Dancehall star Vybz Kartel is preparing to return to reality television, but this time, the concept will be markedly different from the days of Teacha’s Pet.
During an interview on Sleek Radio on Thursday, August 27, Kartel revealed that he has signed a contract to produce a pilot for a new series centered on himself and his fiancée, Sidem. The entertainer jokingly contrasted the premise with his controversial 2011 reality dating show, which featured women competing for his affection.
“Back in the day, as I said, the young Kartel, 20 girls in one house. Now Kartel, my wife in my house,” he said, adding that the new project would still have “the whole drama, the whole high energy.”
Kartel offered an intriguing reference point for what viewers can expect: “Picture—and this is for the older people—picture I Love Lucy 2.0.”
The comparison points to the landmark American sitcom I Love Lucy, which centered on married couple Lucy and Ricky Ricardo and turned their domestic life, relationship and Lucy’s frequently chaotic schemes into comedy. Kartel’s description suggests his new series could similarly use the personalities and relationship dynamics between himself and Sidem as the foundation for an entertaining look at their life together.
The revelation came as Kartel discussed expanding beyond music into television, film and books. While he was reluctant to reveal everything he has planned, he confirmed the television project was already moving forward.
“I literally signed a contract to do a pilot,” he said.
Kartel: Dancehall Is Better Positioned Than Ever
The conversation also saw Kartel push back against claims that dancehall is experiencing one of its worst periods.
While some critics have taken issue with the music being produced by the genre’s younger generation, Kartel argued that dancehall’s current commercial reach and the opportunities available to artists tell a different story.
“Back in the day, dancehall looked better than it’s ever been—at least in terms of the commercial viability of it,” Kartel said, pointing to social media as one of the forces helping Jamaican artists reach international audiences.
“The same social media will expand it so more youths can get more opportunities overseas,” he added.
According to Kartel, much of the pessimism surrounding the state of dancehall comes down to perspective.
“It’s just a matter of perspective,” he said. “Sometimes we look at things through our lenses. We look at things through our hopes, our disappointments, our fears.”
He also cautioned audiences to consider the source when confronted with sweeping declarations about the genre’s decline.
“When you can’t accept the message, you always have to look on the messenger too—who is saying this?” he said.
For Kartel, the suggestion that “dancehall is in the pits” simply does not reflect what is happening on the ground.
“That’s not the reality of the situation,” he said. “I think we’re growing and we’re still growing.”
He pointed to the international movement of Jamaican acts, including Masicka, as evidence that dancehall artists continue to make strides outside the island.
Kartel also rejected the idea that another genre should automatically be considered superior simply because it is marketed more effectively.
“You’re going to say, ‘Oh, hip-hop bigger than dancehall.’ Look at the content—it’s the same thing,” he argued. “So, well, them package it better, so therefore it is better? No.”
Instead, he believes younger artists need the freedom to develop.
“You have to give the youths room fi breathe, and they want to find themselves, bro. That’s it.”
On Scamming, Obeah and the Rise of “Trap Hall”
Kartel also addressed the prevalence of scamming and obeah references in contemporary dancehall, rejecting the suggestion that artists are gravitating toward those subjects because they lack lyrical ability.
“I don’t think it’s a lack of lyrical capability. Trust me,” he said.
Rather, Kartel views the subject matter as part of a broader trend influenced by the realities young artists see around them.
“I think that it’s just the way the culture grows and expands,” he explained. “It’s just what’s influencing them now, and what they see is what they talk about. It’s always a reflection of life—of the society.”
He noted that artists are still producing music beyond those themes and said some performers handle the controversial subject matter effectively because of their artistry.
Kartel also revealed that he remains a fan of the newer sound emerging from dancehall’s intersection with trap music.
“I love trap music. I love trap hall—that’s what I call it,” he said.
His comments reflect a broader philosophy toward dancehall’s evolution: rather than expecting a younger generation to recreate the music of his era, Kartel believes artists should be allowed to respond to their own environment and eventually establish their own identities.
A Possible Collaboration on the Way
Kartel was less forthcoming when asked which artists or producers he would still like to work with, saying there are “a lot of artists” but declining to name a lengthy wish list.
He did, however, tease one potential collaboration stemming from a recent encounter at the AC Hotel.
“Last time, me and Gramps Morgan, we chop it up at AC Hotel and he said, ‘Oh, we’ll do a song.’ I respect the man,” Kartel recalled.
“So look out for the Kartel, Gramps Morgan thing.”
