There is something immediately familiar about Too Too Bad. Not familiar in the sense that Buju Banton is simply looking backward or trying to recreate what he has already done, but in the feeling - the grit, swagger, bass, and unmistakable Jamaican dancehall energy that defined so much of his earlier work.

Released July 17, 2026, Too Too Bad, Buju Banton’s 13th studio album, feels like a spiritual successor to his 2006 album Too Bad, and for me, it is easily his strongest album since his release from prison. More importantly, it may be the first album since his return that truly gives me that same feeling I got from the Buju records that made me a fan in the first place.

There is very little here that feels watered down or designed simply to chase a crossover hit. Producers including Supa Dups, Stephen “Di Genius” McGregor, and DJ Khaled help keep the foundation firmly planted in Jamaican dancehall, with heavy basslines and classic riddim-driven production. There are modern touches - bits of trap, ragga, and contemporary production - but they never overpower what makes the album work.

And then there is that voice.

Buju’s unmistakable gravelly delivery remains one of the most commanding sounds in Jamaican music, and throughout Too Too Bad he sounds hungry, aggressive, playful, and completely at home riding these riddims. There is an authority in his delivery that recalls the Buju of years past, but this doesn’t feel like nostalgia. It feels like an artist reconnecting with a part of himself.

That is ultimately what makes Too Too Bad so exciting. It sounds like Buju Banton being Buju Banton again - and having one hell of a time doing it.

Opening the album is “We Nuh Play”, built around the classic “Diseases” riddim, popularized in the 1980s by producer Henry “Junjo” Lawes and Michigan & Smiley’s “Diseases”. Producer Jermaine “J’August” Reid gives the riddim a slight refresh, but wisely keeps its old-school dancehall feel intact. It’s the perfect way to begin this journey between Buju’s past and present. The riddim still hits hard, and Buju sounds completely at home, his unmistakable gravelly voice flowing effortlessly across it. Right from the start, Too Too Bad feels like the Buju we’ve been waiting to hear again.

“FAFO” brings Too Too Bad firmly into the present with a bass-heavy beat influenced by the modern trap-dancehall sound. After the classic feel of “We Nuh Play”, it’s an immediate shift, but Buju sounds just as comfortable here. His rough, commanding delivery rides the heavier production effortlessly, showing that while this album often reaches back to his roots, Buju has no problem adapting that unmistakable style to today’s dancehall.

“Eye 2 Eye” continues that connection between past and present. Built from scratch by Bashment Sound, the track doesn’t rely on a recycled classic riddim, but it still carries that old-school dancehall attitude. The beat is modern, fast-paced, and bass-heavy, while Buju brings the raw, classic-style delivery that has always made his voice so distinctive. It’s another example of Too Too Bad looking forward without losing touch with where Buju came from.

“X Rated” pushes Buju directly into contemporary dancehall with the DJ Mac and CrashDummy-produced WYFL riddim. The track actually began gaining attention before the album when Buju posted an acoustic preview on Instagram that quickly caught fire. Once the full riddim drops, you understand why. Buju brings that unmistakable ’90s bravado and raw delivery to a completely modern production and absolutely owns it. “X Rated” is proof that Buju doesn’t need to change his style to keep up with today’s dancehall - the riddim simply has to keep up with him.

“Good Pum Pum” finds Buju having some fun, dropping the seriousness for a playful, infectious dancehall bounce. It’s pure old-school Buju swagger - a cheeky “gyal tune” delivered with rapid-fire lyrics, plenty of personality, and that unmistakable raspy voice. More than anything, Buju sounds loose and like he’s having a great time. It’s another moment on Too Too Bad that takes me back to the Buju of the ’90s, when he could jump on a riddim, have some fun, and make it sound completely effortless.

“Like You” keeps that old-school feeling alive, even though the riddim itself is new. The track uses a stripped-down, hard-hitting approach that recalls ’90s dancehall while still carrying some of the atmosphere of modern hip-hop. Buju once again sounds completely in his element, bringing a strong, confident flow and effortlessly riding the beat. It’s another example of Too Too Bad capturing the feel of classic Buju without simply trying to recreate the past.

“Wild Woman” is another high point, with DJ Khaled and Tarik Azzouz delivering an infectious, high-energy dancehall rhythm with a touch of nostalgia through its connection to former Born Jamericans singer Notch. But it’s Buju who absolutely takes control of the track. His trademark gravelly growl is front and center as he attacks the riddim with that aggressive, commanding deejay style that defined so much of his earlier work. There is tremendous power in his voice, but also an effortless flow and swagger. “Wild Woman” is classic Gargamel - loud, confident, infectious, and another reminder of just how good Buju sounds when given a riddim he can really tear into.

