分类： entertainment

From the gritty inner-city streets of Waterhouse, Jamaica, a rising dancehall talent is poised to share Jamaica’s iconic cultural movement with the world. Known professionally by his stage name Lookalike, the artist born Dexroy Sheldon Myrie has built a formidable reputation on local stages over the past decade, and is now stepping onto the international circuit with clear goals and a contagious passion for his craft.

Lookalike’s journey to dance stardom was not a linear one. In his youth, he was a dedicated football player who went by the nickname “Skillachi”, never imagining that movement and rhythm would become his life’s work. It was only after a chance introduction to the Jamaican dance scene that he fell head over heels for dancehall, abandoning the football pitch to pursue his newfound calling. His talent was spotted early by popular local dancer Colo Colo, who took Lookalike under his wing. The pair spent countless afternoons at Half-Way-Tree Skateland before Lookalike began performing at weekly showcases for local patrons, honing his signature style one set at a time.

Over the years, Lookalike has worked his way up to the biggest stages in Jamaican entertainment, turning in electrifying performances at iconic events including Montego Bay’s Reggae Sumfest and Negril’s Dream Weekend. He has also entertained audiences at school fetes, private parties and local competitions, where his slick, dynamic moves helped him claim victory in most of the contests he entered—solidifying his decision to turn dancing into a full-time career.

Like generations of Jamaican dancehall innovators before him, Lookalike cites the late legendary dancer Bogle (also known as Mr Wacky) as his core influence, inspired by Bogle’s one-of-a-kind, boundary-pushing approach to movement. Today, he holds a spot as a member of the renowned local collective GetThereSquad, and has already collaborated with a who’s who of the dancehall industry: from stars Beenie Man, Popcaan, Elephant Man and Sean Paul hopeful Skeng, to established artist-dancers Chi Ching Ching and Harry Toddler. Beyond performing the work of other choreographers, he has also created his own original dance move, dubbed “Look Out”, which is growing in popularity among local dance fans.

Now, Lookalike is setting his sights far beyond Jamaica’s borders. His first ever international performance is already locked in: he will take the stage at Starlife Evening Brunch in Canada on July 5, 2026, kicking off what he hopes will be a years-long global tour. His core mission extends far beyond performing: he aims to travel the world teaching dancehall culture and its signature moves to new audiences, spreading the positive energy that defines the art form to communities across the globe.

For the rising star, dancing is also a platform to mentor the next generation of creative talent. He encourages young people to pour their full effort into the passions they hold dear, to trust in both their own abilities and their faith, and to never let outside obstacles or criticism derail their pursuit of their dreams.

For decades, games of chance have woven themselves into the cultural fabric of Jamaican daily life, and few have captured the public imagination quite like Cash Pot. Loved by working-class communities across the island, the wildly popular lottery now serves as the creative centerpiece for a new single from veteran Portmore-based dancehall artist Vibes Matrixxx.

Released in March 2024 under the production of Jamaica’s Signature Records, the track leans into the deep cultural role Cash Pot plays in grassroots Jamaican society, honoring the game’s enduring popularity among everyday people. In an interview with the Jamaica Observer, Vibes Matrixxx opened up about what inspired the project, explaining that the song grew from his observations of street communities that rely on regular Cash Pot purchases as a core part of their daily hustling.

“I did the song about Cash Pot because I was inspired by the people in the streets that buy it for a living. For most of them, it’s a hustle that they live off, so I thought of a song because of them,” the artist explained. Though not a consistent player himself, Vibes Matrixxx acknowledged he still takes an occasional punt on the game, sticking to the popular player mantra: “When you buy big, you win big.”

To understand the context for the track’s focus, it is important to look back at Cash Pot’s 23-year history in Jamaica. Launched in 2001 by gaming operator Supreme Ventures Limited, the lottery quickly grew to become one of the company’s most profitable core ventures, alongside the iconic Caymanas Park horse racing operation. The game’s accessible structure has been key to its mass appeal: players pick one number from a pool of 36, with a minimum entry wager of just 10 Jamaican dollars, and six draws held every single day to keep players engaged.

Vibes Matrixxx is no newcomer to Jamaica’s dancehall scene, bringing more than 15 years of performance and recording experience to his latest project. The artist built his local following over the years with earlier well-released tracks including *Rude Bwoy Keith* and *Hype Phone*, and his new single marks another entry in his discography centered on the lived experiences of Jamaican working-class communities.

