This interview has been edited and condensed for clarity.

From childhood memories in Guyana to building a luxury fragrance brand, OUI the People founder Karen Young is redefining how Caribbean culture is experienced through scent.

What does home smell like? For Karen Young, founder of OUI the People, it smells like the warmth of wooden houses in Guyana, the familiar rituals of family and the fragrances that connect us to our roots.

Born in Brooklyn and raised in Guyana until age seven, Young’s Caribbean heritage has shaped her identity and entrepreneurial journey. After building a career in fashion and beauty, including a role at Estée Lauder, she launched OUI the People, a body care and fine fragrance brand inspired by personal experiences and cultural traditions.

While Caribbean-inspired fragrances are often associated with tropical notes like coconut and pineapple, Young is expanding that narrative. Her fragrances explore the region’s deeper sensory identity, from wood and sea air to the comforting aromas of family traditions.

In this episode of the Style & Vibes podcast, we sit down with Young in Brooklyn to discuss growing up Guyanese, building a beauty business, navigating the challenges of retail and why Caribbean stories deserve a place in luxury fragrance.

Growing Up Guyanese: Finding Home Between Two Worlds

You were born in Brooklyn but spent your early childhood in Guyana. How did that experience shape your identity?

I’m obviously American by birth, but I am a Guyanese girl. From two months to seven years old, I lived in Guyana. I was raised by my grandmother and uncles, surrounded by my cousins and fully immersed in the culture.

Everything from the food to the environment informed who I became. When I returned to the United States at seven, that foundation gave me a strong sense of self.

Even though I was born here, coming back felt like immigrating. I had to figure out how to ground myself in a new environment. Those seven years surrounded by family and Guyanese culture informed everything that came afterward.

What do you remember most about transitioning from Guyana to Brooklyn?

I remember hearing people talk about America as this incredible place. There was this idea that the streets were paved with gold. As a child, I imagined arriving and seeing something spectacular.

Then I landed at JFK and thought, “Turn back!” Everything felt gray and cold. I remember the buildings and how different they looked from the greenery, warmth and lushness of Guyana. That contrast has stayed with me.

When you think about the smell of home, what immediately comes to mind?

Wood. We lived in a wooden house raised above the ground, with outside stairs, wooden shutters and wooden floors. I remember constantly being surrounded by that smell.

Wood remains one of my favorite fragrance notes. There’s something grounding about it. When I started developing our first fragrance collection, I brought that memory into Window Fruit.

I wanted to recreate the warmth of walking through that house and feeling the wood beneath my feet. Scent has this incredible ability to take you right back to a moment.

From Fashion to Beauty Entrepreneurship

Before OUI the People, you built a career in fashion and beauty. How did you find your creative path?

I studied psychology at Fordham because I’ve always been curious about people and how they think.

Growing up in a Caribbean family, there were certain career expectations. My family was full of doctors, lawyers, engineers and chemists. I had a creative side, but I didn’t necessarily see anyone around me pursuing that path.

I secretly took an internship in fashion and fell in love with the process of turning an idea into something tangible.

After graduating, I was offered a job in fashion that paid significantly less than another opportunity. I took it anyway because I wanted to be in that creative environment.

I spent more than a decade working with designers of all sizes. Seeing independent designers create something from an idea made me realize I could build something myself.

Eventually, I started a textile business. That experience led to an opportunity at Estée Lauder, where I entered the beauty industry.

What inspired you to leave Estée Lauder and create OUI the People?

When I entered beauty, I noticed how much attention was going toward makeup and skincare. But I kept thinking, why are we stopping at the neck?

In my family, body care was always important. We had rituals around oils and caring for our skin. I wanted to explore that category. Shaving was my first focus because I struggled to find products that worked for my skin.

I started experimenting while I was still working. I’d stay up late packaging orders and carry these huge IKEA bags filled with shipments on the subway. I’d drop everything at the post office before heading into work.

Your first product was a razor. How did your childhood influence that decision?

I remembered watching my uncles shave in Guyana. They used these beautiful metal safety razors, and I remember the sound of shaving and the smell of shaving powder.

Meanwhile, I was dealing with irritation and seeing other women struggle with ingrown hairs and hyperpigmentation.

I wondered why we couldn’t have a better shaving experience.

That became the starting point for OUI the People. As we developed shaving products and body care, I began experimenting with scent. Eventually, I studied fragrance in France in 2019.

Redefining Caribbean Luxury Through Fragrance

Your fragrances have such distinct names and stories. Was storytelling always intentional?

