分类： entertainment

This year would have marked the 72nd birthday of Gloria Wright, the beloved mother of celebrated Jamaican reggae musician Nesbeth, who was known affectionately to family and friends as Mama Gloria. Wright lost her decade-long battle with cancer in 2013, when she was just 59 years old. To honor her legacy and keep her memory alive a decade after her passing, her son has unveiled a deeply personal new tribute track titled *Mama’s Memories* that channels his decades-long love and grief into art.

In an exclusive interview with the Jamaica Observer, Nesbeth opened up about the core memories that shaped the song, focusing not on grand gestures but the quiet, unchanging warmth his mother brought to his life. “My fondest memories of my mother are really the simple moments; her love, her strength, and the way she always made me feel protected no matter what was happening around us,” he said. “I remember her sacrifices, her guidance, and the warmth she brought into our home. She had a spirit that could lift people up even while carrying her own burdens. Those memories stay with me every single day, and they continue to inspire me both personally and musically.”

Nesbeth, who has earned global acclaim for hit tracks including *Drive By*, *Success Story*, *Board House*, and *My Dream*, described losing his mother as one of the most devastating challenges he has ever navigated. “Honestly, it was one of the hardest moments of my life. Losing a mother leaves a pain that words can barely explain. At the time, it affected me deeply emotionally, mentally, and spiritually. There were moments of sadness, and confusion. But music became one of my ways of coping and healing. Instead of hiding the pain, I chose to express it through my art. Even today, the loss still lives with me, because grief doesn’t truly disappear, you simply learn how to carry it.”

Throughout Nesbeth’s rise in the reggae industry, Wright was one of his most consistent and passionate supporters. She never hesitated to encourage his creative ambitions, even as her own health declined. “Like any good mother, she wanted the best for her child, and she always encouraged me to stay focused and believe in myself. She understood my passion for music and believed I had a purpose,” Nesbeth shared. “It was heartbreaking to watch her fight cancer, but her strength through that fight still pushes me to work harder every day.”

For the artist, who is widely recognized for his raw, authentic storytelling through song, *Mama’s Memories* was a fully personal creative project, with Nesbeth overseeing every step of the process from initial concept to final production. “From the concept to the final sound, I made sure every element aligned with the message. Being at the helm allowed me to ensure authenticity,” he explained.

Beyond honoring his own mother, Nesbeth hopes the track resonates with listeners who have experienced the loss of a parent, creating space for them to process their own grief and find connection. “I want them to feel seen and understood. If they’ve lost someone, especially a mother, I want them to know they’re not alone. I want the song to take them through emotions — pain, love, reflection, but also healing,” he added.

Looking forward to the next chapter of his creative journey, Nesbeth has already revealed plans for his next release, which will continue his focus on heartfelt, real-life familial themes. Titled *Daddy Love* and produced by DJ Teddy Productions, the upcoming track will shift focus to the impact of fatherhood, continuing the artist’s exploration of personal, universal human experience through reggae.

To mark Mother’s Day, Jamaica-based Observer Online is shining a spotlight on five extraordinary women whose unheralded contributions laid the foundation and drove the evolution of reggae music, a cultural export that has resonated with audiences across the globe. These trailblazers, often overlooked in mainstream narratives of reggae history, shaped the genre from behind the scenes, on stages, and in recording studios, leaving an enduring legacy that continues to influence artists today.

The first, Louise “Miss Lou” Bennett Coverley, is widely regarded by many cultural scholars as the world’s first dub poet. A fierce advocate for Jamaican identity, Miss Lou dedicated her career to normalizing the use of Jamaican Patois in broadcast media and formal education, breaking down longstanding social stigma around the nation’s native dialect. Her witty, incisive works including *Nuh Lickle Twang* and *Dry Foot Bwoy* offered unfiltered, vivid snapshots of the collective social consciousness of Jamaica in the years leading up to the nation’s independence. By the 1970s, her work had become a core inspiration for a new generation of revolutionary poets and reggae artists including Mutabaruka and Yasus Afari, both of whom also drew influence from Rastafarian teachings.

