分类： entertainment

Emerging from a period of relative quiet, Rawyard Records has reestablished its presence in the music industry with a series of new releases throughout 2025, signaling a major comeback. The label, with deep roots in Kingston’s Cockburn Gardens, is now setting ambitious plans for 2026, focusing on a strategic push for its core artists.

Founder Neziah Nesbeth revealed in an interview with the Jamaica Observer that the label’s primary objective is to reintroduce its flagship act, Hot Frass, to the market. The St Thomas-born deejay achieved viral fame in 2019 with the massive street hit ‘Polo’. Nesbeth confirmed that the artist is preparing for a significant return with new material designed to create an even greater impact than his previous work. Hot Frass’s most recent single, ‘Bad Party’, has already been produced and released by the label.

Beyond its headline act, Rawyard Records is cultivating a roster of homegrown talent. Nesbeth is actively developing artists Activ and Sleepy Don, who both had releases in late 2025. Furthermore, the label has invested in three promising talents from the local community: Sleepy Don, KQ6, and Jah Be, each slated to release new singles in the coming year.

The label’s ethos is deeply intertwined with the rich musical heritage of its surroundings. Nesbeth himself was raised in Cockburn Gardens, an area renowned for its vibrant sound system culture during the 1970s and 1980s. This environment was dominated by legendary outfits like Stur Gav, operated by the iconic toaster U Roy and featuring talents such as deejays Josey Wales and Charlie Chaplin, alongside selector Inspector Willie.

This profound exposure to music legends directly inspired Nesbeth’s entry into the business. Prior to founding Rawyard Records in 2008, he built an impressive reputation as a producer, working with reggae and dancehall heavyweights including Anthony B, Sizzla, Lutan Fyah, and Fantan Mojah. This experience now informs the label’s artist-driven strategy as it positions itself for a dynamic year ahead.

Los Angeles-based deejay, rapper, and actor E-Dee has adopted an ambitious release strategy since establishing his Clarendon Records imprint in early 2025, demonstrating remarkable productivity with multiple singles and an EP release within a condensed timeframe. Contrary to industry concerns about market oversaturation, the artist argues that his approach of delivering four tracks in just three months has generated significant benefits by maintaining audience engagement and building sustained momentum.

The Jamaican-born artist, who has resided in Los Angeles for over fifteen years, recently unveiled ‘She’s Loyal’ in February as the follow-up to his previous singles ‘Pretty Girl,’ ‘Tough Road,’ and ‘We A Rebuild.’ In an exclusive interview with Observer Online, E-Dee elaborated on his strategic approach: ‘Releasing four songs in three months has been hugely beneficial for me. It keeps the momentum going, builds buzz in the dancehall and reggae scenes, and lets me connect with fans consistently.’ He further noted the tangible results of this strategy, citing increased streaming numbers and expanded audience reach while maintaining creative productivity.

E-Dee emphasizes artistic diversity within his release catalog, explaining that each track serves a distinct purpose and embodies different thematic elements. ‘Pretty Girl’ presents as an up-tempo, rap-heavy celebration of beauty and enjoyment, while ‘Tough Road’—a collaborative effort with Edley Shine, Beniton, and Honorebel—captures raw dancehall energy centered on street culture. By contrast, ‘She’s Loyal’ represents a deliberate shift toward smoother, more romantic dancehall sounds with lyrics exploring loyalty and authentic relationships, creating a radio-ready yet introspective composition without compromising rhythmic integrity.

Beyond his musical endeavors, E-Dee maintains an acting career with appearances in films including ‘Out The Gate’ and ‘Temperature Rising.’ His December release ‘We A Rebuild’ carried particular significance, inspired by the devastation wrought by Hurricane Melissa which struck Jamaica in October. Earlier in his release schedule, the artist dropped the five-song EP ‘Grateful,’ featuring collaborations with Ginjah and Jah Malo, further demonstrating his commitment to both solo and collaborative projects within the genre.

KINGSTON, Jamaica — Symphony B Records, founded by seasoned music producer and publicist Ralston Barrett, is preparing to launch a significant new reggae compilation titled “Jailhouse Set Me Free Rhythm Vol 1.” This meticulously curated project showcases an impressive ensemble of reggae artists who contribute their voices to create a collection of spiritually conscious and socially resonant music. Scheduled for global release on March 27, the album will be distributed internationally through ONErpm, ensuring its accessibility to reggae enthusiasts worldwide.

The artist roster includes renowned names such as Turbulence, Ginjah, DYCR, Kuanna, Ras Fraser Jr, SPayde 876, Wise Wurdz, Johnson Code, Jah Single, Septimus, and Ajaisaint Jude. Each performer brings distinctive vocal artistry to the project while maintaining cohesion through the foundational one-drop rhythm—a quintessential reggae beat pattern known for its cultural authenticity and melodic steadiness.

Barrett describes the production as a profound labor of love, emphasizing his dual dedication to musical craftsmanship and his desire to leave a meaningful legacy for his daughter through Symphony B Records. “Producing this rhythm was truly a labor of love for me,” Barrett stated. “I have always had a deep passion for music production and creating songs that people can feel and connect with.”

