Caribbean music is for life, not just for Carnival!

I always view this time of year as a period of reflection for many reasons. Not only is the looming reality of Autumn hovering over the horizon, with it slowly morphing from T-shirt weather to hoody season (which rapidly becomes scarf, coat and gloves time!), but the annual celebration of Caribbean music and culture lands (quite literally if like me you live in West London!) on our doorsteps.

As a British-born Black person, I have never considered myself to be “English” or “British”. My heritage is from the Caribbean and I am a proud islander! I am perfectly fine with anyone with a similar background classing themselves as British or English, each to their own, but I am so driven by where I am from and my background in many of my actions that I just cannot park that background up to “fit” into the mainstream.

Caribbean culture has punched way above its weight for decades now. So many elements of British arts and culture derive from the small islands in the middle of the Caribbean Sea. Look at the sonics and vocal styling of UK garage , jungle , grime or drill , then hark back to the '70s and '80s and the Jamaican soundsystem culture and toasting style that also influenced hip hop . It’s hard to imagine the UK styles minus the Caribbean influence. We aren’t a massive conglomerate of countries like Africa, nor do we have the diaspora depth of some of the South Asian countries, but still we strive and more than hold our own!

I am a firm believer that the Caribbean doesn’t get the props that they deserve. As someone who has been in the music industry here in the UK for nearly four decades it has often been said that this business wants the music but not the people or culture. There are numerous examples of this (annoyingly so), but let’s focus on one that has a global impact: The Notting Hill Carnival .

I was born and brought up in Carnival country, Westbourne Park to be precise. As I got older I got to understand that it isn’t just your annual two-day piss up and banter, but it stood for something very important. It was a display of my heritage, my culture, my history and my backstory. It was something to be treasured, studied, understood and protected, much in the way that many other cultures protect their heritage.

However, it looks like Caribbean culture seems hugely disposable to many sectors. I remember a few years ago some genius at a record label came up with the term “Tropical House” when speaking about dancehall .

Is it a case of the majors trying to “own” a new genre so they can put their paws into it? Or is the term “dancehall” too synonymous with Caribbean culture and therefore deemed unacceptable?

Why is it that soca gets played on your favourite radio station every August (in some cases even making the playlist!) while being non-existent for the other 11 months? That tokenistic gesture is enough to annoy any Caribbean person or lover of the music.

Why is there no Caribbean music show on Heart or Magic ? Are 35-60+ year olds not worthy of a slot where they can feel comfortable in their memories? Why is it that BBC Radio 1 and Capital Radio have no Caribbean music programming at all? Please do not tell me 1Xtra and Capital Xtra exist, because that response is lazy, not thought through and not worthy of a counter response.

Back to Carnival. The move a few years ago to only allow soca to be played on the road for Mas Bands was a positive one in my eyes. If you don’t like it, tough. Calypso and soca are the heartbeat of Carnival, and a staple of Caribbean culture. There is ample opportunity to hear and experience other music styles in side streets and sound systems, but the road must be kept soca only.

I am unapologetically a Caribbean man and love my culture. I don’t want it watered down and I don’t appreciate when others from outside of that culture water it down to fit their own narrative

That’s why I have to salute the likes of DJ Martin Jay and my business partner Seani B . These guys have worn their heart on their sleeves and never faltered away from what they musically believe in, regardless of the sway of the majority.

Is the problem the lack of open representation in the music industry across all areas? Is Caribbean culture the “easy take” and a quick way to “own” a style when it suits? Maybe it needs Caribbean people to gatekeep to a higher standard to protect and preserve their birthright.

There is a new school of Caribbean DJs coming through the ranks that are showcasing island styles such as Jab Jab from Grenada, Bouyon from Dominica and Dennery Segment from St Lucia, salute to the likes of Izzy Bossy , DJ Tate , Triple M , DJ Lightning , Jada Pink and Macyy Jaydee to name a few. This new wave are proud of their roots and play soca in the mix alongside every other form of Black music, which normalises its very presence.

Caribbean music cannot be separated from the culture, one intertwines with the other. The overriding influences from one has a positive bearing on the other. They are inseparable, like bun and cheese and bake and shark (if you don’t know, look it up …)

As we gear up for another Carnival, take a moment to think about what music from that region has brought to the music you love, and just as you are about to down that next glass of rum, please remember that this small area continues to defy the odds and produce memorable moments, music and magic for all.

Ray Paul is the creative director of The Playmaker Group, who specialise in award winning content, tour management and event curation & Caribbean culture agency BrukOut