Very much so. In the beginning, I was focused on proving that our products worked. We talked about ingredients, performance and effectiveness because that was what the beauty industry demanded. But I struggled to connect that conversation to my culture.

When we expanded into fragrance, everything opened up. I could finally tell the story of where I came from and the culture that inspired me. For example, Sunday Lime is inspired by the seawall in Guyana. It has salty Tahitian vanilla and driftwood.

Fragrance gave me the opportunity to pour my background, memories and cultural experiences into something people could wear. That’s when the brand really started finding its identity.

Caribbean fragrances are often associated with coconut and pineapple. How are you challenging that perception?

When people create Caribbean-inspired fragrances, they often go straight to pineapple or coconut. But that’s not the full story of who we are.

We’re wood. We’re pimento. We’re palm leaves, wet earth and sea air. There are so many beautiful, complex elements of the Caribbean that aren’t represented in fragrance.

I wanted to take those stories and elevate them because they’re worthy of being part of fine fragrance and luxury fragrance.

If someone is discovering OUI the People for the first time, which fragrance would you recommend?

Island Milk. It’s a fragrance that gets an emotional reaction from people. Some people actually cry when they smell it. What I love about speaking with people from the culture is that they understand the memory before I even explain the fragrance. We’re pulling from shared experiences.

Body care rituals are such a familiar part of Caribbean households. How do those traditions influence the way you develop fragrance?

Body care has always been part of our culture. From childhood, we’re using lotions, oils and powder. These are rituals we grow up with and often pass on.

I have a childhood photograph of myself covered in powder that our team shared on TikTok. It received more than 500,000 views because people immediately recognized that experience.

That connection to ritual also influences our fragrances. One of our signatures is skin musk. I love fragrances that sit close to the skin.

Growing up in the Caribbean, you also think about how fragrance interacts with heat. I wanted to create scents that feel intimate and personal rather than overpowering.

Building OUI the People and Finding Her Voice

OUI the People entered Sephora in 2023. What has that retail journey taught you?

Retail has been an incredible learning experience. I remember walking into the Sephora at Atlantic Avenue in Brooklyn and seeing our products. That was surreal because it was right here in Brooklyn. But getting into retail is one thing. Building enough brand awareness to sustain that presence is another.

You have to know your story, who you’re speaking to and why your brand is different. Then you have to communicate that consistently.

Brand awareness is expensive, and retailers have expectations that don’t always align with the time it takes to build a business.

You mentioned that one of your biggest breakthroughs came when you started appearing on camera and sharing your story. What changed?

For a long time, I believed the product should speak for itself. I focused on making beautiful, effective products and assumed people would recognize the work. But that’s not how it works.

When I finally started getting in front of the camera and telling people who I was, where I came from and why I created the brand, people connected. Some customers told me they had seen OUI the People before but didn’t realize it was Black-owned. Once they heard my story, they wanted to support it.

The product’s effectiveness still matters, but people also want to understand the person and purpose behind the brand.

That resonates with many Caribbean people. We’re often taught to be humble and let our work speak for itself. Was that difficult to overcome?

Karen Young: Absolutely. There’s that Caribbean mentality of being humble, staying small and being seen rather than heard. I spent so much time focused on the details of what I’d created, hoping people would notice.

But customers aren’t necessarily thinking about everything that goes into creating a product.

You have to tell people what you’re about. I wish I’d started sharing my story sooner, but now I’m leaning into being authentic and letting that connection grow.

What’s Next for OUI the People?

As the brand continues to grow, what are you most excited about?

A few months ago, I probably would have talked about expanding into more body washes and other products. But right now, I really want to get more of our story out into the world. I want people to understand how beautiful, nuanced and incredible the Caribbean is.

We’ve taken those stories and filtered them through fine fragrance. I want more people to experience that.

For Karen Young, fragrance is more than a beauty product. It’s a way of preserving memories, honoring family traditions and creating space for Caribbean stories in an industry where those experiences haven’t always been represented.

Through OUI the People, she’s showing that the everyday rituals and sensory memories of Caribbean life are worthy of being celebrated as luxury.

Explore OUI the People: ouithepeople.com

Watch or listen to the full conversation on the Style & Vibes podcast for more on Karen’s journey, Caribbean identity and the power of storytelling through scent.

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Dre Island’s journey in modern reggae music is about embracing the challenges and the opportunities, prioritizing the lessons as a messenger of a higher power. Trained on classical piano from a tender age, shaped by a home rich in love, and refined by years of producing before embracing his calling to be a performing artist. He explains how his name came from being “an island” in the studio, headphones on, building beats in his own world. That solitude became a sanctuary where ideas formed without distraction, and it set the tone for a career dedicated to message over moment. He never chased the artist spotlight—he wanted to produce and manage—but the music had other plans. When spirituality and instinct aligned, the artist emerged, guided by Rastafari and the call to serve with songs that carry light.

