分类： entertainment

BRIDGETOWN, Barbados — One of the most beloved annual Caribbean cultural celebrations kicked off Friday night at Bridgetown’s iconic Kensington Oval, where a star-studded roster of reggae’s most enduring trailblazers drew a capacity crowd to open Barbados Reggae Weekend 2026, affirming the genre’s unwavering global popularity decades after its rise to international acclaim.

Titled the Mount Gay Legends of Reggae Show and Dance, the opening night event brought together iconic pioneers of the genre, including dancehall legend Super Cat, roots star Barrington Levy, vocalist JC Lodge, trailblazing deejay Sister Nancy, reggae artist Norris Man and fan favorite Biggie Irie. Local DJs rotated between pumping out classic reggae anthems and hyping the crowd between high-energy sets, keeping the energy high from the first act to the last.

Weeks of anticipation preceded the event, which sold out well in advance, and attendees who spoke with local outlet Observer Online shared what drew them to the stadium Friday night. Local Bajan resident Ricky Don told reporters, “I am here tonight to have a good time…I don’t have a favourite, I love everything. I would encourage the whole world to visit Barbados.”

Sharone, another attendee, shared that she never misses a reggae festival, and said she had been looking forward to Super Cat’s set for months. Dionne, a native of Jamaica’s May Pen Clarendon who relocated to Barbados in 1986, said she and her family have made an annual tradition out of attending the event, and she praised the lineup for delivering authentic Jamaican reggae. She named JC Lodge as her most anticipated performer of the night. For California native Theo, it is the unique atmosphere of the event that keeps him returning year after year. “It’s the vibe, the music and the artistes,” he explained of what draws him back to the festival.

Thousands of attendees echoed that enthusiasm, packing the standing-room-only concourse and filling nearly every reserved seat in the stadium to capacity. The veteran performers delivered exactly what fans came for, starting with Biggie Irie, whose renowned smooth vocals opened the show. He took a moment mid-set to honor Stephen “Cat” Coore, the legendary reggae guitarist and founding member of Third World who passed away earlier this year.

Sister Nancy, who broke barriers as a female deejay starting in the 1970s, brought her signature high energy to the stage, working the crowd with her classic deejay style before closing her set with her globally beloved mega-hit *Bam Bam*. Speaking to reporters after her performance, she reflected on her decades-long career and her enduring cross-generational popularity. “Young people always love Sister Nancy…I’ve been here since 1976…Don’t you hear what I say? Ain’t no stopping Nancy. I mean that,” she said.

JC Lodge, whose decades-spanning hit *Someone Loves You, Honey* had the entire stadium singing along in unison, also addressed reggae’s lasting legacy across the globe. She acknowledged that while the genre has millions of dedicated fans worldwide, it faces growing barriers to mainstream exposure in many major markets. “For example, I live in the United Kingdom and years ago…it was played on mainstream channels in the UK, but now not so much. You might hear Bob Marley, Sean Paul, but not much else,” she explained. Lodge noted that reggae is increasingly boxed into niche ethnic music categories in mainstream media, making it far harder for contemporary reggae artists to break through to widespread audiences. Against that backdrop, she called Barbados Reggae Weekend a vital celebration of the genre. “I am happy that there are events like this that still push reggae because there are still reggae fans out there and they wanna hear it.”

To the crowd’s delight, Lodge even peeled off layered outer pieces of her bright orange ensemble to reveal a pair of shorts for an energetic impromptu dance mid-set. Reflecting on the honor of performing on a stage dedicated to reggae’s legends, she added: “It’s great to be celebrated by fans, by the audience, because as an artiste, that’s what I am here for.”

As the night stretched into early Saturday morning, sets from Barrington Levy and headliner Super Cat sent the already excited crowd into a frenzy. Even a light intermittent drizzle did nothing to dampen the mood, with diehard fans choosing to stay in their spots and embrace the light rain rather than miss a minute of the performances.

After the final encore, attendees left the stadium glowing, with many praising the night as an instant classic. One young attendee summed up the general consensus, calling the lineup of veteran performers a “masterclass” in authentic reggae.

