Carib Scope

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  • Winners of Mr and Miss Supranational Jamaica titles to be announced on Sunday

    Winners of Mr and Miss Supranational Jamaica titles to be announced on Sunday

    This Sunday, Jamaica will crown its next representatives to the global Mister and Miss Supranational competition, with 10 handpicked finalists putting weeks of rigorous preparation on the line at the intimate, boutique-style final event hosted at Kingston’s iconic Louise Bennett Garden Theatre on Hope Road.

    In the lead-up to the coronation, contestants have undergone an extensive multi-week training program designed to build more than just stage presence, covering everything from personal grooming and physical fitness to communication skills, tourism advocacy, and holistic personal growth. Ahead of the final event, the group gathered for a preparatory retreat at Princess Hotel & Resorts in Hanover, where they put on an spontaneous impromptu fashion show for attendees and completed a branded photoshoot against the backdrop of the resort’s coastal landscape.

    Serene Lloyd, public relations manager for Princess Hotel & Resorts, expressed enthusiasm about the opportunity to welcome the pageant contestants. “Hosting the group here was an absolute pleasure,” Lloyd shared in an interview with Jamaica Observer Online. “This was a wonderful chance to showcase our destination and the signature luxury experience Princess Resorts is known for. The pageant has such a engaged, wide audience, and we’re eager for their followers to see the natural beauty of our property and come experience it for themselves.” She added that contestants had full access to the resort’s amenities during their stay, exploring the grounds, interacting with staff, enjoying the island’s signature beachfront access, sampling local cuisine, and making the most of their retreat ahead of the final competition.

    Barbie Mudahy, the national pageant’s coordinator, noted that this year’s cohort of finalists stands out for their range of strengths, far beyond conventional pageant standards of appearance. “This year’s group is incredibly strong,” Mudahy explained. “What really stands out is the diversity of their personalities, confidence, and stage presence. Every single contestant has grown noticeably throughout the preparation process, so this competition is about much more than looks. We’ve watched each person step into their own identity, becoming more polished, comfortable, and prepared with every passing week.”

    The training program has been intentionally structured to be comprehensive and transformative, Mudahy explained. Each week, contestants work with industry experts on a new area of personal and professional development, spanning topics from grooming and fitness to public communication, wellness, and long-term personal growth. “Both the contestant preparation and the production itself involve months of hard work, so attendees can expect nothing less than an exciting, unforgettable experience this Sunday,” she added.

    Several local industry partners have contributed to the contestants’ training this cycle. The Design Essentials hair care team has worked closely with both female and select male contestants, educating them on long-term hair health and handling styling throughout the competition, with industry professional Marcia Lindgaard Calendar donating her time and expertise to the initiative. Contestants also benefited from a detailed educational session with certified trichologist Karl Richmond, who deepened their understanding of evidence-based hair and scalp care practices.

    For the male competitors, Jamaica’s HEART College of Beauty Services provided professional barbering services, keeping contestants well-groomed and helping them refine their personal presentation for the stage. All contestants completed public speaking and communication training with coach Adrian Atkinson, a session Mudahy called “extremely valuable” for building confidence and strengthening interpersonal and on-stage communication skills.

    Fitness, a core focus of any pageant preparation process, was supported by Fit Farm Fitness Centre, which opened its facilities to all contestants. In addition to conventional fitness and health training, contestants also learned basic personal protection skills during their fitness programming, an addition that added practical value to their preparation. Tourism advocacy training was also a key component of the curriculum: Belinda Sutherland-Dowe from Jamaica’s Tourism Product Development Company Limited led sessions on the history of Jamaican tourism, the country’s cultural tourism brand, and how to effectively market Jamaica as a world-class travel destination as national representatives.

    The four 2026 Miss Supranational Jamaica finalists are Deborah Gordon (affiliated with Dacx Production), Melissa Oliver (of Fit Farm Fitness Club), Rasheda Green (representing Design Essentials), and Antonni James (of Glam by O’Neil). The six male competitors vying for the 2026 Mister Supranational Jamaica title are Jordain Chambers (Atelier Dermoth Williams Limited), Kasheem Green (The Dental Place), Leopold Smith (All Signs), Laurence Pinnock (Cooyah), Sean-Pierre Coke (Knutsford Express), and Andrew Brown (The Prom Shoppe).

