分类： entertainment

One month following the passing of celebrated Jamaican gospel and Revival music artist Kukudoo, whose legal name was David McDermott, his third studio album Jerusalem is scheduled for a posthumous reissue by Tad’s International Record this coming June. The 16-track project originally debuted to critical and audience attention in October 2020, but the upcoming re-release will bring notable updates to the original listening experience, according to label head Tad Dawkins in an exclusive conversation with the Jamaica Observer.

In his remarks, Dawkins confirmed that the reworked version of the album features remixed cuts of select tracks alongside a full remastering of the entire record, designed to elevate the audio quality for long-time fans and new listeners alike. Kukudoo lost his battle with non-Hodgkin lymphoma just weeks ahead of the planned re-release, leaving behind a decades-long musical legacy that spans two distinct eras of Jamaican music.

Born and raised in Spanish Town, St Catherine, Kukudoo launched his music career in the local sound system circuit, cutting dub plates and performing for iconic setups including Excalibur, Stereo Don and Impression. For the first phase of his professional career, he built a reputation as a dancehall artist, but made a transformative career shift 20 years before his death to focus on Revival-style gospel music, a genre he became deeply passionate about elevating.

After his transition to gospel music, Kukudoo dropped two full-length albums before releasing Jerusalem: Time Waits on No Man and In The Middle of The Night. Widely considered his most ambitious creative work, Jerusalem represented the culmination of his mission to bring Revival music to a broader mainstream audience. In an interview ahead of the album’s original 2020 release, Kukudoo shared his vision for the project, noting that expanded collaborative work on the record would help break down barriers for the genre he loved. “I just want Revival music to be more recognisable and more involved in society, and with this album I know it will. Having more collaborations on this album will see it reaching a wider audience,” he said at the time.

Dawkins, who worked closely with Kukudoo on the upcoming re-release, shared warm memories of the late artist, describing him as a grounded, approachable collaborator whose faith shaped every part of his work. “He was very humble and highly spiritual. [He] loved the revival style of reggae music,” Dawkins said. The posthumous reissue stands as a tribute to Kukudoo’s legacy, bringing his final creative vision to a new generation of listeners just one month after his passing.

Legendary dancehall artist known by her stage moniker “Queen of the Pack”, Patra, has closed a landmark distribution deal that will take her independent label +Plus Entertainment Inc to a worldwide audience via a collaborative network of JHOUSE Entertainment, The Orchard, and Sony Music. The announcement was made jointly by Patra and JHOUSE Entertainment Chief Executive Officer Freddy Browne.

This new agreement stands as a pivotal turning point in Patra’s decades-long career, opening doors for her upcoming new music to reach far larger global audiences through one of the entertainment industry’s most robust and far-reaching distribution infrastructures. For the iconic artist, the decision to partner with JHOUSE and Sony Music grew out of a long-standing positive working relationship with Browne and his in-house team, and she has expressed high hopes for a productive and successful collaboration.

Patra emphasized that the deal does more than just expand her reach: it lets her retain full creative and career autonomy while giving her access to an experienced team of industry professionals to guide her next steps. She described the partnership as a full-circle moment that feels deeply personal, blending professional growth, personal development, and aligned spiritual values. Running her own independent label has long been a career goal for Patra, who aims not only to take greater control of her own artistic expression but also to lift up other emerging artists. She shared that the partnership has renewed her enthusiasm for the music industry and restored her faith in creative collaboration, calling the arrangement “feels like home”.

Listeners will not have to wait long for new content from the collaboration: Patra’s debut single under the new deal is scheduled to drop in the coming summer. Beyond that solo release, Browne and Patra will also launch a second collaborative track paired with an official music video this summer, which will serve as the fifth single from the highly anticipated JHOUSE Vol 1 compilation album.

For Browne, the partnership carries particular personal significance. When he first launched JHOUSE Entertainment, Patra was the very first Jamaican artist he set his sights on working with, making this deal a full-circle moment for the label head as well. He praised Patra as one-of-a-kind iconic talent whose unique energy and commitment to philanthropy have made her a beloved figure across the globe, noting that audiences worldwide are eagerly anticipating new work from the trailblazing dancehall star.

This latest deal also reinforces JHOUSE Entertainment’s expanding roster of talent and its core mission: to bring original, Browne-produced music to global audiences while creating equitable, career-changing opportunities for both established iconic artists and rising emerging talent.

