled and soulfully eloquent today as they did on her 1960s recordings for Studio One, the recording studio/record label founded by the late Seymour Clement “Sir Coxsone” Dodd. Regarded as Jamaica’s Motown because so many Jamaican luminaries recorded their initial hits there, including Burning Spear, The Heptones and The Wailers, Studio One is where Griffiths met two men who would have profound importance in her life: Bob Marley and Bob Andy (born Keith Anderson). Marcia and Bob Marley initially collaborated on the mid-60s R&B nugget “Oh My Darling.” However, it was the other Bob, not as well-known as Marley yet considered one of Jamaica’s greatest songwriters, who wrote most of Marcia’s biggest hits at Studio One, including “Truly,” “Feel Like Jumping” and “Melody Life,” all staples in her concerts to this day.
Bob Andy and Marcia’s personal relationship, as conveyed in their charming duet, “Always Together,” a gorgeous melding of Bob’s warm, expressive tone with Marcia’s exquisite timbre, shielded Marcia from lurking exploiters. “It wasn’t easy in a male dominated industry. God placed Bob Andy so that I met him at a young stage of my life, and we became intimate friends,” she explains. “Bob was at every stage show, always in the studio. He protected and advised me, saving me from many things.”
Like other hitmakers at Studio One, Bob Andy and Marcia Griffiths enjoyed their time there, despite being paid pittances, if they were paid at all. Moving over to producer Harry Johnson a.k.a. Harry J, Bob and Marcia continued recording as a duo, comparable to Motown’s Marvin Gaye and Tammi Terrell. Their reggae covers of Nina Simone’s “Young, Gifted and Black” and The Changin’ Times’ “Pied Piper,” released by Trojan Records in the U.K. (Trojan overdubbed the Jamaican recordings with strings and lush orchestral arrangements), spent 25 weeks on the British national charts between 1970 and 1971, peaking at Nos. 5 and 11, respectively, which significantly elevated reggae’s presence in the U.K. mainstream. Yet Bob and Marcia didn’t receive any financial returns. “We were signed to Trojan, but we recorded the songs for Harry J. When we asked Trojan ‘where are our royalties?’ they referred us to Harry J, and Harry J referred us back to Trojan. One day we were at Harry J’s studio, Harry had just bought a Mercedes Benz; jokingly, one of the artists asked Bob Andy, ‘brother Bob, is that your Benz?’ Bob answered, ‘well, my money buy it, but it’s not mine,’” Marcia shares with a sigh, “so we never got anything.” Bob and Marcia’s careers took separate paths as the 1970s progressed, but they reunited for performances over the ensuing years and remained close friends until Bob Andy’s death on March 27, 2020. Bob Andy will be singing alongside Griffiths, via a video appearance, at her 60th anniversary concert.
In 1973, Coxsone Dodd asked Griffiths and Rita Marley to provide harmonies alongside Judy Mowatt on a record by singer Horace Andy. Marcia had an upcoming three-night engagement in Kingston, and she invited Rita and Judy to sing backup; together they performed a few songs by The Sweet Inspirations, an American R&B vocal group. The audience’s overwhelming response to their vocal synchronizations convinced them to form a trio, which Griffiths named I-Three. “When I named the group, I said, ‘Let’s call ourselves I-Three.’ Rita said, ‘I-Three?’ And I said, ‘It’s like we three, but instead, I-Three because of the Rasta consciousness.’ A lot of people refer to us as the I-Threes, but it is really I-Three.”
Meanwhile, with the recent departure of Bunny Wailer and Peter Tosh from The Wailers, Bob Marley recruited the I-Three to provide harmonies, commencing with his Natty Dread album in 1974 and concluding with 1983’s posthumously issued Confrontation. However, it’s primarily Marcia’s supporting vocals that are heard on Marley’s Exodus (1977) and Kaya (1978), both recorded in London. In addition to their soaring, gospel-tinged voices, the I-Three’s regal attire and graceful choreography added a stunning visual element to Marley’s concerts. The trio toured the world with Marley until his final performance in Pittsburgh, Penn., on Sept. 23, 1980, just eight months before his passing on May 11, 1981.
