Catching Up with Sean Paul

There are few voices in modern music that have managed to transcend borders, languages, and generations — and Sean Paul is undeniably one of them. For more than two decades, the Jamaican superstar has remained a driving force in global pop and dancehall, bridging cultures through his infectious energy and unmistakable sound. From the early 2000s club anthems that defined an era to his more recent chart-topping collaborations, Sean Paul has consistently proven his versatility and staying power. With an impressive list of collaborators that includes Beyoncé, Dua Lipa, Major Lazer, Busta Rhymes, and countless others, his influence continues to echo across dance floors and playlists worldwide.

2025 marks the 20th anniversary of the Trinity, Sean Paul’s double-platinum album that gifted the world “Temperature” — a track that helped define the genre-blending sound of the 2000s and remains a staple on every Y2K playlist on Spotify today. 

“I used to get up every day, smoke some weed, get a bit of exercise, and then head to the studio. Life was simpler back then, fewer problems, you know,” reflecting on what life was like two decades ago.

“My days were all about music. I’d be in the studio doing dubplates, that’s when you re-record your song and drop the sound system’s name into it, and then doing actual recordings after that,” he tells the New Times, reflecting on his time making the album. 

When we call up Sean, he’s in his home in Kingston, Jamaica, taking on his early morning responsibilities. Now at 52, he’s a much more relaxed man, unlike the one portrayed in the earlier parts of his career when dancehall music began to infect the mainstream charts and social media was not a part of the music-making equation. 

“A lot more has changed than just social media. Back then, I was recording on a reel-to-reel 24-track cassette, which was the standard at the time”, he says. 

“It wasn’t digital, so any edits had to be done by hand. The whole process was different. We didn’t have laptops with Fruity Loops; you had to physically go to a studio.” 

He describes this early era as more of a gauntlet — a time when countless hungry MCs would pack into small studios, each fighting to earn respect and prove their worth. In Jamaica’s tougher neighborhoods, talent alone wasn’t enough; you had to have confidence, presence, and a voice that could cut through the noise. Every session was a test of skill, character, and survival in a scene where only the boldest rose to the top. 

“There’d be a permanent producer sitting there saying, ‘Nah, you ain’t ready,’ or, ‘You’re not saying anything new.’ You had to prove yourself, not just to them, but to the 25 other DJs and artists hanging around, waiting for their turn. It was a lot of pressure. Even though life was simpler back then, the process of getting your music heard wasn’t easy. You had to show that you weren’t just a good artist, but also a decent person who could move respectfully in those spaces.”  

Over the years, the production landscape within dancehall underwent a noticeable shift. As the genre evolved and new technology made music creation more accessible, a new generation of producers emerged — many of them eager but still finding their sound. The influx of fresh talent brought innovation, but it also led to a temporary dip in overall quality. Some young producers shot to prominence off a single hit riddim, only to struggle to replicate that success with the same consistency or polish, according to Sean at least. 

For artists like Sean, who came up during an era overflowing with strong riddims and seasoned engineers, the change was significant. What was once a scene rich with options and sonic variety became a more selective process. He found himself having to dig deeper, seeking out beats that not only matched his energy but also carried the same level of craftsmanship that defined his earlier work.

“Nowadays, it’s completely different. You can grab a beat off YouTube, record something in your bedroom, and put it out the same day. There’s not that same discipline, that same grind. Social media has changed the game — now anyone can post their thoughts, drop their own content, and reach an audience instantly. 

Today, with AI and all the new technology, it’s a whole different world — from production to artwork. The game’s evolved in ways we never could’ve imagined.” 

Which brings us to an interesting discussion. While some artists are afraid of AI and its capabilities, completely veering away from its utilities, Sean Paul has actually begun working with it already. 

He sees technology not as a threat to creativity, but as part of its natural evolution. “Artwork is always evolving, just like the tools we use to create it,” he says. “Back in the day, someone invented the pencil, then came paint and color. Imagine those early artists saying, ‘I don’t want to use blue or yellow because it’s not traditional.’ That would sound crazy, right?”

To him, artificial intelligence is simply the next step in that ongoing progression. He recalls being inspired by the 1985 A-ha video for “Take On Me,” which used hand-drawn animation to blend fantasy and reality. “That was revolutionary for its time,” he says. “Now I can tell AI what I want to see, and it brings that vision to life.”

When it came time to experiment with AI for his own visuals, Sean Paul approached it with the same playful curiosity that’s fueled his career. His most recent video places him in a series of cinematic worlds, a mash-up of iconic scenes from Mission: Impossible, Squid Game, and Breaking Bad. “I thought about using Goodfellas or the Godfather, but I wanted something the younger generation would recognize right away,” he explains.

He admits the process isn’t perfect: “there were moments where my mouth didn’t move right,” he laughs, but for Sean Paul, the imperfections are part of the fun. The technology allowed him to reimagine himself in scenarios that would’ve been impossible, or at least extremely expensive, to film traditionally. “Even the wardrobe changes alone would’ve cost a fortune,” he says. “With AI, I could hang from a helicopter or ride a horse in a gladiator arena, all without breaking the bank.”

And while some critics have accused him of embracing the very technology that could “take artists’ jobs,” Sean shrugs it off. “It’s just another artistic tool,” he says. “Some people paint on an easel, others use a microphone — it’s all art. I’m just having fun with it. At the end of the day, I’m still that guy who likes to flirt with the ladies in my songs — I just do it now with a superhero twist.” 

This year, Sean is one of the headliners for Miami’s iii Points Festival that takes over a couple blocks in the streets of Wynwood, turning the neighborhood into the best block party you’ve ever seen. 

With that being said, Florida has always held a special place in Sean Paul’s life and career. To him, Miami is a stand-in for the entire state, a hub where family, friends, and music all intersect. His cousin, a paramedic and fireman who grew up in Jamaica, came to Florida for school and eventually stayed in Pompano Beach. For Sean Paul, these connections, along with the city’s vibrant culture, made Florida feel like a second home.

“Oh man, I’ve got so many friends in Florida. Growing up, to me, Miami was basically the whole state, we just called it Miami,” he says. “I’ve always had a great time there. There’s so much to do: the music, the clubs, going out, different restaurants… and, of course, studio time.”

Over the years, Miami has also been a creative hub for the artist. He’s collaborated with Latin stars like J Balvin and Anitta, recording multiple tracks in the city. 

“Florida holds a lot of good memories for me. I consider it one of my second homes. I’m looking forward to coming back in October and just enjoying life there again,” Sean adds, reflecting on the enduring connection between the island, the state, and his music. 

Being the trailblazer in sound that he has always been, Sean’s love for music is rooted in the diverse sounds he grew up with, from the Beatles and Cat Stevens to Bob Marley and James Brown. “All of those genres, I think I’ve blended into my own music over the years,” he says. For him, music is more than entertainment; it’s a legacy. “I don’t want to leave any potholes on the road. When it’s my turn, I want the highway to be clean and smooth for the next artist.”

Even after decades in the spotlight, he remains driven by the same joy that inspired him as a kid. “Even if I didn’t have any of that, I’d still be the kid singing in the bathtub while everyone yells, ‘Shut up, bro!’ That’s who I am at the core, and that’s what drives me.”

Sean Paul at III Points. Friday, October 17 at Mana Wynwood, 2217 NW Fifth Ave., Miami; iiipoints.com. Tickets cost $139 to $309 via iiipoints.frontgatetickets.com.