分类： entertainment

On Palm Sunday evening, centuries of sacred choral tradition came alive inside St. Augustine’s Chapel on the North Street campus of Kingston College, as the Diocesan Festival Choir presented its critically acclaimed concert ‘Hosanna to Hallelujah’ under the skilled direction of conductor Audley Davidson. Joined by a small chamber orchestra, the nearly 20-member ensemble delivered a moving, meticulously curated program that kicked off Holy Week for local music and faith communities alike, earning resounding applause from a packed house.

The evening opened on a striking note with Arthur Hastings’ *Hosanna to the Son of David*, performed entirely a cappella. The rich, layered four-part harmony filled every corner of the historic chapel, its grand tonal texture announcing the start of the liturgical season with fresh, reverent energy. After the opening number, the choir repositioned at the front of the chapel, where attendees noticed a long-awaited update: the ensemble debuted brand-new royal blue uniforms for the performance.

Next up was J.S. Bach’s beloved *All glory, laud and honour*, a piece that highlighted Davidson’s precise, commanding leadership. His tight direction kept every chorister locked in, and the balanced dynamic shading the group achieved earned high praise from listeners. Following Bach’s classic was a less frequently performed selection from George Frideric Handel’s *Judas Maccabaeus*, *See the conquering hero comes*, which showcased warm, elevated tonal work particularly from the choir’s female sections.

A modern arrangement of Fred Bock’s *How majestic is your name* brought a welcome shift in tone, accented by a lyrical obbligato from guest soprano Lori Burnett that drew warm, appreciative applause from the audience. The only solo performance of the afternoon came from baritone Jourdain Masters, who delivered a haunting, narrative-driven interpretation of Geoffrey O’Hara’s *I walked today where Jesus walked*, retelling the story of Jesus’ journey to Calvary through thoughtful vocal expression.

While the familiar hymn *Jesu, grant me this I pray* was broadly well delivered, the performance faced a small misstep: one brief stanza lost melodic clarity amid the vocal blend, with a few tentative entrances from the ensemble. The choir quickly rebounded, however, delivering masterful performances of Paul Bliss’ arranged *Calvary* and Felix Mendelssohn’s *See what love* from *St Paul*. The seamless handoff of melody lines between voice parts and the cohesive blend on display served as a masterclass in sacred choral performance.

The first half closed with David Clydesdale’s arrangement of *Lift up the lamb*, built around the iconic *Ode to Joy* melody. The ensemble shifted smoothly between staccato and legato phrasing, with the chamber orchestra providing robust, supportive accompaniment that left audience members eager to cheer as the interval began.

The second half opened with an audience participation performance of Michael Burkhardt’s *Lift high the cross*, featuring a rousing trumpet solo that set the tone for the remainder of the program. Returning to the stage, the choir offered another a cappella selection: William H. Smith’s arrangement of the spiritual *Walk together children*. Marking the first time the group has integrated gentle choreography into one of its performances, the choristers stayed perfectly on pitch and maintained their tight, polished form throughout the number.

Accompaniment returned for Bob Chilcott’s *God so loved the world*, with a talented ensemble of local instrumentalists supporting the choir: Alex Gray and Stephen Shaw-Naar shared organ and piano duties, Okiel McIntyre and Shanneil Christian played trumpet, Avory Crooks and Travis Wedderburn took trombone, and Delroy Franklin played timpani.

For many in attendance, including the show’s reviewer, the standout performance of the entire evening was *When thou comest (Inflammatus et accensus)* from Gioachino Rossini’s *Stabat Mater*. The selection showcased the choir’s exceptional ability to tackle complex, serious sacred repertoire, with Burnett returning as a featured soloist alongside an ensemble that fully understood the emotional weight of the work.

The concert closed with two final moving selections: Gilbert Martin’s arrangement of *When I survey the wondrous cross* and Ludwig van Beethoven’s *Hallelujah* from *Christ on the Mount of Olives*, leaving a peaceful, reverent afterglow that lingered long after the final note faded.

