The process of getting a movie off of the ground is a lengthy endeavor, with casting standing out as one of the essential elements of the process. Simon Doe has his tongue planted in his cheek as he describes the fictional skills of his advancing agent.Praesent iaculis, purus ac vehicula mattis, arcu lorem blandit nisl, non laoreet dui mi eget elit. Donec porttitor ex vel augue maximus luctus. Vivamus finibus nibh eu nunc volutpat suscipit. Nam vulputate libero quis nisi euismod rhoncus. Sed eu euismod felis. Aenean ullamcorper dapibus odio ac tempor. Aliquam iaculis, quam vitae imperdiet consectetur, mi ante semper metus, ac efficitur nisi justo ut eros. Maecenas suscipit turpis fermentum elementum scelerisque.
Sed leo elit, volutpat quis aliquet eu, elementum eget arcu. Aenean ligula tellus, malesuada eu ultrices vel, vulputate sit amet metus. Donec tincidunt sapien ut enim feugiat, sed egestas dolor ornare.
“Simon Doe has his tongue planted in his cheek as he describes the
fictional skills of his advancing agent.”Steve Kowalsky
Potenti fusce himenaeos hac aenean quis donec vivamus aliquet, wprdpress integer inceptos curae sollicitudin in class sociosqu netus, euismod tempus fermentum odio gravida eleifend viverra pulvinar inceptos ligula consectetur. Potenti ante porttitor tristique curae scelerisque tristique, dictum eu donec conubia sit rutrum duis viverra in commodo.
Nisi habitasse viverra praesent a maecenas odio erat tristique praesent elementum rutrum maecenas blandit nec curabitur donec, turpis varius etiam felis ultrices sit, per inceptos dapibus fames donec praesent quisque commodo primis proin leo nisl lacinia dictumst justo sagittis luctus vestibulum sed quisque.
[youtube https://www.youtube.com/watch?v=bPh0kfMRIFA]
Potenti fusce himenaeos hac aenean quis donec vivamus aliquet, wprdpress integer inceptos curae sollicitudin in class sociosqu netus, euismod tempus fermentum odio gravida eleifend viverra pulvinar inceptos ligula consectetur. Potenti ante porttitor tristique curae scelerisque tristique, dictum eu donec conubia sit rutrum duis viverra in commodo.
Stylo G Ignites Summer with New Single “Energy Up”
Produced by Epik Jones & Polabeatz | Out Worldwide 17 July 2026
Stylo G Energy Up
London / Kingston – International dancehall star Stylo G is set to soundtrack the summer with the release of his explosive new single “Energy Up,” produced by Epik Jones and Polabeatz, arriving on Friday, 17 July 2026 across all major digital streaming platforms. The release is supported by a major international marketing campaign already outlined across the project’s promotional strategy and partnership materials.
Following a remarkable run of international successes, including collaborations with Nicki Minaj, Clean Bandit, Sean Paul and Spice, Stylo G returns with a record designed to inspire movement, confidence and positive energy. “Energy Up” blends authentic Jamaican dancehall with contemporary global production, creating a festival-ready anthem aimed at dance floors, fitness communities, DJs, creators and Caribbean culture worldwide.
Produced by Epik Jones and Polabeatz, the single represents more than just another release. It launches a wider creative movement celebrating music, dance, fitness, community and positive lifestyle culture under the banner of #EnergyUp.
A Summer Campaign Built for Global Audiences
The release of “Energy Up” marks the beginning of an ambitious multimedia campaign extending throughout summer 2026.
Fans can expect:
• The official “Energy Up” music video, premiering shortly after the single release, featuring vibrant Jamaican dance culture, premium visuals and luxury lifestyle imagery.
• The #EnergyUpChallenge, encouraging dancers, DJs, fitness influencers, creators and fans worldwide to showcase their own interpretation of positive energy across TikTok, Instagram Reels and YouTube Shorts.
• A creator-first digital campaign delivering more than 100 pieces of original content throughout the summer.
• Festival activations and appearances across major European reggae and Caribbean events.
• Exclusive merchandise and branded lifestyle content inspired by the Energy Up movement.
The Next Chapter for Stylo G
“Energy Up” serves as the lead release in the build-up to Stylo G’s forthcoming EP, a project that showcases the artist’s continued evolution while remaining firmly rooted in Jamaican culture.
The upcoming EP will feature a collection of recent fan favourites alongside brand-new material, including:
• Energy Up
• Mukky (WYFL Riddim)
• BPRC
• Konnichiwa
• Additional previously released singles
• New, unreleased tracks to be announced in the coming weeks
Together, the EP reflects Stylo G’s versatility, effortlessly moving between hard-hitting dancehall, crossover anthems and globally influenced sounds.
More Than Music
The campaign positions Energy Up as a lifestyle movement centred around:
The vision extends far beyond streaming platforms, aiming to build an authentic cultural moment through live events, creator collaborations, editorial support and fan engagement throughout the summer.
About Stylo G
Born in Jamaica and raised in the United Kingdom, Stylo G has become one of the most influential British-Jamaican recording artists of his generation. With billions of streams, international touring success and collaborations spanning dancehall, reggae, grime and mainstream urban music, he continues to bridge Caribbean culture with audiences around the world.