What makes Dre’s process singular is his insistence on writing live to the microphone. No pen, no paper, no elaborate preconceptions, just the beat, breath, and a prayer for the right words. He leaves space for ancestors and the Most High to lead, letting melodies surface as the session unfolds. This practice connects deeply to Jamaica’s oral tradition, where storytelling lives in rhythm, cadence, and shared memory. He also credits Jamaica’s “top ten” radio programming; hearing only the best from global genres sharpened his ear for production, mixing, and composition. Dancehall, reggae, ska, gospel, soul, and American hip-hop giving his catalog range subconsciously.

Dre’s definition of reggae rests not on drums or bass patterns but on message. The rhythm can shift, the genre can blend, but the center must hold: positivity, truth, and uplift. That ethos anchors his most recognized moments, like the Popcaan collaboration “We Pray.” He chose to leak the song—against advice—because conviction trumped consensus. The track spread overnight, then the video took it to another level months later, proving that patient, positive music grows roots over time. For Dre, a record is brand new to the first person hearing it today, and he writes to avoid dating his work. That timeless intent keeps songs resurfacing years after release, finding new ears in fresh seasons.

Collaboration, for Dre, is a conversation between cultures. He can step into alternative rock textures or sample catalog legends, provided the message remains clear. Stories behind “Nice Again” and “Situation” show how spontaneity guides his studio: a beat built for someone else, a room’s energy, a friend’s phone call—all become sparks for a song’s spine. He records fast but finishes thoughtfully, shaping harmonies and structure while preserving the initial feeling. His touchstones include Buju Banton, whose example helped Dre refine his tone and balance between singing and deejaying. Listeners hear that blend on favorites like “Favorite Girl” and “More Love,” where his vocal color and production fuse into warm, melodic arcs.

Love is not abstract in Dre’s world; it is lineage. He grew up watching steadfast partnership, respectful exchange, and quiet service at home. That witness informs tender songs that reassure the person you love while reminding listeners to value themselves. He sees a gap in how love music is represented today and wants to fill it with dignity and depth. His upcoming project focuses on love in all its forms—spiritual, romantic, communal—and aims to empower while soothing. The goal is not perfection, but presence: to show growth, offer comfort, and invite people to crown themselves with self-worth.

As the music business shifts from CDs and radio to social media and streams, Dre adapts without losing himself. He rejects performative gimmicks yet accepts the necessity of being present where fans live. The task is to find a lane that feels true, keeps audiences engaged, and respects attention. That philosophy informs his community work too. From Connecticut’s vibrant Caribbean base, he’s helping spark a live ecosystem rooted in family-friendly vibes, culture, and continuity. He wants kids in the room to feel the bass and inherit the groove, creating a future where positivity outpaces trends and love remains the loudest line.

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Inspired by her Caribbean heritage, South Florida based designer Erica Appleby designs celebrate bold colors, intricate beading, and textures. Introduced to sewing at just four years old by her mother, she transformed a childhood fascination into a thriving career rooted in intention and artistry. 

After spending years in the demanding world of fast fashion, she made a bold pivot into bespoke bridal couture, a space where slow fashion meets soulful storytelling. Her mission doesn’t stop at the hemline. Through her Miami-based Luxe Art Tech Studio, she’s creating access to fashion technology and design education for students who have traditionally been excluded from these opportunities. Her studio is more than a workspace, it’s a launchpad for innovation, empowerment, and cultural preservation. Erica Appleby is designing a future that uplifts, educates, and inspires.

In this exclusive Style & Vibes Q&A, she opens up about her journey from New York’s fashion grind to launching her own studio, the challenges of self-funding a creative business, and the moments that made it all worthwhile. 

How did you get into sewing? 

At the age of 4 my mom introduced me to the sewing machine. She was creating minor alterations to her clothing, saw I was interested and assisted me in making an outfit for my doll. 

What made you want to do bridal wear?

I have always been enchanted with weddings and bridal couture. After working in fast fashion for 7 years, I started to feel drained and desired to make pieces that connected back to my customers. Bespoke/ Couture is all about slow fashion and creating for a specific person. It impacts their lives and removes the harsh impact on our planet. 

Did your Caribbean heritage influence your career? If so, how?