KINGSTON, Jamaica — A pair of talented Jamaican craft creators from the Sandals Foundation’s Caribbean Artisan Collection Programme are gearing up to share their unique cultural work on an international stage at the 2025 New Orleans Jazz & Heritage Festival, which will run from April 23 through May 3.

A public statement released Saturday confirmed that Dana Baugh and Omar “Sheldon” Daley, both natives of Jamaica’s Westmoreland parish, will join a five-person Jamaican craft delegation hosted in the festival’s Cultural Exchange Pavilion. The showcase is co-sponsored by Sandals Resorts and the Jamaica Tourist Board, marking a special year for the event: organizers have selected Jamaica as the festival’s featured nation, shining a cross-cultural spotlight on the island’s iconic music, vibrant culinary traditions and distinct creative arts.

Baugh, the creative mind behind BAUGHaus Design Studio, specializes in handcrafted porcelain tableware, decorative planters, and sculptural pieces that draw direct inspiration from the rhythms and details of daily Jamaican life. Per the release, all proceeds from sales of her work through the Sandals Foundation’s Caribbean Artisan Collection are funneled back into training and development programs for emerging local artisans across the region.

“When audiences engage with my work at the festival, I want them to feel a version of the Caribbean that is both thoughtfully elevated and deeply rooted in our lived experience,” Baugh shared. “This opportunity isn’t just about selling products—it’s about showing the world that our story extends far beyond sun, sand and sea. It’s a rich, layered narrative that we express beautifully through the objects we make and use every single day.”

For Daley, founder of FIRSTSTRAW Company, the invitation to the festival marks a full-circle milestone: he was one of the first artisans to join the Caribbean Artisan Programme back in 2018, when he received specialized product design and business development training from Sandals Resorts’ retail team. A third-generation thatch straw weaver who learned the craft from his mother, Daley’s work carries on traditional techniques rooted in Indigenous Taíno and African cultural heritage. He handcrafts a range of practical, decorative goods including woven bags, storage baskets and serving trays.

“Even as traditional basketry has declined across the region, there are still dozens of artisans committed to keeping this ancient craft alive,” Daley explained. “This opportunity isn’t just a win for me—it represents all the people and all the forms of support that got me and so many other creators to this point.”

The release also shed light on the significant barriers small Caribbean artisans often face, noting that Daley’s small production operation was severely disrupted by Hurricane Melissa, which damaged local infrastructure and cut off his reliable access to raw weaving materials. Targeted support from the Sandals Foundation, including the installation of an off-grid solar energy system for his workshop, helped him fully restore his production capacity within months.

Heidi Clarke, Executive Director of the Sandals Foundation, emphasized that the artisan development initiative is rooted in long-term investment in people and local communities.

“When we support artisans, we aren’t just preserving fading craft traditions—we are protecting livelihoods and strengthening entire local communities,” Clarke said. “We are incredibly honored to be part of Dana and Sheldon’s stories, and to watch them share their work with the world.”

Since the program launched in 2018, the Caribbean Artisan Collection Programme has supported more than 30 independent creators across nine Caribbean islands where Sandals Resorts operates. Program data shows participants have seen a measurable expansion in production output and a steady increase in regional and international sales since joining the initiative.

This year’s New Orleans Jazz & Heritage Festival is projected to draw roughly 500,000 attendees from across the United States and around the globe, making it a landmark opportunity for Jamaican creatives to access a much broader international consumer base. Beyond boosting sales, organizers frame the showcase as a critical step to passing down traditional craft knowledge and inspiration to the next generation of Caribbean creators.

KINGSTON, Jamaica — More than 20 years in the making, one of the most transformative projects in modern Caribbean literature is preparing for its official public debut. The PJ Patterson Institute for Africa-Caribbean Advocacy will host the launch of Lorna Goodison’s *Dante’s Inferno: A New Translation* on the evening of May 6, 2026, in the main library’s multifunctional room at the University of the West Indies Mona campus, the institute announced in an official statement released Saturday.

Jamaican reggae’s fastest-growing new talent, Carey James, has joined forces with established reggae performer Yaksta and in-demand producer Spyda Meng to release their highly anticipated collaborative single, *Strength of a Lion*.

Dropped to digital platforms on April 17 through independent imprint Pondemik Records, the track has already crossed a major milestone, racking up more than 150,000 global streams in its early window of release, a clear sign of its resonance with reggae fans worldwide.

