Shaggy, born Orville Richard Burrell and raised in Kingston, Jamaica, began his career as an MC in New York City’s emerging dancehall scene after moving to Brooklyn in his teens. He later served four years in the US Marines, including two tours of duty in the Middle East during Operation Desert Storm, before signing his first record deal and breaking through globally with Oh Carolina. Over the following decade, he became one of the most influential reggae and dancehall artistes, with landmark releases including Boombastic (1995), the multi-platinum Hot Shot (2000) and Angel (2000) — the highest-ranked album by a Caribbean artiste on Billboard’s Top 200 Albums of the 21st century.
A two-time Grammy Award winner, Shaggy is the only diamond-selling dancehall artiste in history and has sold more than 40 million album units worldwide. His catalogue includes eight Billboard Hot 100 singles and seven Billboard 200 albums, alongside over two billion Spotify streams, making him one of the most-streamed reggae artistes of all time. His latest album Lottery, released via VP Records and Ranch Entertainment, is a 13-track project rooted in his philosophy of betting on himself. Largely self-produced, it features collaborations with Sting, Robin Thicke, Akon, Beres Hammond, Jeremih and Anthony Hamilton — blending dancehall with pop, R&B and global influences while staying true to Jamaican musical tradition.
Beyond music, Shaggy has expanded into theatre and film and is also active in humanitarian work through the Shaggy Make a Difference Foundation in Jamaica. In a recent conversation with Indulge, he spoke about the importance of self-belief, staying authentic to his Jamaican roots while evolving globally and the creative energy he draws from collaborating across generations of artistes.
Your latest album is titled Lottery. Could you tell us about how the idea for the album originated and the concept behind it?
The concept of this album reflects a personal philosophy — the idea of betting on yourself — something I’ve been doing since day one. Nobody handed me anything. I left Jamaica, served in the Marines and then moved to Brooklyn with a dream. That’s the lottery I chose to play. The album is about having the courage to back yourself when nobody else will, to keep going when the odds don’t look good and to trust that your time is coming. I’ve done that at every stage of my career — when labels doubted me, when trends moved away from what I was doing, I never stopped believing in myself. Choose yourself. Bet on yourself. That’s the only winning ticket that’s guaranteed.
After so many years in music, what still gives you that confidence of believing in yourself?
The music itself. Every time I step into the studio and something comes together — that melody, that rhythm, that moment when the song just clicks — it reminds me why I do this. And the fans! When I’m on stage — whether in India, Europe or the Caribbean — and people are singing every word back at me, that’s not something you ever take for granted.
You have worked across dancehall, reggae, pop and R&B for years. How did you manage to stay true to your Jamaican roots while reaching a global audience?
Jamaica is in my DNA. No matter what genre I’m exploring, the ‘riddim’ is still there, the patois is still there. I never tried to erase where I came from to fit in somewhere else. I think that’s why my music has crossed over. People can feel the authenticity.
This album has many collaborations, from Sting and Robin Thicke to younger artistes. What do you enjoy most about working with different generations of musicians?
I love the energy exchange. When I’m in the studio with Sting, there’s mastery and a wealth of experience — you learn just by being in the same room. When I work with a younger artiste, they bring fearlessness and freshness. They’re not carrying the weight of what music ‘used to be’ — they’re just creating in the moment. I feed off both. Music is a conversation across generations and I want to be part of all those conversations.
What made you want to rework Ain’t No Sunshine with Sting for this album?
Sting and I are huge Bill Withers fans and when we were talking about what we could bring to this album together, that song came up and it just felt right. We’re both artistes who deeply respect the craft of songwriting and that song represents everything that’s great about a well-written lyric. Working on it with Sting was a privilege — he brought depth and texture. We wanted to honour the original while making it our own and I think we achieved that.
BUN (She Loves Me) will remind many people of It Wasn’t Me. Did making that song bring back memories from that time in your career?
I think people are inevitably going to draw comparisons between the two songs — and I get it. BUN picks up the thread of It Wasn’t Me and turns it on its head. The track opens with a Major Mackerel quote from his 2020 Joe Grind interview before dropping into a bass-and-horn-driven groove. The character who once talked his way out of getting caught is now on the other side of it.
When you look back at Hot Shot today, what do you think made it connect with so many people around the world?
Hot Shot was lightning in a bottle. I don’t think any of us fully understood what was happening while it was happening. But, if I had to say what made it work — it was joy. It Wasn’t Me, Angel, Boombastic — those songs weren’t trying to change the world. They just wanted to make you feel good. And sometimes that’s exactly what people need. The world was ready for something that made it smile, made it dance and helped it forget its problems for three minutes. I’m proud of that record in a way I can’t always put into words.
God Is Amazing feels very personal and emotional. Has your outlook on life changed over the years?
Very much so. When you’re young, you think you’re invincible. You move fast, you take risks, you don’t always stop to look around. But life has a way of humbling you — and also showing you just how much grace you’ve been given. I’ve lost people I love. I’ve seen real hardship. I’ve also seen miracles. Faith has become a much more central part of who I am.
Dancehall music has changed a lot over the years. What do you like most about the new generation of Jamaican artistes?
Their hunger, creativity and fearlessness. They’re building bridges between Jamaica and the entire world in real time — on social media, on streaming, everywhere. Jamaica keeps producing greatness and that’s because the culture is rich and the people are resilient. Our island never stops surprising the world.
You have stayed relevant for decades without changing who you are. How have you managed to do that?
The moment you start making decisions based on what’s trending, you lose yourself. And when you lose yourself, the audience loses you too. I’ve always made music that I genuinely love, that speaks to who I am at that moment. Sometimes it connects with millions of people, sometimes with fewer — but it’s always mine. That authenticity is what keeps the relationship with the fans real. They know I’m not pretending.
Even though Lottery has a modern sound, it still feels deeply connected to dancehall culture. Was that important for you while making the album?
Dancehall is the foundation of everything I do. You can dress it up in different production styles, layer it with pop sensibility or R&B, but the DNA has to be there — the rhythm, the attitude, the storytelling. We wanted it to sound fresh and contemporary without losing the soul. I think we achieved that balance. Lottery should sound good on a beach in Kingston and in a club in Mumbai. That was the goal.
Many young listeners are discovering your older songs again through social media. How does that feel?
It’s an incredible feeling! A 16-year-old somewhere discovering Angel or It Wasn’t Me for the first time — that’s something special. Social media has essentially given music a second and third life. Songs I recorded twenty-five years ago are finding brand new audiences and those audiences are bringing their own energy to them. I see the videos, the reels, the remixes — it’s amazing.
After all these years and achievements, what keeps you excited about making music today?
The fact that I still don’t know everything. I’m allergic to boredom and there’s still something new to discover in the studio — still a melody I haven’t found yet, still a collaboration that could change the way I hear music. That mystery is what motivates and inspires me. Music saved my life in many ways. I owe everything to it.
What’s next for you?
Following a run in Paris (France) and Brisbane (Australia), I’ll be performing alongside Sting in his musical The Last Ship at the Metropolitan Opera House in New York, this June. It’s an incredible project and something I never would have predicted for my career, but here we are and I’m grateful. Beyond that, I’ve been filming a movie with Kevin Costner and Jake Gyllenhaal, which has been an amazing experience. I’m also looking forward to taking Lottery on the road and performing the new songs live. I’ve got more music cooking, more collaborations in the works. The machine never stops.
Lottery is streaming on all audio platforms.
Email: alwin@newindianexpress.com
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