Friday Pop-Up: COTT Gone Rogue? Bunji’s “Celebration” Pops Up at #1—Six Months Later!
By Ananda/Sokah2Soca
in
Blog
July 27, 2025
The content was first published on the blog Sokah2Soca (www.sokah2soca.com). We bring you only the best new music, while Island Vybe Radio rocks it live on the air!
Celebration by Bunji debuts at #1 six months after its Carnival release. For one straightforward reason—music trends—we have this song as our Friday Pop-Up! Now don’t get it twisted; I am sure you want to know how a song that was released back in January for Trinidad Carnival could now debut on the COTT music chart dated July 11, 2025 at the number one spot. How is that possible?
This VERICAST software might be powered by—or is spiritually aligned with—GROK Ai, because this chart logic is making our heads spin and going full sci-fi. ?
Let’s be clear: nothing against Bunji Garlin. He is a boss, a lyrical sorcerer, and a cultural icon. And the song? The creative, forward-thinking production by Banx & Ranx, N.M.G Music, and Bunji himself pushes Soca to another level—blending global polish with Caribbean soul. However, this chart is intriguing. Bananas. ?
So what’s the story here? Bunji Garlin's song "Celebration," released during Carnival, has unexpectedly risen to the top, akin to a Soca phoenix. After months of radio silence, "Celebration Time" has suddenly risen to the top. Where have you been, Bunji? Or more accurately, where has radio been?
The COTT chart tracks radio plays, but if the system only wakes up half a year later, we have to ask: is the result a celebration of the song or a reflection of how disconnected the chart is from real-time cultural movement?
Still, we’re not mad. We’re intrigued. And we’re featuring “Celebration Time” as our Friday Pop-Up because its magical debut at number one deserves a spotlight—even if the chart itself needs a serious recalibration.
So yes, it’s Celebration Time. But maybe it’s also Reflection Time. Let’s celebrate the music, but let’s also challenge the systems that shape its visibility.
COTT Chart Link: COTT TOP 10
Let us spread awareness of the Caribbean diaspora's culture.
Our goal is to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and tales of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy continues to reach a wider audience and foster creativity and connections. While you should always buy music for sale, you should avoid sharing promotional music because it denies songwriters, producers, and artists important revenue. Please be aware that all of our posts are available online via social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS Feed, Threads, Bluesky, and Twitter/X, including email subscriptions. Thank you in advance.
Production Notes/Music Credits:
Song Title: Celebration
Artist/Performed by: Bunji Garlin
Produced by Banx & Ranx, N.M.G Music, & Bunji Garlin
Co-produced by Dana Shayegan
Lyrics written by Ian Alvarez
Music written by Yannick Rastogi & Zacharie Raymond
Guitars by Keron “Sheriff” Thompson
Artwork by JusBus
Lyric video by Ellenanimates
Executive Producers: Bunji Garlin, Dana Shayegan, Banx & Ranx
Label: Bad Beagle
C/P 2025 All Rights Reserved
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Soca ?
Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music and Soca Thrive!
? Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis.
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. Sokah2Soca/Soca 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 click the small triangle button in the music player below to listen now.
Wheel and Come Again Radio Rebroadcasts #3: Evening Vibes with Mr. Desmond
By Ananda/Sokah2Soca
in
Blog
July 27, 2025
The content was first published on the blog Sokah2Soca (www.sokah2soca.com). We bring you only the best new music, while Island Vybe Radio rocks it live on the air!
This is the Wednesday evening vibe with Mr. Desmond that you will come to love. Why? Simply put, it is a Lovers Rock session you didn't know you needed. We assure you that you will have this segment on rewind.
As the saying goes, better late than never—and tonight, that felt especially true. After returning from a hot and humid gym, I missed the start of Mr. Desmond’s Caribbean Vibes Show but made it just in time to catch a golden half hour that reminded us why Deso remains a master selector of feel-good, roots-rich music.
He dipped into the archives, pulled out a few sleepers, and served up a set dripping with Lovers Rock nostalgia. It was one of the sweetest thirty minutes we’ve recorded in a long time—every note wrapped in warmth, every lyric humming with memory. Whether you grew up on Coco Tea, Gregory, Beres, or the quiet seduction of Janet Kay, this one was for you.