Crafted around sharp, thoughtful social commentary, the song pairs clever, purpose-driven lyrics with a lush, roots-reggae rooted instrumental built by Spyda Meng. The production strikes a careful balance between vintage reggae authenticity and contemporary sonic styling, blending hard-hitting, unapologetic reggae energy with modern production flourishes to carry a core message of personal resilience, unshakable faith, and steady perseverance through hardship.

Yaksta, a fan favorite celebrated for his raw, socially conscious delivery and heartfelt, authentic storytelling, brings new layers of gravity and credibility to the collaboration. His distinctive vocal style complements the commanding, confident presence that Carey James brings to the track, creating a dynamic chemistry that elevates the entire record.

Anchored by an anthemic hook that repeats the plea for “the strength of a lion”, the track speaks directly to the experience of pushing through personal and collective struggle, and maintaining mental fortitude when facing hardship. Its intentional lyrics tackle systemic inequality, ongoing global conflict, and rising social division, expanding the song’s scope from a personal mantra to a unifying call for global peace. It places particular focus on nations across the African continent, closing with a clear plea for “no more war”.

Overall, the three collaborators have created a bold, timely artistic statement rooted in reggae’s cultural legacy of social awareness and collective strength. *Strength of a Lion* is currently available for streaming and download on all major digital music platforms worldwide.

Four years after stepping back from the public music scene left audiences waiting anxiously for her next creative chapter, versatile Jamaican recording artist Press Kay has reemerged with a reimagined sound that showcases significant artistic growth, intentional storytelling, and uncompromising creative vision.

Slated for global release this Friday, April 24, her new single *The Spot* is a silky, emotionally layered track crafted specifically for romantic partners, leaning into soft intimacy that sets it apart from much of her earlier discography. Throughout her career, Press Kay has built a reputation for rejecting creative boundaries, moving seamlessly between vastly different musical styles without ever sacrificing her distinctive voice.

Her catalog spans high-octane dancehall bops, including collaborations like *Come for the Knockas* with Charly Black, the solo cut *Good Gyal*, and *Title* alongside Chronic Law, alongside more reflective, introspective offerings such as *Destiny*, distributed by iconic label Ghetto Youths International. This range has long cemented her reputation as a dynamic creative unwilling to be boxed into a single genre.

With *The Spot*, however, Press Kay embraces a new side of her artistry: full unfiltered vulnerability, leaning into themes of closeness and human connection that feel deeply personal while remaining universally relatable to listeners across backgrounds. The track was produced by legendary platinum-selling hitmaker Robert Livingston, whose production work delivers a polished yet soulful foundation that complements Press Kay’s signature vocal delivery perfectly.

The creative chemistry between the artist and producer is palpable across every second of the track. Livingston’s rich, layered instrumentation creates a warm, immersive backdrop that elevates Press Kay’s melodic flow and heartfelt, conversational lyrics. Far from just a three-minute pop offering, *The Spot* is designed to be a full immersive listening experience centered on the core themes of love, presence, and genuine emotional connection.

In a reflection on the track’s origin, Press Kay shared that the creative process came together entirely spontaneously. She had arrived at the studio for a routine planning meeting when Livingston played the unfinished beat, and the hook immediately popped into her head. After she shared the rough idea with the producer, he loved it instantly and urged her to lay down the track that same day. Once the initial recording was complete and the pair played it back, Livingston couldn’t stop singing the infectious hook: “meet me by the spot, spot, spot,” telling Press Kay immediately that the line was irresistibly catchy and that audiences around the world would gravitate to it.

For Press Kay, the collaboration with Livingston marks a full-circle career moment. She shared that she feels deeply honored to finally work with the producer, who has guided the careers of reggae and dancehall legends including Super Cat and Shaggy, and whose relentless work ethic she says is unmatched. The pair had discussed the possibility of Livingston producing a track for her upcoming extended play (EP) for more than two years, with the project eventually coming together in the organic, unforced way that *The Spot* itself was created.

