Matts BBQ 2025
Built to Clash, Born to Juggle: Heavy Hammer Sound’s Global Impact
In the late 1990s, deep in the southern Italian region of Salento, two reggae enthusiasts named Raffa and Quasta initiated a musical movement that would one day resonate across continents. Inspired by the raw, militant rhythms of riddims like Pepperseed and Arab Attack, they crafted their own sound system from scratch, laying the foundation for what would become Heavy Hammer Sound.
More than just DJs or selectors, Heavy Hammer is a cultural force—championing reggae and dancehall not only through dubplates and sound clashes but by building community, preserving tradition, and pushing the boundaries of what a European sound system can achieve. With decades of experience, global clashes, and a powerful commitment to roots and culture, their story is one of passion, precision, and purpose.
Origins & Formation
1. How did Heavy Hammer Sound come into existence, and what inspired its name?
The founding team consisted of Raffa and Quasta. Back in 1999, inspired by local sound crews (like Sud Sound System), we began collecting 7″ records, built our own sound system, and promoted reggae parties in our area (Salento, southern Italy). Riddims like Pepperseed, Arab Attack, Joyride, and The Bug feature drum patterns that sound like hammer blows – and that became our signature: Heavy Hammer Sound!
2. Can you share the story behind the group’s formation and initial vision?
Reggae and dancehall parties in Italy have always had a political aspect, and we’ve always
been part of this movement. Attending those parties ignited an even greater passion in us. We decided to build our own sound system and spread this music and its message even further.
There was also the entertaining side of it – letting people dance and feel good after a long day or week of work.
It has always been a mix of spreading the culture and providing entertainment.
3. What were some of the early challenges you faced in establishing yourselves in the reggae scene?
Finding a place to buy records in the beginning was a challenge. Imagine trying to find them in the late ’90s, basically without an internet connection.
We were lucky to have One Love Hi Powa, with their shop in Rome and a distributor in Jamaica. But back then, orders were made by fax or phone call. Sometimes you had to buy records just by trusting the label name, the artist, or the seller’s suggestions.
Musical Journey & Style
4. How would you describe your musical style and its evolution over the years?
To be honest, I can’t really say. We play in different styles. We do soundclashes, we perform at hardcore (brand new or old school) dancehall parties in fancy clubs, and sometimes at old-school reggae parties in abandoned, illegal buildings.
We love Jamaican music so much that we’ve tried to study every aspect of it. We can adapt our style to any kind of crowd or situation.
One thing has changed over the years: in the early days, we made and played a lot of remixes. Then we started recording dubplates, and that reshaped our selections a bit.
5. What influences have shaped your sound and performance approach?
The name that influenced us the most in the beginning was definitely Fire Links. Then I
would say Tony Matterhorn, Black Chiney, and Renaissance. Fast juggling, remixes, dubplates – that was the vibe. Those influences came from the cassettes we were able to find over the years. Then, here in Italy, we had the chance to witness sounds like I&I Project, Sud Sound System, One Love Hi Powa, and Bass Fi Mass with our own eyes.
6. How do you select tracks and dubplates to maintain a unique identity?
We studied a lot of music from the ’70s, ’80s, and ’90s, and we’ve always tried to stay up to date with new releases. We aim to play a bit of everything, keeping the right balance without disappointing anyone in the crowd. We also like to surprise people with unexpected dubplates – it could be a brand-new song, or maybe unreleased, a rare artist, or a simple dubplate on an unusual/crazy riddim.
International Presence
7. Heavy Hammer Sound has performed globally; how do international audiences receive your music?
Anytime we played outside of Europe, which I’d say is our comfort zone, we always had
great experiences. Playing in front of Jamaican (or Caribbean) audiences is especially challenging for us. We’ve had the chance to perform in front of very diverse crowds – in places like London, the Bronx, Brooklyn, Queens, Jamaica, California, and Japan – and every time, we received a great response. I feel like Jamaican people in particular really love and appreciate when someone from an unknown place in southern Italy is genuinely interested in and passionate about their culture.
8. Can you discuss a memorable international performance and its significance?
Definitely when we played the Irish&Chin World Clash 2012 at Pier 1 in Montego Bay.
