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In the weeks preceding my trip to Grenada to celebrate Spicemas 2024, Vice President Kamala Harris – amid her ascent to the top of the Democratic ticket – became the subject of a kind of Birtherism 2.0, in which former President Donald Trump attacked and undermined her Blackness because, in his mind, a person cannot be both Black and South Asian or any combination of races.
While I am not mixed, I identified with those attacks. I grew up the only son and eldest child of two St. Lucian immigrants in a majority Afro-Caribbean neighborhood in Brooklyn, New York. I’m Black. I’m American. Ethnically, I’m Afro-Caribbean. Culturally, I’m a pretty solid mixture of Caribbean and African-American. I’ve always understood myself to be all of these things at the same time. Trump’s attacks on Harris’ Blackness hit so close to home, not because she and I share the exact same racial-ethnic-cultural makeup, but because his disrespectful jabs were an extension of a nefarious movement to strip non-American Black people of their Blackness. All this is to say, how I perceive and define my own Blackness was heavy on my mind as I boarded my flight to Grenada on Aug. 9.
I should note that I’ve yet to visit St. Lucia – fingers crossed for this winter – so this trip to Grenada was my first visit to the Caribbean, the place in the world where the majority of my roots lie. Upon reviewing the trip’s itinerary, which was painstakingly curated by the Grenada Tourism Authority, Industry 360 and Mel&N Media Group, I noticed that we would be learning the history of the Grenadian tradition of jab jab. Now, I had heard about jab jab here and there growing up, but with descriptors that often landed on some variation of “demonic,” I wasn’t really sure what I was actually getting into. I wasn’t afraid, but I was relentlessly curious. After feeding my musical soul at Soca Monarch and Panorama, I was ready to indulge myself in the rawer parts of my Caribbean heritage – and hear from actual Grenadians about this specific cultural practice.
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On Friday, J’Ouvert morning, about two hours before the sun announced itself, my fellow revelers and I enjoyed a traditional Grenadian breakfast at Friday’s Bar, where we got to hear the true history of jab jab.
“Black was seen as the devil. Black was seen as bad, substandard, scum of the earth. So, we got even blacker,” explained Ian Charles, one of the founders of Jambalasee Grenada, a group committed to the preservation of Grenada’s culture and history. “You have to understand that jab jab utilizes satire, mockery, [and] ridicule to fight against a system which was designed deliberately to mentally, physically [and] spiritually break us.”
Dating back to 1834, the jab jab tradition finds its roots in freed Afro-Grenadians celebrating the abolition of British-operated slavery through masquerading. Across the island, Grenadians literally become “blacker” by coating their entire bodies in molasses, black paint, tar, engine oil, or the more recent (and more sustainable) combination of vegetable oil and charcoal powder.
Repurposed helmets adorned with either cow or goat horns crown their heads, while their hands drag loose chains (also black) in recognition of their freedom. Although we hit the road a bit later than anticipated, I was still able to catch a glimpse of the Capitals — individuals who lead different groups of jab jabs in call-and-response chants (also known as spellings) that blended unifying proclamations with historical and sociopolitical commentary.
Spicemas
Querine Salandy for Chambers Media Solutions
As I rubbed the charcoal-oil concoction over my body – and eventually gave into the gravity of the engine oil’s richer pigmentation – everything clicked. Jab felt natural in a way that I wasn’t necessarily anticipating. Everything was so Black. From the dozens to the Black ballroom practice of “reading,” satire, sarcasm and a general finessing and manipulation of language is inherently Black. It shows up across the diaspora in the ways we converse and the ways our intonations shift mid-dialogue. By painting ourselves black, we were tapping into the tradition of “playing the devil.” (“Jab” means “devil” in Patois). If slave masters were going to call us devilish, we were going to take it, flip it and mock them. As we made our way down the road, I thought about the ways I’ve unknowingly “played Jab” in different contexts in my life.
