More than a Mic: She is "The Legal Diva"

Meet the Calypsonian: Crystal Charles—The Legal Diva

Crystal Charles, widely known on the Calypso circuit as “The Legal Diva,” is a formidable force whose artistry is deeply rooted in purpose, intellect, and fearless truth-telling. A calypsonian from the age of 12, Crystal represents a rare blend of cultural legacy, professional excellence, and social advocacy—a combination that sets her distinctly apart in Trinidad and Tobago’s musical landscape.

With over a decade of experience as a member of the Divas Calypso Cabaret International, Crystal has consistently demonstrated that Calypso is not just entertainment but also a form of education, resistance, and healing. Her performances are marked by lyrical precision, commanding stage presence, and themes that challenge societal norms while uplifting the marginalized.

Beyond the stage, Crystal Charles is a qualified Attorney-at-Law, having practiced for over eight years. This legal foundation informs her music—earning her the sobriquet "The Legal Div"—as her compositions often read like sharp legal arguments set to rhythm: evidence-based, unapologetic, and impossible to ignore.

Crystal is also a former Miss Sangre Grande Carnival Queen, a title she used not merely for pageantry but as a platform for advocacy and community engagement. Her commitment to service is further reflected in her role as the Founder and Principal of Cogni Centre Academy, the only school of its kind in Sangre Grande dedicated to children with diverse learning needs. She has established herself as a respected voice for the differently-abled community, advocating for inclusion, access, and dignity through this institution.

Musical Milestones

Crystal’s breakout competitive success came with her powerful calypso “Standing My Ground,” a song that resonated nationally for its fearless stance on integrity, self-worth, and resilience. The performance propelled her to 13th place in the National Calypso Monarch Semi-Finals, firmly cementing her as a serious contender and a voice of substance within the art form.

2026 Season: Till There Is No More

For the current season, Crystal returns with “Till There Is No More,” a deeply emotive and socially urgent calypso addressing the ongoing violence against women in Trinidad and Tobago. The song confronts the painful reality of domestic abuse and femicide, refusing silence, excuses, or complacency. With haunting honesty and lyrical strength, Crystal calls for accountability, cultural change, and an end to generational cycles of violence—till there is no more.

This offering is not just a song; it is a statement, a memorial, and a demand for better. It reflects Crystal’s evolution as an artist who uses Calypso as a tool for justice, aligning seamlessly with her real-life work as an advocate, mother, educator, and legal professional.

More Than a Calypsonian

Crystal Charles stands at a unique intersection—law, culture, education, motherhood, and music—embodying the modern calypsonian who is as effective offstage as she is commanding on it. Whether she is in a courtroom, a classroom, or under the stage lights, The Legal Diva remains unwavering in her mission: to speak truth, defend the vulnerable, and use her voice to spark meaningful change.

In every sense, Crystal Charles is not just performing Calypso —she is living it

Production Notes/Music Credits:

Song Title: Till There is No More

Artist/Performed by: Crystal Charles 

Composed by: Ife Allen

Arranged by Kenny Phillips

Bass Rodney Alexander

Background vocals by Tricia Hamilton

Brass-Roger Jaggassar, Oral Rodriguez, David Jacob

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Soca 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 present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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A Dance Calypso at Last: Hilford Hurst’s ‘Broom Bram’ Moves the Season

Finally, there is a dance-calypso in the mix!

With so many social and political offerings this season, Hilford Hurst’s “Broom Bram” stands out on its own. It’s a breath of fresh air—reflective, a little melancholic, but irresistibly dance‑driven.

The video follows an artist slipping back into a familiar state of mind he hasn’t felt in years. Steelband music takes over his headspace, pulling him into movement he can’t control. The song captures that moment when rhythm overrides reason, tenors, guitar, and bass pans swirling in his head—when the broom bram, broom bram washes over his senses and he has to surrender to the sweet melodious vibe of the steelpan!

