What makes this project truly remarkable, however, is Motto’s contribution titled “The Chutney Melody.” While soca and chutney have long existed as parallel subgenres, with occasional crossovers—such as Ajala’s “So Nanny” (Ragga Soca reworked into a chutney version)—this feels different. Instead of creating a separate chutney track or remix, Motto has embedded East Indian lyrical elements directly into a soca riddim that otherwise carries three conventional soca songs. It’s not a remix, not a rework, but a deliberate fusion within the same riddim framework.

 

Talk about breaking barriers and bridging the music. This is fascinating since Lord Shorty's goal was to unite the East Indian and African nationalities through the creation of his music... Sokah! Chutney soca has historically been treated as a distinct lane, often released on its own riddims or as chutney-specific projects. This album isn't a case of just giving one of the tracks a  chutney title; it is more than that. By incorporating “The Chutney Melody” and weaving Indian vocals into the riddim, Motto has blurred the lines between chutney and soca in a way that feels fresh and unprecedented. Interestingly, the production notes do not list the female voice delivering the Indian lyrics, which remains uncredited, adding a layer of mystery to the release. One has to wonder if it is a mystery or if AI was used here.

 

For Sokah2Soca, this moment is worth spotlighting. It’s not just another Carnival riddim—it’s a cultural experiment that could signal new directions for soca’s evolution. If soca is synonymous with rhythm, energy, and inclusivity, then the bold incorporation of chutney elements into a mainstream riddim could be remembered as a pivotal moment, and we were here to highlight this fact!