分类： entertainment

Jamaican recording artiste Omari Edwards has sparked widespread discussion among music fans with the launch of his latest culturally rooted and uplifting track, *God Is Good*. The new single is featured on the popular Hill & Gully Ride rhythm, helmed by award-winning, industry-acclaimed producer Stephen McGregor.

Beyond its musical merit, the release carries deep personal meaning for Edwards: it is crafted as a loving tribute to the late Jamaican gospel icon David “Kukudoo” McDermott, who passed away in early May at 56. A widely respected mainstay of Jamaica’s music community, Kukudoo served as a beloved older brother figure and mentor to Edwards throughout his career.

*God Is Good* is a sincere, soulful exploration of faith, gratitude, worship and perseverance, woven tightly into the fabric of Jamaican daily life and cultural identity. Edwards draws on both timeless biblical symbolism and the lived realities of Jamaican people to frame his message, emphasizing that divine presence remains constant through every high and low of life.

The song leans into the iconic metaphor that runs through the Hill & Gully Ride project, echoing biblical imagery where hills and valleys represent moments of triumph and struggle. Just as scripture uses these landscapes to illustrate the full spectrum of human experience, *God Is Good* reminds audiences that faith remains a steady anchor regardless of how life’s circumstances shift. The track’s core concept of “hill and gully” ultimately becomes a stand-in for the journey of life itself.

Through his warm, soul-driven vocal delivery, Edwards captures the resilience of everyday Jamaicans who show up to work hard, sacrifice for their loved ones, and navigate both joyful seasons and difficult periods. More than just a musical release, the single acts as a cultural and spiritual touchstone for modern Jamaican society, highlighting the enduring importance of faith, resilience, and gratitude amid daily challenges.

It also honors Jamaica’s deep musical history, folk traditions, and famously uplifting national spirit, while encouraging listeners across the globe to hold onto hope and gratitude even when facing obstacles. This latest release follows Edwards’ 2024 track *Winners Anthem*, produced by Da Journey, and reinforces his consistent commitment to creating inspirational music that resonates with the lived experiences of ordinary people.

As the single gains traction among gospel-reggae fans, cultural advocates, and casual music lovers alike, Edwards has made a meaningful, refreshing contribution to the expanding Hill & Gully Ride movement — all while upholding the profound legacy left by Kukudoo.

After decades shaping Jamaica’s vibrant local comedy theatre scene, one of the country’s most respected creative minds is gearing up to unveil his latest side-splitting work: veteran producer and director Pablo Hoilett’s brand-new comedy *Brazen to di Bone* is set to open its doors to audiences on June 5 at Kingston’s iconic Courtleigh Auditorium.

Boasting a cast packed with some of Jamaica’s most beloved local performing talent, the fast-paced, high-energy production features fan-favorite stage performers including Chris “Johnny” Daley, Donald “Slashie” Anderson, Peter “Maestro” Heslop, and Joan “Kenzie” McKenzie, each bringing their signature comedic timing to the production.

In comments ahead of the opening night, Hoilett emphasized that the core mission of *Brazen to di Bone* is unapologetic, joyful entertainment tailored to Jamaican audiences. “Jamaican theatre-goers don’t just love comedy — they love comedy that feels authentic to their lives, rooted in characters and scenarios that feel like something you’d spot on any street corner or community,” he explained. “So many people are carrying daily stress right now, and we set out to build a production that lets everyone leave their worries at the door for a couple of hours, and just laugh. That’s exactly what *Brazen to di Bone* delivers.”

The play’s plot centers on the chaotic, outrageous misadventures of Alrick Smith, a charming drifter who constructs an elaborate, tangled web of fake identities to fraudulently claim multiple government benefits, all to sustain a comfortable lifestyle without ever holding down a steady job. The scheme hums along smoothly until an unexpected government investigator shows up at his door to probe the suspiciously large number of benefit claims tied to his single address. What follows is a nonstop rollercoaster of increasingly absurd lies, crossed wires, and laugh-out-loud misunderstandings that spiral far beyond Alrick’s control.

