Caribbean Buzz
Integrity over Sexualization. New Soca Artistes Rreecey and Eggy Dan Stand Firm.
Imagine being told that in order to be seen and heard, as an upcoming female artiste in the Soca music industry, physical exposure is necessary. Somewhat daunted by this, New York based artiste, Rreecey says she finds herself caught between being passionately driven and angered.
A new single, ‘Stink and Dutty,’ done collaboratively with her friend and fellow artiste, Eggy Dan, Rreecey says she’s been open to marketing and promoting her music, using all available tools, however she makes it clear, she is not in the business of selling her body, arguing that women should not be made to suffer for their integrity.
The sexualization of women in the music industry is not new, nor is it exclusive to Soca music. Other female artistes, among them, Alison Hinds, have spoken out on the hyper-sexualization of the music industry, but to no avail. Despite this challenge now faced, Rreecey says she will press on, promising to continue her momentum with hopes that she can prove herself worthy of airplay and event bookings in the Carnival season ahead.
‘Stink and Dutty’ was written by Jason ‘Shaft’ Bishop, one of the Caribbean region’s most requested songwriters. The duo say they’ve found tremendous support in Shaft’s camp, highlighting that with Jason, they’ve been given great music, and even better advice. “Jason is really good at what he does and he guides you really well. He’s a good one,” said Eggy Dan.
Having recently survived a major car accident, Eggy, whose real name is Marvin Lewis, is on the road to recovery. “I’m not back to my usual self just yet but I am doing physical therapy.” He was lucky to survive a car accident on Mother’s Day this year, suffering a severe back injury. “It’s been very hard. I haven’t been working, but with the release of the new single, we made the sacrifice needed recently, visiting Tobago for a promotional run, ahead of Tobago’s carnival,” he said. That experience however, altered his view on the business somewhat, lamenting that people in the industry are very good at making false promises. “There is a lack of proper accountability in the Soca music business, with no redress available to upcoming artistes. People behind the scenes are taking on certain roles and giving assurances, but they’re doing it for money, not for the love of the artform,” said Rreecey.
New Music with Millbeatz
Their trip to T&T last month was not wasted. The duo recorded new music at Millbeatz Music and are excited for the unveiling of these projects. “We’re looking toward the end of the year and we’re excited to share these new songs with Soca lovers,” said Rreecey. They plan on releases two groovy soca track individually, in the next few months. The New York based entertainer explained that she has taken on the task of personally becoming acquainted with leaders in the industry, including event promoters, in a bid to manage risk, after unfortunate experiences in the recent past.
Friends and fans of the artistes have been very observant of their growth. “It’s always great to get the feedback of the people who’ve seen our development over time. Sometimes it’s difficult to maneuver as new artistes, and it doesn’t help when seasoned artistes refuse to share their knowledge and offer advice,” said the young female artiste. Eggy however recalled fellow entertainer, Preedy’s words of support to him. “Preedy told us it won’t be easy but he said we should just keep pushing.”
For both these entertainers, there is a strong will and desire to create long- lasting music. “I want my music to live on. I don’t want to create disposable music. That doesn’t make sense,” said Eggy. Rreecey says despite the challenges that present itself for new artistes choosing Soca music as their outlet, she remains steadfast in her approach. “It’s really tough in New York now, with a lot of promoters becoming artistes and even hiring themselves. This could hurt the culture because if legitimate artistes who take this craft seriously, are continuously overlooked, what can we expect in 10 years?”
No matter the challenge, the New York based team of Rreecey and Eggy Dan is pushing through. Visuals and additional marketing, a major part of their promotional thrust in the months ahead, the artistes are working dedicatedly to bring good music, enjoyable vibes and long-lasting quality to the Soca scene.
“Preedy told us it won’t be easy but he said we should just keep pushing.”
Eggy Dan
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Caribbean Buzz
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.
Caribbean Buzz
Belize’s Shyne, Talks Culture and Governance at Island Music Conference. Challenges Caribbean Leaders.
Belizean political leader and notable Hip Hop figure , The Honourable, Dr. Moses “Shyne” Barrow has identified Jamaica as a regional blueprint for how culture and governance can work together to build sustainable industry.
Delivering a keynote address entitled, ‘From Stage to State’ at the Island Music Conference (IMC) in Kingston, Jamaica last week, Barrow urged Caribbean governments to move beyond symbolic support of the arts and toward structured public–private partnerships.
“These conferences are so very important,” he told delegates, describing information exchange as critical in an evolving global music economy. Responding to a question from Overtime Media about cultural influence as an economic engine, Barrow pointed to Jamaica’s global footprint. “The work of great musicians such as Bob Marley and Shabba Ranks, as well as the development of Reggae and Dancehall music, has done more for the Jamaican tourism product than anything else,” he said.
PHOTO: Overtime Media.
According to Barrow, Jamaica exemplifies how successive political administrations, despite partisan rivalry, maintained consistent implementation policies that enabled private-sector investment in the music industry. “They were fighting each other, but giving the same implementation,” he noted, crediting that alignment for helping Jamaican music achieve unmatched global recognition.“There is no one in the world who does not know about Jamaica — its music, its food and its culture,” he noted.
Barrow framed his own political evolution as rooted in Hip Hop’s entrepreneurial DNA. Calling his transition from performer to legislator “quintessential Hip-Hop,” he cited moguls who expanded beyond music into business and influence, arguing that creative thinkers belong in positions of power. “We belong in parliament. We belong in the cabinet. We belong in the Prime Minister’s office and in the President’s office,” he said. He also addressed emerging challenges facing the creative sector, particularly artificial intelligence and intellectual property protection.“We need to protect our rights. We need to protect our work and that can only be legislated,” Barrow warned. “If we don’t get involved in the legislative process, we’re going to wake up one day and find that our rights are gone.”
Calling the human mind “the greatest thing on planet Earth,” he cautioned against over-reliance on technology, stressing that creatives must remain central to innovation. Reflecting candidly on his past, including a decade of incarceration following a 1999 nightclub shooting, Barrow described his return to Belize as a shift toward service. “By then, my dreams had already come true,” he said. “But when I looked around my country, I saw people still struggling. So I chose a life of service.”
Barrow also revealed plans to return to the stage with a world tour marking the 25th anniversary of his debut album, while reaffirming his commitment to public service. Closing his address, he challenged Caribbean leaders to diversify the profiles of those shaping legislation.“The Caribbean’s creative class has already shaped global culture,” he said. “Now we must shape policy.”
– NIGEL TELESFORD / Overtime Media.
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Grenada's Blaka Dan on the road with YUMA in Trinidad and Tobago.
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