The Afro-diasporic pop explosion has made global stars out of artists who, a decade ago, would have been confined to niche playlists. But the same internet that opens doors also accelerates hype cycles, forcing musicians to prove their longevity before their biggest hits even leave the charts. Moliy has spent the last few years proving she’s bigger than a co-sign. The Ghanaian-American singer first turned heads with 2020’s “Wondergirl”, and by the time “Sad Gurlz Luv Money” went viral, it was clear that she wasn’t waiting for anyone’s permission to go global.

The Afrobeats-to-dancehall pipeline has never been more fluid, a natural extension of decades of cultural cross-pollination between West Africa and the Caribbean. The sound travels easily, slipping between continents, shaping and reshaping itself with each new artist who touches it. Moliy understands this lineage and demonstrates it with her latest remix of ”Shake It To The Max (Fly)” which builds on the sweet spot of the original, but this time, with the help of Silent Addy, Skillibeng, and Shenseea, it’s got sharper teeth. The singer has widened the frame, shifted its center of gravity, pulling it deeper into dancehall’s orbit, and morphed it into something even bolder, something sweatier. The song’s virality could have been just another flash in the algorithm’s pan, but Moliy isn’t an artist who gets lost in the shuffle. Instead, she did what only the savviest musicians do: she used the momentum as a pivot point, recalibrating a remix for a broader stage.

Silent Addy, Miami-based DJ and dancehall tastemaker, doesn’t overhaul so much as reinforce, tightening the percussion, beefing up the low end. Skillibeng has built a career off of his ability to do the absolute most while sounding like he’s doing the least and on the track, he doesn’t waste a second, delivering his verses with that half-lazy, half-lethal cadence. Per usual, Shenseea is all confidence and charisma, flipping between sweet-talking, shit-talking and straight flexing without breaking a sweat. Nevertheless, the song still belongs to Moliy, though. That’s the real trick here. Even in a lineup of heavy talents, she doesn’t let the track get away from her. There’s a reason Moliy hasn’t been lost in the churn of Afropop’s global explosion. She knows how to make music that travels, but more importantly, she knows how to make it feel like it belongs wherever it lands.