Very much, most of the pieces I create have a Caribbean flare or influence. From beading, fabrics and color. 

When and why did you start doing sewing classes?

Moving back to Miami from New York, I realized the gaps that set the students apart. The realization that the arts were being removed and somewhat gate kept, did not sit well with me. I wanted to be able to teach others a lot of what I had learned and paid so much for, by making it accessible to all at earlier stages. 

What are some simple sewing skills that everyone should know or learn?

Learn to alter your own clothing. Taking up a hem, adding a dart. It will save you money, but also allow you to truly see how well fit clothing can change everything. 

Tell me about Luxe Art Tech Studio and how new technology influences how you approach design?

Technology is changing the landscape of fashion and design quickly. Luxe Art Tech and the overall vision is in place to bridge the gap between what’s happening in the market and student education. Also a place for students to explore the area of tech and 3D that they may not otherwise have access to at home. My hope is by next year we will have a tech studio in place for students to do so. 

What is one of the most exciting moments in your career to date?

Opening the studio for sure! I had the vision in my head for so long that when I was able to step back and see it manifest. I had so much gratitude. 

Can you share your biggest challenge in running your business to date? What advice would you give to others?

A lot of times its funding and finances. Everything to date for me has been self funded and sometimes that would have delayed certain aspects of the business or eliminated aspects all together. Those challenges are lessons to creating a better business and leader. So to others I say start early on financial education, ask lots of questions and don’t be afraid to try and fail. 

What is an event or person you would like to design for that you haven’t yet and why?

So many, Coco Jones, Solange, Shenseea to name a few. It’s more aligned in energy and freedom and these women are symbols of that in so many ways. 

What are you excited for in the future?

Growth, expansion and stabilization. Getting to a place and space where both companies are thriving and assisting as many clients as possible. The goal is to have women thriving in confidence one dress at a time and one student at a time thriving through education. 

As she prepares to release her first book exploring the intersection of Caribbean values and global design, it’s clear her vision goes far beyond the sewing machine. She’s shaping narratives, building futures, and empowering the next generation to do the same.

Stay connected and learn more about her work at www.etaluxe.com and sewing classes and workshops at www.luxearttech.com

Follow her journey on Instagram: @luxearttech | @ericaappleby

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Photo by Destinee Condison

Reggae has always been more than just the riddim; it’s a living archive of time, struggle, celebration, and faith. In our conversation with Naomi Cowan about her album debut Welcome to Paradise that lineage feels tangible. Her album shaped as a love letter to Jamaica, to her parents, and to the music that made her. The record’s title, Welcome To Paradise, a full circle nod to. her hit single Paradise Plum; it’s a thesis about the evolution of love, identity as inheritance, and reggae as a timeless carrier of truth. In a season when quick trends swallow nuance, Naomi chooses depth, roots, and cohesion over algorithms, and the result sounds like memory and motion at once.

The path to that sound runs through film sets and studio nights. While portraying Marcia Griffiths in the Bob Marley biopic, Naomi doubled down on a simple conviction: make a fully reggae album without compromise. No contorting toward what’s “hot,” no checklist for a party single, just songs that honored the form and her voice within it. Collaboration fused that vision. With producer Toddla T and songwriter-artist Runkus, a natural formed a creative team where ego had no seat, where Naomi’s creative vision stayed central. The sessions were intuitive and unforced; ideas flowed, and the music decided what belonged. You hear vintage textures—lover’s rock warmth, dancehall grit, live-band sensibility—fused with her modern pen. It’s nostalgia that breathes, not cosplay, and the pacing builds a narrative you feel in your chest.

That narrative circles a theme Naomi didn’t plan but couldn’t ignore: love. Not the sugar rush, but partnership as a spiritual discipline. She shares her perspective on how today’s culture has drifted into a quiet war on love, confusing independence with isolation, and forgetting we sharpen each other. The album flips that script. It treats intimacy as a site of growth, asks what two people can build beyond aesthetics, and links romantic love to self-love—because you can only give what you’ve cultivated. These ideas land through melodies that invite touch and lyrics that carry prayer, pain, and humor. It’s why the songs read as double-exposed: a romance with a person overlaps a romance with music itself, each a mirror for the other.

I’d never intended for this to be such a big love album, if I’m being honest. We just kept writing music, and I guess maybe what I was experiencing and what was top of mind for me was love. When I look at my life and the way I was brought into this world, I feel as though I was brought into this world as a byproduct of a very deep love.