  • Sanna Moore makes splash on reggae scene with ‘I Rise Up’ performance

    Sanna Moore makes splash on reggae scene with ‘I Rise Up’ performance

    In the vibrant music landscape of Kingston, Jamaica, a dynamic young teenage talent is rapidly turning heads and winning over crowds with electrifying, soul-stirring live performances. Nineteen-year-old Sanna Moore, a student at St. Andrew High School for Girls, recently left a packed audience awe-struck at the “To Mom With Love” concert hosted at the AC Hotel Ballroom, where her soaring interpretation of Andra Day’s modern anthem of resilience *Rise Up* cemented her reputation as a rising star to watch.

    As Moore’s rich, powerhouse vocals echoed through the ballroom’s walls, the raw, emotional intensity of her delivery sent tangible electricity through the crowd, leaving listeners with involuntary chills and a collective jolt of energy. More than just a cover performance, Moore’s rendition of the track felt like a deliberate, confident coming-out: a defiant, clear statement that a bold new voice had arrived on Jamaica’s storied music scene.

    For Moore herself, the sold-out concert confirmed what she had long known: her passion lies in connecting with live audiences. “As soon as I stepped on stage, all my nerves just melted away,” she shared in a post-performance interview. “Watching the crowd feel the song right along with me? That moved me more than I can say.”

    Moore’s journey from a music-loving student to an emerging professional performer has been shaped by mentorship from some of Jamaica’s biggest names, most notably iconic reggae artist Etana. A classically trained violinist and vice president of her school’s Wind and String Ensemble, Moore grew up immersed in a diverse range of musical styles, from reggae and R&B to neo-soul, gospel, and traditional Nyabinghi music. She counts a roster of groundbreaking women in music as her core influences, including Rihanna, Jobe Jay, Lila Iké, Ella Mai, and Etana, whose uplifting, relatable lyrics have resonated with her since childhood.

    A fateful meeting during Jamaica’s annual Reggae Month changed the trajectory of her burgeoning career. After introducing herself to Etana at an Emancipation Park concert, Moore was invited to sing an impromptu performance for the star. “She told me she got goosebumps when I finished,” Moore recalled of the encounter. “That moment changed everything for me—it gave me so much confidence to keep going.”

    Etana didn’t just praise Moore’s talent: she also offered tangible guidance, encouraging the young artist to stay optimistic, build her own catalog of original work, and embrace the vital role Black women play in reggae and global entertainment. That connection soon opened an unexpected professional door: Etana’s management team reached out to Moore’s father, respected Jamaican businessman Dwight Moore, to express interest in collaborating with the teen.

    The partnership quickly led to Moore’s first major gig, a performance slot at the acclaimed Jamaica Food and Drink Festival, which introduced her to a far larger audience and solidified industry interest in her work.

    Today, Moore is balancing her rising music career with a key academic milestone: she is currently preparing to sit for her Caribbean Secondary Education Certificate (CSEC) examinations this June. But she has already set her sights on what comes next, planning to use the upcoming summer break as a launchpad to release her first collection of original music. For fans and industry observers alike, all signs point to a long, impactful career ahead for Sanna Moore—a fresh, unapologetically fierce new voice with stories the world is eager to hear.

  • ‘Number Seven’ returns to stage in SVG before NY debut

    ‘Number Seven’ returns to stage in SVG before NY debut

    A decades-long dream of sharing authentic Vincentian storytelling with the world is finally coming to fruition, as Ask Enterprise Ltd. has officially announced upcoming new productions of *Number Seven*, the acclaimed original work from revered Vincentian playwright Kevin Roderiques.

    The production will kick off with two local performances at Kingstown’s Peace Memorial Hall in St. Vincent and the Grenadines (SVG) on May 30 and 31. Following these domestic shows, the production will make history this October, when it becomes the first full-length Vincentian play written, directed, and performed entirely by Vincentian creatives to hit an Off-Broadway stage in New York City. The New York opening is scheduled for October 24, timed to coincide with SVG’s 47th Independence Day celebrations on October 27, turning the performance into a global celebration of Vincentian identity and culture.

