During every Carnival season, certain songs garner significant attention, while others, despite their powerful message, often fall into the background. For Carnival 2026 in Trinidad and Tobago, “Riddim Nation” by Khalen is one of those songs. You may also accuse us of neglecting the song during the carnival season, but the truth is, we released too many Calypsos for 2026 to keep up with the posts. We still have almost 38 songs left to post.
On the surface, this song may sound simple, but trust us, it runs deep into the heart of Trinidadian culture. This is more than just a calypso—it's a tribute to Ras Shorty I, the man who laid the foundation for Soca, and a call to reconnect with the true roots of our music and culture. Reconnecting with the true roots of our music and culture can be challenging in a context where artists continue to strive for international success. However, preserving the essence of our 'old school vibe' could be the secret formula that keeps the music grounded and not sounding like something foreign.
At its core, Riddim Nation reminds us that rhythm is the heartbeat of the people—a force of destiny, freedom, and identity. It speaks of an ancestral code stronger than technology, something meant to unite us as a nation. Recently, we published a post discussing the meaning of the word "Pwefen," and it's important to understand that this word evokes a deep sense within us, embodying the unique Trini culture.
Khalen challenges us to:
Move beyond hypocrisy and division
Realign culturally and stay focused on the path. forward
Preserve our musical heritage while navigating modern influences
The song also goes deeper—touching on self-sustainability, encouraging us to cultivate our land, use our resources wisely, and build a nation that produces rather than depends.
And in the end, the message is clear:
We need unity, purpose, and responsibility as the keys to shaping a better future—and music is the vehicle to get us there.
This is a strong, conscious calypso that deserves more attention than it’s getting. Now, all we ask is that you listen. Share it. Start the conversation and let the magic of the song spread via social media.
Production Notes/Music Credits:
Song Title: Riddim Nation
Artist/Performed by: Khalen Alexander
Written, Composed by: Khalen Alexander
Produced & Mixed by: Golden Era Productions
Live Bass and Guitar by Richard Gosine
Additional Vocals by: Sheron Melville
Trombones by Leon Ince
Vocal Arrangements by Khalen Alexander
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year-round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
As a youth, I enjoyed "Liming on the Block" with friends. We joked and talked about everything one could imagine, and most of the time we ended up playing "windball cricket" or street soccer. Today, the lime is different. People fear groups of youth liming on the block; these are different times and with this calypso presented today, there is a message for the youth. This is Calypso with clout!
This calypso speaks directly to young men about the choices they make every day. Written by Deryck St. Rose and vocalized by Joy, the song delivers a message that spending time “on the block” leads nowhere and encourages young people to focus on real goals instead. Strong words but meaningful indeed. Then there is the issue of image. The song demonstrates that the first steps toward a stronger future are pulling up your pants, respecting yourself, and finding honest work.
The song makes it clear that chasing quick money through crime only ends in prison or the cemetery. Some think that street life is where manhood manifests itself, but they are so wrong. It’s a reminder that the street life may look exciting, but it destroys more lives than it saves.
The songwriter and singer also call on the community to step up and help save the youth. We should take note of the past when Families, neighbors, and leaders worked together to guide young people and reduce the violence affecting the country. We need to embrace those days to help the youth. Everyone has a role in creating a safer environment.
A better path is always available. The song encourages learning a skill, going back to school, and using your talents in positive ways. It is a known fact that dedication, clear goals, a good education, and common sense open doors that crime never will.
Finally, the message is clear: "On De Block" challenges people in power, elected officials, to use their influence to create an environment that guides the youth to a better place. Curbing violence and crime is a start, but having more social services to help should be the goal.
Lofty goals, yes, but this has always been a challenge in Trinidad and Tobago; real change requires leadership, unity, and responsibility from everyone. The song is a start; the work is ahead of us and Kaiso Dial is here delivering the message.
Production Notes/Music Credits:
Song Title: On De Block
Singer/Performed by: Joy
Written by: Deryck St. Rose
Recorded, Mixed and Mastered by: Cornell Phillip of imperial publishing
Produced and Arranged by: Cornell Phillip
Bass: Franklyn ‘Refuse’ Harris
Background Vocals: Carlyn Xavier Phillip
Graphics: Arisdale Bazil
Video Editor: Serlyn Cara-Joy Jeffrey
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
This is a classic calypso that you had to really grow up in Trinidad to truly appreciate and understand. So, with that in mind, let me break it down in a Trini style for your entertainment.