“House Call” might feature some of Buju’s sharpest flow on the entire album. Produced by Supa Dups, Ricky Blaze, and Stephen “Di Genius” McGregor, the track pairs a fresh, high-energy production with a cadence that takes you straight back to Buju’s ’90s dancehall days. This is vintage Buju - a playful “gyal tune” delivered with incredible rhythmic control and a rapid-fire flow reminiscent of his classic work with Dave Kelly. The counting hook only adds to the fun as Buju locks every word into the riddim without ever seeming to take a breath. “House Call” is another standout and another moment where that old-school Gargamel sounds fully alive.

“Satisfy Me”, featuring Ari Lennox, slows things down with a smooth R&B-reggae fusion produced by Supa Dups and Alfonso Crespo. Buju wisely pulls back from the aggressive deejay delivery, settling into a relaxed sing-jay flow that lets his deep, gravelly voice breathe. The real strength of the track is the contrast between the two voices. Buju provides the rough, rugged foundation while Lennox’s silky neo-soul vocals float beautifully around him. Neither overpowers the other, and their chemistry makes “Satisfy Me” one of the album’s smoothest and most seductive moments.

Previously released “Butterflies” slows things down with a warm, reflective feel, as producer Supa Dups breathes new life into the classic “Real Rock” riddim. Buju trades some of the aggression heard earlier on the album for a more melodic and uplifting delivery, showing another side of that unmistakable voice. It’s a beautiful change of pace and another perfect example of Too Too Bad reaching back into dancehall’s history while giving it a fresh, modern feel.

“Be Good” brings another change of pace, with Buju dropping the deejay style for a heartfelt, soulful vocal performance reminiscent of Beres Hammond. His familiar rasp becomes warmer and more vulnerable, reminding us just how good - and underrated - his singing voice can be. After so much swagger and high-energy dancehall, “Be Good” gives Too Too Bad a welcome emotional moment while showing another side of Buju’s versatility.

“Heavy Hitters” brings the energy right back up with a fresh, hard-hitting modern juggle. Rather than looking back, Buju attacks a fast-paced contemporary riddim with confidence, swagger, and a knockout hook. There’s something about his flow here that reminds me of Red Rat joining Buju on “Love Dem Bad” - that same wild, infectious dancehall energy where the vocals become part of the rhythm itself. “Heavy Hitters” lives up to its name and gives the album one more serious blast of dancehall before the finale.

Closing out Too Too Bad is “Power”, featuring Gramps Morgan, and it brings the album to a deeper, roots-oriented finish. Buju comes with his signature gravelly baritone and a sharp, almost percussive flow, chopping his words across the heavy bassline with the authority and raw edge of his ’90s dancehall days. Gramps provides the perfect counterbalance. His rich, silky voice brings warmth and soul, with soaring, gospel-infused melodies that beautifully contrast Buju’s rougher attack. Together, the two voices work incredibly well - Buju supplying the fire and Gramps the soul. “Power” is a fitting finale, closing an album built around Buju’s past and present with a reminder that underneath all that dancehall swagger, his roots foundation remains just as strong.

By the time “Power” fades out, one thing is clear: Too Too Bad is the Buju Banton album I’ve been waiting for since his release from prison. His previous records certainly had their moments, but this one feels different. It has the fire, swagger, playfulness, and raw Jamaican dancehall energy that made Buju such a powerful force in the first place.

What makes the album work so well, though, is that Buju isn’t simply trying to recreate the ’90s. Too Too Bad constantly moves between past and present. Classic riddims sit alongside modern trap-dancehall production, old-school “gyal tunes” share space with soulful and roots-oriented moments, and through it all that unmistakable gravelly voice remains the constant.

More than anything, Buju sounds inspired. He sounds hungry. He sounds like he’s having fun. Whether attacking a riddim with that rapid-fire deejay flow, slowing things down to sing, or trading vocals with Ari Lennox and Gramps Morgan, there is a confidence and freedom running through this record that I haven’t heard this consistently from him in years.

Too Too Bad may have been conceived as a spiritual successor to 2006’s Too Bad, but it ultimately becomes something more than a trip down memory lane. It reminds us where Buju Banton came from while proving he still has plenty to say about where dancehall is going.

For me, this is easily Buju Banton’s best album since his return - and one of the most enjoyable dancehall records I’ve heard in a long time. The Gargamel isn’t trying to turn back the clock. He’s simply reminding everyone that this sound is still his home.

One Love - Todd M. Judd