分类： entertainment

What started as a gloomy, rain-threatened day for scores of soca enthusiasts gathered at Rytz for a highly anticipated fete on Thursday ended as one of the most memorable nights of Caribbean musical celebration in recent memory. A punishing early downpour had left attendees questioning whether the beloved event would be able to deliver on its promise of nonstop joy — but by the time the sun dipped below the horizon, the entire space had been transformed, doused not in rainwater, but in pulsating rhythm, bold flavor, and unbridled collective happiness that no storm could dampen.

Billed as an all-inclusive upscale escape, the event lived up to its name from the first moment guests arrived. Premium spirits circulated easily between mingling attendees, and a carefully curated spread of culinary offerings delighted taste buds with every new sampling. Even amid this laid-back indulgence, however, a tangible buzz of anticipation hummed through the crowd: everyone knew the headline performance that would elevate the entire experience was still to come.

That long-awaited moment finally arrived when Kes the Band stepped into the spotlight. With 21 years of industry experience under their belt, the iconic soca ensemble did not merely walk onto the stage — they owned it, exuding the quiet confidence of a legendary act that remains at the very peak of its creative power. Right from their opening introduction, the group made their core mission clear: to bridge Caribbean cultural divides by bringing the signature sound of soca to Jamaica, the global home of reggae and dancehall. The message resonated deeply with the crowd, especially as frontman Kees Dieffenthaller opened up about his personal connection to the island.

“Jamaica helped shape us too,” he told the audience. “Every time I have to leave here, I leave with a heavy heart.”

Long before Kes took the stage, a lineup of talented opening acts had already worked the crowd into a fever pitch. Richie Ras, Cardo, Bloodline Franco, and Brush1 the Road Marshal delivered a relentless, hit-packed warm-up set that had guests dancing and winding across the still-damp event lawn. Fan-favorite tracks including *Greatest Bend Ova*, *Good Spirits*, *Ring Finger*, *Splinters*, and *Big Dansa* turned the open space into one massive, impromptu dance floor, with attendees losing themselves to the infectious beat without hesitation.

Yet when Kes and his band launched into their set, the entire energy of the night shifted to a new level. As the first familiar notes of *Rum and Coca-Cola* rang out, hundreds of phone lights shot up into the dark sky, capturing the once-in-a-lifetime moment. What followed unfolded like a loving tribute to soca music itself, a celebration of the genre’s ability to bring people together across backgrounds.

“Soca music is healing,” Kees told the crowd, his voice cutting clean through the driving rhythm before urging the audience to embrace the moment fully: “When soca calling, we feteing straight to the road.”

The connection between the band and the audience felt almost spiritual, rooted in a shared love for Caribbean sound and community. “This is what I live for — to see all these smiling faces,” Kees said as he scanned the sea of grinning attendees, whose joy in turn fuelled the rest of his performance. At one point, he challenged the crowd to let go of their inhibitions: “If you looking for love, show me your wild side,” and the response was immediate, electric, and overwhelming.

Every minute of the performance was crafted with intentional purpose, moving far beyond surface-level spectacle. “When I come to spread the music, I want you to feel the instruments. This is Kes the Band, not Kees the man,” he declared, grounding the night in a deeper message of unity, full immersion, and shared feeling rather than individual fame.

The band’s setlist glided seamlessly between different eras of soca and shifting emotional tones. Nostalgic classic hits blended with fresh, modern bops as *Hello* melted into *Are You Ready*, before softening into the timeless, reassuring refrains of *I’ll Be There For You* and *Carnival Friends*. In a heartfelt gesture that highlighted the deep musical kinship across the Caribbean, Kees paused to acknowledge the rapid growth of soca’s popularity in Jamaica, emphasizing his love for both genres native to the region.

“I’m so happy to see how soca has grown in Jamaica. We need to bring the energy we have in Trinidad to a bigger stage here, because I love soca, but I love my dancehall too,” he said, before launching into a high-energy medley of vintage hits from iconic Jamaican artists Buju Banton and Super Cat — a surprise that sent the crowd into a frenzy of cross-cultural pride.

Just when attendees thought the energy could not possibly get any higher, Kees upped the ante once again, welcoming a fellow musician for a special guest appearance that added an entirely new layer of excitement to the already electric atmosphere. “Let’s take a jam till a mawning,” he urged, and the crowd obliged without a single moment of hesitation.