Griffiths expresses profound gratitude for the life-changing insights she gained working with Marley, which impacted her approach to music making and, ultimately, her understanding of the music business. “Bob Marley was truly sent by the Almighty God. He was on a mission to get his messages out to the world. That’s when I realized your utterances in songs take on an energy that manifests,” Griffiths proclaims. “When I saw how seriously Bob took his music, I started to look deeply at the business part of the industry, which I had ignored. I realized the publishing for the biggest song I wrote, ‘Steppin’ Out of Babylon’ [from her acclaimed 1979 album Steppin’] was registered to someone else.” For many years Griffiths didn’t receive any royalties for “Electric Boogie,” which reached No. 51 on the Hot 100 and remains the best-selling single by a Jamaican female reggae artist. Bunny Wailer wrote the song, but the beat was created on a rhythm box Marcia purchased in Canada. “Bunny said he told the record company to give me 50% of the publishing because the music is mine, but he claimed 100%,” Griffiths says. “I have since reclaimed these songs, but I should have been capitalizing on them when they were really selling.”
Griffiths enjoyed the recent biopic Bob Marley: One Love, which spans the Dec. 3, 1976, assassination attempt on Marley’s life, his subsequent 14-month self-imposed exile period in England and his triumphant return to Jamaica, headlining the One Love Peace Concert on April 22, 1978. However, she had hoped to see a greater representation of “things that Bob did to teach, educate and unite us all, there were many other things that could have been shown.”
Griffiths was pleased with Jamaican vocalist Naomi Cowan’s portrayal of her in the film. Naomi says Jamaica’s long-reigning first lady of song continues to inspire the island’s young female vocalists. “When I started my reggae career, I pulled inspiration from Marcia, and covered her songs in my set,” Cowan explained. “Marcia has transitioned through many time periods and she’s still working. I can’t think of one female singer in our space who doesn’t see her as the prototype; she has cemented herself as a living legend.”
Griffiths’ storied association with Bob Marley has somewhat overshadowed her exceptional solo work throughout the 1970s. Her 1978 album Naturally is widely considered a masterpiece of Jamaica’s roots reggae golden era, with her flawlessly executed, poignant vocals supported by The Revolutionaries’ indelible reggae grooves and Sonia Pottinger’s sparkling production. Standout tracks include “Dreamland,” an idyllic interpretation of American group the El Tempos’ 1963 original “My Dream Island”; an R&B-tinged remake of Bob Andy’s rocksteady repatriation anthem “I’ve Got to Go Back Home”; and the album’s most striking cut, “Survival (Is the Game),” on which Griffiths compassionately imparts words of solace to women in abusive relationships. “The song’s lyrics [written by Brent Dowe of the Jamaican rocksteady trio The Melodians] say, ‘You push me ’round like I’m just a clown/you wanna see me suffer…but I’ll get on my feet again.’ I was really going through some changes and many sisters went through the same thing. I’ve seen men abuse women, whether verbal or physical, so that song is a tribute to my sisters, and they love it so much,” she shares.
Griffiths is one of the few artists of the pioneering reggae generation who made a successful transition into the computerized dancehall era. With the burgeoning digital technology of the 1990s, Penthouse Records owner/producer Donovan Germain reworked classic reggae riddims and paired her silky vocals with the period’s most popular deejays, including Tony Rebel (“Ready to Go”), Cutty Ranks (“Half Idiot”), Buju Banton (“Closer”) and singer Beres Hammond (“Live On”), in addition to Marcia’s solo recordings, such as the enchanting “Land of Love.”
Griffiths has also recorded with numerous Jamaican artists who’ve made their mark in the 21st century including singer Da’Ville (“All My Life”), Busy Signal (“Automatic (Keeping It Real)”) and sing-jay Queen Ifrica (“Round and Round”). Plus, Chronixx wrote Marcia’s 2018 single, “Queen of Paradise,” produced by Sly & Robbie. Griffiths’ multigenerational appeal is one of the most treasured aspects of her illustrious career — or as she calls it, her divine journey. “God has blessed me because since I started, there isn’t a year that I’m not busy traveling, performing and releasing songs,” says Griffiths, who is currently working on two albums. “I may not have gotten my financial rewards but to cut across age barriers and inspire 90% of the women in the business today brings a spiritual satisfaction that is priceless.”
DJ Cassidy and Marcia Griffiths at the Caribbean Music Awards on Aug 29, 2024.
Steve James
American roots reggae band Stick Figure decided to conduct an experiment earlier this year when they went on sale with tickets for their Sacred Sands Summer Tour 2024.
