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. “My youth growing up from when I was going to Duhaney Park Primary School to ending up at Edith Dalton… that was my era,” he said. He recalled sneaking out as a teenager to soak up the dancehall culture: “When I was a youth stealing out to go to Skateland or just getting into Dancehall when Josey Wales was singing ‘Bobo Dread’ or any of those songs.” Certain tracks became woven into the rhythm of his childhood. “Eek A Mouse singing ‘Wa-Do-Dem,’ I remember when that came out it was like a big thing. I remember even my mother used to sing that song. I even ended up sampling it on one of my songs the other day because those songs resonated in my household.”
But the project is not just about nostalgia. “I think what Junjo did was so genius and I don’t think he even realized it was genius,” Shaggy said. “He had an ear for arrangement… his finger was on the pulse of what was cool and what was hot.” As he explained, “Sometimes some of the biggest musicians are producers… they don’t necessarily have to be musicians per se or play instruments, but they have an ear.”
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, “You can say Junjo Lawes arguably is really the creator of dancehall if you want to have that argument because he was the one who put DJs on reggae beats. Sound system on reggae beats. He was a sound system producer and did street music that talked about what was happening in the streets.”
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 he tried to push the envelope lyrically, Spice would edit herself, saying, “A nuh me dat.” Shaggy explained that she’s not going to compete by saying what the younger artists say or by dressing how they dress—but the one thing she has over them is undeniable: “She can DJ betta dan all a dem… she can run rings around dem as a DJ.” Because of that, the focus was placed squarely on her craft. “She’s better than them on that,” he said. The riddim, too, was deliberately chosen to bring out her competitive edge: “That kind of beat deh, yuh haffi really be a skillful DJ pon it… yuh nah go hear nuh adda female DJ like dat and hold it dah way deh.”
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 and Shaggy collaboration has developed into something unique. “We’re not just two guys that are collaborating—we’re brothers,” he said. “My family will vacation with his family and his family vacation with mine… it is that kind of a relationship.” Their creative partnership is just as close. “There’s a Sting and Shaggy brand… it’s a different type of thing. We’re just stepping outside the box. It might be heavily reggae, it might be dancehall… and Sting is just open to jumping into that because he’s fascinated by it all.”
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.
While Badman Riddim brings Shaggy back to the roots of dancehall, Mr. Symphonic takes him to the concert hall. “I wanted to tell a story, not just do Shaggy songs,” he shared, “but tell the story of the journey of reggae and dancehall music… from reggae to ska into dancehall—the transition of how it works”
Shaggy admitted that performing with a full orchestra was a different experience from his usual shows. “I didn’t know what to expect,” he said. “I know what Shaggy concerts are… I don’t know what an orchestra [concert] is ‘cause it’s not promoted the same way.” But the turnout affirmed the impact of the music. “It was fans. It didn’t matter whether they were fans of classical music… they were just fans of Shaggy and fans of Jamaican music”
On the Next Generation: “They’ll Crack the Code”
Shaggy also shared his views on the new wave of Jamaican artists. While he recognises their talent, he sees a gap in historical awareness. “I don’t think they really look back at the history of what they do. They don’t know where they come in. They just know come now and say, ‘Alright, this weh do,’” he said. “And that’s because, you know, back in the day we had a CD and we had credits, and we could read and see things. Nowadays, music just come at you—you don’t know who these guys were that paved the way for you before.”
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
After all these years, Shaggy continues to evolve—not for the sake of staying relevant, but because reinvention is simply who he is. “I just do music and I like to tour and I find it competitive,” he said. “Every time it changes, so I’m looking at, ‘Oh yeah, how do I fit in here?’” Even he’s surprised by how long he’s remained in the mix: “I can’t believe I’m still fitting in. I’m shocked. Yeah, yeah. 56 years old, you know, and still is being mentioned in conversations.”
Still, it’s not just about staying in the game—it’s about loving it. “I am super grateful… I’m amazed,” Shaggy said. “My wife tells me I need a hobby… but I don’t have any other hobbies. I’m allergic to boredom.” That relentless curiosity, the drive to honour the past while creating for the future, is what continues to define Shaggy’s legacy—and keep him at the centre of the conversation.
