Nayda Vii, pronounced nay-dah vee, grew up surrounded by music. In her first interview with World Music Views, the Jamaican dancehall artist reflects on a childhood shaped by church choirs, community sound systems and an industry she is now entering on her own terms.
Born Sandra Jada Bidwell and raised in St Ann, Nayda describes music not as an aspiration but as a constant presence. Radios played continuously, and local events revolved around sound systems — an environment where listening naturally evolved into participation.
“Music has always been a part of me,” she says. “Growing up in Jamaica, it was part of my everyday life.”
That immersion, combined with early exposure to performance through church, laid the foundation for her career. Singing in the choir gave her both discipline and confidence — a place, she recalls, where she felt she belonged. The experience also marked her first sustained time on stage, something she credits with deepening her connection to music and performance.
Now 27, Nayda is navigating a male-dominated industry while defining her own sound. She describes music as a means of expression and agency — a way to articulate ideas she might otherwise hold back.
“I feel like music has given me a voice,” she says.
Her transition into dancehall was gradual. Her first official release, Whiplash, marked an entry point rather than a final statement. Looking back, she sees it as part of an exploratory phase — a necessary step in finding artistic clarity.
“When I first started releasing music, it was really about discovering my voice,” she says, noting that the track bears little resemblance to the material she is making now.
Despite choosing an independent route, Nayda remains connected to established figures in the genre. She confirms she is still in regular contact with Vybz Kartel, with whom she has already recorded a track awaiting release.
“For sure — we talk all the time,” she says.
She speaks of Kartel with respect, both professionally and personally, though she keeps the specifics of their conversations private.
Her current focus is Pushback, a single released on January 16, 2025, produced by Miguel Rodney. The track marks the beginning of a new working relationship and signals a more confident, performance-driven direction.
“We’ve done a lot more that hasn’t been released yet,” she adds.
Independence is a recurring theme in Nayda’s approach. Without a label structure, she manages her own planning, strategy and promotion — from visuals and performance clips to short-form content and playlist outreach.
“I do pretty much everything,” she says.
Rather than forcing outcomes, her strategy prioritises consistency and momentum. She wants the music to travel organically, supported by steady visibility rather than hype cycles.
An EP is in development, though narrowing down tracks has proven difficult. Recording frequently has created an abundance of material — and the challenge of choosing what best represents her direction.
Looking ahead, Nayda plans to release more high-tempo tracks aimed at the summer, with an emphasis on visuals and live performance.
Asked about her experience as a woman in the industry, her assessment is measured. The challenges are real, she says, but so are the opportunities. Visibility can open doors, though not always the right ones.
“Because of my looks, I got the attention,” she says. “But not always the follow-through.”
Experience has sharpened her boundaries and sense of self-worth. Confidence and clarity, she argues, are essential — not just creatively, but professionally.
“When you know your worth and stay focused,” she says, “it becomes less about difficulty and more about growth.”