Hoilett has long stood as a foundational figure in Jamaican theatre, building a decades-long career marked by dozens of commercially and critically successful productions that have helped elevate homegrown Jamaican comedic storytelling onto the national stage, nurturing new talent and cementing local comedy as a beloved staple of Jamaican cultural life. With its relatable premise, star-studded local cast, and signature Hoilett wit, *Brazen to di Bone* is shaping up to be one of the most anticipated theatrical events of the Jamaican entertainment calendar this summer.

Jamaica’s burgeoning film and television sector stepped into the global spotlight last Friday, when local production company LAB Studios played host to SLATE | Jamaica on Screen — a high-profile industry showcase designed to highlight the island nation’s untapped potential as a leading hub for international content creation.

The one-night event drew a cross-section of key stakeholders, ranging from top Jamaican government officials and global studio executives to local creative talent, international investors, and industry insiders. Conversations across the evening centered on three core pillars: elevating authentic Jamaican storytelling, unlocking new avenues for foreign and domestic investment, and laying the groundwork for long-term industry growth.

Co-hosted at the Carib 5 cinema by LAB Studios in collaboration with Jamaica Promotions Corporation (Jampro) and the Jamaica Screen Development Initiative (JSDI), the event opened with an exclusive private screening of *Love Offside*, a feature-length film produced entirely in Jamaica. The movie stars a mixed lineup of local and Hollywood talent, including Judi Johnson, Mike Merril, Victoria Rowell, and Sundra Oakley.

Following the screening, attendees were treated to a dynamic fireside chat titled “Building the future: Jamaican stories on the global stage”, featuring LAB Studios CEO Kimala Bennett and Mika Pryce, Senior Vice President of Development and Production at Paramount Pictures. The pair unpacked shifting trends in global content, the growing importance of intellectual property (IP)-centered production ecosystems, and the once-in-a-generation opportunity for emerging markets like Jamaica to carve out a competitive space on the international entertainment landscape.

Pryce, whose industry credits include blockbuster and critical hits such as *Get Out*, *Good Boys*, *Little*, and *Pacific Rim: Uprising*, shared actionable insights into what major global studios prioritize when evaluating new projects: content that balances commercial appeal with authentic cultural resonance that connects with global audiences.

The evening also included the world premiere of first-look trailers for LAB Studios’ upcoming slate of original productions, including *Christmas in the Tropics*, *Jenna In Law*, *SEEN*, *Happily Ever Awkward*, and *The Marriage Clause*. The lineup of new projects underscores the company’s sustained commitment to developing original IP rooted in Caribbean stories and perspectives.

LAB Studios made history as one of the first production companies to secure funding through the JSDI, a government-backed program that has allocated $50 million in national film financing to support homegrown projects and grow the local screen industry. This forms part of the Jamaican government’s broader 1-billion-dollar commitment to expanding the island’s creative economy.

For Bennett, the SLATE event is far more than a launch pad for new original content. It marks a deliberate step toward repositioning Jamaica and the wider Caribbean as key players in the $2.8 trillion global content economy.

“The global media and entertainment industry is now valued at more than US$2.8 trillion, and as audiences continue searching for stories that feel authentic and emotionally connected, the opportunity for culturally-driven storytelling has never been greater,” Bennett explained in her remarks. “Few countries our size have had the cultural impact Jamaica has had globally, and the opportunity now is to build the infrastructure and production ecosystem needed to consistently bring Jamaican stories to international audiences while creating real economic value in the process. That is the opportunity we see at LAB Studios.”

She added: “We are grateful to our government partners for recognising the value of the creative economy and helping to position Jamaica as a global content hub.”

