State Champ Radio soca
We’re whipping through the Carnival calendar, and the music just keeps on coming.
April was a characteristically busy month for the world of Caribbean music, with noteworthy performance, album announcements and historic achievements cutting through the noise. Sean Paul, who recently sat down with Billboard for a wide-ranging interview ahead of his Greatest Tour, won his very first Latin American Music Award, triumphing in the crossover collaboration of the year category for his Feid collab “Niña Bonita.”
“I always learn from my collabs, man,” the “Temperature” singer told Billboard. “There’s no time that I don’t learn… I learn something every time and I take that with me, so it helps my songwriting.”
Shenseea, who collaborated with Paul on her 2022 debut LP, announced her forthcoming sophomore studio album on Tuesday (April 30). Titled Never Gets Late Here, the album is due May 24 and features collaborations with Coi Leray, Anitta and Wizkid. “Hit & Run” (with Masicka & Di Genius) serves as the set’s lead single.
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In addition, a pair of performances made major waves. Jamaican dancehall artist Pamputtae opened for Nicki Minaj‘s Pink Friday 2 World Tour in Toronto, CA, on Tuesday. “First and foremost I want to give thanks to the most high God,” she wrote in an Instagram post commemorating her performance (May 1). “Big up [Nicki Minaj] for allowing me to open her second show in Toronto.”
Across the globe, Skeng returned to Guyana to headline the Real All Black concert, marking his first live performance in the country in two years. In 2022, Minister of Home Affairs Robeson Benn proclaimed that Skeng and a bevy of dancehall artists were banned from the country due to their behavior and violence-promoting lyrical content. The emcee delivered a high-octane set that included “Likkle Miss,” which Minaj remixed in 2022 for her Queen Radio: Volume 1 greatest hits compilation.
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: Jaz Elise, “Gunman”
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On this deliciously dramatic mixture of R&B and reggae, Jaz Elise pleads for her rude boy lover to leave his life of reckless abandon behind and settle down with her. It’s a story that’s been told countless times before, but Jaz’s emotive abilities inject “Gunman” with nuance and verve. When she sings, “Me nuh wah fi bury you early/ Nuh wah yuh fi live a life a crime/ So, baby, if yuh love me/ Me beg yuh fi leave it all behind,” you can hear every last bit of desperation dripping from each syllable. Of course, the drama truly intensifies in the song’s final minute, with a swirling orchestra of backing vocals, impassioned ad-libs and grandiose strings driving the song home.
Etana, “Thankful”
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For her take on the Engraph Riddim, Jamaican reggae singer-songwriter Etana flexes the full expanse of her vocal range over swaggering guitars that employ just the slightest bit of swing. “I lift my hands to the man from whence my health comes, yes/ And every day I give thanks for the rising sun, yes,” she croons as she somersaults through dizzying riffs as easily as she dips into the depths of her sultry lower register. A laid-back praise and worship song that doubles as a vocal showcase, “Thankful” is a winner.
Lu City, “Sexy Love”
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St. Lucian duo Lu City has a catalog that stretches across the scenes of dancehall, reggae and electronic music, and their latest LP — I Miss You, the official follow-up to 2022’s Lucidity — offers more of that intoxicating amalgam. On “Sexy Love,” which feels like a dancehall-bred cousin on the Ne-Yo song of the same name name, the duo marry their respective AutoTune-tinged voices over a relatively sparse soundscape that relies on moody synths and a healthy dose of Afrobeats percussion. “Sexy Love,” like all of I Miss You, is a true testament to how the African diaspora’s myriad genres all lead back to each other.
Anika Berry feat. Lil Jelo, “Safe”
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Soca always gets the body moving, and “Safe,” a new collaboration from Anika Berry and Lil Jelo, is no different. Here, their joy isn’t sourced from the Road March or the general Carnival mood. They find their joy in one another and their monogamous love. Their vocal chemistry is strong, with Anika’s vibrato anchoring her “You safe with me / Youn in good hands, you in proper hands” refrain. Their call-and-response structure also helps play up their complementary tones while remaining true to the anthemic nature of power soca.
Subatomic Sound System, Mykal Rose & Hollie Cook, “Get High”
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For the first taste of their forthcoming collaborative album, Subatomic Sound System, Mykal Rose and Hollie Cook have teamed up to deliver a new 4/20 anthem. Although the brooding bass signals a more forward-looking sound, classic reggae production — including ominous conga percussion courtesy of Larry McDonald and sultry brass from Troy Simms — is ultimately the name of game in “Get High.” Most impressive is the track’s mixing, the way Hollie’s upper harmonies are layered evoke the ever-unfurling clouds of marijuana smoke. Mary Jane enthusiasts, your time is now.
