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Lejuh: a name at the top of the Guadeloupe list

Published October 20, 2026

Lejuh is a bouyon artist linked to Guadeloupe, and his name comes first in a reference that matters. In December 2025, in an interview published by CCN, Caraib Creole News, developer Maïté Berchel-Bordin answered a question about the most prominent bouyon artists in Guadeloupe by naming, in this order, Lejuh, 1T1, Theomaa, Piscine OSP, Aknose and Shanika. This profile follows what published sources can verify about Lejuh: his official videos, his credits, his collaborations with the 1T1 circle and the place Antillean radio gives to “Air Force 1”.

Who Lejuh is: the first name named for bouyon in Guadeloupe

Start with the best documented fact in this profile. On 13 December 2025, CCN, Caraib Creole News, published a long interview with Maïté Berchel-Bordin, a publisher and music development professional, about the rise of bouyon. Asked which bouyon artists are most prominent today in Guadeloupe and France, she answered that in Guadeloupe the most emblematic artists of the moment are Lejuh, 1T1, Theomaa, Piscine OSP, Aknose and Shanika, to name only those. Lejuh opens the list. In a scene as dense as the Guadeloupe scene, being the first name named by a professional who works on developing the genre is a precise signal, and this profile reports it for what it is: an attributed quote published by a Caribbean news outlet, not an official title awarded to the artist.

The same interview describes the bouyon artist of 2025 as a young, connected creator who masters social media, produces quickly, films his own content and builds his identity between urban space, neighbourhood culture and digital dynamics. That generational portrait is not a biography of Lejuh, and this profile does not present it as one. But it describes exactly the ground on which the public traces of Lejuh can be read: official videos published on his own channel, detailed credits under each video, a presence designed for platforms and a chain of collaborations with the other names of his generation. Lejuh belongs to a generation of artists whose documentation runs first through the releases themselves.

It must be said clearly what this profile does not know. No published biography of Lejuh was found during this research: no confirmed full name, no date of birth, no hometown published by a reliable source. Where other profiles on this site can tell a childhood or a training story, this one refuses to fill the gap. What the sources do establish is enough to place the artist: a name named at the head of the Guadeloupe bouyon scene by CCN, video thanks that pass through shops in Pointe-à-Pitre, a track called “Sòti Gwadloup” recorded with Admiral T, Dcamp and Lewismelo, and official keywords that link his work to Guadeloupe. The Guadeloupe anchoring of Lejuh is therefore an anchoring of scene and work, documented record by record, rather than a biographical notice.

That honesty is part of this site’s contract. Bouyon Shattaz documents bouyon starting from its Dominican origin, created by WCK in Roseau, and following its Guadeloupe branch, bouyon gwada, with the same demand for sources. Lejuh is one of the current faces of that branch. To understand how the genre born in Dominica also became a music of Guadeloupe, read our history of bouyon, then come back to this profile: it shows the Gwada branch at the scale of a single artist, through his credits and collaborations.

The Lejuh sound: bouyon, trap bouyon and video culture

Lejuh’s own labels describe his sound better than a slogan. Under his “BIG BELLY” video, the official keywords link his name to bouyon, trap bouyon, Guadeloupe and the Caribbean. Under “AIR FORCE 1”, the published hashtags are hit, trapbouyon and Antilles. The term trap bouyon, written as one word in his own posts, names the fusion the artist claims: the rhythm machine of bouyon gwada, fast and built for dancing, meeting the codes of trap, its bass, its flows and its video aesthetic. This is not a label invented by this site: it is the vocabulary of the artist and his team, reported here with its attribution.

That sound sits inside the definition sources give of bouyon gwada. This site research dossier, drawing on Air Caraïbes and on the history of music in Guadeloupe, describes the Guadeloupe branch as the regional form of Dominican bouyon: the same jump up base, lyrics in Creole and electronic beats. CCN adds, in the interview already quoted, that current bouyon absorbs dancehall, soca, Afro and electro while keeping its own signature, with a powerful rhythm, a repetitive construction and very present bass. Lejuh records read inside that frame: short formats, hooks built to circulate, and a worked video identity treated as part of the record itself.

