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Magbeatz: the producer and keyboard player behind LGC, Billy BYBF and Lala &Ce

Published October 20, 2026

Magbeatz is a producer name in French Antillean bouyon, a name that exists, in public sources, only inside credits. In 2025 he produces both of the year singles for LGC, “Copain Copine” with Dézod and “Make It Clap”. The same year he becomes the shared name on four Billy BYBF singles, from “Elle Veut” to “BDKMV”, credited as a performing artist and recording engineer. In 2026 his composer name appears for Coryy, for Malcolm, and on “belElou”, the Lala &Ce record featuring Ricky Bishop on a Sony Music France album. And in October 2026 a Paris event listing bills him on keyboard, alongside Billy BYBF. No biography, no real name, no published origin: this profile therefore follows the only verifiable thing, the chain of credits, record by record, and states plainly where that chain stops.

A credit name before a billing name

Magbeatz is first read in the small print of the platforms. On Shazam his name holds the producer role on the LGC listings. On Deezer he turns into capitals, MAGBEATZ, as the shared artist name on the Billy BYBF singles, then into MagBeatz in the composer credits of Coryy, Malcolm and Lala &Ce. Three spellings, one thread: the same writers keep returning around the name, starting with O’neal Chatelot, a writer on both 2025 LGC singles and on all four Billy BYBF and Magbeatz singles, and Fabien Aurela, the writer behind Billy BYBF, present across the whole tandem. That chain of cross checks, and that chain alone, is what allows anyone to say those spellings point to the same credit, and this profile shows it instead of assuming it.

The role, though, moves from record to record, and that is what makes the name interesting. Full producer on the two LGC records, where the listing names nobody else on production. Credited performer, on the same level as Billy BYBF, on the four tandem singles, with the recording engineering under his name and the production under Billy BYBF name. Composer, alone or in a pair, on the records of others. And live musician, on keyboard, on the Paris bill of October 2026. The name Magbeatz therefore covers the whole workshop: building the beat, capturing the sound, writing the music and playing it live. In current bouyon gwada, where records are born in small studios and live as singles, that is the typical portrait of the complete producer, and the Magbeatz credits draw it without any interview having to tell it.

What the sources do not give, this profile does not invent. No page consulted gives a real name, a birthplace, a background or a verified official account for Magbeatz. The platforms do attach an artist image to his name in their credits, proof that an artist entry exists in their databases, but no artist page opened during this research publishes a biography. The territory, by contrast, can be read in the work: the two central artists of the chain, LGC and Billy BYBF, belong to the Guadeloupe bouyon scene this site documents, the records are in French and Creole, listed at 160 BPM, the signature tempo of the genre, and the only verified live date plays in Paris, in front of the diaspora. Magbeatz is therefore presented here for exactly what the documents establish: a producer of the gwada scene and its Paris extension.

A reading warning belongs in this first section, because the name is a namesake trap. MegaBeats, without the g of Mag, is another producer, a Dominican one, whose real name, Danzel Dangleben, is published by the Dominica Festivals site: nothing to do with this profile. Magic Beatz is an afrobeat project from Lisbon. MashBeatz is a South African producer. None of those names enters the credit chain told here, and mixing them up would mean attributing to Magbeatz catalogs that are not his. What follows speaks only of records whose credits cross check, one by one.

2025: the two LGC productions, “Copain Copine” and “Make It Clap”

The first verified trace of the name is a production credit. On January 3, 2025, LGC releases “Copain Copine”, featuring Dézod, on his LGC Music label, in French and at 160 BPM. The Shazam listing of the record, opened for this profile, credits LGC and Dézod on background vocals, four writers, Dany David Ledreck, Jean Gardiole, Déreck Ciani and O’neal Chatelot, and a single name on production: Magbeatz. A video comes with the record, and the listing showed 74 Shazam identifications when it was opened. The record opens the LGC year, and it also opens the Magbeatz file: from the very first line, the name stands alone on the making, facing a writing team of four.

On May 30, 2025, “Make It Clap” confirms it was no one off. The single appears under the names Minibertol and Jano, still in French and at 160 BPM, with LGC on vocals, three writers, O’neal Chatelot, Dany Ledreck and Jean Gardiole, and Magbeatz, again alone, on production. The listing showed 104 Shazam identifications, the higher counter of the two records. Two singles, twice the same production signature, and an almost identical writing team: between January and May 2025, Magbeatz is the house producer of the LGC Music phase of LGC, the phase where the project switches to home label mode.