KINGSTON, Jamaica — In Jamaica’s dynamic entertainment and motorbike culture, one fast-rising star is blending heart-pounding stunt riding, magnetic event hosting, and unfiltered crowd energy to build a one-of-a-kind brand. Lorenzo Whorms, known professionally by his stage name DJ Rendetta, is rapidly becoming a household name across the island’s bike show and nightlife circuit, turning heads with his versatile, high-octane performances.

The origin of his distinctive stage name holds a quirky, memorable backstory. As Rendetta explains, the moniker grew out of his fascination with the iconic vendetta mask from 2015: “Vendetta, Rendetta,” the name stuck, and it has been his professional identity ever since.

While many industry observers have tried to label him simply as a DJ, Rendetta has long pushed back against being boxed into a single category. Far more than a music curator, he is a trained stunt biker and seasoned events host who thrives in high-stakes, high-energy environments. His natural charisma allows him to command massive crowds, turning ordinary events into unforgettable, electric experiences. “The vibe that I bring is just different,” he says of his unique performance style.

Rendetta’s dual career path grew organically out of his community roots. He got his start in stunt riding from watching and learning from fellow bikers in his neighborhood, while his events hosting skills developed gradually as he spent time around bike shows and house parties with close friends. Over the course of his career so far, he has hosted dozens of major events across Jamaica, including high-profile gatherings like Rush In The West, Bikers Paradise, Safe First, and the Antshead Birthday Bike & Car Show. Each event has helped him cement a loyal following and a strong reputation within Jamaica’s biker and entertainment communities.

Stunt biking inherently carries constant risk of injury, but Rendetta has avoided major harm throughout his career, a streak he credits to deliberate preparation and unwavering focus. “Mentally, I just have to stay focused, and physically, I prepare for whatever is out there,” he says of his approach to high-risk stunts.

Social media has also been a game-changer for Rendetta’s growing career, helping him expand his fanbase far beyond Jamaica’s borders to attract followers across the globe. When asked about his rapid online growth, he simply says, “All I can say is my fans love me.”

Looking toward the future, the multi-hyphenate entertainer has set his sights on far bigger opportunities. He is currently working to scale up his events hosting business to take on larger, international productions, and his long-term ambition is nothing short of bold. “I want my legacy to be remembered as the best events host in the world,” he says.

With his signature fearless energy, innate crowd-pleasing charisma, and a rapidly growing footprint in Jamaica’s entertainment industry, DJ Rendetta is proving that he is not just pulling off bike stunts — he is riding his growing momentum straight to the top of the global entertainment industry.

In the rolling hills of Portland, Jamaica, rooted in centuries of Maroon ancestral heritage, a young artist is bridging the gap between centuries-old indigenous traditions and 21st-century digital culture. Hope Vocals, an emerging fusion performer and dedicated cultural practitioner from the historic Moore Town Maroon village, has captured global attention after a casual TikTok performance of her genre-blending work went viral, opening doors to a major professional recording opportunity.

The breakout clip showcased Hope Vocals’ innovative arrangement, weaving together traditional Revival hymns, core Maroon cultural expressions, Kumina ritual influences, and modern Jamaican dancehall rhythms over the iconic Hill and Gully rhythm track. What began as a simple sharing of her artistic vision quickly resonated with audiences across Jamaica and around the world, racking up more than 700,000 views and sparking a wave of user-generated content across TikTok, Instagram Reels, and YouTube Shorts.

The viral success did not go unnoticed by industry leaders. Stephen “Di Genius” McGregor, the acclaimed Jamaican producer behind the Hill and Gully rhythm project, was so impressed by Hope Vocals’ fresh, authentic take on Jamaican cultural heritage that he reposted her viral clip and additional recordings of her traditional folk performances to his popular Instagram Stories. The move triggered an outpouring of fan demand, with thousands of listeners flooding McGregor’s comment sections and social profiles to urge him to add Hope Vocals to the official project lineup.

Just two weeks after the clip first began gaining traction online, the overwhelming public response led McGregor to extend an invitation for Hope Vocals to record an official track for the project at Portland’s renowned Geejam Studios. Filming for the song’s accompanying music video wrapped the following week, and the artist is now awaiting the project’s official public release.