For those not familiar with double entendre in Calypso, it is just the Calypsonian's way of saying one thing but with double meaning. In other words, the listener in tune with the culture will quickly understand that there is something underneath. Typically, it is used in a cheeky manner to evoke strong emotions in the public. This song, "Dr. Kitch aka 'The Needle,'" released in 1963 may sound like it is all about a doctor and the size of the needle for an injection but that injection, that needle, goes deeper than you think!
So when you hear lines about “I’m not a qualified physician” but “I don’t need an application to give her this injection,” that’s Kitch setting up the joke. On paper, it’s a lil country doctor getting pestered to give an injection. In real Trini ears, it’s a man boasting about his bedroom skills while pretending to be shy. The chorus makes it even clearer: “I push it in, she pulls it out, I push it back, she starts to shout.” If you take it literally, is a woman afraid of a needle and making a scene? But the way Kitchener phrases it, with that sly tone and sweet melody, everybody knows we left the doctor’s office a long time ago.
In classic tent culture, a song like this worked because the calypsonian and the audience had a kind of secret agreement. The singer never had to say anything raw; he just had to point in the right direction and let your imagination do the rest. That’s why older folks could laugh and whine to "Dr. Kitch” at a family lime: if the children ask, you tell them it is just a humorous song about injection, but the adults exchange side‑eye and bust big laughs because they are hearing all the hidden meanings Kitch packed inside.
For someone not used to calypso, it might sound like a simple vintage song about a nervous patient. In Trinidad, we hear a master calypsonian playing with language, teasing the censor, and giving the crowd a wicked, risqué story without ever using a negative word. That is the real joy of "Dr. Kitch”: one song, two levels, and if you don’t understand the double entendre, you are only hearing half the jam.
Production Notes/Music Credits:
Song Title: Dr. Kitch aka The Needle
Artist/Performed by: Aldwyn Roberts (Lord Kitchener)
Written by: Aldwyn Roberts
Origin: Trinidad, Republic of Trinidad & Tobago.
Year: 1963
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
This post was originally published on Sokah2Soca and has been repurposed here for Kaiso Dial. The music is truly exceptional, and the band delivers a heartfelt performance that beautifully honors the legacy and music of Black Stalin. 🎶
Today, while listening to Mr. Desmond and Kenny Phillips on WACK Visual Radio, a caller asked about a Black Stalin tribute melody that had recently been played on the station. Mr. Desmond mentioned that the melody was done by Nicholas Brancker—referring to The Nicholas Brancker Band. Curious to hear it again, I did my due diligence and located the tribute video online. That discovery became the inspiration for this feature.
This post honors the late Dr. Leroy Caliste, better known to the world as Black Stalin, one of Trinidad and Tobago’s most powerful and influential calypsonians. Born in September 1941 and passing on December 28, 2022, Black Stalin left behind a legacy of music that championed Caribbean unity, social justice, and cultural pride.
The Black Stalin Tribute by The Nicholas Brancker Band of Barbados is a stunning homage to the legendary Trinidadian artist. The presentation is a masterpiece of Caribbean musicianship, featuring powerful vocals, intricate instrumentals, and soulful rhythms that capture the spirit of Black Stalin’s music. The arrangements transport listeners straight to the heart of Trinidad’s vibrant calypso tradition.
Each piece selected for the medley is expertly crafted, showcasing not only the incredible talent of The Nicholas Brancker Band but also their deep appreciation for Black Stalin’s artistry and message. The band manages to balance respect for the original works while presenting them with fresh musical energy.
I have to admit that the vocalist, Adrian, was exceptional. His delivery was remarkable and at times sounded strikingly similar to the late maestro himself. His performance adds emotional depth to the tribute and helps bring the spirit of Black Stalin vividly to life.
This tribute is, without question, one of the finest musical homages to Black Stalin that I have seen online. For lovers of Caribbean music—or anyone interested in the rich musical traditions of Trinidad and Tobago—this is essential listening. It stands as a fitting tribute to one of calypso’s greatest voices and a testament to the enduring power of his music.
