CARIBBEAN MUSIC REPORT 2024 - STATE OF THE INDUSTRY
Introduction
The Caribbean music landscape continues to be a powerful force in shaping global culture in 2024. Both Anglophone and Hispanophone artists dominate the global stage, with Barbadian superstar Rihanna leading the pack of female artists from the region and Bad Bunny taking Latin and reggaeton music to new heights. Dancehall and reggae have seen record-breaking streams this year, with Sean Paul surpassing 1 billion Spotify streams for the second year in a row. Soca and calypso also continue to thrive, with the region remaining a hub of creativity and innovation. Major diaspora cities like Miami, London, and New York have staged their own Carnivals, further showcasing the global appeal of these genres. Buju Banton’s return to the U.S. and Canada saw the reggae star headlining 19,000-capacity arenas—the first reggae solo artist to achieve this milestone.
This report offers a comprehensive look at the music, artists, and trends that have defined the Caribbean over the past year, while providing insights into what lies ahead.
In this dynamic industry, where cultural identity and economic growth intersect, Caribbean artists continue to push boundaries. The digital revolution has reshaped music consumption, with streaming platforms like YouTube, Spotify, and TikTok playing a central role in how fans engage with their favorite artists. Jamaica’s global influence remains strong, with dancehall and reggae thriving on these platforms, while countries like Trinidad and Tobago have elevated soca music to new heights. The growing popularity of Trini-Bad on platforms like YouTube and Apple Music is a testament to this continued evolution.
Markets Overview
The global recorded music industry experienced remarkable growth in 2023, with revenues surging by 10.2%, according to the latest data from the International Federation of the Phonographic Industry (IFPI) 2024 Global Music Report. This data was released on Thursday March 21, 2024 and shows a ninth consecutive year of growth and expansion, for music globally and the second highest growth rate in recorded music history.
Every region including Jamaica, the English speaking Caribbean and Latin American regions saw growth in 2023 largely due to the integration of streaming in the region. Latin America specifically saw revenue increase of 19.4%, outpacing the global growth rate, surpassing every other region. This is the 14 consecutive year that the region is seeing revenue growth and last year the region grew by 25%.
Paid subscriptions to music streaming services surpassed the 500 million mark for the first time ever, underscoring the increasing popularity of streaming platforms among music consumers globally. Streaming revenues, particularly from subscription services, played a pivotal role in driving overall revenue growth, constituting nearly half (48.9%) of the global market.
Last year Sean Paul achieved a career milestone of 11 billion streams on the Spotify according to data supplied to WMV by the Spotify. He was the most streamed Jamaican artist for the year globally and most streamed Jamaican of all time on Spotify, with top hits like “Rockabye” and “No Lie” surpassing 2 billion and 1 billion streams respectively. He maintains that lead this year with over 1 billion streams in 2024.
Drake retained his title as Spotify’s most streamed artist in Jamaica for the third consecutive year in 2023, leading alongside seven other dancehall artists in the top ten. Ireland Boss and Malie Donn’s “V6” emerged as the top streamed song, surpassing 10 million streams on Spotify alone. The producer, Ireland Boss, recounts the song’s success and negotiations with major labels.
Valiant also makes a significant mark with three songs on the top streamed list. Masicka’s “438” stands out as the only Jamaican album on Spotify’s most streamed albums list for 2023 in Jamaica, alongside releases from Drake and Nicki Minaj.
The IFPI’s Global Music Report reveals a positive trend across all regions, with record companies’ concerted efforts and investments contributing to revenue growth in every market. Notably, five out of the world’s seven regions posted double-digit percentage gains, demonstrating the industry’s widespread momentum.
In his statement on the release of the report, IFPI’s Chief Financial Officer and Interim Joint Head, John Nolan, emphasized the industry’s global and diverse nature, with revenues increasing across various formats and regions. “The sustained growth of the recorded music market is encouraging, but it’s also right for us to acknowledge the challenges the industry faces, including streaming fraud, digital piracy in all its forms and, of course, the threat from the abuse of generative artificial intelligence if it is not developed responsibly and with respect for artists’ and labels’ rights.
Nolan also attributed the industry’s success to record companies’ substantial investments in artists and their careers, totaling over US$7.1 billion annually on A&R and marketing alone.
Moreover, Lauri Rechardt, IFPI’s Chief Legal Officer and Interim Joint Head, highlighted the challenges confronting the industry, including streaming fraud, digital piracy, and the potential misuse of generative artificial intelligence. “The sustained growth of the recorded music market is encouraging, but it’s also right for us to acknowledge the challenges the industry faces, including streaming fraud, digital piracy in all its forms and, of course, the threat from the abuse of generative artificial intelligence if it is not developed responsibly and with respect for artists’ and labels’ rights,” Rechardt said.