    For nearly 30 years, Roderiques has been a foundational figure in shaping modern Vincentian theatre. His work consistently uses the performing arts as a platform to educate audiences, confront pressing local social issues, and center lived community experiences that are rarely shared on global stages. *Number Seven*, a tight, suspense-filled action drama, has already built a loyal following across the Caribbean: the play has earned rave critical reviews and won over audiences during prior runs in SVG, Grenada, and St. Lucia. Roderiques describes the work as a showcase of core Vincentian values, saying “*Number Seven* represents the very best of who we are as a people, our creativity, our resilience, and our ability to tell stories that matter.”

    “To finally bring this work to an Off-Broadway stage is a dream thirty years in the making. However, more importantly, it is a dream shared by every Vincentian who has ever believed that our stories deserve to be heard by the world,” the playwright added. All 12 cast members, all Vincentian actors, will appear in both the local and New York productions, serving as official cultural ambassadors for their small island nation throughout the project.

    Beyond the stage, the production carries a deep commitment to lifting up the next generation of Vincentians and strengthening ties with the global Vincentian diaspora. All proceeds from the May local performances will go toward two key initiatives. First, the funds will cover the international travel, accommodation, and on-ground logistics for the 12-person cast’s trip to New York, removing financial barriers that would otherwise prevent the all-Vincentian production from happening. Second, remaining proceeds will support the ongoing Agent Mentorship Programme, a free after-school initiative that works with boys aged 8 to 12 across SVG. The program uses theatre training to build critical life skills including self-esteem, self-discipline, and creative thinking, guiding at-risk young participants toward positive, productive futures.

    In reflecting on the full scope of the project, Roderiques emphasized that *Number Seven* is far more than a simple theatre production. “It is about showing our young people that dreams are valid. It is about connecting with Vincentians overseas and reminding them that home is always with them. And it is about proving that from our small nation, greatness can emerge,” he said.

  • Leisure : Did you know ? #27

    Leisure : Did you know ? #27

    The Haiti-based general knowledge platform HaitiLibre Quiz has rolled out its latest monthly content update, adding 30 brand new knowledge games to its free, no-registration gaming library as of May 4, 2026. This expansion brings the platform’s total collection of interactive quizzes up to 119, covering a wide range of topics from local Haitian current affairs and culture to global historical, military and social themes.

    In the 27th installment of the platform’s popular “Did You Know?” educational series, the quiz team shares a key insight into modern Western military strategy: that mastering asymmetric conflict has become a central focus of contemporary military doctrine today. To contextualize this concept, the feature contrasts asymmetric conflict with traditional conventional warfare. In a standard conventional conflict, two standing national armies from sovereign states face off on a clearly defined battlefield, typically using comparable equipment and tactical approaches. Asymmetric warfare, by contrast, is defined by a massive power gap between opposing sides: a militarily advanced, well-resourced state often finds itself pitted against non-state groups such as insurgencies, terrorist organizations or guerrilla movements.

    For the weaker, outgunned side in these conflicts, direct head-on confrontation is rarely a viable strategy. Instead, these groups rely on unconventional tactics to offset their material disadvantages: hit-and-run harassment, improvised explosive devices, and psychological warfare designed to erode the stronger side’s morale and public support. One of the biggest challenges for powerful modern militaries in these conflicts is achieving a clear, traditional military victory: opposing non-state fighters often embed themselves within civilian populations, making it difficult to separate combatants from non-combatants and eliminate the adversary’s ability to operate. Recent high-profile conflicts in Afghanistan and the Sahel region serve as stark illustrations of this dynamic, showing that even overwhelming technological superiority does not guarantee a swift or decisive win for the stronger military power.