Notes from Nicholas Brancker:
“This was the final rehearsal before our first performance after Black Stalin’s passing. We had just finished a workshop at UWI for students and decided to document and share this medley with you. This is a tribute to a humble, joyful, and committed Caribbean son. Live on, Brother!”
Kudos to The Nicholas Brancker Band for such a heartfelt and masterfully executed tribute.
Songs Featured:
Suffers
Bun Dem
We Could Make It If We Try
The Caribbean Man
This Party Cyar Done
Black Man Feeling to Party
Production Notes/Music Credits:
Title: Black Stalin Tribute (Footage from Final Day Rehearsal for Naniki Music Fest )
Musical Arrangement by: Nicholas Brancker
Vocals by - Adrian Clarke
Band: Nicholas Brancker Band
Bass: Nicholas Brancker
Drums - Melvin Alick
Keys - Darien Bailey
Keys - Andre Daniel
Trombone - Jomo Slusher
Saxes - Romaro Greaves
Trumpet - Kevyn Lynch
Guitar - Tristan Haynes
Pan & Percussion - Andre Forde
Background Vocals - Israel Allen & Casheda Dotten
Origin: Barbados
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
Calypso is the heartbeat of Trinidad & Tobago’s musical legacy. It’s the voice of resistance, the rhythm of celebration, and the wit of the people. But in today’s Carnival landscape, Soca has taken center stage—faster, louder, and more commercially dominant. If Calypso is to reclaim its space and rival Soca’s popularity, especially among younger audiences, it must evolve without losing its essence. And that evolution begins with the vibe.
To thrive in the modern Carnival ecosystem, Calypso must embrace the dance party energy. Whether the song is social commentary or political satire, it needs to move the crowd—literally. The groove must be infectious. The rhythm must invite movement. A Calypso that makes you think and dance is a Calypso that lives beyond the tent.
Politics has long played a central role in Calypso, and rightly so. The genre originated from the necessity to challenge the status quo. But today’s audiences are navigating a different world—one where political fatigue is real, and attention spans are short. The challenge isn’t to abandon political themes, but to balance them with cleverness, humor, and joy. A witty double entendre or a playful twist on current events can be just as powerful as a fiery critique.
Calypso must also speak the language of the people. That means understanding what the new generation cares about, how they talk, what makes them laugh, and what moves them emotionally. Research the trends, listen to the slang, and write songs that feel relevant. Connect with the youth not by preaching, but by vibing. If the lyrics feel distant or outdated, the music risks being dismissed as boring—no matter how brilliant the message.
Above all, make the songs memorable. A catchy hook, a relatable story, a rhythm that lingers—these are the tools of longevity. Calypso has always been rich in storytelling, but now it must also be rich in replay value. Songs that stick are songs that spread.
In the end, Calypso doesn’t need to compete with Soca by mimicking it. It needs to evolve on its own terms—grounded in tradition but open to innovation. By embracing danceable grooves, relatable themes, and youthful energy, Calypso can once again become the soundtrack of Carnival, not just its conscience.
Production Notes/Music Credits:
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso Music 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
The full flavor of Trinidad bursts onto the road tonight, as Soca and Chutney Soca drive the magic of Carnival 2026 straight home. One more jump, one more wave—the spirit of the island is alive and blazing.
The videographer’s presentation captured it all—pre‑party energy, the heart of the fête, and the post‑party vibes as FLAVA unfolded tonight. The show is set to begin at 8:00 p.m. Trinidad time, which is 7:00 p.m. for viewers in the USA.
The featured artists tonight are as follows:
Anastacia Richardson (Calypso)
Kadija Jeremiah (Calypso)
Mela Caribe (Soca)
Karma the Band
Tempa
Nisha B
Terri Lyons (Calypso Monarch 2026)
Nailah Blackman
Rasika
Lil Bits
Let us spread awareness of the culture of the Caribbean diaspora.
We do this to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and stories of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy reaches a wider audience and fosters creativity and connections. While it is important to always purchase music, you should avoid sharing promotional music because doing so denies essential revenue to songwriters, producers, and artists. You can find all of our posts online on social media platforms like Facebook, YouTube, Instagram, Spotify, andSoundCloud. We recommend that you explore your favorite content on FeedSpot/RSS Feed, Threads, Bluesky, and Twitter/X, including email subscriptions. Thank you in advance.