Known for hits including Call Mi A Yardie, Soundbwoy, Move Back, Dumpling and Touch Down, Stylo G remains one of dancehall’s most recognisable international ambassadors.
About the Producers
Epik Jones is an internationally recognised DJ, producer, songwriter and entertainment executive whose work spans music production, artist development, media and global entertainment marketing. His production and songwriting credits include collaborations with leading Caribbean artists while his wider work has helped connect Jamaican culture with international audiences.
Polabeatz has established himself as one of Jamaica’s exciting contemporary producers, known for energetic productions that fuse authentic dancehall with modern commercial appeal. Together, the duo deliver a powerful production that captures the spirit of summer while remaining unmistakably Jamaican.
Release Information
Single: Energy Up
Artist: Stylo G
Produced by: Epik Jones & Polabeatz
Release Date: Friday, 17 July 2026
Stream/buy : https://onerpm.link/energyup
Official Music Video: Out Now
Upcoming Project: Stylo G EP (Summer 2026)
Colour Me Red Marks 20 Years with an ‘Encore’ as Machel Montano and Skinny Fabulous Return
One of Saint Lucia’s biggest carnival events, Colour Me Red (CMR), is celebrating its 20th anniversary with a fitting theme – “Encore.” This year’s milestone edition will reunite returning favourites and soca legends as thousands of revellers prepare to descend on the Darren Sammy Cricket Ground for one of the island’s premier carnival concert on Friday 17th of July 2026.
At the official media launch, organisers explained that the “Encore” theme was chosen to celebrate the artists who have helped shape Colour Me Red over the past two decades, welcoming many familiar faces back to the stage.
Among those returning are Trinidad and Tobago’s Machel Montano and St. Vincent and the Grenadines’ Skinny Fabulous, two of soca’s biggest names whose history with Colour Me Red stretches back many years.
Skinny Fabulous
Skinny Fabulous reflected on his long-standing relationship with the event, revealing that he has been performing at Colour Me Red since his University of the West Indies (UWI) days. He also recalled opening for Saint Lucian soca star Ricky T early in his career. This year marks 19 years since Skinny first performed at the event, making his return even more special.
Machel Montano
For Machel Montano, this appearance marks his first Colour Me Red performance in ten years. His last performance was back in 2015. Looking back on his early visits to Saint Lucia, he joked that when he first came to the island at nine years old, he was “too young for soca.”
Although they represent different islands, both artists spoke passionately about their love for Saint Lucia and shared how excited they were to begin their carnival weekend on the island. Machel described returning to Saint Lucia as “a family affair,” while both performers praised the warm hospitality they continue to receive whenever they visit.
During the press conference, members of the media asked questions about the artists’ future music, their continued involvement with Saint Lucia, and what fans can expect from their performances. Both Machel and Skinny shared stories from previous visits and expressed how much they enjoy returning to the island and connecting with Saint Lucian audiences.
Organisers also reflected on Colour Me Red’s evolution over the past two decades. Originally staged on a Wednesday, the event has grown into one of the signature concerts of Saint Lucia Carnival, now taking place on Friday and attracting thousands of patrons from across the Caribbean and the diaspora.
With 20 years of unforgettable memories behind it, Colour Me Red: Encore promises to deliver another spectacular night of world-class soca, electrifying performances and carnival energy when it takes over the Darren Sammy Cricket Ground, continuing its legacy as one of the must-attend events on the Saint Lucia Carnival calendar.
Reporting by Worlmag – Your home for Caribbean music, culture and entertainment.
Jamaican Sprint Coaching Icon Stephen Francis Dies Aged 64
The global athletics community is mourning the loss of one of the greatest coaches the sport has ever known. Legendary Jamaican sprint coach Stephen Francis has died at the age of 64, leaving behind a legacy that transformed Jamaican athletics and redefined what was possible for home-grown coaching.
As co-founder and Technical Director of the MVP Track & Field Club, Francis built far more than a successful training group. He created a movement that proved Jamaican athletes, coached by Jamaicans, managed by Jamaicans and developed on home soil, could dominate the world.
Established in Kingston in 1999, MVP became one of the most successful sprint programmes in athletics history, producing Olympic champions, world champions, world record holders and generations of elite performers.
After completing a Bachelor of Science in Management Studies at the University of the West Indies and earning an MBA in Finance from the University of Michigan, Francis turned his attention fully to coaching. It proved to be a decision that would reshape global sprinting.
In recognition of his extraordinary contribution to sport, he was awarded the Order of Jamaica in 2017.