Naomi’s family stitches that context. Archival snippets from her mother, Carlene Davis, a singer navigating reggae’s male-dominated spaces decades ago, and nods to her father, Tommy Cowan’s influence, giving the album a lineage you can trace. By threading those voices into interludes, she grounds her art in continuity, showing how personal history becomes community memory. That same communal ethic surfaces in how she speaks about peers like Sevana, Jaz Elise and Lila Iké: authenticity cancels competition. When artists own their lane, collaboration isn’t charity; it’s common sense. The result is a scene where women stand side by side, not toe to toe, and the music gets better for it.

Outside the booth, Hurricane Melissa reframed release plans and priorities. Promoting a project while neighbors rebuild is a tension artists from small nations know well. Naomi chose service first, using stages to direct attention and resources toward relief. Ironically, that restraint amplified the album’s essence. Live audiences met the songs without marketing noise, and the response was visceral—bodies catching riddim, faces softening on certain lines, strangers messaging favorite cuts by name. That’s the dream: a record that grows on human time, not a feed’s tempo. As she plans to ramp touring in the new year, expect the music to stretch even more on stage.

Welcome To Paradise isn’t a destination, it’s about understanding and enjoying the nuanced journey. It shows how a hit can become an identity, how film can sharpen fidelity to genre, how collaboration can secure a woman’s vision without sanding off edge, and how love can be rigorous and brave. It’s reggae made with patience and purpose, unafraid of softness, sure of its roots, and built to outlast the week. In a world that rewards speed, Naomi’s choice to slow the heart rate reads as radical—and that calm is contagious. Press play, then sit with the afterglow long enough to notice what opens: memory, desire, maybe even a door back to each other.

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Few groups capture the spirit of dancehall’s golden energy while navigating modern music’s shifting ground like Voicemail. Their story begins with five voices learning to blend harmony and attitude, then tightens into a trio determined to reshape their sound without losing heart. The spontaneous origin of their name mirrors the spark that drives their work: a chance moment at an audition, a quick answer, and a future unlocked. Those early days weren’t planned for virality or brand strategy; they were fueled by neighborhood radio, sound system culture, and the thrill of seeing a crowd light up. That foundation of community and live culture built a compass they still use to steer through today’s noisy, always-on landscape.

Voicemail’s hit song Weddy Time skyrocketed their career, a dance record born from the vision of Danny Champagne and the genius of dance icon Bogle. The group arrived as R&B-leaning vocalists in a dancehall world and stumbled into a record that made the globe move. They didn’t map a lane; the lane found them. The success felt immediate and unexplainable: radio rotation every hour, dance floors erupting, and the surreal sight of strangers choreographing joy to their voices. That momentum not only anchored their catalog around movement and celebration but also proved that authentic energy—when captured right—can outlast trends. Two decades later, Weddy Time still feels new, a testament to craft, cultural timing, and the emotional weight of shared dance.

Yet behind the anthems lives grief and resilience. Voicemail has carried the loss of members and mentors, especially the passing of bandmate O’Neil. They speak of time not as a healer but as a teacher—scars that flare and settle, memories felt most powerfully on stage when a verse arrives that once belonged to a friend. Performing becomes ritual and remembrance, a spiritual tether that sustains both artists and audience. Their answer to loss has been unity, craft, and purpose: sticking together, honoring what was built, and letting the music keep the connection alive. That decision to continue, even as a duo, reflects a wider philosophy about legacy—what we leave in people rather than what we claim for ourselves.

Global reach expanded their perspective. Japan embraced Voicemail with structure, strategy, and reverence for reggae and dancehall, leading to dedicated album releases and a distribution deal that treated the brand like a cultural asset. For emerging artists, their advice is clear, “Think beyond a small home market, align with partners who can amplify your vision, and keep quality high because money chases value, not the other way around.” Collaboration and organization are not buzzwords; they are the scaffolding that turns moments into momentum. Professional rollouts, cross-genre introductions, and disciplined promotion are part of why they would do Japan again “in a heartbeat.”

They’re honest about how the digital shifts have impacted the music experienced by fans. Social media’s constant access erased mystery, dulled star power, and turned album journeys into fragmented playlists. The upside—instant distribution—arrived with a downside—weak bonds and short attention spans. Their answer is to rebuild community intentionally: create smaller circles of true fans, connect through story and craft, and design experiences that feel personal, tangible, and worth keeping. The evolution of Voicemail now includes solo projects under the group umbrella, offering fans more ways to connect with Kevin and Craig while reinforcing the core brand when their voices rejoin. It’s a smart, layered approach to identity in an era that rewards clarity and depth over noise.