For Hope Vocals, the sudden viral fame came as a complete surprise. The artist, who has spent years immersed in the cultural practices of the Moore Town Maroon community, acknowledged she had initial doubts about how audiences would embrace a work that blends so many distinct Jamaican cultural traditions, particularly the inclusion of Kromanti ritual elements — a practice that remains far less widely known among the general Jamaican public than more popular traditions like Kumina or Mento.

“These things come naturally. I have an ear for music, so I sit down and listen and see which song fits where,” she explained of her creative process, noting that her deep, lifelong connection to Maroon culture guides her selection and arrangement of traditional themes and melodies.

Beyond launching her professional recording career, Hope Vocals sees her viral success as a powerful example of how digital platforms can advance cultural preservation. She argues that social media offers an unprecedented pathway to introduce younger generations to indigenous traditions that risk fading into obscurity without intentional promotion.

“The internet can be used to do good and bad, but with one click, thousands of people can support you and learn something new,” she said.

Today, Hope Vocals continues to build her career, working on original music including her debut single *Realize* while remaining committed to centering Maroon heritage in her work. Partnered with veteran music publicist and manager Ralston Barrett, she is preparing for the next phase of her artistic journey, with plans to weave Maroon culture into all future projects while expanding her creative range.

“I will definitely commit more to my Maroon culture, and it will be incorporated into future projects,” she said. “But expect a broader musical journey from me. Hope Vocals is full of many surprises.”

What started as a single social media post has grown into a global conversation about the importance of preserving Jamaican ancestral traditions, proving that indigenous culture still holds powerful, relevant appeal for modern digital audiences.

LOS ANGELES, U.S. – June 1, 2026 marks what would have been the 100th birth anniversary of Marilyn Monroe, the most recognizable face of Hollywood’s golden age, and the global entertainment capital pulled out all the stops to honor the star whose magnetic mystique has not dimmed more than 61 years after her tragic early death. From fan-led tributes at historic landmarks to major museum exhibitions and special memorabilia auctions, the city was filled with celebrations of the actress who redefined 20th century stardom.

On the Hollywood Walk of Fame, where Monroe’s star draws crowds of tourists daily, tour guide Lacey Noel framed her enduring place in pop culture simply: “When you think of Hollywood, you think of Marilyn. There’s some sort of beautiful, mysterious, and captivating aura that she has that will never go away.” That aura drew dozens of fans to the TCL Chinese Theatre (formerly Grauman’s Chinese Theatre), where Monroe’s hand and footprints have been preserved in concrete since 1953, alongside her Gentlemen Prefer Blondes co-star Jane Russell. There, the crowd sang a breathy Happy Birthday to the late icon, an intentional echo of Monroe’s legendary sultry serenade to then-President John F. Kennedy ahead of his 1962 birthday. Organizers placed 100 red roses and a commemorative cake at the site, a nod to both the centennial and Monroe’s status as the defining symbol of mid-century Hollywood glamour.

Tributes kicked off a day early at the Academy Museum of Motion Pictures, which opened a new long-term exhibition titled “Marilyn Monroe: Hollywood Icon” that chronicles both her decades-long film career and the too-short life that made her a cultural touchstone. Running through February 2027, the exhibition features more than hundreds of never-before-seen and rarely displayed personal and professional items, headlined by the iconic pink gown Monroe wore for her legendary “Diamonds Are a Girl’s Best Friend” number in Gentlemen Prefer Blondes. Throughout June, the museum will also host a series of special screenings of Monroe’s most celebrated films, spanning her early breakout role in 1950’s The Asphalt Jungle to 1953’s thriller Niagara, 1955’s The Seven Year Itch, her critically acclaimed comedic turn in 1959’s Some Like It Hot, and her final completed feature 1961’s The Misfits.

Later this week, on June 4, Julien’s Auctions will continue the centennial celebrations with a dedicated “100 Years of Marilyn” auction featuring nearly 200 pieces of Monroe-owned memorabilia. The lots up for bid include never-published candid photographs of the star, an annotated script from her unfinished final production Something’s Got to Give, and deeply personal items ranging from handwritten home recipes to a tube of her signature Elizabeth Arden lipstick.

Born Norma Jeane Mortenson in Los Angeles on June 1, 1926, Monroe’s path to stardom was far from easy. She spent a turbulent childhood bouncing between foster homes and local orphanages, and entered her first marriage at just 16 years old to avoid returning to state care. Her first introduction to the entertainment industry came by chance in 1944, while she worked in a Los Angeles factory supporting the World War II war effort; a military photographer arrived to shoot photos of female war workers, spotted Monroe, and set her on a path to a modeling career.

