Carib Scope

分类： entertainment

  • Dovey Magnum Says “Be Patient

    Dovey Magnum Says “Be Patient

    International dancehall recording artist Dovey Magnum is preparing for an action-packed summer season, kicking off a multi-month slate of new creative projects with the upcoming release of her fresh single “Be Patient”.

    Produced by Nigel Angus at Kingston-based Palm Tree Flow Records, the upcoming track puts the Jamaican artist’s one-of-a-kind melodic style and sharp songwriting craftsmanship on full display. For Magnum, this single marks just the opening of a flood of new material she has spent months crafting for her global fanbase.

    Unlike many artists who simply fit their vocals around pre-made instrumentals, Magnum says she takes command of every beat she touches, driven by an authentic, lifelong passion for music. “I don’t just sing on a beat I dominate it because I genuinely love music. I have so many new songs to drop but I am just pacing myself. Like the title of my new song says, Be Patient,” the artist explained.

    Born Simsky Harrison and raised in Spanish Town, Jamaica, Magnum first rose to mainstream prominence in 2017, when her breakout hit “Bawl Out” became a viral smash that pushed her into the spotlight both on the island and across international dancehall circles. In the years following that breakthrough, she built on her momentum with a string of fan-favorite tracks, including “Prayer Me A Use And Win”, “Sex Slave”, and “Female Shella”.

    Now looking ahead to 2026, Magnum says her motivation and drive to create remain just as strong as they were when she first entered the industry. While she acknowledges the dancehall space has shifted dramatically over the past decade, she remains confident in her established place in the genre, anchored by her unchanging love for creating music.

    “Di game change up in many ways but one thing still remains. Bad a artiste a bad artiste and Dovey Magnum a bad artiste suh I care zero about what is happening or who is happening because me sure my space secured. My love for music is just as strong as it was when I just started,” she shared.

    Right now, the artist is deep in collaboration with producer Nigel Angus and publicist Karl Durrant to finalize “Be Patient” ahead of its release, and map out the rollout for her upcoming slate of new music planned for the rest of the year.

  • R&B legend Peabo Bryson dies at age 75

    R&B legend Peabo Bryson dies at age 75

    The world of rhythm and blues is mourning the loss of one of its most beloved voices: Peabo Bryson, the Grammy-winning singer behind some of Disney’s most iconic animated film themes, has died at the age of 75. His family confirmed in an official statement that Bryson passed away peacefully at 5:00 pm ET on Tuesday, June 2, 2026, with his loved ones and closest friends by his side, less than one month after he celebrated his 75th birthday. His death comes just two days after the public learned he had suffered a recent stroke.

    Born Robert Peapo Bryson in Greenville, South Carolina, Bryson built a decades-spanning career that cemented his place as one of the most celebrated R&B balladeers of his generation. He got his start in professional performing as a teenager, singing backup vocals for a local South Carolina group called Al Freeman and the Upsetters — a band he later described as “terrible” in an interview with *Soul* magazine. It was during this early period that Freeman’s difficulty pronouncing his birth name “Peapo” led him to adopt the stage name Peabo, the moniker that would become known to fans worldwide.

    Bryson’s first major break came when he joined the touring ensemble Moses Dillard and the Tex-Town Display, which performed across the historic Chitlin’ Circuit of Black-owned venues in the 1970s. Talent scouts from Bang Records caught one of the group’s sets, were instantly drawn to Bryson’s smooth baritone, and signed him as a solo artist. He released his self-titled debut album *Peabo* with the label in 1976, then moved to Capitol Records to expand his career. By 1978, he landed his first Top 10 hit on the Billboard R&B chart with *Reaching for the Sky*, kicking off a steady streak of commercial and critical success.

    Throughout the late 1970s and 1980s, Bryson solidified his reputation as one of the most in-demand duet partners in the industry. His 1979 collaboration with Natalie Cole, *Gimme Some Time*, reached No. 8 on the R&B chart, followed by their 1980 track *What You Won’t Do for Love* which hit No. 16 on the same chart. He went on to record a string of successful duets with Roberta Flack, starting with 1980’s *Make the World Stand Still* and leading to their joint 1983 album *Born to Love*. Their hit *Tonight, I Celebrate My Love* reached No. 16 on the Billboard Hot 100, becoming one of Bryson’s most recognizable solo-era hits.