He added, “The figures in this year’s report reflect a truly global and diverse industry, with revenues growing in every market, every region and across virtually every recorded music format. For the third year in succession, both physical and digital formats grew with a strong rise in the users of paid streaming subscribers – as well as price increases – contributing significantly to total revenue growth.”
Rechardt emphasized the importance of responsible AI practices and effective measures to combat unauthorized uses, ensuring a sustainable music ecosystem for the future.
Regionally, significant revenue growth was observed across all markets:
- USA & Canada: Revenues rose by 7.4%, driven by robust gains in both the USA and Canada, the largest and tenth-largest recorded music markets, respectively.
- Europe: With revenue growth of 8.9%, Europe retained its position as the second-largest region globally, buoyed by healthy performances in key markets such as the UK, Germany, and France.
- Asia: Revenues surged by 14.9%, propelled by strong growth in physical and digital revenues, particularly in Japan and China.
- Latin America: The region witnessed a remarkable revenue increase of 19.4%, outpacing the global growth rate, with streaming driving the majority of revenues.
- Australasia: Recording double-digit percentage growth of 10.8%, Australasia experienced accelerated revenue growth, led by Australia and New Zealand.
- Middle East & North Africa: Streaming revenues dominated the region, contributing to a 14.4% increase in total revenues.
- Sub-Saharan Africa: With the fastest growth rate of any region at 24.7%, Sub-Saharan Africa showcased substantial gains in paid streaming revenues, with South Africa leading the charge
IFPI is a global organization representing over 8,000 members across 70 countries. It advocates for the recording industry worldwide, promoting the economic and cultural value of recorded music. IFPI campaigns for the rights of record producers and works to expand the commercial uses of recorded music through licensing and generating commercial value. The organization operates as a global team, bringing together experts from different departments and regions.
Reggae Concerts Overseas
Top 10 Average Ticket Prices to See Jamaican Reggae Acts on Tour in 2024 (USD)
The popularity of Jamaican reggae artists continues to soar, with fans worldwide eager to experience the culture and music live. In 2024, several prominent reggae and dancehall artists toured internationally, and their ticket prices reflect both their star power and the demand for live reggae performances. Here’s a breakdown of the top 10 average ticket prices to see Jamaican reggae acts on tour in 2024, based on data from World Music Views Sales tracker.
Buju Banton – $300
Buju Banton leads the list with the highest average ticket price at $300. Premium tickets for Banton’s “Long Walk To Freedom” and “The Overcoming” Tours went for as high as US$8500. The latter being the highest-grossing solo headlining reggae tour of all time in North America. With seven completed arena dates, The Overcomer Tour is the highest-grossing solo headlining reggae tour in the United States to date.Damian & Stephen Marley Traffic Jam Tour- $100
Reggae royalty, the Marley brothers Damian and Stephen, command $100 per ticket on average for their Traffic Jam Tour. Their shows celebrate the legacy of Bob Marley while showcasing their unique styles, bridging classic reggae and contemporary sounds.Beres Hammond “Forever Giving Thanks Tour” – $100
Known for his soulful voice and romantic reggae ballads, Beres Hammond also commands $100 per ticket for his “Forever Giving Thanks Tour” which ran from April 13 to August 25, 2024. His timeless appeal and loyal fanbase ensure strong ticket sales, especially for older audiences drawn to his classic hits.Ziggy Marley “Circle Of Peace Tour” – $90
Following the box office success of the “Bob Marley: One Love” move Ziggy Marley hit the road with his “Circle Of Peace Tour.” Carrying the torch of his father’s legacy while infusing his own musical influences, at an average ticket price of $90, his performances attract reggae enthusiasts of all ages.Sean Paul “Greatest Tour”- $85
Dancehall icon Sean Paul went on tour for the first time in decades after doing only spot dates for several years. The top streaming pop act draws in both reggae and pop fans with his high-energy performances. Averaging $85 per ticket, he remains one of the most accessible reggae acts, appealing to a broad, international audience.Shaggy – $80
Known for his hits across reggae and pop, Shaggy teamed up with TLC and hit the road, performing at several festivals. He even did a few impromptu dates with Sting. Shows cost to see Shaggy averaged $80 per ticket.
Stephen Marley (Solo) – $80
In addition to his performances with Damian, Stephen Marley’s solo shows “Old Soul Unplugged” followed the release of his fifth studio album “Old Soul.” He also average $80 per ticket. His individual sets allow fans to experience his unique interpretations of reggae, often blending traditional sounds with modern influences.
- Alborosie “Legendary Tour” – $80
Italian-Jamaican artist Alborosie, a popular figure in the reggae scene, has tickets averaging $80 as he trekked around the world on the “Legendary Tour.” His unique style and dedication to reggae’s roots and dub music have earned him a strong following internationally.
