Editing Dancehall (section)

==History==

=== Lead ===
Dancehall is named after Jamaican [[Dance hall (Jamaican)|dance hall]]s in which popular Jamaican recordings were played by local [[sound system (Jamaican)|sound systems]].<ref>{{cite web|url=http://www.top5jamaica.com/category/Sound+Systems/|title=Top5 Jamaica – Jamaican Sound System Websites|website=Top5jamaica.com|access-date=19 March 2019|archive-url=https://web.archive.org/web/20190125055208/http://www.top5jamaica.com/category/Sound+Systems/|archive-date=25 January 2019|url-status=live}}</ref> It both refers to the music and dance style.<ref name=":11">{{Cite web |last=studios |first=shey |date=2021-09-02 |title=Everything You Need to Know About Dancehall |url=https://www.sheydancestudios.com/post/everything-you-need-to-know-about-dancehall |access-date=2023-12-09 |website=Shey Studios |language=en}}</ref> It faced criticism for negatively influencing Jamaican culture and portraying gangster lifestyles in a praiseworthy way.{{citation needed|date=May 2024}}

=== Early developments - Early 1970s ===
Dancehall music, also called ragga, is a style of Jamaican popular music that had its genesis in the political turbulence of the late 1970s and became Jamaica's dominant music in the 1980s and '90s. It was also originally called Bashment music when Jamaican dancehalls began to gain popularity.<ref name=":11" />

They began in the late 1970s among lower and working-class people from the inner city of [[Kingston, Jamaica|Kingston]], who were not able to participate in dances uptown.<ref>{{cite book|title=Sound clash: Jamaican dancehall culture at large |first=Carolyn |last=Cooper |isbn=978-1-4039-6424-3}}{{page needed|date=February 2025}}</ref> Social and political changes in late-1970s Jamaica, including the change from the [[socialism|socialist]] government of [[Michael Manley]] ([[People's National Party]]) to [[Edward Seaga]] ([[Jamaica Labour Party]]),<ref name="Barrow" /> were reflected in the shift away from the more internationally oriented [[roots reggae]] towards a style geared more towards local consumption and in tune with the music that Jamaicans had experienced when sound systems performed live.<ref name="Thompson">{{cite book|last=Thompson|first= Dave|year=2002|title=Reggae & Caribbean Music|publisher=Backbeat Books |isbn=0-87930-655-6}}{{page needed|date=February 2025}}</ref>

Themes of social injustice, repatriation and the [[Rastafari movement]] were overtaken by lyrics about dancing, violence and sexuality.<ref name="Barrow" /><ref name="Thompson" /><ref>{{cite book|first=Donna P.|last= Hope |title= Inna di Dancehall: Popular Culture and the Politics of Identity in Jamaica|publisher= UWI Press|year= 2006}}{{page needed|date=February 2025}}.</ref> Though the revolutionary spirit was present in Jamaica due to this social upheaval, the radio was very conservative and failed to play the people's music. It was this gap that the sound system was able to fill with music that the average Jamaican was more interested in.<ref name="Brewster, Bill 2014">{{cite book|page=119|last1=Brewster |first1=Bill|authorlink=Bill Brewster (DJ)|first2= Frank|last2=Broughton |title=[[Last Night a DJ Saved My Life (book)|Last Night a DJ Saved My Life: the History of the Disc Jockey]]|publisher=Grove Press|year= 2014}}<br>
– {{cite web|url=http://groveatlantic.com/book/last-night-a-dj-saved-my-life/|title=Last Night a DJ Saved My Life |website=Excerpts|access-date=19 March 2019|publisher=[[Grove Atlantic]]|archive-url=https://web.archive.org/web/20190414180435/https://groveatlantic.com/book/last-night-a-dj-saved-my-life/|archive-date=14 April 2019|url-status=live}}</ref> Alongside this music was the addition of the fashion, art, and dance that came along with it. This made Dancehall both a genre, and a way of life.<ref name=":12">{{Cite web |title=The Essential Guide to Dancehall |url=https://daily.redbullmusicacademy.com/2019/07/essential-guide-to-dancehall |access-date=2023-12-09 |date=July 10, 2019 |last= Taylor |first=Sharine |publisher=[[Red Bull Music Academy]]|website=Features}}</ref>

