Did Machel Drop a Dud? — Or Are We Just Blinded by the Monk’s Magic?
By Ananda/Sokah2Soca
in
Blog
November 08, 2025
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.
So, I posted a glowing review of Machel Montano’s latest track, “Compromise,” and let’s just say… not everyone agreed. Liking or disliking a song is entirely subjective, and for this blogger to receive bois strokes (in this case a tongue lashing) simply for sharing his opinion feels disingenuous on the caller’s part. Trinis like too much Kankalang but licks is licks... I can handle it all!
My cell phone was ringing; it was a WhatsApp call from a well-known radio DJ in Trinidad who didn’t mince words: “Santi, why allyuh does lie so, boi? That is a shit song Machel have dey! I play that once, steups and put it in a folder” Ouch. That one hit like a hard whine on a soft man. But wait, there is more. I got the same from a friend in NYC who simply sent this message, "Song is shit."
Now, let’s unpack this.
The Song vs. The Spectacle
Yes, I praised the song. Yes, I was captivated by the visualizer—especially the hypnotic presence of the female dancer. But does that imply I lost my objectivity? Maybe. Maybe not. Music is a full-body experience, and visuals do influence how we feel about a song. That’s not bias—that’s reality in 2025.
But let’s be real: does “Compromise” evoke goosebumps and excitement like the anthems “Advantage,” “Like Ah Boss,” or even “Rock So” by Patrice and “Pieces” by Nadia Batson? No. But is it a vibe? Absolutely.
The Numbers Don’t Lie (Yet)
The song racked up 37,000 views in just 20 hours. That’s not a flop. That’s curiosity. That’s the power of Machel. People are eager to hear what the King of Soca will present for Carnival 2026. And whether they love it or hate it, people are listening.
The Machel Effect
Let’s not forget that Machel Montano is the most influential Soca artist in the world. His name alone guarantees airplay, debate, and dancefloor presence. So even if "Compromise" isn’t his best song, don’t be surprised if it becomes the most played track by January.
So don't get it twisted, Machel doesn't just drop songs—he drops moments. And sometimes, those moments take time to marinate.
So Is It a “Shit Song”?
Look, I get it. If you’re expecting fireworks and you get a slow burn, it can feel like a letdown. But calling it a “shit song”? That’s harsh. It may not be a showstopper, but it’s not trash either. It’s a mood. It’s a groove. It’s a compromise—maybe even intentionally so.
And let’s not pretend we haven’t seen Machel songs that sneak up on us. Remember how “Like Yuhself” didn’t hit right away? Then boom—it was everywhere.
Final Word
So to my DJ brethren who came for my neck—I hear you. But I stand by my take. I like the song. I love the visualizer. And I respect the artistry of Tano and Machel. Time will tell if this one sticks. But in the meantime, let’s keep the conversation going.
What do you think? Is “Compromise” a slow wine masterpiece—or a misstep from the Monk?
In defense of Santiwah, I want to acknowledge my friends who are part of the Caribbean diaspora:
- To say this is a shit song smh, is not all DJs went inside the school plenty of them are empty vessels. To say they play it once & put it down shows exactly what some young great artists keep saying year after year. The lyrics to high for them to comprehend so they call it shit because they can only understand whine, wave, jam, & show me your hand.
- JA people will never call no artist song shit watch that jammi who sang… leggo de bird; do the stirfry; ni matter what song they support smh my people
Let us spread awareness of the culture of the Caribbean diaspora.
We do this to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and stories of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy reaches a wider audience and fosters creativity and connections. While it is important to always purchase music, you should avoid sharing promotional music because doing so denies essential revenue to songwriters, producers, and artists. You can find all of our posts online on social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend that you explore 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: Compromise
Artist: Machel Montano & Tano
Composers/Writers: Kevon Hart, Kory Hart, Michael “Tano” Montano, Kyle Peters & Machel Montano
Producer: Tano
Vocals recorded by: 1st Klase at Baby Monster Studio, Trinidad
Mixed & Mastered by: Richard McClashie
Record label: Monk Music
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Soca ?
?Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis. Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music, and Soca Thrive!
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.
Machel Montano’s “Compromise”: A Carnival Serenade of Sensuality and Soul
By Ananda/Sokah2Soca
in
Blog
November 08, 2025
Dive deeper into Caribbean music and culture at Sokah2Soca — your go-to source for Soca, Calypso, and Carnival coverage. First published on Sokah2Soca, now streaming live via Island Vybe Radio.
