In the evolving landscape of global music, Dancehall star Demarco recently posed a thought-provoking question:
“Are we going against the blueprint that was set for Reggae and Dancehall music? Reggaeton genre was made from Dancehall and to this day they’re still using the blueprint!!! Billions of sales and streams.”
This reflection highlights a growing concern—while Dancehall remains an influential force, its commercial success pales in comparison to Reggaeton, which has effectively capitalized on its Dancehall roots to dominate global markets.
Reggaeton’s meteoric rise is undeniable. Luis Fonsi’s “Despacito” became the world’s most-streamed song in 2017, amassing 4.6 billion streams by July of that year and topping charts in 47 countries. Similarly, J Balvin became Spotify’s most-streamed artist in 2018, surpassing global stars like Drake. The reggaeton industry has established a unified sonic identity, allowing it to achieve sustained success, while Dancehall often struggles with consistency in its sound and branding.
Industry insiders believe the issue lies beyond just the music itself. Dancehall artist Ajji argues that shifting audience preferences are a major factor: “New Generation of fans are hip-hop lovers. Issue is not the artiste, it’s the listeners that associate Dancehall with ‘old’… More collaborations with new generation artistes and put them on Dancehall beats!” Grammy-winning reggae singer Kabaka Pyramid agrees but points to a deeper issue—over-saturation. He notes, “Our creativity is both a blessing and a curse. We release so much music that fans get tired of a sound every two years. Not enough high-quality music lasts the test of time.”
Veteran producer Don Corleonie kept his response short but telling: “100,” while fellow Grammy-winning producer Notnice hinted at industry frustrations: “When mi seh this, dem cuss seh mi badmind di yute dem.” Their responses suggest a long-standing divide between veterans and the younger generation of artists, many of whom are experimenting with sounds outside traditional Dancehall.
Dancehall superstar Konshens offers perhaps the most layered perspective. He highlights the geographical and generational disconnect between today’s rising Dancehall artists and their predecessors. “We tour too long in our HOT time. When we return, things have changed without us involved. Dancehall is not Reggae. Reggae artists can tour and come back to find Reggae waiting. But if a Dancehall artist is hot in Jamaica, he has to be THERE.” He also points out that many of the most successful Dancehall figures—such as Cham, Serani, Rvssian, Don Corleone, and even himself—now live outside Jamaica, making it harder for younger artists to see and model success firsthand.
Further complicating matters is the landmark copyright lawsuit over the iconic dembow riddim, the rhythmic foundation of Reggaeton. The estates of legendary Jamaican producers Cleveland “Clevie” Browne and Wycliffe “Steely” Johnson have sued over 1,800 songs by top reggaeton artists, arguing that Jamaican creators deserve recognition and compensation. If successful, this case could force a reckoning within the music industry about Dancehall’s foundational contributions and potentially restore financial and cultural power to its originators.
Demarco’s question is more than just a critique—it is a call to action. While Reggaeton thrives by sticking to its Dancehall-inspired formula, the Jamaican music industry is at a crossroads. Whether through strategic collaborations, business-minded investment, or a renewed focus on quality over quantity, the future of Dancehall and Reggae depends on a collective effort to reclaim and redefine its global impact.
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