Moliy Explains Why She Did Not Give Shaggy Permission To Use Her ‘Shake It To The Max’ Riddim

Ghanaian‑American singer Moliy has publicly addressed why she did not approve famous Jamaican artist Shaggy to record a new song using the riddim of her global hit Shake It To The Max (Fly). The exchange has drawn attention across the music world, especially within dancehall discussions, after Shaggy highlighted the situation in a recent interview.

Moliy’s song Shake It To The Max (Fly) first became a major international success following its release in December 2024 and multiple remixes featuring artists such as Shenseea and Skillibeng. The track’s viral popularity on platforms like TikTok helped it reach chart success in several countries.

According to reports, Shaggy and others like Sean Paul had created their own vocals over the riddim and hoped to release them officially, but were unable to secure clearance from Moliy’s team. In the world of dancehall and reggae, the use of a popular riddim by many artists is a long‑standing tradition, with producers and performers often building multiple versions of a track. Shaggy argued that this culture helps grow a riddim’s reach and impact.

Moliy responded to the criticism mostly by pointing fans toward her existing work with Sean Paul on Shake It To The Max, rather than directly addressing Shaggy’s comments about riddim culture in interviews. Her reaction on social media underlined that the decision was not about rejecting collaboration with other artists outright, but rather about how the rights to the music were managed and shared.

Music industry observers have noted that decisions over riddim clearance can involve complex legal and business considerations. Artists and record labels typically must agree on how a track’s instrumental base can be used, and that can depend on contracts, publishing rights, and strategic goals for the song. Some industry figures say this kind of negotiation is especially sensitive when a song has crossed over into global charts, as Shake It To The Max (Fly) has done.

While some critics in dancehall communities believe broader access to the riddim might have boosted its presence in clubs and radio circles, others respect Moliy’s choice to protect her creation and how it is commercially shared. The exchange highlights ongoing tensions between traditional riddim practices and modern music rights management in a globalised music industry.