What is the buzz taking place in Soca music today? Well, Monk Music released Machel Montano's first song for Carnival 2026, and it is an intriguing one, titled "Compromise." With “Compromise,” the King of Soca delivers a masterclass in emotional subtlety, lyrical finesse, and Carnival seduction. He is not the seductive champion here, but the video delivers on that promise. This song isn’t a jump-and-wave music release, but it is what one can label a slow, seductive whine release. Indeed, it’s a slow wine that is in your face, sultry, seductive, and a whispered promise behind that big truck; it's a celebration of connection in the heat of bacchanal.
Visuals That Speak Volumes
The music video for “Compromise” is a visual feast. The dancer at its center doesn’t just move—she exudes raw sensuality and magnetic sexuality, commanding the screen with every whine and glance. She is just wonderful, and her presence is electric yet elegant, perfectly embodying the song’s theme of meeting in the middle. She not only enhances the music but also contributes significantly to the success of the video. This dance sequence surpasses the criticisms of Caribbean women's Carnival dancing, showcasing her incredible talent.
Meanwhile, Machel maintains a calm demeanor amidst the chaos of Carnival. His delivery is smooth, composed, and confident. Machel is suave in this take, and unlike his Big Truck dancing days, he is very reserved for this video visualizer. He lets the rhythm breathe, allowing the visuals and lyrics to take center stage. It’s not just a refreshing shift from his high-energy performances; he is showing a different side of his legendary progress as the number one draw in Soca today—one that’s just as powerful in stillness as in motion.
A Groove Built on Compromise
Produced by the talented Michael “Tano” Montano, the track is a sonic gem. Tano produced a vibe that is infectious and draws you in while allowing space for the lyrics to shine. This is a strength that many Soca songs fail to embrace. The production is polished, warm, and inviting—like a late-night lime that turns into an early morning jam.
The songwriting is where “Compromise” truly glows. Credit goes to Kevon Hart, Kory Hart, Michael “Tano” Montano, Kyle Peters, and Machel Montano himself. The strength of the song also stands firmly on the lyrical prowess of the songwriters. It is a song crafted with a lyrical narrative that’s playful, poetic, and emotionally intelligent.
Final Vibes
“Compromise” isn’t just a song—it’s a mood. It’s the kind of Soca that makes you want to whine slow, hold tight, and vibe deep. With captivating visuals, brilliant songwriting, and Machel’s laid-back delivery, it’s a reminder that sometimes, the sweetest moments come when we meet halfway.
Let us spread awareness of the culture of the Caribbean diaspora.
We do this to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and stories of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy reaches a wider audience and fosters creativity and connections. While it is important to always purchase music, you should avoid sharing promotional music because doing so denies essential revenue to songwriters, producers, and artists. You can find all of our posts online on social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend that you explore 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: Compromise
Artist: Machel Montano & Tano
Composers/Writers: Kevon Hart, Kory Hart, Michael “Tano” Montano, Kyle Peters & Machel Montano
Producer: Tano
Vocals recorded by: 1st Klase at Baby Monster Studio, Trinidad
Mixed & Mastered by: Richard McClashie
Record label: Monk Music
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Soca ?
Video Credits:
Production: Twin Island Company
Producer: Josiah Persad
AD: Kamron Waithe
DP: Renaldo Matamoro
AC, BTS: Alasdair Bell
Editor: Obiora Smith
MUA: William Tommy
WD: Shania Korina
Dancer: Tara McCloud @tarasbody
Special Thanks:
Howard Chin Lee, Race Trac, Anson Soverall
?Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis. Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music, and Soca Thrive!
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.
Iwer George Shares Some “Licks” for Carnival 2026—And We’re Here for It
By Ananda/Sokah2Soca
in
Blog
November 08, 2025
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.
Iwer George is back with a brand-new Soca release for Trinidad Carnival 2026, and this one hits with precision. Titled “Licks,” the track is produced by Ken Marlon Charles and Whizz Kidd, with engineering by KMC himself. The result? We like the wholesome feel of this song; the rhythm on the drumkit does not dilute or cheat on what we consider authentic Soca.
So let's be a little repetitive here: this track is not a watered-down Soca groove. The production stays true to the genre’s heartbeat—pulsing drums, infectious energy, and that unmistakable Carnival spirit. We like what we are hearing and we should always give credit when it is due. So congratulations to the producers for keeping the rhythm authentic and alive.