So we invite you to pull up a chair, grab your favorite drink, and let Deso do what he does best. Mr. Desmond excels in the delivery of Lovers Rock Reggae. His music is consistently sweet and captivating.
Let us spread awareness of the Caribbean diaspora's culture.
Our goal is to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and tales of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy continues to reach a wider audience and foster creativity and connections. While you should always buy music for sale, you should avoid sharing promotional music because it denies songwriters, producers, and artists important revenue. Please be aware that all of our posts are available online via social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS Feed, Threads, Bluesky, and Twitter/X, including email subscriptions. Thank you in advance.
Production Notes/Music Credits:
Show Title: Evening Vibes with Mr. Desmond
Segment: A Lovers Rock Session You Didn’t Know You Needed
Curated and Presented by: Mr. Desmond
Recorded from Radio Feed: Wednesday, July 16, 2025
Broadcast Platform: MrDesmond.net
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Reggae
Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music and Soca Thrive!
? Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis.
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. Sokah2Soca/Soca 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 click the small triangle button in the music player below to listen now.
Busy Body by Nailah Blackman: Caribbean Temptation Meets Hip Hop Swagger
By Ananda/Sokah2Soca
in
Blog
July 27, 2025
The content was first published on the blog Sokah2Soca (www.sokah2soca.com). We bring you only the best new music, while Island Vybe Radio rocks it live on the air!
Forget the wine-up and leave your jump-and-wave at the door—Nailah Blackman’s latest drop, Busy Body, isn’t here to play Soca royalty. This track seamlessly transitions into a new sonic realm, blending a Caribbean attitude with hip hop skill and a hint of seductive alt-pop shine. Nailah isn’t just bending genres—It’s a bold sonic statement that challenges norms and expands what Caribbean music can sound like in America’s mainstream mirror.
But hold on just one silly minute—are they really asking us to believe that Nailah is an "officious individual," as shown on the video screen? I alway thought of Nailah as a sweetheart, not as someone who is 'assertive of authority in an annoyingly domineering way, especially with regard to petty or trivial matters.' Ok, let's move on... ?
The production opens with a skeletal beat—stripped down yet impactful. Nailah's voice glides over it with sultry precision, blending emotional control with playful charisma. Busy Body isn't Soca, Dancehall, or Hip Hop—but a genre-fluid cocktail that might best be described as Caribbean R&B with Trap-pop tendencies. Her phrasing speaks to hip hop’s love for rhythmic swagger and introspective tone, but the Caribbean soul remains unmistakable. Syncopation sways beneath the surface, the accent is proudly preserved, and the melodies evoke steelpan shadows and salt-kissed breezes. Nailah doesn’t dilute her roots—she amplifies them with global textures.
What sets Busy Body apart is its strategic evolution. This isn’t a detour from Soca; it’s a reimagining. Nailah understands that true crossover success requires more than catchy hooks—it calls for aesthetic clarity and narrative control. By mixing Soca with hip hop sensibility and alt-pop shimmer, she reshapes the way Caribbean music shows up in America’s musical mirror. She’s crafting a new sonic silhouette—one that honors heritage while embracing innovation. Additionally, she exudes sex appeal, which is evident in her eyes and facial expressions; her attractive curves and fashion choices further enhance the overall impression.
The song’s creative power lies not just in Nailah’s performance but in the team behind it. Busy Body was written by Nailah Blackman, Anson Pro, Felicia Jones, and Michael Coleman. It was produced by Anson Pro, Nailah’s longtime collaborator, with additional production by Jakey Drumm. Mixing duties were handled by Grammy-winning engineer Leslie Brathwaite, while mastering was done by Johann Seaton of MadMen Productions. Each person played a distinct role in shaping the track’s crisp, compelling sound.
Busy Body represents more than a musical moment—it’s a blueprint for where Caribbean music can go next. Nailah doesn’t discard Soca traditions; she stretches them, weaves them into modern soundscapes, and builds bridges across genres. This isn’t just fusion for fusion’s sake—it’s intentional expansion. It’s about broadening the definition of what Caribbean artists can create and where that art can resonate.
At Sokah2Soca, we see Busy Body as a defining moment. Nailah Blackman is consistently releasing daring music; she isn’t just participating in the global music conversation—she’s leading it, speaker by speaker, vibe by vibe. Her work reminds us that Caribbean sound is fluid, resilient, and ready for its next chapter. And that next chapter is already unfolding, resounding louder than ever before.
