Vybz Kartel has identified Masicka and Alkaline as two of the leading candidates who could eventually take the crown as King of Dancehall, offering his perspective on the artists he believes have the qualities to carry the genre into its next era.
The Dancehall veteran made the comments during a wide-ranging interview, discussing the evolution of Jamaican music, the younger generation of artists, and the changing relationship between Dancehall and its audience.
When Kartel was asked about younger fans gravitating toward Masicka and whether he could see the Genasyde artist as a potential successor, his response was immediate.
“Of course, as a young artist. Lyrics, he don’t have a problem with lyrics. Clearly he’s brave, and he can actually deejay,” Kartel said.
He went on to acknowledge that Dancehall will continue to change, with different styles, sounds and approaches emerging as new generations take their place in the genre.
For now, however, Kartel considers Masicka “one of the good candidates.”
The endorsement is notable, coming from an artist whose influence has shaped multiple generations of Dancehall and whose name remains central to discussions of the genre’s hierarchy.
Kartel Also Names Alkaline
When pressed to name other artists who could potentially contend for the position in the future, Kartel brought up Alkaline.
“I mean, not off the top of my head, but I would put Alkaline, I think,” he said, before acknowledging that there are other artists who could also enter the conversation.
One of the names he mentioned was Malie Don, whom Kartel praised for his persona, image, and growing appeal among female listeners.
The comments underline an important point: Kartel was not presenting a formal ranking or declaring that either artist has already succeeded him. Instead, he was identifying artists he believes possess some of the qualities necessary to become major figures in Dancehall’s next chapter.
That distinction matters because the title of “King of Dancehall” has historically been shaped by a combination of musical output, influence, longevity, cultural impact,t and the ability to connect with audiences, not simply by one artist’s endorsement.
Why Masicka and Alkaline Stand Out
Masicka and Alkaline have taken notably different approaches to building their careers, but both have established themselves as major names among the generation that followed Kartel’s rise.
Masicka has built much of his reputation around lyricism, storytelling, and a versatile approach that allows him to move between hardcore Dancehall and more melodic material. His 2021 album 438 was widely regarded as an important project in his development, with DancehallMag previously describing it as one of the genre’s impactful albums of its period.
Alkaline, meanwhile, has cultivated a distinctive identity and fiercely loyal following while maintaining a relatively controlled public profile. His 2016 debut album New Level Unlocked was another significant project in the modern Dancehall landscape, reinforcing his position among the genre’s leading younger-generation artists.
Their longevity also separates them from some of the newer names now entering the conversation.
Dancehall has continually produced artists who enjoy major moments, but sustaining that momentum over several years is a different challenge. Becoming the genre’s defining figure requires more than hit songs; it requires consistency, identity, cultural influence, and the ability to remain relevant as musical tastes change.
Those are some of the qualities that make Kartel’s assessment particularly interesting.
Kartel Says Dancehall’s Future Will Look Different
While discussing potential successors, Kartel also acknowledged that the sound of Dancehall will not remain fixed.
He pointed to the emergence of sing-jays and other styles as evidence that the genre will continue evolving.
That evolution has always been part of Dancehall’s history. New rhythms, vocal approaches, production styles and trends have repeatedly replaced or absorbed what came before them.
Kartel’s own career was built during one of those periods of transformation.
His influence helped popularize a particular approach to deejaying, songwriting, production and artist branding, while the generation that followed has developed its own variations of the sound.
For Kartel, that process is not something Dancehall should resist.
Instead, he appears to view the next generation’s job as figuring out how to take the genre further.
‘Everybody Wants to Be the Man’
Beyond the question of who could eventually become Dancehall’s biggest figure, Kartel offered a broader critique of the genre.
He identified what he sees as one of Dancehall’s biggest problems, which is badmind and a lack of unity.
“Everybody wants to be the man,” he said, arguing that badmind and industry players sometimes approach the business as though another person’s success takes away from their own opportunities.
Kartel believes the opposite should be true.
His philosophy is centered on what he described as an abundance mindset; the idea that there is enough opportunity for multiple artists to succeed so no one needs to be jealous of others, which is the meaning of “badmind” in Jamaica.
He pointed to his own international performances as an example, noting that he has consistently tried to include other Jamaican Dancehall acts when performing overseas.
That approach has continued into his current era, with artists including Kraff, Malie Don, Shaniel Muir and Govana being associated with opportunities around his international shows and events.
Kartel’s message is straightforward: established artists can grow their own careers while helping create space for emerging talent.
He Wants the Next Generation to Solve Its Own Problems
Kartel was also candid about the challenges facing contemporary Dancehall.
While many songs can have an immediate impact in Jamaica, he believes the genre still has work to do when it comes to converting that local popularity into sustained international success.