I haven’t been on this Earth for too long, but my story is pretty lengthy: lots of twists, and a few turns as well. I’ll spare you all the details here, but there were more than a few instances in my life in which my Blackness was demonized with the hopes that I would try my best to detach myself from it. I doubled down every time. Yes, the scales are vastly different, but, to me, the essence is one and the same. When all is said and done, our Blackness will never be demonized; not by ourselves, and certainly never by those who are wholly unable to see Blackness for what it truly is.
In conversation with the late Greg Tate, hip-hop artist Djinji Brown said: “Sometimes when I’m rhyming on the [mic], I feel like there’s nothing inside me but blackness – no veins, no organs, just a shell physically, but open and full of universes from my toes to my hair follicles. There are rhymes coming out of me, because there ain’t no stomach, there ain’t no heart, no intestines to get in the way of that s–t.”
We weren’t rapping on the road – although some of those chants were a not-so-subtle sonic bridge between call-and-response rhythms and hip-hop song structures – but there was indeed nothing but blackness inside of and all around us. In that blackness lay a level of liberation that was hard-fought, and a predisposition for resistance that was inherited – and reinvigorated in the wake of Hurrican Beryl. Like everything else, my Spicemas experience exists in the context of all that came before it, including Hurricane Beryl, which particularly ravaged Grenada’s sister islands of Carriacou and Petite Martinique. While stepping into Grenadian culture, I couldn’t stop thinking about how the Global South – and its people, artists and culture – will be the first to feel the cruelest effects of climate change primarily spurred by superpowers in the Global North. It’s not fair and it’s not right. It’s just the latest effect of the incredibly violent and heinous project that is colonialism. But it’s also a stark reminder that we must protect the breadth of our West Indian cultures with every fiber of our beings.
Spicemas
Querine Salandy for Chambers Media Solutions
Whenever my height doesn’t annoy me, it can be quite an advantage. My heart swelled as I took a look at the sea of Blackness in front of me and the waves of Blackness behind me. I was literally and figuratively consumed by Blackness on all sides and it couldn’t have been a more picturesque sight. I’ve always considered Brooklyn to be home, and I still do – those blocks raised me, after all – but the sense of connection I felt to the literal land of Grenada while playing jab forced me to, if only for a few moments, seriously reconsider how I understand the term “home.” As far as I know, I don’t have any family in Grenada, but the air felt familiar, as did the energy that permeated the atmosphere. Almost all of my family hails from another island just over 100 miles away, but I still felt the connection of a deep, shared history that I felt an innate responsibility to help protect.
From Miami to Notting Hill, the Caribbean carnival experience has evolved into myriad celebrations around the world – many of them inching further away from the history that grounds those practices. As we continue to wade our way through this particular era of globalization and the commercialization and corporatization of carnival celebrations, maintaining and respecting the rich history of its formative traditions will be paramount to protecting the integrity and sanctity of the Caribbean at large. Jab jab is resistance in one of its purest forms, rooted in the soil of Grenada. What’s Blacker than that?
Seeing how fiercely protective and reverent Charles was in his explanation of jab jab reminded me of something chart-topping Afrobeats superstar Rema said in an Apple Music interview promoting his new Heis album. “Everyone is chasing something that the whole world can enjoy… we’re listening to the voices of the world too much,” he said. “We gotta listen to the voices back home to keep our roots. Our roots [are] very important.”
But how do we balance prioritizing “the voices back home” while inviting outsiders amid an effort to increase the amount of capital we can squeeze out of centuries-old cultural practices? That’s a question I toyed with a lot. After all, I’m a first-generation St. Lucian-American experiencing Spicemas by way of a press trip — is the call not coming from inside of the house, to some degree? For Jab King, a Grenadian soca powerhouse whose “Jab Did” was inescapable throughout Spicemas, it’s certainly a “bad idea” when cultural practices start bending to the whims of capitalism and corporatization, and we should “let the Carnival evolve on its own and control it along the way.”
