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On a recent episode of World Music Views, rising dancehall artiste iWaata stepped into the spotlight with the same energy that has fueled tracks like “Cut Off Jeans,” “Clip Tall,” and “Balance.” Calm, confident, and grounded, he opened the conversation with an easy warmth: “Yeah man, how you doing? How’s your Monday treating you boss?”
That tone—humble yet self-assured—carried throughout the interview, revealing an artist deeply rooted in faith, discipline, and a relentless drive to succeed.
“You’re nothing without God’s grace”
iWaata, the day begins long before the music.
“I start my day, every day I check my social media… then I pray for my followers and I say man, you know you’re nothing without God’s grace.”
It’s a ritual that keeps him grounded:
“You can’t do nothing without God’s grace… so I start my day and get the natural power to go through.”
After that, it’s straight to work:
“A normal day in my life is in the studio, father… I never watch TV or anything.”
That level of focus has become a defining part of his rise—an artist fully immersed in his craft, constantly recording, refining, and evolving his sound.
From Papine to the Studio
Born and raised in Papine, St. Andrew, iWaata described his environment as one that naturally fed his musical ambitions:
“Originally I’m from a place called Papine… it’s a musical environment.”
Music wasn’t just around him—it was part of daily life:
“My uncle, my granduncle, they used to have a sound system in the yard… I grew up and watched the greats.”
By the time he reached school age, that influence had already taken hold:
“Around 2005, I started playing the drum… going to high school… I start creating my own lyrics.”
From there, the decision felt inevitable:
“This is what I do… music is the only work I do.”
Betting Everything on Music
iWaata didn’t shy away from discussing the sacrifices behind his journey. School, he admitted, wasn’t the path he chose:
“It never worked out because I didn’t go to school… then I said, ah, I’m going to do this music thing.”
Instead, he committed fully to his passion:
“You just tell yourself that you are going to succeed at this no matter what.”
By his late teens, that belief was already paying off:
“I was 17… that’s when people started to see me and know me.”
The Breakthrough Moment
Many fans first noticed iWaata during a heated period in dancehall, where lyrical clashes often shaped visibility. Reflecting on that time, he explained:
“You don’t know until you come up here and be recognized… like a fire tool shot lyrically.”
While he downplayed the idea of actively seeking conflict, he acknowledged the impact:
“I didn’t get the bricks… not even one real clashing thing… but I just get the highlight.”
And ultimately:
“Yeah man, it worked man.”
Respect for the Greats
Despite carving his own lane, iWaata openly credits Vybz Kartel as a major influence:
“If you don’t rate Kartel… you’re a liar because everybody grew up on Kartel’s music.”
He continued:
“Big man thing… him inspire me still… even up to today.”
That influence can be heard in his delivery—sharp, melodic, and rooted in the DNA of modern dancehall.
“One plane at a game”
Though he was once part of a collective, iWaata now stands firmly on his own:
“I was Jet Life and then it broke up… so I just wanted to play my own game.”
His philosophy is simple:
“Don’t have two sides… one plane at a game.”
That independence has allowed him to shape his identity without compromise, building a catalog that blends street narratives with commercial appeal.
IwaataEyes on the Prize
With a growing list of releases and increasing international attention, iWaata says its important o remain consistent:
“I put out an album last year… I’ve been putting out EPs… show the people why I’m out there.”
He’s also expanding his range:
“This year I’m going to run ten of them… and do girl songs too.”
But beyond hits and visibility, his ultimate goal stands out:
“The first one I say—the Grammy.”
He added with quiet confidence:
“I have a Grammy under me… but that was always the aim.”
More Than One Lane
Unlike many artists who stay within a single sound, iWaata is thinking bigger—beyond dancehall, into reggae and global appeal:
“You can’t say you’re a bad artist and you can’t do reggae music.”
For him, versatility is essential:
“Music is music… it only has genres… so you have to approach it and tackle it.”
He believes true greatness lies in range:
“The greatest thing is conquering all of them genres.”
Performance is another area where iWaata is sharpening his edge:
“If you’re bad up on the stage… it just flows because you sing every day and do something every day.”
He’s already tasted major stages, but wants more:
“I get a piece from Barclays already… but I know there’s a level where I’ll get my own set.”
And he’s putting in the work to get there:
“I’ve been training and I will never stop training.”
From Papine’s sound system culture to international ambitions, iWaata’s story is one of focus, faith, and forward motion. He’s not chasing trends—he’s building a career step by step, grounded in belief and driven by purpose.
As he puts it:
“Music is the only work I do.”
English (US) ·