In contrast to roots reggae, which aimed for respectability and international recognition, dancehall did not hesitate in dealing with the day-by-day realities and basal interests of the average Jamaican—especially that of lower classes—and observing society in a provocative, gritty, and often vulgar manner. Since this put spreading via radio out of the question, dancehall initially gained popularity only through live performances in sound systems and specialized record dealing.<ref>{{cite book | last = Potash | first = Chris | date = 1997 | title = Reggae, Rasta, revolution: Jamaican music from ska to dub |url= https://books.google.com/books?id=_V5aAAAAMAAJ|location = New York | publisher = Schirmer Books | pages = 189–191 | isbn = 9780028647289}}</ref>

Dancehall's violent lyrics, which garnered the genre much criticism since its very inception, stem from the political turbulence and gang violence of late 1970s Jamaica.<ref name=":12" />

In the early days of dancehall, the prerecorded rhythm tracks (bass guitar and drums) or "dub" that the deejay would rap or "toast" over came from earlier reggae songs from the 1960s and 1970s. Ragga, specifically, refers to modern dancehall, where a deejay particularly toasts over digital (electrical) rhythms.<ref name=":12" />

===Origination from the DJ scene===
Sound systems and the development of other musical technology heavily influenced dancehall music. The music was needed to "get where the radio didn't reach" because Jamaicans often were outside without radios.<ref>{{Cite journal|last=Henriques|first=Julian|author-link=Julian Henriques|date=2008|title=Sonic diaspora, vibrations, and rhythm: thinking through the sounding of the Jamaican dancehall session|url=http://research.gold.ac.uk/4259/1/HenriquesSonicDiaspora%2A%2A.pdf|journal=African and Black Diaspora|volume=1|issue=2|pages=215–236|doi=10.1080/17528630802224163|s2cid=14966354|via=Routledge: Taylor and Francis Group|access-date=2019-09-17|archive-url=https://web.archive.org/web/20190221054807/http://research.gold.ac.uk/4259/1/HenriquesSonicDiaspora**.pdf|archive-date=2019-02-21|url-status=live}}</ref> Yet they eventually found their way into the streets. However, because the audience of dancehall sessions were lower-class people, it was extremely important that they be able to hear music. Sound systems allowed people to listen to music without having to buy a radio. Therefore, the dancehall culture grew as the use of technology and sound systems got better.
[[File:Dizzy Dee & Dancehall artist Slicker 1.jpg|thumb|Dizzy Dee & Slicker]]
The Jamaican dancehall scene was one created out of creativity and a desire for accessibility, and one that is inseparable from sound system culture. The term 'Dancehall', while now typically used in reference to the specific and uniquely Jamaican genre of music, originally referred to a physical location. This location was always an open-air venue from which DJs and later "Toasters", a precursor to MCs, could perform their original mixes and songs for their audience via their sound systems.<ref>Henriques, J. (2008). Sonic diaspora, vibrations, and rhythm: thinking through the sounding of the Jamaican dancehall session. African and Black Diaspora, 1(2), 215–236.</ref> The openness of the venue paired with the innately mobile nature of the sound system, allowed performers to come to the people. Inner city communities were able to gather for fun and celebration. It was all about experiencing a vibrant and trendsetting movement.<ref>{{Cite web |last=Harris |first=Michael Sean |date=2022-08-26 |title=Beyond dancehall: Exploring its influences, impact, and identity |url=https://splice.com/blog/beyond-dancehall/ |access-date=2023-12-09 |website=Blog {{!}} Splice |language=en-US}}</ref>

