THE absence of Vybz Kartel’s physical presence within the local dancehall scene has left a void to be filled with several credible suitors for the challenge. One of these artistes is Konshens, and his performance last Tuesday at Usain Bolt’s Tracks & Records Behind the Screen series was a testimonial milestone within his surging career.

Backed by his own Subkonshus band, the dancehall superstar wasted no time in getting the overcapacity crowd engaged with his pragmatic anthem Realest Song.

Recognising that his fan-base is quite diverse in their musical tastes within his discography, Konshens delivered songs that appealed each section alike.

The many ladies in attendance danced and sang in merriment to tracks such as Bad Gal, a rock and roll infused for the performance Last Drink, the guitar driven Pretty Devil, and more.

Konshens’ fans dating from Pre-2012 dapped to songs like Winner, Hand Middle A Scratch Mi, and a Tarrus Riley guest appearance for Good Girl Gone Bad. The reggae crooner Riley also stayed to perform his popular Never Leave I.

Heartfelt tributary songs were also well received including She’s Happy, Buss A Blank, and Represent.

Delus joined Konshens on stage to sing his inspirational gem What Tomorrow May Bring, and the energetic Darrio got the crowd in hysteria for his School Fee. Darrio also performed his current chart-topping collaboration with Konshens titled Siddung, to the joy of many.

Konshens even had a soca segment with covers of Tiny Winey and Kitty Kat. He also provided a raunchy segment that thrilled the ladies in the crowd with his remix to Kelly Rowland’s Motivation, and the new radio climber I’m Coming.

A drum-heavy Gal A Bubble, and the fan favourite Stop Sign, the two tracks that affirmed Konshens’ contention for artiste of the year for 2012, created havoc amongst attendees as expected. Hardcore dancehall fans were pleased with his delivery of So Mi Tan and Hot Patty as well.

Konshens closed the show with his definitive Do Sumpn, and left Tracks & Records with the ambiance that there is a new musical noble that has ascended upon dancehall’s throne.