According to Kartel, younger artists have to take greater responsibility for solving that problem.
He pointed to social media, commercial viability and innovation as important tools.
“You need to utilise social media properly,” he said, while also stressing the importance of artists developing innovative language and ideas capable of capturing an audience’s attention.
It is a particularly relevant observation in an era where artists can potentially reach millions of listeners without relying entirely on traditional record-company structures.
For Kartel, however, having the tools is only part of the equation. Artists have to understand how to use them.
Kartel Sees Dancehall as ‘Reggae 2.0’
Kartel also offered his perspective on the current state of the music itself.
Rather than viewing contemporary Dancehall as disconnected from its roots, he described it as something of a “reggae 2.0.”
He pointed to artists such as Chronic Law, whose music often explores psychological, social, and personal themes, as examples of how the genre continues to reflect real-life experiences.
The role of social media has also changed how artists interact with their audiences.
Kartel compared today’s online audience to the massive physical crowds that artists once relied upon to measure their popularity.
“Social media is the same big crowd,” he said. “It has transcended.”
That shift has fundamentally changed how music is promoted, consumed, and discussed, allowing artists to communicate directly with listeners around the world.
Kartel Rejects the Idea That Dancehall Lost Its Social Conscience
Kartel also pushed back against the argument that modern Dancehall has abandoned social commentary.
He referenced his own song “Mr. Babylon” and the wider tradition of conscious messaging within Jamaican music, pointing out that social commentary has long been part of Dancehall’s connection to reggae.
While he acknowledged that younger artists may approach social issues differently, he does not believe the tradition has disappeared.
Songs addressing life in marginalized communities and the realities facing ordinary Jamaicans continue to emerge, he argued.
The challenge, in his view, is allowing the younger generation time to develop its own voice.
‘The Youths Need More Opportunity’
When asked what Jamaica needs most, Kartel gave a simple answer: opportunity.
“The youths need more opportunity. That’s it,” he said.
He contrasted Jamaica’s economic environment with opportunities he has encountered in the United States, where even relatively simple services such as lawn care can provide a viable source of income.
Kartel has also been spending significant time in Florida after obtaining a U.S. work permit, giving him greater access to opportunities outside Jamaica while continuing to build his career from an international base.
His larger objective extends beyond his own success.
Kartel has spoken about wanting to take Dancehall further into major international markets, including Africa and North America, while creating pathways for more Jamaican artists to participate in those opportunities.
The Next Chapter of Kartel’s Career
The discussion comes as Kartel continues to expand his career beyond recording music.
He is preparing for The Return of the Building, an event designed to recreate the club atmosphere associated with an earlier era of Dancehall while introducing that experience to fans who were too young to experience it the first time around.
The concept is particularly significant for a generation that may have grown up listening to Kartel without ever having the opportunity to see him perform during the height of his earlier career.
He has also discussed international performances, business ventures, and a reality television project with his fiancée, Sidem, as he continues expanding his brand beyond music.
Family is also increasingly central to his public life, with Kartel emphasizing a different chapter of his life focused on family, business and music.
Kartel’s Own Mount Rushmore
Despite his willingness to look toward the future, Kartel remains confident in the strength of his own catalogue.
When asked to identify his five favourite songs from his career, he named Come Home, Ramping Shop, Summertime, Last Man Standing and Fever.
He added Clarks when given the option of including a sixth track.
The selections provide another glimpse into how Kartel views his own legacy.
More than a decade after many of those songs were released, they remain recognizable titles within his extensive catalogue and continue to feature prominently in conversations about his contribution to Dancehall.
So, Who Comes After Vybz Kartel?
Kartel’s comments do not settle the long-running debate over who will eventually become Dancehall’s next dominant figure.
They do, however, add an interesting perspective to it.
By naming Masicka and Alkaline, Kartel has placed two established artists from the post-Kartel generation directly into a conversation that will likely become more prominent as Dancehall continues to evolve.
Masicka brings lyricism, storytelling, and an increasingly international approach. Alkaline has built a distinctive brand, a dedicated following, and a career defined by his own creative identity. Malie Don and other emerging artists are also beginning to attract attention as the genre searches for its next generation of leaders.
Ultimately, the future King of Dancehall will not be determined by one interview or one endorsement.
It will be determined over time by music, influence, consistency, cultural impact, and the ability to connect with audiences both in Jamaica and internationally.
For now, however, one of Dancehall’s most influential figures has made his position clear: Masicka and Alkaline are among the artists he sees as genuine contenders for the future.
And with Kartel himself now focused on opening doors for the generation coming behind him, the question of who eventually carries Dancehall forward may be one of the most interesting stories in Jamaican music over the years ahead.