分类: entertainment

  • Saint Lucian conductor selected for El Sistema course

    Saint Lucian conductor selected for El Sistema course

    In a landmark moment for Caribbean choral music, a Saint Lucian music educator has secured a spot among 10 elite global conductors invited to participate in the inaugural choral conductors training course launched by Venezuela’s world-famous El Sistema, the National Network of Youth and Children Orchestras of Venezuela.

    Robert Rene, who currently serves as a music instructor at Canon Laurie Anglican Primary School and lead conductor of the Saint Lucian National Combined Schools Choir, describes the once-in-a-lifetime opportunity as a defining personal milestone that brings well-deserved national and regional pride to Saint Lucia and the broader Caribbean community.

    “This recognition means so much to me,” Rene shared in an interview, framing the selection as a landmark professional achievement. “It proves that the work we are doing here on the ground is earning international attention. These past years, we have poured consistent effort into lifting the artistic standards of the National Combined Schools Choir, and this invitation is clear confirmation that our hard work has not gone unnoticed.”

    The intensive one-week training program is designed to sharpen conductors’ technical proficiency and leadership capacity in the specialized field of choral direction. Rene explained that choral conducting demands far more than musical talent: it requires precise communication and intentional direction to unify a group of performers. “You have to lead a room of singers, make sure every member picks up on your gestures, and stays perfectly in sync with your vision,” he noted, adding that refining gestural technique is his top priority for the program. “Mastering this nuanced skill will be transformative for my work.”

    Beyond performance technique, Rene is eager to deepen his expertise in music analysis, a foundational skill he says is critical for thoughtful, authentic performance. “To do this work well, you have to deeply know and understand the music you are guiding — that means grasping what the composer intended, and interpreting every musical symbol correctly,” he explained. “I am ready to dive deep into every core principle of conducting over the course of this training, and I know I will leave far more prepared than when I arrived.”

    For Rene, the benefits of this opportunity extend far beyond his own professional growth: he is already planning how to bring new knowledge back to advance music education across Saint Lucia. As the music coordinator for Education District Two, where he collaborates with 13 local schools, he intends to host training workshops for fellow regional educators to share the insights he gains. “By passing this information on to my fellow teachers, we will be able to impact thousands of students just in District Two alone,” he said.

    His ensemble, the National Combined Schools Choir, which trains 35 to 45 young singers every week, will also directly benefit from the new techniques he masters during the program. Rene plans to integrate his learnings immediately into weekly rehearsals to lift the choir’s performance quality.

    Rene views this selection as a pivotal turning point for choral music in Saint Lucia, a sector that has faced steady decline in recent years after decades of rich cultural tradition. Looking ahead, he is focused on driving long-term, sustainable growth for the local choral community. His core vision is to build robust, professional local music institutions that can nurture homegrown talent and prepare emerging Saint Lucian musicians to compete and thrive on the global stage. “We want our local artists to have the skills to hold their own and succeed in any orchestra anywhere in the world,” he said.

    Before departing for the program, Rene extended gratitude to the many mentors, peers, and supporters who helped him reach this professional milestone. He thanked individual supporters including John Bailey, Jason Joseph, Nikkita Alexander, Merlyn Innocent, Beverley Dieudonne, and Archdeacon Christian Glasgow, as well as Venezuelan Ambassador Leiff Escalona, Geraldine Lendor-Gabriel, the leadership of El Sistema, and the parents and students of the National Combined Schools Choir for their ongoing support.

  • The coded messages of folk and mento music

    The coded messages of folk and mento music

    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.

  • Capleton generates buzz with ‘Prayers Up’

    Capleton generates buzz with ‘Prayers Up’

    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.

  • Kenne Blessin wins new fans with ‘Vice Versa Love’ remake

    Kenne Blessin wins new fans with ‘Vice Versa Love’ remake

    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.

  • Kartel wins big at IRAWMA

    Kartel wins big at IRAWMA

    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.