Production Notes/Music Credits:
Event: FLAVA Culture on Display
Streamed by: Multiple sources, "I am living my life," "Radicle Tube," & "Gartsy"
Where: De Savannah, Port of Spain
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Soca/Culture 🎶
🎧Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis. Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music, and Soca are thriving!
This is your final boarding pass, oui—this Carnival ship sailing out tonight! Enjoy every performance, because this year’s round trip is touching back down in Trinidad for 2027.
Thanks to the YouTube portal “I Am Living My Life," we could share this last night of vibes at FLAVA. Carnival 2026 awakened the people, infused the nation with party spirit, and left us eagerly anticipating the next edition! This festive boat is going to tour the world and will return for 2027. So enjoy this last night of fun... but stay with us for Kaiso posts all year!
Appearing tonight:
Joshua Regrello De Pan Man
Swappi
Farmer Nappy
KMC
Lady Lava
Viking Band
Bunji Garlin
Fay Ann Lyons-Alvarez
Let us spread awareness of the culture of the Caribbean diaspora.
We do this to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and stories of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy reaches a wider audience and fosters creativity and connections. While it is important to always purchase music, you should avoid sharing promotional music because doing so denies essential revenue to songwriters, producers, and artists. You can find all of our posts online on social media platforms like Facebook, YouTube, Instagram, Spotify, andSoundCloud. We recommend that you explore your favorite content on FeedSpot/RSS Feed, Threads, Bluesky, and Twitter/X, including email subscriptions. Thank you in advance.
Production Notes/Music Credits:
Event: Flava Finale Tonight
Artists: Bunji, Viking Band, KMC, Lady Lava & Joshua Regrello
Streamed Live from Flava by "I am living my life"
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Soca 🎶
🎧Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis. Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music, and Soca are thriving!
Everything eventually comes to an end, and as we arrive at this penultimate night of performances, we extend a hearty round of applause to Tish of “I Am Living My Life” on YouTube for her vibrant and dynamic coverage of Trinidad Carnival 2026.
Today is Thursday, February 26th, and the flava is still alive at FLAVA in the Queen’s Park Savannah, where the vibes continue to pulse through the night. FLAVA will wrap up its Carnival run this weekend and then take a well-earned break—until next Carnival season returns.
Carnival may be coming to a close, but the rhythm never stops in Trinidad! Tonight, Kaiso Dial invites you to keep that energy alive with the same incredible music that made Carnival 2026 truly unforgettable.
Performing Tonight:
Orlando Octave
Christo
M1
GI
Ding Dong
Wadicks
Production Notes/Music Credits:
Event: Live from Flava
Streamed by: I am living my Life YouTube Channel
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Soca and Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
We have lost another great one, and calypso music will not be the same after his passing. Trinidad & Tobago bids farewell to Kenroy “Black Prince” Smith, a calypsonian whose wit, humor, and sharp storytelling lit up the tent for decades. Rising through the calypso ranks from the 1950s, he crafted a style that was unmistakably his—blending comedy, social commentary, and the everyday realities of Caribbean life.
For this post, we celebrate some of his performances, as played in a recent tribute to the man by Mr. Kenny Phillips on WACK Visual Radio. We are confident that you will love the songs. You can look for his music after reading this, but first, check out TriniView, which has seven posts about him. Read and get to know the artist. Link here: Black Prince
This generation may not be aware of his songs, but Calypso connoisseurs know him for classics like "De Letter" and "Mrs. Black Prince Business." He earned the Most Humorous titles in 1993 and 1997, and his work stood proudly alongside icons like Zandolie and Lord Blakie on the Raw Kaiso CD. A true cultural witness, Black Prince captured the joys, ironies, and struggles of the people with charm and clarity.
As the spirit of the calypso tent waned and the voice of the Calypsonian was replaced by Soca dance music, he remained committed to the artform, performing and composing with the same passion that first brought him to the tent. His passing marks the end of an era, but his voice and spirit live on in the verses, the vinyl, and the memories of all who cherish a well-crafted calypso.
His death ends an era, but his legacy lives on in the verses, vinyl, and memories of those who know the power of a well-crafted calypso.
Rest in rhythm, Black Prince. Your crown was lyrical, and your legacy is royal.
Some of the artist's music—Discog:
De Letter—One of his best-known comedic pieces; it was featured on Raw Kaiso.