    Bryson’s greatest mainstream success came from his work with Disney on two of its most beloved animated feature films. In 1991, he recorded *Beauty and the Beast*, the title theme for Disney’s animated classic, alongside Celine Dion — the track earned him his first Grammy Award. The following year, he paired with Regina Belle for *A Whole New World*, the signature theme from *Aladdin*. The duet made history as the first song from an animated feature film to claim the No. 1 spot on the Billboard Hot 100, and it went on to win Bryson his second Grammy. Over the full span of his career, Bryson released more than 20 full-length studio albums, leaving behind a sprawling discography of hits that includes fan favorites *As Long As There’s Christmas* and *You’re Looking Like Love to Me*.

    Beyond his early health scare from a stroke that preceded his death, Bryson had previously suffered a heart attack in 2019, but made a full recovery and returned to performing in the years that followed. In their statement, Bryson’s family thanked fans for the overwhelming outpouring of support and love following news of his passing, noting that his five-decade career provided a soundtrack for some of life’s most meaningful moments.

    “For more than five decades, Peabo’s extraordinary voice served as the soundtrack to some of life’s most cherished moments. His music carried generations through joyful celebrations, great love stories and enduring moments of comfort and inspiration, creating a legacy that will forever live in the hearts of those who loved him and the countless lives he touched through song,” the statement read. Bryson is survived by his wife and two children.

  • Bahari receives backlash for using AI in campaign

    Bahari receives backlash for using AI in campaign

    A growing national debate over artificial intelligence’s role in creative industries has landed Bahari, a well-known Bahamian-owned apparel brand, at the center of public scrutiny after its decision to use AI-generated models for a new collection sparked fierce pushback from segments of its customer base. The controversy, which broke out across social media in late May, has forced brand leadership to defend its longstanding commitment to local talent while making the case that AI has become an unavoidable tool for modern fashion brands navigating a shifting digital landscape.

    The conflict began on May 31, when Bahari shared a series of promotional graphics to its official Facebook page to launch its highly anticipated Coral World collection. Unlike the brand’s nearly 11-year tradition of featuring local people in its campaign imagery, this rollout relied entirely on AI-created models rather than working with Bahamian talent. The choice immediately drew sharp criticism from social media users, who argued that a brand built on showcasing authentic Bahamian culture had a responsibility to elevate local models, particularly given the career-changing exposure such brand partnerships can provide to emerging creators.

    One commenter wrote, “It’s embarrassing for a well-respected local brand to turn to AI for this work. There are dozens of talented Bahamian models who would have jumped at this opportunity and done incredible work with the collection.” Other critics framed their pushback as a defense of the brand’s own core value, rather than an attempt to interfere with its internal business decisions. “No one is telling them how to run their company,” one user noted. “But luxury and cultural brands live or die based on their prestige and the trust consumers have in their authenticity. Pointing out that this choice undermines that authenticity isn’t dictation—it’s critical consumer feedback.”

    Not all reactions to the campaign were negative, however. A number of social media users came to Bahari’s defense, arguing that marketing and branding are evolving rapidly around the world, and that the same level of criticism is rarely leveled at large international brands that regularly use AI for their promotional content. They questioned why a small local brand should be held to a different standard than the global corporations that dominate the fashion industry.

    Carole Barnett, general manager of Bahari, pushed back firmly against claims that the brand has abandoned its commitment to local models. She emphasized that since the company launched its inaugural Independence Collection back in 2014, nearly every campaign has featured local Bahamian faces, and that core policy has not changed. “For the past 11 years, we have centered Bahamian models in all our shoots. Nothing about that has shifted,” Barnett explained. “We believe deeply in the talent of Bahamian creators, and that’s why we’ve prioritized them for every project for over a decade.”

