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This post first appeared on Sokah2Soca, where Caribbean music meets wit, rhythm, and real talk. Island Vybe Radio spins the tunes—we decode the culture.

 
Soca music, the exuberant heartbeat of Trinidad and Tobago, has always thrived on its ability to cross borders and spark joy across cultures. Today, that rhythm reverberates in an unexpected but electrifying locale—Japan. In a stunning display of global musical fusion, the release of “Odore Mina” by Barbie Japan x Chop Stick x Selector Hemo marks a bold new chapter in Soca's international journey.
 
Far from a fleeting experiment, this track is a vivid celebration of cross-cultural creativity. Produced by Selector Hemo of LIME Records, the song pulses on a riddim crafted by MAPSYCHE, and it grooves with authentic Soca spirit thanks to drums laid down by Lemuel Davis, a talented percussionist straight out of Trinidad. Even the steelpan, played by Akio Watanabe, threads an unmistakable island signature into the fabric of this genre-bending release.
 
Barbie Japan brings her unique charm as Japan’s only chutney-soca artist, blending fitness, performance, and Caribbean flair with unapologetic authenticity. Chop Stick adds lyrical fire with a hybrid of Japanese and Jamaican patois, channeling reggae roots while riding the Soca riddim with ease. Selector Hemo, a longtime champion of Caribbean music in Asia, pulls together their energies into a track that’s not just infectious—it’s a cultural statement.
 
“Odore Mina”—which loosely translates to “Everybody Dance!”—does more than invite movement. It signals a shift. International artists not only consume Soca globally but also create, interpret, and reimagine it, respecting its roots and striving to broaden its reach.
 
In Japan, where dancehall and reggae have long thrived, Soca is now finding fertile ground to grow. This collaboration proves that the vibes of Carnival, the energy of the road, and the pulse of a steelpan can be felt, honored, and celebrated in Tokyo as powerfully as in Port of Spain.
 
The song is more than music—it’s a movement. And Sokah2Soca is here for it. So let the world know: Japan loves Soca, and they’re producing it with pride.
 
Notes from the YouTube Post:
The riddim was originally produced by MAPSYCHE in 2016—and now, it’s finally coming to life.
 
With live steelpan by Akio Watanabe and drums by Lemuel Davis from Trinidad & Tobago, this track celebrates the theme of freedom in expression. I hope you enjoy the vibe of this Japanese Soca release! ????
 
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 FacebookYouTubeInstagramSpotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS FeedThreadsBluesky, and Twitter/X, including email subscriptions. Thank you in advance.
 
Production Notes/Music Credits:
Song Title: Odore Mina (Everybody Dance)
Artist/Performed by: Barbie Japan x Chop Stick x Selector Hemo
Produced by: selector HEMO (LIME Records)
Drums: Lemuel Davis 
Steelpan: Akio Watanabe
Riddim: MAPSYCHE
Recording: DepsyStudio
Mix: Coconial Studio, Studio, HUNTER CANCE STUDIO
Design: mhMARCA
Origin: Japan 
Soca 2026
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.

This post first appeared on Sokah2Soca, where Caribbean music meets wit, rhythm, and real talk. Island Vybe Radio spins the tunes—we decode the culture.

 
Ocassionally the articles we stumble upon online raise intriguing questions—but miss the deeper story. After reading a recent Google feature on Soca music, we felt inspired to respond from the ground up—with rhythm in our bones and perspective rooted in the homeland. Soca isn’t just a genre; it’s Trinidad and Tobago’s own soundtrack of spirit and celebration.
 

Rather than simply copying the global perspective, we took a different approach. We took the main topics discussed and reimagined them through a Trinidadian lens—rich with cultural nuance, humor, and pride. This post isn’t just an info dump; it’s an affirmation. We explored:

 

What Is Soca?
What Does Soca Sound Like?
Soca and Calypso: Similar but Not the Same
The Origins of Soca
Garfield Blackman aka Lord Shorty
How Did Soca Develop?

 

What follows is a Sokah2Soca original—one part cultural homage, one part rhythmic manifesto. Play with the words. This is 'we story.'

 

Ok, to put it in true, boldfaced Trini terminology: I am asserting that Soca originated from our culture. It belongs to us, and it sings so beautifully. We are not selfish people; we gave it to you, and we gave it to the world. You are welcome!

 
 

What Is Soca?

 

Soca isn’t just a music genre—it’s a movement, a mindset, a flag flying high for Trinidad’s spirit. Born out of a need to evolve, express, and unify, Soca stands for the “Soul of Calypso,” not "Soul Calypso!" It’s Trinidad and Tobago talking back to the world with rhythm, resistance, and revelry. Not content to stay static, Soca embodies the creativity of a people constantly remixing their story. When you hear Soca, you’re not just vibing—you’re participating in a living, breathing culture.