  • Barbuda Caribana 2026 Officially Opens With Call for Cultural Pride and Unity

    Barbuda Caribana 2026 Officially Opens With Call for Cultural Pride and Unity

    One of the Antigua and Barbuda’s most anticipated annual cultural celebrations, Barbuda Caribana 2026, officially launched on Thursday evening, with event organizers and local government leaders calling on both native residents and visiting tourists to fully immerse themselves in the island’s distinct cultural heritage, back grassroots community events, and honor the unique identity of the Barbudan people across the weeks-long festival. The opening night ceremony blended solemn tradition and lively celebration, opening with formal blessings from local religious leaders, followed by a performance of the national anthem, public recognition of event sponsors, heartfelt tributes to the legacy of past Caribana queens, and energetic live musical sets from two popular local acts: New Gen Band and performing artist Empress. Deputy Chairlady Nadia Harris-George delivered the keynote address on behalf of Member of Parliament for Barbuda Trevor Walker, welcoming hundreds of gathered attendees under this year’s official festival theme, “A Cultural and Rhythmic Shift.” Harris-George explained that the 2026 theme was chosen to reflect the festival’s dual mission: elevating time-honored Barbudan cultural practices while making space for the evolution of the island’s cultural identity into a dynamic new era. “It’s about taking our rich Barbudian heritage — our soul-stirring calypso, our pulsing soca, our legendary hospitality, and our deep community bonds — and pushing them into a bold new era,” Harris-George told the crowd. In her remarks, she also outlined the full slate of major public events scheduled for this year’s festival, including the fan-favorite June Eclipse of Monarch competition, the popular Seafood Festival highlighting local coastal cuisine, the Caribbean Classic Horse Race, the iconic early-morning Jouvert street celebration, and the closing Last Lap street party that wraps up the festival each year. A senior representative from the Barbuda Caribana Organizing Committee used the opening ceremony to issue a call for broader, more consistent public support for local cultural initiatives, noting that the decades-old festival is far more than a tourist event: it encapsulates the island’s collective identity, centuries-long history, demonstrated resilience in the face of challenges, and unwavering national pride. “Caribana is ours. No one else can tell our story the way we can. No one can celebrate Barbuda the way Barbudan can,” the representative stated, urging locals to turn out for scheduled events, patronize local food and craft vendors participating in the festival, and actively pass down their cultural traditions to younger generations. As part of the opening ceremony, organizers also paid special homage to three past Caribana queens — Asha Frank, Kerrianne Walbrook, and Cynthia Harrigan — recognizing their lasting contributions to the festival’s iconic pageantry tradition and broader cultural legacy that has shaped the event for decades. Following the formal addresses and tributes, a local official officially declared the 2026 Barbuda Caribana open, and the evening shifted to a full night of live entertainment and celebration for attendees.

  • ERT set to hear matter between Clarke, Starcom Network

    ERT set to hear matter between Clarke, Starcom Network

    A high-profile employment dispute involving one of Barbados’ most beloved media personalities and veteran calypsonians is set for a formal tribunal ruling after last-ditch conciliation efforts failed. Ronald ‘De Announcer’ Clarke, the former programme director of Starcom Network’s Voice of Barbados, has pursued an unfair dismissal claim against the leading local media company after his termination late last year for alleged serious misconduct.

    Clarke’s legal representative, senior counsel Hal Gollop KC, confirmed to local outlet Barbados TODAY on Thursday that mediated negotiations held through the Barbados Labour Department have hit an insurmountable impasse. Per Clarke’s explicit instruction, the case will now move forward to the Employment Rights Tribunal (ERT) for a binding adjudication. Gollop explained, ‘Attempts at reconciliation broke down. The attempts at mediation by the Labour Department broke down, so we put it to the Tribunal to do what they have to do.’ Gollop added that the legal team is now awaiting next procedural steps from the tribunal.

    When reached for comment on the latest development in the case, Starcom Network general manager Anthony Greene declined to make any public statement.

    The controversy first erupted in November last year, when Starcom Network terminated Clarke’s employment following an internal disciplinary hearing that found him guilty of serious misconduct. The decision sent shockwaves through Barbados’ tight-knit media and calypso communities, where Clarke has been a prominent figure for decades.

    According to Clarke’s termination letter—signed by Noel Wood, CEO of Starcom’s parent company the Nation Group—the misconduct stems from on-air comments Clarke made during a July 16 appearance on the Marcia Weekes Show. The remarks centered on Starcom’s reported opposition to Clarke performing his controversial 2024 hit calypso *National Carol Festival* in the annual Pic-o-de-Crop competition, one of the Caribbean island’s most high-profile calypso events.