[[Krista Thompson (art historian)|Krista Thompson]]'s book ''Shine'' further expresses the experience of this trendsetting movement and how particularly women were able to confront gender ideologies to enact change. The use of video light specifically was a way to express  oneself and seek visibility in the social sphere in order to be recognized as citizens in a postcolonial Jamaican society.<ref>{{Cite book |last=Thompson |first=Krista |title=Shine |publisher=Duke University Press |year=2015}}</ref>

At the onset of the dancehall scene, sound systems were the only way that some Jamaican audiences might hear the latest songs from a popular artist. Through time, it transformed to where the purveyors of the sound systems were the artists themselves and they became whom the people came to see along with their own original sounds. With the extreme volume and low bass frequencies of the sound systems local people might very well feel the vibrations of the sounds before they could even hear them, though the sound itself did travel for miles.<ref>Natal, B. (2009). Dub echoes. Soul Jazz Records, 1.</ref> This visceral sensory pleasure acted as an auditory beacon, redefining musical experience.<ref>{{Cite journal|last=Henriques|first=Julian|date=July 2008|title=Sonic diaspora, vibrations, and rhythm: thinking through the sounding of the Jamaican dancehall session|journal=African and Black Diaspora|language=en|volume=1|issue=2|pages=215–236|doi=10.1080/17528630802224163|s2cid=14966354|issn=1752-8631|url=https://research.gold.ac.uk/4259/1/HenriquesSonicDiaspora%2A%2A.pdf|access-date=2020-08-29|archive-date=2019-02-21|archive-url=https://web.archive.org/web/20190221054807/http://research.gold.ac.uk/4259/1/HenriquesSonicDiaspora**.pdf|url-status=live}}</ref>

Jamaica was one of the first cultures to pioneer the concept of remixing. As a result, production level and sound system quality were critical to Jamaica's budding music industry. Since many locals couldn't afford sound systems in their home, listening to one at a dance party or at a festival was their entry into audible bliss. Stage shows were also an entry for exposing artists to bigger audiences.<ref name=":12"/>

Writer Brougtton and Brewster's book ''[[Last Night a DJ Saved My Life (book)|Last Night a DJ Saved My Life]]'' states that sound systems were a product of Jamaican social lifestyle. The success of music wasn't just in the hands of one person anymore, it was a factor of the DJ, speaking poetic words to the audience, the Selector, harmonizing beats in an aesthetically pleasing way, and the Sound Engineer, wiring the sound systems to handle deeper and louder bass tones. Music became a factor of many elements and the physicality of that sound was a strategic puzzle left for musicians to solve.<ref name="Brewster, Bill 2014" />

=== 1980s–1990s (The Naming) ===
If you read the archives of the Jamaica Gleaner Newspaper you will begin to realize the context written; there was a venue like the lawns where music was played and a style on the rhythms but it was different from what was being "projected" as Reggae and had no name until Michael Tomlinson head of InnerCity Promotion and Lois Grant(Partners at the time) staged an event that changed the culture titled "DanceHall" one word... Before this event Dance And Hall (two words) were used in Jamaican lingo; but it did not represent the music of the culture but rather the venue where music was played. Their promotion company through a series of concerts led to the then emerging music which they labelled, "DanceHall" with the year of its staging, creating a platform for artists to be seen and heard. From 1982 The team started a series called "Saturday Nite Live" at Harbour View Drive-In. Promoting one of Jamaica's finest acts alongside a US soul group. That year '83 it was Gladys Knight & the Pips that headlined the initial concert and the showcase also featured boxing presentations from Muhammad Ali. The tested events were so successful that the next step was to officially launch the name of the series "DanceHall."InnerCity Promotions was responsible for establishing and promoting numerous events which was significant because it marked the beginnings of the music's recognition as the "DanceHall" genre. Mr. Tomlinson triumph is one to share for generations as he opened the door for a new art in a sense to emerge from it beginnings. The journey began with massive opposition received from those who wanted to control the space of entertainment to journalist, radio and TV managers, some who refused to run the commercials or play the music to promote the DanceHall series. The series continued into the early 1990s, the team Michael "Savage" Tomlinson and Lois Grant played an important role in nurturing and promoting the young talents of the inner city and sound system culture. Through their DanceHall live concerts, many performers found a place to use their voice and make a mark due to the opportunities afforded by InnerCity Promotions.[26] This is from the International Reggae Awards special awarded honors(irawma awards).[26]