Hoping to make their tour as fan-friendly as possible, band leader Scott Woodruff and managers Thomas Cussins and Marina Petros at Ineffable Music Group decided to offer refunds to fans who bought tickets to the tour but couldn’t make the show.
“Given that the tour included numerous large-scale amphitheaters with some of the biggest promoters in the world,” the band had to agree to cover the costs of the refunds themselves, explained Cussins.
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Refunds are rarely allowed in the concert business and promoters have long been loathe to offer money-back options to fans, worried that a rush of last minute refunds could lead to heavy losses for shows that had previously been considered a sellout. But the problem with the “all sale are final” model, Cussins explained, is that fans might be hesitant to purchase tickets when they go on sale if they are worried about their availability months later.
A refund policy might make fans feel more confident about their purchase, explained Cussins who worked with Petros to develop the rules for Stick Figure’s first ever refund policy. In order for the band to recover the cost of the refund and sell returned tickets to new fans, the band required all refund requests be made up to 10 days before a show. In order to prevent scalpers from taking advantage of the refund policy, tickets listed on secondary market sites like Stubhub were excluded from the promotion.
“Enforcing this second rule was challenging, and some tickets intended for resale likely slipped through the cracks,” Cussins said. “However, on the whole, everyone acted in good faith and used this program as intended.”
The band ultimately sold 135,446 tickets for its 16-date Sacred Sands tour and granted 750 refunds, equal to about $77,852.24, or .55% of the revenue generated from 2024 tour.
“These numbers clearly show that this is a successful formula for a band,” Cussins explains. “As this tour was largely sold out, nearly all refunded tickets were resold. Even in the case of a less well-attended tour, this loss would be worth it based on the statistics from our post-tour ticket buyer survey.”
According to the survey, 65% of buyers were aware of the refund policy and of those who were aware, 82.3% said that the band’s refund policy made them feel more comfortable buying tickets.
“There is a strong case to be made that losing less than 1% of tickets later is still worth the overall boost in consumer confidence,” Cussins concludes.
Based on their experience, Cussins noted that promoters, venues and artists could improve the ticketing ecosystem by offering refunds to “verified fans (not resellers) up until 14 days before a show, with the option to extend this to 7 days depending on stakeholder determination,” Cussins says.
That doesn’t mean taking an aggressive stance against resale, but instead allowing the practice “with a few guidelines to avoid abuse” like speculative ticket selling, where a reseller lists a ticket they have not already purchased. Abuse and price gouging can be limited through thoughtful ticket distribution practices and market monitoring, coupled with dynamic pricing models that keep prices affordable on the secondary market, Cussins said.
“Adding the security of a refund option,” on top of the above secondary market reforms, Cussins concludes, “will increase consumer confidence and drive more early ticket sales, which limits risk for bands, venues, and promoters.”
Buju Banton’s viral Afrobeats-lambasting Drink Champs appearance (Aug. 28) previewed a particularly contentious month for reggae and dancehall music, and September did not disappoint.
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After announcing the removal of the reggae recording of the year category from the forthcoming 2025 JUNO Awards, the Canadian Academy of Recording Arts and Sciences (CARAS) has reversed its decision, allowing a new crop of competitors to join past winners like Leroy Sibbles, Exco Levi and Kirk Diamond. The news came just a few weeks before an update in the curious removal of Drake‘s “Blue Green Red” from streaming services. The dancehall-inflected track — which peaked at No. 63 on the Billboard Hot 100 as a part of the rapper’s 100 Gigs EP — allegedly lifted elements from Tiger’s “When” (1991) without proper clearance. Later disputes about who actually serves as Tiger’s publishing representative continues to keep the song off streaming services, but producer Boi-1da asserts that the song could “possibly be back up” once those issues are resolved.
In live performance news, R&B icon Usher brought out a pair of Jamaican powerhouses for his Past Present Future Tour: Grammy-nominated reggae star Barrington Levy delivered renditions of “Here I Come,” “Black Roses” and “Tell Them A Ready (Murderer)” at the trek’s final Brooklyn show (Sept. 10), while Caribbean Music Award winner Masicka performed “Fight For Us” at the final Toronto Show (Sept. 3). At the latter stop, Canadian rapper and producer Kardinal Offishall also joined forces with Usher for a special cover of Chaka Demus & Pliers’ “Murder She Wrote.”