Thematically, the compilation explores issues of cultural identity, social justice, personal resilience, and hope. It follows Barrett’s earlier successful project, the 2021 “Sobriety Test Rhythm,” which featured performances by Capleton, Delly Ranx, Ffurious, and Tellah. This new volume continues Barrett’s mission to preserve traditional reggae sounds while providing a platform for both established and emerging talents within the genre.

Kingston prepares to transform into a vibrant poetry hub from March 15-21 as the inaugural Kingston Poetry Week launches with an ambitious program designed to appeal to diverse artistic tastes. Conceptualized by JAIKU founder Kacy Garvey, the festival emerged from her observation of fragmented poetry events occurring simultaneously throughout the city.

Garvey identified a critical need to consolidate Kingston’s poetry scene after noticing multiple organizations hosting isolated events during World Poetry Day celebrations. “I just thought it was ridiculous because we’re all trying to get the same people in the same room,” she explained to Observer Online. Her solution—creating a unified promotional platform—previously demonstrated remarkable success, tripling participation for writing workshops through centralized marketing.

This year’s comprehensive schedule showcases poetry’s multifaceted nature, ranging from technological innovation to traditional performances. The program includes a blockchain publishing symposium led by an IT specialist from the United Arab Emirates, contrasting with rootsy dub poetry nights and artsy gallery exhibitions. The week will feature cross-disciplinary collaborations with filmmakers, storytellers, jazz musicians, and visual artists, demonstrating poetry’s interdisciplinary potential.

International contributors from Bermuda, New York, and Uganda will join Jamaican poets in events carefully curated around the theme “Poetry that Builds Bridges.” Each event has been designed to ensure every poetry enthusiast finds their preferred expression, from spiritual gatherings at Fellowship Tabernacle to unfiltered discussions on masculinity at the US Embassy’s Robeson American Centre.

Garvey envisions the festival transforming public perception of poetry from academic obligation to dynamic art form and viable income source. “We want to take poetry off the page… and show it as a dynamic, exciting form of expression and income generation,” she emphasized. The festival culminates with a grand finale pop-up event in downtown Kingston’s artistic epicenter, Water Lane, symbolizing poetry’s return to public spaces.

Kingston’s historic Tuff Gong International Studios inaugurated its newly transformed facilities with an exclusive relaunch event on Thursday, marking a significant evolution for one of the Caribbean’s most iconic music production hubs. The invite-only gathering brought together politicians, musicians, and media figures within the storied Marcus Garvey Drive compound for a firsthand experience of the modernized creative space.

The evening unfolded with a celebratory yet reflective atmosphere as guests explored the comprehensively upgraded studios, featuring cutting-edge production suites and acoustically enhanced recording environments. The redesign carefully balances state-of-the-art technology with conscious preservation of the location’s profound musical heritage, creating what the Marley family describes as a nurturing ground for both established and emerging Jamaican talent.

Entertainment professional Empress framed the historical significance of the venue, tracing its origins to the pioneering Federal Records establishment founded by Ken Khouri in 1957. As Jamaica’s first fully integrated music production complex, Federal revolutionized the local industry by combining recording, mastering, and vinyl pressing operations under one roof—a rare capability that Tuff Gong has maintained and enhanced through its latest renovations.

The narrative of Bob Marley’s early rejection at these same gates, followed by his prophetic vow to one day own the property, resonated throughout the evening. This vision materialized in 1981 when Rita Marley acquired the compound, transforming it into both a tribute to the reggae legend and a functional creative ecosystem.

The ceremonial highlight occurred when siblings Cedella and Stephen Marley struck a massive metal Gong, symbolically inaugurating the new chapter. Guests then toured the facilities, including a thoughtfully designed artist lounge equipped with recreational amenities and decorated with archival photography documenting the studio’s storied history.

The experiential journey concluded in the vinyl pressing area, where attendees observed the complete production process from recording to physical record creation. The evening culminated with musical performances by third-generation Marley artists Yohan and Mystic Marley, who delivered selections from their grandfather’s legendary catalog to an appreciative audience.

This reimagined Tuff Gong International Studios now stands as both a memorial to Jamaican music’s golden era and a forward-looking creative incubator designed to serve the entire island’s artistic community.

KINGSTON, Jamaica—Jamaica’s vibrant dancehall culture has found its premier institutional platform through the Magnum Dancehall Week, which recently celebrated its third anniversary. This cultural initiative has transformed from an ambitious concept into a strategically organized celebration, gaining substantial corporate and governmental support while enhancing its execution quality.

The event’s evolution stems from deliberate partnerships with established promoters like Romeich and Major Marketing, creating a more structured framework for its activities. The week-long celebration features signature events including Boom Sundays, Uptown Mondays, and culminates with the energetic Carousing finale, all demonstrating increased formalization and production quality.

Dave Goldson, CEO of Dancehall Week, expressed profound satisfaction with the milestone third edition. ‘Observing our progressive growth each year with better turnout has been incredibly rewarding,’ Goldson stated. ‘Our strategic collaborations have fundamentally elevated this staging.’

