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Blaiz Fayah to make rare UK appearance for DJ AG session at Kings Cross, Monday 17th March.
The internationally renowned Dancehall artist Blaiz Fayah has just dropped his new album, ‘Shatta Ting’ and will make a rare UK appearance for a DJ AG session in Kings Cross on Monday 17th March at 5:30pm.
For this project, Blaiz Fayah returns over pure shatta instrumentals, designed by top-tier Martinican and international beatmakers. A prime example is latest single ‘Tight’, produced by Limitlezz from the Basshall Records team, with whom Blaiz Fayah had previously recorded the hit ‘Pilot’. Today, Blaiz Fayah stands as a leading figure in the Shatta wave that is taking the international scene by storm.
‘Money Pull Up’, the lead focus single from the album is currently going viral and has already cumulated billions of views and generated more than 200k user generated content on Tiktok in 2 months. The track earns 10k daily from a dance challenge that turned into a global trend within just a few weeks. See here.
As influencers and enthusiastic fans all around the world join the challenge of busting some serious moves to this sizzling dancehall banger, the popularity of the track has earned it the #1 spot on the reggae / dancehall chart on Shazam, over 9 million streams on Spotify with more than 450k streams in one day and the track’s video on Youtube has surpassed 3 million views.
With his unique style, Blaiz Fayah is experiencing growing success across the globe, from Colombia to Kenya, the Netherlands, Costa Rica, and France, where he hails from. With ‘Money Pull Up’ leading his current wave of success, Blaiz currently boasts over 3 million monthly listeners and 320 million views on YouTube.
If you’re not already familiar, Blaiz Fayah emerged as a Dancehall revelation in 2018 with his hit ‘Best Gyal’, taken from the album ‘Level Up’. Between 2020 and 2023, he released the ‘Mad Ting’ series, three albums featuring collaborations with beatmakers like DJ Glad and Mafio House, with whom he has consistently delivered hits. Through this series, Blaiz Fayah showcased his diverse influences, blending elements of Dancehall, Kompa, Moombahton, Reggae, Shatta, and Zouk into his music.
Simultaneously, he has collaborated with Basshall Records, delivering some of the Dutch label biggest hits, including ‘Bad’, ‘Pon Di Ting’, ‘Pilot’, ‘Basshall Session #3’, and more recently, ‘Badman Party’. Alongside Kybba, head of Basshall Records, Blaiz Fayah has become a driving force behind the Shatta wave sweeping the international scene.
‘Shatta Ting’ features collaborations with top-tier Martinican beatmakers such as DJ Glad, Mafio House, Gyzmo, Natoxie, Mikado, Bmad, as well as Kybba, Tribal Kush, and Limitlezz from the Basshall Records roster. Over the years, Blaiz Fayah has built a strong artistic connection with these accomplished producers, whose composition forms the foundation of each of his tracks.
‘Shatta Ting’ also includes two standout collaborations: the “bad queen” Maureen on ‘Money Pull Up’, and the rising star of the new generation of Martinican artists, Le Jèm’ss, on ‘Whole A Dem’. It was actually with a track by Le Jèm’ss that Blaiz Fayah launched his own label, Mad Ting Records, in late 2024.
To accompany the release of ‘Shatta Ting’, Blaiz Fayah will embark on an international tour with his musicians and dancers, performing in France, Europe, Canada, Latin America, and East Africa. The tour will culminate in a special gig at the iconic Olympia Hall in Paris on January 31, 2026, promising a brand-new show, fresh arrangements, and plenty of surprises!
We Speak Music
Unethical Dogma Pull Back The Dark Curtain For A Carefully Engineered Descent into Technical Melancholy
Unethical Dogma return on Behind The Dark Curtain feels less like a standalone EP and more like the final act of a deliberately constructed psychological arc. Across its runtime, the band commits fully to its horror-driven narrative framework, closing the conceptual thread that began with DUSK. The result is a release that feels cohesive, intentional, and structurally disciplined rather than loosely assembled.
Instrumentally, the EP leans heavily into polyrhythmic complexity and tightly wound djent grooves, but what stands out most is how often the band resists pure technical display in favor of atmosphere. Piano passages and choral textures are not ornamental—they function as emotional anchors, giving the heavier sections a sense of collapse rather than just aggression. The contrast between brutality and fragility is handled with noticeable care.
The vocal performance is equally dual-layered. Screamed vocals carry the narrative’s psychological deterioration with intensity, while clean vocals are used sparingly to emphasize moments of reflection or detachment. This dynamic avoids predictability by making restraint as important as force, especially in transitions where the story shifts perspective.
Lyrically and conceptually, the EP benefits from its unusual writing process, which begins with short stories before being translated into music. That foundation is audible in how scenes unfold rather than verses simply progressing. The storytelling feels cinematic, as if each track is a chapter viewed through unstable memory.
Overall, Behind The Dark Curtain succeeds most when it trusts its atmosphere over its technical ambition. It is a dense, carefully designed work that prioritizes immersion, and while it demands patience, it rewards listeners who engage with its narrative structure rather than just its surface complexity.
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