Prime Minister Dr Andrew Holness delivered the event’s keynote address, reaffirming the government’s commitment to growing the screen sector as a core driver of future economic expansion. “This is the latest signal that Jamaica has the talent, the stories, the locations, and the cultural appeal to build a serious film industry,” Holness said. “Jamaica has long been globally recognised as a cultural superhub, but we have not always converted that cultural influence into structured economic opportunity. We need to have an unvarnished view of where we are in our development and be honest with ourselves about the things we need to improve… The Government sees film as part of Jamaica’s next frontier of economic growth.”

Jampro President Shullette Cox echoed calls for cross-sector collaboration to sustain the industry’s momentum, noting that the SLATE event perfectly embodies the core mission of the JSDI. “SLATE represents the embodiment of the vision of the JSDI: Supporting content creators in bringing their stories onto the screen,” Cox said. “We look forward to supporting more screenings such as this one in the future, as we continue to issue funding under the JSDI, and give support through the Jamaica Film Commission in an effort to ensure that Jamaican stories have visibility on the global stage.”

The 43rd edition of the International Reggae And World Music Awards (IRAWMA) wrapped up its annual celebration of Caribbean and global roots music on May 17, hosted at the Lauderhill Performing Arts Center in South Florida’s Lauderhill. While a slew of talented artists took home honors across categories, the night’s biggest story was the sweeping success of iconic deejay Vybz Kartel, who claimed a total of nine awards, two of which were shared among collaborative partners.

Among Kartel’s most prestigious wins were the coveted Bob Marley Award for Entertainer of The Year, the Peter Tosh Award for Recording Artiste of The Year, and the Album of The Year honor for his Grammy-nominated project *Heart And Soul*. Additional accolades include the Gregory Isaacs Award For Best Song for his track *God is The Greatest*, the Jimmy Cliff Award For Best Crossover Song, Best Male DJ/Rapper, and Best Caribbean Entertainer. He split two honors with a high-profile group of collaborators: shared Best Music Video recognition for *You Remind Me* alongside DJ Khaled, Bounty Killer, Buju Banton, and Mavado, as well as shared Best Collaboration (Reggae Song) for the same hit track.

Though Kartel was unable to attend the in-person ceremony, he marked the occasion with a heartfelt message shared publicly to his Instagram followers, expressing gratitude to the IRAWMA organizing committee for the recognition. In his post, he emphasized that awards in the genre do more than highlight individual success: they act as a critical force for protecting and promoting the cultural core of reggae and dancehall. He reminded audiences that these musical styles are far more than entertainment—they carry the weight of history, collective struggle, hard-won triumph, unyielding spiritual energy, and core cultural identity for communities around the world. For an artist, Kartel noted, recognition from industry peers stands as one of the highest possible honors, as acclaim carries deeper meaning when it comes from those who understand the full journey of building a career in the industry.

Beyond Kartel’s historic night of wins, the ceremony honored a wide range of standout talent across reggae, dancehall, and gospel genres. Shenseea claimed the title of Best Female DJ/rapper, Masicka took home the award for best EP for *Her Name Is Love*, Etana won Best Female Vocalist, and iconic artist Spice received the Marcus Garvey Humanitarian Award. Richie Innocent was awarded the Mutabaruka Award for Best Poet/Spoken Word Entertainer, Sean Paul took home the honor for Most Popular Hurricane Melissa Song for his track *Faith We A Keep*, Popcaan won Best Entertainer/Social Media Influencer, and DJ Mac claimed the prestigious Producer of The Year title.

The ceremony also paid tribute to veteran trailblazers who have shaped the genre over decades, with veteran reggae artist Burning Spear and dancehall star Mavado both receiving Lifetime Achievement Awards. Gramps Morgan, part of the beloved reggae collective Morgan Heritage, earned two honors on the night: the Jacob Miller Award for Best Male Vocalist, and Best Inspirational Song for his track *People Like You*. Special honorary awards were also presented to a range of industry and artistic leaders, including Burning Spear, Wayne Armond of the iconic band Chalice, long-time booking agent George Crooks, rapper and producer DJ Khaled, Howard Chung of leading reggae label VP Records, and Mavado.