Perhaps the most moving thread is their reflection on celebration. They admit they rarely pause to honor wins, racing from one milestone to the next. That vulnerability humanizes the brand: global hits, packed tours, and sustained relevance are not just career moments; they’re lives lived at speed. The takeaway lands with weight—gratitude should be paired with intentional celebration. In dancehall and beyond, the artists who endure are the ones who carry history, innovate with care, and still find space to breathe. Voicemail remains that rare mix of craft, culture, and heart, proving that even in a world of infinite access, music can still feel sacred when it’s built on truth, community, and joy.

Follow Voicemail

Listen to New Music: Kevyn Voicemail – Skillvchi AND Qraig Voicemail – Me and Di Gal Dem

WATCH PODCAST ON YOUTUBE

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The Caribbean Music Awards aired on BET network, marking a significant milestone for Caribbean music and culture. This was the third staging of the awards show, but the first time it aired on BET, expanding its reach to viewers across the United States and international locations. The broadcast represented a major step forward in bringing Caribbean music to mainstream audiences and showcasing the vibrant diversity of the region’s musical talent.

The performances were undoubtedly among the highlights of the night. The show opened with a high-energy set from Elephant Man and Ding Dong, who entered from the audience and made their way to the stage, immediately set the stage for an evening of energy and admiration. Another standout performance featured Full Blown Entertainment (FBE) with Machel Montano and Ayetian Good Spirits performing on the stage decorated to resemble a neighborhood block party, complete with people playing dominoes and double dutch jump rope. These creative staging elements added authenticity and cultural context to the performances, though many viewers and attendees noted that future shows could benefit from even more elaborate production design.

One of the most powerful moments of the evening came during Busta Rhymes’ acceptance speech. The hip-hop legend spoke eloquently about his Jamaican roots and how they influenced his artistic development, underscoring the importance of holding the Caribbean Music Awards in Brooklyn during Labor Day weekend. His speech encapsulated why this recognition matters so much to Caribbean artists and the diaspora community, providing a meaningful cultural context for the entire event.

The awards themselves were comprehensive, covering numerous categories across reggae, dancehall, soca, and other Caribbean music genres. While the categories were extensive, this breadth also demonstrated the rich diversity of Caribbean music and gave proper recognition to artists who are often overlooked by mainstream award shows. The presence of so many categories also serves a practical purpose for viewer engagement, as fans of specific artists tune in to see if their favorites win in particular categories.

Fashion was another highlight of the evening, with Caribbean artists bringing their distinctive style to the red carpet. Standout looks included Nailah Blackman’s elegant dress complemented with a carnival-inspired backpack, Lady Lava’s structured red carpet outfit, and Lila Ike’s simple yet striking ensemble paired with her natural curls. The men’s fashion was more traditional, with DJ Puffy and Konshens gave structure to all black well-tailored suits.

The Caribbean Music Awards represented a significant achievement in terms of sponsorship as well, with brands like JetBlue, Kia, and Buy Cheap Central supporting the event. However, there was a notable absence of tourism boards from major Caribbean countries, with St. Lucia being the only tourism authority to sponsor the awards. This missed opportunity for countries like Jamaica, Trinidad, and Barbados to promote their tourism offerings through an event celebrating their most prominent cultural ambassadors was a disappointment to many observers.

Looking ahead to future iterations of the Caribbean Music Awards, there are several areas for potential growth and improvement. These include expanding the recognition to include more artists from the French-speaking and Spanish-speaking Caribbean, incorporating more artistic elements and production value into the performances, and creating tributes to historical artists who paved the way for today’s stars. With continued support from sponsors, artists, and viewers, the Caribbean Music Awards has the potential to become an even more significant platform for celebrating and elevating Caribbean music on the global stage.

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Tifa’s return to the dancehall scene marks a significant moment for her career in Caribbean music. After what she describes as a necessary five-year evolution, she has reemerged with renewed purpose, fresh perspectives, and a Grammy win with Kabaka Pyramid for his album “The Kalling” under her belt. Her journey demonstrates the importance of strategic breaks in an industry that often demands constant visibility.

The pandemic reshaped not just the music industry but Tifa’s approach to her craft. While many artists struggled with the inability to perform live, Tifa used this period to recalibrate, setting up a home studio and continuously creating despite being less visible in the public eye. This intentional step back allowed her to reconnect with her authentic voice and passion for music that had been her foundation since age 15. Her songwriting process remains consistent – she writes from observation and emotion, not just personal experience, giving voice to unspoken feelings and situations that resonate widely.