Sound systems such as Killimanjaro, [[Black Scorpio]], Silver Hawk, Gemini Disco, Virgo Hi-Fi, Volcano Hi-Power and Aces International soon capitalized on the new sound and introduced a new wave of [[Toasting (Jamaican music)|deejays]].<ref name="Barrow" /> The older toasters were overtaken by new stars such as [[Captain Sinbad]], [[Ranking Joe]], [[Clint Eastwood (musician)|Clint Eastwood]], [[Lone Ranger (musician)|Lone Ranger]], [[Josey Wales (singer)|Josey Wales]], [[Charlie Chaplin (singer)|Charlie Chaplin]], [[General Echo]] and [[Yellowman]] — a change reflected by the 1981 Junjo Lawes-produced album ''A Whole New Generation of DJs'', although many went back to [[U-Roy]] for inspiration.<ref name="Barrow" /><ref name="Thompson" /> He utilized talking over or under a "[[riddim]]" which is now known as the deejay's seductive chant, part talking and part singing.<ref name="britannica.com">{{Cite web |title=Dancehall music {{!}} Reggae, Jamaica, Culture {{!}} Britannica |url=https://www.britannica.com/art/dancehall-music |access-date=2023-12-09 |website=www.britannica.com |language=en}}</ref> Deejay records became, for the first time, more important than records featuring singers.<ref name="Barrow" /> Another trend was [[sound clash]] albums, featuring rival deejays or sound systems competing head-to-head for the appreciation of a live audience, with underground sound clash cassettes often documenting the violence that came with such rivalries.<ref name="Thompson" />
[[File:Yellowman backed by Sagittarius Band, Bersenbrueck 2007 -1 (cropped).jpg|thumb|Yellowman backed by Sagittarius Band, Bersenbrueck 2007]]
Yellowman, one of the most successful early dancehall artists, became the first Jamaican deejay to be signed to a major American record label, and for a time enjoyed a level of popularity in Jamaica to rival [[Bob Marley]]'s peak.<ref name="Barrow" /><ref name="Thompson" /> Yellowman often incorporated sexually explicit lyrics into his songs, which became known as "slackness." He did this to address his radical opinions on society through sex and politics due to the failed Jamaican experiment of socialism while under Prime Minister Michael Manley.<ref name="britannica.com"/>

The early 1980s also saw the emergence of female deejays in dancehall music, such as [[Lady G]], [[Lady Saw]], and [[Sister Nancy]]. Other female dancehall stars include artistes like [[Diana King]] and in the late 1990s to the 2000s [[Ce'cile]], [[Spice (musician)|Spice]], [[Macka Diamond]] and more.
<ref name="Thompson" /><ref>{{Cite journal |last=Oumano |first=Elena |date=September 1993 |title=Daughters of the Dance |url=https://books.google.com/books?id=IigEAAAAMBAJ&q=Sister+Charmaine+lady+g&pg=PT86 |url-status=live |journal=Vibe |pages=83–87 |archive-url=https://web.archive.org/web/20201008195005/https://books.google.com/books?id=IigEAAAAMBAJ&pg=PT86&dq=Sister+Charmaine+lady+g&cd=1 |archive-date=2020-10-08 |access-date=2020-08-29}}</ref> [[Beenie Man]], [[Bounty Killer]], [[Mad Cobra]],<ref>{{cite web |title=Mad Cobra |url=https://www.slacker.com/artist/mad-cobra |url-status=live |archive-url=https://web.archive.org/web/20190416081023/https://www.slacker.com/artist/mad-cobra |archive-date=16 April 2019 |access-date=19 March 2019 |website=Slacker Radio}}</ref> [[Ninjaman]], [[Buju Banton]], and [[Super Cat]] becoming major DJs in Jamaica.