    Barnett went on to explain the specific creative reasoning behind using AI for the Coral World collection, noting that the choice was directly tied to the collection’s nostalgic theme. Named for the iconic Bahamian marine park and resort that first opened on Silver Cay back in 1987, the collection pays homage to a beloved local landmark that is no longer operational. At its peak, Coral World drew tourists from across the globe, offering visitors the chance to observe native marine life from a one-of-a-kind underwater observatory without getting in the water, alongside a range of nature exhibits and resort amenities. After the park closed, only the iconic observation tower remained standing as a landmark.

    Because the attraction itself is no longer active, Barnett said the brand determined AI was the most effective tool to capture the nostalgic, otherworldly feel of the vintage Coral World experience for the campaign photoshoot. The collection itself, which is currently available for purchase through Bahari’s official website, includes a range of apparel from shirts and dresses to pants, all printed with vivid, nostalgic imagery inspired by the former landmark.

    The backlash has broader implications beyond Bahari’s latest launch, putting a spotlight on a growing global conversation about AI’s impact on fashion marketing. Critics across the industry warn that increased reliance on AI-generated models risks eroding opportunities for working creators, while stripping culturally rooted brands of the authentic connection to local identity that consumers value most. For Bahari specifically, that connection has always been central to the brand’s identity: the company has built its reputation on powerful campaigns featuring Bahamian leaders and creators who have contributed to the country’s development, and it has long served as a launching pad for aspiring local models looking to break into the industry.

    Barnett reiterated that Bahari has never stopped prioritizing local hiring across all areas of its business, from design to marketing to campaign production. She questioned why Bahari is facing such intense criticism when many international fashion houses and even other local Bahamian businesses regularly use AI in their work. At its core, she said, Bahari remains a brand rooted in Bahamian culture, and its choice to experiment with AI is simply part of evolving the business to compete on a global stage.

    “We are a Bahamian company trying to grow and evolve,” Barnett said. “Our goal is to showcase the Bahamian island lifestyle to a global audience and put The Bahamas on the map internationally. At the end of the day, you’re never going to be able to please every single customer.”

  • Respected British musicologist Steve Barrow dies at 80

    Respected British musicologist Steve Barrow dies at 80

    Steve Barrow, the highly regarded British musicologist whose decades-long work cemented his reputation as one of the leading authorities on Jamaican music, passed away in the United Kingdom on May 30 at the age of 80.

    Barrow’s death has drawn widespread coverage across British media, with journalists and peers uniformly honoring the extraordinary breadth and depth of his written work documenting the development and cultural impact of Jamaican music from its early roots to global prominence. Beyond his academic and journalistic contributions, Barrow built a long career in music promotion, holding roles with iconic record labels including Trojan Records, Island Records, and Blood And Fire Records.

    In 1993, Barrow co-founded Blood And Fire Records alongside Mick Hucknall, the frontman of the globally successful pop group Simply Red. That same year, Island Records released the landmark box set *Tougher Than Tough: The Story Of Jamaican Music*, the project that would become one of Barrow’s most celebrated works. Barrow’s sprawling, meticulously researched liner notes for the collection earned widespread acclaim from reggae enthusiasts and scholars around the world. Spanning four compact discs, the box set is still widely recognized as one of the definitive compilations tracing the evolutionary arc of Jamaican music.

    For many years, Barrow also contributed regular coverage of the United Kingdom’s domestic reggae scene to Black Echoes, a leading British music publication focused on Black music genres. In 2012, Barrow teamed up with Stuart Baker to publish *Reggae Soundsystem: Original Reggae Album Cover Art*, a massive 500-page volume that features more than 1,000 full-color reproductions of 45 rpm single label designs and full album jackets from classic reggae releases.

    The Independent, one of the United Kingdom’s major national newspapers, published an in-depth feature on the book upon its release, praising it as “a compelling history of a young nation and its people” that captured the visual and cultural identity of Jamaica’s music scene. Barrow’s other published works include influential titles such as *The Rough Guide to Reggae*, *The Rough Guide Reggae: 100 Essential CDs*, and *King Jammy’s*, which he co-wrote with Beth Lesser. His decades of work have left an enduring legacy, shaping how audiences and scholars understand the global impact of Jamaican and reggae music.