On a sun-dappled Sunday, June 14, the 27th iteration of the Jamaica Observer Table Talk Food Awards kicked off with a celebratory brunch at The Wharf Estate, Clarendon’s fastest rising undiscovered coastal destination. Tucked along 18 sprawling acres of waterfront land on Longs Wharf Salt River Road, this tranquil riverside retreat brought together event judges, sponsoring partners, food industry leaders and media stakeholders for an afternoon that blended warm Jamaican hospitality, immersive natural beauty, and world-class culinary craft.

From the moment guests arrived, the event curated a full sensory experience that highlighted the one-year-old property’s unique charm. Attendees kicked off the day with gentle, scenic boat cruises through the property’s peaceful estuary, where mangrove forests and calm waters framed postcard-perfect views of the Jamaican countryside. Later, guests sampled handcrafted signature cocktails at the custom Wray & Nephew pop-up bar, with mixologists presenting three original creations: Rare Honey Soother, Signature X-ale, and Stormy Valley. Between sips and conversations, many attendees wandered the property’s deck spaces, pausing to take in the sweeping unobstructed views of the Caribbean coastline.

The undisputed centerpiece of the afternoon was the whimsically styled brunch curated by event planner Shikima Hinds, which paid loving tribute to Jamaica’s deep cultural roots and beloved Sunday brunch traditions. Vibrant Jamaican Madras plaid tablecloves anchored each setting, accented by lush tropical floral arrangements of red ginger lilies, dramatic bird-of-paradise blooms, and broad monstera leaves that brought the island’s natural beauty directly to the table. Natural woven chargers, rich jewel-toned glassware, and classic cane-back dining chairs completed the warm, welcoming aesthetic, all set on an open deck overlooking the glassy estuary waters.

The extensive brunch spread, crafted by award-winning Jamaican chef Jacqui Tyson, wowed attendees with its flavorful offerings and beautiful presentation, cementing The Wharf Estate’s reputation as a must-visit destination for special events and luxury getaways in central Jamaica.

Among the impressed guests was Dalton Fowles, Country Manager for Jamaica, Trinidad and Tobago, Barbados and the Eastern Caribbean at Mastercard, a long-standing supporting partner of the Food Awards. In a playful remark on the property, Fowles shared, “You guys surprised us. When I heard we were driving down to Clarendon, I thought we were going to a farm. It’s a really beautiful property and, you know, job well done.”

Speaking on Mastercard’s continued partnership with the awards program, Fowles highlighted the natural alignment between the brand’s iconic “Priceless” marketing platform and the shared, meaningful connections that food creates. “We believe that a meal with friends and loved ones is, in fact, a priceless experience,” he said. “Behind every meal, there’s a lot that goes on — from the farmer to the restaurant owner to the chef pursuing their dream. The Jamaica Observer Table Talk Food Awards celebrates that entire ecosystem, and that’s why we’re proud to be associated with it.”

For Stephen Dunkley, principal and owner of The Wharf Estate, hosting the 2026 awards launch marked a major milestone for the young property, which has seen rapid growth and rising popularity since it opened just one year ago. “It means a lot to me because The Wharf Estate is a year old, and we realise that it has been growing rapidly. It’s expanding and a lot more people have become aware of its existence… When the Jamaica Observer approached us about partnering to host the launch, it was a pleasure for me,” he explained.

Dunkley framed the launch event as the perfect opportunity to introduce the hidden waterfront destination to Jamaica’s food and hospitality industry, noting that the property’s unique blend of refined luxury and unspoiled natural scenery sets it apart from other event venues across the island. “I think many here would agree with me that it’s a hidden gem. The uniqueness about it is that you have the sophistication, you have the nature — everything just comes together here at The Wharf,” he said.

The launch event brought together dozens of key stakeholders, including members of the Jamaica Observer leadership team, the full panel of Food Awards judges, representatives from sponsoring brands including J Wray & Nephew, The Best Dressed Chicken, and ATL Automotive Group, and leaders from Jamaica’s tourism and hospitality sector. With the launch complete, the 27th Jamaica Observer Table Talk Food Awards will move forward with judging and nominations, culminating in the main awards event that celebrates the best of Jamaican culinary talent.

Internationally celebrated Jamaican visual artist Andy Ballentine credits every milestone of his extraordinary career to one unshakable foundation: his faith in God. That spiritual anchor, he says, carried him through one of the most traumatic chapters of his life — a near-death experience that could have broken him, but instead reshaped his path forward.