Speaking to the *Jamaica Observer* in 2019, the centenary year of Miss Lou’s birth, Afari reflected on her unparalleled impact: “Miss Lou is the neuro-linguistic mother of the Jamaican language and culture, so we have to honour her every morning when the sun rises and in the evening when the moon goes down. This year marks 100 years since her birth; it’s a landmark year, and we are the beneficiaries of her brilliance and advocacy.” Though Miss Lou never recorded her own reggae tracks, she played a critical role in elevating the genre and lifting up young Jamaican talent through her popular weekly variety show *Ring Ding*, which aired on the Jamaica Broadcasting Corporation throughout the 1970s. She passed away in Toronto, Canada, in July 2006 at the age of 87.

Next is Doris Darlington, a descendant of Jamaica’s legendary Maroon community and mother of Clement “Coxson” Dodd, who is widely considered one of the most influential producers in reggae history. Known affectionately as Nanny, in honor of the iconic Maroon freedom fighter and Jamaican National Hero, Darlington was a silent but foundational partner in her son’s pioneering Studio One sound system and record label. Before her work in music, she operated a well-known restaurant and liquor store in downtown Kingston, later opening Music Land, a popular record shop in Spanish Town.

Dodd consistently credited Darlington as the “founding mother” of reggae. For decades, she was a constant, familiar presence at Studio One’s Brentford Road headquarters in Kingston, helping to sell records from the label’s now-iconic catalogue of releases. She was even at Dodd’s side when he closed a landmark distribution deal with U.S.-based label Heartbeat Records, which brought Studio One’s vast reggae catalogue to mainstream audiences across the United States and Europe. Darlington passed away in 1998, leaving behind a legacy that shaped the genre’s global reach.

Patricia “Miss Pat” Chin, the matriarch of two of reggae’s most influential labels, Randy’s Records and VP Records, built the world’s largest reggae distribution empire alongside her husband, Vincent “Randy” Chin. Born to a Chinese family that settled in Jamaica’s Portland parish in the early 1900s, Chin was working as a trainee nurse when she met Vincent in the late 1950s, at a time when he was repairing jukeboxes across Kingston and preparing to launch his own music production business.

The pair quickly formed a formidable partnership, opening Randy’s recording studio and record label in downtown Kingston. The space soon became a creative hub for some of reggae’s biggest emerging acts, including The Wailers, Lord Creator, The Skatalites, Augustus Pablo and Burning Spear. After the couple migrated to the United States, they launched VP Records in Queens, New York, in 1979. Today, the company stands as the world’s largest distributor of dancehall and reggae music globally. Last February, Chin was honored at the Embassy of Jamaica’s inaugural “Reggae Night” event in Washington, D.C., where she received a formal citation from Jamaica’s Ambassador to the U.S., Major General Antony Anderson, recognizing her “extraordinary contribution to the island’s music and culture”. Her memoir, *Miss Pat: My Reggae Music Journey*, was published in 2021 to wide acclaim.

Sonia Pottinger made history as reggae’s only major female producer during the genre’s golden age, building an impressive, genre-defining catalogue of releases through her three labels: Tip Top, High Note and Gay Feet. Pottinger entered the music industry in the late 1960s, scoring her first hit with Joe White’s ballad *Every Night*. She learned the ins and outs of music production from her husband, fellow producer L.O. Pottinger, and quickly built a reputation for spotting hit talent. Her early chart-topping releases included *Swing And Dine* by The Melodians, *Hard to Confess* by The Gaylads, *That’s Life* by Delano Stewart, and *Guns Fever* by The Silvertones.

A sharp, savvy businesswoman, Pottinger made one of the most important moves of her career in 1974, when she purchased the entire Treasure Isle catalogue from the estate of iconic producer Arthur “Duke” Reid, shortly after Reid’s death, preserving a critical collection of early reggae recordings for future generations. Throughout the 1970s, she scored dozens of hit releases with legendary artists including Marcia Griffiths, for whom she produced tracks like *Dreamland*, *Hurting Inside* and *Stepping Out of Babylon*, and Culture, who recorded *Natty Never Get Weary* and *Stop The Fussing and Fighting* under her label.

Errol Brown, Pottinger’s lead engineer throughout the 1970s, recalled her no-nonsense, passionate approach to music production in a 2003 interview with the *Jamaica Observer*: “She loved the music … loved it too much. She knew what she wanted in the studio, and had a lot of respect for the musicians.” A recipient of Jamaica’s Order of Distinction for her contributions to national culture, Pottinger passed away in November 2010 at the age of 79.