Among the world-class athletes coached by Stephen Francis are:
Shelly-Ann Fraser-Pryce
• Shelly-Ann Fraser-Pryce
* 8 Olympic medals
* 16 World Championship medals
* One of the greatest female sprinters in history
Asafa Powell
• Asafa Powell
* Former 100m world record holder
* Olympic gold medallist
* First man to run under 10 seconds over 100m more than 100 times
•
Shericka Jackson
• Shericka Jackson
* Two-time World 200m Champion
* Olympic and World Championship medallist
Elaine Thompson-Herah
• Elaine Thompson-Herah
* Five-time Olympic gold medallist
* Only woman to successfully defend Olympic 100m and 200m titles
• Michael Frater
* Olympic relay gold medallist
* World relay champion
• Kishane Thompson
* Olympic silver medallist
* One of the fastest men of his generation
• Tia Clayton
* World relay medallist
* Emerging global sprint star
• Tina Clayton
* World Under-20 champion
* One of Jamaica’s brightest sprint prospects
His influence also extended to numerous national champions, relay specialists and international finalists who flourished under the MVP system.
A Legacy Beyond Medals
Stephen Francis’ greatest achievement may not have been the medals won, but the blueprint he created.
For decades, there was a belief that the world’s best athletes needed to leave the Caribbean to reach their potential. Francis challenged that assumption and won. His athletes trained in Jamaica, under Jamaican coaches, with Jamaican expertise, before travelling the world to become Olympic and World champions.
His philosophy elevated not only the careers of individual athletes but also the global reputation of Jamaican coaching.
In a statement, the MVP Track & Field Club described Francis as:
“A visionary coach, mentor and leader whose unwavering commitment to excellence transformed the landscape of athletics in Jamaica and inspired generations of athletes.”
Club President Bruce James added:
“Stephen Francis changed the trajectory of Jamaican athletics for the better. His vision, uncompromising pursuit of excellence and belief in the potential of our athletes transformed not only countless individual careers, but also the standing of Jamaican athletics on the global stage. His legacy will endure for generations.”
WorlMag Verdict
Some coaches collect medals. Stephen Francis built an institution.
His athletes became Olympic champions and world record holders, but perhaps his greatest victory was proving that excellence could be developed at home. He gave Jamaica not just champions, but confidence in its own coaching expertise.
The starting blocks may fall silent without him, yet every generation of Jamaican sprinters will continue to run in lanes he helped create.
Rest in Power, Coach Stephen Francis. Your legacy will never be measured solely by medals, but by the lives, careers and belief you inspired around the world.
The full band performing The Windrush Suite at Kings Place
On Thursday, 25 June 2026, in the first-ever live performance of The Windrush Suite and Echo in the Bones, Ivor Novello Award–winning composer, musical director, and multi-hyphenate artist Renell Shaw converted Hall One at Kings Place in London into the quintessential West Indian front room—a space that people have considered a sanctuary in Black British homes.
Entering the concert hall
We found our seats to the sound of reggae reverberating around the concert hall walls. On what would have been the mantelpiece, the screen projected black-and-white images of men slapping dominoes against a wooden table. We could almost hear them roar with laughter, realising they picked up sumt’n sweet. In other photographs offered by Jim Glover, women whipped up delights in the kitchen alongside friends. Although these projected images were static, the subjects held each other so tenderly my imagination could trace their movements.
Transported to familiar times gone by, our eyes wandered the room until Renell Shaw took to the stage, placing his grandfather’s trumpet beside the decks to share the precious moment. The locs neatly tied atop his head showed he was ready for the serious business of “commemorating those who came before, those who came after and uplifting the people”.
I felt myself make a promise to the people on stage.
Likely on account of their otherworldly musical talents, Renell referred to his band as “avengers”. Each artist bounced and rocked their way to their positions to Renell’s roll call with Dennis Brown’s “The Promised Land” as the backdrop. At that moment, I felt myself make a promise to the people on stage: I would listen as earnestly as this production had been put together.
This special performance of The Windrush Suite and Echo in the Bones formed part of Renell Shaw’s year-long residency at Kings Place ahead of the final suite in the trilogy: Remember Us Tomorrow on 9 October 2026.
Ayanna Witter-Johnson and Renell Shaw performing The Windrush Suite and Echo in the Bones at Kings Place | Image by Heba Elgamal.
From an Ivor Novello award-winning record to the stage at Kings Place
In 2020, General Manager of Vortex Jazz Club, Kathianne Hingwan, commissioned Renell Shaw to compose and perform The Windrush Suite at the renowned venue in London. However, the pandemic and subsequent lockdowns meant that this was no longer possible. Instead, it debuted as a streamed performance on Windrush Day. Released by Major Toms, the independent record label founded by Rudimental, the opening record, “The Vision They Had,” went on to win an Ivor Novello award. That’s to say, the production we saw at Kings Place was more than five years in the making, with Renell gifting his audience a true labour of love.
On the night, the band consisted of the highest calibre of artists:
After courteously checking in with each artist, conductor Renell Shaw started the show with “The Vision They Had”. My ears tuned into the archive recording before noticing the soft piano keys accompanying the wisdom-bearing Caribbean elder’s voice.
Orphy Robinson MBE performing The Windrush Suite at Kings Place | Image by Heba Elgamal
Getting swept up in close-to-home emotions with The Windrush Suite
As the ensemble reached its first crescendo, the hairs on my arms tingled; heart tangled with my own grief of losing my grandmother, who too arrived in England by boat in the 60s. Memories of her high-pitched laugh rose and fell along with Afronaut Zu’s rhythmical quinto and tumba. The gentle notes that rang each time Orphy Robinson MBE struck the marimba soothed my tears before they could tumble. Although I sat perfectly still, something within moved.