In his opening remarks and prayer, Bishop of Kingston Garth Minott shared a key piece of the ensemble’s history: founded in 1924, the Diocesan Festival Choir carries a century-long legacy of musical excellence. This Palm Sunday performance, Minott noted, reflected exactly why that tradition has endured for 100 years. Sacred choral music demands rigorous attention to detail, tonal precision, and emotional depth, and the 2024 *Hosanna to Hallelujah* concert delivered all three, giving attendees a rich, moving start to Holy Week.

OCHO RIOS, JAMAICA – As Vacae Weekend 2026 builds toward its highly anticipated grand finale, the iconic beachside event Pic-Nic Beach Club delivered an unforgettable day of music, culture, and celebration Saturday at St. Ann’s breathtaking Plantation Cove. Drawing a stylish, energy-charged crowd from across the island and beyond, this year’s iteration of the signature lifestyle event cemented its reputation as one of the most beloved stops on the Vacae Weekend lineup, wrapping up with a standout performance from fast-rising dancehall star Armanii that left attendees buzzing.

True to the event’s long-standing aesthetic, Pic-Nic transformed the sweeping cove into a glowing ocean of pink, with immersive, carefully curated decor turning the tropical coastline into one of the weekend’s most visually stunning installations. Hours before the headliner took the stage, thousands of partygoers began filing into the venue, their excitement palpable in the warm Caribbean air. Attendees enjoyed premium beverage offerings from Appleton Estate, a diverse spread of local and international cuisines from dozens of curated food vendors, and nonstop high-energy sets from some of Jamaica’s most in-demand DJs, including Fyahman, Chromatic, and Kryptic, who kept the crowd moving from the first opening note.

The energy hit its peak when Armanii stepped into the spotlight, immediately locking in a connection with the audience that held through his entire set. The dancehall standout ran through a stacked setlist of his most popular hits, with many of his tracks striking a particular chord with the large contingent of female attendees who turned out to see him perform. By the end of his performance, the entire venue was singing along to every lyric, cementing the set as the highlight of the day.

In a post-performance interview, Armanii praised the unwavering energy of the crowd, noting that the turnout from his female fans elevated the entire experience. “The vibes from the crowd were amazing,” he said. “From the moment I stepped on stage, the energy was there. The ladies showed up and showed out, and that made the performance even better.”

Organisers say the overwhelmingly positive response to this year’s Pic-Nic confirms the event’s critical role in the broader Vacae Weekend lineup, which has turned Ocho Rios into the epicentre of Jamaican Easter entertainment. Pic-Nic organiser Franz Kentish highlighted that the event has always prioritized holistic experience over just music, and this year’s iteration delivered on that promise more than ever before. “Pic-Nic is all about the experience — the visuals, the energy, the crowd — and this year we really saw that come together,” Kentish said.

With Pic-Nic wrapped, Vacae Weekend 2026 is set to continue with three more highly anticipated signature events: the exclusive Estate All White Soiree, the bold nightlife experience Risqué, and the weekend’s grand closing act, the Sandz Caribbean Music Festival. Festival organizers have hinted that upcoming events will bring even more surprise guests and iconic performances to Ocho Rios, as the week-long celebration of Caribbean music and culture continues.

MANHATTAN, New York — A 54-year-old Jamaican medical professional has broken age barriers in the global pageant circuit, securing a top spot at one of the world’s most unique competitions for accomplished women. Last Saturday night, Dr. Sandra Swaby, who previously reached the top five in the 2024 Miss Universe Jamaica pageant, was named first runner-up at the Queen of the World Pageant, held at New York’s Symphony Space Jay Sharpe Theatre.

In an interview with Observer Online on Sunday, a buoyant Swaby reflected on her journey to the international stage, which brought together more than 25 delegates from across the globe. The veteran cosmetic surgeon, who specializes in anti-aging medicine, explained that encouragement from online pageant communities pushed her to register for the competition. For Swaby, competing was never just about winning a crown—it was a mission to redefine beauty standards for women over 50.