“I was looking straight down the barrel of a loaded gun,” Ballentine recalled of the attack, which unfolded at the peak of his early local success while he still resided in Jamaica. The words of his attacker, “It’s you we’ve come for,” still ring in his memory years later. What made the betrayal cut deeper than the threat itself was learning the motive was not random robbery or conflict, but corrosive jealousy from someone he had trusted implicitly. “That betrayal altered every part of how I saw the world,” he reflected.

Rather than letting anger and resentment consume his art and his life, Ballentine made a transformative choice: he extended forgiveness to the person who targeted him, refocused his creative energy, and set out on a trajectory that would cement his status as one of Jamaica’s most internationally acclaimed contemporary artists.

Ballentine’s love of creation began long before global accolades found him. As a young boy growing up in Spanish Town, he drew constantly, turning any available surface — pillowcases, home walls, school books, even scrap paper — into his earliest canvases. A pivotal turning point came during his secondary school years at Spanish Town High, when a playful conflict between teachers changed the entire direction of his life.

Initially, Ballentine had enrolled in woodwork as his ninth-grade vocational subject, but his raw, standout artistic talent did not go unnoticed by the school’s art department faculty. Teachers Miss Cephas and Mr. Winston Pedley, who already recognized his gift, pulled him into the art room one day after class and insisted he join their program. With only four students enrolled in art at the time, the department was eager to nurture his potential. Unwilling to disappoint either department, Ballentine secretly attended both classes for a time — until his woodwork teacher caught him sitting by the art room window on a day he was supposed to be in woodworking class.

What followed was a good-natured tug-of-war between the two departments, each arguing that Ballentine belonged with them. After a tense back-and-forth, his woodwork teacher finally conceded: “You know what? Keep him.” That decision, Ballentine says, rewrote his future. “Looking back, that moment shaped every part of the artist I am today,” he said.

Over the following decades, Ballentine’s distinct creative voice earned him steady acclaim across Jamaica. He became known for his bold, emotionally resonant work, which leans into vivid color palettes, meticulous intricate details, and conceptual narratives tied to the human experience. Common themes running through his portfolio include Jamaican cultural identity, personal resilience, and radical transformation, each piece inviting viewers to connect deeply with its underlying message.

Early career wins set the stage for his global rise: in 2002, he placed in the top 10 of the Jamaica Cultural Development Commission’s national visual arts competition, and took home first place at the St Catherine Art Expo just one year later. In 2007, his alma mater honored him for his artistic excellence and ongoing philanthropic work supporting current students.

Those early achievements were only a preview of the historic milestones to come. Ballentine made history as the first Jamaican visual artist ever to exhibit at Art Basel Switzerland, the world’s most prestigious international art fair. The breakthrough did not only elevate his own career — it also drew unprecedented global attention to the broader community of Jamaican visual creatives.

Since that milestone, his work has been showcased across the globe, from New York Art Week to luxury Jamaican resorts including Couples and Swept Away, and even hangs in the office of the Icelandic ambassador to Jamaica. As the featured international artist at the Humanity Art Exhibition in Hollywood, Florida, held in celebration of Women’s History Month, Ballentine donated two original works to local public officials and received an award for artistic excellence.

In 2026, Ballentine notched another historic first: he became the first Jamaican fine visual artist to participate as an official featured artist at New York Fashion Week. For his groundbreaking presentation, he fused fine art and high fashion in his celebrated collection *Revelation*, transforming original canvas works into wearable couture while creating a live painting in front of the audience. The innovative showcase wowed attendees, proving fine art can extend far beyond traditional gallery walls to blend seamlessly with the global fashion industry.

Recognition for Ballentine’s work has extended beyond the art world into public life. In April 2026, the City of Miramar, Florida, awarded Ballentine its highest civic honor: the Key to the City, alongside an official proclamation naming April 10 as Andy Ballentine Day, in honor of his artistic contributions and community service. The city of North Lauderdale had issued a similar proclamation recognizing his impact on art and community development the year prior. A 2025 performance at the Queen Mode Awards Gala also made headlines, where he completed a live painting of 25 crowned queens in just 18 minutes, setting a new benchmark for live fine art performance.

Even with global fame and cross-industry acclaim, Ballentine has never lost sight of his Jamaican roots or his commitment to lifting up the next generation of creatives. A graduate of both Spanish Town High and the Edna Manley College of the Visual and Performing Arts, he regularly mentors emerging young artists, supports youth arts initiatives across Jamaica, and advocates for greater access to opportunities for local creatives.