    Built to serve knowledge seekers of all ages and skill levels, the HaitiLibre Quiz platform offers all its exclusive content completely free of charge, with no account registration required for access. Every quiz is available in both French and English, and is structured with three distinct difficulty tiers: easy, intermediate and hard, to accommodate casual learners and expert knowledge enthusiasts alike. Users can browse general knowledge topics across a wide range of categories, or head to the dedicated expert menu for more advanced, challenging question sets. With new games added every month to keep content fresh and engaging, the platform invites visitors to explore its full collection, share the resource with friends and family, and submit feedback to help improve future updates.

  • ‘Labour of love’ — calypsonians still last in line for Vincymas earnings

    ‘Labour of love’ — calypsonians still last in line for Vincymas earnings

    In a press briefing held Tuesday, May 19, 2026 in Kingstown for the upcoming 2026 iteration of Vincymas, the annual carnival celebration of St. Vincent and the Grenadines, Earl “Cabba” Bennett, president of the St. Vincent and the Grenadines Calypsonians Association, called attention to a longstanding inequity plaguing the island nation’s iconic cultural art form: calypsonians are the only major core stakeholders of Vincymas who receive no guaranteed payment for their work, even as every other participating group walks away with assured compensation.

    Bennett framed calypso performance as a practice sustained almost entirely by artists’ passion rather than financial reward, noting that most creators spend untold hours honing their work with no promise of payment. “For the most part, calypso is a labour of love,” Bennett told attendees. “You are like Billy Button … you work for nothing.”

    He drew a sharp contrast between the uncertain financial standing of calypsonians and other contributors to the festival, including musical bands, venue operators and assorted third-party service providers, all of whom receive guaranteed payment regardless of competition outcomes. Unlike these groups, calypsonians who fail to advance to the competition’s semi-final round walk away with no compensation at all. Only a tiny subset of performers see meaningful financial gains: artists who go on to win the coveted Calypso Monarch title or other top awards can earn a windfall, but this success is reserved for just a few, Bennett explained.

    Even amid this systemic lack of compensation, Bennett emphasized that calypsonians remain deeply committed to nurturing the art form and sustaining St. Vincent and the Grenadines’ national cultural identity. “Because if you don’t have a cultural foundation as an island, as a nation, you could be lost,” he said, highlighting the irreplaceable role that calypso plays in the social fabric of the small island nation.

    Bennett used the press conference to issue a public call for greater recognition of calypsonians’ contributions, urging local residents and business leaders to acknowledge the art form’s central place in the country’s heritage. “So understand the importance of calypsonians in the fabric of St. Vincent and the Grenadines, not underestimating their importance,” he said.

    The payment inequity is part of a broader need for increased sponsorship and community support across all sectors of Vincymas, Bennett added. He called on local entities to step up with donations when carnival groups including calypso organizations reach out for backing, noting that the festival delivers massive economic benefits to the entire country. “It brings in millions, millions of dollars in our economy… and we must recognise that the carnival plays an important role, an integral role, in buoying the economy,” he said.

  • From the Chiquibul to the World’s Greatest Guitars

    From the Chiquibul to the World’s Greatest Guitars

    Tucked deep within the remote, lush expanse of Belize’s Chiquibul Jungle, a single fallen ancient mahogany has grown from a forgotten logging mishap into one of the most extraordinary legends in modern music history. Decades after the tree was first left to rot in a ravine, acoustic guitars crafted from its rare, uniquely grained timber have left even the world’s most iconic musicians stunned, and become the most sought-after instruments on the global market.

    The story of what insiders now simply call “the Tree” dates all the way back to 1965, when the territory was still known as British Honduras. Per reporting from Smithsonian Magazine, a team of working loggers stumbled across a massive, centuries-old mahogany that measured a full 12 feet across at its base and stretched 100 feet upward to meet the jungle’s closed canopy. When the crew began felling the gnarled giant, it tilted unexpectedly backward and crashed into a deep ravine, leaving it completely out of reach of the heavy tractors the team had brought to extract it. With no way to move the massive log, the loggers abandoned the site, and over generations, the tree’s existence faded into local jungle myth.