“I wanted to prove to women my age that they were born to be the beauty that they want to be. It’s not cliche to be glam in their 50’s,” she shared.

Unlike traditional pageants that often prioritize youth and single status, the Queen of the World competition is designed specifically for established women: it welcomes competitors who are married, mothers, full-time working professionals, and proven leaders in their fields. Swaby fits this mold perfectly: she has been married to her second husband for six years, and the couple share four daughters, while maintaining a thriving career in cosmetic medicine.

Looking back at her months of preparation, Swaby emphasized that the hardest work happened off the stage, not in a gym or rehearsal studio. For her, the most critical preparation was mental. Instead of fixating on outperforming her fellow competitors, she centered her mindset on two goals: amplifying Jamaica’s global profile and connecting with her authentic self to share her unique story with the world.

“The mental preparation was about connecting with me and showing people who I am as a woman. I had to tap into my inner light so it could shine on the outside,” she explained.

Beyond her overall first runner-up placement, Swaby walked away with three additional honors to recognize her performance and character: the People’s Choice Award, the Ambassador’s Award for Public Speaking, and the title of Miss Congeniality. The 2024 Queen of the World crown went to the Italian delegate, with the representative from the United States rounding out the competition’s top three.

In reflecting on the lessons she gained from the experience, Swaby issued a rallying cry for women who hold back from pursuing their goals because of age or societal expectations. “Just be you, just go for it, just step into the ring with your gloves on and go for it,” she said.

KINGSTON, Jamaica — Twenty years after breaking into the global reggae music industry and cementing his legacy with the iconic One Day rhythm, acclaimed Jamaican music producer Seanizzle is marking a fresh career milestone. His latest collaborative production, *The Little Things*, performed by rising singer D’Yani, has claimed the number one spot on both the US iTunes Reggae singles chart and the platform’s reggae music video chart, a win announced last Friday.

In an exclusive conversation with Jamaica Observer Online on Saturday, the hit-making producer opened up about his reaction to the track’s unexpected early success, describing his gratitude as too deep for words. For Seanizzle, D’Yani, and the entire creative team behind the single, *The Little Things* carries far more weight than a standard commercial release. The track was crafted in the wake of Hurricane Melissa last year, born from the raw personal experiences and genuine emotions of communities affected by the disaster, giving the project an authenticity that has resonated deeply with listeners.

This collaboration marks the second creative partnership between Seanizzle and D’Yani, and the producer said the experience of working together has been overwhelmingly positive. What sets D’Yani apart from many emerging artists, Seanizzle noted, is his clear artistic identity and unwavering commitment to his craft. That self-assurance created a relaxed, seamless creative energy in the recording studio, letting natural inspiration drive every step of the track’s production.

While *The Little Things* is currently being released as a standalone single, Seanizzle confirmed that it will also be featured as a key track on an upcoming full-length project scheduled to drop in the near future.

Seanizzle first rose to prominence two decades ago, when his breakout One Day rhythm turned him into a household name in reggae circles. The iconic production spawned a string of enduring hits, including the title track, ZJ Liquid’s fan-favorite *Wifey*, and *Swaggeritic* from Mr G, solidifying his reputation as one of reggae’s most innovative producers.

LONDON — The global reggae community is mourning the loss of one of its trailblazing contributors, Rupie Edwards, the Jamaican-born singer and producer whose 1975 hit *Irie Feelings (Skanga)* broke into the upper echelons of the British national music charts. Edwards was laid to rest on Thursday, April 2, at a ceremony in Beckton, East London.

Details surrounding Edwards’ passing remain limited, according to his close friend of more than five decades, fellow reggae artist Dennis Alcapone, who first confirmed the musician’s death. No information about surviving immediate family members has been released to the public as of yet.