    Company officials flagged three of the seven statements Clarke made during the broadcast as violations of Starcom’s internal Policies and Procedures Manual. The termination letter characterized the comments, which were made in a public forum about the company, as false, malicious, and severely damaging to Starcom’s reputation. It noted the remarks were disparaging, undermined the company’s credibility, and constituted a direct attack on Starcom’s business interests. One of the cited contentious comments from Clarke read: ‘We have this fear of addressing what they call the elephant in the room… When you are in an arena, transparency and fact are an expectation of the people that support you, whether they listen to you, whether they spend money with you, whether they work for you. It’s hard to be in a situation where you see that is not being delivered.’

    Shortly after Clarke’s dismissal, Greene released a public statement pushing back against widespread assumptions that the termination was tied to the content of Clarke’s competition calypso. Greene clarified at the time that the separation followed a formal disciplinary process concluded on November 7, conducted in full alignment with the company’s internal protocols and Barbados’ national labor legislation, with legal representation for both parties involved throughout the procedure.

  • Grenada launches Flower and Garden Festival

    Grenada launches Flower and Garden Festival

    Against the backdrop of international horticultural acclaim at the 2026 RHS Chelsea Flower Show, Grenada has officially launched its much-anticipated inaugural Grenada Flower and Garden Festival, branded ‘Grenada in Bloom’, during a formal reception in London hosted by Grenada’s Governor-General, Her Excellency Dame Cécile La Grenade.

    The launch event aligned perfectly with Grenada’s latest award-winning floral exhibit at Chelsea, a milestone that once again put the Caribbean nation’s horticultural mastery in the global spotlight. Beyond celebrating the country’s longstanding skill in flower cultivation, the gathering also served to unveil a new national initiative that ties together floriculture, environmental sustainability, tourism, cultural preservation, and cross-border investment. Key stakeholders from multiple sectors gathered for the occasion, including Randall Dolland, Chairman of the Grenada Tourism Authority, UK-based media representatives and tour operators, leading business figures, members of the Grenadian diaspora based in Europe, and senior staff from the Grenada High Commission.

    In her keynote address to attendees, Dame Cécile framed the upcoming November festival as far more than a simple display of plants and flowers. She described ‘Grenada in Bloom’ as a dynamic ‘ecosystem of ideas’—a unique crossroads where cultural heritage intersects with commercial opportunity, where sustainable practices drive innovative growth, and where the nation’s centuries-old botanical legacy opens doors to deeper global engagement.

    Reflecting on Grenada’s consistent record of excellence at the Chelsea Flower Show, the Governor-General noted that the country’s repeated awards are no accident. They reflect, she explained, ‘patience, precision, creativity, and pride’—core values that position Grenada to turn its international recognition into tangible, long-term economic gains for local communities.

    Dame Cécile went on to highlight the unique advantages that underpin Grenada’s growing floriculture and botanical sector. The country’s extraordinary biodiversity, year-round favorable climate, and increasing commitment to sustainable agricultural practices create ideal conditions for expanded investment across a range of high-value segments, including cut flower production, essential oils, natural botanical products, specialty exotic foods, and health and wellness goods. ‘Grenada is not merely cultivating crops, we are cultivating a future,’ she emphasized.

    Following the keynote address, GTA Chairman Randall Dolland officially opened the festival launch with the premiere of a commemorative promotional video. Rachér Croney, Grenada’s High Commissioner to the UK, also offered remarks, praising the nation’s ongoing success at Chelsea and noting that the island’s distinctive native flora is ‘a living expression of the island’s identity.’

    The launch event also doubled as an opportunity to promote a second major 2026 initiative for the nation: the Grenada Diaspora Homecoming 2026, scheduled to run from June 21 to July 5. Dame Cécile issued a call to Grenadians living abroad to return to their home country next year, framing the homecoming not just as a personal visit, but as a chance for the diaspora to become ‘architects of what comes next’ for the nation. She encouraged diaspora community members to engage with the country through investment, knowledge sharing, innovative partnerships, and collaborative projects.

