Review: Buju Banton's Too Too Bad Is an Important Album for Dancehall

Buju Banton finally delivers the authentic dancehall album many hoped for after his return, bringing back the energy and feeling of the genre's golden era with a fresh, modern touch

Buju returns to his authentic dancehall roots (photo: Jamie Crawford-Walker)

For years, many dancehall fans have longed for the sound that defined the genre's golden era-hard-hitting riddims, commanding deejay delivery, and lyrics that carried both authority and personality.

On his 13th studio album, Too Too Bad, Grammy-winning Jamaican icon Buju Banton delivers exactly that. More than just another addition to his catalogue, the project is a timely reminder of what authentic dancehall sounds like, proving the genre's foundations remain as powerful as ever.

Across 13 tracks, Buju revisits the raw energy and commanding deejay style that established him in the early 1990s. Rather than relying on nostalgia, Too Too Bad captures the spirit of that era while embracing the artist he has become, blending dancehall's roots with polished, modern production.

The album immediately sets the tone with “We Nuh Play,” built around the legendary Diseases riddim, originally produced by Henry "Junjo" Lawes in 1981 and reimagined by Jermaine “August” Reid. It is followed by the lyrically aggressive “FAFO” (“F**k Around and Find Out”), where Buju wastes no time reminding listeners why he remains one of dancehall's most commanding voices. His sharp lyricism and uncompromising delivery feel like both a statement of intent and a response to anyone who questioned whether he could still dominate the genre.

From there, the album shifts into trackss aimed at the ladies. “X Rated,” first introduced on DJ Mac and Crash Dummy's viral WYFL Riddim, brings a contemporary bounce before transitioning into the more traditional dancehall feel of “Eye to Eye,” produced by Miami-based Bashment Sound duo Silent Addy and Disco Neil. The track is vintage Buju-confident, charismatic and lyrically precise - showcasing the unmistakable flow that helped make him one of dancehall's greatest entertainers. That same energy carries into “Good Pum Pum,” another record built for the ladies.

“Like You,” produced by André “Suku Ward” Gray, JLL and Friends Only, and Supa Dups, keeps the momentum going with an infectious modern groove while maintaining the album's classic dancehall identity. One of the standout moments arrives with “Wild Woman,” produced by DJ Khaled. Built around a sample of Notch's “Nuttin No Go So” on the iconic Buy Out riddim - the same instrumental that powered Sean Paul's global smash “Like Glue” - the track finds Buju effortlessly blending vintage deejay energy with polished contemporary production.

Previously released single “Butterflies,” produced by Supa Dups for Black Chiney Music, revisits the timeless Real Rock riddim, one of dancehall's most iconic instrumentals, which has spawned countless classic recordings, including Banton's own. The track also evokes memories of another fan favourite, “Love Sponge,” as Buju effortlessly returns to the romantic side of his catalogue.

Supa Dups also lends his touch to “House Call,” alongside Stephen “Di Genius” McGregor, delivering another playful dancehall anthem aimed squarely at the ladies. The album later reunites Buju with American R&B singer Ari Lennox on “Satisfy Me,” following their chemistry on “Company.”

One of the album's most refreshing moments comes on “Be Good,” where Buju steps away from his commanding deejay delivery in favour of his melodic singing voice. The result is a heartfelt love song that recalls the warmth and soulfulness that have always complemented his harder-edged records. His vocal performance even brings to mind shades of Stephen Marley, with whom he is currently touring on the Roots & Rhythms Tour.

The closing stretch reinforces the album's mission, with “Heavy Hitters” returning to the rugged, uncompromising dancehall approach that defines much of the project.

The album concludes with “Power,” featuring longtime collaborator Gramps Morgan. While the uplifting collaboration has its moments, it feels slightly out of place as the closing track and doesn't quite deliver the powerful finale the album builds toward.

In many ways, Too Too Bad feels like the album Buju Banton should have released sooner following his release from prison in 2019. While Born For Greatness explored more reggae influences, this project sees him fully embrace the authentic dancehall sound that defined his rise and cemented his status as one of Jamaica's most influential artistes.

However, Too Too Bad is an important album for the genre itself. At a time when dancehall rarely sounds like this anymore, Buju reminds listeners why its classic formula remains timeless. The album brings back the energy and spirit of dancehall's golden era while feeling fresh and contemporary, striking a balance that only an artist of Buju Banton's calibre could achieve.