Gospel recording artist Dr Carlene Davis received the Shelvin L M Hall Best Gospel Entertainer Award, an honor created to recognize pioneering excellence in gospel reggae. In comments to the *Jamaica Observer*, Davis reflected on what the award meant to her, saying that receiving the honor served as a reminder of God’s purpose for her life and the work she was called to do. It reinforces the importance of staying committed to one’s core mission and remaining focused on that path, she added. Davis beat out a competitive field of fellow nominees including Papa San, Judith Gayle, Kevin Downswell, Prince Saj, DJ Nicholas, and Jason Mighty to take the prize. Beyond her individual award, her winning album *Songs of Zion* reached the number one spot on US gospel charts, with the album’s title track hitting number one in New York and number seven in the South Florida regional rankings.

Against the backdrop of Limon, Costa Rica’s annual Marcus Garvey Symposium, one cultural presentation resonated more deeply than most: a dynamic exploration of the hidden coded messaging woven into traditional Jamaican folk and mento music by the Tallawah Mento Band, a group rooted in South Florida’s vibrant Jamaican diaspora. For 30 engaging minutes, founding band member Colin Smith blended interactive discussion with live performance to pull back the curtain on a little-known layer of Caribbean musical history, revealing how the genres’ upbeat, infectious rhythms long served as a clever shield for sharp critique of the brutal plantation system that shaped Jamaican life.

Smith emphasized that the lyrics of these songs, written in the Jamaican dialect that many cultural stewards and educators now argue deserves classification as a distinct national language rather than “broken English”, carried unapologetic mockery of white planter elites, hidden in plain sight from the ruling class that controlled every aspect of enslaved and post-emancipation Black life. “These musical artforms simultaneously lightened the unbearable challenges of slavery and harnessed collective resilience,” Smith explained to the audience. “They served as a living storybook of our survival, spreading news of plantation activities and developments that doubled as an entertainment and information network, all while evading detection and comprehension by the planter class.”

The performance was elevated by a guest appearance from acclaimed dub poet Malachi Smith, who joined the band to guide the transfixed audience through a journey tracing the music’s origins all the way back to the transatlantic slave trade. Choral refrains echoed the wails of endurance and collective resistance that marked the middle passage, before evolving to reflect the dehumanizing reality of forced labor on Caribbean sugarcane plantations and the gradual formation of modern Jamaican cultural identity. The band’s repertoire spanned more than a century of Jamaican musical evolution, moving from traditional folk and mento to early ska and sacred Nyabinghi drumming. Standout pieces included the traditional standards Ribba to De Bank, Dis Long Time Gal, and Rum and Coconut Water, the band’s original composition Sweet Jamaica, and two of Marcus Garvey’s own poems set to music for the first time at the symposium: Keep Cool and Africa for the Africans.

Beyond their role as vehicles of resistance, the presentation also highlighted the practical cultural functions of folk and mento as call-and-response field worksongs. Many of these tracks were structured to force brief moments of rest during grueling, 12+ hour work days, while others were adapted for communal labor projects — such as the traditional practice of pulling entire wooden houses from one settlement to another, a custom once common in Jamaica’s Westmoreland parish.

Following the symposium, the band traveled to Wallaba in Puerto Viejo, a coastal community known locally as Old Harbour for its large population of Jamaican diaspora members, for a public concert that proved far more emotionally resonant than anyone expected. “It was incredibly festive,” Smith recalled. “The entire audience got up to dance, and there was this immediate, unbreakable connection across generations. One of our band members even discovered long-lost family members living in the community. It felt exactly like being in Jamaica in the 1920s and 30s — the local cuisine was just what your grandmother would cook, a full traditional spread. It was a classic old-school Jamaican gathering, and you could feel the same longing for connection to ancestral roots that many of us feel when we talk about returning to Africa.”

