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Khallion: the bouyon artist who sings his own records and masters other people's

Published October 20, 2026

Khallion is a bouyon artist from Dominica whose name appears in two different chairs of the credits: the recording artist, with an album and a run of singles, and the engineer who mixes and masters other people's records. In 2026 he holds one of the most exposed credit lines a Dominican artist can sign: “Stand Up”, the single AllMusic documents as a collaboration between Jamaican dancehall star Konshens, Khallion, DeeArr and Boogy Rankss. The same year, he stands among the Dominican bouyon artistes nominated at the Caribbean Music Awards and on the cover of Audiomack Caribbean Discover: Bouyon playlist. This profile follows both chairs, the path the artist told himself on the Soca Chronicles podcast, the catalogue, the engineering credits, and the limits of the public record.

Who Khallion is: the artist and the engineer carry the same name

Khallion is a Dominican bouyon artist. Regional sources present him that way without hesitation: the Soca Chronicles podcast, which devoted a full episode to him in June 2026, introduces him as a Dominican bouyon artist, and the list of Dominican nominees at the 2026 Caribbean Music Awards files him among the island bouyon artistes. His catalogue confirms the label: records filed as bouyon by the genre promo channels, an album titled “777 Di Bouyon Rockstar”, and collaborations with the names of the current Dominican scene.

But the name also travels in the small print. On “Baby Let Me” by DeeArr, the published credits name a certain Bertist “Khallion” Jeffers on mix and master. On “Back Up Your Chat” by Ebony Empress and Foxy Jael, the Dominican press credits the mastering to Khallion, full stop. In other words, the man who sings his own bouyon records also works, behind the console, on other people's records. That double role is the thread of this profile.

The double position is not a detail in a small scene. Modern bouyon is a music of producers and engineers as much as of singers: the punch of a record is decided at the mastering stage, the place of a voice is decided in the mix. An artist who holds both roles hears the scene from both sides of the studio glass, and his catalogue and his credits tell the same story from the inside.

This profile therefore follows Khallion on both grounds. First the credits, because they give his full name and settle, with sources, the question of whether the engineer and the artist are the same person. Then the path, told by the artist himself in a long interview. Then the catalogue, the regional years 2025 and 2026, and what comes next. Like every page on this site, the profile also states what it does not know.

Bertist “Khallion” Jeffers: the full name is in the credits

The central document of the file is a credit line published by the promo channel MyuzikBox for DeeArr record “Baby Let Me”. The channel publishes the record full credits there: written and performed by DeeArr, produced by ProdByShako, and, for mix and master, Bertist “Khallion” Jeffers. The credit therefore sets, in quotation marks, the stage name against a full name: the engineer of the record is called Bertist Jeffers, and his professional name is Khallion.

The second engineering credit is published by the press. In May 2026, the Dominican outlet Black Island Girl presents “Back Up Your Chat”, the Ebony Empress record featuring Foxy Jael, and gives its making: produced by YoJoshii and Yung Pierre, mixed by Cleverns Pierre, mastered by Khallion, recorded at Felix Studio. Here there is no full name, just the stage name, but the role is the same: the last technical hand on a bouyon record signed by other artists.

The record he mastered is not just any record. Black Island Girl presents “Back Up Your Chat” as one of the standout bouyon songs of the summer of 2026, an anthem carried by two of the genre new female voices, Ebony Empress and Foxy Jael. Being the last technical hand on a record the island press files among the moments of the season is exactly the kind of credit that builds an engineer reputation in a small scene: discreet in the small print, central in the result.

Should we conclude that the engineer and the artist are one and the same person? This site answers yes, and says what the answer rests on. The name is rare and identical. The genre is the same, bouyon. The circuit is the same, the small Dominican scene where everyone crosses paths: DeeArr, the artist whose record Jeffers mixed, is precisely one of Khallion collaborators on “Stand Up”. And in the Soca Chronicles interview, the artist Khallion speaks about production as his own craft, he who prefers building whole albums rather than isolated singles. No source consulted describes two distinct people carrying this name.

This profile therefore keeps the reading the credits impose: Bertist “Khallion” Jeffers is the artist Khallion, and his engineering work is part of his artist file. It is also the answer to a question an ordinary profile never even asks, because it hides in the small print of promo videos. On this site, the small print is a source like any other, and often the best one.

The path in his own words: a group, Choeb, the accident, the rebuild

The richest source on Khallion path is his own voice. On June 26, 2026, the Soca Chronicles podcast, hosted by Arkayo and Sharnz, published “The Road to Success: Khallion”, an episode of one hour and eleven minutes devoted entirely to the artist. The episode summary sets the tone: Khallion tells his early days in a rap and pop group, then the life-changing event that forced him to step away from music and rebuild his entire direction with a new mindset.