We’re especially loving the hook: “I just want to jump up, jump up, free up, free up, hands in the air, flag up in the air.” It’s catchy, it’s visual, and it’s destined to echo across fetes, trucks, and street corners. Expect this chant to be on the lips of Soca lovers from Port of Spain to the diaspora.
Now, let’s talk about Iwer. He’s a veteran in the game, and while his style isn’t for everyone, “Licks” deserves credit. It’s vibrant, well-written, and surprisingly refreshing. We actually like this one—and that’s saying something.
As for the visualizer, it’s a mixed bag. The AI-generated video has its quirks—some imagery feels off, and a few scenes miss the cultural mark. But hey, this process is part of the creative evolution. We’re all learning how to balance tech with tradition.
So hats off to Iwer George. Whether you plan to "share some licks" while traveling or simply enjoy the music from a distance, this release is worth sharing. If you’re feeling the energy, please consider leaving a comment and sharing this post with your colleagues. Carnival is coming—and Iwer’s already beating the drum and, ahem, sharing Licks!
Let us spread awareness of the culture of the Caribbean diaspora.
We do this to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and stories of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy reaches a wider audience and fosters creativity and connections. While it is important to always purchase music, you should avoid sharing promotional music because doing so denies essential revenue to songwriters, producers, and artists. You can find all of our posts online on social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend that you explore 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: Licks
Artist/Performed by: Iwer George
Written by Iwer George
Produced by: Ken Marlon Charles & Whizz Kidd
Engineered (mixed and mastered) by: Ken Marlon Charles
Recorded @ KMC Studios
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Soca ?
?Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis. Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music, and Soca Thrive!
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.
Dive deeper into Caribbean music and culture at Sokah2Soca—your go-to source for Soca, Calypso, and Carnival coverage. First published on Sokah2Soca, now streaming live via Island Vybe Radio.
About eleven years ago, a cheeky duckling peeped over a fence and into our hearts—and if that image rings a bell, you’re probably humming “Ducking” by Fadda Fox out of Barbados. That song became a carnival anthem, hilariously capturing the art of dodging work for fete. Now, Dev is back with a fresh spin on that legacy: “Duck De Wuk,” a track that fires on similar cylinders but with its own bold twist.
Written by Jason “Shaft” Bishop, Devon “Dev” Harris, and Ato Williams (who also produced the track), “Duck De Wuk” is a joyful throwback with modern muscle. The production features live instrumentation, giving it that rich, organic feel that soca lovers crave. Carl "Beaver" Henderson, a name synonymous with sonic excellence, handled the engineering duties—mixing and mastering.
And let’s talk about the rhythm section: Kyle Peters continues to defy the laws of time and energy, contributing yet again to another standout release. Sheldon Raymond’s live drumming adds an authentic pulse, grounding the song in the kind of groove that makes waistlines move.
Where Fadda Fox was ducking his boss, Dev is ducking with intention. Carnival 2026 is not about excuses—it’s about full-on declaration. Dev isn’t hiding; he’s celebrating his right to revel, and he’s inviting you to do the same.
So, have you ever had to “duck de wuk” for a good time? Maybe you’ve lived this storyline yourself. We want to hear your version—drop a comment, share your story, and let us know how this updated anthem hits you. And of course, spread the vibes by sharing this post across your socials.
Let us spread awareness of the culture of the Caribbean diaspora.
We do this to promote Caribbean culture, musicians, and music producers. We are able to honor and promote the rich sounds and stories of the Caribbean thanks to your support. Together, we can ensure that this rich cultural legacy reaches a wider audience and fosters creativity and connections. While it is important to always purchase music, you should avoid sharing promotional music because doing so denies essential revenue to songwriters, producers, and artists. You can find all of our posts online on social media platforms like Facebook, YouTube, Instagram, Spotify, and SoundCloud. We recommend that you explore 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: Duck De Wuk
Artist/Performed by: Dev
Background Vocals by: Akeita Williams
Written by: Jason "Shaft" Bishop, Devon "Dev" Harris and Ato Williams
Produced by: Ato Williams of 5IVE Line Productions
Engineered (Mixed and Mastered) by: Carl "Beaver" Henderson
Live Drums—Sheldon Raymond
Live Guitars—Kyle Peters
Origin: Trinidad, Republic of Trinidad & Tobago
Genre: Soca ?
?Listen. Share. Amplify. Our artists embody culture not only during Carnival but also on a daily basis. Sokah2Soca—Where Rhythm Lives and Calypso, Steelband Music, and Soca Thrive!
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.
