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Tazzo Thaboss: the Grand Bay rapper who claims the first Bouyon Drill

Published October 20, 2026

Tazzo Thaboss is a rapper from Dominica, anchored in Grand Bay in his own lyrics, whose name is attached to the most debated episode in the recent history of bouyon: the claimed birth of Bouyon Drill in spring 2021. His record “Glizzy Spray”, released according to his own notes on March 26, 2021 at Tazzo Studios while he was living in Japan, is presented by the artist himself, in the very title of his video, as the first “Bouyon Drill” ever. This profile tells that claim as a claim: no independent source opened for this file confirms it. What it does follow, page by page, is what his release notes genuinely establish: a body of rap from the south of the island, SouthCity Rap, a chain of verses answering each other from 2020 to 2021, and a stage name borrowed from DJ Flip Tha Boss, the DJ to whom the same account credits the riddim that launched the movement a few weeks later.

Who Tazzo Thaboss is: a borrowed name, a home studio, no biography

Start with what the file does not hold, because it is a great deal. No artist biography, no interview and no press article devoted to Tazzo Thaboss was found, and no song page on a distribution platform, not Shazam, not Spotify, not Apple Music, not Deezer, could be opened under his name. Everything this profile knows about him comes from five YouTube pages carrying his name, whose long and methodical descriptions are written as release notes by the artist himself. Those notes are a precious primary source, on one condition: never forget who is speaking. When Tazzo writes the history of Bouyon Drill, he also writes his own place in it, and this profile therefore attributes every statement of that account to its author.

The name first, because his own note explains it. In the description of “Glizzy Spray”, Tazzo writes that, coincidentally, he was inspired by “DJ Flip Thaboss” to add “Thaboss” to his own name, and that the borrowing dates from before the creation of Bouyon Drill. The detail counts twice: it ties Tazzo to DJ Flip Tha Boss, whose path our companion profile tells, and it places the borrowing before March 2021, the future claimant of the first record of the genre already carrying the mark of the DJ that the account names as the trigger of the riddim. The spelling varies: “TAZZO THABO$$” with two dollar signs in the video titles, “Tazzo Thaboss” in the body of the notes. This profile headlines the second form and flags the first where it appears.

The rest of the identity fits into three banners. “Tazzo Studios” is the recording place claimed by every opened record: written and recorded by Tazzo Thaboss at Tazzo Studios, the descriptions repeat, which makes his work a home production, written, recorded and documented by the same person. “TAZZO ENTERTAINMENTS” is the signature closing the same pages. And the line “DOMINICA (2020)” or “DOMINICA (2021)” sets the frame: an artist from Dominica who signs from his island even when, as with “Glizzy Spray”, the note specifies that he was then living in Japan. No real name, no age and no birth date can be printed: the opened sources give none.

One last thing reads in the very form of the notes. Tazzo documents his work like an archivist: each description points to the other records, dates the influences verse by verse, lists the versions, and defines his own genres. That documentary mania, rare in bouyon, is what makes this profile possible. It also sets its limit: the archive runs one way, and every date in this profile rests on his word as an artist alone.

SouthCity Rap: the rap of the south of the island, defined by the artist himself

Before Bouyon Drill, there is SouthCity Rap, and Tazzo himself gives its definition, word for word in the description of “Hush”: SouthCity Rap features songs such as “I Got Enemies”, “Hush”, “What U Need?”, “Stop My Hustle”, “We Affi Survive” and “Badman”, sometimes referred to as “South City”, and it is mostly sung, the note says, in the unique broken English accent of South City, Dominica. South City, the city of the south: the notes and the lyrics name the south of the island relentlessly, and the hashtag that travels with “Hush” and with “What U Need?” is the same one, “GRANDBAY”. SouthCity Rap is therefore, in its author presentation, the rap of a precise territory, Grand Bay and the Dominican south, with its accent claimed as a signature rather than a flaw.

