Sean Paul Praised Masicka For His Versatility To Deejay On Trap Or Dancehall Beats

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Click to share on WhatsApp (Opens in new window) Bounty Killer had come out placing blame at the feet of the producers for “watering down” the music. Sean Paul says that a lot of the younger dancehall artists are sounding way better on trap beats than traditional dancehall riddims. Vegas had alluded to something of a similar nature in reference to dancehall artists and reggae beats. Sean Paul will only give Masicka a pass for using trap beats in dancehall. Masicka has a rare talent in dancehall
On the contrary, Sean Paul says Masicka “does it “effortlessly” and as a result, he respects him for it. During an interview with Anthony Miller, Sean Paul spoke about some acts that have been dabbling in the new Trap sounds which have emerged from the island in recent years. When Miller asked him for examples of names who he considered fit this pattern, he reluctantly named Gage and Skillibeng as two such acts. The dancehall legend named Masicka as the artiste that he thinks is the most “versatile” of these new entertainers while suggesting that some are better suited and equipped to compose songs within the realm of trap-dancehall versus the old school dancehall beats. He proposed for producers to stick to the more authentic sounds as introducing Trap and Island Pop somehow seem to cripple some artiste ability to be able to deejay the regular way on a dancehall track. He went on to add, “I have seen him go on a Trap-Dancehall type a track, an I seen him go on a dancehall track an him sound dope on di both a dem.”
SP is not the first major act to point this out as back in 2019, Bounty Killer and Mr. Mr. The dancehall icon has never been one to shy away from giving his opinion when it comes to Jamaica’s music, and this time around, he is sharing his thoughts on some of the genre’s newcomers. He stated they were more heavily reliant on computer software programs to create their sounds. Vegas also echoed similar sentiments after Bounty made his statement and blamed it on the young producers who he classified as “stifling the artiste.” He pointed out that most of the newer producers did not even know how to play an instrument and, as such, could not differentiate if they were even off-key.