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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: Azato, “Disconnect to Connect”
As a global society, we’re probably past the point of no return when it comes to the unhealthy amount of time and energy we collectively give to technology and social media. With “Disconnect to Connect,” a warm, full-bodied mélange of soulful roots reggae and notes of soft rock and jazz, Hawaiian reggae band Azato deliver something greater than a finger-wagging “get off your phones” anthem. “Are we truly free, or just followers of likes?” he questions us, urging us to detox, if only for a moment. Roots reggae has proven to be rich soil for sociopolitical commentary for decades, and Azato offers up a distinctly 21st-century lens through “Disconnect to Connect.”
Runkus, Royal Blu & Kush Arora, “No Long Talking”
“Life In the Jungle” might be the main attraction, but “No Long Talking” is a much more intriguing offering from Jamaican artists Runkus and Royal Blu and Bay Area producer Kush Arora. A fiery amalgam of drill and dancehall, complete with machine gun sound effects, rapid fire flows, and a promise to get “straight to the action, don’t wanna play.” Built around Kush’s “Desi Cowboy” riddim, both Runkus and Royal Blu embody the lawless spirit of the Wild West with this slinky gun chune.
Morgan & Byron Messia, “Wheel Up”
It’s been over a year since “Talibans” dominated the summer across the Caribbean diaspora, and Byron Messia still stands as one of the biggest dancehall breakout stars in recent memory. On his new collaboration with U.K. pop/R&B arist Morgan, Messia proves himself a surprisingly strong supporting player. A sleek fusion of R&B and dancehall, “Wheel Up” is a sultry ode to Jamaican sound clash culture and the heated nights of passionate dancing and flirting that follow. “One more sin inna mi cup/ Dis ting we affi wheel up,” Morgan croons in the chorus of the Slim Typical-helmed track. Ain’t nothing with rewinding those fleeting moments of connection to make them last a little while longer!
Gyptian, “In the Dark”
Gyptian has been cranking out love and lust-minded dancehall classics for years now, and he’s showing no signs of letting up anytime soon. With his latest single, “In the Dark,” the Billboard chart-topping star zeroes in on the love affairs that thrive when the night falls. “She said, ‘I can come over tonight’/ ‘And do with you whatever’/ Wait till it’s dark outside/ And just make your way over,” he sings over the guitar-inflected reggae-pop beat, painting a thrilling narrative of a secret relationship that can only live in the darkness. It’s a less heartwarming story than the one he tells on “Hold Yuh,” but it’s equally enthralling because of the forbidden spaces it pushes his songwriting to.
Shenseea, “Dating SZN”
It’s wild to think that in 2024, people still (figuratively) clutch their pearls when women speak about balancing different partners, but leave it to Shenseea to render that faux outrage null and void. “You a nuh mi man, mi nah haffi explain/ Mi nuh have no obligation/ Journey might be slow/ But mi haffi sure say you’re the one/ So mi have couple a unuh inna rotation,” she explains in the first verse, letting it be known that she sets the terms of all these arrangements — nobody else. The Supa Dups-produced track references the iconic instrumental hook from TLC’s Hot 100-topping “No Scrubs,” an increasingly rare instance of a newer song referencing a classic track and building on that song’s narrative and concept. These guys are scrubs, why would Shenyeng ever lock herself down like that?
Jahmiel & Minto Play Da Riddim, “Self Worth”
Always good for a poignant, introspective track, Jahmiel delivers yet again with “Self Worth,” a tender collaboration with Minto Play Da Riddim. Emphasizing themes self-empowerment, the track balances somber piano keys, a spoken interlude, and an undercurrent of gospel melodies to create a sonic comforter of hope and reassurance. “A user nah go ever love you like you love yourself,” he croons, reminding us all that our sense of self should always be grounded in an intimate understanding of our own individual self-worth.
Popcaan, “Show Me”
The Unruly Boss is back with a new drop. “Show Me,” the dancehall icon’s latest offering is standard sexed-up dancehall fear, and that’s perfectly fine. Produced by Teejay of TJ records, “Show Me” is as playful as it sensual, with Popcaan begging his prospective lover to “show me what you can do.” His smooth delivery offers a nice complement to the hip-hop-inflected riddim, but there’s just enough fire in his exclamations and ad-libs to make sure the flame never dies.