What that role means on this scene is worth spelling out. LGC is an opaque name, with no biography, whose whole public file sits in its credits: a stable team of writers and producers taking turns. Before Magbeatz, the production of the documented catalog belonged to DJ Taffy, on “Fè Sa Fann” in 2024. The handover to Magbeatz for the two 2025 singles comes with a widening of the writing team, with the arrival of O’neal Chatelot and Déreck Ciani. In other words, when LGC reorganises its workshop, the new producer is called Magbeatz, and it is under his signature that the project releases its two records of the year. Readers who want the full context of the project will find it on our LGC page.

Those two listings also give the sound frame of the file, with no need to hear anything to describe it: French, 160 BPM, single format, collective writing, single production. That is the template of studio bouyon gwada, the one our bouyon gwada page follows record by record. Magbeatz holds there the place credits usually reserve for several people, and he holds it alone: that is the first solid fact of this profile, and every following one confirms it.

The tandem with Billy BYBF: four singles under a shared name

The second phase of the file changes the status of the name. From November 2025, Magbeatz is no longer only in the credits: he is in the title line. Deezer files four singles under the double name Billy Bybf and MAGBEATZ. “Elle Veut” opens the run on November 19, 2025, 2 minutes 13, written by O’Neal Chatelot and Fabien Aurela. “BAW SA (SANTA BAYOBONFÈ)” follows on December 28, 2025 on BYBF STUDIO, the label under Billy BYBF name, 2 minutes 15, in French and at 160 BPM, with a video. “SPOUTNIK (BING BANG)” arrives on March 10, 2026, still on BYBF STUDIO, 2 minutes 5. And “BDKMV (Bitch, Don’t Kill My Vibe)” closes the run on March 25, 2026, at exactly 2 minutes. Four singles in a little over four months: the tandem works at the rhythm of the scene, roughly one record a month, with no album.

The credits of those records, read on Shazam for the two central ones, spell out the sharing of roles, and it has to be given exactly. Performers: Billy BYBF on vocals, Magbeatz as a credited performer. Writers: Fabien Aurela and O’neal Chatelot, on all four records. Production and engineering: Billy BYBF as producer, Magbeatz as recording engineer. The shared name on the cover therefore does not mean Magbeatz produces those records in the sense of the listings: he is the second artistic signature on them and the technical hand on the recording, while Billy BYBF holds the production. That precision is the very matter of this site: one name, three different roles depending on the listing, and a profile that refuses to merge them.

The cross check with the LGC phase is obvious, and it locks the identity of the name. O’neal Chatelot, a writer on both LGC productions by Magbeatz, is also a writer, with Fabien Aurela, on the four tandem singles. The LGC producer and the Billy BYBF partner therefore move in the same writing workshop, the one of Team Bwè Tou Sa and BYBF STUDIO, documented on our Team Bwè Tou Sa page. Magbeatz is no hired hand who happened to pass through two catalogs: he is a de facto member of that circle, whose records come out at the same tempo, 160 BPM, in the same language and with the same writers.

“SPOUTNIK (BING BANG)” showed 33 Shazam identifications at the time of research, a modest order of magnitude that this profile quotes for what it is: those records live first in the networks of the scene, the videos, the parties and the playlists, before platform counters. The run itself is complete and dated, and it makes 2025 and 2026 the two full years of the name: LGC producer in the first half of 2025, shared name on the Billy BYBF singles from November 2025 to March 2026. The third phase, the composer for others, plays in parallel, and it widens the map again.

Composer for others: “Tek”, “SAFE PLACE” and “belElou”

Three composer credits, recorded on Deezer during this research, take Magbeatz out of his close circle. The first is “Tek”, by Coryy, 2 minutes 54, written by Loïc Sagaliapidine and Antonio Duranty, composed by MagBeatz and Olid. The listing consulted is the one in the editorial playlist RAP ANTILLES 2026 by LÉ WI on Deezer, which files the record among 183 tracks of trap, drill and dancehall from the French Antilles: no release date is shown there, and this profile assumes none. The verifiable fact is the credit itself: in a selection that maps the Antillean rap scene, the name of MagBeatz holds the composition of a Coryy record, in a pair with Olid.

The second credit is “SAFE PLACE (TAKE MY MONEY)”, by Malcolm, released on June 10, 2026 on Triple-Double Production, 2 minutes 15, composed by MagBeatz and Atox. The record appears in the Deezer discography of Billy BYBF, which ties it to the same widened circle, and the name Atox cross checks with another document of this file: Atox is among the DJs billed at the Paris party where Magbeatz plays keyboard, told in the next section. Two names who compose together in June and share a bill in October: the gwada scene works as a tight network, and the Magbeatz credits let anyone watch it work.