Breaking the enchantment with a loaded question, Renell asked the crowd if they knew what “Bacchanal” meant. He responded to the crowd’s murmurs with “Yuh ah guh learn today”. “Bacchanal” carries the vibrancy of Caribbean fetes along with the rich tone of carnival’s rebellious history.
The high-energy drum patterns led by Romarna Campbell made it hard for people to remain seated—heads bopping, toes tapping in every direction. The temperature rose so high that bassist Mutale Chashi needed to relieve the heat with a wax-print hand fan. “Bacchanal” closed with an important reminder for all those taking to the streets for Notting Hill Carnival’s upcoming 60th anniversary: “Know what you doing before you do”.
the crispness of Ayanna’s cello wove the thread between languages, peoples, and histories that make up what it means to be Black in Britain today.
Jean Toussaint performing The Windrush Suite and Echo in the Bones | Image by Heba Elgamal
When introducing the track as the conductor and MC, Renell Shaw talked in dub, which spoke to the underground sound system culture that took form in Britain following the arrival of pioneering Jamaican soundmen. In “Out of Many”, the crispness of Ayanna’s cello wove the thread between languages, peoples, and histories that make up what it means to be Black in Britain today. More precisely, Renell’s lyrics call for a Pan-African vision, one that unapologetically seeks equality for all descendants of the African continent.
Where “Purgatory” surfaced the to-and-fro passage of the Windrush generation, and what it meant to fight against institutions that deemed their children unintelligent, “Too Loud, Too Proud” offered a distinct transition after the interval, one that wouldn’t tolerate disrespect, firmly putting its foot down with the defiant drumbeat. Unflinching, Afronaut Zu sang: “No surrender, no retreat, continue rising”. If “Too Loud, Too Proud” were a question, there’s no doubt in my mind that it’s rhetorical, with Charlie Laffer’s bold guitar solo as the exclamation point.
Bridging the gap between then and now through Echo in the Bones
With the second suite, Echo in the Bones, Renell and his band found another notch of energy. As his conducting grew more emphatic on stage, more layers of the suite’s rich orchestration unfolded into full-bodied jazz.
“With the tenacity and the persistence of our grandparents, their fire is like a blue flame.”
Renell Shaw performing The Windrush Suite at Kings Place | Image by Heba Elgamal.
As Renell told WorlMag: “Echo in the Bones has a different fire [from The Windrush Suite]… with the tenacity and the persistence of our grandparents, their fire is like a blue flame. It was focused, and it cut through. It set itself here through community and resilience and things like pardner, and all things to make sure they could… buy a house, make a likkle change, and eventually go back home—that was their focus,” said Renell.
“Whereas with our parents’ generation, the fire is more yellow, it’s a bit more wild. You go near it, and it’s lashing out at you because they had to be like that to be left alone. That’s where Echo in the Bones is from, and that’s why it sounds so different from The Windrush Suite,” he added.
In “Freedom?”, the brass section formed harmonies that bellowed the power of generations coming together to make a stand. Using poetic license in his songwriting, Renell asked questions that demanded answers:
Sell me my freedom? / How you gone sell me my freedom like rah — “Freedom?” from Echo in the Bones.
Before presenting “Echo of a Requiem,” Renell shared that he doesn’t believe in death as an end but a transition. This composition brought tears to my eyes once more. The build-up felt like a visceral call to the ancestors. It culminated in an ethereal operatic cry from Rochelle Rose. She held every note with a delicacy that Black people in Britain too often aren’t granted. Her voice stirred me with shudders.
Reaching the grand finale
Orphy Robinson MBE playing the marimba | Image by Heba Elgamal.
Cello embraced, Ayanna strummed her way through the clusters of standing ovations to bring her solo to the fore. Displaying his own exceptional dexterity on “This Mind Knows,” Orphy Robinson danced across the marimba in a way I didn’t even know was possible.
After the impossible sound of Jean Toussaint’s tenor sax, the to-and-fro conversations between trumpet and trombone, and each artist’s solo offering, the band closed their electric performance with “Mad Ting”.
“But the seeds of the land have taught man how to grow strange fruit from this stormy weather” — “Mad Ting” from Echo in the Bones.
The lyrics in this explosive and unyielding record neatly summarised the resilience Black people have shown while residing in Britain, bridging the final gap between past, present, and future generations.
Renell Shaw returns to Kings Place with Remember Us Tomorrow on 9 October 2026. Tickets are on sale now.
Bernella Velinor Crowned Miss Universe Saint Lucia 2026 at Cinnamon Event Productions’ 10th Anniversary Celebration
Cinnamon Event Productions celebrated its 10th anniversary in elegant fashion as it staged the Miss Universe Saint Lucia 2026 competition at Secrets Saint Lucia, where an intimate evening of pageantry, advocacy and entertainment culminated in the crowning of Bernella Velimor as the nation’s newest queen.
