A Trinidadian musical collaboration has experienced an extraordinary revival as the rapso parang track ‘Christmas Oye’ surges in popularity nearly a decade after its initial creation. The festive composition, born from the creative alliance of Jason ‘Fridge’ Seecharan (formerly of H2O Phlo) and Wade ‘Tim Starr’ Christian (ex-Spotrushaz), with production by Jayron ‘Rawkus’ Remy, has found renewed relevance through a recently launched music video.
The project originated when Remy shared unfinished Christmas rhythms with Tim Starr, who immediately recognized their potential. Seecharan, then frequently requested for Christmas cover performances, collaborated with Starr to develop authentic lyrics that resonated with Trinidadian holiday traditions. The resulting composition blended contemporary rapso elements with classic parang influences, creating a uniquely local soundscape.
Despite limited radio play upon its 2016 release, the track maintained underground popularity through live performances. The breakthrough came in October 2024 when Tim Starr orchestrated an impromptu video shoot at Adam Smith Square in Woodbrook. Utilizing only his smartphone, Starr captured authentic moments of community celebration, supplemented by contributed footage from various artists and personalities including Roland ‘RemBunction’ Yearwood, Marcus Braveboy, and radio icon Allan Diaz.
The video’s organic production approach perfectly complemented the song’s themes of familial bonding and culinary traditions referenced in lyrics describing sorrel, fruitcake, pastelles, and homemade wine. This authenticity has struck a chord with audiences, generating unexpected viral engagement across social platforms.
For the creators, this belated success demonstrates music’s timeless quality. Remy reflects: ‘Music doesn’t expire. Sometimes it simply awaits the right moment for audience reception.’ The resurgence has prompted the artists to reconsider their archive of unreleased material, recognizing that digital platforms enable perpetual discovery beyond traditional radio cycles.
The phenomenon underscores how cultural artifacts can find their audience through persistent curation and adapted presentation methods, proving that artistic merit sometimes requires patience before receiving its deserved recognition.