Let us spread awareness of the Caribbean diaspora's culture.
Your goal is to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and tales of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy continues to reach a wider audience and foster creativity and connections. While you should always buy music for sale, you should avoid sharing promotional music because it denies songwriters, producers, and artists important revenue. Please be aware that all of our posts are available online via social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS Feed, Threads, Bluesky, and Twitter/X, including email subscriptions. Thank you in advance.
Production Notes/Music Credits:
Song Title: Busy Body
Artist/Performed by: Nailah Blackman
Music Producer: Anson Pro
Additional Production: Jakey Krumm
Written by Nailah Blackman, Anson Pro, Felicia Jones, Michael Coleman
Mixed by: Leslie Brathwaite
Mastered by: Johann Seaton
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Caribbean Pop/Hip Hop ?
Shot/Edited By: Ian Davis
Directed By: Ian Davis & Anson Pro
DP: Wayneroy
Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music and Soca Thrive!
? Listen. Share. Amplify. Our artists embody culture not only during Carnival but on a daily basis.
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. Sokah2Soca/Soca 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 click the small triangle button in the music player below to listen now.
The content was first published on the blog Sokah2Soca (www.sokah2soca.com). We bring you only the best new music, while Island Vybe Radio rocks it live on the air!
From Grenada’s Spicemas, where electrified crowds roar in lyrical warfare, to Vincy Mas, where titans like Fireman Hooper and Skinny Fabulous unite in thunderous victory, and Lucian Carnival, where young voices erupt like fireworks—the Soca Monarch crown burns bright across the region. But in Trinidad and Tobago, the birthplace of Soca music, the throne stands abandoned.
Once the heartbeat of Carnival, the International Soca Monarch competition pulsed with cultural pride, melodic warfare, and explosive artistry. It crowned champions, defined genres, and galvanized the nation. Today, it echoes only silence—canceled, unsupported, and forgotten. Its demise wasn’t a musical failure; it was an economic withdrawal. When government sponsorship vanished, the contest didn’t collapse—it withered slowly, like a Semp flipped on its back: limbs frozen, soul in limbo.
Though Trinidad Carnival 2025 introduced a new contest—the Ultimate Soca Champion, produced by Star Global Productions—it hasn’t quite recaptured the legacy. Blaka Dan, a Grenadian artist, sparked pride and controversy alike with his victory. Unlike other Carnivals, Trinidad opened its stage to outsiders. Vincy Mas and Spicemas honor their local stars; Trinidad wrestles with its identity. Is it still the center of Soca’s evolution—or just a memory trying to compete globally?
The truth is, Trinidad doesn’t need to chase what once was. It can lead again. It can create something revolutionary. Trinidad and Tobago lost the Power Soca crown to Grenada and Saint Vincent, but no one, and I mean no country, does Groove Soca better than Trinidad. Let the rest continue with their Groove or Ragga Soca and Power Soca competitions while we innovate and present our CalypSoca. To generate interest in our very own Zess music, include it in a dual competition. There is one caveat: the Zess music must rid itself of the sexual and gun talk lyrical content.
How do we know this concept can be a success? Well, during the Calypso Monarch semi-finals in San Fernando, the crowd didn’t come for a trophy—they came for release. What they witnessed wasn’t competition; it was catharsis. Calypso offered sharp wit, biting commentary, and people-powered storytelling. Soca added pulse—movement, electricity, and sweat. But what happens when we refuse to choose between reflection and revelry?
CalypSoca happens: Don't worry, we are just delivering idea gems.
CalypSoca isn’t nostalgia or novelty—it’s the natural evolution of a sound that belongs to the people. It blends Calypso’s storytelling traditions with Soca’s kinetic rhythm. It moves you and makes you think. Do you remember the Calypso vibe of the "Tilden Hall Riddim"? That is the style of music we want for CalpSoca! Picture tracks like Olatunji’s “Engine Room,” which pulses with Soca but echoes Calypso’s soul. Or IAmG’s “Calypso Conclave,” a lyrical throwback laced with modern momentum.
This music fusion isn’t just a sound—it’s an opportunity. Trinidad can build a new competition, not just to fill a throne but to celebrate a new genre. The genre has its roots in history, yet it strives for innovation. Let Spicemas have Power and Groovy. Let Vincy crown its Fireman. Trinidad can offer something different: CalypSoca—a genre that honors its lyrical roots while igniting new music that bridges the age divide for carnival fetes.