Tifa’s recent release “I Want a Man” exemplifies her talent for capturing collective sentiments. The song emerged during a week when conversations about relationships were particularly charged due to high-profile trials and instances of domestic violence. Rather than speaking solely from personal experience, Tifa crafted lyrics that address the broader female experience, touching on everything from paternity fraud to post-pregnancy relationship dynamics. The song demonstrates how Tifa moves beyond surface-level content to address deeper societal issues through her music, creating longevity through substance.

Her performance at Alkaline’s “New Rules” event represents her official return to Jamaica’s live music scene, an important moment that solidified her position as a staple in dancehall despite attempts to marginalize her. Tifa emphasizes that authentic performance skills are becoming increasingly important in distinguishing genuine artists in an era where AI and social media metrics can create artificial success. Her pride in connecting with a crowd of 15,000 people who knew her lyrics word-for-word confirmed that her musical foundation remains strong despite her hiatus.

Looking forward, Tifa reveals ambitious plans with enough ideas for multiple albums spanning different genres. She’s committed to “working the song” – a strategic approach to promotion that stands in contrast to the common Jamaican practice of rapidly releasing singles without fully developing their potential. Her vision extends beyond personal success to contributing to the legacy of Caribbean artists who have achieved international recognition, citing figures like Diana King, Shabba Ranks, and Patra whose crossover successes are often overlooked in contemporary conversations about dancehall music.

Through it all, Tifa maintains her identity as a writer, performer, and cultural ambassador who refuses to be boxed into industry expectations. Her journey reflects the evolution of dancehall itself – honoring tradition while embracing necessary change, balancing authenticity with strategic adaptation, and ultimately creating music that stands the test of time. As she defines her legacy as “the one that never gave up,” Tifa represents resilience in an industry that often values novelty over consistency and substance.

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When it comes to music and DJing, few artists manage to seamlessly blend cultural heritage with contemporary sounds while maintaining authentic connection to their roots. DJ GabSoul, known as “the eclectic selector,” represents this rare breed of musical curator who brings together diverse sounds of the African diaspora while creating inclusive spaces that feel like home.

Growing up in a Caribbean household, with a DJ father, GabSoul was immersed in music from birth. As she describes it, she was “born in a basement party,” attending gatherings since age 13 and developing an intuitive understanding of party psychology and musical flow. This foundation proved invaluable when she eventually decided to pursue DJing herself. Her Trinidadian mother and Guyanese father exposed her to rich musical traditions, with her father’s enormous record collection and sound system serving as her earliest education in music appreciation.

The journey to becoming a professional DJ wasn’t immediately obvious for GabSoul. Despite growing up around equipment, when she asked her father to teach, he dismissed the idea with a casual “Girls don’t DJ.” It wasn’t until college when she began seeing new collectives of DJs emerging—particularly women—that she realized this path was possible for her too. Her official entry into DJing came through a friend’s house party where her knack for song selection and timing revealed a natural talent that couldn’t be ignored.

What distinguishes GabSoul from many other DJs is her approach to blending genres and creating seamless musical journeys. She emphasizes the importance of musicality in her transitions, often creating the effect of an entirely new song emerging between two tracks. Her philosophy rejects the “popcorn” style of abrupt transitions her father warned against, instead favoring smooth blends that respect the music’s inherent rhythm and soul. This technique allows her to connect seemingly disparate genres—from R&B and hip-hop to soca, dancehall, and Afrobeats—revealing the common threads running through the music of the African diaspora.

Beyond technical skills, GabSoul brings a distinctly feminine energy to her performances. She notes that while learning from male DJs provided a certain “rigidness” and technical confidence, combining this foundation with “femininity, sensuality, and understanding what people want to feel” creates a unique superpower. This perspective allows her to take risks with musical selections that might feel constrained in more traditional DJ approaches.

GabSoul’s community-building initiatives reflect her deeper mission of connecting people through music. Projects like “We Ting,” “Auntie’s House,” and “Riddim and Soul” create spaces where Caribbean hospitality meets diasporic connection. She emphasizes the importance of bringing together various cultures and sounds, bridging gaps between those who may feel disconnected from their heritage while celebrating the beautiful commonalities across African diaspora music.

Perhaps most moving is GabSoul’s reflection on her purpose: “To spread love and be an example of love.” She sees music and storytelling as her medium for this mission, with DJing serving as just the first step in a broader journey. Her advice to emerging artists emphasizes enjoying the process rather than anxiously focusing on future outcomes—wisdom she continues to embrace through practices of gratitude, reflection, and self-compassion.