Shortly after signing her first modeling contract, she made the bold career choice that would become her signature: she dyed her natural brown hair platinum blonde, divorced her first husband, and set out to pursue film work. She landed her first studio contract with 20th Century Fox, and by the age of 30, she had become one of the biggest global movie stars in the world. Unlike many stars of the studio system era, Monroe challenged the status quo: she founded her own independent production company, trained at New York’s prestigious Actors Studio to refine her craft, and openly pushed back against unfair studio practices. In the 1950s, while under contract with Fox, she famously refused to star in the film adaptation of the musical The Girl in Pink Tights, arguing the script was low quality and her pay – three times less than co-star Frank Sinatra’s salary – was unfair. The standoff cemented her reputation as a trailblazer for actor autonomy in Hollywood.

Over her career, Monroe created some of the most iconic images in cinema history, none more famous than the shot from The Seven Year Itch where she laughs as a New York City subway breeze blows her white halter dress upward around her hips. Beyond her on-screen work, Monroe’s complicated private life turned her into the archetype of the modern celebrity, feeding constant tabloid coverage that kept her name in headlines and stoked endless public fascination. After her first teenage marriage, she had a high-profile, short-lived marriage to baseball legend Joe DiMaggio, followed by a five-year marriage to Pulitzer Prize-winning playwright Arthur Miller. Rumors of romantic ties to President John F. Kennedy, Attorney General Robert F. Kennedy, and other A-list Hollywood stars like Marlon Brando and Frank Sinatra further fueled public interest in her life.

Monroe’s life ended tragically in August 1962, when she died of an accidental drug overdose at her Los Angeles home at just 36 years old. Decades later, her legacy as a symbol of glamour, vulnerability, and Hollywood ambition remains unshaken, with centennial celebrations proving that the world has not lost its fascination for the girl from Los Angeles who became an icon.

In Jamaica’s globally influential dancehall scene, household names and chart-topping performers grab all the public attention: their voices blare from festival speakers, their social media posts spark viral conversations, and their lyrics enter everyday slang as cultural touchstones. But for every high-profile star, there is a network of skilled, dedicated professionals working behind the curtain, building the industry’s infrastructure while staying out of the limelight. For decades, Vivian Thomas, a veteran producer, manager, and music strategist, preferred this quiet, invisible role — that is, until now, as he steps forward to elevate underrepresented authentic Jamaican artistry on the global stage.

Thomas cut his teeth in the industry at King Jammy’s Studio, one of the most legendary and influential institutions in dancehall history. Unlike the performers who took the mic, Thomas worked behind the mixing boards, honing his craft as a sound engineer, adjusting frequencies, and learning how subtle tweaks could turn a rough recording into a culturally resonant movement. That early training shaped every part of his career, he says. “That taught me everything,” Thomas shared in a recent interview. “You learn to hear what doesn’t belong.”

After mastering the precision of studio engineering, Thomas parlayed that skill set into founding two companies: Push A Yute Ent Inc and Urbanvine Media, bringing the same attention to detail to artiste development, management, and media strategy. Over decades in the business, he has collaborated with and produced for a roster of artists that shaped decades of Jamaican popular music, including Black Ryno, Deva Bratt, Mr Peppa, I-Wayne, Mr Lexx, and Munga. His resume includes career-defining credits: he earned a Grammy nomination as a producer for his work with singer Da’Ville, produced *Fyah Pon the Bay* alongside Grammy-winning artist Kabaka Pyramid, and released Lisa Hyper’s 2018 full-length album *Boss Up*. During his time at King Jammy’s, he also served as recording engineer for Sizzla’s *Get to the Point* and Bushman’s iconic single *Fire Pon a Weak Heart*.

Seeking to expand Jamaican music’s global reach, Thomas later extended his work into Europe, holding roles as an A&R representative at Star Search Media before signing with Switzerland’s Dancing City under Jean Singellos. Operating across a fragmented network of independent promoters, labels, and venue owners, he became an indispensable guide for Jamaican artists navigating unfamiliar international industry systems, all while working to introduce European audiences to dancehall and reggae that went beyond shallow commercial stereotypes. He also toured with spoken-word artists and poets, creating space for Jamaican performance traditions to connect with continental audiences, who often connected with the emotion of the work before grasping its linguistic nuance.