Growing up as a clashing sound system and a clash fan, playing at Pier 1 was a dream– a dream that, at times, we thought might never come true. Being on that flyer and clashing against Bass Odyssey, Black Kat, Black Blunt, Jaro, Rootsman, and Code Red was the fulfillment of that dream. We didn’t bring the trophy back to Italy, but we got one of the biggest forwards of the night when we played a Beenie Man–Bounty Killer combination dubplate, where Beenie called Bounty’s name and vice versa. In 2012, getting a dubplate like that was (almost) impossible – but I can’t say how, we got it, and people couldn’t believe it.
9. How do you adapt your sets for diverse cultural audiences while staying true to your roots?
If we’re talking about Europe, we most likely know the yards and the audience well, and we know exactly what to play. Otherwise, if it’s a new place for us, like last summer at the Reggae on the River festival in California, we basically prepare for anything. If the audience loves new roots, we’re ready for that. If they prefer brand-new dancehall music, we’re ready for that too. It takes a lot of preparation to be ready for any situation.
Collaborations & Productions
10. You’ve worked with various artists; how do collaborations come about for Heavy Hammer Sound?
Most of our collaborations with artists are about dubplates. Sometimes we organize shows
for them in our area (Salento, southern Italy). The first connections were made online then we started to link artists while they were on tour in Europe. Every time an artist comes to Europe, we try to meet them in person and record dubplates, sometimes travelling to another country. It happens that something that started as a pure business relationship became a friendship. And we are happy and proud to put in our friends-list people like Romain Virgo, Kabaka Pyramid, Protoje, Ward 21, Beenie Man, Mortimer, Cham, Agent Sasco and many more.
11. Can you highlight a collaboration that had a profound impact on your music?
It’s about dubplates again. Many years ago, Romain Virgo recorded a dubplate of the song “System” for us, singing our story starting from 1999. We play that song in almost every set, and it features in many of our mixtapes. Everyone who follows Heavy Hammer knows the words to that dub and sings it at our dances. It quickly became one of our anthem dubplates. If a DJ plays that song in Salento, the crowd will sing the words of our dubplate. That brings a smile to our faces every single time.
12. What is your process for producing and releasing mixtapes or original tracks?
We’ve never released our mixtapes on a regular schedule. We put them out whenever we had a theme in mind or felt inspired. Some were dubplate-only mixtapes; others focused on specific styles, like a new roots mixtape when the Reggae Revival movement (Protoje, Kabaka Pyramid, Chronixx, Samory-I, Loyal Flames, etc.) began, or a brand-new dancehall mixtape for the summer, which is the most active season for parties in Salento.
Last year, we released our first riddim production – Godspeed Riddim – in collaboration with producer and multi-instrumentalist Bonnot. It’s a roots rock reggae riddim featuring artists we’ve had long-standing relationships with: Anthony B, Gappy Ranks, Kumar, Derajah, Rekall, and Charly B. We built the riddim, and I pitched it to the artists whenever we had other studio work going on. Everyone who had time to record gave us a great song!
We’re now working on the Italian edition of the riddim – featuring only Italian artists – and on a new riddim.
Achievements & Recognition
13. What accolades or milestones are you most proud of in your career?
As a clashing sound, two moments stand out: clashing at Pier 1 in Montego Bay for World
Clash 2012, going up against Bass Odyssey, Black Kat, Black Blunt, Jaro, Rootsman, and Code Red; and clashing at Amazura in Queens, New York for Sound Fi Dead 2011, facing Bass Odyssey, Black Kat, Tek-9, and Synemaxx.
Clashing at Pier1 and Amazura is the dream of every single soundboy.
As a juggling sound, some highlights include being booked for Bass Odyssey Soundfest 2015 in Priory, St. Ann, Jamaica – alongside legendary sounds like Bass Odyssey, Stone Love, Barrier Free, and Bodyguard – and doing two tours in Japan: one clash tour with 5 clashes in 2 weeks, and one juggling tour.
14. How has recognition within the reggae and dancehall community influenced your work?
The more we got recognized, the more we started visiting new places, meeting new people, and audiences. Every time, we gave our best in preparing for them; but at the same time, we also received a lot from the people and the places. That exchange helped us grow and mature in the music world. There’s always something to learn – whether musically or business-wise.
