Penned by Jason “Jahcardo” Simpson and seasoned by The Riddim Sektion, the track delivers a smooth Soca groove that’s easy on the ears—like a well-balanced stew. But for some, it might still need a dash more pepper. Because in Soca, flavor isn’t optional... it’s essential.

 

Farmer’s vocals are as familiar and comforting as a well-worn apron, and the riddim simmers gently. Yet, while the theme centers around love and food—two staples of Caribbean life—the track doesn’t quite plate up the emotional flavor or lyrical hook that lingers. It’s pleasant, yes. But does it stick? Does it make you whine, laugh, or reminisce about that special someone? Not quite.

 

We know not every song is meant to be a road anthem or a Carnival banger. And we also know there’s no such thing as “bad” music—just different tastes, different vibes, and different moments. Still, in a genre that thrives on bold flavors and unforgettable choruses, “Cooking” might feel more like an album filler than a main course.

 

That said, Farmer’s legacy is seasoned with hits, and we’ll always root for his success. Maybe this one’s a slow burner, bringing a delayed heat that we just don't yet understand. Maybe it’ll find its place off the road and in the kitchen. In either case, we continue to observe, listen, and eagerly anticipate the arrival of the next 'musical dish.'

 

To provide some context, it is important to highlight one of the main attributes of a good bush judge: Cry Foul Play—They thief, and we know better! We are not going to do that for this post (but bush judges are always right, aren't they?), but the loser, usually, will fall prey to partisanship. 

 

Do opinions really count? Maybe! While Pan Evolution Steel Orchestra (PESO) emerged victorious, a growing chorus of voices argued that Philadelphia Pan Stars Steel Orchestra deserved the victory. As one of those bush judges, I have my own opinions.

 

We are here not to toast the results but to roast them... just a little bit. Pan Evolution Steel Orchestra (PESO) took the top spot with André White’s arrangement of “Too Own Way”—and let me tell you, it was a vibrant, uptempo ride. The flourishes were bold, the rhythm relentless, and the energy? Electric. It was the kind of performance that grabs the crowd and doesn’t let go. No surprise; the judges leaned in their favor.

 

As an official bush judge, I listened to the Philadelphia Pan Stars Steel Orchestra with interest and pleasant surprise. Their rendition of “Bet Meh” by Machel Montano was smooth, classic, and melodically rich. From the first note, I knew exactly what they were playing. It was a masterclass in restraint and musical storytelling. There were no gimmicks, just pure pan. It was the kind of performance that made you close your eyes and sway, not just jump and shout.

 

So here’s my verdict: PESO thrilled the audience and earned their win, but Philly Pan Stars delivered a timeless arrangement that deserved serious consideration. If melody, clarity, and classic Panorama vibes were the metric, Philly would’ve taken it in my book. Yes, I preferred Philly Pan Stars and would choose them as the winner! As I wrote that, I ducked immediately—no buss head for me!

 

Panorama isn’t just about scores. It’s about stories. And last night, both bands told theirs with pride, precision, and plenty of pan. But that’s the beauty of Panorama—every band brings its flavor, and every bush judge has their scorecard. Respect to both orchestras for raising the bar and keeping the culture alive.

 

Let the debates begin. Who had your vote last night?

 

For those unfamiliar, the drag is where the Steelband orchestras warm up, tune up, and vibe out before hitting the stage. It’s where the soul of Panorama pulses loudest. After years away from attending these competitions, standing among the pans again felt like a homecoming. The energy was electric, the musicians focused, and there was music. Pure joy.

 

I also had the pleasure of meeting video blogger Trish, aka I Am Living My Life, whose passion for Caribbean culture radiates through every frame she captures. And in a moment that felt both historic and heartwarming, I connected with Vanessa Headley—arranger for Metro Steel Orchestra, WACK Radio Steelpan host, and co-winner of Trinidad’s Small Conventional Bands category earlier this year. Metro Steel Orchestra has many young players, not seasoned veterans like most bands. Vanessa’s presence marked a milestone: she’s the first female arranger to compete in New York Panorama. Her tune of choice, The Greatest Bend Over, was bold, brilliant, and beautifully executed.

 

But let’s talk results. The hype on the drag wasn’t with Pan Evolution Steel Orchestra (PESO)—and maybe that’s why their performance hit like a revelation. With André White’s masterful arrangement of “Too Own Way” by Voice, PESO stunned the crowd and judges alike, clinching first place and their second consecutive title. It was a performance that reminded us: steelpan is as much about precision as it is about passion.

 

? Panorama 2025 Results Recap:

Congratulations to the entire team at Pan Evolution. Your performance was a masterclass in musical storytelling, and you earned your win. The song "Too Own Way" has never sounded better. Until next time, keep the pan ringing and the culture strong.

 

Enter Kenny Phillips of KMP Music, a producer with a keen ear for crossover potential. He tells the story of working in the bank and being approached by Drupatee's husband, who wanted Kenny to produce music for his wife, Drupatee. In collaboration with the innovative Drupatee Ramgoonai, he crafted Indian songs infused with a calypso beat. With prodding from Drupatee's husband, Jay, they decided to put English vocals to one of the songs. Enter Carl Jacobs...

 

Kenny called "Carly" to help him with the lyrics for the proposed new song. That’s when Carl Jacobs (Carly), another visionary in the room, writing lyrics for a song, put into words the term we now call “Chutney Soca.” According to Kenny’s own recollection, it wasn’t Drupatee who coined the phrase—it was Carl. As told in the video clip, Carl Jacobs penned the following for the song "Chatnee Soca" (1986): "Is Chatnee Soca; is that that have me whining down so!" The moment was spontaneous, almost offhand, but it stuck. Kenny knew instantly: this was it, history in the making! Enter Wayne McDonald, also known as Kassman ... 

 

As told by Kenny, it was Kassman who claimed to 'have a song,' Mr. Bissessar, and the song emerged to capture the nation. Mr. Bissessar was written by Wayne McDonald, aka "Kassman," while the music was arranged and produced by Kenny Phillips. “Mr. Bissessar” was a bold experiment blending soca’s infectious energy with chutney’s melodic traditions. The sound was electric, but what would they call it? A subgenre of Soca emerged... Chutney Soca, and that name was given to Drupatee's new album!

 

While Chutney Soca can be devotional, humorous, or downright bacchanalish. It’s a versatile and vibrant music style. The term “Chutney Soca” would go on to define a movement—one that celebrated a new cultural hybrid sound, what can only be called musical innovation, and the unapologetic joy of Caribbean identity. Drupatee’s role as a pioneer remains undisputed, but the naming credit, as Kenny tells it, belongs to Carl Jacobs.

 

You can hear Kenny Phillips recount the moment himself (posted below) or in this Facebook reel here: https://www.facebook.com/share/r/18aZfbh7yC/