Shaggy: The Reggae Icon Redefining Sound and Culture
International reggae icon Shaggy is not just making music—he’s making statements. In an exclusive interview with Jamaicans.com, the Grammy-winning artist opened up about his latest projects: the Badman Riddim compilation and his bold orchestral endeavor, Mr. Symphonic. While vastly different in execution, both projects share a common mission: to honor reggae’s foundations while introducing them to new audiences.
Badman Riddim: A Tribute to the Soundtrack of His Life
Produced by Shaggy alongside Shane Hoosong for Ranch Entertainment and released in collaboration with VP Records, Badman Riddim is a culture-rich compilation that taps into the pulse of vintage dancehall. Built on the bones of Henry “Junjo” Lawes’ iconic “Gunman” riddim, the project features reimagined tracks from artists like Spice, Junior Cat, and Olaf Blackwood.
For Shaggy, this project is deeply personal. “When I started to dive into Junjo’s catalogue, I realized how much of it was literally the soundtrack of my life,” he explained. “From Park Primary straight into dancehall sessions, these songs were just embedded in my childhood.” He reminisced about his mother singing them and hearing them at street dances and parties. “So to now be in a position where I can bring that energy back and share it with a new generation—it just felt right.”
But the project is not just about nostalgia; it’s about recognizing genius. “I don’t think Junjo even realized how genius he was,” Shaggy said. “He wasn’t a trained musician, but he had an incredible ear. He knew what was cool, what worked.” Junjo Lawes, the pioneering producer behind the Volcano Sound System, helped shape the sound of early dancehall, capturing the realities of Jamaican life in the early 1980s. As Shaggy put it, “Junjo arguably created dancehall. He was the first to consistently put DJs on reggae beats and take them international.”
Spice, Skill, and Strategy
The project’s lead single, “Sitt’n Fi Chat” by dancehall powerhouse Spice, was strategically chosen. With younger female acts dominating the scene with hypersexualized lyrics, Shaggy saw an opportunity for Spice to stand out by doubling down on her lyrical dexterity. “She can DJ better than all of them,” he declared. “She doesn’t have to rely on shock value.”
Shaggy emphasized that the riddim itself was deliberately chosen to bring out that competitive edge. “That kind of beat requires real skill. If you can’t DJ, the riddim will kick you off it.”
Til A Mawnin: Sound System Culture Reimagined
In tandem with Badman Riddim, Shaggy also reunited with long-time collaborator Sting for the single “Til A Mawnin.” Released via VP Records and Ranch Entertainment, the track samples Junjo Lawes’ “I’m Not Getting Crazy” riddim and serves as a love letter to sound system culture. The music video, directed by Jay Will, is a cinematic celebration of reggae’s roots—complete with storytelling and retro visuals.
As Shaggy explains, the Sting & Shaggy collaboration has developed into its own brand. “We’re not just two guys who work together—we’re brothers,” he said. “There’s a trust and chemistry there, and that comes through in the music.”
Mr. Symphonic: Reggae Meets Orchestra
While Badman Riddim brings Shaggy back to the dancehall, Mr. Symphonic takes him to the concert hall. This orchestral show, backed by conductor Martin Kierszenbaum and arranged by Juilliard dean David Ludwig, reimagines Shaggy’s catalogue with a full live symphony. “I didn’t want to just sing songs—I wanted to tell a story,” Shaggy said. “A story about how reggae evolved, how dancehall was born from ska and rocksteady.”
Inspired by watching Sting’s orchestral performances, Shaggy was initially nervous. “It’s different from my usual shows. But when I saw the packed house, I realized that the fans don’t care about the format—they care about the feeling. And reggae with strings? That feeling is powerful.”
On the Next Generation: “They’ll Crack the Code”
Shaggy also shared his views on the new wave of Jamaican artists. While he acknowledges that many young acts lack the foundational knowledge of reggae history, he believes the best among them are getting closer. “These kids today are incredibly talented, but many don’t know who came before them,” he said.
Still, he sees promise in artists like Kraff, Masicka, and Skillibeng. “Skillibeng—I think he’s going to crack the code before anyone else, because he’s getting closer and closer to the craft.”
Reinvention as a Lifestyle
When asked about his enduring relevance, Shaggy explained that he doesn’t make music to chase trends. “I don’t follow trends. I follow inspiration,” he said. “Music is my therapy. It’s what keeps me going. My wife says I need a hobby—but this is it. I’m allergic to boredom.”
After all these years, Shaggy continues to reinvent himself—not for the sake of staying relevant, but because his creativity never stops. “Every time the game shifts, I ask myself: how do I fit in now? And somehow, I still do. That’s not luck. That’s love.”
As Shaggy forges ahead, one can’t help but wonder: what new heights will this reggae legend reach next?