Ideally, that’s the next frontier of this era of musical and cultural globalization: concerted efforts to protect the history of the cultures that so often get pillaged and bastardized for capitalism-blinded, voyeuristic eyes. The pessimist in me says that’s wishful thinking, but there was simply too much hope in that sea of blackness for me to let that voice win.
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.
Although June ended with Hurricane Beryl pummeling the Caribbean — St. Vincent and the Grenadines and Grenada, in particular — it was still a glowing month for music and culture from the region.
Skillibeng performed at the BET Awards for the second time in as many years, joining Gunna and Tyla — who took home two awards at the ceremony, including best new artist — for a performance of the latter’s latest global hit “Jump,” which combines dancehall, hip-hop and Afrobeats. The Marley Family also made their presence known at the telecast, with YG Marley, Lauryn Hill and Wyclef Jean closing out the show with a bombastic medley of “Lost Ones,” “Survival,” “Praise Jah in the Moonlight” and “Fu-Gee-La.” Meanwhile, Bob Marley: One Love took home best movie, the first musician biopic to do so since Straight Outta Compton in 2016.
Just one week after the BET Awards, Caribbean Elite Group announced the recipients of the highest honors at the upcoming Caribbean Music Awards on Aug. 29. A trio of powerful West Indian women are set to be honored: Jamaica’s Marcia Griffiths (lifetime achievement award), Barbados’ Alison Hinds (elite icon award) and JA’s Cedella Marley (legacy award).
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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: Govana & Popcaan, “Saved by a Psalm”
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Govana brought June to a close with his Legacy album, and his reflection and vulnerability across the LP helped make it one of the year’s best releases so far. One of the crown jewels of Legacy is “Saved by a Psalm,” a tear-jerking collaboration with Popcaan. “Ghetto youth haffi rich and wealthy/ Haffi make it, beg you please, Jah, help me/ Beg you guide me from the greed and envy/ Rev me ‘matic ’til it breeze and empty,” Govana spits over the pensive, understated dancehall production. Across the track, he and Popcaan reflect on the merits of faith, calling on Psalm 71 to emphasize how vital their respective relationships with God are — particularly when it comes to navigating life’s most consequential pitfalls.
Spice & Busta Rhymes, “Round Round”
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The reigning Queen of Dancehall is gearing up for the release of her upcoming third studio album, and she’s introducing it was a fiery new banger. “Round Round,” a collaboration with Busta Rhymes — who Skillibeng helped pay tribute to at the 2023 BET Awards — finds the two artists forging a common ground between their dancehall and hip-hop styles with a sparse soundscape crafted by YowLevite. “Busta, mi waan give yuh di hanky pollie/ Mek mi whine pon yuh buddy fast den slowly,” Spice spits as she flirtatiously trades bars with the hip-hop icon. The drum-heavy beat helps emphasize the percussiveness of both of their voices, but it’s their nimble flow switches that truly reveal the depths of their artistic chemistry.
Dean Fraser, “Belafonte Ghost”
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With his new Sax in Dub album, Musgrave Medal recipient Dean Fraser exalts the artform — a electronic subgenre of reggae that has grown into its own beast over the past few decades. “Belafonte Ghost” is the instant standout on the LP, with the saxophonist riffing on the melody of Harry Belafonte‘s timeless “Day-O (The Banana Boat Song)” in tribute of the legendary artist and activist, who passed away last year. The only discernible vocals on the track are a collection of voices buried just under the mix’s surfaces, allowing for Fraser’s saxophone to take center stage across the calypso-inflected arrangement.
Bayka feat. Najeeriii, “1086”
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On this salsa-nodding jam from his new Mob Ties mixtape, Bayka joins forces with fellow Jamaican star Najeeriii to craft a song that offers some effervescent energy to the often brooding nature of trap dancehall. Between the dancehall drums accenting the funky piano line and Bayka and Najeeriii effortlessly playing off each other’s suave, laid-back energies, “1086” stands as one of the best representations of Bayka’s specific pocket of new age dancehall.
