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Brandon Gray.
In recent months, dancehall music has received a lifeline on the international scene, thanks to sold-out shows by Vybz Kartel, Beenie Man, Buju Banton, among others. Additionally, songs by Shenseea, Byron Messia, Skillibeng, and Teejay have impacted on the Billboard music charts.
The dancehall-infused song Shake it to the Max (Fly) remix by Moliy, Silent Addy, Shenseea, and Skillibeng has exploded onto global charts.
But what really are major labels looking for when identifying that next hit? How can the momentum be sustained or even replicated by others? The Jamaica Observer spoke to a few industry experts.
In response, Tamara Hernandez, former radio promotions coordinator at Island Def Jam and current lead of Mix Show Radio Promotion at Atlantic Records, said: “The music industry has shifted significantly since the heyday of reggae/dancehall chart dominance in the 1990s and early 2000s. Back then, artistes like Shaggy, Sean Paul, Beenie Man, and Damian Marley were able to break through globally, often blending authentic Caribbean sounds with pop, R&B, or hip hop elements. Labels were looking for radio friendly hooks, club ready rhythms, and crossover appeal, all supported by heavy video rotation on platforms like MTV and BET. Today, the landscape is different, largely because of streaming,
TikTok virality, and global music blending.”
Hernandez continued: “Here’s what labels are generally looking for now when it comes to reggae/dancehall’s influenced hits — viral potential (TikTok-ready moments), genre fusion (Afrobeats, Latin, trap), global appeal (accessible accents, universal themes), streaming metrics (play listing, Shazam, engagement), high quality production and smart collaborations. Stay authentic, but blend smart !! Today’s hits are global, data driven, and social media savvy.”
Hernandez has worked alongside veteran radio promoter Willie Daniels and his Tropical Blendz Crew promoting several reggae and dancehall records to mainstream radio and on several major projects for artistes, including Cardi B, Lil Uzi, Don Toliver, Kevin Gates, Jack Harlow, Gucci Mane, Maino, Jay-Z, and Nipsy Hustle. On the reggae and dancehall side, her projects have included Sean Paul, Shaggy, Chronixx, Vybz Kartel, Kranium, and Skip Marley.
Veteran Grammy-nominated music producer and industry executive Cristy Barber, who for years championed reggae and dancehall music while she worked at several major labels, concurs with Hernandez.
“[Labels] want songs that attract a wide range of people, that have the ability to connect to a universal audience and can stand the test of time. The formula has never really changed; a great hook, memorable lyrics, and an anthem track is always good,” said Barber.
But how do labels decide what songs to promote, how do they determine what is a potential hit?
“Usually, it is based on an artiste’s ability to create hit records with an already proven fan base and market presence. They will also consider if the artiste fits what may already be successful in the market at that time,” Barber reasoned while noting a path to possible international success could include “two main things… collaborating with other successful artistes in the international market and touring”.
The Billboard charting hits Dancehall Queen by Beenie Man and Chevelle Franklin, Tanto Metro and Devonte’s
Everyone Falls in Love, Damian “Jr Gong” Marley’s Welcome to Jamrock and Gyptian’s Recording Industry Association of America (RIAA) gold-certified Hold Yuh are just a few of the successful projects that Barber has worked on.
Originally from east Kingston, David Miller moved to London and today he resides between there and New York. A successful global marketing executive, Miller has done stints at major labels and has overseen globally successful projects for A-list R&B, hip hop, and pop acts including Jay-Z, Usher, Rihanna, Ne-Yo, Kanye West, Flo Rida, Bruno Mars, among several others.
He suggested that dancehall and reggae hits from the 1990s “felt more creative and focused on true artistry”.
“Less is more, in my view, and I believe that there is a huge contrast between the saturation that exists today and the A&R/artiste development that was prevalent in the past,” said Miller.
“Nowadays, the strategy or lack of seems to be labels depending on the artistes developing themselves via digital and social media before they are prepared to engage, support and distribute with the artiste. Hits come from anywhere in this present climate, from all genres and artistes from all over the world. The definition of a hit has changed due to the numerous platforms and audio-visual revenue streams that exist,” Miller continued.
He argued that social media and the Digital Age play a critical role in what labels promote.
“Artiste development is practically non-existent presently,” said Miller, who also shared what he believes are key elements to international success: “Smart, experienced management; consistency; long-term focus; and commitment. A quality project that has far-reaching consumer appeal beyond their core cultural base.”
Miller’s credentials include having worked as head of urban/pop marketing at Sony/BMG, VP global marketing & promotion at Def Jam/Universal Music, VP global marketing and promotion at Atlantic Records/Warner Music, and head of global marketing & promotion at Roc Nation.
Kingston-born Brandon Gray is currently an artiste and repertoire (A&R) executive at Epic Records, a label under the Sony Music Entertainment umbrella which has had success in the past with the likes of Patra, Shabba Ranks and Mad Cobra.
He opined that labels are looking for the next fresh sound with a broad appeal.
“Labels today [wan] tracks that resonate across different audiences and grow through discovery. A major challenge is language accessibility; label staff unfamiliar with patois often prefer lyrics that are easy to follow and sing along to. Sonically, there’s still a demand for catchy, rhythm-driven music — similar to what worked in the early 2000s, just with a modern twist,” Gray told the Splash on Thursday.
He shared that labels take into consideration metrics when deciding what songs to push.
“Streaming has made listener data more accessible than ever… At the artiste level, they focus on ‘passion metrics’ — saves, repeat listens, fan buzz — to determine things like what the next single should be. At the industry level, they track genre and artiste trends to inform budget and marketing strategies,” Gray disclosed.
While noting that there isn’t a particular blueprint for international success that artistes may follow, he said there are, however, some key things to be taken into consideration.
“There’s no single formula, but crossover success often requires artistes to balance appeal. For those in genres like dancehall or Afrobeats it can mean working two singles at once — one tailored for mainstream markets like the US or Europe, and another for core audiences in the Caribbean or Diaspora. With the right connections or budget, artistes can also experiment with familiar samples to boost accessibility. Burna Boy’s use of Toni Braxton’s He Wasn’t Man Enough in
Last Last is a great example of strategically widening appeal,” shared Gray, who has been a part of the teams that have broken major hits, including Push 2 Start (remix) by Tyla featuring Sean Paul, Zara Larsson’s Pretty Ugly, Giveon’s
Twenties and Rather Be, and Burning Blue by Mariah the Scientist.
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