With *The Spot*, Press Kay pulls listeners into a creative space where passion and unfiltered authenticity meet, reminding long-time fans exactly why her voice has been missed during her multi-year break from releasing new music. The artist says she is thrilled to make her return to the public music space, having spent the past few years working behind the scenes on her forthcoming EP. She added that she has missed connecting with fans through new releases and seeing their raw reactions to her work, and is already preparing for a return to the stage, with plans to tour across Europe, Africa, the United States, and other global markets in the coming months.

Starting April 24, *The Spot* will be available for streaming and download on all major digital music platforms worldwide.

When Jamaican-born, New Jersey-based reggae artist Ras Emmanuel boarded a plane for the United Kingdom this past March, he set out with a clear goal: to share his purpose-driven latest release, *Drinky Drinky*, with new audiences across the Atlantic. What he got, however, was a far more memorable and eye-opening experience than he ever anticipated.

Teaming up with fellow performer MC Nuffy, Ras Emmanuel brought his distinct reggae sound to venues across the UK’s most reggae-loving hubs, including London, Birmingham, Luton, and their surrounding outskirts. All of these cities are home to large, well-established Jamaican and West Indian communities, whose ancestors first settled in the region between the 1950s and 1960s. Over decades, these communities built deeply rooted musical infrastructure through iconic sound systems and independent record shops, creating a lasting reggae culture that remains vibrant to this day.

Reflecting on the trip in an interview with *Observer Online*, Ras Emmanuel described the tour as equal parts humorous and adventurous. “It was humorous, adventurous. I get to explore things mi neva experience before,” he said.

Beyond live shows, the tour also opened new professional doors for the artist: he earned a guest spot on AG Live, the UK’s one of the most popular streaming music programs, hosted by British-Jamaican DJ Ashley “AG” Gordon.

Released at the start of 2024, *Drinky Drinky* marks a notable departure from Ras Emmanuel’s signature roots rock sound that defined earlier tracks like *Next Door to Good* and *Break up Your Back*. Laid over the trending WYFL riddim, the track carries a clear public health-focused message: it encourages listeners to cut back on dangerous heavy alcohol consumption. Ras Emmanuel broke down the track’s core message in plain terms, noting, “It telling di man dem sey fi tek time wid di liquor. Nuff a di man dem cyaan find dem car door (when they drink).”

Ras Emmanuel’s connection to reggae runs deep, rooted in his upbringing in Central Village, a working-class community on the outskirts of Spanish Town, Jamaica. He cut his teeth in the music industry as a young artist performing on local sound systems, drawing inspiration from iconic Spanish Town reggae staples Papa San and Lieutenant Stitchie, who shaped his early artistic style.

Kingston’s beloved nightlife hub RawBar, a standout venue in the city’s competitive hospitality landscape, is expanding its signature curated experience beyond after-dark hours with an exclusive new daytime offering. Scheduled for this Sunday, April 26, the pop-up event dubbed RawPar: The Brunch will break away from the venue’s iconic Barbican Road rooftop to take over the sprawling lawns of the UWI Visitors’ Lodge, running from 2:00 pm to 8:00 pm. This one-day-only gathering is crafted to deliver the same electric, intentional atmosphere RawBar is known for, reimagined for a relaxed yet vibrant open-air setting.

Attendees can look forward to a premium champagne and cognac-inclusive brunch spread, with all food covered in the ticket price, designed to suit guests looking for a standout daytime social experience. The concept for RawPar: The Brunch grew directly from customer demand, according to Kenneisha Campbell, head of public relations and marketing for the popular lounge. “Even though every night at RawBar carries its own theme and experience, people have been asking for more; more moments, more opportunities to be part of what the RawBar team has created,” Campbell explained in a statement announcing the event. She added that the new brunch offering is the venue’s direct response to that public enthusiasm, extending the brand’s signature energy and high service standards into daylight hours for the first time.

Presold tickets for the exclusive event are priced at JMD $8,000, and can be purchased directly at RawBar’s physical location or through the TickGateway platform. Campbell noted that pre-sale interest has already outpaced early expectations, with tickets selling quickly as locals and regular patrons rush to secure their spot at the unique daytime gathering.