By the time he reaches the repeated phrase “Heat. Heat,” the music has completely taken control of him. It serves as a beautiful reminder of how calypso continues to engage both the body and the spirit.

Production Notes/Music Credits:

Song Title: Broom Bram 

Artist/Performed by: Hilford Hurst Sr. 

Lyricist, Composer: Hilford Hurst

Produced by: Hilford Hurst 

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Listen. Share. Amplify. Kaiso Dial—Where Rhythm Lives. Calypso, Steelband, and Soca thrive every day, not just at Carnival. 🌴✨ Elevate Caribbean music and culture—be a cultural ambassador and spread the word! 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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Mistah Shak Decodes the Madness: “D’Code—F.A.F.O.”

Today’s post features a song by Mistah Shak titled “D’Code,” led by the stinging acronym “F.A.F.O.” This one is a stinger, calypso at  its best, sharp, contemporary language to make social commentary hit harder, and FAFO fits that lineage perfectly. It may be modern slang, but its spirit is pure calypso—calling out wrongdoers with wit, bite, and rhythm. When Shak uses the term "FAFO" in D'Code, he's referencing the widely recognized meaning of "F Around and Find Out"—a cautionary tale about the consequences of crossing boundaries.

Mistah Shak's "D'Code (F.A.F.O.)" is a sharp and uncompromising political commentary. Using FAFO as its anchor, the song frames a season of global and local leadership failures, exposing the fallout of reckless governance. He was unrelenting in his criticism of the current administration governing the country. 

Shak calls out international political chaos, the return of controversial figures, and the ripple effects of American influence. At home, he confronts incompetence, scandal, and economic damage, questioning the return of a troubled government to "finish off the country."

Shak highlights the inappropriate ministerial appointments, abuses of power, and leaders who manipulate systems while demanding blind loyalty. Even non‑voters aren’t spared; the song suggests they, too, helped shape an outcome that ultimately left many feeling betrayed.

F.A.F.O. is pure political-bois, sharp, and fearless; shots fired—D’Code

Production Notes/Music Credits:

Song Title: D'Code 

Artist/Performed by: Mistah Shak 

Written & Performed by: Selvon "Mistah Shak" Noel

Produced by: Shawn "Ma$termind" Noel 

Arranged by: Selvon "Mistah Shak" Noel

Live Guitars & Bass by Shawn "Ma$termind" Noel

All background vocals are by Selvon "Mistah Shak" Noel.

Mixed & Mastered by Shawn "Ma$termind" Noel

Live Horns by Oral Rodriguez, Charles Williams & David Jacob

Horns Arranged by: Oral Rodriguez

Horns Recorded by Garvin Marcelle @ G-NOTE STUDIO

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Listen. Share. Amplify. Kaiso Dial—Where Rhythm Lives. Calypso, Steelband, and Soca thrive every day, not just at Carnival. 🌴✨ Elevate Caribbean music and culture—be a cultural ambassador and spread the word! 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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Trinity Celebrates Caribbean Womanhood in “Dat Is Woman”

Trinity steps forward with a playful, confident celebration of Caribbean womanhood in “Dat Is Woman.” The calypso's attitude, melody, and delivery are enough to convey the essence of the song. Trinity leans into charm, wit, and a little swagger, painting a picture of the woman who holds her own, stands firm, and moves through life with a mix of sweetness and steel. It’s light, catchy, and full of that unmistakable island warmth.

In terms of the Production, the track is clean and modern, shaped by Judah Peters. The  guitar work  from Eli Fuller adds a breezy, melodic lift. Smooth background vocals by Denika Andrews round out the hook, while Redemption Studios gives it a polished finish that lets Trinity’s voice shine. Written by Bethany & O’Brian Lightborne, the song blends storytelling with a rhythmic bounce that makes it instantly replayable.

A short tune, yes—but one that leaves a grin. Sometimes calypso doesn’t need to lecture or lash; sometimes it just needs to remind you why Caribbean women are a force.