Reflecting on his cross-Atlantic career, Thomas notes: “Europe taught me systems. Jamaica taught me soul. The challenge was learning how to protect one without sacrificing the other.” That balancing act required equal parts strategic diplomacy and gut instinct; time and again, he pushed back against European industry leaders who sought to sanitize dancehall for mainstream audiences, arguing that stripping the genre of its raw, cultural identity would erase what made it special. Over the years, he earned a quiet reputation as a trusted fixer, the first call artists made when tours fell apart, managers hit dead ends, or careers lost direction. He has brokered deals for performers including Tanto Blacks and coordinated full European tours for acts ranging from Richie Spice and TOK to emerging poetess Simone “Fruittree” Dewar, handling everything from visa applications and venue politics to payment disputes and the fragile economics of international touring for Jamaican artists.

Long before social media dominated music promotion, Thomas built his audiences through proven grassroots tactics: radio campaigns, on-the-ground street teams, connections to the vast Jamaican diaspora, and early digital marketing networks. Through every venture, his core mission has remained consistent: expand Jamaican music’s global footprint without diluting its unique cultural character.

Today, after decades behind the scenes, Thomas is stepping into the public eye to lift up new, eclectic Jamaican work that reflects the full diversity of the island’s culture. He is currently the driving force behind rising spoken-word poet Simone Dewar, who just released her debut three-track EP *Thoughts Uncut*. Thomas explains the shift in his approach: “I am doing more eclectic projects now that mirror the true nature of Jamaican culture: the spoken word, the rhythms and the invincible spirit of black consciousness.”

Despite his decades of success, Thomas is open about the challenges that come with working behind the scenes in Jamaica’s entertainment industry. He argues that the local scene rarely offers formal infrastructure or support for off-camera professionals. “Entertainment doesn’t have HR,” he points out. “If you’re a manager, marketer or media owner in Jamaica, you’re building the plane while flying it.”

Years of instability, including crippling debt, failed business partnerships, and missed opportunities, shaped his pragmatic worldview. He notes that major labels often prioritize quick, chart-topping hits over long-term artist development, while local media outlets often shape coverage to fit industry alliances rather than tell unvarnished stories. For behind-the-scenes builders and artists alike, success depends as much on survival as it does on talent.

His career has also carried personal grief: he was a close mentor to late artist Al’Qual, whose death left a lasting impact on him. These hard-won experiences have cemented core beliefs that guide his work today: “Contracts matter more than promises. Information is leverage. Popularity without ownership is temporary.”

Through every phase of his decades-long career, Thomas has circled back to the core lesson he learned as a young engineer at King Jammy’s, a philosophy that shapes every project he takes on today: “Strip it down to the signal. Cut the noise. Amplify what’s real.”

On Sunday, May 10, 2026, a landmark literary launch unfolded at Lagos’ iconic Oriental Hotel on Victoria Island, drawing a crowd of prominent Nigerian and international dignitaries to celebrate the release of *Echoes of Survival*, the extraordinary autobiography of 83-year-old Lolo Betty Patricia Mgbenwelu. Born in Jamaica, Lolo Patricia’s decades-long life has woven together experiences across three continents, multiple cultures, and some of the 20th century’s most tragic upheavals, making her memoir one of the most anticipated personal narratives of the year.

The memoir traces the author’s remarkable life trajectory from her early years growing up in Kingston, Jamaica, to her life-altering marriage that led her to relocate to newly independent Nigeria in the 1960s. Unlike many accounts of the Nigerian-Biafran Civil War that center military or political figures, *Echoes of Survival* offers an intimate, unfiltered perspective from an ordinary Caribbean civilian mother, whose highest stake in the conflict was protecting her family and keeping them alive through years of chaos and deprivation.

Serving as the event’s special guest of honour, Jamaica’s High Commissioner to Nigeria, Lincoln C Downer, paid tribute to Lolo Patricia as one of Jamaica’s most outstanding representatives in the West African nation. He called her a proud cultural ambassador who has embodied Jamaican resilience and grace for six decades in her adopted home. Reviewing the memoir, Downer described the work as authentic, bold, and deeply uplifting, noting that it bears every mark of a future bestseller. He specifically highlighted Lolo Patricia’s survival of the Kendal train crash — Jamaica’s deadliest recorded rail disaster — as a early demonstration of the grit and divine protection that have shaped her purpose-driven life, commending her choice to preserve these experiences for coming generations.