    Reporting by Howard Campbell

  • Moyann releases Miss Toxic EP

    Moyann releases Miss Toxic EP

    Jamaican dancehall and singjay talent Moyann has delivered a long-awaited treat for her global fanbase, dropping her five-track extended play (EP) *Miss Toxic* across all major digital streaming platforms starting Friday, May 29, 2026.

    The Montego Bay-born artist, who first broke into the mainstream dancehall scene in 2019 with her viral breakout hit *Netflixxx N Chill*, describes the new project as the most polished, meaningful work of her professional career so far. In a statement shared ahead of the EP’s launch, she opened up about the creative energy poured into the release, noting that the collection blends a diverse range of sonic influences that showcase her artistic evolution.

    “I poured every part of my creative energy into every track on this project, and it brings together so many different sounds that inspire me,” Moyann explained. “I’m incredibly proud of what we’ve built here, and I truly believe it’s a project that stands the test of time – it’s a collector’s item for every music lover who supports authentic dancehall. I’m asking my fans to give this project their full attention, and I promise no one will walk away disappointed.”

    *Miss Toxic* features production work from two of the industry’s most acclaimed dancehall producers, Anju Blaxx and Shakespeare, who have helped shape the project’s distinct, contemporary sound. Even before the EP’s full release, the title track *Miss Toxic* has already started climbing regional and international airplay charts, earning growing engagement and shares across social media platforms from dancehall fans worldwide.

    Since her breakout seven years ago, Moyann has built an extensive, well-received discography that includes fan-favorite solo releases such as *A Nuh My Style* and *Meech Out*. She has also cemented her status as one of dancehall’s most in-demand collaborators, sharing studio time and releasing tracks with some of the genre’s biggest names, including Shenseea, Popcaan, Jahvillani, Jahshii, and Tommy Lee Sparta.

    Right now, the artist is fully focused on promoting the new EP across domestic and international markets, while continuing to develop new original music alongside frequent collaborators Anju Blaxx and Shakespeare. In a additional milestone that underscores her growing global momentum, Moyann recently closed a new management deal with Protocol Entertainment, a Los Angeles-based international record label and entertainment firm that will support her upcoming career moves.

  • JUTC is official transportation partner for Reggae Sumfest 2026

    JUTC is official transportation partner for Reggae Sumfest 2026

    In an official announcement released this Wednesday, Jamaica’s state-owned public transit provider, the Jamaica Urban Transit Company (JUTC), has locked in its role as the primary transportation partner for the highly anticipated 2026 edition of Reggae Sumfest, one of the Caribbean’s most iconic cultural and musical events.

    Under the new partnership, JUTC will roll out tailored, dedicated transit services for all festival attendees traveling to and from the event venue, located at Richmond Estate in the parish of St Ann. For Nathalia Palomino, JUTC’s Marketing and Sales Manager, the collaboration is far more than a transit arrangement—it is a reflection of the company’s core mission to deliver safe, consistent, and accessible mobility options, while actively supporting Jamaica’s world-renowned cultural creative sector.

    To streamline the attendee experience, JUTC will operate structured round-trip routes departing from major hubs across the island. This service model is designed to cut down on the event-related traffic congestion that has plagued past festivals, and eliminate the stress of securing scarce parking spots near the venue, letting festival-goers focus on enjoying the performances rather than navigating travel headaches.

    “At JUTC, we constantly pursue new creative partnerships that let us connect Jamaicans with the experiences they care about most, in a safe and hassle-free way,” Palomino shared in a press statement. “This partnership with Reggae Sumfest 2026 lets attendees fully immerse themselves in the music and festivities, while we handle all the logistics of getting them there and back. We’re thrilled to play our part in making this year’s festival the most memorable one yet.”

    A key modern upgrade to the service is a fully digital booking and payment process hosted through the GK1 mobile application. This system allows attendees to reserve and pay for their transit packages well in advance, removing the uncertainty that comes with last-minute travel arrangements. Palomino noted that the streamlined digital workflow not only adds extra convenience for users planning their festival trip, but also ensures a quick, smooth boarding process on the day of departure.

    To incentivize early bookings, JUTC is offering a limited-time promotion for early birds: the first 200 attendees to reserve their seats will receive a J$1,000 discount on their full transit package, bringing down costs and making the event more accessible for music fans across the country.