The most contemporary figure on the list, Sister Nancy, pioneered the path for women in the deejay space, and her iconic work continues to gain new audiences decades after its release. In April 2025, VPAL Music reissued her groundbreaking 1982 debut album *One, Two*, which features her career-defining breakthrough hit *Bam Bam*. Produced by Winston Riley for Techniques Records, one of the leading Jamaican labels of the 1980s, *One, Two* marked the first mainstream breakthrough for a female deejay, setting a template for generations of women in reggae and dancehall including Lady G, Sister Charmaine, Shelly Thunder, and Lady Saw.

Like her brother Brigadier Jerry, Sister Nancy got her start performing on Kingston’s sound system circuit. When *Bam Bam* dropped more than 40 years ago, it was an immediate hit in Jamaica, as well as in reggae communities across the United States and United Kingdom. The track’s surprising cultural resurgence began in 1998, one year after Sister Nancy migrated to the U.S., when it was featured in the hit film *Belly*. In 2007, it found a new, younger audience among skateboarders when it was included in the soundtrack for the popular video game *Skate*. Since then, *Bam Bam* has appeared in a national Reebok television commercial, major feature films including *The Interview*, and the hit Netflix series *Ozark*. It has also been sampled by global superstars including Jay Z, Kanye West, and Lizzo.

In a 2017 interview with *Vibe Magazine*, Sister Nancy reflected on the track’s unexpected lasting success: “Living in Jamaica, I never heard *Bam Bam*. When I migrated here (United States) in 1997 that’s how I saw how big it was.” On May 8, *Bam Bam* was officially certified gold by the British Phonographic Industry, surpassing 400,000 units in combined sales and streams across the United Kingdom.

Four decades after its first vinyl pressing and nearly two decades since its digital debut, Sister Nancy’s iconic reggae track *Bam Bam* has hit a landmark career achievement, earning gold certification from the British Phonographic Industry (BPI) in the United Kingdom. The honor was officially granted on May 8, marking the track’s crossing of the 400,000 unit threshold for combined sales and streaming equivalent units. Now based in the United States, the legendary reggae artist expressed humble gratitude for the track’s enduring, cross-generational success in an earlier interview with Observer Online.

“I’m grateful and appreciative and say congratulations Bam Bam. Keep climbing to new heights,” she shared.

The road to this latest milestone began unexpectedly in 1982, when *Bam Bam* was added as a last-minute track to Sister Nancy’s debut album *One, Two*, recorded at Kingston’s world-famous Channel One Studios. Produced by iconic Jamaican producer Winston Riley and released through his Techniques label, the recording session was defined by the effortless, organic energy that defined 1980s Jamaican reggae production. Sister Nancy recalled that the full ensemble of legendary session musicians played together live in the studio, creating an unmatchable creative vibe. That ensemble included some of reggae’s most renowned names: Errol ‘Flabba’ Holt, Robbie Shakespeare, Carlton ‘Santa’ Davis, Sly Dunbar, Lincoln ‘Style’ Scott, Ansel Collins, Wycliffe ‘Steelie’ Johnson, Winston Wright, Marvin Brooks, Christopher ‘Sky Juice’ Blake, Dean Fraser and Ronald ‘Namboo’ Robinson, all of whom contributed to the album’s timeless sound.

Over the decades, *Bam Bam* has transcended its origins as a deep reggae cut to become a globally recognized cultural touchstone. It opened the 1998 cult crime drama *Belly* from director Hype Williams, and has been sampled repeatedly by hip-hop and pop artists looking to tap into its iconic riddim. One of the highest-profile samples came from rap legend Jay-Z, who wove the track’s core elements into his 2017 song *Bam* off the critically acclaimed album *4:44*. That Jay-Z track went on to chart in the UK, as well as on Billboard’s U.S. Hot 100 and Hot R&B/Hip-Hop Songs rankings, introducing *Bam Bam* to a new generation of hip-hop fans.

Sister Nancy, born Ophlin Russell, says she never could have predicted the track’s decades-long popularity when she recorded it. “No, I did not know, but it did and I’m thankful,” she said. When asked what makes the track resonate so deeply with listeners across genres and regions, she pointed to its iconic core: “I think it’s the voice and the riddim pitch.”

The artist grew up in Jamaica’s St. Andrew parish before relocating to the U.S. in the mid-1990s, where she worked as an accountant for a New Jersey-based band before returning to music full-time more than a decade ago. *Bam Bam* is far from her only hit, with fan favorites including *Transport Connection* and the album’s title track *One, Two* also earning lasting acclaim.