With a little help from deejay sound, "sweet sing" (falsetto voice) singers such as [[Pinchers]], [[Cocoa Tea]], [[Sanchez (singer)|Sanchez]], [[Admiral Tibet]], Frankie Paul, Half Pint, Courtney Melody, and [[Barrington Levy]] were popular in Jamaica.

Nearing the end of the 1980s, Jamaican Dancehall artists gained a lot of appeal through their no-nonsense music. This expanded the genre's reach beyond the [[Jamaica|Land of Wood and Water]]'s borders. The main appeal of Dancehall was the music, and so it gained a lot of popularity overtime. Back in Jamaica hand-made posters were used not just to pull in would-be attendees to parties and dances.<ref name=":12"/> This process of making vibrant and colorful posters soon became an icon of the genre. It had helped in providing visual aesthetic of how Dancehalls had taken up the space and grown in the country.

[[King Jammy]]'s 1985 hit, "[[Sleng Teng|(Under Me) Sleng Teng]]" by [[Wayne Smith (musician)|Wayne Smith]], with an entirely-digital rhythm hook took the dancehall reggae world by storm. Many credit this song as being the first digital rhythm in reggae, featuring a rhythm from a digital keyboard. However, The "Sleng Teng" rhythm was used in over 200 subsequent recordings. This deejay-led, largely synthesized chanting with musical accompaniment departed from traditional conceptions of Jamaican popular musical entertainment.

[[Dub poetry|Dub poet]] [[Mutabaruka]] said, "if 1970s reggae was red, green and gold, then in the next decade it was gold chains". It was far removed from reggae's gentle roots and culture, and there was much debate among purists as to whether it should be considered an extension of reggae.

This shift in style again saw the emergence of a new generation of artists, such as [[Sean Paul]], [[Capleton]], Beenie Man and [[Shabba Ranks]], who became famous [[ragga]] stars. A new set of producers also came to prominence: [[Philip "Fatis" Burrell]], [[Dave Kelly (producer)|Dave "Rude Boy" Kelly]], [[George Phang]], Hugh "Redman" James, [[Donovan Germain]], [[Robert Dixon (musician)|Bobby Digital]], Wycliffe "Steely" Johnson and Cleveland "Clevie" Brown (aka [[Steely & Clevie]]) rose to challenge [[Sly & Robbie]]'s position as Jamaica's leading rhythm section.

The faster tempo and simpler electronic beat of late-1980s and early-1990s dancehall greatly influenced the development of [[Reggae en Español]].

===2000s===
{{Main|Dancehall pop}}

By the early 2000s, Dancehall had gained mainstream popularity in Jamaica, as well as in the United States, Canada, Australasia and Western parts of Europe. There was also a big evolution in sound allowing artists to refine and broaden the genre. This was first seen with artists such as [[Sean Paul]] with his album "[[Dutty Rock]]",<ref>{{cite magazine |first=Rashaun |last=Hall|title='Light' and Hip-Hop Cameos Propel Sean Paul's VP/Atlantic Debut |magazine=[[Billboard (magazine)|Billboard]] |date=Nov 23, 2002 |page=16 |url=https://books.google.com/books?id=SA0EAAAAMBAJ&dq=dancehall+sean+paul+billboard&pg=PA16}}</ref> whose album single "[[Get Busy]]" (2003) became the first dancehall single to reach number one on the US [[Billboard Hot 100|''Billboard'' Hot 100]].

Unlike earlier Dancehall, this new evolution was characterized by structures of music commonly heard in mainstream [[pop music]], such as repeated choruses, melodic tunes, and [[Hook (music)|hooks]]. Some lyrics were cleaner and featured less sexual content and profanity.