The guest list at the launch reflected the cross-border and cross-sector significance of the book and its author. Attendees included Dr Bamidele Abiodun, First Lady of Ogun State; former Cross River State Governor Donald Duke; Ambassador Dr Maureen Tamuno, Nigeria’s former High Commissioner to Jamaica; Dr Christopher Kolade, former Nigerian High Commissioner to the United Kingdom; and Aima Lijadu, Honorary Consul of Jamaica to Lagos. Ego Boyo, founder and managing director of leading Nigerian entertainment firms Temple Productions and Temple Media, fulfilled the role of chief book launcher at the event.

Lolo Patricia’s husband of 64 years, Chief Barr Peter Chukwuemeka Mgbenwelu — one of Imo State’s longest-serving active legal practitioners, known colloquially as the “Cock of the Imo Bar” — called his wife one of the greatest blessings in his life, and urged families across the world, particularly women and mothers navigating life’s challenges, to engage with the memoir and learn from its lessons of perseverance.

Born Betty Patricia Bethel Monica Bingham in Kingston, Jamaica in August 1943, Lolo Patricia first met her future husband in London in 1962, before building a life and legacy in Nigeria that has now spanned six decades. She is a mother of six, grandmother of 18, and great-grandmother to three children. A graduate of London Guildhall University, she built a respected corporate career, holding roles at Cadbury Nigeria Plc and Golden Guinea Breweries Ltd where she earned multiple professional awards, before founding her own travel agency, Genika Travel and Tours Ltd. She also served as president of the Nigerwives Owerri Chapter, supporting other women building cross-cultural lives in Nigeria.

Beyond the war years, *Echoes of Survival* delves into Lolo Patricia’s childhood in Jamaica, her brush with death in the Kendal train disaster, the joys and challenges of a cross-continental marriage, and the decades of post-war life defined by unwavering faith, constant resilience, and repeated personal reinvention. The memoir is currently available for purchase through all major global book retail platforms and at selected independent bookstores across Nigeria and beyond.

International dancehall icon Popcaan is preparing to deliver a historic first for his critically acclaimed *Nothing Without God* project, bringing the full album to a live Jamaican stage at the Ranny Williams Entertainment Centre on June 13. The landmark show will mark the first time the full tracklist, which includes high-profile collaborative cuts with his brother Natebadz and celebrated dancehall artist Chronic Law, has been performed from start to finish in the artist’s home country. Event organizers have framed the gig as a one-of-a-kind, can’t-miss experience, giving local fans a rare chance to engage with the entire studio project in a live setting. The upcoming Jamaican show follows a string of wildly successful album release parties held across Canada, where Popcaan drew massive crowds of diaspora fans and cemented the project’s growing global footprint. The artist’s momentum continues to build off-stage too: just weeks before the homecoming show, Popcaan scored a coveted feature on Drake’s brand-new album *Maid of Honor*, appearing on the fan-favorite track “Amazing Shape.” The feature came as part of three new album drops from the global megastar on May 15, exposing Popcaan’s work to an even wider international audience. The June 13 event’s lineup extends far beyond the headliner, pulling together a stacked roster of standout Jamaican talent. Fresh off the release of his own new album *SupaNova*, forward-thinking artist Runkus will take the stage, alongside Grammy-winning vocalist Nordia Mothersille and iconic reggae-dancehall performer JahVinci. Far from framing the night as just another concert, organizers say the event is a holistic celebration of four core pillars that shape Popcaan’s work: faith, music, Jamaican culture, and purpose. Attendees can expect a fully immersive production experience, unannounced special guest moments, and a purpose-built atmosphere focused on uplifting and inspiring audiences from the opening note to the closing set. For the team behind the event, the show carries deeply personal meaning. “This event is deeply personal for us because it represents faith, growth and gratitude,” shared Unruly Squid, one of the event’s organizers and Popcaan’s sister. “We wanted to create an experience where people can connect through music, feel inspired and leave with something special. It’s going to be a powerful night for Jamaica and for the culture.” Fans looking to secure their spot or find more details can access ticket information and updates via the official event Instagram account @UnrulyEnt.Events.