    In closing, the Governor-General extended a formal invitation to the entire international community to visit Grenada this coming November for the first-ever Grenada Flower and Garden Festival. The eight-day event will celebrate the nation’s extraordinary botanical richness, vibrant living culture, and entrepreneurial creative spirit. Ending with a toast to the Grenadian team that earned acclaim at the 2026 RHS Chelsea Flower Show and to mark the official launch of ‘Grenada in Bloom’, Dame Cécile shared a powerful vision for the event and the nation’s future: ‘From small islands can emerge great ideas; from humble seeds can grow extraordinary achievements; and from shared vision can arise a future of boundless promise.’

    The Grenada Flower and Garden Festival, set to run November 8 to 15 2026, was developed to highlight the country’s globally recognized flora, horticultural expertise, sustainable agricultural practices, and cultural heritage, while opening new pathways for tourism growth, inbound investment, and international collaborative projects. More information about the festival, including ticketing and scheduling, is available on the event’s official website.

  • Social commentary kaiso ‘gaining ground’ ahead of Crop Over

    Social commentary kaiso ‘gaining ground’ ahead of Crop Over

    As Barbados prepares to kick off its highly anticipated 2026 Crop Over festival, industry insiders report a sustained and enthusiastic wave of interest in social commentary from a new generation of Caribbean performers. This emerging cohort of artists is eager to inject fresh, modern perspectives into iconic genres of calypso and soca, all while honoring the cultural roots that have defined the art forms for decades.

    In an exclusive interview with Barbados TODAY ahead of the festival’s official launch, Randy Eastmond, acting education officer in the Curriculum Section at Barbados’ Ministry of Education Transformation, shared early insights into what is shaping up to be a dynamic 2026 season. Eastmond, who has spent years spearheading music and creative arts initiatives across the island’s primary and secondary schools, noted that this year’s Crop Over has already demonstrated clear signs of a revitalized creative energy driven by young talent.

    “Crop Over 2026 is shaping up to be an incredibly exciting year for Caribbean music, particularly with the influx of new cross-regional music fusions drawing influences from across the Caribbean,” Eastmond explained. He added that the number of young vocalists and instrumentalists stepping forward to participate in the season’s events is far higher than in recent years.

    While he warmly embraces the new stylistic approaches that young artists are bringing to the table, Eastmond stressed that protecting the core identity of calypso and soca remains non-negotiable. “We still have to acknowledge the fact that you have to preserve what is quintessentially soca, calypso, all the genres under the calypso form,” he said. For Eastmond, lyrical depth and quality remain the backbone of the tradition, especially when it comes to exploring the social themes that have long been central to calypso. “The lyrical content is very important to calypso in terms of how we portray the concepts and the themes that we’re writing on,” he noted.

    Eastmond said he has not been surprised by the consistent interest in social commentary among young performers, pointing to his years of working with students that shows young people naturally embrace calypso once they gain hands-on experience with the genre. As the current leader of the Rhythms of Legacy tent, which is specifically designed to support and nurture emerging young calypsonians, Eastmond has seen first-hand how the genre’s focus on storytelling and social critique resonates with young people who had little to no prior exposure to calypso growing up.

    “They’re quite interested simply because of the storytelling and understanding the power of the voice and how they can actually speak to certain societal issues,” he said. This ability to use music as a platform to address pressing community and national issues is what draws many young creators to the tradition, he added.

    Looking ahead to the relaunched Party Monarch competition, Eastmond predicted that the event will see a robust turnout of emerging entertainers competing alongside veteran performers. “Based on the response I’m getting in the studio from the amount of young people who want to have songs to enter the competition, I think we’re gonna have an influx of young persons, along with the veterans,” he said.

    Eastmond noted that sharing the stage with established, experienced artistes offers invaluable learning opportunities for young performers, helping them refine their on-stage performance skills that cannot be developed in a recording studio. “Competition brings a different dynamic to just recording a song,” he explained. “You can record a song that sounds really good, but if you’re not able to deliver it on stage, then that’s another thing.”