15. Can you share experiences from notable sound clashes or competitions you’ve participated in?
One unforgettable moment was the massive forward we got for the Beenie Man–Bounty
Killer combination dubplate at World Clash 2012 in Jamaica. Recording that kind of dub – in that way – was (almost) impossible at the time. People couldn’t believe we actually had it. And of course, it was 100% real – no AI back in 2012! In 2018, we won – with a lock off, no dub fi dub needed – against Warrior Sound at War Ina East in Berlin, the biggest clash in Europe since the Riddim Clash series ended. Just last year, we won – again another lock off – against Renaissance and Dynamq at Reggae on the River Festival in California. A truly memorable win, as it was our first time in California, inside a festival setting. New audience, unfamiliar ground. Like I always say, preparation is the key. And it worked!
Digital Presence & Fan Engagement
16. How has social media, particularly Instagram, played a role in connecting with your audience?
Social media has always played a role over the years. When we started, it was MySpace –
Then came Facebook, and now Instagram. TikTok has never really been a thing in the European sound system scene. It’s always been nice to connect with our audience. Sometimes they send us compliments, sometimes criticisms – and we welcome it all.
Of course, we also use social media to promote our shows. I (Gecky) personally believe deeply in the power of human connection. I stay in touch with a lot of people – old friends we’ve made over the years, and new ones too. In the end, we all share the same love for music, and I truly believe we must stay united as a community.
17. What strategies do you employ to keep your online content engaging and authentic?
I have to admit – we’re not the best content creators, and we probably don’t have the biggest social media presence. We keep it simple. We use our platforms to promote our shows – whether it’s an event we’re putting on in Salento or a gig we’re booked for somewhere around the world. We share great moments from recent parties, post reels to promote a riddim we produced or a remix we released. And of course, a fan photo with an artist is always a must!
18. Can you discuss the impact of digital platforms on the distribution of your music?
It’s true – music is now easier to find than ever, anytime, anywhere, for anyone. But at the same time, I feel like it’s become too easy. So easy that some people in the new generation seem a bit lazy with it. They don’t really search for new music anymore – they just wait for the algorithm to suggest something, or for their favorite playlist curator to add a new song.
As a vinyl collector, I also feel a bit sad that so much music isn’t being pressed on vinyl anymore.
Equipment & Technical Aspects
19. What equipment is essential to your live performances and why?
Nowadays, only a high-quality DJ controller is essential. We bring our laptop and music, and we connect to a DJ controller. This setup helps us a lot when we travel.
As for the sound system, we rely on the venue, but we would love to play on an authentic, Jamaican-style, handmade sound system.
20. How do you ensure sound quality and consistency across different venues?
On our side, the only thing we can do is play music using high-quality audio files. No files ripped from streaming platforms – that significantly reduces the sound quality.
And of course, the rule “louder is not better” always applies. After that, we leave it to the venue’s sound engineer and hope they do their job properly.
21. Have technological advancements influenced your performance or production techniques?
Yes. Since we’ve always loved fast juggling and remixes, technology now helps us a lot.
We can definitely juggle faster compared to using 7” records, and sometimes we can even do live remixes using software that separates vocals and instrumentals in real time.
That also helps us create smoother transitions.
Cultural Impact & Legacy
22. How do you perceive Heavy Hammer Sound’s role in promoting reggae and dancehall culture?
We come from a part of Italy where reggae and dancehall culture as had deep roots since the 1980s, thanks to the people who promoted it before us. We inherited a great responsibility from them, and we’ve tried to play our role in the best possible way – not just by playing music, but also by explaining it, as a true Jamaican sound system would. One of the most significant things we’ve done is promote the Mamanera Reggae Beach: a series of about ten free-entry parties during the summer season, where we’ve had the chance to invite artists like Agent Sasco, Cham, Romain Virgo, Luciano, Aidonia, Konshens, Tanya Stephens, Alborosie, Kabaka Pyramid, Busy Signal – to name just a few – as well as sound systems and DJs like Tony Matterhorn, Mighty Crown, Freddie Krueger, Ricky Trooper, Coppershot, Renaissance, Black Chiney, Bass Odyssey, and many more. We sometimes had more than 2,000 people dancing and enjoying themselves on the beach. Many of our Jamaican guests told us it truly felt like being in Jamaica. We believe this has greatly supported the reggae and dancehall scene in Italy and has brought many young people to the culture, helping inspire the rise of new sound systems and crews.
23. What initiatives have you undertaken to support emerging artists or the broader music community?
The first thing we do, of course, is play music by emerging artists. We don’t just stick to the “sure shots” or only play big names and hit songs – you always have to introduce something new. Maybe it’s a track by an up-and-coming artist, and you help the audience discover it and get used to it. As a dubplate studio, we also organize dubplate sessions for these artists. This way, more sound systems get to know them and their music.