As chants of “Oh Lord, oh!” drifted out into the warm Jamaican night, one truth was undeniable: Rytz had far exceeded every expectation. The early rain that once threatened to ruin the entire event had long been reduced to an afterthought, replaced by a full-body saturation of sound, collective spirit, and sensory delight that would stay with attendees long after the final note faded.

Months of careful preparation are coming to a head for Jamaica’s Miss Universe Jamaica Westmoreland 2026 pageant, after organizers publicly introduced the 18 women who will compete for the parish title later this spring. Pageant director Hannah Sheree expressed full confidence in the selected finalists, highlighting the steady progress of pre-coronation planning in an exclusive interview with Observer Online last week.

Against the unexpected backdrop of recovery from Hurricane Melissa, which struck the region late last year, Sheree says recruitment efforts exceeded all expectations. More than 30 young women from diverse communities across Westmoreland stepped forward to attend initial casting calls, a turnout that organizers called far more encouraging than projected after the storm disrupted local life. From that large initial pool of hopefuls, 18 candidates earned a spot as finalists, who made their first public appearance at a formal sashing ceremony held at Savannah-La-Mar’s Hotel Commingle.

The sashing event drew a packed, energetic crowd of supporters who turned out to cheer on the contestants, who already impressed attendees with their poise and presence ahead of the formal coronation. Distinguished guests joined the celebration, including Dwayne Vaz, Member of Parliament for Central Westmoreland, Gabrielle Whyte, 2025 Miss Universe Jamaica West second runner-up, and Maria Marshall, deputy vice president for Miss Jamaica UK.

Sheree emphasized that even this introductory event required months of behind-the-scenes work from the contestants, who are already in active training leading up to the May 23 coronation. “I am so incredibly proud of my girls,” she said, noting that the commitment and enthusiasm the finalists have brought to every rehearsal and preparation session has exceeded the team’s expectations. “Though this was just the sashing show, a lot of effort and passion was put into the preparation and it paid off beautifully.”

The pageant director also extended public gratitude to the full network of local sponsors and partners that have made the 2026 competition possible, starting with Hotel Commingle, the official host venue sponsor for both the sashing ceremony and the upcoming coronation. Additional supporters include Ro Ro Designs, which created promotional materials for the competition, Jamark Luxury Transportation, gift sponsor The Pill Box Pharmacy, Tan Tan Bakery, and official water sponsor Aqua Palace. Sheree also highlighted the critical work of individual contestant sponsors and the core production team—Tiena Brown, Crystal Johnson, and Andre Walker—whose tireless work has kept the pageant on track.

The 2026 Miss Universe Jamaica Westmoreland coronation will take place on May 23 at Hotel Commingle, with a high-stakes reward waiting for the winner: the champion will earn an automatic berth in the national Miss Universe Jamaica pageant, where they will go on to compete for the chance to represent Jamaica on the global Miss Universe stage.

The 18 official finalists for the 2026 Miss Universe Jamaica Westmoreland title are: Annalicia Russell, Shamara Hurst, Cameron Willis, Tiffany Maragh, Ashley Gardner, Thrisianna Coke, Nicolette Gayle, Gabriele Davidson, Kelly Ann Barrett, Roushanda Levy, Nia Paige Matthews, Gayon Gayle, Brittany Solomon, Christine Mulai, Alexsia Brady, Mykhal Anglin, Regina McLean, and Shauna Lee Ervin.