The corpus opened for this profile counts five records, all published on YouTube under his name. “Hush” and “What U Need?”, tagged SouthCity Rap, form the pair of March 2020: his notes date the first to March 7, 2020 and the second to March 8, 2020. “Stop My Hustle” appears under the double tag of UK Drill and SouthCity Rap, “We Affi Survive” under Dancehall and SouthCity Rap, and “Glizzy Spray”, in 2021, is the record where SouthCity Rap, in the artist account, tips over into Bouyon Drill. None of these records has an opened page on a distribution platform: they live on YouTube, with their notes, and that is where this profile read them.

The most singular trait of this corpus is its internal mechanics, which the notes describe with a clockmaker precision. Verses circulate from one record to another and transform on the way. Verses 1 and 3 of “Hush” are identical, its note says, and they later became verses 1 and 3 of “Stop My Hustle”; from there, they influenced the second verse of “Glizzy Spray”. Verse 2 of “Hush”, for its part, influenced verse 2 of “We Affi Survive”. “We Affi Survive”, in the other direction, owes its first verse to verse 2 of “What U Need?”. And “Stop My Hustle” declares its own debts: born of “Hush”, with a verse 2 influenced by “Ayen Pa Change”, a record that the same note files under another home genre, Rapatwa. The work of Tazzo, as he documents it, is a system of communicating vessels in which the same verbal material, born in March 2020 in the south of the island, irrigates four records and ends up carrying the claim of 2021.

What that mechanics says about the artist is worth measuring. A rapper who recycles his own verses while dating them and tracing their journeys is doing long term author work, and the work of his own historian: without those cross referenced notes, it would be impossible to rebuild the order of his catalog, since no platform classifies it. The limit remains the single source: this genealogy is his, and this profile reports it as the plan of the work drawn by its author, not as a discography verified by a third party.

Glizzy Spray, March 26, 2021: anatomy of a claim

The central record of the file carries its claim in its very title: “TAZZO THABO$$, GLIZZY SPRAY (1ST BOUYON DRILL EVER)”, the first Bouyon Drill of all time, in brackets and in capitals. The description develops the account. Bouyon Drill is defined there as a high energy modern subgenre, a fusion of the traditional electronic bouyon music of Dominica with the sliding basslines and the dark syncopation of UK and Chicago drill, and the text places the emergence of this distinct style around May 2021. In that account, Tazzo is presented as the first to pioneer Bouyon Drill, with “Glizzy Spray”, originally released on March 26, 2021 at Tazzo Studios, while he was living in Japan. Every word of that sentence is his: this profile quotes it as the founding claim of the file.

The note then specifies how the record was made, and that is its most internally checkable part, because it points back to the opened corpus. Verse 1 of “Glizzy Spray” is original, written for this record. Verses 2 and 3, on the other hand, were influenced by a 2020 drill record by Tazzo, “Stop My Hustle”, which itself went back to “Hush”. In other words: the record claimed as the first Bouyon Drill is, for two thirds of its verses, the arrival point of a chain of southern rap begun a year earlier. The note adds two dates in the life of the record: an unofficial video published two days after the release, on March 29, 2021 according to the text, then, on August 28, 2021, a “SouthCity Drill” version of the same lyrics laid over the instrumental of “Whoopty” by CJ, the same instrumental the account attributes to the riddim of DJ Flip in May 2021.

The vocabulary of the record is documented by the note itself, which explains that in spite of the Bouyon Drill label, “Glizzy Spray” was, lyrically, the most drill influenced type of bouyon, with its terms listed one by one: Glizzy, Spray, the gang, BDK, GDK, Bando, Draco, Extendo, Glock, Opps. The full lyrics, published in the same description, deploy that lexicon in a first person street narrative, and the hook gives the record its central image: disrespect the gang, and the Glizzy starts to spray. This profile does not reproduce those lyrics beyond what the analysis requires, but it notes their function in the file: it is on that text, saturated with references of American and British drill, that the artist argument rests. His thesis, as he phrases it, is first a thesis of words: the first Bouyon Drill would be the one whose words are the most drill.