His core message to young people growing up in underserved communities like the one that raised him is simple: where you come from does not determine where you can go. His own life is living proof of that truth. From a child drawing on neighborhood walls, to surviving a targeted assassination attempt rooted in betrayal, to making history on the world’s biggest art and fashion stages, Andy Ballentine’s journey is one of extraordinary resilience.

Through every triumph and every trial, Ballentine says one constant has guided him. “It is only because of God,” he affirms.

Rising Jamaican dancehall producer Jahvanie “Week.day” Morrison is celebrating a breakthrough career milestone, as his collaborative track with iconic dancehall artist Aidonia, *Like How Yuh Feel*, continues to dominate streaming platforms and regional music charts across the Caribbean and global dancehall spaces.

Dropped to digital streaming platforms on May 22, the high-energy collaboration has already racked up more than 1 million combined streams across all major music services, while earning coveted top positions on Apple Music’s regional rankings. The track claimed the number one spot in five Caribbean nations: the Cayman Islands, British Virgin Islands, Grenada, St Kitts, and St Lucia. It also climbed to second place in Antigua, Anguilla, Trinidad and Tobago, and Barbados, and secured a spot at number 12 on Jamaica’s influential Kingston Top 20 chart, a clear sign of its strong resonance with core dancehall audiences in the genre’s birthplace.

For the young producer, this widespread success comes after years of nurturing a creative partnership with Aidonia, marking the first official public release from the many unreleased projects the pair have crafted together over time.

“This isn’t my first time collaborating with Aidonia, but it’s the first one we’ve actually put out to the public,” Week.day shared in a recent interview. The producer explained that their working relationship grew organically through overlapping industry connections, particularly through Aidonia’s longstanding partnership with dancehall artist 450. “We kept running into each other at concerts and festivals all over the region, that’s how it all started before we eventually linked up in the studio to work,” he added.

The collaborative process for *Like How Yuh Feel* was defined by natural creative chemistry and positive energy from start to finish, according to Week.day. After he crafted the song’s signature rhythm, he sent the draft to Aidonia, who quickly shared his conceptual vision for the track. “Working with Aidonia is nothing but good vibes – he’s got such incredible positive energy, and his work ethic is unmatched,” Week.day said. “I built the rhythm, sent it over, and he walked me through his whole idea for the track when we met up at a festival one day. After that, we put in work on the mixing, arrangement, and everything else leading up to the release.”

As the track continues to gain new traction weeks after its launch, the producer says he remains grateful for the overwhelming warm reception from dancehall fans across the region. “It’s such an amazing feeling to put out music that connects with fans the way this one has,” he said. “Waking up to see it sitting at number one in so many different countries is a feeling I can’t really describe.”

Looking back on his journey to this breakthrough, Week.day credits consistent creation and intentional patience as the core principles of his approach to production. “My formula is simple: keep creating even when you don’t feel inspired, keep showing up to work, let your real emotions flow into the music, and always be willing to wait for the right moment,” he explained.

Instead of slowing down after this major win, Week.day is already leaning into the momentum to roll out a slate of new upcoming projects. His next major production project, the *Super Glue* rhythm compilation, already features collaborations with popular rising dancehall acts 450 and Silk Boss, with more big-name artists set to be announced in the coming weeks. He also teased an upcoming collaborative single from emerging artist Jamarii featuring 450, which he says will be a career-defining moment for the young newcomer.

MANDEVILLE, Jamaica — A glamorous evening of celebration and opportunity is on the horizon, as the first ever joint Miss Universe Jamaica (MUJ) Parish Coronation for Clarendon, Manchester, and St. Elizabeth prepares to take the stage at Mandeville’s iconic Golf View Hotel on Saturday, June 28, 2026.

This historic regional event unites three Jamaican parishes for a single milestone celebration, where three standout young women will receive their official parish crowns. Following the coronation, each queen will launch the next phase of their journey: competing for the national title of Miss Universe Jamaica, carrying the pride, aspirations, and representation of their home communities every step of the way.

Today, the joint coronation has cemented its reputation as one of the most highly anticipated regional events on the annual MUJ calendar. Organizers project widespread attendance from across Jamaica, with sponsors, local government and community leaders, and devoted pageant fans all set to gather to honor confidence, female empowerment, and personal achievement.

The event will kick off at 5:00 p.m. with an opening cocktail reception, designed to give guests a refined, relaxed space to connect and network ahead of the formal crowning ceremony that will follow.