At this point it was a part of the public consciousness. Cross-genre collaborations soon became normalized, with songs such as [[Beyoncé|Beyonce]] and [[Sean Paul]]'s 2003 hit "[[Baby Boy (Beyoncé song)|Baby Boy]]" and [[Beenie Man]] and [[Mya (singer)|Mya]]'s 2000 single "[[Girls Dem Sugar]]." Alongside this growth many crews were formed by men, women or a mixture of both. These crews created their own dances which developed fame in the Dancehall scene.

Some of the artists who popularised this new era of Dancehall were [[Bounty Killer]], [[Beenie Man]], [[Elephant Man (musician)|Elephant Man]], Shalkal Carty, [[Popcaan]], [[Vybz Kartel]], [[Konshens]], [[Mr. Vegas]], [[Mavado (singer)|Mavado]], [[Ward 21]], [[Marion Hall|Lady Saw]] and [[Spice (musician)|Spice]], some of whom saw international success. This success brought forward mainstream appeal toward Dancehall which lead into the genre's modern era.<ref name=":11"/>

===Modern era: 2015—present===
Dancehall saw a new wave of popularity in Western markets in the mid-late 2010s, with immense commercial success being achieved by a number of dancehall-pop singles, including  Rihanna's "[[Work (Rihanna song)|Work]]" (2016) and Drake's "[[One Dance]]" and "[[Controlla]]" (2016).<ref name=":0" /><ref name=":1" /><ref>{{Cite news|url=https://www.nme.com/blogs/nme-blogs/drakes-new-tracks-one-dance-pop-style-reviewed-9729|title=Drake's New Tracks 'One Dance' and 'Pop Style' Reviewed|date=2016-04-05|access-date=2017-01-12|language=en-US|newspaper=NME|archive-url=https://web.archive.org/web/20170116192102/http://www.nme.com/blogs/nme-blogs/drakes-new-tracks-one-dance-pop-style-reviewed-9729|archive-date=2017-01-16|url-status=live}}</ref><ref>{{Cite news|url=https://www.billboard.com/articles/news/dance/7616664/dancehall-charts-producers|title=Meet the Producers Who Brought Dancehall Back to the Charts In 2016|access-date=2017-01-12|newspaper=Billboard|archive-url=https://web.archive.org/web/20170118173817/http://www.billboard.com/articles/news/dance/7616664/dancehall-charts-producers|archive-date=2017-01-18|url-status=live}}</ref> Dancehall also reached the attention of many R&B artists who continued to change and evolve the genre.

A variety of western artists have spoken of being inspired by Dancehall music, including [[Major Lazer]], whose commercially successful singles [[Lean On]] (2015), [[Light It Up (Major Lazer song)|Light It Up]] (2015) and [[Run Up]] (2017) all heavily rely upon dancehall music. Several [[Hip hop music|hip-hop]] and [[Contemporary R&B|R&B]] artists have also released material inspired by dancehall music, including [[Drake (musician)|Drake]], who has cited Vybz Kartel as one of his "biggest inspirations."<ref>{{Cite news|url=https://www.rollingstone.com/music/features/vybz-kartel-still-ruling-dancehall-after-years-in-prison-w448510|title=Vybz Kartel Speaks: After Five Years in Prison, He Still Rules Dancehall|magazine=Rolling Stone|access-date=2017-03-26|archive-url=https://web.archive.org/web/20170202014830/http://www.rollingstone.com/music/features/vybz-kartel-still-ruling-dancehall-after-years-in-prison-w448510|archive-date=2017-02-02|url-status=live}}</ref><ref>{{Cite news|url=https://hypelifemagazine.com/celebritynews/drake-vybz-kartel-biggest-inspirations-favorite-dancehall-popcaan-mavado/|title=Drake: 'Vybz Kartel Is One Of My Biggest Inspirations'|date=2016-05-10|work=Hype Life Magazine|access-date=2017-03-27|language=en-US|archive-url=https://web.archive.org/web/20170326135737/https://hypelifemagazine.com/celebritynews/drake-vybz-kartel-biggest-inspirations-favorite-dancehall-popcaan-mavado/|archive-date=2017-03-26|url-status=dead}}</ref>

In 2014, [[Drake (musician)|Drake]] took an interest into [[Popcaan]] and linked him up with MixPak producer [[Dre Skull]] to release his debut album 'Where We Come From'. This saw huge commercial success and went on to receive a UK MOBO award for Best Reggae Album in 2015. The year of 2016 saw Popcaan's rival-artist [[Alkaline (musician)|Alkaline]] release his debut album 'New Level Unlocked' under DJ Frass Records, which topped the charts in Jamaica, as well as being well received in the US and UK.