    Decades later, that legend found its way to Robert Novak, a wood importer who had traveled to Belize to source rare rosewood for instrument building. When a local contact tipped him off about the forgotten fallen mahogany, Novak decided to trek deep into the jungle to see the tree for himself. “It was just very beautiful,” Novak shared in an interview with Acoustic Guitar Magazine. Extracting the massive log from the ravine turned into a months-long, grueling undertaking: the tree had to be cut into manageable sections one by one, dragged out of the steep ravine by hand, hauled 90 miles over rough terrain to the Belizean coast, then floated upriver to a working sawmill. When the operation was complete, the team had harvested nearly 12,000 board feet of flawless premium lumber, from a tree that forestry experts estimate was 500 years old when it fell.

    What luthiers discovered when they began working with the ancient mahogany was unlike any timber the global instrument-building community had ever encountered. As Smithsonian Magazine documents, the wood features three incredibly rare, distinct grain patterns: a blistered outline that resembles a topographical map of a mountain range, a deeply curled grain pattern known among woodworkers as “sausage,” and the rarest of all, a repeating tortoiseshell mottling that has never been found in any other mahogany. For Belize, mahogany has long been a core part of national identity – the tree is even featured on the country’s official flag, flanked by two loggers holding their traditional trade tools.

    For the world-class musicians who have had the chance to play guitars crafted from “the Tree,” the experience evokes a near-spiritual reverence few other instruments can match. When Slash, the legendary lead guitarist of Guns N’ Roses, first picked up his custom acoustic built from the tree’s timber, he told Acoustic Guitar Magazine he expected nothing out of the ordinary. “I thought, ‘OK, let’s get this over with,’” he recalled of the first encounter. Instead, he was immediately stopped in his tracks. “When I picked it up, I was completely humbled. It was a shock-and-awe moment. It changed everything I’d ever thought about acoustic guitars.”

    Other leading names in acoustic music, including fingerstyle virtuoso Andy McKee and Dire Straits co-founder David Knopfler, also count custom “Tree” guitars among their most prized instruments. One renowned British guitarist even sold off his entire collection of 14 existing instruments just to afford a single guitar made from the rare wood, and has said he would make the same choice again. Prices for new guitars built from “the Tree” start at roughly $30,000, with rare pre-owned models selling for far more at auction.

    Today, the remaining supply of the rare mahogany is dwindling rapidly. Jay Howlett, a wood researcher who has spent more than a decade tracking down forgotten stashes of the timber hidden in garages, barns, and independent luthier workshops across the world, estimates that only 400 to 600 board feet of usable lumber remains. That is enough wood to build at most 600 more guitars – and once that supply is exhausted, it will be gone forever, with no other tree matching its unique characteristics ever discovered.

    Novak, the man who pulled the legend out of the Belizean jungle decades ago, says he still finds it surprising that the ancient tree has become such a revered name in music circles, with instrument builders and collectors simply referring to it as “the Tree.” “It’s very beautiful,” he said, “and it should get attention.”

    What started as an abandoned log lost in Chiquibul’s dense green canopy has grown into a gift that keeps giving to the global music community. The world has gotten centuries of beautiful music from the tree that Chiquibul gave up, and Belize – a small Central American nation often overlooked in global music history – has given the world a treasure far greater than it has ever been credited for.

  • Sumfest venue ready by August, says UDC

    Sumfest venue ready by August, says UDC

    Montego Bay, St James — Jamaica’s iconic open-air event hub Catherine Hall Entertainment Complex, left unfit to host future Reggae Sumfest editions after devastating damage from 2024’s Hurricane Melissa, is on track to welcome visitors again ahead of the island’s annual Emancipendence public holiday period, according to Urban Development Corporation (UDC) Chairman Norman Brown. Brown also confirmed that state-run UDC will soon restart stalled negotiations with Reggae Sumfest’s organizers, who have pursued a long-term lease agreement for the property for years to advance major expansion plans.

    In an exclusive interview with the Jamaica Observer, Brown outlined his aggressive timeline for completing critical repairs: “My goal is to restore the venue in time for the Independence holiday break, because I know the Montego Bay Jerk and Food Festival is already scheduled to take place here during that window. I am pushing our teams hard to have the site fully ready by the end of July, moving into August, so we can host that event without issue. We are focused on getting back to normal operations, and that is exactly what we are working toward every day.”