Five decades after they first rose to prominence on Jamaica’s iconic rocksteady scene, the enduring veteran musical duo Keith and Tex continues to create new work, putting their distinctive reggae spin on timeless tracks with the release of their latest cover: the beloved standard *Perhaps, Perhaps, Perhaps*. The long-running pair first hatched the idea for a project reimagining underrated, widely loved classic songs last year, when the pair began brainstorming selections for their new cover series, and *Perhaps, Perhaps, Perhaps* quickly emerged as one of their top choices. Their reimagined version of the track hit streaming and digital platforms this past March, with production credits shared across Carl Fletcher, Basil “Benbow” Creary, and Keith Rowe. This new release marks the follow-up to their well-received 2024 take on Bobby Caldwell’s blue-eyed soul staple *What You Won’t Do For Love*, which transformed the smooth R&B original into a vibrant reggae cut. First penned by Cuban composer Osvaldo Farres, the track has an 77-year recorded history, with previous versions cut by legendary artists ranging from Desi Arnaz and Doris Day to Bing Crosby and Jamaican reggae great Dennis Brown. For the duo, reinterpreting these classic tracks is all about leaving their own creative mark on material that already resonates with audiences around the world. “Our approach to covering songs is to make it our own and in our style,” Keith explained in an interview with Jamaica Observer Online. “The decision to cover ‘Perhaps’ was taken after a conversation with my friends about doing covers of obscure, and well-loved songs. Perhaps it was the first song we recorded.” What makes Keith and Tex stand out among the acts that emerged during rocksteady’s peak 1966–1968 heyday is their ongoing commitment to recording and performing. Though the pair now lives on opposite sides of North America—Keith resides in Tampa, Florida, while Tex has been based in Toronto, Canada for decades—that geographic distance has not slowed their output. The duo got their start over 50 years ago under the guidance of legendary Jamaican producer Derrick Harriott, scoring multiple top hits on the Jamaican music charts with fan favorites including *Don’t Look Back*, *Tonight*, and *Stop That Train*. In the decades since, they have maintained a consistent work schedule: they tour regularly across Europe and Australia, and drop a full new album every two years. Their most recent full-length project, *Gun Life*, was released in 2025 through Spanish label Liquidator Records, setting the stage for this latest string of single releases that see them continuing to celebrate the music that shaped their careers. The release of their new *Perhaps, Perhaps, Perhaps* cover underscores not just the duo’s enduring relevance in the global reggae scene, but also the timeless appeal of well-crafted classic songs that continue to draw new interpretations from generations of artists.

After stepping away from the music industry for more than a decade to pursue a corporate tech career, veteran Jamaican reggae performer Vernal Sage—pronounced Sajay—has returned to the spotlight with a purpose-driven new single aimed at sparking meaningful cultural shift. Titled *Good Over Evil*, the track grows out of Sage’s deep concern over eroding moral standards and fading empathy across global society, and he says he is confident the work can lift collective spirits and reframe public mindsets both in his native Jamaica and across the world.

In explaining the core message behind his latest release, Sage pointed to growing social disconnectedness that has paved the way for a surge in destructive societal problems, from widespread scamming operations to rising violent criminality in Jamaica. Beyond local community issues, he extended his critique to global politics, noting that many world governments now operate without empathy or regard for the welfare of citizens in other nations, pointing to the ongoing crisis unfolding across the Middle East as a stark example.

Sage emphasized that failing adult leadership has disproportionately harmed young people, who grow up without receiving the consistent care and loving example they need to thrive. “It’s turning into a harsher, more unkind world, and that has to be fixed,” he explained. “Good has to hold the balance to keep the world right. That’s why I sing of good triumphing over evil, and that’s what I pray for every day.”

Since its release, *Good Over Evil* has earned broad, enthusiastic backing from Jamaican radio personalities. Top DJs including DJ Amber, Big A, Collision and DJ Bryan from the popular local station IRIE FM have added the track to regular rotation, alongside other prominent DJs Roderick Howell, Dalton Leith, and Richie B. Programming teams at Connection Radio and Captain Kirk of Island Gold Radio have also thrown their support behind the single. The track made its public debut at the iconic Kingston weekly street event Weddy Weddy, hosted by Dwayne Pow, and DJ Shawn 13 has been spinning the track consistently at local street events ever since. “The feedback and support we’ve gotten has been absolutely incredible,” Sage said of the early response.

A native of Westmoreland, Jamaica, Sage grew up as the oldest of eight siblings, cutting his first musical teeth as a member of his high school choir at Glenmuir High School before relocating to Rocky Point, Clarendon, and completing his secondary education at Clarendon College. He cut his first three recorded tracks in the early 1990s under the stage name Green T, after graduating from the University of Technology. For years, he balanced a full-time career as an information technology specialist with his passion for music, even releasing multiple tracks through the legendary reggae label Greensleeves Records. Eventually, the heavy demands of his corporate role led him to step back from music, taking an extended sabbatical that lasted until 2010.