Fry Balls—Humorous social commentary in classic tent style.
One Lifetime Ent Nuff—It's Reflective, witty commentary on life and relationships.
The song "If" is well-known among collectors and is often performed in tent circuits.
Hang 'Em High—A comedic narrative with sharp punchlines.
Oya, Don't Cry No More Song—Emotional, socially aware composition.
Mrs. Black Prince Business—A humorous look at domestic situations.
Production Notes/Music Credits:
Calypsonian: Kenroy Smith
Sobriquet: Black Prince
Music Tribute on WACK Visual Radio 90.1FM
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
Don't worry about Carnival Tabanca; just focus on the music. and today, we decided to remind you about just how great our music is. We took a short segment from Mr. Desmond's Saturday morning radio show to remind you about how awesome going to the Calypso tent used to be, back in the day!
So let's do this: step inside the tent and soak in the spirit of classic calypso—raw, witty, and full of fire. This recorded segment features timeless performances from the golden age of the calypso tent, where lyrical mastery met social commentary and pure bacchanal. Whether you’re a longtime fan or just discovering the magic, these tunes still hit with power and pride.
Press play and let the kaiso speak.
Production Notes/Music Credits:
Title: Calypso Tent Classics
Source: Mr. Desmond Radioi
Radio Host: Desmond Peters aka Deso
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
Trinbago’s Carnival Lagniappe is in full swing at the Queen’s Park Savannah in Port of Spain (De Savannah), but once again there seems to be no official online stream for the public to enjoy.
Local videographers are doing their best with independent feeds, but neither TTT nor WACK Visual Radio is broadcasting the show. For an event that celebrates the very best of Carnival 2026—champions, icons, and the full brilliance of our culture—this silence from the official channels is disappointing.
This is the final grand showcase of the season, a moment where the country’s top performers come together to remind us why Trinidad and Tobago remains the cultural heartbeat of the Caribbean. It’s a gift, a spectacle, a national treasure.
And yet… this is how we want the world to experience our culture?
One would think that those in charge—government included—would be eager to share this talent with global audiences. Broadcasting this event could inspire future visitors, strengthen cultural pride, and give the world a taste of what makes our Carnival unmatched.
Yes, I’m disappointed. Many of us are.
But we will still highlight what we can. Today, we’re watching from the sidelines, thanks to one of the hardworking videographers who refuse to let the culture go unseen.
Kaiso Dial will continue to amplify what’s available—because the culture must go on, even when the official channels fall short.
Production Notes/Music Credits:
Event: Carnival Lagniappe—A Night With The Champs
Where: Queens Park Savannah
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Carnival Culture 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
Kaiso Dial is still here and we are all about calypso... just a reminder. So here we go with some of the songs that slipped past the hectic pace of Trinidad Carnival 2026; today, we turn our attention to a composition that refuses to whisper. “Hang Dem High” by Moses Monroe, known on the calypso circuit as Xposer, is a bold, uncompromising commentary on the state of crime and justice in Trinidad and Tobago.
Consider the track as a raw example of calypso music. It is a mirror held up to society, reflecting the fear, frustration, and moral exhaustion of a people who feel cornered by violence. The nation just witnessed the brutal and ungodly killing of a mother and father who were unloading groceries in Couva, Trinidad. Everyone seeing that video of the brutal slaying of parents in front of their child would appreciate the message in this song.
A Nation Wrestling With Crime
“More than that. It’s a cry of frustration. He’s saying the justice system is not working the way people expect. Criminals getting bail, cases dragging on, and the victims’ families left to suffer. He’s pushing the idea that if the system can’t protect the innocent, then something drastic has to change.”
So what needs to be done? This is a call for justice—dramatic measures.
Q-“Is that why he's calling for hanging?”
A-“Exactly. No, he is not celebrating violence—simply put, he’s reflecting the anger of a society that feels cornered. He’s saying:
Crime out of control
Families traumatized
Lawyers helping repeat offenders get back on the street
Accountability Beyond the Criminals
Politicians ignoring the public’s pleas
And the people want accountability.”
Q-“So he is calling everybody out?”
A“Everybody. Criminals, lawyers, politicians—nobody spared. He’s basically saying if you’re part of the problem, you should face consequences too. That is the reason we love Calypso, it’s provocative, but that is the essence of the genre. We love calypso because It’s supposed to spark debate.”