Mr. Vegas, “Dancing Grung”
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On this sweet ode to the eternal life of dancehall, Mr. Vegas pays tribute to both the physical and creative spaces that comprise the sound and culture. His flow is catchy and the breakdown at the end is fun, if not a bit on-the-nose. Nonetheless, what’s interesting about “Dancing Grung” isn’t how easy it is to start bussing a wine to — Mr. Vegas has plenty of those — it’s the way he subtly flips the notion of “exerting dominance.” Instead of crowning himself king, he casts himself as Lord of the Vibes on “Dancing Grung.” “Dancehall will never die,” he proclaims at the song’s start, and with a deejay as infectious as him on the helm, he’s absolutley right.
Marcia Griffiths, “Looking Up”
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Reggae legend Marcia Griffiths has still got it. With “Looking Up,” the former I-Threes member offers a slice of sanctified reggae. At 74 years old, not only does her voice still sound like it’s in pristine condition, she also remains a gifted and intelligent vocal performer. Between her pitch-perfect diction and her introspective delivery, her storied life clearly informs every last phrase that she sings. Her conviction is the song’s ultimate anchor. When she sings, “It’s the only life that’s worth living” with that slight tinge of darkness before the light comes in by way of her exclamatory “Looking up!” quip — that’s magic.
Shenseea, “Neva Neva”
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After delighting dancehall fans with Di Genius and Masicka-assisted “Hit & Run” earlier this year, Shenseea introduces a more pop-forward sound with “Neva Neva,” the new single from her forthcoming Never Gets Late Here LP. The song oscillates between straightforward pop and dancehall with more finesse than anything on Alpha, Shensea’s debut album. She remains deep in her dancehall cadence and attitude during the verses, but the hooky chorus pushes her into a space that essential U.S. top 40 radio — and she sounds great. Moreover, “Neva Neva” — with its rumination on the endlessness of a good relationship — offers a smart contrast to the hit-it-and-quit-it energy of “Hit & Run.”
Chippa Don, “Clubscout”
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From the tinny background synths to the breakneck flow switches, Chippa Don flexes his chops as both an emcee and a sonic world-builder on “Clubscout.” Firmly entrenched in the modern dancehall take on gun chunes, “Clubscout” is inherently sinister; “Gwan f–k around around/ Whole place haffi move/ Di glock, di clip long / But di K me a use,” he spits. It’s Chippa’s delivery, however, that makes this song stick. He’s playful, but there’s some bite and snarl to his voice that subtly reiterates that he’s calling his opps out because he knows he can handle them.
Masicka, “Forever”
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Kicking off with contemplative country-adjacent guitar strums, “Forever” is a stunning ballad from Masicka, who released his latest album, Generation of Kings, last year (Dec. 1, 2023). “Forever brave, forever strong / Forever me, that’s who I am,” he croons, making for a ballad that makes the evergreen question of authenticity an introspective one while also showcasing yet another side of Masicka’s sprawling artistic profile. There’s a reason Sean Paul named him dancehall’s current leader.
Last year, the world celebrated the 50th anniversary of hip-hop with months of star-studded concerts, awards show tributes, museum exhibitions and more – but that wasn’t the only genre commemorating its golden anniversary in 2023. Soca – which Road March-winning Kes frontman Kees Dieffenthaller describes as “happy music, a young version of calypso… a mixture of Afro, Indian and ‘world’ beats in one place” — also celebrated its half-century milestone.
To kick off the next 50 years of soca’s evolution, Kes has returned with its first studio album in ten years, Man With No Door. Inspired by a man who litter lived in a house with no door – whom Kes met while wandering around Trinidad and rediscovering his favorites places on the island – the new LP is a manifestation of that man’s energy. “He just lives free,” he says. “I felt like that creatively at the time. I am the man with no door. I want to create this world based on that experience.”
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The new album marks something of a renaissance for Kes. The band officially formed in 2005, and have for nearly two decades provided some of the most dominant Carnival anthems of the young century. From instant soca classics like “Wotless” (2011) to breezier tunes like “Hello” (2017), Kes’ singular sound and vibrant live show has lifted the band to international stages such as Essence Festival and The Late Show with Stephen Colbert, and collaborations with this likes of Wizkid and Snoop Dogg.
Soca, of course, is infused with live instrumentation at its core. Although the genre has recently began to shift towards a producer-first bent, Kes remains steadfast in its commitment to upholding the legacy of live playing, especially in their studio recordings. “It goes back to the tradition of it all,” he muses. “In a band, you get to understand how different people play the same instruments differently. There is something very powerful about actually witnessing what that is, rather than [getting it] off a computer. Live instrumentation also give a unique blend and mix. You can’t play the same thing twice, it’s a fingerprint unique to that time and air. We can from that live world and that’s a big part of our entire act. I feel like there is a hidden language that is translated to people through live music.”