Helmed by franchise owner Trilissa Walker, the joint Clarendon-Manchester-St. Elizabeth MUJ franchise has long prioritized more than just pageantry. Under Walker’s leadership, the organization has built itself as a transformative platform focused on fostering personal growth, leadership skills, and long-term empowerment for young women across all three rural Jamaican parishes.

In comments ahead of the 2026 coronation, Walker reflected on the deeper meaning of the upcoming event. “This coronation is a celebration of growth, perseverance, and purpose,” she said. “Watching these young women evolve throughout this journey has been truly inspiring, and we are proud to present them as ambassadors who embody the strength and spirit of their communities.”

Working behind the scenes to bring the event to life, Program Coordinator Yanique Sailsman has played a central role in curating a meaningful, high-quality experience for every contestant, overseeing meticulous planning for every stage of the competition journey to meet rigorous standards.

Sailsman emphasized that the event marks the end of months of hard work, far beyond the physical crowns at stake. “Coronation night represents the culmination of months of dedication and preparation,” she explained. “Beyond the crowns, this experience has been about empowering young women, building confidence, and creating a platform where they can step fully into their potential. We look forward to sharing that moment with our audience.”

Leading the franchise’s marketing strategy, brand development, and visual identity is Aubyn Henry, a seasoned serial entrepreneur and youth mentor whose expertise has elevated the event’s production quality and overall attendee experience. Henry noted that the organizing team has prioritized excellence across every detail of the event.

“We have approached this event with a commitment to excellence at every level,” Henry said. “From the atmosphere and production to the overall guest experience, our goal has been to create something sophisticated, memorable, and worthy of the remarkable women being celebrated.”

As excitement continues to build across all three host parishes, all attention has shifted to Mandeville, where attendees and followers alike are awaiting a night that blends years of preparation, ambitious goals, and life-changing opportunity. For the three competing women, the coronation will mark their first official step into the national Miss Universe Jamaica spotlight.

For those hoping to attend, tickets are offered in three tiers to accommodate all guests: child tickets priced at 3,500 Jamaican dollars, general admission at 6,000 Jamaican dollars, and VIP tickets at 10,000 Jamaican dollars. All tickets can be purchased through the event’s official online ticketing platform.

When the final crowns are placed on the new queens’ heads, three poised, confident leaders will emerge, prepared to represent their home parishes with grace and distinction as they compete for the coveted national Miss Universe Jamaica crown.

LOS ANGELES, Calif. – A decades-beloved animated franchise has claimed a new box office milestone, as Disney and Pixar’s *Toy Story 5* stormed to the strongest opening weekend of any 2025 release, pulling in an estimated $160 million across North American theaters, industry data released Sunday confirms. The latest installment in the iconic toy-centered series also set a new opening record for the entire *Toy Story* franchise, outperforming all prior entries to land at the top of the weekend box office charts.

Opening exclusively over the Father’s Day holiday frame, *Toy Story 5* brings back franchise favorites Woody the cowboy, Buzz Lightyear, and their ragtag group of plaything friends for a new adventure that centers on their fight to stay relevant amid rising competition from modern digital technology – most notably a new touchscreen tablet that steals the spotlight from traditional toys. The film once again taps A-list voice talent, with Tom Hanks, Tim Allen, and Joan Cusack all reprising their iconic roles for the sequel, and rolled out across 4,425 screens throughout the United States and Canada for its debut weekend, per estimates from industry tracking firm Exhibitor Relations.

Industry analysts say the blockbuster opening underscores the ongoing strength of family-focused theatrical entertainment in the post-pandemic film landscape. “This is prime family moviegoing season, and *Toy Story* delivers exactly what audiences are looking for,” said David A. Gross, a leading entertainment industry analyst. Gross labeled the release “another sensational opening for a Pixar series sequel,” noting that the 2025 installment’s opening haul is roughly 37 percent higher than the debut of *Toy Story 4* a decade prior. If estimates hold, the opening will rank as the second-largest debut for an animated feature in film history, falling only behind 2018’s *Incredibles 2* – another Pixar release produced under the Disney umbrella – which opened to $182.7 million.

Gross added that family-oriented content has led the global film industry’s steady recovery from pandemic-era theater closures since ticket sales rebounded sharply in 2023. Much of the genre’s ongoing success, he noted, stems from established IP: franchise sequels, live-action remakes of classic animated films, and hybrid projects that blend original storytelling with recognizable fan-favorite characters.