  • Shaveesa Gasper Among Seven Delegates Unveiled for Queen of Carnival 2026 Competition

    Shaveesa Gasper Among Seven Delegates Unveiled for Queen of Carnival 2026 Competition

    One of the most anticipated annual cultural events in Antigua and Barbuda, the iconic Queen of Carnival Competition, has taken a major step forward with the official reveal of its 2026 competitor lineup. Event organizers have confirmed seven delegates who will compete for the prestigious crown, with the 2026 edition centered around the evocative theme “Rhythm of a Queen: The Beat of Her Journey.”

    This public announcement comes after a rigorous multi-stage selection process, where organizers evaluated hundreds of aspiring contestants to narrow down the final field of contenders vying for one of the Caribbean nation’s most celebrated carnival titles. Each of the seven finalists brings a unique background, skill set, and personal story to the competition.

    The 2026 lineup opens with Denesha Samuel, an alumna of Clare Hall Secondary School who identifies as an outgoing extrovert and one half of an identical twin pair. Next is Kenesha James, a graduate of Antigua State College who continued her higher education at the University of the West Indies; James counts open-water swimming among her greatest passions, with a deep lifelong connection to the ocean. Queenela Williams, another Antigua State College graduate, has a strong creative streak, having once designed and built a wearable top entirely out of fresh live flowers for an art project. St. Anthony’s Secondary School graduate Christine Powell developed a self-taught knack for garment design and sewing, building her craft through independent practice and experimentation.

    Rounding out the field are three additional competitors with distinct interests: Shaveesa Gasper, a graduate of Jamaica’s Edna Manley College of the Visual and Performing Arts who is well-known for her love of coastal living and coconut culture; Aaliyah Taylor, an alumna of Florida International University who previously competed in the Junior Calypso Competition under the performance alias “Singing Lily;” and Zaine Frederick, a graduate of the University of the West Indies Five Islands Campus and an avid basketball fan who publicly supports NBA superstar LeBron James.

    Organizers emphasized that the 2026 cohort reflects a rich diversity of talents, backgrounds, and personal interests that align with the competition’s core mission. A staple of Antigua Carnival for decades, the Queen of Carnival Competition is far more than a beauty pageant: it offers emerging young leaders a platform to demonstrate their critical thinking, creative vision, performance skill, and command of a live audience.

    In the months leading up to the main competition, the seven delegates will take part in a full slate of community engagements, public appearances, and pre-event activities designed to prepare them for the final showdown. As planning for the 2026 Antigua Carnival continues, organizers noted that further details regarding competition scheduling, event locations, and ticket information will be released to the public in the coming weeks.

  • ‘Funding needed’ to restore Kings and Queens to Crop Over spectacle

    ‘Funding needed’ to restore Kings and Queens to Crop Over spectacle

    Barbados’ beloved annual Crop Over festival is one step closer to a full revival of its most spectacular traditions, but a key industry leader has warned that bringing back the iconic Kings and Queens of the Bands competition will only be possible with substantial new financial investment.

    Speaking at last week’s official launch of the Flow 5G Grand Kadooment, a flagship event of the festival powered by TV8, Anthony Layne, vice-president of the Barbados Association of Masqueraders (BAM), opened up about the sector’s biggest hurdles as it works to rebuild the historic tradition. While Layne expressed enthusiasm for the recently announced return of Cohobblopot, a central Crop Over event, he emphasized that the celebration cannot recapture its original magic without the towering, intricately crafted King and Queen costumes that once served as the festival’s centerpieces.

    According to Layne, the steep production costs associated with designing and building these elaborate large-scale costumes have created an unsustainable barrier for bandleaders and costume designers, especially emerging creators new to the masquerade industry. Beyond upfront production costs, outdated prize structures have long failed to align with the time, labor and money poured into creating these showstopping pieces.

    “For years, the total cost of producing a competition-level King or Queen costume exceeded the top prize money awarded to winners,” Layne explained. “That imbalance is what drove most veteran designers and bandleaders away from participating. We cannot bring this tradition back without the necessary financial backing in place.”