There remains the question every reader must ask: who, outside Tazzo, tells this story? In the opened sources, the account circulates in two linked forms: his notes, and the passage that the Wikipedia article on bouyon devotes to drill, which repeats the same names and the same dates, as our DJ Flip Tha Boss profile tells. No platform page, no press article from 2021 and no published listening figures cross checked the date of March 26, 2021 or the rank of first. This profile therefore prints the claim with its full attribution, “billed by Tazzo as the first Bouyon Drill”, and refuses to turn it into an established fact. The claim itself, on the other hand, is a fact of documentation: it exists, it is dated, it is public.

The geography of the lyrics: Grand Bay, Scott’s Head, Saint Joe

If the dates of Tazzo rest on his word alone, his geography, by contrast, is written into the texts he publishes, and it is remarkably constant. The first verse of “Glizzy Spray”, reproduced in his release note, opens with a territorial headcount: six men in a Bando, three men from Scott’s Head, two men from Grand Bay, one man from Saint Joe. Scott’s Head, at the south west tip of the island, Grand Bay, the great southern district whose hashtag travels with his 2020 records, and Saint Joe, for Saint Joseph, on the west coast: the verse draws the map of a crew rooted in the Dominican south and west, and the hook of “Hush” as much as that of “Stop My Hustle” makes Grand Bay the name that speaks and must be listened to. SouthCity Rap earns its name: it is a rap of named districts, where belonging is spelled out in villages before it is spelled out in island.

“We Affi Survive” goes one step finer into local detail. Its first verse, published in the description of the record, names “Tete Lalay” as the place where he lives, and “Block 44” as the place where the money is made. This profile reports those two names exactly as the artist writes them, without being able to place them more finely: they are block level landmarks that outside documentation does not map, and their presence in the text works as a signature of anchoring.

The geography of Tazzo also has an outside, unusual in bouyon: Japan. The note of “Glizzy Spray” specifies that the record was made at Tazzo Studios while he was living in Japan. No opened source says in which city, for how long, or what he was doing there. But the fact draws a path the genre knows well: bouyon and its branches are often born far from the island, in the diaspora, with the island as the return address. Here, the address is explicit: the video closes on “DOMINICA (2021)”, and his 2020 records on “DOMINICA (2020)”, like a stamp applied from abroad.

That contrast between the place of recording and the claimed place throws light on the position of Tazzo in the landscape of the genre. Bouyon is a music of Dominica documented on our Bouyon Dominica page, and its recent branches, drill included, play out between the island and its diasporas. Tazzo, a rapper of the south living in Japan at the moment of his most quoted record, is an extreme and therefore readable figure of it: his whole apparatus of proof is textual, notes, dates, lyrics and place stamps, because his stage is not a documented concert stage but a writing stage. That is also why his file, so rich in self documentation, stays so poor in cross checks: the papers he produces are the only papers there are.

The full account of spring 2021, as Tazzo tells it

The description of “Glizzy Spray” does not only tell Tazzo: it tells the whole spring of 2021 for Bouyon Drill, and it is the common source of the other accounts of the genre, including our DJ Flip Tha Boss profile. It must therefore be read in full and in its order. First beat, March 2021: “Glizzy Spray”, which the artist presents as the first record of the genre. Second beat, April 2021: D-Rys, a rap and underground artist according to the note, releases one of the earliest official crossover singles, titled exactly “Bouyon Drill”. Third beat, May 2021: a prominent Dominican DJ, “Dj Flip Thaboss” in the spelling of the note, releases the highly influential Bouyon Drill Riddim, built on a sample of “Whoopty” by CJ, and artists immediately jump on the riddim: “We Outside” by Reo, dated May 20, 2021, “Hey Cutie” by Charmpian and the “Yenki Song” by Devon George, both dated May 21, 2021.

Fourth beat, told by the same note: in the following years, the subgenre exploded in the French Antilles, especially Guadeloupe and Martinique, where figures like DJ Max’s pushed the hybrid sound toward the mainstream, with mashups like the “Bouyon Drill (Gazo Remix)” of 2022. This passage is consistent with what this site documents elsewhere, bouyon circulating intensely between Dominica and the French Antilles, as our Bouyon Gwada and Bouyon Martinique pages show. But here again, the source is the note of Tazzo: no opened document verifies that remix or the role granted to DJ Max’s separately.