Pablo YG & Lanae, “Birds & Bees”
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With Lanae’s seductive tone paired with a sultry saxophone riff in the background, “Birds & Bee” immediately establishes itself as the latest candidate for your slow wine soundtrack. Given the title, it isn’t difficult to decode what Pablo and Lanae are singing about, especially since it’s one of the dominant themes in the dancehall genre. Nonetheless, their take on the subject is framed by their vocal chemistry; Pablo’s Auto-Tuned warbles cradle Lanae’s sensual purrs, resulting in one steamer of a not-so-slow jam.
Nuttea feat. Kabaka Pyramid, “Egaux”
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French ragga artist Nuttea has been instrumental in ushering in the country’s own take on reggae music, and his new collaboration with Grammy winners Kabaka Pyramid is the latest step of that journey. Titled “Égaux” — which translates to “Equals” — the new track finds the two acts reflecting on their respective artistic and emotional journeys, highlighting humanity’s sameness when all is said and done. It’s a multilingual affair, with Nuttea delivering his lines entirely in French, underscoring the global impact of reggae. The instrumentation is fairly traditional, but it’s their respective hip-hop-infused deliveries that keeps things exciting.
Minister Marion Hall, “Step”
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From her Lady Saw days to her current moniker of Minister Marion Hall, the Jamaican artist has been an icon for decades. For her new single and first musical release of the year, Ms. Hall steps in the energy of spiritual warfare, opting for a militant gospel-tinged anthem of standing steadfast in your faith. “It’s a spiritual war/ Put on ya war clothes,” she snarls over histrionic drums and guitar. Minister Hall’s vocal is the star of the show here, she’s gasping for air and delivering her lines with equal parts reverence, desperation and grit. Considering her journey from dancehall queen to a unfiltered Christian who regularly speaks about her struggles with her faith, “Step” is appropriately aggressive. Somewhere between Richie Spice’s “Gideon Boot” and Kirk Franklin’s “Stomp,” “Step” is a stellar, if not unexpected, addition to the catalog of wartime gospel anthems.
$teevoo, “Slow Wine”
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With “Slow Wine,” Rising Trinbagonian artist $teevoo previews a potentially minimalist future for dancehall. His voice barely rises above whisper, and the synths and drums that are normally quite pronounced in a traditional dancehall track feel notably muted. Ultimately, “Slow Wine” offers a chilly, electronic version of a dancehall riddim, courtesy of Brooklyn Decent. Following the path he laid out with Eros EP earlier this year, $teevoo strips soca, dancehall and calypso down to its most elementary parts and builds something distinctly fresh out of those components. Everything — from his cadence to the drum patterns — feels strikingly familiar, but his unfussy vocal delivery immediately sets his sound apart from previous decades of West Indian music.
Jah Lil, “Weak Men”
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Jah Lil’s Can A Man Cry is a true gem of an album. Released at the tail end of last month (June 26), the LP is a tender-yet-unflinching look at the intersection of faith, masculinity and morality — all set to some of the most evocative, multi-layered reggae arrangements of the year. “Weak Men,” in which Jah Lil posits that true male weakness is the inability to properly express your emotions and defy temptation, is relentlessly engaging, folding in funky horns, steady guitars and earth percussion to craft a soundscape for his alluring voice to coast across.
Alison Hinds, “Slow It Down”
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Alison Hinds’ sweet timbre has soundtracked soca music for over two decades and “Slow It Down” proves the Queen of Soca has no plans to, well, slow down. She paints across Elmo Norville’s breezy Sweet Water Project riddim with that trademark honeyed tone, crooning, “Baby I wan ya slow it down/ Take your time now darling, we really don’t need to rush it.” In a genre that has its fair share of high-octane moments by way of power soca, “Slow It Down” offers road marchers a chance to catch their breath — and catch the meanest slow wine.
Click here to donate to the Caribbean Disaster Emergency Management Agency’s special bank account in aid of its Participating States impacted by Hurricane Beryl.
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.