Production Notes/Music Credits:

Song Title: Dat Is Woman 

Artist/Performed by: Trinity 

Written by: Bethany & O'Brian Lightborne

Performed by: Trinity

Background Vocals by: Denicka Andrews

Produced by: Judah Peters

Guitars by: Eli Fuller

Mixed & Mastered by: Redemption Studios

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Listen. Share. Amplify. Kaiso Dial—Where Rhythm Lives. Calypso, Steelband, and Soca thrive every day, not just at Carnival. 🌴✨ Elevate Caribbean music and culture—be a cultural ambassador and spread the word! 👉 Find us on Facebook and YouTube.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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Luta Sweeps Away the Chalk Dust: A Calypso Controversy Ignites

When I was a young man growing up in Trinidad, pelting mangoes was a whole Olympic sport. If you had a mango-focused arm, you got to enjoy sweet mangoes; if your aim was poor, you had to watch your friend eating the best mangoes. But King Luta’s “Confused”? This one is much better than pelting mangoes—because Luta is not pelting fruit. He is pelting boulders, and some of them bounce straight off a blackboard with a loud tack, leaving chalk dust flying in the wind. 

This song is calypso mischief at its finest: sharp, clever, and delivered with that grin‑behind‑the‑lyrics energy only a seasoned kaisonian could pull off. Luta hears a certain “doctor, teacher, professor, author, lecturer” making some bold statements about calypso, and instead of staying quiet, he steps forward with a tune that politely says, “Boss… are you sure you want to go down that road?”

The beauty of “Confused” is that it’s not rage, not bacchanal, not disrespect—it’s precision commentary, the kind that makes you laugh, wince, and nod all at once. And if there’s one moral tucked inside the melody, it’s this: do not go in a bar, drink, become tipsy, and start talking about things you will regret when a calypsonian hears you. Because once they put it in a song, the story is done. In other words, "Mouth Open, 'Tory Jump Out!"

So after all the stones Luta pelted—clean, accurate, and with that trademark grin—you can’t help but wonder if certain “doctor‑teacher‑professor‑author‑lecturer” types might think twice before liming, sipping, and letting their mouth outrun their common sense again. Calypsonians don’t miss, and Luta certainly didn’t.

But I’ll leave it right there. Because if I say anything more, I might end up in a verse myself—and trust me, I am not taking that chance. Let King Luta finish the story… he already started it with style.

Production Notes/Music Credits:

Song Title: Confused

Artist/Performed by: King Luta

Composed by: Morel Peters, "King Luta"

Produced, Mixed & Mastered by: Ebony Sound Factory.

Guitar by: Kyle Peters

Background Vocals by: Roxy Singh

Brass Recorded by G Note Studio in Fyzabad, Trinidad

Trumpet, Charles Williams

Trombone, David Jacob

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.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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Megulla Simon’s My Child: A Powerful Calypso on Motherhood and Responsibility

We have a song that has meaning and one that will be talked about for some time. Today we present a song by Megulla Simon titled "My Child." The song was composed by Kurt "Last Bardjohn" Allen, produced by Kenny Phillips, with backing vocals by Tricia Hamilton. The music production complements the singer's vocal style. It is a song that is relevant. We think you will like it. Simon brings a contemporary voice to a timeless theme: the weight and beauty of raising a child in a world full of challenges.

What is this song saying? At its core, “My Child” is a declaration of full parental accountability.  What does it mean to be a single mother in today's society? The lyrics answer the question: a single mother who refuses to separate herself from her daughter’s actions—good or bad. The repeated idea that she “shares the fame” and “shares the pain” underscores a powerful truth: parenting is not selective, convenient, or part‑time. It is a lifelong commitment to presence, guidance, and unconditional love.

