In a deep dive into the evolving landscape of soca and calypso, the Department of Literary, Cultural, and Communication Studies hosted its fifth U(We) Outside discussion, almost a year after its inaugural U(We) Outside session.
Setting the stage for insightful discussions was head of department Dr Suzanne Burke, who gave the opening address, said a media release.
“For us in the department, many of the issues we examine are tied to the socio-cultural landscape, in which music plays an intrinsic role,” Burke said.
The discussion, titled From Steam to Soca, focussed on the shifting dynamics of the Carnival music scene, particularly highlighting the season’s most popular songs, many of which came from artists who had transitioned to soca, calypso and chutney soca.
“Their presence not only reflects how traditional Carnival spheres are changing," she said, "but also how these new genres are reshaping the sonic landscape.”
Held on March 27, the event kicked off with an electrifying call-and-response segment led by moderator Abeo Jackson, instantly transforming UWI St Augustine’s Daaga Auditorium from a lecture space into a living cultural forum, pulsating with the energy of its audience.
A return to roots
The panel featured Keisha Harris (Lady Lava) and Anthony Le Fleur (Squeezy Rankin). Originally, Akhenaton Lewis (Yung Bredda) was set to join the panel, but was unable to attend due to other commitments, the release said.
Both artistes brought distinct perspectives on transitioning into new genres. Squeezy Rankin, a veteran of the dancehall scene, shared that his decision to shift towards calypso stemmed from a desire to refine his musical identity and connect with a wider audience. Reflecting on his early struggles, he recounted his journey from selling incense sticks and fragrances after school to honing his beatboxing skills on the basketball court.
[caption id="attachment_1154595" align="alignnone" width="860"] Omari Ashby, left and Abeo Jackson, in conversation with Lady Lava and Squeezy Rankin at the UWI’s From Steam to Soca event. -[/caption]
“When I started, none of my peers were singing about real issues – it was all ‘gun man’ tunes," he recalled. "That was the only way to get radio play.”
But as he matured, performing violent and vulgar lyrics to younger audiences no longer felt right. This year, in stark contrast, most of his performances took place in schools. For him, the transition into calypso was a return to his roots and a deeper commitment to storytelling.
Lady Lava, on the other hand, never saw her shift in genre as a transition, but rather as an evolution.
Raised in a strict Christian household, she secretly listened to secular music, which her mother deemed "devil music". Despite dabbling in various genres like conscious music, she always remained true to her unique storytelling approach. Her fiery stage presence earned her the name Lady Lava, inspired by crowds chanting “Lava!” after her performances.
“For me, soca isn’t a transition – it’s always been a part of my musi
