In late 2025 the WYFL rhythm hit the scene like it had always belonged — tight, raw, unstoppable. DJ MAC, a fast-rising producer, handed the streets a rhythm that doesn’t play favourites. And dancehall answered.

From yard sessions to packed clubs, the beat has turned heads and pulled veteran deejays out from the shadows, bringing juggling back to the forefront — where it belongs.

In a recent interview, multi-Grammy-winning international artiste Shaggy praised DJ MAC not only for crafting an infectious rhythm, but for letting it breathe and take on a life of its own.

He noted that gatekeeping has never done the industry any justice and expressed his excitement at seeing WYFL inject a fresh, electrifying pulse into the local music scene.

“I think it’s good, I love the vibe. I love everybody jumping on it. I’ve been on a play with… Sting from January, and that’s the only reason I haven’t jumped on it yet. I love the rhythm, but I love the energy it’s bringing — it’s back to dancehall; the juggling come back,” he said.

While Shaggy is clearly impressed with WYFL’s energy and its role in reviving the juggling culture, he admits he’s still waiting for a breakout hit with international reach.

“Everybody’s song has its place, but I’m still waiting for that song to break the ceiling,” he said. “Everything is under the ceiling so far. Every song we see, it a ketch a vibe, it inna di dancehall, but there’s nothing that has broken that international ceiling — and that’s the problem we keep getting. Everything hit a ceiling, and we need more action outside.”

His words highlight the rhythm’s undeniable impact locally while underscoring the challenge of translating that momentum to a global stage.

Shaggy reflected on the globally successful Shake It To The Max rhythm, which he believes could have broken international barriers but didn’t, due to gatekeeping.

“I thought that could have happened with Silent Addy and the Shake It To The Max rhythm. We tried, and a couple people jumped on it, but I think the problem was Moliy. She didn’t want anybody else to jump on it…” he said. “I know Silent Addy himself was really pushing to do it, but I think she was the one blocking it, and that really hurt the culture because that was a gateway. Not allowing anybody else to jump on it — that’s gatekeeping in my opinion…

“If I had a rhythm and it jump off tomorrow, everybody haffi deh pan it,” he added. He went on to name Skillibeng and Shenseea as young torch-bearers of the genre on the international stage, stressing that their efforts are needed to continue pushing dancehall beyond Jamaica’s shores.