- Marley Brothers “Legacy Tour” – $70
The Marley family’s continued impact on reggae is evident, as fans pay $70 on average to see the Marley Brothers perform on the Legacy Tour. Their shows promoted by Live Nation feature a collective celebration of Bob Marley’s legacy, drawing a diverse audience.
- Shenseea “Never Gets Late Here Tour”- $40
Shenseea, embarked on her first North American solo headlining tour in 2024. The rising star in dancehall and reggae fusion, rounds out the list with an average ticket price of $40 for her “Never Gets Late Here” North American Tour”. With 2 sold out stops on Canada and 9 U.S. cities, her accessible pricing attracted younger audiences and fans interested in the evolving sounds of Jamaican music.
Bonus: Honorable mentions to Romain Virgo, Skip Marley, Julian Marley, Burning Spear and Tarrus Riley who embarked on festivals and spot dates at an average price of $35 per ticket throughout the year.
Reggae Audience Consumption
According to the Luminate Year-End Report of 2023, released on Wednesday January 10, 2024, 33% of millennials who appreciate Reggae and Afrobeats actually prefer attending concerts and other entertainment events linked to the culture.
Afrobeats/Afropop, Gospel, Hip-Hop/Rap, Jazz, R&B share a similar stats according to Luminate’s survey- that is just over 33% of Millennials who listen to those genres are more likely to choose entertainment content that helps connect with their culture/identity/values. Reggae’s listening population is among the least in the US but globally reggae is the tenth most listened genre for two years in a row according to the IFPI engaging music report.
In the US there is also a growing breed of intelligent multi-lingual music aficionados dubbed by Luminate ” Multilingual Music Listeners.” This emerging market segment consisted of music people who listen to more than one language of music such as Dialects (Patois, Creole, Swahili) Spanish or Korean K-Pop, and 63% of them are Gen Zs and 65% of them are Millennials. They “listen to new music to experience new cultures & perspectives” according to Luminate.
This explains the rise of Afrobeats, Dancehall and Latin music genres in the North American country and corresponds with the 2023 IFPI Global Music Report which found that Latin Music saw an increased of 25% in the region. A far way from the 1970s when Latin and African music had a hard time breaking in the US because of what Island Records founder Chris Blackwell says was a language barrier for acts like Fela Kute.
“For starters reggae is pretty much in English and a lot of the African artists didn’t speak English,” Blackwell told Yahoo! on the reason Reggae worked earlier in the US before African acts.
Regional Music Consumption Trends
A Decade Of YouTube’s Dominance In The Region
YouTube continues to be the most widely used platform for music consumption across the Caribbean, dominating the region’s streaming landscape. Since 2014, over 1 billion streams have been generated in Jamaica alone, making it a key market for Caribbean music.
Top 10 Songs in Jamaica (2014-2024)
Jamaican artists have solidified their influence, with Dancehall and gospel tracks leading YouTube streams over the past decade. The top 20 songs from 2014 to 2024 reflect a mix of local hits and international influences:
YouTube Jamaica 20 Singles (Total streams since September 2014)
| Track | Weeks on Chart | Peak Position | Peak Weeks | Total Streams | Peak Streams |
|---|---|---|---|---|---|
| Chronic Law – Empty | 44 | 2 | (x3) | 16,674,731 | 359,786 |
| Ireland Boss – V6 | 35 | 1 | (x7) | 15,091,399 | 726,527 |
| CeCe Winans – Goodness Of God – Live | 8 | 14 | 14,067,893 | 142,701 | |
| Skeng – Protocol | 42 | 1 | (x8) | 13,489,578 | 946,954 |
| Byron Messia – Talibans | 28 | 2 | (x2) | 12,626,754 | 527,963 |
| Valiant – Dunce Cheque | 17 | 1 | (x3) | 12,500,127 | 705,420 |
| Valiant – North Carolina | 19 | 1 | (x1) | 12,419,728 | 574,215 |
| Chris Brown – Under The Influence | 22 | 1 | (x1) | 12,166,009 | 341,040 |
| Chronic Law – Walk With Faith | 18 | 3 | (x1) | 12,058,111 | 358,552 |
| Valiant – Narcissistic | 19 | 1 | (x6) | 11,888,824 | 563,825 |
| Valiant – St. Mary | 14 | 2 | (x1) | 11,314,652 | 401,337 |
| Kraff Gad – Rum Behavior | 28 | 1 | (x6) | 10,957,682 | 398,058 |
| Teejay – People | 7 | 10 | 10,850,143 | 217,656 | |
| Burna Boy – Last Last | 26 | 1 | (x1) | 10,567,678 | 399,457 |
| Tasha Cobbs Leonard – Gracefully Broken (Live) | – | – | – | 10,333,312 | – |
| Chronic Law – Solemn Request | 12 | 3 | (x1) | 9,969,735 | 331,508 |
| Masicka – Tyrant | 30 | 1 | (x1) | 9,729,476 | 611,024 |
| Najeeriii – Paddle Boat | 22 | 1 | (x2) | 9,627,686 | 549,948 |
| Shane O – Dark Room | 16 | 1 | (x2) | 9,565,621 | 434,940 |
| Chronic Law – Legend | 15 | 4 | 9,541,879 | 313,426 |
J Balvin, Daddy Yankee, Bad Bunny
Dominican Republic: A Streaming Powerhouse
The Dominican Republic has become another powerhouse in Caribbean music streaming, with over 1,000 songs surpassing 5 million streams on YouTube. The country boasts a staggering 50 billion music streams since 2014, with local and international acts reaching new heights.