24. How do you envision the future of Heavy Hammer Sound and its contribution to the genre?
We’ll simply keep doing what we’ve always done over the years. The team is growing, which allows us to continue clashing and killing sounds, playing at reggae and dancehall parties and festivals, promoting events in our area, organizing dubplate sessions, and producing new music.
Personal Insights
25. Reflecting on your journey, what advice would you offer to aspiring sound system collectives?
The advice we received at the beginning was simple: do it with passion and, above all, have fun – always respecting the culture, because we are guests in it.
I would give the same advice: put your heart and energy into it, and enjoy the journey. But first, take the time to study the culture and the music before you even think about spreading it.
From clashing giants at Pier1 in Montego Bay to lighting up beach dances in Salento with 2,000 people strong, Heavy Hammer Sound has cemented its place as one of the most respected and impactful European sound systems of all time. They’ve proven that passion, preparation, and deep respect for Jamaican culture can transcend borders and generations.
As they continue to build riddims, host global icons, and inspire the next wave of sound system warriors, one thing remains clear: Heavy Hammer isn’t just playing music—they’re preserving and evolving a movement. For any young crew ready to follow in their footsteps, the message is simple: study the craft, respect the culture, and let the music do the talking.
Contacts/Socials
Website: www.heavyhammer.it
Email: studio@heavyhammer.it
Instagram: https://www.instagram.com/heavyhammersound
Facebook: https://www.facebook.com/heavyhammersound
Spotify: https://artist.sptfy.com/heavyhammer
From Crop Over in Barbados to NottingHill – Carnival Is Life | Meet Yoshi
Carnival isn’t just a season—it’s a spirit, a celebration, a way of life. For Yoshi, born of Bajan roots and raised in the rhythms of Caribbean tradition, it’s also deeply personal. From her earliest memories of dancing on the highways of Barbados to launching her carnival section in London, Yoshi’s story is one of creativity, heritage, and a powerful call to honour the roots of carnival while reimagining its future. We sat down with her to learn more about her journey, her inspirations, and what the road truly means to her.
Personal Background
- What is your name, and where in the Caribbean are you or your family from?
I go by Yoshi, and I’m from the gem of the Caribbean Sea, Barbados. 10 points if you can guess where else I have roots (no points if you know me already).
2. How did you first get involved in the carnival scene?
Carnival has always been part of my life. From partaking in Crop Over in Barbados as a child to NHC with family, then with friends, and up until now, carnival has been a constant. Things shifted in 2018, when I designed my first costume. That was the moment I really started immersing myself on a deeper level, contributing creatively and emotionally to something that has always been there.
3. What does carnival mean to you personally?
Carnival is sacred to me. It’s a living celebration of our history, our culture, and the strength we’ve inherited through generations. It’s overcoming trials and tribulations, resilience, the joy of expressing freedom, its rhythms, it’s one of the many souls of the West Indies. Not to be taken for granted, to be honoured.
4. How would you describe your cultural background and how it influences you today?
My culture shows up in everything I do. It’s in my voice, the way I speak, my mannerisms, and expressions. How I like to cook, even the way I like to clean my space—music on, everything in its place, just like I saw growing up. It’s rooted in how I value community—looking out for people, sharing what I have, checking in on others. It shapes how I connect with others and move through the world.
Carnival & Modelling Experience
5. How long have you been modelling or participating in carnival events?
I’ve been modelling since 2018. I founded and launched my brand Y.F Mas in 2018 and had my first private section with D Riddim tribe the following year, since then I’ve remained the face of it, modelling the things I have made but I’ve been participating for as long as I can remember, I’ve been immersed in carnival my whole life whether it be on the road, the leading up events, community days or around elders who were wire benders etc. Essentially born into it in some capacity.
6. What was your very first costume or band experience like?
There’s something about joining a band for the first time that makes you think, you may have been doing it wrong all these years haha. There’s a sense of togetherness that you just can’t explain. I started in t-shirt and the very first time I wore a costume as an adult was in 2015 and have never looked back. Crossing the stage as a section leader for the first time was also a feeling I can’t explain. Almost euphoric.