Industry recognition of the track’s legacy has grown steadily over the past decade. In 2016, *Billboard* magazine named *Bam Bam* a “strong contender for the title of most sampled reggae song of all time.” Five years later, Rolling Stone placed the track at number 454 on its updated ranking of the “500 Greatest Songs of All Time”, cementing its place in global music history.

Most recently, a fresh reimagining of the track has earned new chart success, proving its ongoing cross-genre appeal. A new Afrobeat-house-techno fusion rework titled *Jamaican (Bam Bam)*, produced by HUGEL and SOLTO, was released last November. The rework peaked at number 50 on the UK charts and hit number two on Billboard’s U.S. World Digital Song Sales chart, and it remains in rotation on regional charts across Central America, Latin America, and multiple European markets.

KINGSTON, Jamaica — For more than three decades, Emanuel Stain has chased a breakthrough in Jamaica’s competitive popular music industry, and at 52, the veteran artist says his hunger for a career-defining hit has never faded. Fully aware that the modern popular music space leans heavily on youth appeal and curated public image to drive success, Stain remains unshakably optimistic that his moment in the spotlight is still on the horizon.

Stain first came within touching distance of major success in the late 1990s, when he entered the studio to cut a track for one of Jamaica’s most in-demand producers at the time, Dave Kelly. But that recording, a track titled *Medicine*, never made it to the public. Speaking in a recent interview with Observer Online, Stain reflected on the missed opportunity that altered the trajectory of his early career.

“Dave Kelly was the hottest producer on the scene when I recorded *Medicine*. When we finished the track, it was supposed to be part of a compilation, but it just never ended up there, and I still don’t know exactly why that happened,” he explained. “That was a chance to change everything for me right out of the gate. Losing that break was a huge setback, and I had to work hard to find a way past it. But everything happens on its own timeline, right? I’m still here, I’m still making new music, and I still believe I’ll get that hit I’ve been chasing.”

When asked why he has not yet been able to reach his full potential in the industry, Stain pointed to systemic gaps in support that have held his career back, rather than a lack of natural talent. He has long been confident in his musical abilities, he says, but the industry requires far more than raw skill to succeed.

“I’ve always known what I can do with my music. The biggest challenge for me has always been the lack of support around me, whether that’s backing from industry insiders, financial investment, or the right connections at exactly the right time,” Stain said. “Talent alone can only get you so far. If you don’t have the right team and the right infrastructure behind you, it’s an uphill battle every step of the way. But I’ve never stopped believing in the gift I’ve been given.”

He also openly acknowledged that the modern music business prioritizes public image as much, if not more, than it does musical talent. “Image absolutely plays a major role, and I won’t pretend that isn’t true,” he noted. “You can have all the talent in the world, but if your public persona doesn’t resonate with audiences, breaking through becomes almost impossible. The reality is that image and talent have to work together. If you only have one, you’re incomplete in this industry.”

Stain launched his professional music career all the way back in 1992, and over the 31 years since, his journey has been marked by far more disappointment than mainstream success. Still, he has refused to step away from the craft he loves, and he has just dropped three brand new tracks to market: *Dis Year*, produced by Nah Give Up Production; *Never Again*, helmed by Junavil Records; and *Remember to Praise Him*, produced by Crushdem Records.

Stain says he is grateful for the collaborative partnerships that made the new releases possible, and proud of the work they created together. The artist emphasizes that his work centers on uplifting, positive messaging, rather than provocative content that has become common in mainstream music.

“I bring good messages, positive vibes, and clean energy to everything I make. My music is uplifting—it speaks to the spirit and to the soul,” he said. “I also make it a point to lift up other emerging artists along the way. For me, music is all about building people up, not just building my own career.”

Born Samuel Everton Williams in the parish of Clarendon, Jamaica, Stain first discovered his passion and natural talent for music during his school years, at Old Harbour Primary and May Pen High. Over his decades-long career, he has graced the stage of some of Jamaica’s most iconic annual stage shows, including Sting, Stars in Action and Rebel Salute, building a small but loyal base of fans along the way.

KINGSTON, Jamaica — Organizers of the Mini Miss Kingston and St Andrew Heritage Queen Pageant have officially opened applications for this year’s competition, calling on talented, self-assured young women with a passion for Jamaican culture to step forward and seize the opportunity to compete on a prestigious, youth-focused platform that blends national heritage celebration with personal empowerment.

