分类： entertainment

KINGSTON, Jamaica — One of Jamaica’s most high-profile recording artists, Beenie Man — legally known as Moses Davis — has issued a forceful public rejection of recent unsubstantiated claims that he physically assaulted a fellow entertainer, slamming the accusations as completely untrue, harmful, and legally actionable defamation.

In an official statement released to the press this Tuesday, Davis confirmed he has already retained a team of legal representatives and is currently assembling a formal body of evidence to disprove the damaging allegations circulating online and in public discourse.

The statement laid out clear demands for the accusers and any outlets that have spread the claims: “We hereby demand the immediate removal of all posts, videos, stories, and other publications asserting or repeating these claims, together with a full public retraction and apology.”

Davis’s legal team warned that failure to meet these demands in a timely manner will open the door to full legal recourse. According to the statement, if compliance is not forthcoming promptly, Davis will pursue “proceedings for defamation, damages, injunctive relief, and any other relief available at law” to clear his name and hold responsible parties accountable for the harm caused by the false claims.

One of Jamaica’s most anticipated music industry celebrations is getting a major facelift ahead of its September return, as organizer Kennedy Mensah expands the event to recognize more standout talent from across the global music scene. When Mensah touches down in Jamaica this September for his third iteration of the annual awards gathering, the event will bear a new name, occupy a larger purpose-built venue, and feature an expanded format that incorporates international certification programs.

Formerly branded the Grammy Certificate Ceremony, the event has been rebranded as the Music In Excellence Ceremony to reflect its broader scope of honoring musical achievement across markets. Scheduled to take place on September 15 at the spacious Courtleigh Auditorium in central New Kingston, the ceremony leaves behind its long-time previous Kingston home at the nearby Audi Showroom, a change driven by steady growth in the event’s size and ambitions.

What sets this year’s event apart from previous stagings held in Kingston, South Florida and London is a new collaborative partnership between Mensah’s Back 2 Da Future Music Limited and the British Phonographic Industry (BPI). For the first time, the ceremony will present BPI-certified platinum, gold and silver discs alongside traditional Grammy certificates, honoring the work of Jamaican and international artistes, producers and session musicians who have achieved major commercial success on British music markets. Returning as a partner for the second consecutive year is The Royalty Network Inc, a leading New York-based music publishing firm that supports independent and established creators worldwide.

In an exclusive interview with Jamaica Observer Online, London-born organizer Mensah, who has Ghanaian heritage, outlined the changes coming to this year’s ceremony. A total of 25 creators will walk away with either a Grammy Certificate or a BCI-certified disc this year, a significant milestone for the fast-growing event. “The ceremony has grown and we needed a dedicated space that would allow us to have a live band. Unfortunately, growing pains means that we have had to find a purpose-built venue to accommodate our expanding programming,” Mensah explained of the venue shift.

The last iteration of the ceremony, held under its original name in South Florida this past January, honored a roster of iconic Caribbean talent including esteemed musician Robert Browne, celebrated singer and multi-instrumentalist Gramps Morgan, Grammy-winning reggae group Morgan Heritage, and influential dancehall singer Wayne Wonder. Mensah founded Back 2 Da Future Music Limited in 2005, and launched the inaugural Grammy Certificate Ceremony in South Florida in July 2024, which paid tribute to legendary guitarist Rad Bryan, best known for his work with iconic reggae bands The Revolutionaries and The Maytals.

Eight months after the passing of iconic Jamaican singer-songwriter Ernie Smith at the age of 80, family, friends, and industry peers gathered at Metropolitan Baptist Church in Davie, South Florida on May 16 to celebrate his life, legacy, and decades-long contributions to Caribbean music.

Among the most touching tributes came from Claudette Bailey Smith, the songwriter’s widow, who shared the whimsical, unexpected story of how their love story began. The pair met for the first time in May 2022, when Smith arrived at Bailey Smith’s Miami home. Barely an hour into their first encounter, amid casual conversation, the charismatic songwriter leaned in and popped the question: “Will you marry me?” Bailey Smith’s immediate answer was a firm “no.” But Smith, ever persistent, wore down her resistance, and the pair tied the knot exactly one year later, a match Bailey Smith described as ordained by heaven.

