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Robert Livingston is the most successful Jamaican producer of the 21st century by record sales. Having sold millions of records, he is the executive producer of Hot Shot by Shaggy (MCA Records), which is certified 6× Platinum by the Recording Industry Association of America and has sold over 12 million units worldwide.
Prior to managing Shaggy, he took Super Cat’s career from local to international.
In the now-mythologised 1991 Sting clash between Super Cat and Ninja Man, Livingston tells World Music Views how the situation unfolded backstage during one of dancehall’s most volatile encounters.
Livingston says he and Super Cat shared a deep, instinctive bond, explaining that “Cat and I have a chemistry. Anywhere we go. If there’s a threat to me, he’ll pick it up. And if there’s a threat to him, I pick it up,” adding that they moved “as two street man.”
He says Super Cat initially did not want to perform that night, recalling that “he didn’t want to do that show, because he feel like it’s going to be a problem regardless,” particularly given tensions surrounding how the clash with Ninja Man had been built up.
Still, Livingston says he urged him to take a broader view, telling him, “Cat, you can’t shy away from this show. This show is something that—this is a part of our culture. This is who we are,” reminding him that “we’re not afraid of nothing… because we are two tough street men. And we are going to take it on.”
Despite rehearsals and planning, he says the reality at the venue on the night, was far more intense than anything they could prepare for. He recalls that “that night when we get to the venue, it was so tense,” noting that “every gang in Jamaica was in that venue,” alongside both his own “downtown people” and members of Super Cat’s circle. As a result, he says, “we tried to keep our backstage to make sure nothing would go on—from our part.”
Across from them, he says, Ninja Man and his team were already positioned, remembering vividly that “Ninja Man was over there with his wig on,” adding that if the backstage had been filmed, “it would be the best movie.”
Watching tensions rise, Livingston says he advised Super Cat to stay disciplined, telling him to “deal with it musically, don’t take it personally.” However, he reflects that “I think he went in a little bit too personal with it.”
Even in that moment, Livingston says he remained focused on the long-term, reminding the artist that “this show is not going to stop our plan… this is just for the street people,” and urging him not to lose sight of the bigger picture: “don’t think your career is going to stop. We’re just going to nail this and keep moving.” He adds that he reassured him directly, saying, “don’t do nothing stupid out there, because guess what? We have a bigger future… alright, but me have you.”
As the clash unfolded, the situation quickly deteriorated. When bottles began flying towards the stage and Super Cat threw one back into the crowd, Livingston says he realised intervention was necessary. “Me go do it meself… cause me a tell the man dem say, yo, watch what you doing. So me go do it meself. Me nuh send nobody,” he recalls.
Looking back, Livingston offers a notably candid assessment of the outcome. Despite managing Super Cat, he says plainly that “Ninja Man had the clash,” explaining that “Cat made a mistake on the song him draw.”
At the same time, he maintains that Super Cat’s dancehall artistry is undeniable, pointing out that “Cat intro alone always sell off everything,” and suggesting that, had he stuck more closely to the plan, instead of emotions, the result onstage might have been very different.
The following year, Super Cat released Don Dada which peaked at No. 37 on Billboard’s Top R&B Albums chart via Columbia Records.
English (US) ·