In a music landscape that often prioritizes manufactured hype and algorithm-friendly content, DJ GabSoul represents something increasingly precious: an artist whose work emerges organically from lived experience, cultural heritage, and genuine human connection. As she continues evolving her unique events and expanding her creative outlets, she reminds us that authenticity isn’t something to strive for, but it’s something we already possess if we’re brave enough to embrace it.

Watch the full interview on YouTube:

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Konshens returns to the Style & Vibes podcast to reveal the perfect timing behind his fifth studio album “Pool Party.” Following the viral “Back That Azz Up” freestyle he seized the momentum for an album where the songs were complete, but not fully compiled into a project. We discuss the importance of embracing the moment and staying prepared in the music industry.

The inspiration behind the album, in such turbulent times? Konshens explains how watching the news during his creative process made him realize he didn’t want to add to listeners’ burdens. “I don’t want to be the person that come and remind you that your life is stressful,” he shares with refreshing honesty. Instead, he created “Pool Party” as a therapeutic music release with the same healing energy that classic dancehall has always provided.

Listen to Konshen’s new 15-track dancehall album Pool Party. The album features tracks with Skillibeng, Charly Black, Lil Duval, Eric Bellinger, Moyann, The Game and Dyani.

You can also watch the full interview via YouTube.

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From the background to the foreground, Hector Roots Lewis’ evolution from drummer/background singer to lead singer for an established reggae band to solo artist is an ode to patience, dedication, and authentic artistic growth within the reggae music landscape. Born into a musical household with a mother who was herself a recording artist, Hector’s earliest memories involve being surrounded by music and performance. This formative environment shaped his understanding of music as both art and profession from a remarkably young age.

Hector’s formal musical education led him to the Edna Manley College of Visual and Performing Arts, provided a solid foundation with technical proficiency across multiple instruments, including drums, percussion, and vocal techniques. However, it was his entry into the world of touring that truly transformed his career trajectory. Beginning with Cherine Anderson in 2012 as a drummer, Hector soon found himself embarking on an extensive touring relationship with Chronixx’s Zinc Fence Band that would span over a decade and define much of his professional development.

What stands out in Hector’s narrative is how he managed to balance numerous musical responsibilities simultaneously. While maintaining his position with Chronixx, he played for numerous other prominent reggae artists including Christopher Martin, Romain Virgo, and “everybody you can think about,” as he put it. This versatility enabled him to build an extensive network within the reggae community while refining his skills as a professional musician. It wasn’t until around 2016 that Hector began to seriously consider songwriting, encouraged by Chronixx who pushed band members to expand their creative horizons beyond their instrumental roles.

The global pandemic of 2020 represented a pivotal moment in Hector’s artistic development. As the world paused, he found himself with time to reflect and create in a way that hadn’t been possible during his demanding touring schedule. Working with producer JLL, what began as casual songwriting sessions eventually evolved into his first EP D’Rootsman. This initial body of work laid the groundwork for what would later become his album “Cosmic Roots,” a collaboration with Johnny Cosmic that represents the next evolution of his sound.

Hector’s role as Carlton Barrett in the “Bob Marley: One Love” film new creative medium but also with deeper insights into Bob Marley’s revolutionary approach to music and business. Hector speaks reverently about how this experience inspired him to be more brave with his music and more open-minded about creative possibilities. Marley’s example of remaining purposeful despite personal challenges and external obstacles resonated deeply with Hector, influencing both his creative process and business approach.

The “Cosmic Roots” album itself represents a meaningful progression in Hector’s artistic expression. Unlike his previous EP, this album features his extensive instrumental contributions alongside his vocals. He played bass lines, drum tracks, and various other instrumental parts, showcasing his multi-faceted musical abilities. The collaboration with Johnny Cosmic brought a new sonic dimension to his work, helping to shape and arrange the songs in ways that enhance their storytelling capacity.

What makes “Cosmic Roots” particularly compelling is its intentional sequencing. The album moves from reflective, introspective tracks like “Peace of Mind” and “Strength” to more celebratory songs like “Fire” and “Sauna Beat,” mirroring Hector’s personal journey through challenging times toward moments of joy and celebration. The album’s structure purposefully echoes the flow of a traditional Jamaican dance party, starting with “early warm” selections before building to more energetic peaks.

Hector’s evolution from Roots Percussionist to Hector Roots Lewis illustrates a thoughtful approach to artistic identity. By maintaining “Roots” in his professional name, he acknowledges his foundational musical interests while allowing space for growth beyond percussion alone. This careful balance between honoring tradition and embracing evolution characterizes both his personal journey and his artistic output.

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