The picturesque resort provided a fitting backdrop for the milestone celebration, creating an atmosphere that allowed the audience to focus on the contestants’ individual journeys while reflecting on a decade of Cinnamon Event Productions’ contribution to pageantry in Saint Lucia. As part of her prize, the newly crowned queen also received a stay at Secrets Saint Lucia, extending the celebration beyond the evening’s festivities.
Hosted by Bebiana Mangal, Miss Universe Saint Lucia 2019, the event welcomed supporters, sponsors and pageant enthusiasts for a celebration of intelligence, advocacy and elegance. National Director – Joycie Mederick, promptly began the evening with a heartfelt address. She reflected on the organization’s ten-year journey, valuable lessons learned and reaffirmed the organizations commitment to empowering young women through pageantry. Her remarks were beautifully accompanied by local pianist Akira, setting an elegant tone for the evening.
Before the official competition began, the three delegates introduced themselves during a light- hearted, non-judged segment where they answered the question, “What is your superpower?” The interactive opening offered the audience an opportunity to connect with each contestant before the competition officially got underway.
Musical interludes by local pianist Akira and vocalist Jet complemented the programme beautifully throughout the evening. Their performances enhanced the intimate setting without overshadowing the contestants, while familiar favourites encouraged audience participation and created warm moments of connection.
Advocacy Takes Centre Stage
The first judged segment challenged contestants to present advocacy speeches highlighting causes close to their hearts. Representing Morne Fortune, Danielle Privat passionately advocated for the establishment of a National Museum of Art and Culture. Drawing from personal experiences and the importance of preserving the stories of Saint Lucian heroes, she explained how such a space could inspire younger generations while contributing to the country’s cultural and economic development.
Representing Babonneau, Chancy Fontenelle, a medical doctor, artist and former Carnival Queen, shared her journey as a self-taught creative whose passion for art flourished despite limited opportunities. Through her initiative, The Art of Wellness, she highlighted the healing relationship between medicine and creativity while advocating for greater access to artistic outlets for young people.
Bernella Velinor
Representing Dennery, Bernella Velinor delivered a compelling presentation addressing domestic abuse and sexual violence. Using visual storytelling, she highlighted the realities faced by survivors, outlined avenues for seeking help and challenged society to address the root causes of violence. Her message concluded with the powerful reminder that “power shared is power multiplied,” earning a strong response from the audience.
Elegance, Interviews and Entertainment
The competition continued with the Evening Gown segment, where each contestant showcasedconfidence, grace and poise. Despite a minor technical malfunction during the programme, the evening maintained its momentum, with musical performances and an inviting atmosphere ensuring guests remained engaged throughout.
The interview segment offered another opportunity for the contestants’ personalities to shine. Members of the audience were invited to participate in this segment by asking the contestants their question for the evening. Each contestant selected a number which coincided with a numbered questions sheet . This question was then read by an audience member before their response. The format encouraged authenticity, composure and thoughtful responses under pressure.
A New Queen Crowned
At the conclusion of the competition, Bernella Velimor received the IBS Group of Companies Best Advocacy Speech Award in recognition of her impactful presentation on domestic abuse and sexual violence. Moments later, she was crowned Miss Universe Saint Lucia 2026, succeeding to the national title and earning the opportunity to represent Saint Lucia internationally.
Bernella Velinor Crowned Miss Universe Saint Lucia 2026 at Cinnamon Event Productions’ 10th Anniversary Celebration
Speaking following her crowning, Bernella shared that she is excited for the journey ahead and is ready to proudly represent Saint Lucia on the international stage. The evening not only celebrated the crowning of a new queen but also marked an important milestone for Cinnamon Event Productions. Cinnamon Event Productions established the Miss Saint Lucia Pageant Brand ten years ago, hosting Miss Universe Saint Lucia. The organisation continues to shape pageantry in Saint Lucia by placing equal emphasis on advocacy, leadership and community impact while preparing young women to become confident ambassadors for their country.
Capleton Heights of Fire – “The Fire Never Changes, Only the Level”
After sixteen years without a full studio album, reggae and dancehall icon Capleton has returned with Heights of Fire, a deeply spiritual project that reminds listeners why he remains one of Jamaica’s most respected cultural voices.
Speaking with Epik Jones for WORLMAG, the legendary artist reflected on patience, purpose, spirituality and why timing was more important than simply releasing another album.
“Patience Is a Virtue”
Asked why now was the right moment to release Heights of Fire, Capleton explained that great music cannot be rushed.
“Patience is a virtue. We have to give thanks for the people’s patience. Anybody can release albums back-to-back, but when the time is right, the work will reveal itself. Nothing happens before its time.”
For Capleton, the sixteen-year wait was never about absence. Throughout that period he continued releasing singles, performing worldwide and staying connected with his audience while allowing the complete body of work to mature naturally.
The Fire Has Never Changed
Although many artists evolve stylistically over time, Capleton insists the message remains exactly the same.
“It’s the same fire. It never changed. There are different levels of the fire, but it’s the same fire.”
He credits that fire to the cultural foundation laid by pioneers such as Peter Tosh, Jacob Miller and the elders who carried reggae’s message before him. Rather than seeing himself as something new, Capleton describes himself simply as a messenger.