YouTube Dominican Republic Top 20 Singles (Total streams since 2014)
| Track | Weeks on Chart | Peak Position | Peak Weeks | Total Streams | Peak Streams |
|---|---|---|---|---|---|
| Alex Bueno – Con el alma desnuda | 56 | 1 | (x1) | 66,866,387 | 1,813,968 |
| Romeo Santos – Me Quedo (Romeo Santos & Zacarías Ferreíra) | 47 | 1 | (x10) | 57,321,495 | 3,157,558 |
| Romeo Santos – Solo Conmigo | 54 | 3 | (x1) | 56,778,560 | 1,288,814 |
| Romeo Santos – Bebo | 56 | 6 | 50,742,972 | 1,422,602 | |
| Bad Bunny – Tití me preguntó | 35 | 1 | (x10) | 46,321,319 | 3,373,040 |
| Luis Miguel del Amargue – No Notas | 54 | 3 | (x2) | 44,695,604 | 1,350,621 |
| Rochy RD – Ella No Es Tuya (Remix) | 40 | 1 | (x4) | 43,558,214 | 2,686,394 |
| Chimbala – El Juidero | 33 | 1 | (x7) | 42,959,763 | 3,680,577 |
| Romeo Santos – El Beso Que No Le Di | 53 | 1 | (x2) | 42,535,419 | 1,624,943 |
| Farruko – Pepas | 44 | 1 | (x4) | 41,261,323 | 3,825,790 |
| Romeo Santos – Boomerang | 56 | 11 | 41,007,811 | 634,897 | |
| Bulin 47 – Vivo Por Palomo (Remix) | 28 | 1 | (x7) | 40,931,190 | 2,600,740 |
| Romeo Santos – Mar | 53 | 6 | 38,731,304 | 800,247 | |
| Yiyo Sarante – Mi Todo | 52 | 2 | (x1) | 37,243,219 | 1,620,202 |
| Donaty – Empaquetate | 38 | 2 | (x1) | 37,073,472 | 1,973,988 |
| Bad Bunny – Me porto bonito | 35 | 2 | (x6) | 37,019,959 | 1,958,459 |
| Casper – Te Boté (Remix) (Casper, Nio Garcia, Darell, Nicky Jam, Bad Bunny & Ozuna) | 24 | 1 | (x10) | 36,848,854 | 3,435,714 |
| Bulin 47 – Po Po Po | 24 | 1 | (x7) | 36,803,210 | 4,393,427 |
| Raulin Rodriguez – La Demanda (Raulin Rodriguez & Romeo Santos) | 44 | 2 | (x4) | 36,126,123 | 1,860,166 |
| El Alfa – Gogo Dance | 30 | 1 | (x3) | 35,631,445 | 2,767,394 |
Dominating Artists in the Dominican Republic
Romeo Santos
Several key artists dominate the streaming charts in the Dominican Republic:
Romeo Santos leads with four songs in the top 10, accumulating 424 million total streams, including:
- “Me Quedo”: 57,321,495 streams
- “Solo Conmigo”: 55,861,013 streams
- “Bebo”: 49,991,197 streams
- “El Beso Que No Le Di”: 42,535,419 streams
Rochy RD also maintains a strong presence with 15 songs in the top 1,000, amassing over 340 million streams, with “Ella No Es Tuya (Remix)” ranked highest at 43,558,214 streams.
Bad Bunny and El Alfa continue to be major players, each with over 10 songs on the list, proving their consistent appeal across the Caribbean and Latin American markets.
Trinidad saw 624 tracks surpassing 1 million streams on YouTube since 2014.
A Streaming-Driven Future
The Caribbean music market, driven by platforms like YouTube, is experiencing unprecedented growth. The impact of local and diaspora-driven demand has turned the region into a key player in the global music industry, with artists from Jamaica and the Dominican Republic pushing boundaries and accumulating billions of streams. As Digital consumption continues to evolve in Caribbean music is poised for even greater global recognition.
