She has given us great music. Whether the songs she’s delivered time and time again, have made it to the mainstream soca circuit in Trinidad and Tobago, is another story. For Terri Lyons, her fight to maintain the true sound of the Soca genre, is more important. She believes we’re losing the essence of what Soca is, altering the sound a bit too much, something she says will have adverse effects for the culture of Trinidad and Tobago, in years to come.
Terri Lyons wants youths to be educated from early childhood, on the various cultural elements of Trinidad and Tobago.
EBUZZTT.COM spoke with the younger of SuperBlue’s two daughters in entertainment, recently. She admitted that evolution, while often hard to accept, is essentially inevitable, but lamented that while much is changing about Soca music’s sound, the attitude of the population when it comes to accepting the genre’s worth and that of the artistes who give so much of themselves, to keep it going, is not changing. “One thing that isn’t changing much is our attitude toward our own culture- to us, to keeping our heritage and history alive,” said the younger Lyons. She wants the people of Trinidad and Tobago particularly, to defend the genre more. Lyons is also calling on the powers that be, to play a more instrumental role in influencing the youth from a young age, to appreciate the culture of the country. “Every school in T&T should have a pan room- a properly sound proofed pan room. That is our national instrument. That is something we should have. We have no respect,” said a passionate Lyons.
The young mother of one who doubles up as a frontline vocalist with Nadia Batson’s all female band, SASS, says while many people would not want to hear what she has to say on this topic, she feels Trinidad and Tobago places more effort on promoting foreign artists that they do, their own. “A lot is changing but again I say, the attitude toward our own culture, isn’t. There is just too much back biting in the industry and a lack of appreciation for the artistes,” she argued.
Lyons has teamed up with Grenada’s Mr. Killa on a brand new single ahead of Carnival 2019.
Terri has released a new single with Grenada’s Mr. Killa. The track which is called, “Wey Yuh Dey” is described as a call for all Caribbean people to show the rest of the world, just how hard islanders party. The track is laced with Afro beats and rides the Afro Jab riddim. She certainly isn’t against collaborations and fusing the sounds of the Caribbean, but for Lyons, the heartbeat of Soca must not be sacrificed for global appeal. She says when it comes to the soca music genre, she feels there should be no compromises and the world should know it as Soca- regardless of how it’s spelt. She says any attempt to change the name of the genre, which was birthed in Trinidad and Tobago, is disrespectful and should never be accepted.
Her only son, Mathias, a major driving force in her life, Terri is calling for more to be done in the school system in Trinidad and Tobago, to educate the impressionable youth on the history of T&T’s culture. “Kids in school need to be educated about our culture. They know more about Fetty Wap and Lil Uzi, than they know about Kitchener and Sparrow or Cro Cro, or Shadow. We have to start to educate the kids from young,” she pleaded.
Lyons said it is sad that many of this country’s foundation artistes, on whose shoulders soca music was borne, are not being respected in the land of their birth. “We talk a lot of big talk about this and that, but the people in charge really aren’t doing anything,” she said.
The national Carnival Commission says more than 10,000 patrons came out to Flava Village at the Queen’s Park Savannah on Thursday night to see female Soca artiste, Patrice Roberts.
An event dubbed, ‘Always Us,’ held as a free showcase for Carnival lovers, delivered a number of truly entertaining soca stars, among them, Shal Marshall, Shurwayne Winchester, Nadia Batson, Farmer Nappy and Mical Teja. The NCC, in a media statement said, “an estimated 8,000 people filled the popular Carnival venue, with an additional 2,000patrons enjoying the show from viewing screens along The Drag, creating an electric Carnival atmosphere despite heavy rainfall earlier in the day.”
With her usual high energy performances, Patrice held the attention of fans throughout the night.The concert was described by the artiste as a heartfelt “thank you” to her fans and supporters. NCC’s Chief Executive Officer, Keiba Jacob-Mottley, said the organisation welcomed the opportunity to partner with Roberts. “We commend Patrice for her decision to give back in this meaningful way and applaud her commitment to ensuring that high-quality local entertainment remains accessible to everyone during the Carnival season, Mottley said, adding, “Our collaboration reinforces the NCC’s focus on creating memorable Carnival experiences that celebrate our artistes while removing financial barriers for the public,” she added.
The NCC CEO noted that the Flava Food Village, one of two signature Carnival villages at the Savannah, alongside the John Cupid Carnival Village, is offered as a vibrant, inclusive space where patrons can enjoy food, culture, and nightly performances free of charge. She added that other NCC events, such as “Welcome to the Gayelle” represent the continuing work at delivering a successful Carnival 2026.
David Baptiste, President of the Carnival Entrepreneurs Association, described the night as a milestone for vendors at the Savannah. “Last night was truly beautiful and something I have never seen before – an event of this magnitude in terms of crowd size, and people supporting the vendors. Many vendors sold out last night. We need more of this, and I am looking forward to the next event. Events like these boost business for our vendors at the Savannah and make them truly feel like they are a part of the Carnival festival,” Baptiste said.
From dancehall music with rough lyrical content to social commentary that aims at changing mindsets, East Trinidad native, Squeezy Rankin says he has found his true calling in Calypso music. The entertainer is on the road to the preliminary round of the Calypso Monarch Competition later this month, with a single called ‘Rat Race’ – this, one year after ‘Justice’ influenced younger audiences to take a stronger look at the Calypso genre, something that he hopes he can continue to do as his journey in music continues.
Squeezy Rankin has been an artiste on the ground for many years. He has pivoted from dancehall into Calypso music.
In a recent radio interview, the reigning Young King, whose real name is Anthony La Fleur, said prior to 2025, he had not done music professionally in 13 years. Jumping back into the spotlight, he said, was a bit intimidating, but the exposure last year has prepared him for 2026 and the artiste is expected to confidently claim his space in the Calypso Monarch competition this year.
As real as it gets, Squeezy Rankin- a man on the ground, has always fought for his place in the music industry locally. Now, as Calypso music embraces him even more, he says he believes he’s found his place. “I plan on releasing two songs during the year because I want to change the narrative that Calypso music is old people music,” he said, adding that his hope is that urban radio stations see the value in sharing topics of social commentary, such as ‘Justice’ and ‘Rat Race’- songs deep in meaning and valuable beyond measure, in the greater scheme of things.
Determined to change mindsets one song at a time, Squeezy Rankin says his strong suit is certainly social commentary and he will not, at any time, delve into political commentary. “I was advised by someone who is deep in politics to stay out of it and I literally listened. You know sometimes we hear people, but we aren’t listening. I thought about what he said, and it made sense. I literally listened, even though they say I don’t listen,” he said with a laugh.
‘Rat Race’ was written by Squeezy and Angelo Pantin with production by Q-Ban Production.
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