 

What Does Soca Sound Like?

 

Soca sounds like sweat glistening in the sun. Like iron bending under rhythm. Like foot soles hitting asphalt on Carnival Tuesday. The genre has evolved, spawning variations like Groovy Soca, Power Soca, and Soca Chutney—but the core remains: energetic, infectious, and kinetic. It’s the sound of joy engineered for movement. Soca makes your chest bounce and your hands find the sky. Bass deep, snares sharp, vocals full of urgency and sweetness—it’s Trinidadian time travel in stereo.

 

?Soca and Calypso: Similar but Not the Same

 

Soca owes everything to Calypso, but it’s not a clone. Calypso speaks; Soca explores style and happiness. Calypso holds a position of authority, while Soca represents the youthful spirit. Both are lyrical forms born of struggle and satire, but while Calypso leans into storytelling and commentary, Soca leans into adrenaline. Think of it like 'mas': Calypso represents a traditional fancy sailor, while Soca embodies frontline feathers and paint. Yet they dance together—Soca often borrows Calypso’s cleverness, and Calypso benefits from Soca’s modern shine.

 

The Origins of Soca

 

It didn’t just drop out of the sky. Soca was born out of tension—between cultures, musical styles, and generations. Trinidad in the early '70s was a mash-up of African and East Indian heritage, and the music didn’t always reflect that fusion. Enter the experimenters—those who questioned the status quo and heard possibilities in every beat. Soca was the answer to “How do we evolve our sound while staying true to our roots?” Only a place like Trinidad could pose and successfully respond to this question. Having said that, we are going to talk about Garfield Blackman next. He is credited for creating the music. He was the innovator, experimenting with Calypso and Indian rhythms. He is credited mainly because he named the genre. One man is not an island; the people who helped with the creation, such as Pelham Goddard, King Wellington, and Winston Bailey (Shadow), all played a part. However, history will never be kind to them, so keep that in mind. 

 

Garfield Blackman aka Lord Shorty

 

If Soca were a kingdom, Garfield Blackman would be its architect, not just its king. Dubbed Lord Shorty, he was Calypso royalty—no, he was the Calypso Bad-Boy, who dared to break tradition. In 1973, he fused Calypso with Indian rhythms and birthed the track “Indrani,” a proto-Soca anthem. But he didn’t stop there. He spent years refining the sound, labeling it "Sokah," and insisting it was more than a party starter—it was a symbol of cultural unity. Without Shorty, Soca wouldn’t just be missing a figurehead—it might not exist at all. Just think about this for a minute: if Shorty did not give the music a name, it may have been labeled "Modern Calypso"! Despite my deep-seated belief that many others deserve recognition, Shorty's foresight in naming the music has led to the creation of the genre known as "Soca."

 

How Did Soca Develop?

 

Soca is a shapeshifter. Well, let's start with that. From the beginning, change was in play. He named his music "Sokah" to give relevance to the use of Indian musical elements. However, incorrect spelling in the local newspaper resulted in "Soca!" Shory stated that it did not bother him, and he never sought to correct it because everyone was talking about "Soca." What began as cultural alchemy soon absorbed elements of funk, disco, reggae, dancehall, and EDM. Innovators across the Caribbean gave new meaning and new life to this ever-evolving new music. Nailah Blackman (Shorty’s granddaughter, no less) built off that foundation, keeping Soca fluid, fresh, and global. Today, Soca isn’t confined to Carnival season—it’s the soundtrack of Caribbean pride, diaspora connection, and digital identity. From Trinidad to Toronto, it pulses strong.

 

The Dominance of Soca at Carnival

 

If Carnival is the heartbeat of Trinidad, Soca is the blood rushing through its veins. Calypso may crown the monarchs, but Soca commands the masses. The road, the fetes, the trucks—they belong to Soca. Its dominance isn’t just commercial; it’s spiritual. Soca gives the masquerader permission to let go, transcend, and become. In the hours between J’ouvert and Last Lap, Soca isn’t just popular music—it’s the gospel of joy, and Trinidad is its cathedral.

 

We hope that after reading each paragraph you come away feeling satisfied. We chose short discourses so as not to overwhelm you with unnecessary diatribes. Hmm, I always tell people, "If the priest could play, who am I?" Calypso is sweet, but Soca has a powerful energy, and I do not consider myself a preacher! There will be a follow-up post that will stick to the ideas presented here but will adopt a different style, which will be published in the next post. Share your thoughts with us.

 
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 FacebookYouTubeInstagramSpotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS FeedThreadsBluesky, and Twitter/X, including email subscriptions. Thank you in advance.
 
Production Notes/Music Credits:
Song Title: Sweet Music 
Album: Sweet Music 1976
Artist/Performed by: Garfield Blackman (Lord Shorty)
Written by: Garfield Blackman 
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.

