Miguel Orlando Collins (born 17 April 1976), known by his stage name Sizzla Kalonji or Sizzla, is a Jamaican reggae recording artist. He is one of the most commercially and critically successful contemporary reggae artists and is noted for his high number of releases. As of 2018 he has released 56 solo albums.
Sizzla was born in Kingston, Jamaica, to devout Rastafarian parents. Like them, Sizzla subscribes to the Bobo Ashanti branch of the Rastafari movement. He was raised in August Town, Kingston, Jamaica where he studied mechanical engineering at Dunoon High School.
Along with universal praise came Sizzla's first nomination for Best International Reggae Artist of the Year at the 1998 MOBO Awards and a place in various magazines' top 100 albums of the year. Sizzla has since released several dozen albums, including 1998's Kalonji and Royal Son of Ethiopia from 1999. 1999 also saw him receive his second MOBO nomination. Sizzla remains a constant presence in the reggae charts worldwide. Currently, Sizzla has 21 albums that have made it onto the Billboard's Top Reggae Albums music chart, the highest Words of Truth, reaching the peak position of No. 5.
Sizzla Kalonji has released over 45 solo albums and over fifteen combination albums, crossing different genres of Reggae. He has started his own record company, Kalonji Records; which in a joint venture with Damon Dash Music Group and Koch Records, released the album, The Overstanding, in November 2006. This was his third album released through Kalonji Records; as well as Black History and Life.
Sizzla, along with reggae recording artists such as Capleton, Norris Man, Turbulence, Buju Banton, and Anthony B, are credited with leading a movement toward a re-embracement of Rastafarian values in contemporary reggae music by recording material which is concerned primarily with spirituality and social consciousness, explores common themes, such as Babylon's corrupting influence, the disenfranchisement of ghetto youth, oppression of the black nation and Sizzla's abiding faith in Jah and resistance against perceived agents of oppression.