Vybz Kartel, “The Comet”
As the whole world knows by now, Vybz Kartel is finally free. He’s already dropped off a collection of new bangers since his release and in a wholly characteristic move, he’s given us some more. If anything, “The Comet” feel like a foreboding prelude to a new set of bangers ahead of his highly anticipated return to the stage in Jamaica later this year. “Mi f–k yuh madda thru di prison grill/ Mi f–k yuh gyal thru di prison window/ Wet up ‘e p—y wid mi middle finger/ Then mi dig it out hard wid di timber,” he snarls in trademark badman fashion before chanting, “I thought I told you that the comet is comin’” in the chorus. Who knows what “The Comet” is warning for, and, honestly, it doesn’t even matter — it’s a heater all on its own.
Bamby, “Guyane”
Guyanese dancehall and shatta singer Bamby infuses those two Jamaica-indebted genres with a healthy dose of her own Creole roots. Complete with a video shot in her home country, Bamby sings in both French and Creole as she waxes poetic about the beauty, strength and virtue of Guyana. “Yé ka mandé pou kissa nou fâché (They ask why we are angry)/Babylon pa pé rété (Babylon can’t stay)/ Malè ki zot voyé (This misfortune they sent)/ Lanmè ké fine pa chariél (The sea will no longer carry it),” she croons over a sparkly, thumping dancehall beat.
Amanda Reifer & Sean Paul, “Sweat (Part II)
A sequel to the opening track from her Island Files project earlier this year, “Sweat (Part II)” finds Barbados’ Amanda Reifer joining forces with Jamaica’s Sean Paul for a sexy reggae-pop jam. The new version of the song changes very little from the original, but Sean Paul’s mellow guest verse offers a nice male perspective to complement both Amanda’s POV and her loftier vocal register. “You waan me touch it girl/ Me well conscious me want you trust it girl/ The stars and the moon shine for us girl/ You are my Isis , I am Osiris girl,” he proclaims to close out his verse. Who said the breezy reggae love jams have to stop when the weather gets chillier?
With carnival season coming to a close, it’s time to let go of the summer and ease into the cooler half of the year. Lucky for us, the world of Caribbean music closed out summer with a bang. During the annual West Indian Day Parade in Brooklyn, NY, on Labor Day (Sept. 2), the Queen of Dancehall, Spice, joined forces with BK rap star Lola Brooke for a special parkway performance of “Cry,” from the Jamaican superstar’s new Mirror 25 album.
The week prior, Brooklyn once again played host to the Caribbean Music Awards, which featured hours of celebrations of the past year in Caribbean music and culture. Fresh off his stellar Stateside comeback performances earlier this year, Buju Banton took home album of the year (reggae) for Born for Greatness, which featured collaborations with Victoria Monét, Stephen Marley and Snoop Dogg. Masicka’s Generation of Kings — which reached No. 2 on Reggae Albums last December — was crowned album of the year (dancehall), while fellow Jamaicans Shenseea (artist of the year female – dancehall), Lila Iké (artist of the year female – reggae), Valiant (artist of the year male – dancehall) and Dexta Daps (performer of the year – dancehall).
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Two 2023 Billboard-charting hits — Teejay‘s “Drift” and Byron Messia & Burna Boy‘s “Talibans” — earned trophies as well. Teejay’s joint took home video of the year (dancehall) while Byron took home a pair of honors: collaboration of the year (dancehall) and song of the year (dancehall). Other notable victors included Shaggy & Kes (collaboration of the year – reggae) and Romeo Santos (artist of the year – Latin Caribbean). On the honorary side, Marcia Griffiths received a Lifetime Achievement Award, Cedella Marley received a Legacy Award and Spice was honored as Artist of the Decade.
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: Mortimer feat. Kabaka Pyramid & Lila Iké, “Bruises”
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For the latest single from his forthcoming From Within LP (due Sept. 20), Mortimer, one of contemporary reggae’s guiding lights, recruits Kabaka Pyramid and Lila Iké for a solemn, reflective track that deals with the bleak state of the human condition and the global Black struggle. Keeping the tradition of speaking truth to power while injecting a distinctly modern, almost hip-hop-inflected groove to its reggae foundation, “Bruises” is a winning collaboration. Between Kabaka’s sizzling verse and Lila’s tender timbre, “Bruises” is a wholly dynamic listen that balances the hurt and hope that ground the trio’s powerful lyrics.