    Last October, Hurricane Melissa brought torrential rainfall and widespread flooding across western Jamaica, and Catherine Hall was counted among the storm’s high-profile casualties. Floodwaters heavily damaged a section of the venue’s perimeter wall, which had grown into a popular tourist draw in its own right thanks to vibrant murals depicting legendary Jamaican musicians and leading entertainment industry figures. So far, contractors have only completed preliminary stabilization work to restore internal and external fencing around the property. Coastal erosion also claimed a significant portion of the seaside parking lot that has long accommodated thousands of event attendees, adding unplanned complexity to the restoration project. Brown noted that final cost estimates for full repairs are still being compiled, so he could not share a definitive price tag for the work as of yet.

    As one of Jamaica’s most in-demand large-scale event spaces, Catherine Hall has hosted Reggae Sumfest — the country’s premier annual reggae and dancehall festival — for decades. The open-air layout means only a small number of permanent structures exist on site, with temporary infrastructure built out for each major gathering. For years, Sumfest organizer DownSound Entertainment (DSE) has laid out ambitious plans to transform the venue into a year-round entertainment and cultural destination, with proposed additions including casual dining spots, a seaside boardwalk, and a dedicated reggae museum honoring the genre’s Jamaican roots. To move forward with this multi-million dollar investment, DSE CEO Joe Bogdanovich and his team have requested a 30-year long-term lease for the property.

    Brown explained that talks over the lease have been delayed by larger regional planning efforts. The Jamaican government is currently developing a comprehensive master plan to redevelop and pedestrianize Montego Bay’s entire waterfront corridor, stretching from Freeport in the west to Dead End in the east — a zone that includes the entire Catherine Hall complex. “We need to align any future development at Catherine Hall with the overarching master plan for the waterfront, so we can ensure organized, coordinated growth and clear land designation for events here,” Brown noted. “We have to wait for the master plan process to unfold before we can finalize any long-term lease agreement.”

    This year, Reggae Sumfest has been forced to relocate to a smaller venue: a scaled-back one-day iteration dubbed “A Taste of Reggae Sumfest” is scheduled for July 18 at Plantation Cove in St Ann, headlined by two of dancehall’s biggest stars, Vybz Kartel and Mavado. Montego Bay’s popular annual All White Party will still go forward as planned at Pier One, but the absence of Reggae Sumfest — an event that draws tens of thousands of tourists and generates millions in local economic activity annually — has delivered a major blow to Montego Bay’s hospitality and tourism sector. City officials have openly expressed concern that the festival could make its temporary relocation to St Ann permanent.

    Brown pushed back on those fears, expressing confidence that the festival will return to its long-time home. “We have not yet held formal talks with DSE about 2027 and beyond, but I have seen DSE’s CEO state publicly that this year’s event in Priory is a one-off arrangement,” he said. “At the end of the day, Montego Bay is the heart of Jamaican entertainment. This is where big festivals thrive. Any other location just cannot match the energy and vibe we have here. I have no doubt they will come back.”

  • Strictly 2K parties to 10

    Strictly 2K parties to 10

    Jamaica’s iconic throwback music gathering, the Strictly 2K Throwback Music Festival, wrapped up its 10th anniversary edition Saturday night with a nonstop explosion of nostalgia, energy, and celebration that drew hundreds of dedicated partygoers to the National Stadium car park. The venue was quickly transformed into a vibrant tapestry of team spirit, as attendees packed the space in an array of sports jerseys representing iconic local and international football and basketball squads. From the signature blue of Chelsea, red of Arsenal, and sky blue of Manchester City to the iconic black and red of Manchester United, the purple and gold of the Los Angeles Lakers, and red of the Chicago Bulls, plus Jamaica’s national football kit, the fashion-forward crowd set a lively tone that matched the festival’s celebratory mission from the first note.