The third credit is the widest in reach. On the album “oAsis 2” by Lala &Ce, released on June 19, 2026 on SPKTAQLR and Sony Music Entertainment France, the record “belElou”, featuring Ricky Bishop, 2 minutes 28, is written by Lala &Ce and composed by Magbeatz, the only name on the composition credit. The album holds ten records and as many different composers, from Simon Senn to John Makabi: the place of Magbeatz there is that of a guest composer on one record, alongside the bouyon voice of Ricky Bishop, in a French rap and pop album distributed by a major. For a name that started on the Shazam listings of bouyon gwada, that is a documented change of scale, not a rumour: the Deezer album listing carries it in black and white.

Taken together, those three credits draw the third function of the name. House producer at LGC, partner and engineer at Billy BYBF, Magbeatz also composes, alone or in a pair, for Coryy, for Malcolm and for Lala &Ce. The perimeter therefore goes beyond strict bouyon: Antillean trap with Coryy, a Malcolm single, a Sony album with Lala &Ce. What does not change is the reading method of this profile: every record quoted here was opened on its platform, with its credit, its date where one exists and its label. Nothing else is stated, and the list of records carried in the structured data of this page is limited to exactly those nine verified recordings.

Keyboard on stage: Pops Summer Club #2, Paris, October 16, 2026

The last document of the file is neither a song listing nor a studio credit: it is a bill. The Shotgun ticketing page of the party Pops Summer Club #2, organised by Moviepopstarplanet, announces for Friday October 16, 2026, from 11 pm to 5 am, at 17 Rue Tiquetonne, in the 2nd arrondissement of Paris, exclusive performances by Zequin, Banklaady, Deezen, Billy BYBF, and, in the exact wording of the bill, “MAGBEATZ AU KEYBOARD”, Magbeatz on keyboard. The DJ sets are held by Atox, Wizi, Shae, Nols, Laflm and Trixboiii, and the tags of the party name its audience: Trap, Bouyon, Dancehall, Shatta, Hip Hop, Afro. Fifty people had marked themselves interested when the page was opened.

That document counts three times. First, it gives Magbeatz an instrument: the keyboard. The producer of the listings is also a stage musician, which sheds light on his credited performer role on the tandem singles and his solo composition credit on “belElou”: the chain runs from the keyboard to the studio, then from the studio to the stage. Second, it bills him on the same poster as Billy BYBF, his partner on four singles, and Atox, his composing partner on “SAFE PLACE”: the network read in the credits turns up, in the flesh, on one single party. Third, it places that stage in Paris, in the circuit of Antillean parties in the capital that our bouyon in Paris page documents, where the Guadeloupe and Martinique diaspora keeps the genre alive far from the islands.

What the bill does not say must also be said. It gives neither the real name of Magbeatz, nor his island, nor the detail of his performance, and no recording of the party was consulted for this profile. The document establishes a booking, a date, a place and an instrument, nothing more. But for a name whose whole file sits in credit lines, that bill line is a rare piece: the only one where Magbeatz appears as a musician the public comes to watch play, and not as a name the platforms file in their metadata.

The loop of the file therefore closes cleanly. In January 2025, Magbeatz produces the single that opens the LGC year. In October 2026, he steps onto a Paris stage on keyboard, between his singles partner and his composing partner. In between: four singles under a shared name, three compositions for other artists, two productions for LGC, and not one line of biography. It is exactly for careers of that kind, real but invisible in the usual write ups, that this site keeps its producer pages, also to be read on our bouyon producers page.

What the file does not say: namesakes, spellings and limits

The file now closes with the same rigour it opened with. The spellings first: Magbeatz on Shazam, MAGBEATZ on the Billy BYBF singles on Deezer, MagBeatz in the composer credits. This profile kept the identity of those three forms for one documented reason, the continuity of the writers, O’neal Chatelot and Fabien Aurela, which links the LGC productions to the tandem singles, then the Atox and Billy BYBF collaborations which link the tandem to the 2026 compositions. If a source one day establishes that two of those spellings cover two different people, this page will be corrected and dated, like every page on this site.