Chronic Law, “Dark Up Di Place”
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Chronic Law is on a seemingly endless hot streak, and his run continues with “Dark Up Di Place.” Operating in the trap dancehall lane, the St. Thomas star adds another solid gun chune to his arsenal with this ominous banger. “How you fi shoot up a yard weh nobody nuh live, come on” he taunts in a tone that’s equal parts apathetic and snarky, underscoring how comfortably he rests in his own proclamations of dominance and power. The chugging riddim feels as dark as the song’s title suggests, but it’s Chronic’s menacing delivery that really brings the whole song together.
Capleton, “Jah Guide My Step”
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For the deluxe version of the Brimstone Riddim album, reggae legend Capleton made a characteristically moving appearance with “Jah Guide My Step.” “Jah, guide my step/ Jah, guide and protect” he opens the song, immediately matching the triumphant energy of those opening horns by grounding his vision for his future in the hands of the Almighty. Some of the best reggae songs blend their blistering political commentary with reverence for the endless possibilities of a future buoyed by steadfast faith and holy guidance, and that’s exactly what Capleton achieves on this poignant new track.
Skillibeng feat. Tokischa, “Boom”
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Ahead of his stint as a support act on Nicki Minaj‘s historic Pink Friday 2 World Tour, Skillibeng angled himself towards a reggaeton crossover moment with his new Tokischa-assisted track, “Boom.” Built around a sample of the iconic “Bam Bam” riddim, the Yeti-produced track finds Skillibeng doubling down on his trademark X-rated lyrics. “It nuh matter, baby gyal, yuh hot, look how yuh proper/ Waan fi plow yuh like a farmer, wi fi f–k inna da car yah,” he spits to close out his verse, with Dominican rapper and singer Tokischa effortlessly matching his energy with the lines, “He call my p—y, say, ‘Miss fatty-fatty’/ P—y so tight, gon’ make him a murder.” From bilingual verses to an iconic sample, “Boom” is tailor-made for some kind of crossover success — even if this is the second time Skillibeng has put out a song with that name!
Spice, “You Are Worthy”
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To kick off her career-commemorating Mirror 25 album, Spice brought herself to the church doors with this gospel-steeped opener. “When I look at what You carry me through/ Who could it be? No other one but You/ I stand on your word in Psalms 92/ And Psalms 35, the words in Mark 2,” she sings in the song’s emotional second verse. In a conversation with Billboard, Spice explained that she opened her album with a gospel song to give God praise for helping her through a near-fatal health scare. “I’m supposed to be here because God saved my life for a reason,” she said. “I escaped death. I don’t take that lightly.” With the way her voice soars with gratitude over the evocative amalgam of organs, piano, drums, and guitar, it’s clear that Spice meant every word of that explanation.
The Wailers, “Sins”
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It’s been a major year for the Marleys, but The Wailers have something to say too. On Aug. 30, the Grammy-nominated band launched their Evolution album featuring the excellent closer, “Sins.” Across an earthy mixture of guitars, bass, and horns, the Aston Barrett Jr. warns people to not use the Bible to justify themselves and to not “be a hypocrite,” two proclamations that inadvertently (maybe intentionally!) set them in opposition to the way quite a few artists across genres, including reggae and dancehall, use the Bible to justify positions that can be extremely harmful and downright heinous. It’s a ballsy closer, one that pushes the album further into conversations at the intersection of religion, music, and politics — a true testament to the enduring legacy of both Bob Marley and reggae music at large.
Peetah Morgan & Zion I Kings, “Who Run the World”
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Earlier this year (Feb. 25), Peter “Peetah” Morgan — the lead singer of Morgan Heritage — passed away, but his moving voice is still as powerful as ever on “Who Run the World,” his take on Zion I Kings’ “Full Bloom” riddim. “Who run di world and who call di shots/ Yuh think a you just because you hold a glock,” he sings before shouting out Kwame Nkrumah, Patrice Lumumba, and Thomas Sankara among other “African fathers who fight for our liberation.” In a way, the song is a smart answer to those who think being armed automatically equates to having and securing power. It’s also a timely reminder of the interconnected struggles of the global Black diaspora — especially in light of the frenzy Buju Banton’s take on Afrobeats caused a few weeks ago.
DJ Cheem, “She Getting On (Never)”
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Bajan-American soca artist DJ Cheem delivers a sunny end-of-summer jam with “She Getting On.” By all accounts, it’s a standard soca track that praises a lady’s posterior and recounts wicked wins over a jaunty combination of groovy drum patterns. What takes “She Getting On” to another level is the chorus melody. It’s relatively straightforward, but when Cheem’s voice soars on “know” just as the whistles and horns come in, your waist will probably start moving on its own accord — and that’s exactly how you know that you have a real soca hit on your hands.
