Dancehall is in yet another renaissance era — and this summer, it’s taking over one of Europe’s biggest reggae stages: Summerjam Festival 2025 in Cologne, Germany.
From July 4–6 at Fühlinger See, the 38th staging of Summerjam is shaping up to be a historic one. Reggae icons like Morgan Heritage, Third World, Junior Kelly, and Etana will grace the stage. But the spotlight belongs to dancehall — and three of its biggest forces: Vybz Kartel, Beenie Man, and Shenseea.
For the first time in over 20 years, Vybz Kartel will perform in Europe — headlining Summerjam in what many are calling the genre’s defining comeback moment. When he was imprisoned in 2011, fans said dancehall was locked away with him. Kartel wasn’t just an artist — he was a cultural movement. From selling out Clarks to popularizing “cake soap,” his influence shaped not just music, but fashion, slang, and identity. Now, freshly released, he returns to reclaim the crown.
Yet, the European stage hasn’t always been kind to Jamaican acts. Promoter Julian Francisco Garcia Mancebo recently argued on The Yaadman Podcast that reggae may be “going extinct” in Europe, blaming a lack of adaptability from top-tier Jamaican artists. He pointed to high fees and large entourages, such as Beres Hammond’s 19-person team, as barriers to booking artists sustainably on the continent.
Grammy-winner Buju Banton fired back: “No more exploitation boss.” In 2019, Banton reportedly earned €150,000 for his own Summerjam appearance — a testament to the value artists bring. But the conversation exposed ongoing tensions between value and access, and who truly gets to benefit from Caribbean culture in the European market.
Dancehall has long lived in reggae’s shadow — seen as its rebellious cousin. But its impact is unmistakable. From Rihanna and Drake to Ed Sheeran’s “Shape of You,” the second-most streamed song in Spotify history, dancehall rhythms are woven into global pop.
What’s changed is the scale. Buju Banton became the first solo reggae artist to sell out Barclays Center. Then Vybz Kartel did it twice. Beenie Man, Aidonia, and Bounty Killer have all followed with major U.S. shows. Suddenly, dancehall isn’t just respected — it’s commanding global attention.
Minister Marion Hall, formerly Lady Saw, reminded critics that superstar-level fees aren’t unique to reggae or dancehall. “What about Travis and all the American artists? How much do they charge, and how many people travel with them?” she asked. Hall, the highest-charting female dancehall artist in Billboard Hot 100 history, has re-entered the conversation with credibility and perspective.
The backlash to Mancebo’s comments was swift. “His price is his price. Stop cry,” said one user. Others demanded to know why similar scrutiny isn’t applied to mainstream pop acts. Comedian @wyardie summed it up: “Most UK and European promoters don’t value Caribbean artists. If an American artist asks for those fees, they pay without questions.”
And it’s not just the icons. Over the past decade, artists like Popcaan, Spice, Alkaline, Masicka, Skeng, Teejay, Skillibeng, Valiant, and Shenseea have kept the flame alive. TikTok has made the sound more accessible than ever — case in point, “Shake It to the Max (Remix)” featuring Moliy, Silent Addy, Shenseea & Skillibeng, which is now charting in the U.S. and Canada.
So when Kartel touches the mic at Summerjam 2025, flanked by the Doctor Beenie Man and global breakout star Shenseea, it’s not just a show — it’s a cultural moment. A declaration.
Dancehall cyah stall.
The question isn’t whether dancehall is ready for Europe — it’s whether Europe is ready for dancehall.
