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Jamaican Sprint Coaching Icon Stephen Francis Dies Aged 64
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
* 8 Olympic medals
* 16 World Championship medals
* One of the greatest female sprinters in history
• 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
* Two-time World 200m Champion
* Olympic and World Championship medallist
• 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
• Sherone Simpson
* Olympic gold medallist
* Multiple World Championship medallist
• 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.
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Review: The Windrush Suite and Echo in the Bones by Renell Shaw at Kings Place, London
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.
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:
- Renell Shaw | Musical director, conductor, vocalist
- Orphy Robinson MBE | Marimba
- Ayanna Witter-Johnson | Cello and vocalist
- Jean Toussaint | Tenor saxophone
- Nathaniel Cross | Trombone
- Mark Crown | Trumpet
- Zoe Alexandria | Piano
- Romarna Campbell | Drums
- Charlie Laffer | Guitar
- Mutale Chashi | Bass
- Afronaut Zu | Vocalist and percussion
- Rochelle Rose | Vocalist
- Nandi | Vocalist
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.
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.
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.”
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
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.
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Bernella Velinor Crowned Miss Universe Saint Lucia 2026
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.
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.
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.
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Heights of Fire : “The Fire Never Changes, Only the Level”
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.
The fire, as Capleton says, has never changed.
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Does Music Define Us? Listwa Karnaval Explores Rhythm, Language and Identity
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.
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.
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.
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.
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, 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.
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TO A QUEEN EP – VERSHON CELEBRATES 10 YEARS IN MUSIC
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.
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.
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.”
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.
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.
https://onerpm.link/vershon-toaqueen
What’s Your Favorite Track From The Project?
Media Handles
Vershon
@vershonmusic
Jenelle Alexia
@j_alexiabankx
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
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REGGAE ROYALTY REIGNS AT SXSW LONDON: Ghetto Youths International Delivers a Night the Ancestors Would Applaud
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.
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.
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.
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.
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.
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.
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.
This was more than a showcase.
It was a moment for the ancestors to smile upon.
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VYBZ KARTEL’S GOD & TIME ISN’T JUST AN ALBUM, IT’S A TESTIMONY REVIEW
WORLMAG REVIEW: VYBZ KARTEL’S GOD & TIME ISN’T JUST AN ALBUM, IT’S A TESTIMONY
There are albums that entertain, albums that dominate playlists, and then there are albums that document moments in history. God & Time belongs firmly in the third category.
For over two decades, Vybz Kartel has remained the most polarizing, influential, studied, imitated, and debated figure in dancehall music. Love him or hate him, every major era of modern dancehall carries his fingerprints. Now, on June 5, 2026, the World Boss returns with a project that feels less like a collection of songs and more like a reflection on survival, legacy, faith, and purpose.
Following his historic release from prison and a remarkable run that included Grammy recognition, God & Time arrives carrying expectations few artists could survive. Yet instead of chasing trends or attempting to prove relevance, Kartel does something more powerful. He tells his story.
From the opening moments, the album feels intentional. The title itself speaks to a phrase deeply rooted in Jamaican culture. “God and Time” is what Jamaicans say when circumstances seem impossible, when answers aren’t immediate, and when patience becomes the only option. Throughout the project, Kartel explores that reality through the lens of a man who has experienced both extraordinary success and unimaginable setbacks.
The title track and the emotionally charged closing record Watch Over Me serve as the album’s spiritual anchors. These aren’t records built around bravado. They’re built around reflection. They reveal a version of Kartel rarely seen at the height of his dominance: vulnerable, grateful, introspective, and aware of the bigger picture.
Yet make no mistake.The teacher hasn’t forgotten how to teach. Tracks like Dancehall Ting and Big Business remind listeners exactly why Kartel remains one of the genre’s most gifted lyricists. The confidence, the wit, the calculated arrogance, and the ability to turn everyday phrases into memorable moments are still present. Even after everything, Kartel sounds comfortable in his own skin and completely aware of his place in dancehall history.
Where God & Time separates itself from many modern dancehall albums is its balance. The project never feels trapped in one lane. Soft Girl Era and Stay For The Night featuring Wizkid showcase Kartel’s continued ability to create records aimed at female audiences without sounding forced or outdated. The melodies feel contemporary while maintaining the unmistakable DNA that has made his music resonate across generations. The guest list is carefully assembled rather than overloaded.