    Organized by local promoter 433 Entertainment, the 10th anniversary event was built around a core concept: bringing fans back to the golden era of early 2000s and 2010s music, with a lineup packed full of the dancehall, hip hop, and reggae anthems that defined the period. Top selectors including ZJ Chrome, DJ Vinchi, Coppershot Sound, and ZJ Johnny Kool kept the energy peaked from sundown well into the early morning, spinning nonstop nostalgic hits that had the crowd reciting every lyric and dancing without pause. Longtime sponsor Wray & Nephew kept momentum high all night, with a steady flow of its signature rum mixes to keep the party going.

    The night’s highly anticipated headline performance came just after 2 a.m., when dancehall star Tommy Lee Sparta stepped onto the stage to deafening cheers from hundreds of waiting fans. He delivered a high-octane 30-minute set featuring many of his biggest career hits, including *Psycho*, *Some Bwoy*, *Mechanic*, and *Under Vibes*. His performance was elevated by choreographed backup dancers from Boom Energy Drink, whose dynamic stage presence added an extra layer of visual flair to the headline set.

    Beyond the music and celebration, the 10th anniversary event included a special honors segment to recognize longstanding contributions to Jamaica’s dancehall culture. Industry veterans Chimney Records co-founders Jordan and David, legendary dancer and choreographer John Hype, and selector ZJ Chrome were all awarded custom plaques in recognition of their decades of impact on dancehall music and Jamaican entertainment.

    In an interview with the Jamaica Observer, Strictly 2K Co-Director Ibrahim Konteh reflected on the brand’s 10-year milestone, noting that what began as a small creative concept has grown into a staple of Jamaica’s annual entertainment calendar. “What started as a concept has become a staple on Jamaica’s entertainment calendar and that doesn’t happen without consistency, vision, and an audience that believes in what you’re building,” Konteh said when asked about the festival’s biggest achievement over the past decade.

    Konteh expressed full satisfaction with the 10th anniversary staging, which debuted a reconfigured new venue layout that offered upgraded amenities for attendees. “Extremely pleased. We raised the bar across the board — new venue, seamless parking, elevated aesthetics, better merchandise, dedicated photo experiences. No complaints. This is the version of Strictly 2K we’ve been working toward,” he added.

    Explaining the decision to tap Tommy Lee Sparta as the anniversary headline act, Konteh noted the artist’s deep catalog of hits made him the obvious fit for a celebration of 2000s and 2010s party culture. “Tommy Lee is a hit machine. His catalogue defined a generation. If you were in a party in the 2010s his music was in the mix. For a 10th anniversary celebration of that era, he was the perfect fit,” he explained.

    Closing out his reflections on the milestone, Konteh credited the event’s decade-long success to the loyalty and feedback of its fanbase. “You can plan all you want, but that energy from the crowd tells you everything you need to know… Simply, thank you for your support, your loyalty, and your feedback, whether it was tough or kind. That feedback told us you cared, and we listened. Here we are at 10 years because of you, and we’re just getting started on the next 10,” he said.

  • Organisers expect strong Carnival turnout despite no state backing

    Organisers expect strong Carnival turnout despite no state backing

    As the Bahamas gears up for its 2025 Carnival celebration, scheduled for June 3 to 7 on New Providence, event organizers are stepping into an ambitious new chapter: this year’s gathering will proceed without any government financial backing, a deliberate choice meant to prove the cultural festival can thrive as an independent, self-sustaining Bahamian treasure.

    The shift to full self-funding comes after years of declining government support. In 2017, the government cut the annual carnival subsidy in half, and eliminated all public funding entirely the following year. That financial withdrawal left many performing and presentation bands scrambling to maintain their momentum, even as industry stakeholders have long highlighted the event’s outsized positive impact on the national economy through tourism and local spending.

    Despite the funding gap, event leaders are projecting strong growth in attendance for 2025. Paul Farquharson III, co-founder of the prominent carnival group Mas Khaos, explained that the decision to forgo additional government sponsorship this year was rooted in a desire to claim full ownership of the festival. “We wanted to make something that’s ours rather than rely on government support,” he said. “This is a distinctly Bahamian product that shapes local culture, even as it draws international visitors who boost the local economy when they travel here. We aren’t opposed to future collaboration with the government, but we wanted to build a proven, unified cultural product that everyone can see delivers clear benefits to The Bahamas.”