That account calls for one remark of method, which this profile sets down in black and white: internal consistency is not verification. The account of Tazzo and the Wikipedia passage on Bouyon Drill match each other point by point because they tell the same version, in all likelihood fed by the same artist notes; to quote one for the other would be a circle. The companion DJ Flip profile applies the same discipline: a Caribbean media outlet separately confirms there that “We Outside” by Reo, featuring DJ Flip Tha Boss, does stand among the 2021 releases of Reo. For Tazzo, no equivalent cross check was opened: not for the date of “Glizzy Spray”, not for D-Rys, and not for the records of Charmpian and Devon George, for whom no standalone release page was found.

A second remark concerns the place of Tazzo in his own account. In his note, Tazzo does not grant himself everything: he gives himself the first record, in March, then he gives D-Rys the April single and DJ Flip the riddim that, in May, turns the attempt into a movement. It is a relay account, in which the collective triggering belongs to another man, whose name he moreover carries. That structure makes the claim more interesting than simple boasting, without making it verified: it remains an artist text published under his own video, which this profile passes on with its attribution on every line.

We Affi Survive, the versions, and the dates that do not agree

The second best documented record of the corpus is “We Affi Survive”, published under the double tag of Dancehall and SouthCity Rap, with an official music video to which its own description points. Its genealogy, as the artist traces it, ties it to the two records of March 2020: its first verse was influenced by verse 2 of “What U Need?”, and its verse 2 by verse 2 of “Hush”. Its hook states the theme its title announces: they do not want to see them shine, they want to bring them down, but they still survive. The note of “Hush” dates it to November 2, 2021, which would make it the latest release of the chain: the verses of 2020 therefore keep producing records after the drill episode of spring 2021.

Versions are part of the Tazzo method, and his notes count them carefully. “What U Need?” exists in several versions, listed in its own description, alongside an item titled “Dominica I From”. “Glizzy Spray” has its unofficial video of March 29, 2021 and its SouthCity Drill version of August 28, 2021 over the “Whoopty” instrumental. “Stop My Hustle” is presented as a 2020 record in its very title, “DA/UK DRILL 2020”, with its identical verses 1 and 3 owned up to in the note. That culture of the version is a workshop culture: for an artist who writes, records and publishes alone, each record is a state of a material that keeps moving, and the notes serve as a logbook. Our bouyon riddim page shows the same logic at the scale of the genre, where one rhythm carries successive voices; with Tazzo, it is the text that plays the role of the riddim.

Finally, the date contradiction inside the notes must be flagged, without make up. The page of “Stop My Hustle” ties its own release, by way of “Ayen Pa Change” released the same day, to April 14, 2020, and its title displays 2020. The page of “Hush”, on the other hand, dates the same record to April 14, 2022. Both dates are from the hand of the artist, on two official pages of his catalog, and no opened outside source allows the matter to be settled. This profile therefore prints both, each with its page, and keeps only the relative order that all the notes confirm: “Hush” first, “Stop My Hustle” next, “Glizzy Spray” in 2021.

What is there to listen to, concretely? Five opened records, in the order their notes draw: “Hush” and “What U Need?” of March 2020, the two matrices of SouthCity Rap; “Stop My Hustle”, the drill bridge where the verses of “Hush” change their tag; “Glizzy Spray” of March 26, 2021 according to the artist, the record of the claim; and “We Affi Survive”, dated November 2021 by the note of “Hush”, where the chain closes on a hook of survival. No album, no EP and no compilation appears in the opened sources: the documented catalog of Tazzo Thaboss is a catalog of standalone records and versions, published one by one on YouTube with their genealogies in the description.

