Recently, I, along with a few other industry folk, had the honor and privilege of spending a few days in Trinidad & Tobago to check out the local talent at a Hip-Hop showcase. I had packed my bags and triple checked my passport expiration date, while thinking about the music I was about to discover in the home country of Nicki Minaj and Trinidad Jame$. I expected some American Hip-Hop influences to bleed into their culture, but I was pleasantly surprised.
Aside from the inexplicable omnipresence of Hollister, Trinidadians have selectively borrowed from our Hip-Hop culture to blend with their already rich music culture, creating something that’s both new and reminded me of the roots of all music. They’ve combined their local slang and cadence to Hip-Hop beats while keeping the message positive and untainted by corporate number charts. It was odd and encouraging to witness Hip-Hop in this pure stage. I pray and expect the passion to make music that moves people in the right way to endure for a while. Of course you hear “Clique” here and there followed by “Levels” on the streets and in the clubs, but those are just certified bangers you can’t not play. But I was there to discover the Trini equivalent of “Clique” and “Levels” to bring back to the states.
When showtime came around at Fusion Nightclub in Trinidad, we started with around 30 acts and didn’t finish until around 4am. That’s dedication from the artists and their fans/families. Each one of the acts had something fresh and different that I’d never seen or heard before. Some were more polished than others but all were genuine. The mutual respect among the artists was a beautiful sight, especially with the Honourable Dr. Lincoln Douglas, MP in attendance. It was a healthy mix of singers and rappers. The more compelling acts were those who kept the themes and vibes local while presenting them on a global platform for anyone to rock with. Omari Thorpe & Vaughn Huggins, Denice Millien, and Black Royal Dynasty did just that.
Vaughn (emcee) and Omari (singer), both decked out in 49ers gear, complemented each other with their smooth flows and passionate voice, respectively. The combination of a male singer and male rapper was refreshing to me as they had more of a conversation on stage, rather than taking turns on the mic. Denice, who performed last at 3 in the morning, woke everyone up who was still in the venue. Her melodic voice could carry over any body of water and straight into your ears. If you heard something sweet coming from out of your window last Saturday, you may have caught the end of her set. And for Black Royal Dynasty, they reminded me of Odd Future before they reached unheard of levels of success. They were unapologetic, brash, and skilled. With the proper direction and production, they could make waves at a venue near you.
There were also a few acts that caught my attention for one reason or another. King Thayo and Scars kept it strictly for the locals with their beats and lyrics, which got me excited and doing shameful arm gestures while sitting. But I also had the passing thought that it wouldn’t be too radio friendly or marketable in the states. I would hate for them to lose any of that national flavor but maybe a trip stateside for them would help add that global mindset to their music. It was also amazing to see the one female rapper, Elizabeth Waldron aka LIZZ, not just hold it down for all female rappers but have the stage presence and energy that could beat out a lot of rappers from major cities, male or female. And a big shout out to Nikita Browne, who flew in from Barbados to perform and had my vote as the best singer, until Ms. Millien took the stage last.
Every act had a lot of heart to step on stage and receive criticism from three Americans they had never met. And I applaud them for that. What really shocked me was that a lot of the artists had no professional training as in vocal coaching or mentoring from an already established artist. So to realize the raw talent these artists used to express their emotions was almost terrifying. What could they be capable of with the right machine behind them? I got a glimpse of what that could be as Swappi 4D took the stage after everyone as a guest performer. He had his dance moves and carefully planned smiles on point to go along with his hits.
All in all, the trip was not only a great experience to see what a different country could do with what I saw as the confines of Hip-Hop, and then shatter those confines, but it also opened my mind to an important lesson that music is something we share. No one person or country owns a genre of music. It may have started in a basement party in the Bronx back in the 70’s but once it left that basement, it became a blank canvas that stretched around the world for everyone and anyone to paint, tag, splotch, and write all over. And trust when I say that Trinidad is poised to make their next stroke a significant one.
Last but definitely not least, I’d like to thank Talent Seekers United (Wil Evans & Marlon Grant), and Nick Jacobs for their generous and unyielding hospitality. They went out of their way to feed us, show us around the country (Maracas Beach, Gasparee Caves, the hottest KFC joint in the world), and make sure we had the best time possible. Their team of Lisa-Marie Brown, Andrea Forgenie, Shemika Kefentse, Valene Abdool, Kevin Da Costa, and Devon Lewis (DJ) only made our stay that much more enjoyable. And of course I have to thank the Ministry of Arts & Multiculturalism, Angostura Rum Cocktails, Cascadia Hotel, Single Barrel Rum, Val’s Catering (great local grub), AGA, Shotters Only, Fusion Night Club, and Movie Town.
Note: Anyone planning on visiting Trinidad, don’t bring anything in camo print-bags, clothes, anything. Just don’t.
2nd Note: And if you do make it out there, have some Doubles. Just do.
Bryan Hahn (@notupstate)