For context, RawBar has built its reputation as one of Kingston Corporate Area’s most sought-after rooftop nightlife destinations since its launch, based at 90A Barbican Road. The venue draws a consistent, diverse crowd of working professionals, creative industry leaders, social media influencers and cultural tastemakers, drawn to its refined elevated ambience, menu of fresh seafood, custom crafted signature cocktails, and distinct Miami-inspired vibrant energy. Unlike many casual nightlife spots, RawBar has positioned itself as a polished, thoughtfully curated venue that delivers intentional, memorable experiences for every guest. This reputation has earned the venue industry recognition: just this year, RawBar took home the award for Best Watering Hole (Kingston) at the 2024 Jamaica Observer Table Talk Food Awards, a win that further solidifies its leading position in Jamaica’s competitive hospitality and entertainment space.

Against the backdrop of post-hurricane recovery and an isolated violent incident, Jamaica’s 2026 Carnival has emerged as a defining demonstration of the nation’s resilience, cultural vitality, and economic determination, according to event organizers and government stakeholders who are pushing back against attempts to frame the entire season around a single negative event.

Kamal Bankay, chairman of Carnival in Jamaica, emphasized that the annual celebration is far more than a one-off seasonal gathering. It is a year-round enterprise that demands consistent strategic planning, global brand promotion, and sustained cross-border engagement to drive tourism and industry growth. “Right after we close out one Carnival season, our team immediately shifts focus to preparing for the next,” Bankay explained, noting that organizers actively market the Jamaica Carnival brand at major international Caribbean events, including Trinidad’s Carnival, London’s Notting Hill Carnival, and Miami Carnival, to expand its global reach.

Heading into 2026, the Carnival team had high hopes for the season’s growth — but those plans were upended when Hurricane Melissa tore through western Jamaica, causing widespread devastation and forcing the entire nation to prioritize emergency relief and long-term reconstruction over all other activities. “It was an incredibly painful period for our country, and recovery efforts had to come first before anything else,” Bankay said.

Rather than canceling the season, however, stakeholders made a deliberate choice to reboot Carnival planning as a core component of Jamaica’s broader national recovery strategy. In the months following the storm, organizers worked overtime to rearrange logistics, secure venues, and revamp programming, determined to deliver an unforgettable experience for festival-goers in April.

Their efforts paid off: the 2026 staging drew strong turnout that matched 2025 participation levels, generated high-energy celebrations, and even marked historic expansion, with new Carnival activities launched in Negril — a region still in the early stages of recovering from hurricane damage. Early projections indicate the 2026 event will match or exceed the economic impact of the 2025 season. “This year’s Carnival proved Jamaica can bounce back. Every element ran smoothly, it felt like one big, joyful national celebration, and that’s what the story should be,” Bankay noted.

Jamaica’s Minister of Tourism Edmund Bartlett echoed this assessment, hailing the 2026 road march as both a cultural and economic milestone. “After the massive hurricane and all the trauma it left behind, this was a perfect chance for people to let go of tension and breathe again. It was an outstanding showcase, and it sends a clear message: Jamaica is open for business, and we are back,” Bartlett said. He also praised the event’s seamless execution, framing it as proof of Jamaica’s ability to deliver complex, large-scale international events successfully.

The widespread celebratory atmosphere was briefly interrupted by a shooting at an after-party in Kingston, widely referred to as the Big Wall incident, which left three men injured. The case, which involves public entertainment figures Jaii Frais and Jahvy Ambassador, is now working through the legal system and has drawn sustained public attention.

Stakeholders across the board have strongly condemned the act of violence, but they are united in rejecting attempts to use the incident to define the entire 2026 Carnival season.

Kingston Mayor Andrew Swaby labeled 2026 Carnival a “resounding success” that drove economic activity across multiple sectors from hospitality to transportation to retail, even as he reiterated condemnation of the shooting. Bankay similarly emphasized that the isolated incident does not reflect the broader Carnival experience.

“One violent incident at a single after-party is one too many, but we hosted more than 70 successful events across the season, plus a massive road parade that was executed flawlessly from start to finish,” Bankay said. “What happened does not represent Carnival as a whole. It was an extreme, isolated event, and once the attention fades, people will remember how extraordinary this season was.”

For organizers and national stakeholders, the lasting narrative they hope to leave is not one defined by a single moment of disruption. Instead, it is a story of a nation that rebuilt after crisis, and used its most vibrant cultural celebration to showcase its unbroken spirit, creative strength, and ability to come back stronger than ever.