Streaming and Digital:
Few countries have had as much musical influence as Jamaica, with its artists crossing borders and genres to achieve widespread recognition. Spotify, the world’s leading music streaming platform, has provided a clear measure of this impact, as Jamaican acts have amassed millions of plays. Below, WMV highlight the Jamaican artists with the most songs that have exceeded 100 million streams on Spotify across all their credits.
1. Sean Paul – 26 Songs
At the top of the list is Sean Paul, the most successful crossover dancehall artists of all time. With 26 songs surpassing 100 million streams, Sean Paul’s longevity in the industry is undeniable. Tracks like “Temperature,” “No Lie,” and “Cheap Thrills” with Sia have not only dominated the charts but have also found lasting success on streaming platforms, cementing his place as a global superstar.
2. Bob Marley & The Wailers – 23 Songs
Reggae legend Bob Marley continues to have an everlasting impact on music, even decades after his passing. With 23 songs crossing the 100 million stream threshold, Marley’s timeless tracks such as “Three Little Birds,” “Could You Be Loved,” and “Is This Love” remain some of the most streamed reggae songs worldwide. His music has transcended generations, making him an enduring cultural icon.
3. Major Lazer – 20 Songs
Although not exclusively a Jamaican act, Walshy Fire, makes up a third of the electronic dance music group Major Lazer, led by Diplo. Their music also has strong Jamaican influences and often collaborates with artists from the island. With 20 songs over 100 million streams, Major Lazer’s tracks like “Lean On,” “Light It Up,” Remix with Nyla and Fuse ODG have pushed the boundaries of Caribbean music, bringing it to new global audiences.
4. Rvssian – 9 Songs
Producer and songwriter Rvssian has played a major role in blending reggae, dancehall, and Latin trap into mainstream music. With 9 songs over 100 million streams as a credit artists, his collaborations with artists like Bad Bunny and J Balvin have catapulted him to international fame, making him one of Jamaica’s most successful producers.
5. Shaggy – 8 Songs
The “Mr. Boombastic” artist, Shaggy, with his infectious reggae-pop sound, continues to thrive on streaming platforms. With 8 songs over 100 million streams, Shaggy’s classics like “It Wasn’t Me” and “Angel” have reached iconic status, with audiences from all over the world grooving to his laid-back rhythms.
6. Damian Marley – 5 Songs
Following in his father’s footsteps, Damian “Jr. Gong” Marley has forged his own path in reggae and hip hop. With 5 songs over 100 million streams, his tracks like “Welcome to Jamrock” and “Patience” showcase his powerful lyricism and his commitment to both social and political causes.
7. Popcaan – 3 Songs
Dancehall star Popcaan has steadily risen through the ranks of Jamaican music, gaining international recognition for his unique voice and style. With 3 songs surpassing 100 million streams, including hits like “I Know There’s Gonna Be (Good Times)” with Jamie xx, Popcaan continues to expand his global footprint.
8. Omi – 3 Songs
Pop-reggae fusion artist Omi broke onto the scene with his viral hit “Cheerleader,” which alone has garnered over a billion streams on Spotify. With 3 songs over 100 million streams, Omi’s success demonstrates the lasting appeal of his catchy and upbeat sound.
9. Konshens – 3 Songs
Dancehall artist Konshens has steadily built a loyal following with his versatile style. With 3 songs over 100 million streams, including “Bruk Off Yuh Back,” he has become a staple in the dancehall genre, appealing to both local and international audiences.
10. Jimmy Cliff – 2 Songs
A true pioneer of reggae, Jimmy Cliff’s music continues to resonate globally. With 2 songs over 100 million streams, including his classic “I Can See Clearly Now,” Cliff’s timeless contributions to reggae are still celebrated by new generations of fans.
Bonus:
11. Ziggy Marley – 2 Songs
Continuing the Marley legacy, Ziggy Marley has made a name for himself with his uplifting music and positive messages. With 2 songs surpassing 100 million streams, Ziggy’s global fan base ensures that his father’s vision of spreading love and unity through reggae lives on.
2024 World Music Views
CARIBBEAN MUSIC TO THE WORLD- CERTIFICATIONS BASED ON STREAMS AND SALES
Physical Sales
Dancehall and Reggae Artists Earn More Music Certifications in 2024
The year 2024 has been a landmark for dancehall and reggae artists as they continue to gain recognition in major global markets. From the U.S. to the U.K. and Canada, artists within these genres are being celebrated for their commercial success, with more new and veteran artists earning prestigious certifications for their streaming numbers and sales than ever before. In October, reggae legend Jimmy Cliff earned his first U.K. Silver certification for “I Can See Clearly Now”(1993) from the Cool Runnings soundtrack.