Looking back on their time together, Bailey Smith reflected on the profound late-in-life love the pair shared. “After living the first 70 years of my life, to finally find a person that I could love in a proper way… It went beyond the physical, it went to a stratosphere I was not familiar with. But I loved me and he loved me,” she told the gathered crowd.

Born Glenroy Anthony Michael Archangelo Smith in Kingston, Jamaica, Smith built a decades-long career that left an indelible mark on Jamaican music. His rise to prominence came in the 1960s and 1970s at Federal Records, the iconic Khouri family-owned label where he was a breakout star alongside fellow artist Pluto Shervington. Over his years at the label, he racked up a long list of chart-topping hits, including fan favorites *Life is Just For Living*, *Pitta Patta*, *Duppy Gunman*, *Bend Down*, *Ride On Sammy*, *Sunday Morning Come Down*, and *I For Jesus*.

In the late 1970s, Smith made the decision to migrate to Canada, where he continued his music career before eventually relocating to South Florida. He returned to his Jamaican roots in the early 1990s. Even as he found global success, those who knew him remembered that Smith never lost the quiet humility he cultivated growing up in St Ann, Jamaica.

Wednesday’s service brought together a wide cross-section of Smith’s loved ones and industry colleagues. Tributes were delivered by his brother Paul Smith, long-time friend and attorney Merrick Drummar, veteran tour manager Copeland Forbes, veteran broadcaster Clinton Lindsay, Jamaica’s Consul General to Miami Oliver Mair, and George Raymond, an audio engineer who worked alongside Smith at Federal Records throughout the 1960s and 1970s.

The celebration of Smith’s life also featured musical performances from a host of artists connected to the songwriter. Two of his five children, Ojay and Sahara, took the stage to perform, alongside legendary saxophonist Dean Fraser, singer Carlene Davis, Charmaine Lemonious, and Ed Robinson. Before performing her iconic hit *Like Old Friends Do*, Davis shared memories of her longstanding friendship with Smith, which dated back to their time living together in Canada, when she served as his opening act and harmony vocalist.

In addition to the performers and speakers, the service was attended by Smith’s immediate family: all five of his children and three of his four grandchildren, alongside five of his siblings. Notable industry figures also turned out to pay their respects, including reggae legend Freddie McGregor, Inner Circle band member Roger Lewis, and iconic music impresario Tommy Cowan. Smith passed away on April 16 this year at his Miami home, leaving behind a rich musical legacy that continues to resonate with fans across the globe.

The Jamaican music community is mourning the loss of iconic reggae vocalist Roland Burrell, who passed away suddenly on May 14 in Montego Bay. The news of his death was first confirmed by his cousin, veteran music producer Earl Messam, who shared the details with local outlet the Jamaica Observer, though no official cause of death has been released to the public.

Born in the quiet Pennants district of Clarendon, Jamaica, Burrell spent much of his childhood and formative years growing up in Trench Town, the culturally rich Kingston neighborhood that spawned dozens of reggae’s most legendary names. He launched his professional recording career in the early 1970s, but waited more than a decade for his big breakthrough: in summer 1982, he cut the track Johnny Dollar at Kingston’s iconic Channel One studio for producer Alton “Tanka” Hill.

Backed by the genre-defining rhythm section Sly and Robbie — already the most in-demand and celebrated musicians in global reggae at the time — Johnny Dollar became a worldwide sensation. The track climbed to the number one position on reggae charts across Jamaica, the United States, and the United Kingdom, cementing Burrell’s place in reggae history. The 1982 release was paired with a cover of American soul singer Garnet Mimms’ 1964 hit A Quiet Place.

Following the runaway success of his debut hit, Burrell quickly followed up with Stormy Night, another production from Alton Hill. Originally recorded by the group Creation Steppers in 1975, Burrell’s version of the track also earned strong commercial traction in both Jamaica and the UK.

Burrell never stepped away from the industry he loved: two years before his passing, he recorded an updated reimagining of Johnny Dollar for Philadelphia-based label Wildfire Records, which is owned by his cousin Earl Messam. Messam also produced many of Burrell’s later original works, including fan-favorite tracks My Conversation, You Have Caught Me, and a reggae reworking of the Temptations classic Ain’t Too Proud to Beg.