 

The songwriter and singer's vocal style delivers a raw, emotional anthem in “My Child,” declaring full accountability for her (Megulla's message) daughter’s triumphs and mistakes. Ahh, at this point she refuses to separate praise from blame, fame from pain. Some people do it because it is the right thing to do, while others do it for performative outcomes to deceive the public; however, true parenting should advocate for genuine presence, serve as a reminder that raising children is a full-time commitment, and emphasize that love entails persevering through all challenges. 

Pay attention as you listen to the song for some very catchy and sensible points: 

• The refrain about sharing both “fame” and “pain” is the emotional anchor of the song.
• The code, which should teach manners, prayer, survival, and respect, adds depth and honesty.
• Always reflect and ask: “where did I slip?” Clearly, this shows vulnerability and accountability rarely expressed so plainly in calypso.

Lenny D Trini clapped back at the minimal post we did and pointed out that the music production complements the message with a steady, reflective calypso groove—not overly upbeat, not somber, but balanced. To summarize his thoughts:  the song mirrors the emotional weight of the lyrics: steady, grounded, and sincere.  The hook is memorable and reinforces the song’s central theme of shared responsibility—something that is lacking or can be considered a lost parental skill. 

The production is clean, polished, and professional, characteristic of Kenny Phillips’ work. Did I just commend Kenny Phillips? It is deserving, and one should note that he is going to have a sizable music haul this season. His arrangement leaves space for Simon’s voice to carry the emotional load, with instrumentation that supports rather than overshadows. Lenny D Trini underscored this point when he chastised me for our previous minimalist post. The clarity of the production and the engineering of the mix ensure that every line lands with intention, enhancing the overall experience and making the message feel intimate and direct. That, dear reader, is the magic of experience that Kenny delivers with this production. 

“My Child” resonates because it is honest, vulnerable, and culturally grounded. It avoids clichés and instead offers a real, lived perspective on parenting—the pride, the fear, the responsibility, and the unconditional love. Simon's voice stands out most for its courage, as she fully claims her child without any excuses or deflection. It’s a calypso that lingers because it speaks to something universal—the desire to raise a child well and the willingness to stand beside them through every triumph and every storm.

We would appreciate hearing your thoughts on the potential impact of this well-written song. Please share the post with your social media contacts. 

Production Notes/Music Credits:

Song Title: My Child 

Artist/Performed by: Megulla Simon 

Composed by: Kurt "Bardjohn" Allen

Arranged by: Kenny Phillips

Bass: Rodney Alexander

Background vocals by: Tricia Hamilton 

Brass: Roger Jaggassar, Oral Rodriguez, David Jacob: 

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.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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A Calypso Clapback for the Ages: Don't Judge We - Diana Chapman

We are taking cues from our readers and will create short 'social media' posts for those who just want the basics of a song. Today we feature a song that tells it like it is. What the older generation did, the youth are repeating with some subtle differences. The Calypso is "Don't Judge We" by Diana Chapman. Written by Osei K. Clarke and produced by Joshua Nedd with the engineering done by Hope Rocks Studio, this tune is a Calypso that beckons the people to treat the younger generation as the future, not as a threat. 

Diana Chapman flips the script on generational blame in “Don’t Judge We,” reminding elders that today’s youth aren’t worse—just more visible. With humor, history, and sharp cultural recall, she exposes the hidden flaws of the past, calls out double standards, and urges guidance instead of judgment. The message is simple: every generation wilds out in its own way, so support the youth; don’t shame them.

Production Notes/Music Credits:

Song Title: Don't Judge We

Artist/Performed by: Diana  Chapman

Written by: Osei K. Clarke

Produced by: Joshua Nedd

Recorded, Mixed, and Mastered by: Hope Rocks Studios

Background Vocals Arranged and Performed by: Faith Corrica

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.

We present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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KINTE & C.R.S. MAKING A DIFFERENCE

KINTE & C.R.S. MAKING A DIFFERENCE

By Nerukhi Ato Osei

KINTE also known as Carey Stephens is the founder of The C.R.S. Community Tent which has been in existence for the past 20 years. It was created by Kinte to create an avenue for the many young and unrecognised Calypsonians to have a platform for their Art.