Wayne Wonder reached a milestone in the U.K. with his track “No Letting Go,” receiving a Platinum certification for its enduring popularity.
Sean Paul became the first dancehall artist to earn Diamond certification in Brazil with his 2018 hit “No Lie,” featuring Dua Lipa. He also saw his album “The Trinity” certified Platinum in the U.K., further cementing his status as the most certified dancehall artist in that market.
Sean Paul also earned multiple certifications in Brazil, including Gold, Double Platinum, and Triple Platinum for his hits. His collaboration with Sia on “Cheap Thrills” was also certified 9x Platinum in the U.S. He is set to become the first Jamaican act with a certified Diamond single in the U.S.
Spice continued her ascent with a Silver certification for her 2014 hit “So Mi Like It” in the U.K., solidifying her independent success. She made history by becoming the first female Jamaican dancehall artist to earn a Platinum certification in Canada for her collaboration “Go Down Deh” with Shaggy and Sean Paul.
Bob Marley continued to be recognized with multiple certifications. “Redemption Song” and “Jamming” both earned Gold certifications in Brazil, while “Satisfy My Soul” was certified Silver in the U.K. while the iconic track “Exodus”reached Silver certification for selling 200,000 units in the U.K.
- Barbadian singer Rihanna set a new milestone, becoming the most certified Diamond woman in RIAA history with four Diamond certifications, including hits like “Umbrella” featuring Jay-Z and “Work” featuring Drake.
Tyla earned 2x Platinum in Canada for her track “Water,” signifying the growing influence of African music globally.
Gyptian‘s hit single “Hold You” (Hold Yuh) was certified 2x Platinum in the U.K., adding to his international success.
YG Marley achieved a Gold, Platinum and Silver certification in the U.S., Canada and U.K. for “Praise Jah in the Moonlight,” marking a growing presence in the international reggae scene.
Toots and the Maytals had their classic hit “Pressure Drop” certified Silver in the U.K., adding to their legacy of influence.
Popcaan and Kano celebrated a Silver certification for their collaborative track “Can’t Hold We Down” in the U.K., with both artists continuing to dominate the charts.
Skillibeng achieved his first Gold certification in Canada for his feature on Tyla’s “Jump” alongside Gunna.
Alkaline earned his first Silver certification in the U.K. for his 2017 collaboration “Txtin'” with WSTRN.
Bob Marley and The Wailers received Gold certifications in Brazil for their timeless hits “One Love/People Get Ready” and “Could You Be Loved.” Additionally, “Three Little Birds” was covered by Maroon 5 and certified Gold in Brazil.
Damian Marley earned Gold and Platinum certifications in Brazil for his tracks “Welcome to Jamrock” and “Medication.”
Charly Black’s “Gyal You A Party Animal” was certified Gold in Brazil, solidifying its global appeal.
Nyla of Bric & Lace achieved her first 3x Platinum certification in the U.K. for “Light It Up” by Major Lazer, featuring Fuse ODG. She becomes the first Jamaican female act to reach the milestone.
Lumidee‘s classic “Never Leave You (Uh Oooh, Uh Oooh)” received Gold certification in the U.K., marking 400,000 equivalent units sold since its release in 2003. The song is recorded on Stephen Lenky Marsden’s Diwali Riddim.
Tarrus Riley reggae hit “She’s Royal” was certified Silver in the U.K., surpassing 200,000 sales.
Omi‘s “Cheerleader (Felix Jaehn Remix)” is now 5x Platinum in the U.K. for selling 3,000,000 units in the country.
Performance Rights Organizations
According to the UK-based performance rights organisation Phonographic Performance Limited (PPL) over the last 7 years “UK usage of Jamaican recorded music generated, on average, around £500,000 a year for Jamaican performers.” i.e 2015-2021.
Additionally PPL said outside of the U.K. & Jamaica, “Jamaican recorded music across the same period generated, on average, £600,000 a year for Jamaican performers.”
In the statement issued to The Voice UK they indicated that they are working closely with the Jamaican performance rights organization JAMMS to ensure reggae performers and recording rights-holders are efficiently paid.
JAMMS and PPL forged a historic partnership last year that saw a surge in membership in Jamaica.
Evon Mulling Managing Director of JAMMS told World Music Views that since 2009 the organization Jamaica Music Society (JAMMS) has collected a total amount of J$200,000,000 for rights holders in Jamaica. JAMMS has been in operation since 2007 and General Manager Evon Mullings is tasked with organizing a seamless machinery locally and internationally, to collect royalties on behalf of its members, while playing an active role in improving the perception of Jamaica’s music business.