Burrell is survived by four children and multiple grandchildren, leaving behind a decades-long legacy that shaped reggae music across the globe.

On Friday, May 15, global hip-hop superstar Drake sent shockwaves through the music industry when he unexpectedly dropped three full-length studio albums at once — *Iceman*, *Maid of Honour*, and *Habibti*. Among the long list of creative contributors tapped for the historic release was Montego Bay-based beatmaker, producer, and rapper Mvssivh, who earned production credits on not one, but two high-profile tracks across the collection.

Mvssivh’s first credit comes on the cut *New Bestie*, featured on the *Maid of Honour* project. The track makes a lyrical shoutout to iconic Jamaican dancehall artist Vybz Kartel, a nod that carries particular weight for the Jamaican creative. His second credit is for *Ran to Atlanta*, a cross-genre banger from *Iceman* that sees Drake joined by guest features from rap heavyweights Future and Molly Santana.

For the rising Jamaican talent, landing a spot on one of the biggest international rap releases of the year is far from his first brush with global success. Back in 2019, when he was just 18 years old, Mvssivh produced two tracks — *Cinderella* and *Waterfall* — that were included on Russian trap star Kizaru’s triple-platinum certified album *Karmageddon*. He also notched another credit on Kizaru’s *Carousel*, a track that appeared on the artist’s double-platinum selling extended play *Say No Mo*.

In an exclusive interview with *Jamaica Observer* on the day of Drake’s album release, Mvssivh — born Justin Junagadala — opened up about the winding path that led him to the OVO Sound camp. “I actually was working with people very close to him. I flew out to Canada for the Vybz Kartel show and I met with a couple people. I then went to Miami and worked with my other boys who work with the Drake’s OVO label very closely and we got to this point,” he explained.

Reflecting on the years-long process of seeing the collaboration come to fruition, Mvssivh expressed gratitude for the opportunity. “I feel blessed to be a part of this. I’ve been working on this project for the last few years, and I was shocked to see it turn into three albums,” he said.

When asked what the career milestone says about his range as a creative, Mvssivh highlighted that the credit proves he can excel beyond the dancehall space that many fans already associate him with. “It shows my versatility. The fact that I was able to show my talent in trap music and not solely dancehall in which people know me from,” he noted.

Mvssivh’s love for music began long before his first industry credit, starting in his early childhood growing up in the West Gate community of St James, Jamaica. He attended both Heinz Simonitch and Hillel Academy, and recalled that music was a constant companion from his youngest years. “I always had love for music from I was a kid. I couldn’t sleep without listening to music and I was playing piano as a little kid. I started listening to trap music and EDM (electronic dance music) and found a liking for the beats more, and the rest is history,” he shared.

A self-described introvert in his youth, Mvssivh said his quiet nature pushed him to lean into music creation as an outlet. “I was an antisocial kid, that’s why I ended up doing music. I didn’t have that many friends and I was always listening to music and making beats,” he explained. He credits his mother for nurturing his early connection to sound: his mother played drums in marching bands and encouraged him to start piano lessons when he was just six years old, laying the foundation for his future career.

Unlike many producers who rely on outside teams for post-production, Mvssivh handles all mixing and mastering for his own work, and he says a commitment to originality sets him apart from other creatives in the industry. “My sound is different from everybody else when it comes to the beats and the actual songs. I feel you have to be original and not follow anybody else. If you want to make it you have to be willing to try whatever. Zone out and go into a whole other world. Creativity is what matters now,” he said.

Prior to his Drake collab, Mvssivh had already built an impressive resume working with A-list talent across the global hip-hop and Jamaican music scenes. His list of international collaborators includes rap stars Chief Keef, Trippie Redd, Famous Dex, Smoke Purp, and Lil Poppa. Closer to home, he has partnered with the 6ix collective, Jamaican rappers Rude Jerms and Bakersteez, and top dancehall acts including I-Waata, Intence, Maestro Don, and Jada Kingdom.

The Drake credit has already unlocked new opportunities for his career, he confirmed. “A lot of doors have opened, and it has become easier for me to contact artistes. It makes it easier for them to take me serious about what I do,” he shared.