Video culture is central in his verified record. For “AIR FORCE 1”, the official video was directed by Ruddy GST, with mix and mastering by HMC Studio. For “BIG BELLY”, the video was directed by Kinvi, with artistic direction credited to Manon Moutama and Anaïs Gamot-Toussay, and mix and mastering by Hakuna Music Company. For “BIKE LIFE”, recorded with Nils, the video credits list Jérôme Nadessin and Christopher Bordelais as directors and Hakuna Music for recording and mix. Those repeated credits draw a stable team around the artist, with Hakuna Music Company, shortened to HMC, as a recurring sound house. An emerging artist who credits his teams this way, video after video, already works with the reflexes of a structured sector, the very sector CCN calls for in Guadeloupe bouyon.

The management published under his videos points the same way. The official descriptions give a management and collaborations contact under the name M. Damas, and point to his official Instagram account, lejuhofficiel, and to his YouTube channel, @lejuh. This profile does not reproduce a private email address, but it keeps the editorial fact: Lejuh presents himself publicly as a managed artist, reachable for collaborations, with official channels identified by his own team. In the bouyon gwada scene, where many careers move through social media before the press, that organised presentation is part of the portrait.

Air Force 1: the Lejuh record produced by 1T1

The central record in the Lejuh catalogue, at this stage of his documentation, is “Air Force 1”, also written “AIR FORCE 1” in his official posts. The official video, published on his channel, gives the credits without ambiguity: writer and performer, Lejuh; composer and producer, 1T1; mix and mastering, HMC Studio. That production credit is one of the most important facts in this profile, because it connects Lejuh to the Guadeloupe producer and artist who himself released “Bouwéy” and “Moustik”. Lejuh does not work at the margin of the bouyon gwada scene: he is produced by one of its central names, and he sings on that producer records in return, as the next section details.

The reception of the record goes beyond the video platform alone. NRJ Antilles presented “AIR FORCE 1” as its new hit by Lejuh, speaking of a trend that tears it up and a holiday hit to discover or rediscover on the station. For an artist of the new Guadeloupe generation, that passage through Antillean radio counts twice: it validates the record outside social media alone, in the medium that accompanies daily life in the Antilles, and it installs the name Lejuh with a wider audience than the platforms. The track also appears among the artist’s most searched tracks on Shazam, alongside “Leave Me Alone” and “Boss”, which confirms its place as a reference record in his current catalogue.

The thanks published under the video anchor the record in its real geography. The team thanks Guadeloupe businesses, including a sports shop in the Destreland shopping centre and an optician in Pointe-à-Pitre, as well as a local crew called Team Polo. Those details, published by the artist himself, say where the video was conceived and filmed: in Guadeloupe, with Guadeloupe partners, for an audience that recognises its own addresses on screen. Lejuh bouyon gwada is not an outsourced product: it is made on the spot, and “Air Force 1” is the documented demonstration.

The record also travelled in DJ sets well beyond the archipelago. A live mix published on YouTube, recorded in a festival context in France, runs 1T1 “Bouwéy” and then Lejuh “Air Force One” in its shatta and bouyon section, between Natoxie and Theodora. That kind of trace, a Guadeloupe record played in a European festival set alongside the references of the moment, shows how bouyon gwada travels today: through DJs, mixes and platforms, before charts. “Air Force 1” is, in the current state of the sources, the record that made that journey for Lejuh.

Lejuh and bouyon gwada: the 1T1 circle, record by record

To understand the place of Lejuh in bouyon gwada, follow his appearances in the catalogue of 1T1, the Guadeloupe composer and producer whose profile also appears on this site. The published 1T1 discography on Qobuz gives the dates and credits. On 2 June 2023, “Piney” brings together 1T1, Theomaa and Lejuh. On 1 December 2023, “Pied au Plancher” brings together 1T1, Tiitii NBA and Lejuh. On 12 January 2024, “Mas La Rivé” lines up 1T1 with Theomaa, Aknose, DJ Softee, Dj TKrys, Bismok, Jicypie, Dj Kylled and Lejuh. Three collective records in seven months, and the name Lejuh in all three: this is not an isolated collaboration, it is membership of a working circle.

The most visible record in that series is “Leave Me Alone”. Released by 1T1 on 6 September 2024 according to Qobuz, it is credited to 1T1 with Dinho, Lejuh, Theomaa and Binksdrick. On Shazam, “Leave Me Alone” comes first among the tracks associated with Lejuh, ahead of his own solo records. The track also turned up in bouyon mixes of the Dominican carnival season, alongside “Bouwéy” and records by Reo, Asa Bantan and Signal Band: an interesting trace, showing a record from the Guadeloupe circle picked up in playlists from Dominica itself, where bouyon was born. The circulation between the two islands, which created bouyon gwada, therefore continues in both directions.

