Worldwide reggae icon Shaggy isn’t just making music—he’s making statements. In an unique interview with Jamaicans.com, the Grammy-winning artist opens up about his newest tasks: the Badman Riddim compilation and his daring orchestral endeavour, Mr. Symphonic. Whereas vastly totally different in execution, each tasks share a typical mission: to honour reggae’s foundations whereas introducing them to new audiences.
Badman Riddim: A Tribute to the Soundtrack of His Life
Produced by Shaggy alongside Shane Hoosong for Ranch Leisure and launched in collaboration with VP Information, Badman Riddim is a culture-rich compilation that faucets into the heartbeat of classic dancehall. Constructed on the bones of Henry “Junjo” Lawes’ iconic “Gunman” riddim, the venture options reimagined tracks from artists like Spice, Junior Cat, and Olaf Blackwood.
For Shaggy, this venture is deeply private. “Once I began to dive into Junjo’s catalogue, I realised how a lot of it was actually the soundtrack of my life,” he defined. “From Park Main straight into dancehall classes, these songs had been simply embedded in my childhood. I bear in mind my mom singing them, I bear in mind listening to them at road dances, at events. They had been all over the place. So to now be ready the place I can deliver that power again and share it with a brand new technology—it simply felt proper.”
However the venture isn’t just about nostalgia. It’s about recognising genius. “I don’t suppose Junjo even realised how genius he was,” Shaggy stated. “He wasn’t a skilled musician, however he had an unbelievable ear. He knew what was cool, what labored. He had his finger on the heartbeat. That’s the mark of an incredible producer. He created vibes that caught with you.”
Junjo Lawes, the pioneering producer behind the Volcano Sound System, helped form the sound of early dancehall by fusing uncooked road power with deeply grooving reggae riddims. He was accountable for the rise of main acts like Yellowman, Barrington Levy, Michael Palmer, and Eek-A-Mouse. His signature model was streetwise and unfiltered, capturing the realities of Jamaican life within the early Eighties and ushering in what many think about the delivery of contemporary dancehall. As Shaggy put it, “Junjo arguably created dancehall. He was the primary to constantly put DJs on reggae beats and take them worldwide.”
Spice, Talent and Technique
The venture’s lead single, “Sitt’n Fi Chat” by dancehall powerhouse Spice, was strategically chosen. With youthful feminine acts dominating the scene with hypersexualised lyrics, Shaggy noticed a possibility for Spice to face out by doubling down on her lyrical dexterity.
“She will DJ higher than all of them,” Shaggy declared. “She doesn’t should depend on shock worth. And even after we tried to push the envelope lyrically, she would edit herself. She is aware of who she is, and he or she has a robust id. So how does she compete? She out-DJs them, plain and easy.”
He added that the riddim itself was intentionally chosen to deliver out that aggressive edge. “That type of beat requires actual talent. In case you can’t DJ, the riddim will kick you off it.”
Til A Mawnin: Sound System Tradition Reimagined
In tandem with Badman Riddim, Shaggy additionally reunited with long-time collaborator Sting for the only “Til A Mawnin.” Launched by way of VP Information and Ranch Leisure, the monitor samples Junjo Lawes’ “I’m Not Getting Loopy” riddim and serves as a love letter to sound system tradition. The music video, directed by Jay Will, is a cinematic celebration of reggae’s roots—full with storytelling, retro visuals, and a tribute to road music historical past.
As Shaggy explains, the Sting & Shaggy collaboration has developed into its personal model—one which lets each artists break outdoors style boundaries. “We’re not simply two guys who work collectively—we’re brothers,” Shaggy stated. “Our households trip collectively. There’s a belief and chemistry there, and that comes by way of within the music.”
Mr. Symphonic: Reggae Meets Orchestra
Whereas Badman Riddim brings Shaggy again to the dancehall, Mr. Symphonic takes him to the live performance corridor. This orchestral present, backed by conductor Martin Kierszenbaum and organized by Juilliard dean David Ludwig, reimagines Shaggy’s catalogue with a full stay symphony. It additionally narrates the journey of Jamaican music—from ska and reggae to trendy dancehall.
“I didn’t need to simply sing songs—I wished to inform a narrative,” Shaggy stated. “A narrative about how reggae advanced, how dancehall was born from ska and rocksteady. And the orchestra gave me the area to do this with energy and drama.”
Impressed by watching Sting’s orchestral performances, Shaggy was initially nervous. “It’s totally different from my standard exhibits. However once I noticed the packed home, I realised that the followers don’t care in regards to the format—they care in regards to the feeling. And reggae with strings? That feeling is highly effective.”
On the Subsequent Technology: “They’ll Crack the Code”
Shaggy additionally shared his views on the brand new wave of Jamaican artists. Whereas he acknowledges that many younger acts lack the foundational information of reggae historical past, he believes the most effective amongst them are getting nearer.
“These youngsters at this time are extremely gifted, however many don’t know who got here earlier than them,” he stated. “Again within the day, you had CDs, you learn credit, you realized who produced what. Now, music simply comes at you—quick, faceless, streaming. There’s much less time to check the craft.”
Nonetheless, he sees promise. “Kraff is one in all my favourites. Masicka and Chronic Law is depraved. Skillibeng— I believe he’s going to crack the code earlier than anybody else, as a result of he’s getting nearer and nearer to the craft, he’s implausible. And Skeng—He’s among the finest stay performers I’ve ever seen. He jogs my memory of Elephant Man.”
Reinvention as a Life-style
When requested about his enduring relevance, Shaggy was fast to clarify that he doesn’t make music to chase developments. “I don’t comply with developments. I comply with inspiration,” he stated. “I’ve to be impressed first. Music is my remedy. It’s what retains me going. My spouse says I would like a passion—however that is it. I’m allergic to boredom.”
In spite of everything these years, Shaggy continues to reinvent himself—not for the sake of staying related, however as a result of his creativity by no means stops. “Each time the sport shifts, I ask myself: how do I slot in now? And someway, I nonetheless do. That’s not luck. That’s love.”
