- Crime out of control
- Families traumatized
- Lawyers helping repeat offenders get back on the street
- Politicians ignoring the public’s pleas
- And the people want accountability.”
Calypso in Action - Sparrow, Gypsy, Stalin, Kitchener
Keep Smiling Terri-light Up the Dial!
We are Dialed-In: Our National Flag
Colonial Times Calypso L-R Caresser, Atilla the Hun, The Roaring Lion and Lord Executor
Our National Instrument Panorama - Renegades Steel Orchestra
For years, the Road March has been governed by a format that is outdated, easily manipulated, and increasingly mistrusted.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
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.
Terri Lyons was crowned Calypso Monarch 2026 after delivering a sterling performance that brought the Grand Stand to its feet in a standing ovation.
Tonight, we witnessed the full power of steelband music—precision, passion, and pure Trinbago brilliance. From the first roll to the final cadenza, each orchestra brought its own heartbeat to the stage, shaping a night that will live long in the memory of every pan lover.
The first two bands were electric, with Massy Trinidad All Stars receiving a standing ovation and extended applause. Renegades brought the big sound to the stage, and Exodus did not disappoint. Then again, Nutrien Silver Stars wowed with their rendition of "Respectfully Yours," sung by Full Blown.
Online chat bush judges were busy picking winners and providing reasons for favorites not making it to the top three places. Having said that, it was an amazing night, and, in the end, steelband music lovers enjoyed it all.
The lineup/order of appearance was nothing short of historic:
Kaiso, Kaiso! Yes, Kaiso—join us as we capture the essence of our culture... Calypso music. Calypso music is the source of all the subgenres that our Carnival culture has contributed to the diaspora and, by extension, the world.
Kaiso Dial is a digital portal dedicated to the soul of Trinidadian calypso. From vintage gems to Carnival 2026 and beyond, we celebrate lyrical wit, rhythmic fire, and the voices that shaped Caribbean music history. Tune in, wine slow, and let the stories sing.
Our mission is simple yet ambitious: to make Kaiso Dial the go‑to blog for calypso music. Whether you’re a lifelong fan, a curious researcher, or a newcomer discovering the magic for the first time, this is your space to explore the richness of calypso’s cultural heartbeat.