“I’m just a reminder.”
More Soul. More Spirit.
When asked how Heights of Fire differs from previous albums, Capleton described the project in simple terms. “More soul. More spiritual connection. Higher vibration.” The album addresses social injustice, war, corruption and violence while delivering messages of hope, purpose and empowerment. According to Capleton, music should nourish the listener. “It’s food for the heart, soul and mind.”
Sixteen Years. Sixteen Tracks.
Epik Jones pointed out an interesting observation. Sixteen years had passed since Capleton’s previous studio album, and Heights of Fire arrives with sixteen tracks.
Although Capleton did not explicitly confirm the symbolism, he smiled at the observation before highlighting one song that currently represents him spiritually.
“Shine This Light.”
The record, he says, reflects his present mindset and spiritual journey.
Creative Challenges
Not every song comes together easily. When asked which record demanded the most creatively, Capleton immediately referenced “Babylon So Evil,” a powerful anthem that tackles corruption, oppression and resistance.
The track also features fellow reggae heavyweights Stephen Marley and Damian “Jr. Gong” Marley, a collaboration Capleton described as a natural progression built on years of mutual respect. “It’s a natural mystic.”
Supporting the Next Generation
The album also features younger talent, something Capleton believes is essential. He explained that giving emerging artists opportunities is part of preserving reggae’s future. “The youth are the future.”
Music Is a Mission
Throughout the interview, one message surfaced repeatedly. For Capleton, music has never been about fame, money or popularity. It is about service. “The people are everything. Without the people, we are nothing.” He rejected selfishness and reminded artists that music should uplift rather than simply entertain. As Epik Jones referenced one of Capleton’s famous philosophies: “Music is a mission, not a competition.” Capleton agreed wholeheartedly.
Spirituality Is the Key
One of the interview’s most powerful moments came when discussing spirituality. Capleton believes today’s world needs spiritual awareness more than ever. “Spirituality is the key to life.” He encouraged listeners to guard their thoughts carefully, believing positive thinking produces positive actions.
According to Capleton, every person faces a choice between good and evil every day, making personal responsibility central to one’s journey.
Fire Means Life
Asked what “fire” has symbolised throughout his career, Capleton offered perhaps the interview’s defining answer. “The fire is for the purification and preservation of souls.” For him, fire represents energy, culture, music, life and transformation. It is not destruction for destruction’s sake, but cleansing and renewal.
The UK’s Special Place
As a UK-based publication, WORLMAG asked about Capleton’s longstanding relationship with British audiences. The artist praised the UK for supporting his music throughout his career, referencing performances at City Splash and Reggae Land while thanking fans across London, Manchester, Huddersfield and beyond. He emphasised that reggae’s responsibility extends beyond entertainment. “Our music doesn’t just entertain. It educates.”
Quick Fire Round
Roots or Dancehall? “Roots… because dancehall is a branch.”
One word to describe Heights of Fire? “Spirituality.”
Which track should fans play first? “Red Again.”
Which song means the most personally? “Global War.”
Vinyl or Streaming? “Vinyl can never die… but we’re living in the age of streaming.”
Complete the sentence: ‘The fire never…’ “Never quench. Never cool. Never dead.”
Final Thoughts
Closing the interview, Epik Jones encouraged reggae fans worldwide to support the project. Purchase the album. Buy the merchandise. Attend the tour. Support authentic reggae music. Capleton’s response was simple. “Blessings. Rastafari.” After sixteen years, Heights of Fire arrives not as a comeback, but as a continuation of a lifelong mission.
Does Music Define Us? Listwa Karnaval Explores Rhythm, Language and Identity
Saint Lucia’s Carnival season officially began with an evening of thoughtful discussion, cultural reflection and musical exploration as the Carnival Management and Planning Committee (CMPC), in partnership with title sponsor Bank of Saint Lucia, hosted the second installment of Listwa Karnaval at Harbour Club.
Free and open to the public, the event invited attendees to explore a compelling question: Does our music define us?
The evening opened with a rendition of Dezral’s “The Car” performed by former National Carnival Queen Shan Lucien on piano, accompanied by drums. The audience was then treated to a performance by Umpa, who blended Dennery Segment with contemporary instrumentals, giving the set a distinctive and refreshing feel. These performances set the tone for a night dedicated to examining Saint Lucian music, culture and identity.
SLTA 2026 Dr. Francis Listwa Karnaval
The keynote lecture was delivered by Saint Lucian Dr. Ronald T. Francis of the University of the West Indies Cave Hill Campus, Barbados. A linguist and researcher whose work explores the relationship between language, culture and popular music, Dr. Francis immediately captured the audience’s attention with a presentation that was both informative and engaging.
Drawing from his expertise in linguistics and social justice, Dr. Francis explored the origins and development of Dennery Segment while examining its place within Saint Lucian society. Throughout the lecture, he frequently referenced his role “as an academic” and “as a linguist,” grounding his observations in extensive research while maintaining an approachable and often humorous delivery style.
