International reggae icon Shaggy is not just making music—he’s making statements. In an exclusive interview with Jamaicans.com, the Grammy-winning artist opens up about his latest projects: the Badman Riddim compilation and his bold orchestral endeavour, Mr. Symphonic. While vastly different in execution, both projects share a common mission: to honour 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 realised 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. I remember my mother singing them, I remember hearing them at street dances, at parties. They were everywhere. 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 recognising genius. “I don’t think Junjo even realised 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. He had his finger on the pulse. That’s the mark of a great producer. He created vibes that stuck with you.”
Junjo Lawes, the pioneering producer behind the Volcano Sound System, helped shape the sound of early dancehall by fusing raw street energy with deeply grooving reggae riddims. He was responsible for the rise of major acts like Yellowman, Barrington Levy, Michael Palmer, and Eek-A-Mouse. His signature style was streetwise and unfiltered, capturing the realities of Jamaican life in the early 1980s and ushering in what many consider the birth of modern dancehall. 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 hypersexualised 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,” Shaggy declared. “She doesn’t have to rely on shock value. And even when we tried to push the envelope lyrically, she would edit herself. She knows who she is, and she has a strong identity. So how does she compete? She out-DJs them, plain and simple.”
He added 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, retro visuals, and a tribute to street music history.
As Shaggy explains, the Sting & Shaggy collaboration has developed into its own brand—one that lets both artists break outside genre boundaries. “We’re not just two guys who work together—we’re brothers,” Shaggy said. “Our families vacation together. 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. It also narrates the journey of Jamaican music—from ska and reggae to modern dancehall.
“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. And the orchestra gave me the space to do that with power and drama.”
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 realised 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. “Back in the day, you had CDs, you read credits, you learned who produced what. Now, music just comes at you—fast, faceless, streaming. There’s less time to study the craft.”
Still, he sees promise. “Kraff is one of my favourites. Masicka and Chronic Law is wicked. Skillibeng— I think he’s going to crack the code before anyone else, because he’s getting closer and closer to the craft, he’s fantastic. And Skeng—He’s one of the best live performers I’ve ever seen. He reminds me of Elephant Man.”
Reinvention as a Lifestyle
When asked about his enduring relevance, Shaggy was quick to explain that he doesn’t make music to chase trends. “I don’t follow trends. I follow inspiration,” he said. “I have to be inspired first. 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.”
