RESOLVING THE LEDGER
This is one outlet's own report from Billboard — the article as it was filed.
If DJ MAC & CrashDummy’s “WYFL” riddim soundtracked the winter months of late 2025 and early 2026, then Di Genius’ “Hill & Gully” riddim picked up the mantle for the springtime.
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While “Hill & Gully” has undoubtedly traversed genres and generations — thanks to its infectious incorporation of the Jamaican folk music tradition known as mento — Masicka’s take (“Slip & Slide”) is, by most accounts, the buzziest version of the riddim. According to Luminate, “Slip & Slide” has collected over 3.1 million official on-demand U.S. streams through Aug. 15, with its official YouTube music video boasting over 10.7 million hits. The official “Slip & Slide” sound also currently plays in 360,000 TikTok posts and over 7,000 Instagram Reels .
“Mi seh [“Slip and Slide”] was gonna be a banger from when I recorded it,” the Portmore native tells Billboard just days before his arena-headlining debut at Brooklyn’s Barclays Center. “Mi neva seh it woulda run so fast, but mi definitely knew it would have that impact. The ladies love it, them just grab it up suh. It’s a feel-good vibe that had to be pon di album, and mi have some more songs like it so that the ladies can hold a vibe.”
Since the arrival of his 2021 debut album 438 , which won dancehall album of the year at the 2023 Caribbean Music Awards , Masicka has cemented himself as dancehall’s brightest star this decade. He followed up 438 with the profile-raising Generation of Kings, which peaked at No. 2 on Reggae Albums, spawned hits like “Tyrant” and “Limelight,” and gave way to a slew of smashes over the next few years, including “Hit & Run” (with Shenseea & Di Genius), “Whites” and “Mute.” With over 57 million official on-demand U.S. streams earned in 2026 through Aug. 18, Masicka certainly has the numbers to claim dancehall’s crown — and his new Forever Reign album adds yet another stellar collection of songs to his remarkably consistent body of work.
Masicka recorded Forever Reign , which arrived on Aug. 14 via Def Jam, around the world. Comprised of sessions hosted across Jamaica, Canada and Nigeria, the dancehall superstar’s third studio album underscores his global, Black diaspora-centering approach to music. Across a rich landscape primarily helmed by celebrated Jamaican dancehall producer Dunw3ll, Masicka further infuses his signature foundation of trap-inflected dancehall and contemporary reggae with ‘00s hip-hop (“Shakazulu”) and Afrobeats (“G Wagon,” with Blaqbonez), making for a triumphant 17-track set that reiterates why Masicka has exclusively dominated the cherished lane of streetwise crossover star this decade.
“It took a lot of maturity to get where I’m at now and to take the music to a different level,” he reflects. “This album is definitely more on the uplifting side, lots of hope and self-belief.”
“Oak Tree,” which Masicka recorded in Jamaica, sets the tone for the album, blending percussive, midtempo dancehall production with tales of tenacity and perseverance. On Forever Reign , Masicka deejays from a place of genuine maturity: he’s no longer the scrappy yute navigating Portmore’s streets and the underbelly of its music industry; he’s now an award-winning, top-selling musician with an international record deal and the kind of wins he dreamed of as a child.
But what do fulfillment, self-assuredness and inner peace look like on the other side of that mountain? The two duets that open and close the album — “1Psalm” (with Damian “Jr. Gong” Marley) and “Parables” (with Lila Iké ) — attempt to answer those questions by keeping faith and gratitude as Masicka’s guiding principles.
“Damian Marley is a real lyrical artist,” Masicka gushes. “When we linked up for the session, I actually had the first verse and the chorus already. Mi go and play maybe 14 or 15 other tracks for him; as soon as I said, ‘1 psalm a day, dem wicked,’ him a fly up inna di session, boot up, and just start deejaying. He finished the second verse, and we ended up recording three songs together.”
Those kinds of organic collaborations are the crux of Forever Reign . In addition to Marley and Iké, Nigerian rapper Blaqbonez and rising new-gen trap-dancehall artist Kraff Gad also appear on Masicka’s new LP. While the Blaqbonez-assisted “G Wagon” delivers an Afro-dancehall banger that came out of a Nigeria-set studio session that also included Victony and Ruger, “Honor Roll” finds Masicka lending his star power to dancehall’s ascendant class of youngsters.
In a way, Masicka is in his J. Cole-“Middle Child” era. His ability to seamlessly flit between generations is also on display on “Shakazulu,” which flips 50 Cent’s 2003 Billboard Hot 100 No. 1 smash “In Da Club” for a club-ready bop. Between tracks like “Shakazulu,” “Slip & Slide” and lead single “Spend,” Forever Reign doesn’t completely abandon the club, nor does it leave the ladies stranded; versatility is the record’s North Star, and three albums in, Masicka has perfected his sonic range to the point that it simply flows out of him.
“Mi used to write — and if mi have di time, I would still write — but it’s been a while since I’ve written a chorus or a verse,” he reveals. “Maybe five or six years. [More often than not], I’ll have an idea, drop down a piece of it, and then go work in my home studio. There, I can freestyle, listen to it back and finish it up. I’m more of an on-the-spot person.”
Back in March, Grammy-nominated contemporary reggae star Protoje told Billboard that“every time Masicka does a feature, he lifts the song and stays on topic. He listens to the original verse an...
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