Sage’s return to full-time music began through a personal and professional connection with iconic Jamaican performer Boris Gardiner. In 2020, he officially relaunched his recording career, teaming up with Gardiner and Donovan Downer, a core member of the beloved reggae group Fab Fifty. Since resuming his craft, he has poured consistent energy into refining his work, earning early commercial success with the 2020s single *One Night Stand*, which climbed the ethnic regional music charts across the United States.

Jamaica’s globally beloved musical tradition has long been celebrated around the world, but a groundbreaking new work by author Rohan Budhai argues that many critical chapters of this cultural legacy have remained hidden from mainstream documentation. Titled *A Hit Mek* — a clever reference to Desmond Dekker’s iconic 1967 track *007 (Shanty Town)* that unpacks the deeper cultural roots of the classic phrase “A it mek” — this 560-page volume offers the most sweeping examination of the island’s sonic and cultural evolution ever published, challenging long-held assumptions that Jamaican music history has already been fully mapped.

In his foreword to the book, respected music consultant Clyde McKenzie praises Budhai’s unique approach, which ties pivotal moments in Jamaican social and political history directly to the emergence and transformation of the nation’s core musical genres. Unlike many earlier works that focus only on the global boom of reggae in the 20th century, *A Hit Mek* stretches its narrative back more than 500 years, opening with Christopher Columbus’s 15th-century arrival on the island and the Indigenous Taíno community whose rhythmic drumming, call-and-response vocal traditions, and handmade instruments carried the earliest echoes of African cultural influence that would shape all future Jamaican sound.

Budhai weaves together a complex narrative that accounts for the layered impacts of Spanish and British colonial rule, the brutality of the transatlantic slave trade, and the irreplaceable cultural contributions of every community that shaped the island: Taínos, Maroons, enslaved Africans, and indentured laborers from across Asia and the Middle East. The book traces the step-by-step evolution of Jamaica’s most defining genres, from sacred traditional styles like Kumina to the first commercially recorded local sound Mento, through the mid-20th century explosion of Ska and Rocksteady, and on to the global dominance of Reggae and the contemporary energy of Dancehall. It also centers the underrecognized role of Jamaican sound system culture, a grassroots innovation that redefined live music and went on to reshape popular sound across the globe.

A key strength of the work is its commitment to highlighting the contributions of diverse communities that have long been sidelined in official music histories, including Afro-Jamaican, Lebanese, Syrian, Chinese, and Indian Jamaican creators, alongside the bands, radio outlets, and entertainment organizations that nurtured local talent and expanded the reach of Jamaican sound. The book even addresses longstanding scholarly debates: for example, it notes that while Mento holds the title of Jamaica’s first widely recognized and electronically recorded local genre, cultural icons like Rex Nettleford long argued that it drew significant formative influence from Cuban musical traditions.

The volume devotes special attention to reggae, Jamaica’s most globally impactful export, framing it as a dynamic fusion of West African ancestral traditions, American rhythm and blues, jazz, and soul. It maps reggae’s far-reaching legacy, from spawning iconic subgenres including dub and lovers rock to shaping everything from modern hip-hop to global electronic dance music, cementing Jamaica’s outsize influence on contemporary popular music worldwide.

Budhai, who launched his career in music production before founding Howlers International Music, began the ambitious project in 2021, during the global COVID-19 pandemic, and brought it to completion in 2025. His years of research uncovered major gaps in existing historical accounts, with many key influences — including church music introduced during colonial rule, and cultural traditions dating back to pre-Columbian and enslaved African communities — having been largely overlooked in earlier works.

Today, *A Hit Mek* is available for purchase globally through Amazon, with translated editions already published in Spanish, French, and Portuguese to make this comprehensive history accessible to audiences around the world. While Budhai describes the book as one of the most exhaustive works on Jamaican music history ever compiled, he emphasizes that the story of the island’s sound is far from finished. For him, Jamaican music has always been, and remains, a living narrative that reflects the struggles, extraordinary resilience, and unmistakeable cultural identity of the Jamaican people, with new chapters still being written every day.