[[Popcaan]] and [[Alkaline (musician)|Alkaline]] have always been rival music artists in [[Jamaica]] and it is much debated who is the new Dancehall King, since [[Vybz Kartel]] was incarcerated in 2011. It has been said that Popcaan's success is largely due to early support from [[Vybz Kartel]](KOTD) and more recent support from [[Drake (musician)|Drake]].

By 2016, Dancehall had re-emerged into global popularity, artists such as [[Alkaline (musician)|Alkaline]], [[Popcaan]], [[Spice (musician)|Spice]], [[Aidonia]] and Rygin King are known as some of the most profound and active artists of this period to date. There have also been prominent global collaborations with dancehall artist such as Beyonce & Shatta Wale's 'Already', Davido & Popcaan on 'Story', and Stefflon Don & French Montana on 'Hurtin' me'.

Since 2017, Dancehall artists from Jamaica have been frequently collaborating with UK acts such as [[Chip (rapper)|Chip]], [[Stefflon Don]] and [[J Hus]]. This is well in-tune with the boost of urban acts in the UK rising up, and the rebirth of Grime in 2014.<ref name="re-birth of Grime in 2014">[https://www.theguardian.com/music/2014/mar/27/second-coming-of-grime-dizzee-rascal-wiley The second coming of grime] {{Webarchive|url=https://web.archive.org/web/20190425165236/https://www.theguardian.com/music/2014/mar/27/second-coming-of-grime-dizzee-rascal-wiley |date=2019-04-25 }}, The Guardian, 27 March 2014</ref>

In the late 2010s, a new wave of artists rose to popularity in Jamaica. These artists come from rural parishes, especially [[Montego Bay]], outside of the commercial center of the Jamaican music industry. They are influenced by American [[trap music]], and sometimes refer to [[lottery scam]]ming in their lyrics. Some of the most popular artists in this style are Chronic Law, Rygin King, and Squash.<ref>{{cite news|publisher=The Gleaner|date=September 16, 2019|title=Trap dancehall isn't going anywhere, say genre's producers|url=http://jamaica-gleaner.com/article/entertainment/20190916/trap-dancehall-isnt-going-anywhere-say-genres-producers|access-date=June 7, 2020|archive-date=June 7, 2020|archive-url=https://web.archive.org/web/20200607205759/http://jamaica-gleaner.com/article/entertainment/20190916/trap-dancehall-isnt-going-anywhere-say-genres-producers|url-status=live}}</ref><ref>{{cite web|publisher=Afropunk|date=October 22, 2019|title=Choppa Rising: A History of Jamaican Trap Dancehall|url=https://afropunk.com/2019/10/choppa-rising-a-history-of-jamaican-trap-dancehall/|access-date=June 7, 2020|archive-date=June 7, 2020|archive-url=https://web.archive.org/web/20200607205754/https://afropunk.com/2019/10/choppa-rising-a-history-of-jamaican-trap-dancehall/|url-status=live}}</ref><ref>{{cite news|publisher=The Jamaica Star|date=September 11, 2018|title=MoBay artistes are taking over – Producer|url=http://jamaica-star.com/article/entertainment/20180911/mobay-artistes-are-taking-over-producer|access-date=June 7, 2020|archive-date=June 7, 2020|archive-url=https://web.archive.org/web/20200607205949/http://jamaica-star.com/article/entertainment/20180911/mobay-artistes-are-taking-over-producer|url-status=live}}</ref>