The namesakes next, because they are the main risk of the name. MegaBeats, a Dominican producer whose real name, Danzel Dangleben, is published by the Dominica Festivals site, shares no record with the chain told here. Magic Beatz, an afrobeat project based in Lisbon, and MashBeatz, a South African hip hop producer, are neighbouring names with no connection. No record from those three catalogs entered this profile, and none of their facts is told in it. In the same way, this profile attributes to Magbeatz neither the Billy BYBF records where he is not credited, nor the LGC records produced by others, such as “Fè Sa Fann” by DJ Taffy: credit discipline cuts both ways, it protects the other names as it protects this one.

The limits, finally, stated without detour. No biography, no interview, no verified official account and no complete artist page were confirmed during this research: the links of this page therefore carry no social profile, and the structured data adds no external link. The counters quoted, 74 and 104 identifications for the LGC records, 33 for “SPOUTNIK”, are readings taken at the time of research. No date is given for “Tek”, for lack of a date published on the listing consulted. And the exact origin of Magbeatz is written nowhere in this profile, because it is written in no source consulted: the working scene is Guadeloupe and Paris, the person remains, to date, a credit name.

Listening, by contrast, is simple and fully verified: “Copain Copine” and “Make It Clap” for the production, “Elle Veut”, “BAW SA (SANTA BAYOBONFÈ)”, “SPOUTNIK (BING BANG)” and “BDKMV” for the tandem with Billy BYBF, “Tek” by Coryy, “SAFE PLACE (TAKE MY MONEY)” by Malcolm and “belElou” by Lala &Ce with Ricky Bishop for the composition. Our bouyon playlist follows that scene week after week, and if Magbeatz one day publishes a biography, an official account or a record under his own lead name, this profile will be completed at that date.

Frequently asked questions

Who is Magbeatz?

A producer and musician of the French Antillean bouyon scene, documented only by his credits. He produces “Copain Copine” and “Make It Clap” for LGC in 2025, shares four singles with Billy BYBF between November 2025 and March 2026 as a credited performer and recording engineer, composes for Coryy, Malcolm and Lala &Ce, and plays keyboard live in Paris in October 2026. No source consulted gives his real name, his origin or his biography.

Which records did Magbeatz produce for LGC?

Two singles of 2025, where he is the only name credited on production on the Shazam listings. “Copain Copine”, featuring Dézod, released on January 3, 2025 on LGC Music, in French and at 160 BPM, written by Dany David Ledreck, Jean Gardiole, Déreck Ciani and O’neal Chatelot. And “Make It Clap”, released on May 30, 2025 on Minibertol and Jano, written by O’neal Chatelot, Dany Ledreck and Jean Gardiole.

What is the role of Magbeatz on the Billy BYBF singles?

A different role from the LGC records, and the listings distinguish it. On “Elle Veut”, “BAW SA (SANTA BAYOBONFÈ)”, “SPOUTNIK (BING BANG)” and “BDKMV”, released under the double name Billy Bybf and MAGBEATZ, he is a credited performer and the recording engineer, while Billy BYBF is credited as producer and Fabien Aurela and O’neal Chatelot sign the writing. The shared name must therefore not be read as a production credit.

For which other artists has Magbeatz composed?

Three composition credits were verified on Deezer. “Tek” by Coryy, composed with Olid. “SAFE PLACE (TAKE MY MONEY)” by Malcolm, released on June 10, 2026 on Triple-Double Production, composed with Atox. And “belElou” by Lala &Ce, featuring Ricky Bishop, on the album “oAsis 2” released on June 19, 2026 on SPKTAQLR and Sony Music Entertainment France, where Magbeatz is the only composer credited on the record.

Does Magbeatz play live?

Yes, on keyboard, according to a verified ticketing document. The Shotgun page of the party Pops Summer Club #2, organised by Moviepopstarplanet on Friday October 16, 2026 at 17 Rue Tiquetonne in Paris, bills “MAGBEATZ AU KEYBOARD” among the exclusive performances, alongside Billy BYBF, Zequin, Banklaady and Deezen, with DJ sets by Atox, Wizi, Shae, Nols, Laflm and Trixboiii.

Are Magbeatz and MegaBeats the same person?

No, nothing says so and the files are separate. MegaBeats, without the g, is a producer from Dominica whose real name, Danzel Dangleben, and whose own path are published by the Dominica Festivals site. The Magbeatz of this profile is the name on the LGC, Billy BYBF, Coryy, Malcolm and Lala &Ce credits, linked to each other by the writers O’neal Chatelot and Fabien Aurela. Magic Beatz, from Lisbon, and MashBeatz, from South Africa, are two other neighbouring names with no connection.

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