The beginnings, first. Before bouyon under his own name, there is a group, between rap and pop, and the origins of Choeb, the name the episode ties to that first period of his musical life. That past matters for understanding the current catalogue: Khallion did not arrive in bouyon through the live carnival band route, but through urban music and studio work, which matches his engineer profile.

Then the break. The episode gives one of its chapters to the accident that derails his career, and to the role of counseling in his rebuild. This profile adds no detail to what the artist chose to tell publicly: neither the date, nor the circumstances, nor the nature of his injuries are documented in the episode public notes, so no detail is invented here. What is documented is the trajectory: a forced stop, work on himself, then a return with a completely rebuilt direction.

The return comes with clear positions, which the episode chapters list: he prefers albums over singles and builds his production accordingly; he holds that genre fighting between bouyon and soca holds the whole region back; he calls out the lack of artist support and of a business mindset, and he builds his own lane rather than waiting for a structure. That programme, more than any single record, explains the shape of his catalogue.

The catalogue: “777 Di Bouyon Rockstar” and the run of singles

The centre of the catalogue is an album, “777 Di Bouyon Rockstar”, released in 2025 according to the music data services that track his catalogue. The title, published as it stands by those services, fits his programme: a whole album, thought out as an album, where the bouyon scene most often works single by single and riddim by riddim. The Soca Chronicles episode confirms the choice is deliberate: albums first, singles after.

Around the album, the run of singles draws the recent years. In 2024 came “Sorry, Ain't Sorry”. In 2025 followed a volley: “Put That On That”, carried also by a remix with Jamaican artist Stalk Ashley that regional DJs place in their bouyon mixes, “Bend Down”, with Green Apple, which Bouyon Shattaz Bouyon Music 2026 Mix chains among the Dominican new releases, “I Know They Hating” and “Only You”. The lists of his most played records add “Never Wanna Let You Go”, “Rose Zing Zing”, “Nobody Else”, heard in Blaqrose Bouyon Mix 2025, and “How To Love”, with Trinidadian singer Nailah Blackman.

In 2026, the releases carry the credit of his own label, KhallioNation Records. The official descriptions of his videos announce “I Choose You”, with Stain, and “Not A Word”, with Jasse and Gwada G, two records filed as bouyon 2026 and published under his artist name, with the line © KhallioNation Records. His descriptions also publish his official handle, @khallion.official, for Instagram and TikTok, and his single streaming link. The artist who called out the absence of structure ended up building his own, right down to the label imprint.

A word on geography, because the sources do not all tell it the same way. Dominican and regional sources present Khallion as an artist from Dominica, and that is how this site presents him. One international music analytics platform files him, instead, among reggae and dancehall musicians based in the United States. The two filings describe less a contradiction than a reality Dominican music knows well: its artists often live between the island and its diaspora. This profile keeps the origin the scene sources claim, and flags the diaspora filing rather than hiding it.

“Stand Up”, St. Maarten, the Caribbean Music Awards: the regional year

The most exposed credit in the catalogue is a collaboration. The Konshens biography published by AllMusic ends, in its current edition, with a sentence this site quotes as it stands: in 2026, Konshens collaborated with Khallion, DeeArr and Boogy Rankss on the single “Stand Up”. The Konshens artist page on Shazam files the same single, credited to Konshens, Khallion, DeeArr & Boogy Rankss, among his recent releases. For a bouyon artist from Dominica, sharing a single with a Jamaican dancehall star of the stature of Konshens, the man behind “Bruk Off” and “Turn Me On”, is a change of scale.

The regional stage had already noticed him. In May 2025, the first edition of the Bouyon Festival, in St. Maarten, lined Khallion up on the same bill as Pudaz, Litle Boy, Quandan, Freddy, Reo, Nice, Kenny G, Trilla G, Trixx, Unstoppable Shax and Edday, with Mr Ridge closing. The outlet Black Island Girl, covering the night, kept the rain, the crowd that danced anyway, and the organisers message: bouyon is no longer only a Dominica thing. Khallion belongs to the generation proving that on stage, off the island.

The institutional consecration followed. In September 2026, the Government of Dominica announced its official sponsorship of the bouyon categories at the Caribbean Music Awards, and the list of Dominican bouyon artistes nominated for the 2026 edition includes Khallion, alongside Asa Bantan, Dirty Dawg Pudaz, Mr. Ridge, Reo, Shelly & Signal Band, Trilla G and Shiloh. The nominations span the Bouyon Artist of the Year and Bouyon Song of the Year categories. The ceremony took place on September 19, 2026 at the National Academy for the Performing Arts in Port of Spain, Trinidad and Tobago.

