On the occasion of the release of her first EP, Yana Empress, on April 10th, the Guyanese artist Shelly opened up to France-Antilles-Guyane. A musical project blending roots, diversity, and ambition.
Nothing initially indicated that Shelly, whose real name is Bocage Keilany, would embark on such a determined musical path. A literature student, she discovered writing almost by accident during the lockdown.
“I started for fun… then I really enjoyed it,” she says. In this suspended space, writing became a refuge, then a certainty. Encouraged by those around her, she tried the studio, initially in rap. In 2023, she stood out as the only female finalist in a competition, laying the foundation for a still budding but already unique career.
Born in Cayenne, Shelly proudly claims a strong connection to Guyana, a world territory where influences intersect and respond to each other. “We always swim in music… it comes from everywhere,” she explains.
Between Caribbean heritage, South American neighbors, and a family culture marked by singing, her universe was built in this mix. A richness that now permeates her music. Her influences range from local female figures to dancehall icons like Vybz Kartel or Spice, whose imprint is found in her preference for powerful rhythms and deep bass.
If rap was her starting point, Shelly gradually shifted towards dancehall, a more instinctive terrain. “I love rhythms with a lot of bass,” she summarizes.
Refusing any fixed label, she prefers to define herself as an “artist,” free to navigate between styles. This freedom becomes the backbone of her musical identity.
The real turning point came in 2025. A track, almost transmitted by chance, reached Jahyanai. The reaction was immediate: “goosebumps,” Shelly recalls. The encounter led to a signing with Rude Empire label owned by the Guyanese artist, a talent spotter.
More than a producer, Jahyanai became a mentor, structuring her artistic development and refining her direction. A crucial step that places Shelly in a professional and ambitious dynamic.
Her first EP, “Yana Empress,” goes beyond a simple launch project. It is a manifesto. “Not the emperor’s wife, but the one who sets out to conquer,” she insists. The title combines “Yana,” a nickname for Guyana, and “Empress,” conveying power and identity. Across six tracks, Shelly unfolds a hybrid universe, blending dancehall, trap, and afro. A project she herself describes as “surprising,” designed to reveal all her facets.
The EP is part of a resolutely open dynamic. On “Hold Me Tight,” produced by HYT Beatz, Shelly features Jamaican artist Lanae, known for collaborations with Vybz Kartel or Konshens.
Another highlight, “Ding Dong,” shaped by DJ Glad, a Martinique producer behind several successes for Blaiz Fayah and Maureen. These collaborations reflect a clear ambition: to inscribe the Guyanese voice in a global music network.
Throughout the interview, one conviction emerges: that of representing a territory still too discreet on the music scene. “We have a lot of talent, but not enough visibility,” she emphasizes. Without positioning herself as an exception, Shelly aims to participate in a broader movement where each artist contributes to expanding the space. “Leaving my mark on the edifice,” she simply says.
In life, she describes herself as reserved. But on stage, Shelly transforms into someone else: “She is more hungry… she wants to sweep everything.” At the time of this first release, nothing is set in stone yet. Everything is in motion. But one thing is certain: Shelly does not ask for her place. She builds it, with method and determination.