Beyond his work as an in-demand producer, Mvssivh also pursues a career as a solo rapper under the stage name Bvsed Justin. Looking ahead, he has a stacked slate of upcoming projects ready to roll out. “Man, I got my official producer album on the way with all the top artistes locally and a few internationally as well as my first official album as an artiste myself. Also got a few big projects I’m working on right now, stay tuned, the show isn’t over,” he teased.

Jamaican reggae musician Ginjah is celebrating a landmark international career win, with his soulful single *Lay On My Pillow* holding the number one position on West Palm Beach’s Island Gold Radio Top 10 Reggae Chart for six straight weeks – a first in his professional journey.

Born Valentine Fraser, the artist known by his stage name Ginjah traces his performing identity to reggae legend Beres Hammond, who bestowed the moniker that has become synonymous with his emotionally rooted sound. Raised in Central Village after growing up in St James, Jamaica, Ginjah says his formative life experiences are the backbone of the raw, heartfelt quality that defines his music.

“My upbringing gave me an early understanding of resilience, humility, and what real emotion feels like,” he shared in an interview. “That’s why every track I create carries so much weight – every note comes from a place of lived experience, not fabricated storytelling.”

Released March 13 via independent label Juna Vill Records, *Lay On My Pillow* draws its origins from an intimate, unscripted conversation with his partner. “The song came from a totally genuine moment,” Ginjah explained. “We were talking, and the line ‘Wouldn’t it be nice if you come lay on my pillow’ just came out. Most of my work pulls from real conversations I have, and this track is specifically for the women – I want them to walk away knowing someone sees them and cares.”

This extended run at the top of the US-based chart marks the first time Ginjah has held the number one position for such a long stretch, a milestone he calls deeply special. “When I got the news the track hit number one, I was over the moon,” he said. “As an artist, you always hope your music connects with people far from home, but this is something else. Six weeks at the top and it’s still holding strong? I’ve never had anything like this in my career.”

Ginjah was quick to share credit for the single’s cross-border success, thanking the team and community that helped lift the track to new heights. “This is not a solo win,” he emphasized. “I have to give a huge thank you to Island Gold Radio, every listener that’s been spinning the track, and the whole team at Juna Vill Records. This is the result of everyone coming together.”

For the reggae artist, the international recognition serves as both validation of his artistic path and proof that authentic Jamaican storytelling resonates beyond regional borders. “This kind of overseas acclaim tells me I’m growing, and that I’m on the right track,” he said. “It proves reggae music from Jamaica doesn’t just stay in Jamaica – it crosses borders and touches hearts all over the world. It pushes me to keep creating from my truth, and to represent our culture the way it deserves to be represented. And trust me, this is just the start.”

As his breakout single continues to gain traction among reggae fans in the United States and beyond, Ginjah is also turning his attention to lifting up the next wave of Jamaican creative talent, sharing advice for emerging artists navigating the industry. “For any up-and-coming artist just starting out, my advice is this: put your faith first, treat your craft like the gift it is, and put in the work to get better every day – at your writing, your performance, how you carry yourself,” he said. “No matter what obstacles come your way, never stop believing in yourself. Trust the process, put in the consistent work, and the success you’re chasing will find you.”

For more than two decades, Sone G has built his life around Christian faith, and he has refused to be boxed in by conventional boundaries when sharing his beliefs with the world. Rather than sticking to traditional gospel arrangements, the Jamaican artist has reimagined spiritual messaging by pairing his lyrics with high-energy dancehall rhythms, bass-heavy trap beats, and soulful reggae instrumentations, creating a unique sound that bridges secular music culture and devotional art.

His latest offering, titled *Stronger*, leans into the warm, organic textures of classic roots-reggae. Released under the label Vi Records in early May, the track centers on a quiet, universal truth that resonates far beyond religious circles. In discussing the inspiration behind the single, Sone G explained that the song arrives at a moment when many people around the world grapple with exhaustion, uncertainty, and the feeling that they have no more resilience left to give. Its core message is simple but profound: true strength does not come from one’s own power alone.

Across every track he releases, regardless of the genre it inhabits, one foundational element remains unchanged. For Sone G, faith is always the central anchor of his work. “Without faith, we are simply lost. Faith is that rudder that helps to keep us on track,” he shared in explaining his artistic mission.