Rounding out the top five on the weekend box office charts behind the record-breaking *Toy Story 5* were a mix of holdover hits and recent releases. Taking second place was Universal Pictures’ sci-fi thriller *Disclosure Day*, directed by Steven Spielberg, which debuted the prior weekend. Led by stars Emily Blunt and Josh O’Connor, the high-stakes film follows a team of investigators working to expose a decades-long government cover-up of extraterrestrial contact. It added an estimated $17 million in ticket sales this weekend, pushing its total domestic haul to $78.2 million after two weeks in theaters.

Third place went to Focus Features’ surprise indie horror breakout *Obsession*, which added $14 million in its sixth week of release to bring its cumulative domestic total to $215.8 million. A24’s horror hit *Backrooms* held steady in fourth place with $7.3 million in ticket sales, raising its four-week domestic total to $175 million. Rounding out the top five was Paramount’s reboot of the parody franchise *Scary Movie*, which earned $6.7 million in its third week on screens.

The rest of the weekend’s top 10 highest-grossing films included *Masters of the Universe* at $5.6 million, *Star Wars: The Mandalorian and Grogu* at $3.9 million, the debut drama *Leviticus* at $2.7 million, the new release *The Death of Robin Hood* at $2.6 million, and the biographical drama *Michael* at $2.2 million.

As the Jamaican music industry continues to nurture fresh voices, emerging dancehall talent Don Kuttz, born Christopher Mendez, is positioning his latest motivational release “Tru Blva” as the breakthrough track that will push his artistic journey to uncharted heights.

Already picking up steady rotation across Jamaican radio lineups and underground mixtapes, “Tru Blva” stands out from many contemporary dancehall tracks by centering a message of self-belief, relentless perseverance, and unwavering determination. The track arrives at a moment when countless young people navigating widespread personal and economic uncertainty are craving genuine inspiration to overcome life’s hurdles.

Sharing the story behind the self-written track, Don Kuttz explained that the project grew from a personal mission to uplift his peers. “The “Tru Blva” song was inspired by the desire to encourage young people to believe in themselves and pursue their dreams,” he said. “The song reminds listeners that while there will always be obstacles along the journey, perseverance and faith can help them overcome any challenge.”

This focus on uplifting, substantive themes offers a refreshing alternative to controversy-driven dancehall content, and early audience and industry feedback has already validated the artist’s creative choice. Don Kuttz has been closely aligned with independent Jamaican label 1X Music Group, currently working under the direct guidance of the label’s CEO Striva 1X, who oversees his career development and strategic planning, though a formal signing has not yet been finalized.

Don Kuttz’s path to this point has been defined by the same resilience his latest track promotes. Raised with a humble, driven mindset, he describes his early adulthood as a period of deliberate self-discovery, marked by setbacks that only strengthened his commitment to his craft. “It wasn’t always easy, and I faced many challenges while trying to find my path,” he recalled. “However, I never gave up, and once I found music, I knew it was my calling.”

That commitment to growth also shapes his creative approach. Rejecting pressure to box himself into a single commercial dancehall subgenre, Don Kuttz actively experiments with diverse sonic influences, crafting a signature sound that authentically reflects his unique personality and lived experiences. “I am a constantly evolving individual,” he said. “I’m always striving to improve myself and reach new heights.”

For the rising artist, success extends far beyond streaming numbers or chart positions. His core motivation is rooted in building a lasting legacy that makes his family proud and leaves a meaningful, positive mark on Jamaican cultural heritage. “I want to make them proud through my achievements,” he said. “Music is such a big part of who I am that I would still find a way to keep singing and expressing myself creatively” even without commercial acclaim.

This consistent creative output is already laying the groundwork for larger projects: Don Kuttz confirmed he is currently in active production on his debut extended play (EP), with several tracks already completed for the upcoming release. “Fans can definitely look forward to an EP in the near future,” he teased.

Before “Tru Blva”, Don Kuttz built a loyal grassroots fanbase with earlier well-received tracks including “Drive In” and “Pain”. He notes that “Drive In” remains his most commercially recognizable release to date, while “Pain” holds personal significance for its raw, relatable exploration of shared real-life struggles that connects deeply with listeners.

As “Tru Blva” continues to gain traction across Jamaican music platforms, Don Kuttz holds two key goals for the track: that its message of resilience resonates deeply with audiences facing hardship, and that it cements his place among the most promising rising talents in the next generation of dancehall stars.