Jason Darius
One particularly memorable example of this research was his admission that he had listened to more than 80 Dennery Segment songs over a three-week period as part of his preparation. The effort highlighted the depth of his commitment to understanding the genre from both a scholarly and cultural perspective. His ability to balance academic analysis with humour and relatable examples kept the audience engaged throughout the presentation.
Central to the lecture was the relationship between language and music. Dr. Francis noted that many Dennery Segment songs incorporate English, Saint Lucian English Creole (SLEC) and Kwéyòl, arguing that the use of these languages contributes significantly to the genre’s authenticity. He observed that approximately 64 percent of the songs examined incorporated these linguistic elements, reinforcing Dennery Segment’s uniquely Saint Lucian character.
Jason Joseph
The discussion also challenged common assumptions surrounding the genre. While Dennery Segment is often viewed as a modern musical movement, Dr. Francis drew connections between contemporary lyrics and the traditions of Saint Lucian folk music. He highlighted similarities in storytelling techniques, humour and lyrical double meanings, suggesting that many of the genre’s defining characteristics have deeper roots within the island’s cultural history.
The sensual nature of Dennery Segment was also addressed during the lecture. Referencing both his research and conversations with young Saint Lucians, Dr. Francis acknowledged that these themes remain popular among audiences. At the same time, he challenged local artistes to continue developing the genre by expanding the range of stories and experiences reflected within its lyrics.
Following the lecture, a panel discussion provided additional perspectives on the evolution of Dennery Segment and its place within Saint Lucian culture.
SLTA 2026 Teddy Francis Listwa Karnaval
Moderated by Teddy Francis, Executive Director of the Cultural Development Foundation, the panel featured Jason Joseph, Curriculum Officer for Music at CAMDU; Winston F. Phulgence, Vice Principal of Academics at Sir Arthur Lewis Community College; Lance “Sir Lancealot” Mongroo, DJ, producer and Carnival ambassador; and Jason Darius “Jammin,” media professional and cultural practitioner from Dennery.
The discussion became particularly animated when Dr. Winston F. Phulgence stated that “Dennery Segment is not a Carnival sound.” The comment immediately sparked whispers throughout the audience and prompted a passionate exchange among the panelists.
Lance Mongroo
Lance Mongroo, widely recognised as a pioneer of the genre and the individual credited with coining the term “Dennery Segment,” argued that the genre has earned its place within Carnival culture. He pointed to its widespread popularity and the success of Dennery Segment songs in local competitions, including recent victories at the Soca Monarch competition.
In response, Dr. Phulgence clarified that his statement was not intended to diminish the genre’s importance. Instead, he argued that Dennery Segment should be viewed as something even larger than Carnival. Originating outside of the traditional Carnival framework, he suggested that it has evolved into an authentic Saint Lucian genre in its own right, much like Bouyon has become synonymous with Dominica.
For many attendees, this discussion highlighted the broader themes explored throughout the evening: authenticity, cultural ownership, language and identity.
Do we define music? Yes. Does music define us? Also yes.
Perhaps that was the evening’s most important takeaway. Music reflects the language, experiences and values of the people who create it, while simultaneously shaping how future generations understand their culture and identity . In that sense, music and society exist in a continuous dialogue, continuously shaping and reshaping one another.
As the first official event of Saint Lucia’s Carnival season, Listwa Karnaval set a reflective and intellectually engaging tone for the celebrations ahead. Through engaging presentations, thoughtful discussion and outstanding performances, the event provided an opportunity to reflect on the sounds that continue to shape the nation’s cultural story.
VERSHON CELEBRATES 10 YEARS IN MUSIC AS TO A QUEEN DEBUTS AT #4 ON THE iTunes Reggae Albums Chart
Jamaican dancehall-reggae star marks a decade in the industry while ushering in a new chapter with a six-track project honoring women, motherhood, growth, and real-life experiences.
TO A QUEEN EP – VERSHON
KINGSTON, JAMAICA (June 10, 2026) — As Jamaican recording artist Vershon celebrates 10 years in the music industry, he is also entering a new chapter with the release of his highly anticipated EP, TO A QUEEN, available now on all major streaming platforms.
TO A QUEEN EP – VERSHON
Adding to the excitement surrounding the release, TO A QUEEN debuted at #4 on the iTunes Reggae Albums Chart, placing alongside projects from some of reggae and dancehall’s most established names. The achievement reflects strong support from fans globally and marks another milestone in Vershon’s evolving career.
Over the last decade, Vershon has established himself as one of dancehall’s most versatile voices, earning respect for his ability to move effortlessly between conscious records, street anthems, lovers’ rock, and emotionally driven storytelling. His longevity in an ever-changing music landscape is a testament to both his talent and his connection with fans around the world.
Now, while reflecting on a decade-long journey filled with growth, lessons, and accomplishments, Vershon returns with TO A QUEEN, a project dedicated to celebrating women and the many roles they play in shaping families, communities, and lives.
Executive produced by Jenelle Alexia of A’Legends Productions, the six-track EP explores themes of appreciation, self-reflection, motherhood, resilience, mental wellness, and personal growth.
