What Will Dancehall Sound Like in 2036?
Dancehall came from reggae, which came from ska and rocksteady. Each genre changed the sound that came before it. However, when dancehall is discussed today, much of the conversation surrounding the genre remains rooted in the past, despite the significant developments happening right now, particularly in the evolution of its sound.
Some of the biggest songs in the history of music borrow instrumentation from dancehall such as One Dace by Drake and Shape Of You by Ed Sheeran.
However, Dancehall has always reflected the underbelly what is happening in Jamaica. It is more than music; it is a space where being Jamaican is authentically expressed. At its core, dancehall has often told the stories of inner-city Jamaicans. Today, those same communities are also influenced by American culture, partly as a result of globalization. This has contributed to a blend of Jamaican and American sounds, giving rise to dancehall’s “Traphall” era. The “ghetto youths” are now “trappers.”
The Traphall era is proof that dancehall artistes and producers are experimenting with the genre’s sound. Traphall incorporates elements such as dark melodies, 808s, rapid hi-hats, and sampling, showing that dancehall is currently in a highly experimental phase. It is through this experimentation that the next era of dancehall could emerge: Dancehall-Fusion.
Dancehall Fusion is dancehall fused or blended with other global genres of music. These genres include (but are not limited to) Pop, Afrobeats, House, R&B, Hip-Hop, etc.
It is not a new sound created by one person. Artistes and producers have been making music that fits this description for years. One example of this type of experimentation already exists in dancehall’s history. Brick & Lace’s 2004 hit “Love Is Wicked,” produced by Lenky, blended dancehall with pop. The song was built around the Diwali riddim, one of the most influential riddims in dancehall history. What is changing now is the amount of experimentation happening at the same time.
This can be seen in current trends. Dancehall artiste Witty, for example, has been blending dancehall with rock music. His sound has attracted the attention of Diplo of Major Lazer, who recently featured Witty in one of his live sessions. Witty performed “5 Minute,” a dancehall song fused with rock and produced by 3rd World Production and Budhai.
Another example of Dancehall-Fusion is Masicka’s recent single “Time and Place,” produced by Nigerian producer Telz, which blends dancehall with Afro-house elements.
Change can also be heard in dancehall’s lyrics. Lyricism in dancehall has become more subtle rather than hardcore, with some artistes favouring straightforward lines complemented by witty punchlines and wordplay. In some ways, this approach has similarities to toasting, which helped lay the foundation for dancehall. DJs would chant over rhythms in a direct and often monotone style. Today’s artistes are not copying that style exactly, but similarities can be heard in the simpler, more direct delivery.
The combination of experimentation and a return to elements of dancehall’s roots will continue to shape the genre. Technology will also play a role.
As artificial intelligence becomes increasingly integrated into music production, artistes and producers will have another tool for experimenting with sound. AI could assist with the creative process, allowing producers to explore different combinations, sounds, and ideas more efficiently. Used in moderation, it could also help artistes and producers experiment with fusing dancehall with other global genres.
The future of dancehall, therefore, is not about abandoning what came before it. It is about continuing and perfecting a process that has existed since the beginning of Jamaican popular music. Artistes and producers are enhancing dancehall’s sound with advanced tools and new influences while still making it authentically our own.
Traphall is one example of that process happening now. It shows that artistes and producers are willing to push dancehall beyond its traditional sound. As they continue to master that process, the experimentation could extend beyond trap and further into rock, R&B, Afrobeats, pop, house, and other global sounds. Dancehall-Fusion is already beginning to take shape.
In ten years, the artistes and producers experimenting today may have mastered the art of blending these influences while keeping dancehall at the core. That continued experimentation could ultimately give rise to a new era of Jamaican music: the Dancehall-Fusion era.