Tina (Hoodcelebrityy), “Lover Man”
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Fresh off her Tina vs. Hoodcelebrityy project from earlier this year, Tina is back with a new single that pulls from two dancehall classes. “Lover Man,” a song that flips the script on dancehall’s male-dominant explorations of romance, takes notes from Dave Kelly’s 1994 “Pepperseed” riddim, as well as the hook from Nadine Sutherland & Terror Fabulous’ classic, “Action.” With her voice floating between different registers and lyrics that champion a woman’s right to be selective with who she crowns her “lover man,” Tina’s new single is a sweet synthesis of all of her sonic influences and both of her personas.
Chip & DJ Frass, “Gyalis Pree”
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For his take on DJ Frass’ “Party Bus” riddim, Tottenham emcee Chip steps into his dancehall bag with a sexy combination of his British rap foundation and his Caribbean roots. He effortlessly switches between spitting debaucherous bars (“Weed and tequila/ Standard procedure”) and employing a melodic, AutoTune-assisted cadence that allows his voice to try on different textures to play up the subtle percussiveness and vibrant synths of Frass’ riddim. Of course, that callback to 50 Cent’s “In da Club” (“Find me in the club…”) is the icing on top.
For all intents and purposes, July was Jamaica’s — and the island solidified that fact on the very last day of the month. There’s still some time before the track and field events get underway at the 2024 Paris Summer Olympics — led by JA’s Shelly-Ann Fraser-Pryce, Shericka Jackson and Hansle Parchment — so the universe gifted Jamaica another reason to celebrate: the release of dancehall icon Vybz Kartel.
On Wednesday (July 31), just over a week before Jamaica’s Independence Day (Aug. 6), Kartel regained his freedom after the Court of Appeal unanimously ruled that he and his co-accused — Shawn Campbell, Kahira Jones and Andre St. John — will not face a new trial for the 2011 murder of Clive “Lizard” Williams. Although he was originally sentenced to 35 years in prison after a historic 64-day trial back in 2014, Kartel (and his co-accused) have always denied their involvement in Williams’ death. In March 2024, the Privy Council of the United Kingdom overturned the convictions and sent the case back to the Court of Appeal to decide whether it would be retried.
The news of a free Kartel reverberated across the Caribbean diaspora, with fans rejoicing from Kingston to Brixton to New York. Naturally, Kartel had a new project ready to go, with First Week Out dropping the night of his release. While one of the project’s tracks appears on this month’s round-up, there are still plenty of non-Kartel releases to sift through.
Trending on Billboard
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: Boyzie, “Chaotic”
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Reigning Spicemas Corporation groovy soca monarch Boyzie offers a new addition to the soundtrack for the road to 2024 Spicemas with “Chaotic.” A superb slice of power soca, Boyzie completely embodies the exuberance and catharsis of power soca with this new banger. “Watch everything just to start to lift, lift, lift/ And shift, shift, shift,” he bellows in an ascending melody that pairs perfectly with the amalgam of hyper-frenetic drums and buoyant horns, courtesy of producers PeckJonezz, Wetty Beatz & Ras Stickle. “Chaotic” sounds and feels incredibly lush — but nothing can take attention away from the seemingly gravitational pull of Boyzie’s voice. If anyone is looking for permission to truly feel joy in every last one of their joints, they’ll find their license through his evocatic, expansive vocal performance.
Vybz Kartel, “Terror by Night”
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From “Fever” to “Romping Shop,” Vybz Kartel has more hits than there are stars in the sky, so the anticipation for his first post-prison project were through the roof. To the delight of his fans, the World Boss didn’t keep anyone waiting, with the 12-track First Week Out arriving the same night he regained his freedom. One of the standout tracks on the project is “Terror by Night,” a dark slice of modern dancehall accented by choir-esque female backing vocals that offer a nice contrast to his raspy conviction-filed voice. “Thou shalt not be afraid of the terror by night and the arrows that fly by day,” he proclaims three times over in the hook, flipping Psalms 91:5-12 into his own self-mythologizing scripture that’s equal parts ominous and uplifting. Sure, it’s technically a 2023 release, but “Terror” finds a new weight in the context of First Week Out.