As a parish-level qualifying event, this pageant serves as the gateway to the national Mini Miss Jamaica Heritage Queen Pageant, an initiative formally endorsed by the Jamaica Cultural Development Commission (JCDC). The winner of the parish contest will earn the right to represent Kingston and St Andrew at the national showcase, competing against other regional delegates for the highly sought-after national title.

Looking back on the 2025 competition, last year’s Kingston and St Andrew delegate Annorah Brown, a student at Campion College, delivered a standout performance that earned the parish national recognition when she claimed second runner-up at the national finals. Her achievement has set a high bar for this year’s crop of aspiring contestants, organizers say.

Stephanie Elliott-Gunning, Parish Director for the Kingston and St Andrew pageant, shared her enthusiastic outlook on the upcoming staging. “Last year’s success has been a huge source of inspiration for our team, and we’re working not just to match that milestone, but to exceed it this time around,” she explained in an interview. “Recruitment is currently underway, and we’re actively encouraging parents and guardians to introduce their daughters to this uniquely enriching experience.”

Elliott-Gunning added that event planning is already moving forward at a steady pace, with parish finals tentatively scheduled to take place in August 2026. To stay on track for this timeline, she noted, the team must move quickly to recruit, select, and prepare participating delegates ahead of the contest.

Parents and guardians of interested contestants can initiate the registration process by calling 876-449-4179 to get full information on eligibility, requirements, and event logistics. The final deadline for all applications is set for May 22, 2026.

The national Mini Miss Jamaica Heritage Queen Pageant has grown from decades of local roots: it operated for more than 20 years as the Mini Miss St Ann Heritage Queen Pageant under the leadership of founder Damion Duckett before holding its first successful nation-wide staging in 2025. Today, the competition remains committed to its core mission of creating a supportive, meaningful space for young girls to build critical life skills including public confidence, cultural literacy, and polished stage presence. Media professionals seeking additional information about the 2026 Kingston and St Andrew pageant can direct inquiries to Elliott-Gunning.

Jamaica’s celebrated gospel community is mourning the loss of one of its most distinctive and beloved voices, David ‘Kukudoo’ McDermott, who passed away after a short, aggressive battle with non-Hodgkin lymphoma. The singer’s family officially confirmed his death in a statement posted to his social media channels on Friday, bringing an outpouring of tributes from fans, peers and public figures across the island and beyond.

McDermott was 56 years old, and leaves behind three children who survive him. The family’s post conveyed profound grief while asking for privacy as they process their loss: “It is with a heavy heart that we, the family of David ‘Kukudoo’ McDermott, have to tell the public that he passed this morning…at this time we ask for grace and respect in our time of grief.”

The beloved performer was only diagnosed with the blood cancer in late February of this year. According to his long-time manager Nicholas Marks, who began working with McDermott in 2018, delays in critical testing and the singer’s rapidly declining health cut short any chance of life-saving treatment. Speaking to the Jamaica Observer in an emotional interview, Marks explained, “The tests were sent to Florida to determine the best course of action to treat him but we never got back the results in time, it was supposed to take six weeks. David was too weak to do chemotherapy…he just ran out of time.”

Non-Hodgkin lymphoma is a widespread form of blood cancer that develops in the lymphatic system, occurring when infection-fighting white blood cells called lymphocytes mutate and begin to multiply uncontrollably, often forming solid tumors in the lymph nodes.

Beyond his talent as a performer, Marks remembered McDermott as a deeply authentic, driven person who poured his entire heart into every project he took on, especially his music. For years, the pair had been working toward releasing McDermott’s final studio album, titled *Life’s Journey*, a project that was repeatedly put on hold as the singer’s health declined. Three years after work began, only 10 of the planned 12 tracks had been completed when McDermott died. Marks remains committed to releasing the unfinished project, saying he believes it carries a special, greater purpose: “This album must have some greater purpose. From we decided to do the album he began to get sick; yuh cyaan tell me it don’t have a purpose.” This year, the pair had ramped up efforts to complete the record before his passing.

McDermott’s road to gospel stardom began with humble roots. Before launching his full-time music career, he worked as a machine operator at the now-shuttered Bernard Lodge Sugar Estate. He got his start performing at traditional Jamaican nine-night funeral wakes, known locally as dead yards, performing under the early stage name King David. His breakthrough came by chance one evening when a church band was playing a nine-night gig: a sound engineer recorded his impromptu performance, pressed it to a CD, and within weeks, tracks like *See People Business* and *Leave It Alone* dominated local radio airplay, becoming staples on public transportation across Jamaica. The once little-known performer was now a rising star.

