Tribeca Review: Bad Like Brooklyn Dancehall

“Bad Like Brooklyn Dancehall” is a film that dives into the colorful world of dancehall, a Jamaican musical genre that’s as much about attitude and lifestyle as it is about beats. Directed by Ben DiGiacomo and Dutty Vannier and produced by Shaggy, a major figure in bringing dancehall to the mainstream, the film offers a glimpse into this vibrant culture through a mix of interviews, archival footage, and some good old storytelling.

Set against the backdrop of the Tribeca Film Festival, “Bad Like Brooklyn Dancehall” feels a bit like your standard documentary with its lineup of talking heads and historical clips. Yet, it manages to keep you hooked by exploring how dancehall isn’t just music—it’s a movement. Starting from the basement parties of Brooklyn in the 1980s, where the Caribbean diaspora brought their beats and vibes, the film tracks the genre’s ascent into the pop culture stratosphere.

We see dancehall through the lens of pivotal figures like Shinehead, Super Cat, and Shabba Ranks, who helped define its early sound. Then there’s Shaggy, whose 2000 hit “It Wasn’t Me” brought dancehall into the limelight of pop music. The film portrays Shaggy not just as a star, but as a bridge between classic dancehall and its modern iterations. Unlike many artist-centered documentaries, Shaggy doesn’t hog the spotlight. Instead, he shares it with other artists, highlighting their contributions to the genre and drawing a line from past to present.

The narrative takes a turn when it explores the fusion of dancehall with mainstream pop and hip-hop. It’s fascinating to see how dancehall’s infectious rhythms and moves have permeated popular music and dance. The film highlights figures like Tanesha Scott and Blacka Di Danca, who were inspired by early dancehall pioneers like Bogle and the iconic Passa Passa parties in Kingston, which eventually made their way to Brooklyn.

“Bad Like Brooklyn Dancehall” shines when it discusses the cultural exchange between Brooklyn and Kingston, tracing how dancehall’s essence was transported through various media and gatherings. It also delves into the role of DJs in these communities, showing how their spinning decks and mics in basement parties laid the groundwork for what would evolve into freestyle rap.

In terms of visuals, the film captures the kinetic energy of dancehall, from dance floors to street parties, making it almost feel like you’re part of the scene. It successfully illustrates how dancehall is more than just music; it’s a powerful expression of cultural identity that resonates on a global scale.

Overall, “Bad Like Brooklyn Dancehall” is a compelling watch. It may use a conventional documentary format, but the story it tells is anything but ordinary. It’s a vivid reminder of how music can capture the spirit of a people and echo across communities, shaping and reshaping cultural landscapes as it goes. Whether you’re a longtime fan or new to dancehall, this film is a worthwhile exploration of a genre that continues to influence and inspire.