Community Discussion Prompts:
We invite musicians, producers, fans, and cultural historians to participate in this discussion. Here are some questions to spark ideas. But before so doing, people will tell you CalypSoca is hard to define and already part of Soca music releases. While that may be true, why complicate the genre by labeling everything as Soca? Are you saying the "Soca" has now become a marketing tool and that all Caribbean carnival music is now Soca? Damn, Lord Shory is probably shouting from his grave because of this travesty. So here are a few ideas:
- Musicians: Have you ever blended Calypso vocals with Soca beats? What challenges or creative breakthroughs did you experience?
- Producers: What production techniques could define CalypSoca as distinct from Soca remixes or Calypso updates?
- Fans: What songs do you feel already embody the spirit of Calypso Soca? Share your favorites!
- Cultural Experts: How can CalypSoca preserve the storytelling tradition of Calypso while embracing modern soundscapes?
Competition Structure/Categories:
- Best CalypSoca Vocal Performance
- Best CalypSoca Production
- Best CalypSoca Lyrics
- Youth CalypSoca Talent
Judging Criteria:
- Originality
- Fusion of Calypso and Soca elements
- Lyrical depth
- Crowd engagement
We want your input! Whether you're a seasoned calypsonian, a Soca DJ, or a curious listener, your voice matters. Help shape the future of Calypsos by contributing your ideas and suggestions:
- Sharing your thoughts in the comments
- Submitting sample tracks or mashups
- Volunteering to be part of the organizing team
A Crown Reimagined: We don't want to hurt feelings, just open eyes to the possibilities.
Let’s emphasize the obvious as we conclude this discussion: CalypSoca can become a unique competition format specifically designed for Trinidad and Tobago. It isn’t here to replace Calypso or Soca—it’s a vibrant extension of both, designed to reignite audience excitement and competitive spirit in Trinidad and beyond. The concept, which may not be clear to you yet, is both simple and powerful—combining lyrical depth with rhythmic energy. The Calypso connoisseurs, rebellious Soca heads, and, to some extent, the Zessers will all come together to support something unique to Trinidad that has been embraced by De Red Boyz (a Trini and Bajan production team).
Take a listen to Engine Room. Engine Room is a CalypSoca song that encapsulates the lively energy of Carnival events like the Calypso Monarch semi-finals, simultaneously establishing a fresh arena for joy and pride. WWith sponsors like Digicel and Carib, along with legendary venues such as De Savannah in Port of Spain and Skinner Park, this genre-bending movement can flourish into a community-driven revival.
It is not just a sound; it is a feeling. It’s about feting with lyrics. CalypSoca means #FetingWithLyrics, which channels joy, cultural pride, and lyrical brilliance into something unforgettable. The throne's been waiting. The people are ready. CalypSoca is coming for the crown.
Let us spread awareness of the Caribbean diaspora's culture.
Our goal is to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and tales of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy continues to reach a wider audience and foster creativity and connections. While you should always buy music for sale, you should avoid sharing promotional music because it denies songwriters, producers, and artists important revenue. Please be aware that all of our posts are available online via social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS Feed, Threads, Bluesky, and Twitter/X, including email subscriptions. Thank you in advance.
Production Notes/Music Credits:
Song Title: Engine Room
Artist/Performed by: Olatunji Yearwood
Written By Jason “Shaft” Bishop, Scott Galt, Michael Hulsmeier and Olantunji Yearwood
Drums: Michael Hulsmeier
Keys Scott Galt
Bass Nicholas Brancker
Pan Terry “Mexican” Arthur
Guitar: Miguel Charles and Barry “Barman” Hill
Trumpet Kevyn Lynch
Trombone Jomo Slusher
Backing Vocals: Rochelle Griffith, Olatunji Yearwood, Scott Galt and Michael Hulsmeier
Mixed and Mastered By Andrew Denny
Origin: Barbados/Trinidad & Tobago
Genre: CalypSoca ?
Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music and Soca Thrive!
? Listen. Share. Amplify. Our artists embody culture not only during Carnival but on a daily basis.
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. Sokah2Soca/Soca 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 click the small triangle button in the music player below to listen now.
Official Music Video—Engine Room