Although Man With No Door marks Kes’ first studio LP in a decade, they did release We Home – a joyous live album that reimagines the band’s catalog – during the pandemic (Aug. 28, 2020). During the same period, the band was also working on several singles that would eventually become part of Man With No Door. “Doing We Home was therapy,” Kes reveals. “I felt like I was closing a chapter in my creative life where I pay homage to the last decade of music that I did. [Doing] We Home while creating new music felt like death and a beginning at the same time. And both are glorious in their own way.”
The new LP recruits a flashy list of guest stars to execute Kes’ “application” of soca across different styles and sonic traditions, including Shaggy, Queen Omega, Busy Signal, Dwala, Tano, J Perry and Michaël Brun. While Kes is most excited about “Rise Up,” a collaboration with fellow Trinbagonian Queen Omega, whose music he calls “powerful,” he also highlights his work with J. Perry and Michael Brun, noting, “We experienced freedom because of [Haiti]. I just really wanted them a part of the Caribbean of my experience musically. The language barrier and history have kept a lot of us apart, it was important for them to be on this record.”
For Kes, Man With No Door is part of a concerted effort to usher in the next era of soca. Despite the genre’s storied history, its global crossover appeal has been somewhat limited, due to its allegiance to single releases timed to the Carnival season calendar. “We as a genre need to diversify all dimensions,” proclaims Kes. “Get some more energy outside of just the Carnival calendar situation, and step into Billboard and step into different venue spaces and create collabs that bridge gaps. It’s time for us to really position ourselves in a global way, and I think creating bodies of work is very important [for that].”
“Everybody listens to soca. There’s that one soca song that caught someone’s ear that influenced the next studio session. We all know that,” Kes says. “[Soca] has provided the world with a particular energy that only it can provide. And there’s still so much of the word that is yet to discover it.”
Keep reading to find out the stories behind Kes’ five favorite tracks on the band’s brand new Man With No Door album, told in his own words.
“Jolene” (with Dwala)
After weathering two globe-traversing clashes in January, dancehall spent much of February reeling from those showdowns. If January was focused on the global reach of some of the biggest stars across dancehall, then February was a month of reflection for the most towering icon of West Indian music and culture: Bob Marley.
On Valentine’s Day (Feb. 14), Bob Marley: One Love — directed by Reinaldo Marcus Green and starring Kingsley Ben-Adir and Lashana Lynch as Bob and Rita Marley, respectively — hit theatres to the delight of millions of fans around the world. Despite middling reviews, the film has quickly proven to be a blockbuster, crossing $100 million at the worldwide box office in just 10 days and earning the biggest opening day for a film in Jamaica, as per Deadline. As the film continues its formidable box office run, another Marley — namely YG Marley — has been climbing the charts thanks to his breakout hit “Praise Jah in the Moonlight,” which recently became his first Billboard Hot 100 top 40 hot (No. 39, chart dated Mar. 2).
Although One Love kept spirits high, February bid the world goodbye with some devastating news. On Sunday (Feb. 25), Grammy-winning reggae group Morgan Heritage announced the passing of lead singer Peter “Peetah” Morgan. Morgan Heritage’s publicist, Sean ‘Contractor’ Edwards, told DancehallMag that the 46-year-old vocalist passed in the United States following a stroke. Morgan Heritage has released a plethora of albums, including Don’t Haffi Dread (1999), Full Circle (2005), Avrakedabra (2017) and Strictly Roots (2015), which hit No. 1 on Top Reggae Albums.
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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: Eesah, “Behold the Conquering Lion”
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When the opening track to your debut album is stunning as this, you know you’re setting yourself up for quite the career. On “Behold the Conquering Lion,” Jamaican singer-songwriter Eesah delivers a riveting mélange of roots reggae, jazz and gospel. “Immortal and omnipotent/ Carry the world pon your shoulder, you nuh need no help/ The work you do is so excellent/ No fear, no fly by night or pestilence,” he croons. Musically, the mix is so clean that it almost sounds innocent, but Eesah’s subtly gravelly tone alludes to a weariness and maturity that gives credence to the faith he sings of. With “Conquering Lion” — and the rest of his debut LP, Deep Medz — Eesah looks to reggae’s past to envision its future.
