In a recent interview discussing the controversial presence of tracks by artists Sizzla and Capleton on Spotify, Stephen, a music industry analyst, posed critical questions about the platform’s approach to hate content. This conversation gained traction following the release of Vybz Kartel from a Jamaican prison, prompting many fans to revisit classic dancehall hits. However, the nostalgia was tarnished for some when they stumbled upon Sizzla’s “Nah Apologize” and Capleton’s “Buggering,” both infamous for their violent homophobic messages.
Capleton’s song explicitly denounces same-sex relationships, advocating for extreme penalties, while Sizzla’s track was crafted in opposition to the Stop Murder Music campaign. Notably, both artists had previously endorsed the Reggae Compassionate Act, which condemns homophobia. This raises a significant question: why are these songs still accessible on Spotify in 2024, especially given that other anti-gay tracks have been removed?
Spotify’s hate content policy clearly asserts that the platform does not condone material that incites hatred or violence against individuals or groups based on various characteristics, including sexual orientation. Yet, these particular tracks have remained available. A spokesperson from Spotify confirmed that they underwent review and were found to comply with the platform’s guidelines.
Interestingly, the review process included human evaluators rather than solely relying on AI algorithms. Spotify also noted that these songs can be found on other streaming platforms like Amazon and YouTube, which may have influenced their decision. Additionally, the cultural context of Rastafarian beliefs held by the artists was considered during the review.
Trinidadian LGBTQ+ activist Jason Jones shared insights on the challenges of applying uniform human rights standards across different cultural contexts, suggesting that Western frameworks might not always be effective or applicable in the Global South.
The reggae and dancehall music scenes are often marked by expressions of masculinity, which can lead to problematic views on women and LGBTQ+ individuals. While some artists, such as Buju Banton, have made efforts towards self-censorship, others have yet to change their perspectives. J-Flag’s Glenroy Murray advocated that education, rather than censorship, may be a more effective approach. He proposed the idea of adding warnings or disclaimers to inform listeners about the context of certain songs, similar to how Disney handles its older content.
Despite the presence of homophobic lyrics, a movement among newer dancehall artists advocating for LGBTQ+ rights is gaining momentum. Prominent figures like Shenseea and Spice have publicly supported the queer community, and pride events are emerging in Jamaica, signaling a shift in DJs’ practices concerning homophobic tracks.
Interestingly, some LGBTQ+ individuals in Jamaica have started to reclaim these anti-gay songs as symbols of visibility and resistance within dancehall culture. Dr. Aleema Gray, a curator at the British Library, pointed out that while homophobic lyrics exist, they represent only a small fraction of the rich cultural narrative of dancehall, which addresses broader issues of race, identity, and liberation.
Activist Jason Jones called for a more compassionate approach to addressing homophobic music, advocating for investments that uplift queer artists in the region rather than erasing historically significant songs. He emphasized the necessity of fostering dialogue and growth, highlighting the importance of creating space for joyful queer expression in response to hate.