    Layne stressed that the return of Cohobblopot would feel incomplete without the elaborate costumes that once drew crowds of thousands and captivated audiences across the island. “If we want to bring Cohobblopot back the way it was in its prime, the Kings, Queens and their full band presentations have to be a core part of it. Without that component, it just won’t be the same event that people remember and love,” he said.

    Given the extensive work that goes into creating these large, complex costumes, Layne noted that a full revival will not happen overnight. Large-scale pieces require months of advance planning, handcrafting and design work, so he does not expect the full Kings and Queens of the Bands tradition to return for this year’s festival, instead targeting a comeback for 2025. “We need to give designers time to tap into their creativity and build these extraordinary pieces from scratch. These are not simple costumes – they are large-scale works of art, and that takes time,” he said.

    Despite the financial hurdles, Layne struck an optimistic note about long-term efforts to rebuild the sector, pointing to new initiatives aimed at training the next generation of masquerade artisans. The recently launched Wire Sculpting for Masquerade Workshop, a collaborative effort between Pinelands Creative Workshop, the National Cultural Foundation, Caribbean Yard Campus and the Maria Holder Trust, is already teaching foundational wire-binding skills to young people interested in costume making.

    Discussions to bring in expert wire-bending instructors have been in the works for years, but were put on hold by global COVID-19 pandemic disruptions. Layne said the long-awaited training program is a critical step forward for the industry. “We’re so glad this training is finally happening, but it has to be done right. We need to build something that captures the public imagination and draws the crowds back like it did in its heyday,” he said, recalling how Cohobblopot regularly sold out and packed venue grounds in its most popular years. “I remember when Cohobblopot was bursting at the seams, the way the young people say now.”

  • Antigua & Barbuda Brings the Caribbean’s Greatest Summer Festival to Miami at Food, Wine & Fete 2026

    Antigua & Barbuda Brings the Caribbean’s Greatest Summer Festival to Miami at Food, Wine & Fete 2026

    A groundbreaking cultural collaboration is set to hit South Florida in 2026, as the twin-island nation of Antigua & Barbuda announced it will bring the Caribbean’s most anticipated summer festival directly to Miami for the first ever Food, Wine & Fete event. This landmark cross-regional celebration is designed to showcase the vibrant, diverse culinary traditions, world-renowned rum craftsmanship, and infectious cultural heritage of Antigua & Barbuda to a whole new North American audience, while strengthening the cultural and tourism ties between the Caribbean and the United States.

    Organizers of the event have teased a multi-day immersive experience that will feature pop-up tastings from Antigua & Barbuda’s top celebrity chefs, exclusive wine and rum pairings highlighting the nation’s award-winning distilleries, live performances from leading Caribbean soca and reggae artists, and interactive fete-style street parties that capture the joyful, communal energy the Caribbean is famous for. Unlike traditional festival formats, Food, Wine & Fete 2026 will blend intimate culinary workshops with large-scale public celebrations, giving attendees multiple ways to engage with the culture, from learning how to craft traditional Antiguan pepperpot to joining full-throated carnival-style processions through Miami’s downtown entertainment district.

    Industry analysts note that the event marks a strategic shift for Antigua & Barbuda’s tourism authority, which has increasingly focused on expanding its global cultural footprint beyond its borders to draw new visitors to the islands. For Miami, a city already renowned for its diverse cultural landscape and thriving food scene, the festival is expected to draw tens of thousands of attendees from across the Southeast United States and beyond, boosting local hospitality and retail businesses while further cementing Miami’s reputation as a top destination for global cultural events.

    Details on ticket sales, venue locations, and the full lineup of participating chefs and performers are expected to be released in the coming months, with early registration already open for travel and hospitality groups looking to secure blocks for the 2026 event.

  • 80 songs chosen for Soca Monarch quarterfinals

    80 songs chosen for Soca Monarch quarterfinals

    One of the most anticipated cultural highlights on Saint Lucia’s annual events calendar, the National Groovy and Power Soca Monarch competition, has reached a key milestone, with 80 original tracks securing spots in the upcoming quarterfinal round for 2026’s Lucian Carnival.