7. Do you prefer traditional carnival costumes or modern, more daring designs? Why?
I sit somewhere in the middle. There’s something deeply meaningful about traditional Mas that I feel we’re losing, and that does make me sad. On the other side, as a creative, I can’t deny the endless possibilities modern designs offer—they open the door for bold expression and innovation. Ideally, I’d love to see them equally celebrated side by side. As long as there’s an option for everyone, I think there’s room for both to coexist.
8. Which Caribbean carnivals have you participated in so far? (Trinidad, Jamaica, Barbados, etc.)
Crop Over (Barbados), Spice Mas (Grenada), Notting Hill (London) in rotation. My flight out to Vincy Mas last year got cancelled the morning of, as Hurricane Beryl had other plans for us all.
9. How do you prepare mentally and physically for carnival season?
It’s a bit different for me now, if I’m working on a section then there is no personal preparation, I spend the lead up to carnival focused solely on planning, production and providing good quality pieces/customer service for my masqueraders. I’m a very secondary thought until we touch the road and have a time. I think that’s where the biggest adjustment has been, in ways carnival now has added responsibilities.
10. Can you share a memorable or favourite carnival moment?
I have a really fond memory from childhood. I must have been around 7 or 8 and I remember being in Barbados on Kadooment day, getting completely lost in the music and just dancing on the highway. I remember my mum and others looking at me proudly and just letting me be free and expressive. I’m so happy that part of me has not been lost with time and has only grown.
Culture and Identity
11. How important is it for you to represent your heritage through carnival?
Very! It’s incredibly important. Especially at Notting Hill Carnival in London, where it’s a bit of a diverse melting pot of cultures, it’s a time we come together from all across the Caribbean and get to represent our roots and heritage proudly. Each island has something different and unique to offer to the celebrations. Showcase where you’re from! You’ll rarely catch me without my rag or my flag fan. It’s not just about vibes—it’s about visibility and connecting.
12. What challenges have you faced as a Caribbean model in the carnival or fashion world?
Around the time I began modelling, the industry was still stuck on one look, one body type. I can count on one hand the designers who showcased fuller-figured women, and one in particular really stood out. That lit something in me. It pushed me to stand firm in my belief that carnival is for everyone, all shapes, all sizes. I don’t fit the “typical” mould, but who decided what’s typical anyway? The space isn’t always handed to you—especially with how cliquey things can be—but still, even if it’s not offered, you take it, create an avenue for yourself. There’s room for all of us.
13. How do you feel carnival empowers women, especially women of Caribbean descent?
Women are individuals, and I love that carnival is liberating in so many different ways. Empowerment means a different thing to every woman, and carnival lets women show up however they want to! For some, empowerment means chipping down the road in a costume that shows all the skin. For others, it’s wearing something comfortable or covered, maybe a t-shirt, and all in between. It means a woman could be free to dance in the street, whining up by herself or with whoever she wants to. We can be loud, soft, sensual, grounded, powerful – however we show up, carnival holds space for us all.
14. Are there any cultural traditions or stories from your island that you love to share or express through your modelling?
Through my modelling, I try to channel that energy that is unapologetically Bajan: bold and joyful. It’s in the way I move, the confidence, spirit and vibes I carry when the camera comes out.
The Future and Advice
15. What advice would you give to young women who want to get involved in carnival or modelling?
Be yourself—fully, unapologetically—and move with respect. Know the culture you’re stepping into. Educate yourself, not just on the art, but on the roots and the reasons behind it. Hold your boundaries with confidence. You don’t need to shrink or shape-shift for anyone. You’ll align with the right opportunities.
16. Are there any designers, bands, or brands you dream of collaborating with?
If we could bring Carmelle (P.F.E. Freedom) back to do a section, I would absolutely love to work with her. She inspired me to begin designing, and I’ve always admired her work. She also opened a door for an opportunity for me when I was just starting out, which I’ve been incredibly grateful for. I’d also love to collaborate with Colorz Entertainment back home in BIM if they’d graciously have me.
17. What changes or improvements would you like to see in the carnival or modelling industry?
How long have we got? Haha. Honestly, I’d love to see us return to more meaningful practices, less driven by what seems to be monetary gain and popularity/social media publicity opportunities, and more rooted in culture. Carnival didn’t start as a business or a branding opportunity, and while I understand that times have changed (and yes, inflation is real), we can’t lose the soul of it. When locals—especially in the Caribbean—are being priced out of their own celebrations, we know we have a problem. I’d liken what’s happening now to being akin to a class divide, which essentially goes against all carnival is meant to stand for. I think we need to do better there.