His career quickly grew into a full-time calling, and he became a permanent fixture at the annual Jamaica Independence Gala, where he won over crowds with his signature blend of rousing mento-influenced gospel music. He built a large international fanbase, particularly in the United States, and is widely recognized as one of the most influential Jamaican gospel artists of his generation. “When you mention any gospel artiste out of Jamaica, Kukudoo has to be part of the conversation, he has to be mentioned. He was a wonderful performer and a genuine individual,” Marks added.

Jamaica’s Minister of Culture and Entertainment Olivia Grange was among the public figures to share her sorrow at the news of McDermott’s passing, honoring his outsized impact on Jamaican culture. She hailed him as “a cultural force whose work celebrated African-derived spiritual traditions within Jamaican society.” Grange noted that his music resonated with people across every generation and social group, adding that his passing is “a great loss and he would be sorely missed.”

Grammy Award-winning reggae recording artist Stephen Marley has exciting news for music and culture fans alike: his highly anticipated new solo single, *Hills of St Ann*, is scheduled for global release on May 8, 2026, through his independent label Ghetto Youths International. This upcoming track is far more than just a new standalone release—it serves as the first official preview of a full-length compilation project curated and produced by Marley himself. What makes this initiative unique is its intentional fusion of immersive musical composition and vivid cultural storytelling, with a core mission to shine a global spotlight on Jamaica’s extraordinary cultural heritage, breathtaking natural landscapes, and one-of-a-kind global cultural identity. The entire full-length compilation is framed as a sprawling, loving tribute to “Brand Jamaica,” honoring everything from the island’s centuries-old cultural roots to the stunning terrain that has sparked creative inspiration for countless generations of artists, thinkers, and creators. Diving into the details of the lead single, *Hills of St Ann* emerges as a soul-stirring acoustic guitar ballad, layered with the resonant, powerful Nyahbinghi drum rhythms that form a foundational part of traditional Jamaican reggae and Rastafarian musical practice. The track’s immersive sound design is crafted to transport listeners directly to Nine Mile, the quiet rural town in Saint Ann Parish that holds iconic status as the birthplace of reggae legend Bob Marley, Stephen Marley’s father. Blending intimate, personal lyrical storytelling with deeply rooted Jamaican musical tradition, the single delivers both raw emotional depth and uncompromising cultural authenticity that connects contemporary reggae to its foundational roots. The track’s creative credits reveal Marley’s hands-on involvement across multiple roles: he performs drums, bass guitar, and the signature Nyabinghi drums heard throughout the track. Completing the core recording lineup are Ranoy Gordon on lead acoustic guitar, Llamar Brown on keyboards, with rich layered backing vocals contributed by acclaimed vocalist Sherieta Lewis. Final recording and mixing engineering for the track was completed by sound engineer Adiambo Riley, who polished the production to balance organic, traditional instrumentation with modern clarity.

Dancehall music fans around the world are waking up to a groundbreaking new hit from rising artist Shawn Storm, whose latest single “Treason” has surged past global superstars to claim top positions on major United States iTunes charts. Released on March 14 under the Richboss Records label helmed by producer Richboss, the track has already outperformed every previous release in Shawn Storm’s career, marking a major career turning point for the artist. As the lead single from Shawn Storm’s recently dropped seven-track EP *Growth*, which debuted globally on May 1, “Treason” has earned unprecedented milestones for the dancehall act. Producer Richboss, who was born Travis Martin in St Mary, Jamaica and operates his label out of Portland, Oregon, shared that the single knocked out Bad Bunny’s Super Bowl halftime show track to claim the number 1 spot on the iTunes U.S. all-genre chart, while also topping the platform’s Reggae Music Video Chart. The milestone comes on the heels of a difficult period for Shawn Storm, who previously spent 13 years incarcerated alongside iconic dancehall artist Vybz Kartel. Reflecting on the artist’s remarkable journey from a prison cell to the top of the U.S. music charts, Richboss emphasized that the success is a testament to faith and second chances. Since its full release, the entire *Growth* EP has continued to perform exceptionally well on music charts across multiple regions, building on the momentum generated by its breakout lead single. For fans hoping to stream or download the hit, “Treason” is currently available on every major digital music platform worldwide, alongside the full collection of tracks on the *Growth* EP.