Smith also noted that the event held particular weight in Costa Rica, where national hero Marcus Garvey holds a revered place in local labor history. Garvey was a central organizing figure in the movement to unionize Costa Rica’s plantation workers, and was ultimately expelled from the country amid elite pushback against growing labor unrest. The expulsion sparked mass public outcry and a general strike that forced the government to reverse its decision, and a public holiday was declared in Wallaba to mark Garvey’s return. For the band, the entire symposium and tour boiled down to one simple, unifying truth: “The tour, the symposium was simply about us all being home,” Smith said.

Three decades into his iconic career shaping the global reggae-dancehall landscape, legendary artist Capleton is drawing overwhelming affection and attention from fans across the world, as excitement grows around his latest collaborative single “Prayers Up” featuring producer Derrick Sound.

Crafted as a spiritually charged anthem by production label Evidence Music, the track is currently available for streaming on every major digital music platform. It marks the second advance single from Capleton’s hotly anticipated forthcoming full-length studio album, *Heights Of Fire*, slated for official release on June 26, 2026.

A pioneer long celebrated for his searing, conscious lyrical style and unwavering commitment to sharing Rastafarian values, Capleton shared that “Prayers Up” embodies the deep spiritual foundation of Jamaican culture and advances his long-standing mission to speak out against systemic inequality and injustice. “Jamaica is a spiritual nation so we just continue to burn the fire,” the artist explained. “We will always defend equal rights and justice, and wherever there is corruption, we are going to stamp it out.”

The new single has already built significant international momentum, earning placement on a number of high-profile curated playlists across leading streaming services. These include YouTube Music’s official reggae collections and multiple Apple Music lineups: Crucial Roots, WorldWide Riddim, and NMD.

The upcoming *Heights Of Fire* album features a star-studded roster of collaborators, bringing together some of the biggest names in modern reggae and global creative partners. Featured artists include Damian Marley, Stephen Marley and Eesah, while production credits go to industry heavyweights Derrick Sound, Little Lion Sound, Mista Savona, Mixing Finga and L’Entourloop.

Derrick Maître, CEO of Evidence Music and producer on the project, noted that early audience and industry response to the album rollout has been overwhelmingly positive. “The momentum is clearly building and the response from audiences has been extremely encouraging,” Maître said.

A full slate of additional advance singles will roll out in the lead-up to the album’s launch, with a clear release schedule mapped out: *Jah Shine His Light* will drop on May 22, *Behave Yourself* on June 5, *Highway Robbers* on June 19, and *Babylon So Evil* — a high-profile collaboration with Damian and Stephen Marley — scheduled to launch alongside the full album on June 26.

Since breaking into the music scene in the late 1980s, Capleton has built an unparalleled legacy as one of reggae’s most consistent and influential voices. Across more than 30 years in the industry, he has released over 15 full-length studio albums, including beloved fan favorites *Prophecy* and *More Fire*, which spawned enduring reggae classics like *Jah Jah City* and *Who Dem?*. The artist earned a Grammy Award nomination for Best Reggae Album in 2002 for his project *Still Blazin*.

With *Heights Of Fire*, Capleton is positioned to reconnect and reignite passion among his global fanbase once again. The album stays true to the artist’s core themes of spirituality, resistance against injustice, and moral righteousness, blending classic roots reggae foundations with modern production techniques and subtle hip-hop influences to push his signature sound into a new era.

For reggae artist Kenne Blessin, reimagining a beloved iconic track is far from a simple exercise in retro nostalgia – it is a deliberate act of creative reinterpretation that bridges generations of reggae fans. His fresh take on Barrington Levy’s 1990s hit *Vice Versa Love*, a track long celebrated for its mellow, infectious rhythm and timeless message of mutual affection, has already started generating buzz across global reggae communities.