The working relationship also runs the other way. 1T1 produced “Air Force 1” by Lejuh, as seen above, and he also produced “Lolita”, the Lejuh solo record whose official video carries “Prod. By 1T1” in its very title. “Lolita” was released on 27 June 2024 according to the 1T1 Qobuz page, which distributes it. A producer who signs a singer solo records and invites him onto his own collective records is building, in practice, a small informal stable. Lejuh and 1T1 form, in the published credits, one of those singer and producer pairings that structure current Caribbean scenes, just as Dominica knows its own around its Roseau producers.

That circle also explains the speed at which the names on the CCN list circulate. Lejuh, 1T1, Theomaa and Aknose, four of the six names named for Guadeloupe, appear together in the credits of “Mas La Rivé” and “Leave Me Alone”. The list drawn up by Maïté Berchel-Bordin therefore does not place separate careers side by side: it describes a network that records together. For a listener discovering bouyon gwada through Lejuh, the doorway leads naturally to that whole network, and our bouyon playlist lets you hear those records in the wider context of the genre, from Dominica to the French Antilles.

BIG BELLY, Boss with Meryl, BIKE LIFE: the catalogue widens

The solo and collaboration catalogue of Lejuh has clearly widened over the recent period, according to the release lists published by Shazam and the official videos. In 2024, “Sòti Gwadloup” brings together Admiral T, Dcamp, Lejuh and Lewismelo: the presence of Admiral T, a historic figure in Guadeloupe music, alongside Lejuh and the duo Dcamp and Lewismelo, places the young artist in a meeting between generations. The same year, “NANNAN” came out as a single with YSN featured, and “Air Force One” came out as a single according to the same release list. In 2025, “BIKE LIFE”, with Nils, came out as a single, with a video whose detailed credits were already quoted in this profile, composed by YSN, Dinho and Qwann and recorded by Hakuna Music.

Also in 2025, Lejuh appears on “Adios Amigos”, a record by Reo, the Dominican bouyon artist, with Jixels, released on 22 May 2025 according to the Reo Qobuz discography. That appearance deserves underlining, because it connects the Guadeloupe scene documented here directly to the new Dominican generation this site follows closely. A feature between a bouyon gwada singer and an artist from Dominica replays, at the scale of one record, the founding exchange between the two islands. The same year, “Pran On Pyé” brings together YSN, 1T1, Lejuh and Qwann, extending the artist’s usual working circle with recurring Guadeloupe signatures such as YSN and Qwann.

Two recent releases widen the perimeter further. “BIG BELLY”, released as a single in 2026 according to Shazam, with D.O.C FIX DEM, has an official video directed by Kinvi, composed by D.O.C FIX DEM and Dj Luchshiy, and mixed and mastered by Hakuna Music Company. The presence of Dj Luchshiy, a producer linked to the Dominican scene and to Reo records, among the composers, strengthens the bridge between Guadeloupe and Dominica in Lejuh’s work. For its part, “Boss”, by Meryl with LeJuh, released as a single in 2026 and ranked among Lejuh’s most searched tracks on Shazam, received an official video filmed in Martinique, presented by Maison Caviar, with music composed by Tuks and YSN. Collaborating with Meryl, an established Martinican artist of the francophone shatta and urban scenes, opens another island and another audience to Lejuh.

Taken together, those releases draw a method: alternating solo records carried by careful videos, collaborations inside the 1T1 circle, appearances with Dominican and Martinican artists, and recurring work with the same composers and the same studio. That is exactly the fast, connected production rhythm CCN attributes to the bouyon artist of 2025. This profile therefore keeps, for the structured data of this page, ten records verified in the sources quoted: “Air Force 1”, “BIG BELLY”, “Lolita”, “Boss”, “BIKE LIFE”, “Sòti Gwadloup”, “Leave Me Alone”, “Piney”, “Pied au Plancher” and “Mas La Rivé”. Other tracks linked to his name circulate in platform lists, such as “Trampoline”, “GAME-OVER” or “Karibbean Gyal” with LESTEF KJF BOYZ, and they can join this page when their credits are confirmed with the same precision.