A Cry for Safety and Stability
Q-“And beneath all that?”
A-“Beneath all that is a simple wish: people just want to feel safe again. They want consistency, justice, and a country where you can walk the street without fear. That’s the heart of the song.”
Final Thoughts
“Hang Dem High” is not a gentle song. It is not meant to soothe. It is a calypso forged in the heat of national frustration—a reminder that the art form remains one of the most powerful vehicles for social commentary in the Caribbean.
Whether you embrace Xposer’s stance or challenge it, the conversation he ignites is unavoidable. And that, at its core, is the reason we recite the following: Kaiso, Kaiso. Yes, Kaiso!
Production Notes/Music Credits:
Song/Title: Hang Dem High
Written/Composed by—Moses Monroe
Sobriquet—Xposer
Background Vocals—Natalie Yorke and Carol Jacobs
Arranged by Pelham Goddard
Engineer—Calliston Pantor
Executive Producer—Moses Munroe
Recorded and Mixed @ Agra 9 Studio—Agra Street, St. James
Trumpets by Charles William
Saxes by Malcolm Boyce
Trombone by David Jacob
Guitar by Michael Chang Wai
Keyboard, Overdubs, Bass and Percussion by Pelham Goddard
Publish by Classic Promotion International (KPI)
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
"When ah Trini get-vex, he does want to buss somebody's head"—and that is exactly how I felt when the Road March results for Trinidad Carnival 2026 were announced. It wasn't because my favorite song lost, but rather because the system once again revealed its flaws. The most popular song did not win; the song most strategically played at predetermined judging points did. That distinction is not trivial—it is the heart of the problem.
Encore Didn’t Win the Road—It Won the Judging Points
Cyar Behave was the people's song. So Why Didn’t It Win?
The Road March Has Become a DJ Playlist, Not a Public Choice
The Road March Is Broken—And TUCO Is to Blame
For years, the Road March has been governed by a format that is outdated, easily manipulated, and increasingly mistrusted. Many Trinidadians believe that this year’s outcome reflects those vulnerabilities. And just like the Savannah Grass year, the people’s choice was sidelined—not because of artistry or cultural impact, but because of a system TUCO refuses to modernize.
Let me be clear: I do not blame Machel Montano for operating within the rules. Elite writers and producers support him as a master strategist, and he understands how to ignite hype that remains vibrant even if it never becomes a classic. He is a Carnival Soca salesman—once he smells blood, “yuh dogs-dead!” But his twelve wins, impressive as they are, do not carry the cultural weight of Lord Kitchener’s legacy. In an era of steelbands, brass bands, and genuine public demand, Kitchener earned his victories. Machel’s wins are engineered within a system that rewards influence, access, and timing.
This argument is not an attack on an artist. It is a critique of an institution.
TUCO’s Assistant PRO, Megulla Simon, recently insisted that TUCO deserves respect. But respect is earned, and TUCO’s lack of urgency to fix a malfunctioning competition has eroded public confidence. Their approach feels indifferent at best and incompetent at worst.
The clearest example of this failure is the widening gap between the people’s choice and the DJ’s playlist. Masqueraders were calling for Cyar Behave all day; entire sections were singing it, yet at the judging points the music switched to Encore. That is not organic. That is not reflective of public sentiment. That is the result of DJs and band coordinators following predetermined lists rather than responding to the crowd. Knowing the judging points in advance exposes the possibility of manipulation.
Announcing judging points is a fundamental error. It allows artists to lobby, DJs to adjust playlists, and bands to coordinate plays for maximum impact. This is not the spirit of Road March. This is stagecraft masquerading as road culture.
If the Road March is truly about the road, then the system must reflect that. The Road March should no longer be judged at the Queen's Park Oval, Soca Drome, or other predictable locations where patrons are seated. These are stages, not the road. Instead, TUCO should adopt a modern, fair, and transparent approach that captures what masqueraders are actually hearing and responding to.
A reformed system is not only possible—it is necessary. And the solutions are neither complicated nor unrealistic.
Key Reforms TUCO Must Implement
Randomize judging points or eliminate fixed points entirely to prevent strategic manipulation.
Use audio fingerprinting technology (similar to Shazam) to automatically detect and count songs along the parade route.
Deploy neutral monitors within bands to record plays discreetly and consistently.