Evon said the largest check he has paid out is J$2 million.
PPL said: “Both JAMMS and PPL collect revenues for the use of recorded music on radio, television and in public places, such as restaurants, clubs, bars, retail stores, hotels, and other venues.
“While the overall industry has also grown over that period, this increase in international collections outstrips the underlying industry growth rate, pointing to the sums that previously may have gone uncollected,” PPL said.
As some artist struggle to understand the music business and how they get paid, Mullings told WMV that he’s aware of the gaps and his organization is working to bring about more focus on the business of the industry.
“I think we have a huge role to play to help how Jamaicans view and participate in the music business. There is some inertia and we haven’t learned as much as we should. We are researching and doing the development. We want to bring about a more business focus and we have seen some change where hundreds of people have decided to join and say they want us to do their business,” he said.
In 2012 Sound Exchange, released an artist list it says had unclaimed digital performance royalties, among them is the deceased Garnet Silk. Other artists on the list include Natural Vibrations, Tanya Stephens, G-Whizz and more. It is not known if those artists had collected the monies owed as they had until October of that year to sign up with a performance rights society and make their claim.
Still even had suggested that artists find a team and build a catalogue of music that will last.
“Build your catalogue. Find a team of writers. Have a good team around you and once you reach a certain level get a manager. Be willing and open to allow for people to invest in your career, be open to partnerships. Make songs with shelf life somewhere in the world,” he said.
Mullings told Anthony Miller of ER that much more royalties remain uncollected.
“There could literally be four to 5000 artists who are currently unrepresented, producers significantly less, because we are already covering the vast majority of producers. So maybe a few hundred producers who are not yet (members)…and those would be the lower tier producers who are probably just coming into the marketplace,” Mullings told Miller.
“We are already covering the well-established producers and so forth, so the market is really wide open for artists and musicians who are unrepresented to be part of a structured system like this,” he added.
Currently there are 1400 members signed up with JAMMS. JAMMS and PPL collect revenues in their respective countries for recorded music used on radio, television and public places, bars, retail stores, hotels.
Spotlight On Trinidad
Final word from iRADIO.tt on Soca music’s performance:
Soca music dominates the Trinidad and Tobago airwaves, serving as the soundtrack for Carnival across the Caribbean. However, the genre’s seasonal nature and its lyrics focused on Carnival themes and celebrations often limit its commercial appeal. (For example: There are no Soca songs in the top 20 most streamed single for the last ten years on YouTube.) This localization, coupled with a short shelf life, keeps the music’s value comparatively low as listeners frequently move on from past releases by the next Carnival season.
Another factor affecting its global reach is the relatively small market size, primarily made up of Carnival revelers in the Caribbean and its North American and British diaspora. As a result, marketing efforts to expand beyond these core markets are often seen as financially unviable in today’s digital streaming landscape.
Data from industry stakeholders is limited, making it challenging for policymakers and researchers to accurately analyze soca’s reach and impact. However, streaming analytics are offering a glimpse into the genre’s popularity and listener demographics. For more insights, check out these critical articles on the iRADIO.tt blog:
- Who’s the boss…in soca music?
- Just how popular is soca? (with audio link)
- Road march results: a decade of review
- Soca at 50 years old
Additionally, the podcast Music Matters: The Caribbean Edition explores these themes in-depth. Listen on Spotify or Apple Music.
Addressing the gaps in data sharing, strengthening the formal music business ecosystem in Trinidad and Tobago, and creating a unified industry advocacy voice are key areas for improvement. Soca music, over its 50+ years, has become the default soundtrack for Carnival worldwide, inspiring sub-genres in various regions.
In the streaming world, soca—like many Caribbean genres—remains niche, with listener numbers ranging from reggaeton’s peaks to calypso’s lows. These numbers still don’t compare to mainstream American genres like rap, country, pop, or rock. Challenges such as costly work permits and limited access to international festivals continue to hinder broader exposure for smaller Caribbean artists. Despite Trinidad’s century-old recorded music industry, broader distribution across formats—from vinyl to digital—remains a struggle, often controlled by external forces, including multinational corporations.