This post first appeared on Sokah2Soca, where Caribbean music meets wit, rhythm, and real talk. Island Vybe Radio spins the tunes—we decode the culture.

 
Lucian Carnival came, glowed brightly, and brought a renewed enthusiasm for Lucian and Caribbean culture, but the vibes are far from over. DJ IntlPostyle has gifted Soca lovers an exciting mixtape—“Lucian Soca 2025”—a pick-me-up expression of Lucian music filled with the rhythm, joy, and cultural heat of the season into one electrifying experience.
 
This is a collection of the year’s most buzzed-about tracks, serving up road march contenders, crowd favorites, and breakout anthems from Saint Lucian artists who are redefining the sound of Carnival. From jump-up energy to smooth groovy flow, every beat in this set pulses with island pride and unapologetic celebration.
 
Whether you were storming the streets of Castries or catching the live streams from afar, this tape brings the Carnival back to your speakers—complete with riddim, revelry, and a splash of Lucian mischief.
 
Sokah2Soca is proud to celebrate this sonic time capsule and the creatives who continue to push Caribbean music forward. Catch you next year, Lucian Carnival lovers—on the road, online, or in the mix.
 
Ready to relive the vibes? Press play and enjoy the mixtape by IntlProstyle via the YouTube Music Player here on Sokah2Soca. 
 
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 FacebookYouTubeInstagramSpotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS FeedThreadsBluesky, and Twitter/X, including email subscriptions. Thank you in advance.
 
Production Notes/Music Credits:
Mixtape Title: Lucian Soca MixTape 2025
Curated, Mixed and Presented by:: DJ IntlPostyle
Origin: Saint Lucia 
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.

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!

 
Yung Bredda’s viral hit “The Greatest Bend Over” returns with the “Take It Easy” Remix—slicker visuals, sharper choreography, and a guest appearance by Jamaica’s own Sean Paul. The original had raw charm and chaotic brilliance; this version adds polish and reach without losing Bredda’s mischievous energy. In the ever-evolving world of Caribbean music, few songs have sparked as much viral energy, and with Sean Paul's star power, this reboot might just be what brings international appeal to the song. It’s a remix that doesn’t reinvent but definitely recalibrates for a wider spotlight.
 
Let’s start with the obvious upgrade: visuals. Despite its grassroots charm, the original video was not without its imperfections.
 
What works:
  • Improved visuals: The production value finally matches the energy of the track.
  • Sean Paul’s cameo: A strategic move that boosts exposure and gives the remix crossover appeal.
  • Yung Bredda’s consistency: He remains the focal point, holding his own even with a legend in the frame.
However, the question remains: how does the remix stand as a musical offering? At this point, the situation becomes somewhat ambiguous. For all the glitz in the video, the remix itself isn’t radically different in structure or sound. The core rhythm, lyrics, and energy remain largely unchanged. Sean Paul’s role feels more ornamental than transformative, and some listeners might have hoped for a more dynamic interplay or fresh verse to justify the remix label.
 
What’s still up for debate:
  • The remix itself: While the video shines, the musical arrangement doesn’t stray far from the original. Is it a true reinvention or just a polished repackage?
  • Sean Paul’s role is a cameo, which some fans feel lacks the vocal presence or lyrical interplay they expected or more of Sean Paul in the song, especially at the end of the song. 
  • Luna (the girl from the original video) is missing from this new music video. Are you upset that she was not included?
We’ll call it what it is:
This is a refined repeat, backed by strategic collaboration and the undeniable brilliance of Caribbean creativity. This isn’t a full endorsement—it’s a nod to growth, hustle, and the messy magic of regional talent leveling up on its terms. We’re not all-in, but we’re watching, dancing, critiquing, and—most importantly—talking. That alone is a win.
 
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 FacebookYouTubeInstagramSpotify, and SoundCloud. We recommend exploring your favorite content on FeedSpot/RSS FeedThreadsBluesky, and Twitter/X, including email subscriptions. Thank you in advance.
 
Production Notes/Music Credits:
Original Version:
Song Title: The Greatest Bend Over 
Artist/Performed by: Yung Bredda
Album Title: Big Links Riddim
Produced by: Full Blown Entertainment
Bass: Josh Richardson
Guitar: Kyle Peters
Mixed & Mastered by: N.M.G. Music
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Soca ?
 
Remixed Version:
Composer, Lyricist, Producer, Background Vocalist: Kevon Hart
Producer, Composer Lyricist: Kory Hart
Mastering Engineer, Mixing Engineer: Nikholai Greene
Composer, Lyricist, Recording Engineer: Jesse John
Vocalist, Composer Lyricist: Akhenaton Lewis
Remixer, Vocalist: Sean Paul
Origin: Jamaica/Trinidad
℗ 2025 Full Blown Entertainment Company Ltd., under exclusive licence to Universal Music Operations Limited
 
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.
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