Dembow on Trial: Steely and Clevie's Fish Market Rhythm Divides Reggaeton

The Beat That Shook the World

Dear friends across the Caribbean and beyond, the dembow rhythm sits at the very heart of reggaeton, pulsing through clubs from San Juan to Port of Spain and lighting up dancefloors worldwide. That unmistakable boom-ch-boom-chick percussion pattern has become the sound that moves bodies and unites generations, turning late-night sessions into celebrations of life and rhythm. What began as a Jamaican creation now defines a global genre, heard in every corner where young people gather to feel the music deep in their bones.

The pattern carries a simple yet powerful energy that crosses borders with ease. In reggaeton tracks, it forms the backbone, driving the energy that keeps crowds moving until the early hours. From the streets of Kingston where it first took shape, this beat travelled far, finding new homes in Latin American cities and eventually reaching ears in Europe and North America. Its steady pulse reminds us how Caribbean sounds have always shaped popular music on a grand scale.

Today, the rhythm echoes in countless hits that top charts and fill playlists. It connects dancers in Miami clubs to families in Trinidad celebrating at fetes, showing how one Jamaican instrumental from 1989 grew into the foundation for an entire movement. This is more than just a beat; it is a thread that ties our shared musical heritage together, bringing joy and pride to communities that recognise their own influence in every note.

Fish Market: From Kingston Studio to Global Phenomenon

Steely and Clevie, the Jamaican production duo of Wycliffe Johnson and Cleveland Browne, crafted the 1989 instrumental Fish Market in a Kingston studio, laying down the foundation that would later influence so much. Their work captured the raw energy of dancehall at the time, blending percussion in ways that felt fresh and alive. From those sessions emerged a track that quietly crossed over, carrying Jamaican rhythms into new musical spaces where they would take root and flourish.

The journey from Kingston to the birth of reggaeton shows how Caribbean sounds travel through communities and artists who listen with open hearts. Dancehall patterns found their way into Latin music scenes, mixing with local flavours to create something vibrant and new. In San Juan and other centres, producers embraced these elements, building reggaeton around the core pulse that Steely and Clevie had helped shape years earlier.

Our Caribbean music heritage shines through this story, as rhythms born in Jamaica continue to inspire across the region and the diaspora. Fish Market stands as a testament to the creativity of Wycliffe Johnson and Cleveland Browne, whose production work opened doors for countless others. The track's influence reminds us that the sounds we create in small studios can reach far beyond our shores, touching lives and shaping genres that the world now claims as its own.

A Lawsuit That Names Everyone

In 2023 the estate of Steely and Clevie filed a lawsuit alleging that the dembow rhythm from Fish Market had been copied in more than 1,800 reggaeton tracks. The case names 77 songs by Bad Bunny along with works by Karol G, Drake and over 150 other artists, placing the spotlight on how widely the pattern has been used. This legal action brings attention to questions of ownership that affect producers and creators throughout the Caribbean and beyond.

US Federal Judge Birotte ruled in July 2026 that only a jury can decide the matter, allowing the case to move forward rather than dismissing it at an early stage. The decision means that the arguments on both sides will be heard in full, giving the music community a chance to understand the details behind the claims. For those of us watching from Port of Spain and Kingston, the ruling signals that these issues deserve careful consideration by ordinary people who understand the value of creative work.

The scale of the lawsuit, covering thousands of tracks, highlights how one rhythm can underpin an entire genre. Artists and labels now face scrutiny over the origins of sounds they have relied upon for years. This development keeps the conversation alive in Caribbean households and music circles, where the outcome could influence how future generations protect and share their musical contributions.

Building Block or Original Creation?

Bad Bunny has argued that dembow represents a basic building block of music and therefore cannot be copyrighted, suggesting the pattern sits in the public domain like other fundamental rhythms. This position frames the percussion as something too common to own, comparing it to elements that every musician might draw upon freely. The defence rests on the idea that certain patterns belong to no one and serve as tools for all creators.

On the other side, the estate of Steely and Clevie maintains that additional percussion layers in Fish Market made the track distinctly original, going beyond the common habanera pattern that has existed for centuries. They point to the specific arrangement and production choices by Wycliffe Johnson and Cleveland Browne as the elements that transformed a familiar foundation into something new and protectable. This view emphasises the labour and creativity involved in building upon tradition.

The debate touches on deep questions about where inspiration ends and ownership begins, especially in genres that grow from shared Caribbean roots. Judge Birotte's decision to send the matter to a jury means these arguments will receive a full hearing, allowing evidence of the layered percussion to be examined closely. For producers in our region, the discussion serves as a reminder that originality often lies in the details we add to the rhythms we inherit.

What This Means for Caribbean Music

Jamaica's music industry watches the case closely, knowing that the outcome could affect how dancehall rhythms are valued and protected around the world. The result may influence not only reggaeton but also soca and other regional styles that rely on distinctive percussion patterns developed over decades. Caribbean artists and producers in Kingston, Port of Spain and San Juan understand that strong intellectual property protection helps ensure that local creativity receives fair recognition and reward.

The lawsuit raises important points about honouring the contributions of earlier generations, including the work of Wycliffe Johnson and Cleveland Browne. When rhythms travel across borders and find new expressions, questions of credit and compensation naturally follow. Our communities have always shared music generously, yet we also recognise the need for systems that safeguard the labour behind those sounds so that future creators can continue to thrive.

Implications reach into the diaspora as well, where Caribbean musicians build careers on the foundation of dancehall and soca traditions. A favourable outcome for the estate could encourage better documentation and licensing practices across the region, strengthening the position of small producers who often work without major label support. This case therefore carries weight for anyone who believes our musical heritage deserves both celebration and practical protection.

The Trial Ahead

A jury trial will allow ordinary listeners to weigh the evidence presented by both sides, bringing a human perspective to questions of rhythm and originality. The process will examine how the boom-ch-boom-chick pattern from Fish Market appears across the named tracks and whether the additional layers created by Steely and Clevie qualify for protection. This step ensures that the decision reflects broader community understanding rather than technical rulings alone.

While no firm timeline has been set beyond the July 2026 ruling, the case continues to draw attention from the global music industry because more than 2,000 songs could be affected by the final judgment. Labels, streaming platforms and artists everywhere are observing how the arguments unfold, aware that similar disputes may arise in other genres built on shared rhythmic foundations.

From Port of Spain to Kingston to San Juan, this matter matters because it touches the heart of how we value Caribbean creativity. The outcome will shape conversations about ownership and respect for years to come, reminding us that the beats we dance to carry stories of the people who first gave them life. Whatever the jury decides, the discussion itself honours the legacy of Wycliffe Johnson and Cleveland Browne and the rhythms they helped send into the world.