    Farquharson projects that Mas Khaos’ participant numbers will jump this year, climbing from 80 to 100 attendees in previous editions to between 120 and 150 for 2025. International participation is also set to rise, growing from roughly 35 overseas participants in 2024 to between 47 and 50 this year. Even with this optimistic outlook, Farquharson acknowledged that reconnecting with wider local community engagement remains one of the festival’s core ongoing challenges. Many stakeholders have pinned post-pandemic declines in local attendance on the global health crisis, even as they praise the consistent strong support the event has received from international carnival fans.

    That global backing is reflected in local sales data, according to A’Shad Bowe, operations representative for Bahamas Masqueraders. Bowe told reporters that roughly 80 percent of the group’s online ticket and package sales come from customers outside the Bahamas. “We’re excited for our product, and we have a lot of international people coming in from places all across the world: the UK, Texas, Florida, New York, Canada, even the Virgin Islands,” he said. “It’s incredibly exciting to see our cultural reach extend so far beyond our shoreline to bring people here to play carnival with us.”

    Bowe pushed back on popular narratives that the festival lacks local support, pointing to consistent turnout for year-round carnival-related events. “Bahamas Masqueraders runs events from February straight through June, and all of them draw solid crowds,” he explained. “Our biggest event alone brought out 1,500 attendees. It’s not that carnival isn’t supported locally. The issue is economic: many local residents simply can’t afford the cost of costume packages. That doesn’t mean there’s a lack of interest or community backing.”

    Not all organizer groups are ruling out public support for the future, however. Dillion Bethel, a representative for JunkaBrations, shared that his organization hopes to secure government financial assistance for the 2026 carnival. Bethel also voiced disappointment over the discontinuation of Music Masters, a popular annual competition for Bahamian soca artists that had long been a core part of the broader carnival experience. When asked if the competition’s cancellation affected the local carnival community, Bethel confirmed: “Yes it will, and people are still asking about it – both locals and international visitors.”

    With carnival week just around the corner, organizers across groups are unified in their optimism that the 2025 event will cement the festival’s reputation as a must-attend cultural celebration that delivers widespread economic and social benefits to The Bahamas.

  • Shenseea scores 5th entry on Billboard’s Rhythmic Airplay chart with Daddy Yankee collaboration

    Shenseea scores 5th entry on Billboard’s Rhythmic Airplay chart with Daddy Yankee collaboration

    Jamaican dancehall and pop artist Shenseea has added another career milestone to her growing list of industry achievements, securing her fifth appearance on Billboard’s competitive Rhythmic Airplay chart. The new chart entry comes from her high-profile collaborative single *Echo (FIFA World Cup 2026)*, recorded alongside Puerto Rican reggaeton legend Daddy Yankee.

    For the tracking week ending May 30, the track made its first appearance on the chart at the 36th position, marking a solid opening for the globally focused release. Dropped on all major streaming and digital platforms on April 28, *Echo (FIFA World Cup 2026)* holds the distinction of being the third single pulled from the official compilation album for the 2026 FIFA World Cup, a collection that showcases a diverse lineup of international music artists from across multiple genres.

    Shenseea’s history on the Rhythmic Airplay chart stretches back to 2022, when she landed her first spot on the ranking with the track *R U That*, a collaboration with Atlanta rap star 21 Savage. That debut track climbed as high as the 28th position during its chart run. Two years after her first entry, the artist notched her third chart appearance with *Work Me Out*, which featured Afrobeats icon Wizkid and peaked at the 33rd spot.

    In 2024, Shenseea earned her biggest success on the chart to date, scoring a number one hit with the remix of *Shake it to the Max (Fly)*, a collaborative project with fellow Caribbean artists Moliy, Skillibeng, and producer Silent Addy. Just a few months after that chart-topping win, she picked up her fourth Rhythmic Airplay entry with *Sugar Sweet*, a star-studded collaboration with pop icon Mariah Carey and R&B artist Kehlani that reached a peak position of 31st.