Caribbean Buzz
BASS, The First DJ Turned Soca Artiste Was Instrumental in Getting Soca Played on HOT97 NYC.
Soca music has come a long way. For decades, the sound of Trinidad and Tobago’s prized cultural expression has been touted as the sound of the Caribbean, and for many of the other islands, the music is becoming a major part of their individual tourism attraction. In 1996, Trinidad and Tobago DJ, Adrian Hackshaw, best known as Third Bass, became the first DJ to dive into soca artistry. His first song was called, ‘J’ouvert Morning.’ “That song inspired 3 Canal to do ‘Blue’ the following year and it created an avenue for more songs dedicated to J’ouvert,” he said in an exclusive Ebuzztt interview.
Twenty – nine years later, Bass continues to unleash new Soca music. His contributions for 2026 include, ‘Take Jam’ and ‘Not For The Swift.’ Despite what seems like a never ending fight for equity across the airwaves, Bass has a lot to be grateful for. “I always wanted to be a DJ, artiste and to be on radio so I live my dream everyday,” he said.
For many operating in the Soca industry today, the 90’s experience is not something they can relate to. It was during the early 90’s that Machel Montano – now the King of Soca, would deliver songs like ‘Big Truck’ and ‘Big Phat Fish.’ Bass was around then and operated in a space that was growing. “In 1998, I put Edghill Thomas, now known as MX Prime on his first soca track with me. Back then he was known as Magga Dan and he was big on the dancehall circuit locally,” he highlighted. The song was called, “All Ah Dat in It.”
That year, Bass was introduced to Destra Garcia. She was a young, female singer who was singing RnB and Gospel music. “Her producer, Ken Holder, was working on what would be the first Soca riddim, coined the Pigtail Riddim, because of how ‘phat’ it sounded. I wrote the first song for Destra and I, which was called, ‘Just A Friend.’ That was 1999.”
The journey to where Soca music is today, isn’t a linear situation. It wasn’t built on the back of one person or one team. Bass, like many other creatives, has positively impacted the industry for many years, even while others have been celebrated loudly, and his humility has kept him largely unnoticed. “I spent some time in New York, where I was responsible for new soca getting played on Hot97. I met Bobby Konders and Massive B Sounds in 2001. They had a big reggae and Caribbean show that was reaching the entire TriState area. I asked them why they were still playing songs from the 90s,” said the entertainer. He said he was told that the major Soca distribution company, JW Records, had indicated that they would have to pay for the new Soca music. “Mind you, these guys got promos from all the big record labels back then. When I heard what was happening, I immediately went to JW Records on Church Avenue in Brooklyn, and I spoke with them. I explained to them what this opportunity could do for the music and I was able to take records to Bobby Konders and Jabba to play on Hot97FM,” said Bass. He highlighted that among the songs, were tracks like ‘Water Flowing’ from Machel Montano’s album ‘Here Comes The Band,’ and Iwer George’s ‘Carnival Come Back Again. “I was also asked to play the music since I was more familiar with it at that time.”
Soca music’s current global standing as a relatively new genre, has been one of tremendous grit and effort by many individuals – some seen and others behind the scenes. Many have remained committed to its development as a Trinbagonian creation, because it forms part of the cultural identity of Trinidad and Tobago’s people. Now, as more regional artistes tap into the market, opportunities for global appeal are certainly opening up, but it must never be forgotten that Soca music’s growth to where it stands today, was only made possible thanks to the dedication of people like Adrian Hackshaw who loved it from the heart and refused to see it sidelined.
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Destra Delivers Powerfully at Reflections.
“If this sharing that I’m doing touches anyone, I’m truly grateful. None of us are perfect. Some days you’ll feel good, some days you won’t, but it’s all part of the journey. Sometimes what you’re looking for is right on the horizon, and the moment you give up, you miss it. If my testimony makes anyone feel something, then my work here is done.” – DESTRA GARCIA
Trinidad and Tobago received a musical showcase of spiritual awakening yet again this past Saturday, at Destra’s ‘Reflections: Sound. Spirit. Surrender.” The event took place at Queen’s Hall, St. Ann’s and proved to be a truly inspiring and uplifting musical experience.
From the onset, the show set a standard that fans of good music with powerful lyrics, would rave about for weeks. David Rudder – a cultural icon of Calypso music out of Trinidad and Tobago, welcomed the audience as he hit the stage first delivering the very fitting, ‘High Mas.’ It was a powerful blessing no doubt – something that would lead into a seamless spiritual production. He was subsequently joined on stage by Destra, something that created a full-circle moment that drew immediate emotion from the audience.
Known for her unmistakeable vocal ability, Destra took her audience on a carefully curated musical journey, opening her set with Free Again before transitioning into slowed-down, soul-stirring renditions of some of her most beloved songs, including Love Somebody and Fly and with each performance, she revealed a different layer of her artistry, offering vulnerability, reflection, and strength.
One of the night’s most touching highlights came as Garcia shared the stage with her daughter, Xaiya, for a heartfelt duet of The Prayer. Beginning at the piano, Xaiya gently set the tone before joining her mother in song, creating an intimate moment that resonated deeply with the audience.
The production, which was creatively directed by Zara Bartels and Isoke Edwards, also showcased the incredible talent of father and son pan duo Martin and De’jean Cain as well as the Maria Regina Grade School and St. Joseph’s Convent Port- of- Spain choirs, whose vibrant and polished performances brought a refreshing, youthful energy to the stage. Gospel artiste, Nisa joined Garcia for a powerful duet of Bridge Over Troubled Water. She also performed her original composition Make Me Over, adding another layer of spiritual depth to the evening.
As the show built toward its finale, Garcia delivered a commanding rendition of Ella Andall’s Bring Down the Power, followed by classic hymns including A Little More Oil in My Lamp. This climactic segment was elevated by the presence of traditional belle dancers and African drummers, creating a rich, cultural fusion that brought the audience to its feet. Beyond the performances, the overall production, brought to life through Bridgette Wilson’s choreography and Atiba Borde’s costuming, stood out for its seamless execution, immersive ambience, and thoughtful storytelling, reinforcing Reflections as more than just a concert, but a transformative experience.
Reflections certainly delivered a powerful blend of music, filled with deep messages and meaning. In what is a very spiritual season, Destra, through the delivery of ‘Reflections,’ has carved out a space for inspiration and connection within Trinidad and Tobago’s cultural landscape – something that many would agree, is a necessity more than an option.
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