Blessin says he is encouraged by the warm reception to his version, which introduces the classic track to younger audiences while holding onto the heartfelt warmth that turned the original into an enduring reggae staple. “The response has been far more positive than I ever expected,” he shared in an interview. “People really connect with the choice of this song right now. They keep telling me the world needs this message of reciprocal love more than ever, with all the chaos and division we’re seeing globally.”

The reimagined *Vice Versa Love* is one of 14 tracks on Blessin’s latest full-length album, *Caught My Attention*, a project anchored by core themes of love, personal reflection, and cross-community unity. Across the record, the artist crafts a refined yet unforced sonic identity, blending modern production techniques with the raw, unfiltered emotional honesty that defines classic roots reggae.

The album’s tracklist ranges from traditional romantic ballads like *Wanna Be With You* to *Spread the Love*, which explores connections between nature and universal human connection. Blessin recalls that the idea to cover *Vice Versa Love* emerged organically while he was developing material for the album. “The inspiration for *Vice Versa Love* came to me completely naturally one day,” he explained. “I was jamming on a riddim, and the melody just kept looping in my head. I’ve always trusted that spontaneous, natural feeling in the studio, and that’s what made this whole process feel magical.”

Born in Kingston and raised in the coastal parish of St Thomas, Jamaica, Blessin’s musical style was shaped by a diverse array of influences from childhood. Growing up, he absorbed the work of Jamaican reggae legends including Bob Marley, Toots and the Maytals, Sizzla and Beenie Man, while also embracing the sound of American hip-hop from icons such as Snoop Dogg. A later stint living in Antigua, where he performed as part of a working band, deepened his appreciation for soca and rock – genres that have since added rich texture to both his studio recordings and live sets.

Blessin’s professional career got its start in Jamaica, but it accelerated dramatically after he moved to Antigua, where he took home first place in the Caribbean Star Search competition hosted by Gem FM. That victory launched his breakthrough soca single *My Love Will Never Die*, which first gained popularity in Trinidad before spreading to audiences across the Caribbean and eventually beyond the region.

Over the course of his career, Blessin has built a reputation as both a skilled original songwriter and a thoughtful interpreter of well-known tracks, beloved by fans for his signature smooth vocal delivery. His collaborative work crosses genre and generational lines: he has shared stages with artists ranging from global dancehall star Sean Paul to veteran reggae icon Freddie McGregor, and has worked alongside soca and rock acts across the world.

Now based in Atlanta, Georgia, Blessin continues to rework popular hits through a distinct reggae lens. Some of his most well-known reinterpretations include a reggae take on *Holding Back the Years* produced by Hugh Campbell, and a reimagining of Ed Sheeran’s global hit *Perfect*. Most recently, he recorded a reggae version of Elton John’s *Nikita* and contributed to the Blue Flame Riddim project alongside veteran reggae artists Anthony Malvo and Delly Ranx.

To date, Blessin has performed live for audiences across Switzerland, England, Germany, Antigua, Trinidad, St Kitts, and St Maarten. Notably, he has yet to perform a full show in his native Jamaica, a gap he says he is eager to fill in the near future. “I’m so excited to finally bring my work to a stage in Jamaica,” he said confidently. “With how things are coming together for 2026, that dream is going to happen very soon.”

Through his independent record label Dacosta Muzic, Blessin has also expanded his work into music production, overseeing projects that span genres from traditional reggae to contemporary gospel. His discography includes the 2020 EP *Millions*, which explores his ongoing interest in themes of resilience, personal ambition, and spirituality.

At a moment when modern reggae increasingly blends with global pop and digital production trends, Blessin’s artistic approach remains firmly rooted in one core priority: melody and authentic emotional connection. That commitment, he says, is exactly why a decades-old track like *Vice Versa Love* still resonates deeply with listeners old and new today.