The limits of the file: a single witness, and it is the artist

Let us recap the limits with the same clarity as the rest. First limit: the single source. The five pages opened for this profile are pages of the artist, and their descriptions are from his hand. No distributor, no media outlet and no other artist in the opened sources confirms his dates, his account of Bouyon Drill, or even the existence of a stage career: no concert, no festival billing and no collaboration with another artist appears in the file, and the only other name to which his is tied, DJ Flip Thaboss, is tied by a name borrowing and by an account, not by a documented joint record. Second limit: the structured data of this page keeps only the five records whose YouTube page was opened, “Glizzy Spray”, “Hush”, “Stop My Hustle”, “We Affi Survive” and “What U Need?”, and its structured links carry no social profile and no artist page, for lack of an official artist page opened and verified: the channel hosting the videos was not opened as a page during this research.

Third limit, which is also the reason this profile exists: the claim of the first Bouyon Drill is, to date, unverifiable, and it will stay so as long as no independent document appears. What is certain, and this profile states it without reserve, is that bouyon has a long history before drill: bouyon soca, for example, was started by Dada in Dominica in 2003 according to the first hand testimony of Sean “Smokiller” Francis, as our bouyon soca page tells, and Wrecketeng has its own documented genealogy on our Wrecketeng page. Bouyon Drill of 2021, for its part, exists for now in the history of the genre only through the accounts of its actors, Tazzo first among them. To document an account is not to validate it: it is to keep it with its label of origin, so that the day a proof appears, in one direction or the other, the file is ready.

If a platform page for “Glizzy Spray”, a press article from 2021, or the page of the “Bouyon Drill” of D-Rys resurfaces, this profile will be completed and dated like every page on this site, and the claim will be re examined against the new documents. In the meantime, the documented listening starts with “Glizzy Spray”, returns to the matrices “Hush” and “What U Need?”, follows the bridge “Stop My Hustle” and ends with “We Affi Survive”. The context is read on our DJ Flip Tha Boss and bouyon riddim pages, and the current scene is followed in our bouyon playlist.

Frequently asked questions

Who is Tazzo Thaboss?

He is a rapper from Dominica, anchored in Grand Bay and the south of the island according to his own lyrics, who writes and records at Tazzo Studios under the TAZZO ENTERTAINMENTS banner. He is known through his YouTube release notes, which present him as the pioneer of Bouyon Drill with “Glizzy Spray” in March 2021. No biography, interview or platform page was found during this research.

Did Tazzo Thaboss really release the first Bouyon Drill?

That is his own claim, carried by the very title of his video, “1ST BOUYON DRILL EVER”, and by his release notes dating “Glizzy Spray” to March 26, 2021, at Tazzo Studios, while he was living in Japan. No independent source opened for this profile confirms that priority: this site therefore reports it as an artist claim, attributed at every mention.

Where does the Thaboss in his name come from?

From DJ Flip Tha Boss, according to the own note of Tazzo under “Glizzy Spray”: he writes that he was inspired by DJ Flip Thaboss to add “Thaboss” to his name, and specifies that the borrowing dates from before the creation of Bouyon Drill. In his account, DJ Flip then releases, in May 2021, the Bouyon Drill Riddim built on CJ “Whoopty”.

What is SouthCity Rap?

It is the home genre that Tazzo defines in his notes: songs such as “Hush”, “What U Need?”, “Stop My Hustle”, “We Affi Survive” and “Badman”, sung, he says, in the unique broken English accent of South City, Dominica. His 2020 records carry the hashtag GRANDBAY, and his lyrics name Grand Bay, Scott’s Head and Saint Joe.

Which Tazzo Thaboss records are documented?

Five YouTube pages were opened for this profile: “Hush” and “What U Need?”, dated by his notes to March 7 and 8, 2020, “Stop My Hustle”, the drill record whose verses come from “Hush”, “Glizzy Spray”, dated March 26, 2021, and “We Affi Survive”, dated November 2, 2021 by the note of “Hush”. The verses circulate from one record to another along a genealogy that the artist traces himself.

Why do the dates of Stop My Hustle change from page to page?

Because the notes of the artist contradict each other: the page of the record ties it to April 14, 2020, the year its title also displays, while the page of “Hush” dates “Stop My Hustle” to April 14, 2022. No opened outside source allows the matter to be settled, so this profile prints both dates with their source each, without choosing one.

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