Jamaica’s iconic Hope Gardens’ Wonderlands transformed into a vibrant carnival hub over the weekend, welcoming hundreds of eager party-goers to the much-anticipated annual Sunrise Breakfast Party. Organized by local event collective Sunnation Jamaica, the morning gathering has cemented its reputation as one of the can’t-miss staple events on the regional Caribbean Carnival calendar, drawing both local revelers and traveling carnival fans from across the globe this year. Attendees turned out in full force to sample local cuisine, enjoy interactive entertainment, and soak in the high-energy festive atmosphere that has become synonymous with the event. Headlining the morning lineup was soca legend Machel Montano, whose dynamic, crowd-leading performance turned the Saturday morning showdown into an unforgettable experience. The beloved soca maestro commanded the stage from the first note, drawing the entire audience into a collective, high-energy celebration that left the venue buzzing with unmatched positive energy. Photography by Garfield Robinson captured the electric vibe of the day’s festivities.

On a Wednesday night at the sprawling East Lawns of Devon House in St Andrew, Jamaica, the third edition of the Campari Xodus Fete Gala brought a vibrant explosion of cross-regional Caribbean cultural fusion, powered by an all-star lineup of international and regional disc jockeys that kept hundreds of guests dancing from start to finish.

Curated to blend the formal creativity of high-profile galas with the unfiltered energy of Caribbean street fêtes, the event drew inspiration from New York’s iconic Met Gala, inviting attendees to lean into personalized, imaginative interpretations of the night’s black, white, and gold dress code. While most male guests stuck to classic formalwear — tuxedos, tailored button-downs, and polished dress shoes — and female attendees showcased elegant gowns of varying lengths paired with statement makeup and heeled footwear, the atmosphere never felt stuffy or restrained. From the first track dropped, the crowd leaned into the high-energy, communal joy that defines Caribbean carnival culture.

A major departure from the event’s first two editions, this year’s gala skipped live performances entirely, relying solely on the skill of the assembled DJs to carry the night. The lineup represented a who’s who of regional Caribbean talent, including Barbadian DJ Jus Jay, and a roster of Trinidadian selectors: Major Penny, Papi Jae, Selectah Kerry, Tony X, Tegarooks, and Lurbz. They were joined by North American-based acts Florida’s DJ Sinistar and Canadian DJ Brandan Duke, creating a truly pan-Caribbean and diasporic curatorial team.

The DJs delivered seamless, gapless sets that spanned multiple genres and generations, blending old-school and contemporary cuts across pop, R&B, reggae, dancehall, and of course, the quintessential Caribbean carnival sound of soca. For many attendees, especially those traveling from the Caribbean diaspora in North America and Europe, the breadth of the DJs’ musical knowledge came as a delightful surprise. The lineup’s ability to read a Jamaican crowd and blend familiar local hits with regional and international favorites kept the energy high from the event’s 9:30 p.m. kickoff until its 2:00 a.m. closing time.

A Canadian male patron, visiting Jamaica for his second carnival season, shared his enthusiasm for the night in an interview with Jamaica Observer. “I am so impressed at how a lot of these DJs and MCs from different countries know not just traditional soca genres, but all the Jamaican ones, and even some R&B, a bit of house music or EDM, and pop that’s more popular where I’m from,” he said. “Tonight was amazing, and I’m so glad I got to experience this. The inclusive cocktails and the infamous Jamaican KFC that were complimentary definitely contributed to an amazing time. I will be returning, and I hope this becomes a staple for Xodus each Carnival season.”

His praise echoed the widespread satisfaction with the event’s hospitality: title sponsor Campari and partner Appleton kept complimentary drinks flowing all night, while returning partner KFC provided free food to guests until its entire supply was exhausted.

A first-time visitor to Jamaica, a religious traveler who calls the event a “Caribbean Carnival chaser” after working her way through a bucket list of Caribbean carnivals across the region, also shared her positive impression. She noted that she specifically chose Xodus, Jamaica’s most established carnival band, for her first Jamaican carnival experience, drawn by its reputation for organized, high-quality events.

“I took time off from work just to be here, and I researched that Xodus is the more established band, so I wanted my first Jamaican Carnival to be with the more structured band. It’s a pretty good experience, so far. I’m here with two of my friends and the costume pickup experience was very smooth. I loved that and they should keep it up,” she said. “The gala has been interesting because it’s like a fete but a Caribbean/dancehall party at the same time and I’ve never seen that before. I like it.”

Across social media and on-site interviews, attendees left the event praising the unique blend of formal pageantry and laid-back Caribbean fun, marking the third Campari Xodus Fete Gala as a standout addition to Jamaica’s annual carnival calendar.