In 2021, when Shenseea’s Trending Gyal freestyle sent social media into a frenzy and prompted many listeners to hail her as the next queen of dancehall, the entertainer was flattered by the recognition but made it clear that wearing the crown was not particularly high on her list of priorities.

At the time, the Sheng Yeng leader insisted that her focus was simply on making music, enjoying the creative process, and allowing her work to speak for itself rather than becoming consumed by the expectations that came with a coveted title.

“I’m honoured that they [the fans] see me as such [the next dancehall queen], but it wasn’t a title I’ve always wanted. I want to do music and enjoy it for the fun, not because it is expected of me to do so,” she told local media back then.

Five years later, however, the Grammy-nominated entertainer appears to have had a change of heart.

In a recent interview that has been gaining considerable traction across social media, Shenseea expressed confidence that her accomplishments have now earned her the right to claim the dancehall crown.

Pointing to current statistics as the basis for her position, the
Alpha artiste suggested that she has done enough to warrant recognition as the genre’s leading woman.

Her declaration has once again stirred the long-running conversation about dancehall’s royalty, particularly as veteran entertainer Spice remains widely regarded as Jamaica’s reigning queen of dancehall.

Raymond “Shadow” Small

But while Shenseea’s international profile and commercial achievements have undoubtedly strengthened her standing in the global music industry, whether those accomplishments are enough to displace an artiste whose legacy has been built over decades is another matter.

For entertainment publicist and digital media consultant Toni-Ann Kelly, of Black Butterfly Media, Shenseea has not yet earned the crown. While acknowledging the entertainer’s commercial achievements and impressive streaming numbers, Kelly questioned whether such statistics were enough to justify her claiming the throne.

“Where she loses me is how we get from streaming and YouTube and figures like that to her being the queen of dancehall,” Kelly argued. “Beenie Man is a good example of why I say that. Sean Paul’s international reach deserves every bit of respect, and anybody can make a case for Vybz Kartel’s influence, but I still give Beenie Man the title of king because, to me, he lives and breathes dancehall… You feel how much he enjoys the music, how well he knows his audience and how much he cares about what happens to the culture. I get that same sense of commitment from Bounty Killer and Sean Paul. I hold a queen to that same standard.”

Drawing comparisons with some of the genre’s most recognisable female figures, Kelly argued that international reach must be complemented by an unmistakable musical identity and a genuine connection with the culture.

“Lady Saw was hard to miss and harder to mistake. So is Spice. With Shenseea, I find the opposite happens too often. Everybody knows her name, yet on too many records her personality gets lost in the mix,” she said.

For Kelly, being a contender for the crown requires the kind of individuality that allows audiences to immediately recognise an artiste through her delivery, writing, and stage presence.

KELLY…everybody knows her name, yet on too many records her personality gets lost in the mix.

“For somebody claiming to be the woman who captivates this space, she’s still a little too easy to miss in it,” she continued. “All the kings and queens of dancehall were captivating in every era and there was none that was or is missed.”

Entertainment publicist, media practitioner, and director of communications at Prism Marketing Consultants Raymond “Shadow” Small offers a somewhat different perspective.

He told the Jamaica Observer that he believes Shenseea has established herself as a legitimate contender, even if that does not automatically make her the rightful successor to Spice.

Small acknowledged her impressive catalogue, international collaborations, Grammy recognition, performances on major stages, and ability to reach audiences beyond traditional dancehall markets. However, he cautioned against confusing international popularity with cultural leadership.

“Being internationally successful does not automatically mean that an artiste has inherited the crown. Spice’s position was established through years of consistency, hit records, commanding performances, cultural influence and her contribution to creating opportunities and visibility for female dancehall artistes,” he said. “Shenseea has a strong argument based on her current commercial success, but Spice has an established legacy that cannot simply be displaced by streaming statistics.”

Still, Small believes the genre has enough room for both women to establish their own legacies without one having to surrender her position for the other to thrive.

“Shenseea should not have to wait for Spice to become inactive before establishing her own legacy. Both women can dominate different periods and represent different dimensions of the genre without one having to diminish the other,” he said.