Regional promo press files him in the same wave. The Jamaican outlet 13th Street Promotions, writing on the new bouyon wave, names Khallion among the artists waving the flag for Dominica, alongside Triszy, Rudy Ru$h and Reo. Coming from an outlet based in Kingston, the capital of dancehall, that filing matters: it shows the Dominican artist name travelling in the newsrooms of the region, and not only in those of his own island, and it places him in the front rank of the generation currently carrying the genre abroad.

Visibility is also measured at the genre front doors. The Discover: Bouyon playlist by Audiomack Caribbean, the platform reference bouyon selection, shows Khallion as its cover artist in its September 24, 2026 update. To hear the catalogue in context, our bouyon playlist mixes his records with those of his Dominican generation, and our history of bouyon page places that generation in the long run of the genre.

What is announced next, and what this profile does not know

What comes next is already announced, in covered words, in the Soca Chronicles interview: a new album in preparation, and experiments around a blend of bouyon and kompa. The choice is not a small one. Kompa is the other great dancefloor machine of the French-speaking Caribbean, and a Dominican artist working the join between the two dancefloor languages places himself exactly where bouyon has always grown: in the meeting between the island and its neighbours. This profile will follow that release when it is documented.

This profile also states its limits. No birth date, no birthplace and no detailed biography of Khallion are published in the sources consulted: the known path is the one the artist told himself, within the limits of the episode public notes. His full name rests on a published promo credit line, quoted here, not on an identity document. No official link could be verified by direct opening during this research, so this page structured data links to no social profile, even though his own descriptions publish his handle @khallion.official.

Khallion matters to bouyon because he is at once one of its faces and part of its infrastructure. Scenes need singers, but they hold together through the engineers who make other people's records sound right, and through artists who come back from an accident with an album rather than with excuses. His file, from the small print of “Baby Let Me” to the Audiomack cover, tells the story of a complete professional of current Dominican music.

For listening, start with “Stand Up”, the single shared with Konshens, DeeArr and Boogy Rankss, then “Put That On That” and “Bend Down”, before coming back to the album “777 Di Bouyon Rockstar”. And to hear the engineer at work, listen to DeeArr “Baby Let Me” while thinking of the signature at the bottom of the credits: Bertist “Khallion” Jeffers, the same man, on the other side of the glass.

Frequently asked questions

Are the engineer Bertist Jeffers and the artist Khallion the same person?

Yes, according to the published credits. The full credits of DeeArr record “Baby Let Me” name Bertist “Khallion” Jeffers on mix and master, setting the full name against the stage name. The same stage name is credited with the mastering of “Back Up Your Chat” by Ebony Empress and Foxy Jael in 2026, and the artist Khallion speaks about production as his own craft in his Soca Chronicles interview. This site therefore presents the engineer and the artist as one and the same person, showing the documents the conclusion rests on.

What is Khallion biggest collaboration?

“Stand Up”, the 2026 single that brings together Konshens, Khallion, DeeArr and Boogy Rankss, documented by the Konshens biography at AllMusic and by the Konshens artist page on Shazam. Sharing a record with the Jamaican dancehall star places the Dominican bouyon artist on a regional stage far beyond his island.

What album has Khallion released?

“777 Di Bouyon Rockstar”, released in 2025 according to the music data services that track his catalogue. The album format is a stated choice: on Soca Chronicles, Khallion explains that he prefers building albums rather than isolated singles.

Why did Khallion step away from music?

Because of an accident that derailed his career, according to the account he gives himself in the Soca Chronicles episode “The Road to Success: Khallion”, published on June 26, 2026. The episode describes a forced stop, the role of counseling, then a complete rebuild of his direction with a new mindset. Details the artist has not made public are not invented here.

Was Khallion nominated at the Caribbean Music Awards?

Yes. The list of Dominican bouyon artistes nominated for the 2026 edition, published with the Government of Dominica sponsorship of the bouyon categories, includes Khallion alongside Asa Bantan, Dirty Dawg Pudaz, Mr. Ridge, Reo, Shelly & Signal Band, Trilla G and Shiloh. The nominations span the Bouyon Artist of the Year and Bouyon Song of the Year categories.

Where can I hear Khallion?

Start with “Stand Up”, “Put That On That” and “Bend Down”. Audiomack Caribbean shows Khallion as the cover artist of its Discover: Bouyon playlist, and our bouyon playlist places his records in the context of the new Dominican generation.

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