Edwards’ decades-long career in music began in the early 1960s, when he launched his professional journey as a solo vocalist in his native Jamaica. After cutting his teeth as a solo performer, he went on to record with two prominent Jamaican harmony groups, The Ambassadors and The Virtues, honing his craft and building connections across the island’s thriving music scene. Toward the end of the 1960s, he expanded his professional scope into music production, setting up his base of operations along Kingston’s iconic Orange Street, a hub for Jamaican music production at the time.

Edwards launched his own label, Success Records, which went on to host recording sessions for some of reggae’s biggest names, including The Heptones, Gregory Isaacs and Johnny Clarke. His first major commercial success came in 1972, when deejay Shorty’s track *President Mash up The Resident*, produced by Edwards, became a runaway hit. Two years later, Edwards notched another career win with Johnny Clarke’s *Everyday Wondering*, a track that would lay the groundwork for his most iconic release.

In 1975, Edwards built on the popularity of *Everyday Wondering* by adding his own signature toasting vocals over the track’s instrumental, creating the upbeat, infectious *Irie Feelings (Skanga)*. Distributed across the United Kingdom by leading reggae label Trojan Records, the track resonated deeply with British audiences, ultimately climbing into the Top 10 of the British national charts. It remains one of the few reggae tracks by a Jamaican artist to earn a Top 10 position on the chart in that era.

While Edwards never repeated the mainstream commercial success of *Irie Feelings (Skanga)*, he remained an active and influential figure in the music industry for decades. By the 1990s, he had shifted his creative focus primarily to producing gospel music, while also working with independent labels including Trojan Records and Trybute to reissue his extensive back catalogue, introducing his early work to new generations of reggae fans.

The news of his passing closes the book on a career that helped shape the sound and global spread of reggae music, leaving a lasting legacy for artists and fans alike. Reporting for this story was contributed by Howard Campbell.

KINGSTON, Jamaica — A fresh wave of conversation is rolling through Jamaica’s iconic dancehall scene, as rising singjay Rena has launched a provocative new double-sided single *Yardie Girls No Love/Kingston City* that has split audiences and drawn widespread attention across social platforms. The St. Thomas-born artist crafted the track to offer a raw, unfiltered exploration of the distinct mindsets and perspectives held by women across different Jamaican parishes, a framing that has turned the release into one of the most talked-about dancehall drops of the season. Far from drawing only criticism, the single has earned Rena notable acclaim from industry insiders, with many musical pundits praising her bold creative vision and fresh approach to storytelling, cementing her reputation as an emerging talent to watch. Produced by the U.S.-based independent record label SO-CT Society, the single has already gained significant traction across social media channels, and has even caught the eye of prominent Jamaican entertainment outlet Onstage TV, which featured the track in its recent coverage. For Rena, the new release is far more than just another song—it is a declaration of her intentional arrival in a male-dominated genre long starved for new female voices. “There is a clear gap in dancehall when it comes to female representation, and that is exactly the space I have come to claim,” Rena shared in an interview, speaking in her authentic local cadence. “I bring unapologetic pressure, sexiness and openness to this space. I’m just being my true self, and I keep an open mind—that’s what people can expect from me.” Already, the rising artist has put in months of non-stop studio work, as she maps out a clear path to becoming a household name across the Caribbean and global dancehall community by 2026. Her near-term strategy centers on consistent music releases, high-quality visual content, and strategic collaborations with established and emerging artists alike, all designed to grow her fanbase and open new doors for live performances and long-term business ventures in the industry. When addressing the controversy that has sprung up around her single’s subject matter, Rena pushed back against critics by framing the track as honest social commentary rooted in everyday Jamaican life. “I sing about what I actually see happening in society,” she explained. “Even if some people don’t like what I have to say, they know what I’m saying is the truth. That’s why so many people can connect to my music.” Currently, Rena is splitting her time between ongoing studio sessions for upcoming new music and a multi-pronged promotional push for her debut single. She is also in the middle of production on the official music video for the *Kingston City* side of the release, set to drop in the coming weeks.

Rising Caribbean recording artist Espappi, born Christopher Escoffery, is quickly building a global buzz around his latest dancehall release, *Wiggle N Tickle*, which dropped from production collective Ragz to Richez on March 6.

