Caribbean Buzz
Shurwayne Says Talent Beats Hype. Artiste Focuses on Legacy.
The age-old adage, ‘talent over hype’ is a point of reference for one of Trinidad and Tobago’s most hard working and dedicated entertainers. From winning major carnival titles to representing Trinidad and Tobago at the World Cup and delivering masterful self-penned songs like ‘Carnival Please Stay’, ‘Band Coming’ and ‘Open De Gate,’ Shurwayne Winchester remains true to self and says no matter what’s happening around him, he is committed to being himself, and doing what he knows is the right thing for him.
In the midst of a short Carnival 2026 season, the artiste who has been a part of the Arima community for many years, says he is excited to once again, deliver one of the Borough’s best carnival fetes- ‘Addiction,’ on February 8th. While the rest of the entertainment fraternity is busy rocking fetes night after night, much like Shurwayne, he’s also been hard at work, building a solid and reputed brand. He believes in his character – and the importance of being an honest human being who places integrity above financial gain. As a direct result, Shurwayne’s event, ‘Addiction’ has adjusted the price of tickets this year to suit the economic times, and further to that, patrons have been offered a second ticket option this year which includes small coolers for their convenience.
Over 20 years in the game, Shurwayne has withstood scrutiny and despite it all, he says he will never compromise himself. In today’s entertainment and marketing landscape where fast talk, likes and social status equates to popularity, and talent I s thrown to the curb in exchange for 20 second TikTok engagement, Shurwayne says now more than ever he stands firm for talent over hype.
“I had to take a look at myself as Shurwayne Winchester – the individual, the man, and then Shurwayne Winchester- the artiste, the brand, and understand what is being asked of me,” he said. “I had to ask myself, ‘what is it I’m willing to give up in exchange for where I want to be, what must I give up to remain relevant in this market space and it all comes down to this – do you want to be a trend? Do you want to believe in your own hype or the hype of other persons around you, or do you want to be an artiste who stands for something?” he rationalized.
Shurwayne has had to revisit this reality countless times throughout his career. A small, close-knit circle of people who he trusts by his side, the Tobago born culture lover says his validation as a great entertainer could never be gained from hype, but rather, longevity and true creativity. “You put in the work, you sweat for it, you are in the pulse of the music, your material has quality and standard – that’s truly how it stands the test of time,” he shared. His perspective on music and artistry, recognition and popularity, fame and bright lights is vastly different from most in the Soca space and he’s fine with that. In fact, Shurwayne says he understands the desire by most, to run after trends. “The hype – you have a large entourage, you’re walking in, people going crazy; or in contrast, you’re walking in by yourself, you’re focused on what you want to do; I’ve never been the former,” he admitted, explaining that he has never wanted to be that person. “I’ve just always wanted to give my fans great music – not for today, but for many years to come.”
Two singles released for Carnival 2026, Shurwayne is humbled by the outpouring of love and support received following the release of the remake of Baron’s ‘Rock It So.’ The video for the collaborative track, which features young, rising Caribbean star, Yung Bredda, has been widely enjoyed across markets. “I will always give my people the best of me, not the hype – the best, not the noise. I must never come across as though I’m better than anybody else. My work must stand out because in the end what counts is the music – the music that represents Trinidad and Tobago, the music that puts us on the map so that when a foreigner decides to take a trip, they want to visit that place that they heard that artiste singing about,” he said.
His Power Soca track, ‘Until the End of the Road,’ is a song he believes has tremendous potential to make fetters move, if given the chance to. Visuals for the high-intensity track immaculately bridge the present-day Trinidad and Tobago, the Carnival experience and humanity, with a futuristic A.I generated concept that’s masterful. “I’m not on the hype. I’m on creativity, longevity and cultural respect,” Shurwayne reiterated, even as he highlighted this piece of creative genius. “I love being who I am. I am not going to change that. My parents said, peace of mind is more valuable than the shiniest penny in your pocket and that peace of mind comes first of all from being God-fearing because only then you’ll understand value.”
After decades in the business, the rag bender, the iron man Shurwayne Winchester remains a force when he takes any stage. His vocal ability, coupled with his knack for engaging audiences and generating memorable experiences in the belly of thick crowds, makes him stand in a category of his own. “There is no reason for me to fear anyone or believe in anything else but hard work, sacrifice and dedication. I believe with that discipline, in the end every goal and desire you have for yourself, will be attained.”
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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Caribbean Buzz
Terri Lyons Makes History with Fourth Consecutive Queen of Queens Title.
Trinidad and Tobago’s Calypso Queen Terri Lyons has once again cemented her place in Caribbean music history after winning the Queen of Queens Competition at Montserrat for the fourth consecutive year.
The highly anticipated event took place on Tuesday, December 30th, where Lyons delivered a commanding performance that set her apart from a strong regional field of competitors. Her victory further solidifies her reputation as one of the most dominant and consistent female voices in modern calypso.
Terri Lyons, the daughter of legendary Soca King Austin “Superblue” Lyons, has been making a tremendous impact on the calypso scene for years, earning respect for her lyrical strength, stage presence, and commitment to the art form. Many have noted that while she proudly carries her father’s legacy, she has firmly established her own powerful identity in the genre.
At Tuesday’s competition, Lyons topped the lineup, with Antigua and Barbuda’s Ge’eve Phillip securing second place, and Trinidad and Tobago’s Roslyn Reid-Hayes finishing in third.
Fans and fellow artistes have since taken to social media to praise Lyons’ continued excellence, with many calling her reign “unmatched” and “well deserved.” Her latest win not only highlights her individual talent but also underscores the strength of Caribbean calypso on a regional stage.
With four consecutive Queen of Queens titles now under her belt, Terri Lyons continues to raise the bar, proving that her crown is not just inherited, but undeniably earned.