Stalk Ashley, Kraff Gad & Skeng, “Senseless”
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Whenever dancehall gets to mixing with drill, the results are almost always impressive. With “Senseless,” Stalk Ashley, Kraff Gad and Skeng fashion the classic gun chune into the drill-indebted dancehall anthem that doubles as a warning to all of their respective opps. “You mussi think mi defenseless/ Run up on mi, see if yuh nuh headless,” Ashley warns over the gritty Jaxx and KingBNJMN-produced beat. As strong as her hook is — Skeng’s contributions are as lively as ever, as well — it’s Kraff that’s the star of the show with his menacing delivery and slick flow switches.
Etana & Mr. Cheeks, “Weh Di Weed Deh”
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The relationship between weed and reggae is well-documented, and Etana adds to the lexicon of reggae weed anthems with “Weh Di Weed Deh.” A collaboration with Queens rapper Mr. Cheeks — perhaps best known as a member of Lost Boyz and for his 2003 feature on Lil Kim’s “The Jump Off” — “Weh Di Weed Deh” finds Etana crooning over a swaggering guitar-based groove, conjuring up odes to the wonders of Mary Jane. There’s a levity in both her and Mr. Cheeks’ tones that brings some humor to the whole affair, but the sincerity of this dedication to marijuana is never in question.
Notnice & Chronic Law, “One Dream”
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Notnice’s “Survivors Guilt” riddim is one of the more introspective and understated compositions of the year, and Chronic Law paints beautifully over the string-inflected soundscape. He employs a slightly despond, but mostly pensive tone as he parses emotional, restless nights and the power of prayer. “Everybody goes through obstacles, man, and that’s life you see,” he says in the intro before singing, “Mi nuh need glasses fi see when my brother god/ Nobody nuh give we umbrella for di storm/ Haffi walk through rain/ Haffi laugh through pain.”
Kranium, “Endless Vibes”
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Kranium has been one of the most dependable dancehall emcees for years, and he keeps the good times rolling with “Endless Vibes.” With a hook that nods to Steam’s late-’60s Billboard Hot 100-topper “Na Na Hey Hey Kiss Him Goodbye,” Kranium delivers classic dancehall vibe with healthy dose of spunky synths and a notably melodic vocal delivery that takes him on a journey from chest voice-housed rap cadence to sweet falsetto coos lodged in his background vocal stacks.
Rebnant, “Bring It Back”
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Making a song for the ladies is a tried-and-true dancehall approach, which made the path a no-brainer for Claremont-born U.S.-based dancehall artist Rebnant. “She nuh f–k like mi and das a problem,” he proclaims over a thumping beat courtesy of Cook Shop Entertainment. A taste of an EP due later this year, “Bring It Back” is a classic party track that fits nicely in the high-energy pockets of a night at the dancehall.
Brick & Lace, “Proof”
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Over a decade after splitting up to focus on solo ventures, Brick & Lace (real-life sisters Nyla and Nyanda Thorbourne) are back. The ladies who gifted the world 2007’s Love Is Wicked tap into their Afro-dancehall bag with “Proof.” Produced by The Kemist, son of Marcia Griffiths, “Proof” finds the siblings opting for a more mature vibe as they sing of the wonders of building a sustainable, long-lasting love. “That’s how I know you’re the proof/ This feeling is real and I know it’s true,” they declare over infectious Afropop drums.
Erphaan Alves, Yung Bredda, Pimpin & DJ Hotty, “Bad Gyal Pt. 2″
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For the “Bad Gyal” remix, Erphaan Alves tapped an all-star line-up of artists, including Yung Bredda, Pimpin and DJ Hotty. “Bad gyal kill him wid di wine” stands as the song’s strongest refrain as the three artist conjure up infectious soca vibes over Kedon Charles’ drum-heavy riddim. “Throw that down like yuh carless,” Erphaan demands, expertly toeing the line between sexed-up lyricism and humorous delivery.
Gyptian, “My Woman”
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“Tell me what it is/ When you look at me/ Cause when I see you/ I see my woman,” Gyptian lovingly opens “My Woman.” Always one to venture to dancehall’s depths with a nuanced understanding of true romance in his back pocket, Gyptian sounds right at home over Chambah’s sparse, slinky production. Most Stateside listeners will recognize Gyptian’s name and voice from his classic “Hold Yuh,” and the tender undertones of that track are the grounding force of “My Woman,” a beautiful dedication to the time-tested love between two people.