Blending decades of experience in Caribbean performance with a modern creative vision, Espappi drew inspiration for the upbeat track from nostalgic, playful classic dancehall rhythms, with the explicit goal of updating vintage Caribbean sounds for a 21st century audience. Early feedback from listeners has already exceeded the artist’s expectations, with fans and critics alike praising the track as a fresh, infectious, and mood-boosting addition to contemporary global pop and dancehall rotations.

For the Jamaica-born artist, the single is more than just a new release—it is a stepping stone to connecting with music lovers across every continent. “My ultimate hope is that this song breaks internationally, connecting with audiences worldwide,” Espappi shared in a recent statement about the track’s outlook.

Espappi’s journey to this breakout moment began in Kingston, Jamaica, where he was born, before his family relocated to Clarendon, where he spent most of his childhood. As a young adult, he moved to the United States to pursue his performance career, cutting his teeth in competitive dance long before launching his full-time recording work. His competitive dance resume boasts an impressive array of titles: he took home third place at the 2014 International Dancehall Dance Competition, followed by a first-place win at the same event the next year. He also claimed first place at the prestigious Dancing Dynamite competition in 2015, and continues to compete in elite dance events today. Beyond competition, he has built a reputation as an in-demand opening act, sharing stages with global music icons including Brian Jenner, Lil Bibby, Alkaline, and Sean Paul, honing his live performance craft along the way.

Looking ahead to the remaining three quarters of the year, Espappi has laid out a series of ambitious goals to expand his reach and solidify his place in the global music industry. Alongside building momentum for *Wiggle N Tickle*, he is currently wrapping up work on his debut extended play (EP), plans to return to the Caribbean to perform for local audiences, and is experimenting with cross-genre collaborations and recordings to showcase his artistic versatility and attract a broader cross-section of global listeners.

OCHO RIOS, Jamaica — One of Jamaica’s most anticipated annual Easter holiday entertainment gatherings, Vacae Weekend 2026, has officially launched with a dynamic and colourful opening ceremony hosted at The Lawn, held inside the iconic Plantation Cove in St Ann.

Sponsored by leading beverage brand Wray & Nephew, the opening night delivered an unparalleled high-energy experience that drew crowds of partygoers from across Jamaica and international visitors alike. Attendees leaned into the event’s theme by dressing in the signature bright yellow of the brand, turning the entire venue into a vivid, eye-catching sea of colour that left a lasting visual impression on all in attendance.

From the moment gates opened in the early evening, the air at Plantation Cove crackled with excitement, fueled by pulsing music, enthusiastic crowds, and widespread anticipation for the four days of celebrations ahead. Event organizers paired a wide selection of premium local and international food and drink options with sets from some of Jamaica’s most in-demand DJ talent, including Di Unit Sound, Dj Mindless, and the duo of Dj Bankda & Poppi. The combination left attendees fully satisfied, with the opening experience living up to the months of hype that preceded it.

As the official kickoff for the full Vacae Weekend series, The Lawn holds a key role in building momentum for the five additional events scheduled across the four-day holiday weekend. Speaking following the opening night, Andrew Ellis, chief executive officer of event producer Twenty14 Ltd, shared his positive impressions of the crowd turnout and energy.

“The Lawn has always been designed to set the tone for the entire weekend, bringing that infectious energy that gets everyone in the spirit for what’s coming,” Ellis explained. “This is the moment when the whole Vacae Weekend experience truly begins, and the response we’ve gotten from attendees this year has been absolutely tremendous.”

Following the success of the opening night, the Vacae Weekend lineup will continue with a full slate of fan-favourite signature events. Upcoming gatherings include the laid-back outdoor Pic-Nic, the lively Tropical Saturday, the elegant Estate All White Soiree, the edgy Risqué experience, and the festival’s grand finale: the widely celebrated Sandz Caribbean Music Festival, which is expected to draw thousands of additional attendees to Ocho Rios before the weekend concludes.