Teejay, “4th of July”
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Last month, Teejay dominated online conversation thanks to his clash with Valiant. In a complete 180°, the “Drift” singer kicked off February with the release of his I Am Chippy EP (Feb. 2), his first formal project under his new Warner Music deal. While the complete tape is impressively consistent, “4th of July” emerges as an instant standout. Featuring what appears to be a haunting interpolation of Billie Eilish and Khalid’s “Lovely,” “4th of July” is a sly bait and switch. The somber trap dancehall instrumental signals similarly bleak lyrics, but, before even starts singing, Teejay assures us, “Me not even a sing no sad song pon di riddim yah, enuh/ Issa frass song hehehe/ Issa high song, dawg.” And that it is. An ethereal ode to the transformative properties of Mary Jane, “4th of July” finds Teejay at his most interesting and ambitious on I Am Chippy.
Sean Paul & Beres Hammond, “Tender Tender”
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Few artists have so seamlessly oscillated between the worlds of dancehall and reggae on a global stage for nearly three decades like Sean Paul has. For his latest single, he joins forces with beloved Jamaican reggae crooner for a sweet love song titled “Tender Tender.” Balancing Hammond’s earthy, raspy tone with Sean Paul’s trademark brassy timbre, “Tender Tender” is rooted in traditional reggae, with heavy emphasis on the sultry guitar licks and steady percussion. “You lift me higher/ Higher than before/ Bonfire’s burning/ Burning to the core,” Hammond belts, his voice dripping with passion.
J Boog, “Always Been You”
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February is the month of love, so it’s not a surprise that some of the warmest reggae tracks of the year made their debut this month. On “Always Been You” — a winning symphony of soothing background vocals, a tasteful rocksteady melody and jaunty horns and percussion — J Boog croons of the inevitability of his one true love. “It’s always been you/ Hunny just you/ Always been you/ Forever babe,” he sings in the simple, but highly effective, chorus.
F.S. & Ireland Boss, “Chasing Dreams”
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There was a period where the innate moroseness of trap dancehall’s sparse soundscapes regularly gave way to deeply introspective tracks. With “Chasing Dreams,” St. Thomas emcee F.S. injects a healthy dose of hope into the dynamic. In an interview with World Music Views, F.S. describes the Ireland Boss-produced track as “ghetto gospel… my life story, what me been through,” and that’s a pretty apt description. The essence of gospel lyricism — the belief in something bigger than yourself and the persistence to keep going in the face of endless trials and tribulations — are all over “Chasing Dreams,” just in a decidedly contemporary dancehall context.
Jah Vinci, “Where Is the Love”
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Taken from the “Breadcrumbs” riddim, Jah Vinci’s “Where Is the Love,” is a soaring, melodic inquiry of where the true love is in a world like ours. “Where is the love that they all speak of/ I have no one that i can truly trust/ Where is the love that they claim to give/ Nobody nuh real again, nuh trust no family, nuh trust no friend,” he belts in the chorus. Is it it a bit grim? Sure, but it also speaks to a very real emotion millions of people have as we collectively witness the implosion and demise of several states and socioeconomic systems around the world. While “Where Is the Love” fits well in the contemporary reggae soundscape, Jah Vinci’s lyrics reveal a steadfast commitment to the genre’s history of speaking truth to power.
ZJ Chrome & Christopher Martin, “The Hate Song”
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Has Valentine’s Day really passed if nobody has made a song flipping the concept of Love Day? For his take on ZJ Chrome’s “Above the Lines” riddim, Christopher Martin rides the electric guitar-inflected reggae jam with heart-wrenching lyrics that trace the interconnected feelings of love, hate, and infatuation. “I hate you/ More than anything in this world/ But you know I like/ And love you for life,” he croons. Martin has a gorgeous, rich tone that pairs well with the wailing guitars and plucky rhythm that comprise ZJ Chrome’s riddim. When he employs that tiny bit of rasp at the end, we get a taste of why rock and reggae are such close musical relatives.
Charly Black, “Oxtail ‘Extra Gravy’”
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Here’s another question: have you lived if you’ve never asked (and faced the inevitable embarrassment of doing so) for oxtail with “extra gravy” from a proper Caribbean spot? You simply haven’t. For his new track, dancehall staple Charly Black put his own spin on the popular culinary request. The spin in questioning? Likening his lady’s nether regions to the delectable dish that is oxtail with extra gravy. With guitar licks and drum patterns sourced from Afrobeats, this culture-bridging track could very well become a sleeper hit as 2024 barrels on.
King Cruff & Runkus, “Fallback”
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At the tail end of the month, King Cruff and Runkus linked up for “Runkus,” a sleek ode to heartache inna di dancehall. “Winter cold, girl you freezing/ By the spring, then you waan come back/ You love me like the seasons (Just fall back!),” they harmonize over the electro R&B-infused riddim. Dancehall tracks are often preoccupied with extolling the escapism of a night of wining, but “Fallback” crashes the party with a tasteful take on the seemingly endless back-and-forth that can sometimes come with dealing with a flaky lover.
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’
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.
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.
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