Apart from the function of nurturing young and up-coming Calypsonians, the Tent has been instrumental in taking the artform to several communities of Central and South Trinidad. “Our communities continue to be starved of good healthy non- divisive entertainment that can add value and promote healthy values as many Calypsos do. The disconnect that has develop between the people and Calypso has facilitated the incursion of music that continues to undermine the moral fabric of our society. Kinte says.

During its time in existence several singers have moved on to several of the larger Tents and in 2025 Lady Lystra – Lystra Nurse of C.R.S. made it Calypso Fiesta, the semi finals of the Calypso Monarch competition and arguably the biggest Calypso stage in the Calypso world.

Central Rainbow Stars boast of a varied cast of entertainers from all walks of life and ethnicities, and as Kinte state “We have what it takes to make a difference.” 

ABOUT THE FOUNDER OF C.R.S. TENT – CAREY KINTE STEPHENS 

Carey Kinte Stephens is also the founder of the Southern Calypso Movement which later became the South Central Zone of TUCO

He was responsible for the formation of what was called the South Tent that has since become known as Kaiso Showkase.

He was also instrumental in the formation of all the other Zones of TUCO – The Trinbago Unified Calypsonian Organisation.

Later on he also founded  the South Central Island productions which has over the years been known for its promotion of talent shows unearthing talent from all genres and disciplines in the performing arts 

He is also the man behind the recognition of Calypso Icon Maestro and for several years have been devoted to the service of ailing Calypsonians particularly in the Southland.

He has travelled and performed in several islands of the Caribbean and USA. 

In 2026 he headlines the C.R.S. tent with a powerful song titled - Front line.

It is a song that addresses the critical issue of war in the Caribbean. 

Look out for him as his roving tent visits a venue in Trinidad or one in the Caribbean soon.

Follow the link below and join the Frontline.

https://youtu.be/ydQwlLifsMs 

Song Title: Front Line

Artist/Performed by: Kinte 

Written & Performed by: Kinte (Carey Stephens)

Background Vocals - Roxy Singh

Executive Producer - Carey Stephens

Arranged by: Christopher Morris

Recorded at Future Sounds Studio

Mixed & Mastered by: GQ Maxzimum

COTT

Kinte Music 2026

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Soca 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 present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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“Lie” — Lady Gypsy's Stand Against Silence and Victimization

Lynette Steele, whose sobriquet is "Lady Gypsy," stands strong as a fearless Calypsonian steeped in truth and tradition. One thing we can tell you is that when it comes to telling it like it is, she abandons her lady persona and dons her tigress persona... She delivers political blows, or as we like to say, "political boi!"   She is proud and sings boldly, and today we present another salty song titled "Lie." She is not about to cower before anyone, and this song is her way of shedding the weight on her shoulders. 

The chorus is where we explain the song's meaning, but we will let the artist convey it in her own words: "They want me to lie… tell a lie… lie, lie, lie."

She said it and declared that she has no intention of bowing to anyone and is determined to proclaim her integrity. She recounts the backlash, political pressure, and betrayal by fellow Calypsonians and those in charge of the industry. It was a brutal confrontation and a costly lesson for her. The problems in the industry happened because she was bold enough to sing about what she was seeing but was told was a lie. 

In her lyrics, she expressed her true feelings or addressed the issues that troubled her. This is a political commentary with flair; she does not hold back! Wouldn't you speak out if you thought that you were being victimized or being silenced? She did not hold back and called out those who turned their backs on her, those who told her to lighten up her lyrics, and especially those who punished her for her political choices. 

Key lyrical moments include:

• “The truth does not wear a crown—that is very wrong.”
• “Victimization for every song.”
• “Our culture should never be a race; instead, we should celebrate each other’s religions.”