18. How do you stay true to yourself while balancing public attention and your private life?
Integrity is a core value for me, so staying grounded in who I am comes naturally. At this point, I don’t really know how to be anything but myself. I’ve always kept a clear line between my public life and my private one, and that balance feels pretty seamless because of how I compartmentalise things. There’s rarely a need for crossover, and that helps me stay centred and authentic in both spaces.
Fun Extras
19. What’s your ultimate carnival must-have items (besides your costume)?
A fan (preferably a flag fan) – for the heat and the drama of it all. Comfortable footwear – Your feet will thank you, and a hydration pack or flask – Carnival is a marathon, not a sprint!
20. If you could describe your carnival vibe in three words, what would they be?
Spiritual, grounding, joyous.
From wire benders and childhood dance memories to costume design and community building, Yoshi’s love for carnival runs deep and true. Her story is a vibrant reminder of what it means to show up boldly in your culture, to hold space for others, and to honour the past while shaping the future. Whether she’s crossing the stage, designing for others, or simply dancing in the moment, Yoshi is living proof that carnival is not just about the road—it’s about the soul. Follow her journey and keep an eye out—because where culture meets creativity, Yoshi won’t be far behind.
Images By:@biggie_wuk
Tessellated Performs Gorgina | Worlmag Epik Styles
Tessellated – In conversation with Epik Jones – Producing, Artist life, Pine & Ginger – Worlmag
Sevana kicks of Need Me Tour at Strongroom Bar x SXSW London
SXSW London curates a sonic Caribbean cruise in the heart of the East End
London’s first SXSW Festival has had East London abuzz this week with fresh, global talent and an eclectic fusion of sounds. Amid the maze of musical events, anticipation peaked on Thursday night, not just for Tems on Billboard’s Stage at the Troxy, but inside Shoreditch’s Strongroom Bar, as Island Wave, Reggae Recipe Live, and Seani B’s Bruk Out brought authentic Caribbean vibes to the East End. The night offered a rich showcase of the Caribbean’s far-reaching musical influence—reggae, dancehall, drill, R&B, French Caribbean sounds, and many shades of soca, stirring the spirits of everyone present. For Caribbean music lovers, it was a feast for the senses.
Outside in Strongroom’s courtyard, Seani B’s Bruk Out transformed drizzle into dance. Undeterred by passing showers, revellers raised their voices to the skies, belting out soca anthems from Trinidad to St. Lucia—lifted by high-energy sets from Triniboi Jooice, the Sundivas, Mighty, and more—each artist kept the carnival spirit alive under cloudy London skies. Mr Mention closed the outdoor segment with infectious energy, as rhythms pumped from the sound system into bodies brukkin’, stomping, shaking, and chanting down the yard.
Inside, Island Wave kept the atmosphere electric. Patrons stood shoulder to shoulder, phones held high to capture every moment of musical brilliance. Jamaica’s darling, Sevana, commanded the room with her radiant presence and velvet vocals, starting her set with reggae sounds including “Haul & Pull” and paying homage to the legend Beres Hammond. She took the crowd on a journey through her discography—from the sassy, dancehall-influenced “Nobody Man”, to the tender honesty of “Bit Too Shy, ” to the sun-soaked summer smash “Mango, ” and her latest genre-blending vocal delight, “Need Me. ” Fans sang every word, proof that Jamaica’s influence is vast—island likkle, but di people dem tallawah. Really and truly. Truly and really. Following this standout performance, Sevana kicks off her ‘Need Me’ UK tour, with stops in London, Manchester, and Birmingham, later this month.
The night also featured a magnetic set from fellow Jamaican artist Mortimer, who delivered smooth melodies that had the crowd grooving and skanking in unison. Hosted by Ras Kwame, the event offered a vibrant mix of Caribbean talent from Dominica, Barbados, Haiti, and the African-Caribbean diaspora in the UK, USA & Canada. The night’s musical acts also included Kalibwoy, Izzy Bossy, Kris Irie, Xav, Ortisé Williams, Kalpee, Kanis, and Blvk H3ro—all adding unique flavours to the night. This eclectic lineup proved, once again, that the Caribbean is no monolith, but a thriving mosaic of cultures and contemporary sounds.
