Every time King Carnival emerges from its ashes, revelers flock to Soca-related sites in search of information. The information they seek pertains to party events, ticket prices, the rush to pay for costumes, and new music. Let's focus on soca music. The diaspora comes alive as friends and family eagerly rush to download music and share links to songs and music posts on social media sites and, more importantly, with their peers. I have often asserted that we are our own worst adversaries, and it's evident that there is a demand, albeit a seasonal one!
What is the problem, then? The real issue is our shortsightedness. These same individuals complain about the disrespect shown by international music charts for not featuring Soca music, yet as soon as Carnival is over, they quickly turn to other dominant music styles, despite claiming that 'our music is better!' Meanwhile, several artists from Trinidad and Tobago continue their advocacy, touring the world and actively promoting their music. We must support these artists by playing their music instead of prioritizing other genres. We can appreciate multiple styles simultaneously; just don’t cast aside Soca!
We sometimes need to make sacrifices to achieve recognition. Our desire for the international community to accept pure soca does not work and often depends on Caribbean artists collaborating with well-known international musicians or blending soca with other genres to capture market share. "Differentology (Ready for the Road)" incorporated EDM and dancehall styles into soca, becoming an international hit and earning Bunji the Soul Train Award for Best International Performance. Major Lazer later remixed the song and performed live with The Roots, further enhancing its popularity. These events allowed other artists to gain visibility and attract audiences, enabling many to succeed on the international soca circuit, albeit without making a significant impact on the music charts. All that remains is the hope that one day, the stars will align once more!
At this point, I am going to sound like a broken record. Repeat, repeat, repeat! If, at home—the place where soca originated—the radio stations feature soca music only seasonally, why should we expect the international audience to care about soca? The evidence suggests that we value the music only during specific times, and many artists have recognized this fact, turning to social media to promote their work. At the same time, to achieve international success, these songwriters and artists must consider crafting songs that a global audience can understand. People outside the diaspora aren't particularly interested in songs about whining on a bumper or grasping double entendres as we do effortlessly. Thus, it is crucial to understand the audience they are targeting. Is it primarily a carnival audience, or is it also an international audience? Why not write and perform songs that appeal to both groups? One can only hope!
We urge our local and online radio stations to consistently play soca music throughout the year, akin to how WACK Visual Radio 90.1FM operates. This station serves as one example from Trinidad; we need more stations like it. We challenge producers to consistently push boundaries and blend music to create sounds that resonate globally. There’s no need to worry about losing Soca to international producers and artists. While international artists may use soca music to enhance their sound, they often fail to capture the authentic vibe of the Caribbean diaspora. I will conclude with this: Soca has now become merely a marketing term; it is not the music that Lord Shorty created! The genre continues to evolve, and as we progress, further adjustments are inevitable. Let's hope this evolution leads us to our desired destination without compromising our values.