The Project Features:
• Queen
• Younger Self
• A Mother Like You
• Crying Out For Help
• Toy Story
• Clock It
Leading the EP is “Queen,” a standout record that resonated with audiences internationally, reaching #15 on the Canada iTunes Reggae Chart and #25 on the Global iTunes Reggae Chart. The single also earned placement in the upcoming film SWITCH, directed by Black Deniro.
“After ten years in music, I’ve learned that growth comes from experience,” says Vershon. “This EP reflects different emotions, different lessons, and different perspectives that people experience every day. I wanted the music to feel real and relatable.”
TO A QUEEN EP – VERSHON
For producer Jenelle Alexia, TO A QUEEN represents a project curated with intention.
“We wanted to create something that celebrates women while also giving listeners music they can connect to on a personal level. Every song tells a different story, but together they form a body of work that’s honest, meaningful, and authentic.”
The EP’s impressive #4 debut on the iTunes Reggae Albums Chart further reinforces the project’s impact, highlighting the continued demand for authentic reggae and dancehall storytelling while showcasing Vershon’s growth as both an artist and songwriter.
TO A QUEEN EP – VERSHON
As he celebrates ten years in the industry and looks ahead to the future, Vershon continues to prove why his voice remains relevant within reggae and dancehall music. TO A QUEEN serves as both a reflection of growth and a reminder that meaningful music never goes out of style.
A’Legends Music Productions
@alegends_musicproductions
Chart Achievement Highlights
• #4 iTunes Reggae Albums Chart (TO A QUEEN)
• #15 Canada iTunes Reggae Chart (“Queen”)
• #25 Global iTunes Reggae Chart (“Queen”)
• Featured in upcoming film SWITCH directed by Black Deniro
REGGAE ROYALTY REIGNS AT SXSW LONDON: Ghetto Youths International Delivers a Night the Ancestors Would Applaud
In a city known for embracing global sounds, SXSW London witnessed something far greater than a concert. It became a celebration of lineage, legacy, and the future of reggae music as Ghetto Youths International curated an unforgettable showcase featuring some of reggae’s most distinguished next-generation talents.
Mystic Marley
The stage was graced by Mystic Marley, granddaughter of reggae icons Bob and Rita Marley; Jemere Morgan, grandson of Denroy Morgan and now lead vocalist of Morgan Heritage; and Christopher Ellis, son of the legendary Alton Ellis. Together, they represented decades of reggae history while proving that the future of the genre remains in capable hands.
Mystic Marley
Opening the evening, Mystic Marley delivered a captivating set that effortlessly blended original material with family heritage. Performing songs such as Sugar, Energy, and Misty Morning from the One Love soundtrack, she showcased a voice filled with soul, character, and emotion. Her rendition of her grandmother Rita Marley’s Harambe was particularly moving, earning a warm reception from the audience. Mystic’s unique vocal texture carried shades of Macy Gray’s signature rasp while maintaining the contemporary reggae soulfulness associated with artists like Jovi Rockwell. The result was a performance that felt both fresh and deeply rooted.
Jamere Morgan
Next to take the stage was Jemere Morgan, who demonstrated exactly why he has stepped confidently into the role of carrying the Morgan Heritage legacy forward. Sharing new material including Know Better from his forthcoming album, alongside songs such as International Love, Kool Runninz, and Sweet Love, Jemere balanced modern reggae influences with timeless musicianship. The crowd responded enthusiastically as he transitioned into Morgan Heritage classics including Down By The River and Don’t Haffi Dread. His vocal delivery was flawless, and the chemistry between himself and the band appeared effortless. It was a masterclass in showmanship and stage presence.
Christopher Ellis
Closing the evening was Christopher Ellis, who carried himself like the elder statesman of the Ghetto Youths family. Performing originals such as This Love, alongside fan favourites Rub A Dub, End of Time, and Flame Against The Wind, Christopher delivered a set rich with confidence and charisma. The emotional high point came when he honoured his father’s legacy through performances of Alton Ellis classics including Rock Steady and I’m Still In Love. His ability to move seamlessly between contemporary reggae and foundational classics highlighted both his versatility and deep respect for the culture.
Supporting all three artists was an exceptional backing band led by keyboard maestro Andre Solid, whose musicianship anchored the night’s performances. Backing vocalist Aysha Loren also had her own standout moment, stepping into the spotlight and adding another layer of excellence to the evening.
Seani B
One of the night’s most memorable moments arrived when respected broadcaster Seani B gathered all three performers on stage. Addressing the audience, he highlighted the historic significance of having representatives from three of reggae’s most influential families sharing one stage and continuing legacies that have shaped global music for generations.
Reggae royality Marley Morgan Ellis
Thanks to the efforts of Epik Jones and WORLMAG, the significance of the occasion was documented through photographs, interviews, and video coverage. In a touching moment, the artists themselves appeared surprised when the historical weight of the gathering was pointed out, later expressing gratitude for being part of such a unique celebration of reggae heritage.
Some concerts entertain. Some create memories. This one created history.
As three branches of reggae royalty stood together beneath the lights of SXSW London, it became clear that reggae’s story is still being written. The pioneers laid the foundation, and now their children and grandchildren are carrying the torch forward with authenticity, talent, and purpose.