The all audiences bouyon debate, and why Lejuh matters

One last documented episode shows that Lejuh also counts as a voice in the debates of his scene. A TikTok post by podcaster Béatrice Potony presents an interview with Lejuh around a question that has run through bouyon for years: can bouyon be made for all audiences? The post promises a straight talking exchange and points to the full interview on YouTube. This profile lends Lejuh no precise answer, because the full content of the interview was not transcribed in the sources consulted. But the very fact that a podcast chooses Lejuh to carry that discussion is significant: the question of all audiences bouyon, of lyrics, family audiences and widening the genre beyond the very young, sits at the heart of the CCN interview itself, where Maïté Berchel-Bordin explains that bouyon will gain maturity by diversifying its lyrics and melodies. Lejuh is one of the artists asked that question in public.

Why Lejuh matters, in short: because he stands at the meeting point of several lines this site follows. The line of the genre: a singer of bouyon gwada, the Guadeloupe branch of the bouyon born in Dominica, also working the trap bouyon label. The line of the network: a documented member of the 1T1 and Theomaa circle, produced by 1T1, invited by Reo, Admiral T and Meryl. The institutional line, finally: the first name named by CCN when a development professional draws up the list of the emblematic bouyon artists of the moment in Guadeloupe. Few emerging artists bring together those three forms of trace at once, credits, collaborations and regional media recognition.

This profile ends, as it began, with its limits. The public record on Lejuh remains thin: no published biography, no transcribed interview in the sources consulted, no verified streaming figures this site can repeat without risk. That gap is not specific to Lejuh: it characterises a generation of French Antillean artists whose careers are built on platforms faster than the press documents them. Bouyon Shattaz will keep following his releases, and this profile will be completed and corrected when new sources, interviews, official credits or statements from his team, allow it to go further. In the meantime, listening starts with “Air Force 1”, continues with “Leave Me Alone” and “BIG BELLY”, and returns to the context of the genre through our history of bouyon and the site bouyon playlist.

A final note on method concerns the neighbouring profiles. Lejuh shares this site with the Dominican artists who created and carried bouyon, from WCK to Asa Bantan, and with the other Guadeloupe names of his generation, starting with 1T1 and Holly G. That cohabitation is the very purpose of BouyonMusique.com: telling bouyon as a complete chain, whose origin is Dominican and whose current life also passes, visibly, through artists like Lejuh in Guadeloupe.

Frequently asked questions

Who is Lejuh?

Lejuh is a bouyon artist linked to Guadeloupe. In December 2025, CCN, Caraib Creole News, named him first among the most emblematic bouyon artists of the moment in Guadeloupe, with 1T1, Theomaa, Piscine OSP, Aknose and Shanika, in an interview with developer Maïté Berchel-Bordin.

Who produced “Air Force 1” by Lejuh?

According to the credits published under the official video, “Air Force 1” was written and performed by Lejuh, composed and produced by 1T1, and mixed and mastered by HMC Studio. NRJ Antilles presented the record as a new hit by Lejuh.

Which records connect Lejuh and 1T1?

1T1 produced “Air Force 1” and “Lolita” by Lejuh. In return, Lejuh sings on several 1T1 records: “Piney” in 2023, “Pied au Plancher” with Tiitii NBA in 2023, “Mas La Rivé” in 2024 and “Leave Me Alone” with Dinho, Theomaa and Binksdrick, released in September 2024.

What does trap bouyon mean in Lejuh’s work?

Trap bouyon is the label used in Lejuh own official posts, notably the keywords of “BIG BELLY” and the hashtags of “AIR FORCE 1”. It names his fusion of bouyon gwada, fast and dance driven, with the codes of trap. This profile reports it as the artist’s vocabulary, not as a separate official genre.

Has Lejuh spoken about all audiences bouyon?

Yes, a podcast interview with Béatrice Potony is devoted to the question of whether bouyon can be made for all audiences, presented as a straight talking exchange with Lejuh, with the full interview announced on YouTube. This profile quotes the question and the format, without attributing to the artist answers that were not transcribed in the sources consulted.

Where should I start listening to Lejuh?

Start with “Air Force 1”, his record produced by 1T1 and highlighted by NRJ Antilles, then “Leave Me Alone” with 1T1, “BIG BELLY” and “Boss” with Meryl. Then place those records inside bouyon gwada through our history page and our bouyon playlist.

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