YouTube Trinidad and Tobago Top 20 Songs (Total streams since September 2014)
| Track | Weeks on Chart | Peak Position | Peak Weeks | Total Streams | Peak Streams |
|---|---|---|---|---|---|
| Byron Messia – Talibans | 76 | 1 | (x21) | 14,226,512 | 398,617 |
| TeeJay – From Rags to Riches | 113 | 1 | (x2) | 11,380,400 | 221,925 |
| Ireland Boss – V6 | 50 | 1 | (x8) | 9,812,343 | 376,594 |
| Burna Boy – Last Last | 33 | 1 | (x13) | 9,005,754 | 308,558 |
| CeCe Winans – Goodness Of God – Live | 41 | 8 | 8,499,494 | 81,377 | |
| Rema – Calm Down | 52 | 1 | (x6) | 8,113,258 | 180,788 |
| Skeng – Protocol | 58 | 1 | (x16) | 7,563,423 | 285,831 |
| Ayra Starr – Rush | 49 | 3 | (x4) | 7,278,239 | 141,996 |
| Skinny Fabulous – Come Home | 25 | 1 | (x4) | 7,159,910 | 647,198 |
| AdvoKit Productions – Folklore Riddim (Instrumental) | 44 | 1 | (x8) | 7,105,389 | 563,910 |
| Shenseea – Hit & Run (feat. Masicka & Di Genius) | 39 | 1 | (x17) | 6,806,254 | 295,514 |
| Teejay – Haunted | 40 | 2 | (x2) | 6,581,129 | 130,623 |
| Popcaan – Elevate | 45 | 3 | (x3) | 6,570,250 | 107,147 |
| Libianca – People | 45 | 2 | (x3) | 6,546,729 | 172,019 |
| Chris Brown – Under The Influence | 24 | 2 | (x4) | 6,362,461 | 165,482 |
| Jahshii – Born Fighter | 48 | 1 | (x1) | 6,241,286 | 119,962 |
| Tommy Lee Sparta – Blessings | 42 | 1 | (x5) | 6,152,378 | 260,261 |
| Prince Swanny – Dreams | 52 | 1 | (x6) | 6,032,868 | 276,721 |
| Teejay – People | 26 | 7 | 6,003,350 | 88,924 | |
| 450 – Wild n Rich | 45 | 1 | (x5) | 5,881,734 | 241,111 |
Artificial Intelligence
Message On Artificial Intelligence from Cordel Green,
Executive Director, Broadcasting Commission of Jamaica, and
Vice Chair, UNESCO Information for All Programme (IFAP)
For
Caribbean Music Report
Generative AI is changing human creativity and consumption patterns. As Paul Valery wrote in 1928, “We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.” This is evident in the concerns expressed about the misuse of AI to generate ‘fake’ videos and songs. However, AI can also serve a positive role in the music industry. One promising application is described in a publication by Matthew Stone and Gunjan Mansingh of the University of the West Indies, which discusses generative AI techniques “to transform lewd songs into clean radio edits.” This approach offers an opportunity to address the ongoing challenge of ensuring that music is suitable for distribution on regulated platforms and accessible to vulnerable audiences, especially children. The researchers note that such AI solutions must be carefully developed and implemented.
AI Tool for Cleaning Up Lewd Music: A Jamaican Perspective (Research-in-Progress); (2024). CONF-IRM 2024 Proceedings, 26.
https://aisel.aisnet.org/confirm2024/26
Bob Marley’s Earnings Surge to $34 Million, Secures No. 7 Spot on Forbes List
Bob Marley’s earnings have doubled since last year, propelling him up two spots on Forbes’ 2024 Highest-Paid Dead Celebrities list, with his estate generating USD $34 million between October 31, 2023, and September 30, 2024. The Catch a Fire icon remains the only reggae artist consistently featured on this list, driven by a renewed wave of interest following the release of the biopic Bob Marley: One Love, which celebrates his life and music.
Last year Marley earned US$16 million and ranked at No. 9 marking his return to the list after a hiatus in 2022. This year’s earnings is the highest for Marley’s estate of all time.
The film, which resonated with fans worldwide, was released across multiple territories starting February 14, 2024, and went on to gross over $180 million globally.
With a domestic gross of $96.9 million, One Love performed particularly well in the U.S., while international markets contributed an additional $83.9 million. Significant box office results came from major releases across Europe, the Middle East, Africa, Latin America, and the Asia-Pacific region. The United Kingdom had the highest international opening, generating $8.7 million, and Japan later added $2.8 million following its May release. Australia also showed strong results, bringing in $4.5 million.
In addition to earnings from the movie and his iconic catalog, which continues to be a major revenue source, the Marley estate expanded its reach this year through a joint venture with the cannabis brand Jeeter, solidifying Marley’s influence in both music and lifestyle markets. His enduring brand power—spanning merchandise, licensing, and innovative partnerships—places him among top-grossing deceased icons like Michael Jackson, Elvis Presley, and Freddie Mercury.
Michael Jackson’s estate experienced a major boost with a $600 million catalog sale, ranking him at No. 1 on the Forbes list, complemented by his Broadway musical and global productions, while Freddie Mercury rejoined the list with a staggering $250 million from Queen’s catalog sale. Other notable entries include Dr. Seuss, Elvis Presley, and newcomer Matthew Perry, highlighting the diverse ways celebrity estates continue to generate substantial income.