Ban payments or sponsorships that influence DJs or bands to favor specific Road March–eligible songs.
Require transparency through published logs, timestamps, and band-by-band breakdowns.
Introduce a “People’s Road Choice” Award to capture public sentiment through verified voting, streaming data, and social media engagement.
Just like politics, there’s no campaigning on Carnival days — no artists hopping from band to band or truck to truck trying to influence plays.
These reforms would restore fairness, eliminate speculation, and ensure that the Road March reflects the true spirit of Carnival—freedom, authenticity, and celebration.
The legacy conversation matters here as well. Machel’s twelve wins are historic, but they are not equivalent to Kitchener’s eleven. Kitchener won because the people demanded his music. Machel wins because he understands how to work a system that TUCO refuses to update. Even he admitted on Corie Sheppard’s podcast that Cyar Behave couldn’t win because artists don’t understand the “energy of the stage.” But Road March is not supposed to be about the stage. It is about the road—the heartbeat of Carnival.
If TUCO continues to cling to a broken system, public trust will continue to erode. And once trust is gone, the cultural integrity of the Road March will go with it. TUCO already faces criticism for Calypso Fiesta and Calypso Monarch selections—that is a separate conversation, but it underscores a pattern of non-transparency and resistance to change.
Reforming the Road March is not an attack on tradition. It is a defense of it. By embracing modern technology and transparent practices, TUCO can protect the legacy of the competition, support artists equitably, and honor the will of the people who make Carnival what it is.
Addendum 02/20/2026:
I was right years ago when I said Machel won the Stage March, not the Road March—and it still holds true today. So consider this a bit of breaking news. Machel himself has now confirmed it.
In an Instagram post, he openly stated that his song was not the most played on the road. The key part of his message says it all:
“The Road March is the song that is played the most times to cross the stage.
It is misconstrued that the Road March is the biggest song for the Carnival on the road.
My song was not played the most on the road.
Maybe, a next prize for the song played the most on the road.”
When the artist with twelve titles is telling you the system is misunderstood—and that his own song wasn’t the dominant road tune—it validates everything we’ve been saying for years.
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
Carnival Tuesday has arrived, and the road belongs to the bands. We are locked on for the parade of the bands, enjoy the day!
Yesterday gave us a sweet taste—just enough to tease the senses—but today the full spectacle steps out in all its glory. Feathers, fabric, and every shade of the rainbow are about to flood the streets as masqueraders bring the spirit of Carnival alive.
After a scorcher of a Monday, the early morning showers cooled the air and blessed the day with that unmistakable Carnival freshness. With any luck, the skies will stay kind and the vibes will stay high.
We’ve lined up several live video feeds for you to choose from. Pick your favorite vantage point and settle in as the Parade of the Bands takes center stage.
Production Notes/Music Credits:
Event: Carnival Tuesday
What: Parade of the Bands-Street Views
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
The National Carnival Commission presents a night of pure brass, pure vibes, and pure bacchanal! Brass Bacchanal began in 2022, with Temperature the Band winning the title in 2022, 2023, and 2024. Last year, Kern Summerville & the Sensational Band took the title. Which band do you think will take the top prize tonight? Share your thoughts with us.
Production Notes/Music Credits:
The show is scheduled for De Savannah; don't miss it!
📍 Queen’s Park Savannah—John Cupid Carnival Village
🕘 Showtime: 9PM sharp!
🎟️ Tickets just $150 — available at Java Nation stores, NCC Ticket Booth, NCC Head Office, or online at IslandETickets.com
Live Band Instruments:
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Soca and Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
It’s Carnival Monday and J’ouvert is here! San Fernando is alive with rhythm, mud, paint, and pure freedom—and this is the chipping‑down‑the‑road energy you came for. Brought to you by the I Am Living My Life YouTube Channel. Enjoy the vibes!
Production Notes/Music Credits:
Event: J'ouvert Morning
Where: San Fernando
Streamed by, I am living my life YouTube Channel
Origin: Trinidad, Republic of Trinidad & Tobago.
Genre: Calypso 🎶
Empowering Caribbean Creatives
🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Calypso music pulse year‑round, not only at Carnival. 🌴✨ Help elevate Caribbean music and culture—be a cultural ambassador and spread the word. 👉 Find us on Facebook and YouTube.