The involvement of title sponsor Magnum Tonic Wine has been instrumental since the initiative’s inception. Brand Manager Brandon Wallace emphasized their commitment transcends mere marketing: ‘Our support isn’t just about visibility—it’s about creating sustainable infrastructure for the culture. We’re helping dancers, artists, and promoters build equity in their own heritage.’

Significant institutional validation came from Jamaica’s Ministry of Culture, with Minister Olivia ‘Babsy’ Grange actively supporting efforts to reduce stigma around dancehall culture. This governmental endorsement has contributed substantially to the event’s growing momentum.

The recent Carousing event at D’Lux Restaurant on Caledonia Avenue (March 1, 2026) demonstrated the week’s vibrant energy, with legendary dancers like Energy from GetThereSquad delivering electrifying performances that captivated audiences throughout the night.

Renowned dancehall artist Ding Dong, who performed at the after-party, proposed an ambitious vision for future growth: ‘This is more than an event—it’s a movement. To achieve authentic expansion, organizers must deepen engagement with inner-city communities like Nannyville, Southside, and Waterhouse through proper collaboration with local representatives.’

This perspective highlights the next evolutionary phase for Magnum Dancehall Week: bridging corporate support with grassroots authenticity to ensure both sustainable growth and cultural preservation as dancehall continues to influence global culture.

The Jamaican music community gathered on March 7, 2026, to honor the life and legacy of master drummer Sly Dunbar in a celebratory funeral service that blended solemn remembrance with vibrant musical tributes. The procession traveled from the Cathedral of the Most Holy Trinity in downtown Kingston to the picturesque Strawberry Hills in St. Andrew, marking Dunbar’s final journey following his passing on January 26 at age 74.

The historic cathedral hosted an emotional gathering of music icons, family members, and government officials who paid homage to the drummer’s extraordinary 55-year career. An all-star ensemble featuring Dunbar’s longtime collaborators provided musical backing for performances by renowned artists including Chevelle Franklin, Nadine Sutherland, Maxi Priest, Tarrus Riley, and Bitty McLean.

The most poignant moments came from Dunbar’s daughter Natasha, who shared intimate memories of her father’s humble beginnings in Waterhouse’s Compound area. She revealed how Dunbar arrived at her birth with merely $13 to his name, building his legendary career through ‘sacrifice, discipline, and unwavering commitment’ to his family. Natasha also acknowledged her mother Thelma, Dunbar’s wife of over four decades, for her devoted care during his final years.

The service highlighted Dunbar’s revolutionary partnership with bassist Robbie Shakespeare, collectively known as the ‘Riddim Twins.’ Their Taxi label produced era-defining hits for Black Uhuru, Dennis Brown, Gregory Isaacs, and countless other reggae luminaries. The duo’s groundbreaking work extended beyond reggae, collaborating with international stars like Grace Jones, Bob Dylan, and No Doubt, earning them a Grammy Award for Best Reggae Album in 1999 for ‘Friends.’

Bass guitarist Lloyd Parks, Dunbar’s friend for over six decades, delivered a heartrending performance of The Hollies’ ‘He Ain’t Heavy, He’s My Brother.’ Tributes poured in from Entertainment Minister Olivia Grange, opposition leader Mark Golding, and music industry veterans including Copeland Forbes and Herbie Miller of the Jamaica Music Museum.

The congregation represented the entirety of Jamaica’s music hierarchy, with attendees spanning from Island Records founder Chris Blackwell and Robbie Shakespeare’s widow Marian to contemporary stars like Jesse Royal and Protoje. The collective gathering stood as testament to Dunbar’s immense impact on multiple generations of musicians and the global recognition of Jamaican musical innovation.

Emerging reggae artist Tuffheart recently delivered a powerful performance at the global celebration honoring Bob Marley’s 81st birthday in Panama City, marking a significant milestone in his artistic journey. The international tribute concert assembled dedicated reggae performers from across the world, including Jamaican talents Hezron, Ras-I, Christopher Ellis, and Runkus, creating a multicultural homage to the genre’s iconic figure.

Reflecting on the experience, Tuffheart described the event as a profound celebration of Marley’s enduring legacy and message of universal peace. ‘Witnessing diverse crowds unite through Bob’s vision of one love was truly inspirational,’ the artist shared with Observer Online. His 45-minute performance intentionally mirrored Marley’s philosophical foundations, delivering songs like ‘Oh Girls,’ ‘Give Thanks,’ and ‘Praise Di King’ that emphasized themes of faith, resilience, and spiritual elevation.

Beyond the stage, Tuffheart’s Panama visit served as strategic cultural diplomacy. His team engaged in extensive networking activities, secured broadcast interviews with local media outlets, and performed for intimate audiences to expand his international reach. The enthusiastic reception demonstrated reggae’s borderless appeal and the continuing relevance of Marley’s message in global communities.

The artist’s international agenda continues with confirmed appearances at Jamaica’s Ocho Rios Kite Festival (April 3) and St Mary Kite Festival (April 5), followed by a United States tour spanning Austin, Texas, Minneapolis, and Wisconsin. Additional return performances in Panama are scheduled for April and May, reinforcing the artist’s growing presence in Central American markets.