Travis World just dropped Stink Waist Riddim for Trinidad Carnival 2026, and on paper, it’s a Soca dream team: Skinny Fabulous & Suhrawh, Lyrikal, Bunji Garlin, Nailah Blackman, Sekon Sta, and Problem Child. Six artists, one riddim, and a whole lot of waistline promises. But after a full listen, we at Sokah2Soca found ourselves asking a question that’s been simmering beneath the surface of Soca production for years: Are we overdosing on multi-artist riddims?

Let’s be clear—we’re thrilled to see new music in the pipeline. Carnival needs fresh fuel, and Travis World is no stranger to crafting road-ready bangers. But excitement doesn’t always equal impact. Despite the star-studded lineup, Stink Waist Riddim didn’t deliver a standout moment. There was no instant cry of, 'this is going to be a carnival anthem.' No goosebumps. No “run it back” urgency. Just a parade of competent tracks that blurred into one another like a well-rehearsed masquerade band—colorful, but lacking surprise.

The Riddim Model: Boon or Bust?
In today’s Soca economy, the multi-artist riddim is the norm. Producers maximize their reach and profit margins, DJs are pleased and will enjoy seamless transitions, and artists benefit from the collective hype. But what’s good for the industry isn’t always good for the art.

When six artists jump on the same beat, the music becomes a sonic template rather than a creative playground. The result? The result is a sense of lyrical déjà vu. Melodic monotony. The entire project creates a feeling that is more manufactured than inspired. Sure, each artist brings their flavor—but when the seasoning is sprinkled over the same stew, it’s difficult to taste the difference. I'm sorry to be so critical, but I have to make judgments based on my observations and feelings.

The Emotional Disconnect
Music should move you. It should make you pause, rewind, and feel something. Despite its new shine and technical music mischief by Travis World, this Stink Waist Riddim failed to evoke the emotional response it aimed for as far as I am concerned. Yes, you may have a different opinion, but in this post, I am focusing on the positive aspects. While it's not awful, this new Soca music is just 'fine.' The lack of inspiration is the main issue for me. In a genre built on energy, cleverness, and cultural fire, “fine” isn’t enough.

We’re not saying riddims should disappear. We’re saying they need curation. Intentionality. Maybe fewer voices, more vision. Maybe producers should ask not how many artists can fit on a riddim, but which ones actually elevate it.

A Call for Creative Risk
Soca is evolving. The audience is listening with sharper ears and higher expectations. We want new music that inspires and makes us head to social media to tell the world how wicked the new vibe feels. We want music that makes us feel, not music that feels like marketing strategies. And we want producers to know that sometimes, less is more.

So here’s our challenge to the industry: Dare to be selective. Dare to surprise us. Dare to make rhythms that evolve into 'riddims' that don't just fill the Carnival calendar but define it.