*Stronger* marks the latest entry in a string of successful releases for the artist. It follows his 2021 hit *Rescue Me*, which claimed the top spot on music charts across Canada. Before that, his track *Find A Way* earned a nomination for Top Trap/Fusion Dancehall Song at the 2023 Reggae North Music Awards, held in Brampton, Ontario.

Like a growing number of contemporary neo-gospel musicians, Sone G cut his teeth in the secular music industry before pivoting to faith-centered work. He was born and raised in Rocky Point, a small fishing village on Jamaica’s coast that has already produced one of dancehall’s most legendary figures: iconic star Cocoa Tea. Growing up, Sone G was surrounded by Rocky Point’s storied sound system culture, a cornerstone of Jamaican popular music, and he witnessed first-hand how the community’s vibrant musical heritage shaped local artistic identity.

With his new single and future projects, Sone G has made it clear he has no intention of limiting his audience to fellow believers. He sees reaching a broad cross-section of listeners as a core part of his identity as a Christian artist, saying he welcomes all people to engage with his music — even those who do not share his religious beliefs. For Sone G, the goal is not to preach exclusively to the choir, but to share his message of hope and anchored faith with anyone who might need it, regardless of their background or worldview.

For emerging reggae performer Captain Love, covering one of the genre’s most iconic socially conscious tracks is far more than a creative experiment—it is a full-circle tribute to a song that pulled him through his darkest days. The artist has released a fresh take on Bob Marley and The Wailers’ legendary 1970s anthem *Concrete Jungle*, a track that has resonated with audiences facing systemic inequality and hardship for half a century, and the new version draws directly from Captain Love’s own lived experience growing up in Jamaica.

Raised by his single mother in Spanish Town, one of Jamaica’s most socio-economically strained urban centers, Captain Love endured years of financial instability and limited opportunity in his youth. It was during those challenging years that he first encountered Marley’s original track, and it quickly became a source of much-needed hope. “I needed hope, and this song brought me inspiration and satisfaction,” he explained in a recent interview. That intimate connection to the track’s core message made adapting it for a modern audience feel intuitive, rather than forced. Having walked the same path of struggle that *Concrete Jungle* describes, Captain Love had no trouble honoring the original’s intent while infusing it with his own artistic voice. “I had already lived through similar challenges, so preserving the message wasn’t difficult. My appreciation for the original — combined with my passion — allowed me to bring my own identity to it,” he said.

Rather than overhauling the beloved classic to chase trendy new sounds, Captain Love and his four-person production team—composed of Merrick Dyer, Highfield Joseph, Steve Major, and the artist himself—prioritized balance. The remake retains the raw, authentic soul and core emotional weight of Marley’s original, while layering in cleaner production, sharper instrumentation, and a subtle contemporary energy that makes it accessible to younger listeners. So far, the approach has paid off: early feedback from audiences and industry insiders has been overwhelmingly positive. Captain Love shared that one prominent radio DJ has already called the remake his favorite release from the artist’s entire discography to date.

For Captain Love, the relevance of *Concrete Jungle*’s themes has not faded in the decades since it was first written. He argues that the track’s exploration of urban poverty, limited opportunity, and the fight for survival remains just as urgent today, particularly for young people across the globe navigating rising economic inequality and systemic hardship. This commitment to using reggae as a platform for social change extends far beyond the *Concrete Jungle* remake. Captain Love is also currently promoting his solo single *Save Mother Earth*, a track centered on climate action that confronts the growing crises of global pollution, rising temperatures, and the destruction of marine ecosystems. “Earth is hotter than before. Music is a powerful way to raise awareness,” he noted, urging fans to adopt more sustainable daily habits to protect the planet.

Looking forward, the artist has ambitious plans to bring his music and message to a global audience. He is currently lining up live performance dates across his home country of Jamaica, with plans to expand to touring across Africa and Europe in the coming months, while continuing to write and record new material in the studio. For Captain Love, every track he releases ties back to a larger, overarching mission: “These songs are part of a bigger mission — promoting peace, equal rights, justice, love and harmony for humanity,” he said.