She wanted to ensure that her commitment was not political but about unity and cultural dignity. We are our own worst enemies when our tribal instincts lead us to punish others 'just because.'

Then there is the production done by Kenny Phillips.  This is uptempo and musically full of vibes. It takes magic fingers to produce excellent work and Rodney Alexander left his signature on the bass guitar.  Tricia Hamilton provided background vocals for a 'dressed to impress' song. She is doing background vocals for so many artists and on this one, she continues delivering professional and sweet vocals. Overall, we love the music; it was clean and both the vocals and music complemented each other. 

We revisit our earlier point, where we mentioned that Lady Gypsy drops the 'Lady' moniker when sharing verbal political views.  She delivered a song that is powerful and uncompromising. She is fearless and confronts her naysayers; she takes down the political pressure and destroys the cultural division as she laments the personal betrayal. Rest assured, this lady will not lie, will always tell her truth and will never abandon the calyoso tradition of truth to power. We love this song not just for the message but because, as a vocalist, she is natural and on top of her game.

Production Notes/Music Credits:

Song Title: Lie 

Artist/Performed by: Lady Gypsy 

Composed by: Lynette Steele (Lady Gypsy) 

Arranged and Produced by: Kenny Phillips 

Bass: Rodney Alexander 

Background Vocals: Tricia Hamilton

Origin: Trinidad, Republic of Trinidad & Tobago.

Genre: Calypso 🎶

Empowering Caribbean Creatives

🎧 Share. Amplify. This is your Calypso Dial, where rhythm lives. Steelband and Soca 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 present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

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EMPRESS JOINS KAISO SHOWKASE FOR CARNIVAL 2026

FORMER SOUTH JUNIOR CALYPSO MONARCH—EMPRESS JOINS KAISO SHOWKASE FOR CARNIVAL 2026

By Nerukhi Ato Osei

Lisa Roberts, known as EMPRESS, has been singing calypso since the tender age of 11.

She first performed Calypso, written by her aunt, at competitions at the St. Madeleine Junior Secondary School. From there she attended the San Fernando Senior Comprehensive School, where she continued her calypso journey, winning the NCC South Junior Calypso in 1991.

As a senior performer, she performed at the CDC Tent from 2011 to 2014.

In 2015 she performed at the Divas Calypso Cabaret, thereafter moving to the Kalypso Review, where she performed from 2018 to 2024.

Empress is a woman passionate about Calypso, the arts, and life.

She regularly promotes Calypso on her social media pages and is well known in the arts circles for her commitment and dedication.

This season in 2026, Empress joins the cast of the San Fernando-based Kaiso Showkase.

She performs a song titled "CUT IN WATER."

Her song is described on her YouTube post in the following manner: 

In our Caribbean culture, where horning is a way of life, men often whisper in the ears of women to encourage them to be unfaithful to their mates ... “Gimme de ting nah. It's just between me and you ... de man eh have to know nutten ... Chop in water doh leave no mark” 

This song is a cautionary tale that dispels the notion that one could act irresponsibly regarding one’s sexual relationships and escape unscathed. It reminds us that for “every stroke, there is always a consequence.” A word to the wise!!! 

Link to the Video here: https://youtu.be/KrCk0_QSSYk?si=UH47XO203XuEz-7R

Song Title: Chop in Water

Artist/Performed by: Lisa Roberts

Composed by: Christophe Grant 

Arranged and produced by: Angelo Pantin/ Diamond Sound Studios 

Guitars—Kwame Morrison 

Brass —Dan Clarke 

Lyric Video—Ekweoha Entertainment

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 present the music here for your listening pleasure and promotional purposes only, adhering to the "Fair Use" Musical Content Copyright Disclaimer under Section 107 of the Copyright Act 1976. Kaiso Dial/Calypso Music Blog © 1990 by Santiwah is licensed under CC BY-SA 4.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-sa/4.0/.

♫Please press the music player button below to listen now (small triangle in the Music player/TV Frame).

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