    Sharon Carew-White, manager of the iconic CO Williams House of Soca tent, echoed Eastmond’s optimism about the future of social commentary among young Crop Over artists. Carew-White highlighted the tent’s long-running junior monarch programme, which currently receives funding and support from the Barbados Community College and the Sandy Lane Trust, as a critical pipeline for nurturing emerging talent over the years. The programme has consistently proven to be a successful pathway for young entertainers to build their skills and grow within the genres, she said.

    To ensure calypso and soca are preserved for future generations, Carew-White emphasized that keeping younger audiences engaged through accessible, youth-focused competitive spaces is key. She welcomed the return of the Party Monarch competition, framing it as an additional valuable platform that encourages creativity and healthy competition among artists of all ages. “This is another creative opportunity for youngsters, young at heart,” she said, adding that a number of well-known, established performers are also returning to compete in this year’s relaunched event.

    However, Carew-White argued that winning competitors deserve greater regional exposure beyond the bounds of Barbados’ local Crop Over season. “If you become the soca monarch or the power soca monarch, I would like to see this transition then into the next level,” she said, calling for stronger collaborative links between the Barbados competition and major carnival events in neighboring Grenada and Trinidad and Tobago. “I would like to think that bringing back these two competitions brings back an opportunity for further growth for individuals and for the country.”

  • It’s been So Phenomenal

    It’s been So Phenomenal

    Jamaican hitmaker Gutty Bling never hid his vision for Skillibeng’s breakout single *So Phenomenal* — from the moment the young dancehall star laid down his first vocal track, the producer already heard a larger-than-life verse from dancehall icon Vybz Kartel elevating the already dynamic cut. When discussions of an official remix got underway, Gutty Bling knew exactly who to tap first to supercharge the record.

    By adding UK-based reggae-dancehall star Stefflon Don to the lineup, the producer has assembled what fans are already hailing as one of the most anticipated and electrifying dancehall collaborations of 2024.

    Speaking exclusively to the *Jamaica Observer*’s Splash entertainment section, Gutty Bling broke down the origins of the star-studded project: “The first day Skilli finished recording the original *So Phenomenal*, I immediately heard Kartel’s energy on the track. I know what he brings to every record he touches — he’s the King of Dancehall, Worl’ Boss, and that title didn’t come by accident. When I brought up the remix idea with Skilli, he agreed right away that Kartel was the only person who could fit that spot. I reached out to Skatta Burrell to connect with the Worl’ Boss, and everything fell into place perfectly. His verse speaks for itself — he absolutely crushed it.”

    Even after locking in the dream pairing of Skillibeng and Kartel, Gutty Bling said he was determined to push the project to even greater heights by adding a dynamic female perspective to the track. His decision to recruit Stefflon Don, he explained, came from a desire to leave no stone unturned in making the remix a historic moment for dancehall.

    “Putting Kartel, Skillibeng and Stefflon Don on one track? That’s next-level dancehall,” he explained. “All three artists have massive cross-genre, global appeal, and each of them has built incredibly successful solo careers. I just wanted to go all out and make something special. After we locked in Kartel’s verse, I reached out to Stefflon Don’s team, and they were just as excited to be part of the project as we were. I’ve always aimed to make music that resonates beyond Jamaica’s borders, and with all three artists already holding huge international fanbases, I know this track is going to resonate with audiences all over the world.”

    In the weeks since the collaboration was teased, the star power of the remix has already dominated dancehall conversations across social media, a strong early indicator of the commercial and cultural impact the track is poised to make. While the high-profile collab will no doubt boost the profiles of the three featured artists, Gutty Bling says the project carries far greater personal significance for his own career, which has seen steady growth over recent years. He hopes the *So Phenomenal* remix will silence critics who have doubted his ability to deliver a major global hit.

    “This project means the world to me, it’s a clear marker of how far I’ve come in my musical journey,” he said. “I have to thank God for this opportunity, and thank all three artists for trusting me and making this vision come together. I’ve already gotten hundreds of calls, texts and glowing feedback from fans, friends and family — it’s an incredible feeling. I can’t wait to see what new doors this single opens for me.”

    As momentum around the remix continues to build, Gutty Bling has also teased upcoming expansions to the *So Phenomenal* project. The producer confirmed he is currently developing a *So Phenomenal* Riddim, a curated production package that will feature a small selection of additional dancehall tracks built around the remix’s iconic instrumental backbone.