    The competition opened its submission window to aspiring and established soca artists across the island on May 11, giving creators a six-week window to submit their work in pursuit of a coveted spot to perform on the competition’s iconic main stage. Artists across Saint Lucia jumped at the opportunity, submitting a diverse range of entries across the competition’s two signature categories: the laid-back, rhythm-focused Groovy Soca division and the high-energy, uptempo Power Soca division. The submission period officially closed on May 28, bringing the first phase of the 2026 competition to a close.

    Over the weekend of May 30 and 31, 2026, a panel of experienced industry judges gathered to evaluate every submitted entry, assessing tracks on originality, lyrical content, rhythmic innovation, and overall fit for the carnival atmosphere. After two full days of rigorous review, the judges selected 40 standout tracks from each category to advance to the quarterfinal (live audition) round, bringing the total number of advancing competitors to 80.

    The full roster of advancing Groovy Soca artists and their tracks includes: Alpha with *Everyday Carnival*, Arthur Allain with *Work on Pause*, Budzilla with *Mr Right Guy*, Carlton Roberts with *Hostage*, Crown with *Vibes King*, Da Great with *Alcoholic*, Danielle DuBois with *Dancing in the Rain*, Deevon with *Momentum*, Esteblazin with *Ice Cold*, Ezra D’ Funmachine with *Mr Complimentary*, Frano with *Party Junkie*, J’urgen with *The Other Man*, Kardo with *Finger*, KB Official with *Hurricane Melissa*, Kelly B with *Home*, Keytinna with *Let Me Go*, Kisha K with *Done*, Lolani with *Life Sweet*, Mac 11 with *Under de Bus*, Mantius with *Subscribed*, Menell with *Goose Bumps*, Mica with *Step Out*, Micah with *My Life, My Choice*, Mighty Taker with *Where We Chipping*, MNR with *Party Count*, Mysterio with *No Horn*, Nai with *Gros Pwel*, Nireti with *Third Party*, Orion with *Show Love*, Q Pid with *Back Up Plan*, Ricky T with *Not Kissing’s*, Sedale with *Insane*, Shayne King with *Gone Clear*, Shemmy J with *Everything*, Siah with *Cho*, Sly with *Captain*, Theodan with *Loosen Up*, Twahzzy with *Stop It, Stacy*, Vic Nation with *Home*, and Wade with *Get Out*.

    In the Power Soca category, the 40 advancing tracks are: 10 Pong with *Side Man*, Ally Kyat with *Doctor Paul*, Bronx, Dhirv 2 Funny & Matta with *Mad People*, Budzilla with *Bwelay*, Carlton Roberts with *Xman*, Da Great with *House Party*, Elmo Norville & Zido with *Hesaloka*, Ezra D’funmahine with *Salute*, Gabby Gabby with *Free My Mind*, Hyper with *Cyah Stop Mi*, Ilah Man with *Soca Robbery*, Imran Nerdy with *Today I Off*, J Mouse with *Hammer*, Jiggy with *Vaval Hero*, Joseph Darcherville with *Masquerading*, J’urgen & Lolani with *Can’t Let You Go*, KB Official & Esteblazin with *Grimy*, Kisha K with *Hot Already*, Mantius with *Fully Charged*, Mica with *Loud*, Mighty Sizzler & Weebo with *Who Says?*, MNR with *Last Time*, Mysterio with *Show Off*, Nacheal with *Mechanic Gyal*, Orion with *Not Going Home*, Q Pid with *De Fete Mad*, Redda Vibes with *Wristband*, Ricky T with *True Colours*, Sedale & Hollywood HP with *Bring Your Cooler*, Shayne King with *We Home*, Shemmy J with *Even If She Cryin’*, Siah with *No Brain*, Sir Lancealot with *Jusso*, Sly with *Rage (Dwange)*, Statik with *Upside Down*, Subance & Hitty Lance with *Sugar*, Tension with *Actimo*, TK Da Boss with *Soca Monarch*, Umpa with *Painkilla*, and Vic Nation with *Carnival Queen*.

    Up next, the 80 advancing artists will take the stage for the quarterfinal live auditions, where they will compete for a spot in the final showdown of the Soca Monarch competition, a centerpiece event of Lucian Carnival that draws thousands of attendees and soca fans from across the Caribbean and beyond each year.