Over the last few years, shatta—an offshoot of dancehall that originated in the 2010s—has taken over the Francophone world. The genre was born in the French overseas territory of Martinique, then became popular across the rest of the Caribbean and, in particular, in France itself. Mainstream Francophone singers and rappers have released songs influenced by the style and have collaborated with Martinican shatta artists, collecting platinum records and accolades along the way. Compared to other dancehall music, shatta tends to feature sparser, more minimal electronic beats, accompanied by hard-hitting basslines; it sounds tense, unpredictable, bordering on erratic. As explained by singer Maureen, the style lends itself to clear, no-holds-barred self-expression—and if anyone has a claim to understanding what shatta is capable of, it’s her.
In the past few years, Maureen has released a number of singles—including “Tic”, “Flex,” and “Bend Down”—that exemplify what makes shatta so special. Her raunchy, clever lyrics alternate between Martinican Creole, French, and Patois, and the tracks’ production retains the basic characteristics of contemporary dancehall but strips them to their rawest elements; sometimes, a great bassline that lodges in your brain can be more than enough. Those tracks helped cement her as an unstoppable force in the genre, opening the doors for her to collaborate with established artists and brands around the world. At this point, an album might feel like just a formality. But fortunately, her debut, Queen, proves Maureen is capable of keeping the party going for longer.
Opening track “Welcome to Shattaland” introduces the uninitiated to the world of shatta and everything that goes down in the parties and carnivals in Martinique where it originated: hedonism, beautiful people, and great music to get lost in all night long. Maureen exudes charm and tenacity while establishing her bona fides as a badass: “Mais chui la plus sauvage de toutes tes conquêtes” (“But I am the wildest of all your conquests”), she sings on the Konshens-featuring “Emoji Pêche.” She evokes sexiness in a playful, tongue-in-cheek way reminiscent of her peers in Jamaican dancehall like Spice or Shenseea and her contemporaries in shatta such as Shannon or Kryssy. But Maureen’s ability to build simple, memorable hooks—like on “Malalade”—that fit perfectly with the music’s own simplicity amplify her allure as a songwriter.