Spice brings her trademark energy to Confessions, while Farruko helps push Casi Casi into unexpected territory, blending Caribbean and Latin influences with surprising ease. The appearance of Skillibeng on Try Again represents a symbolic passing of the torch between generations, while Shenseea shines on Panic, bringing modern crossover appeal without overshadowing the album’s core identity.
Perhaps the most talked-about moment arrives on Hype Life, the long-awaited reunion between Kartel and Mavado. For dancehall fans, this is bigger than music. The pairing represents the closing of one of the genre’s most legendary rivalries and reflects the maturity that runs throughout the entire project. Years ago, such a collaboration would have felt impossible. Today, it feels necessary.
Production throughout the album remains polished and versatile, allowing Kartel to move effortlessly between hardcore dancehall, Afro-Caribbean influences, contemporary melodies, and crossover sounds without losing cohesion. The fingerprints of TJ Records are evident throughout, helping create a sonic landscape that feels expansive while remaining authentic.
What makes God & Time special isn’t necessarily that it’s Kartel’s most lyrical album, his most commercial album, or even his most experimental album.
It’s his most human. This is an artist who has spent years existing as both man and myth. Here, those worlds finally collide. The result is an album that celebrates survival without becoming self-indulgent, reflects on pain without becoming depressing, and embraces success without losing its connection to the struggles that came before it.
In a music industry obsessed with algorithms, trends, and short attention spans, God & Time feels refreshingly timeless.
Whether you’re a lifelong Gaza supporter, a casual listener, or simply a student of Caribbean culture, this project serves as another reminder that Vybz Kartel’s greatest gift has never been controversy. It’s his ability to remain culturally relevant while constantly evolving.
### WORLMAG RATING: 9/10
God & Time is more than an album. It’s a statement, a testimony, and another chapter in one of the most remarkable stories Caribbean music has ever produced.
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Caribbean‑Rooted UK Brand Redefining Carnival, Culture & Modern Fashion KenVee Design
KenVee Design: Caribbean‑Rooted UK Brand Redefining Carnival, Culture & Modern Fashion
KenVee Design is more than a fashion label — it’s a cultural statement shaped by heritage, craftsmanship, and fearless creativity. Founded by a London‑based architect‑turned‑designer who began by creating pieces to reconnect with his Guadeloupean identity, the brand has evolved into a bold force in carnival, swimwear, and modern cultural fashion. As he shared, “I started designing clothing that I wanted to wear for myself… I would design clothing that reflected my identity by incorporating madras fabric.” From hand‑crafted featherwork to innovative use of traditional fabrics, KenVee Design blends structure, storytelling, and style — all while championing individuality and cultural pride.
Can you tell us how and when KenVee Design first came to life?
The idea came to life years ago when I started designing clothing that I wanted to wear for myself. I was living in London and missed my own culture, so I would design clothing that reflected my identity by incorporating madras fabric. People saw what I was doing and asked me to make things for them, so I did a few things here and there and eventually I setup a business so I could sell my clothing to people more easily.
What inspired the name KenVee — does it hold a personal or creative meaning?
I always wanted to have my name as a brand. The original designs I was working on had a distinctive “V” shape of fabric in them, so I just put the two together. Over time as demand and popularity have increased, people have put more emphasis on it being a wordplay of “envy” but that wasn’t my original intention. I like that people have taken the name and put their own spin on it.
Were you always interested in fashion and design, or did the journey begin elsewhere?
I’ve always been interested in creative professions. I am a qualified architect, so now instead of designing buildings I design clothing and carnival costumes. There are many of the same aesthetic and structural challenges to overcome. You can have the best design idea, but if it won’t stand up then you can’t get very far so I still find myself answering the same challenges of how am I going to make this work structurally?
What was the first piece you ever designed, and how did it make you feel seeing someone wear it?
Well, as I said, I started designing for myself originally and so the first person to wear my design was me! And it made me feel great! I felt like I was expressing an important part of my identity and heritage which made me stand out and be different.
What gap or need did you see in the market that motivated you to start your own brand?
The gap I see is modern clothing that reflects the cultural heritage of places and people. I have used traditional fabrics in many of my designs, such as using the Madras fabric of Guadeloupe, my home, in shirts, t-shirts and swimwear. It’s about taking that traditional meaning and making it relevant to a new audience in a modern everyday context.
Who were your biggest influences or mentors during your early days in fashion?
For my street wear designs I am inspired by my uncle as a child. I would see him sewing for school uniforms and I remember admiring his skill and feeling inspired to do it myself.
For my carnival work I’ve been very lucky to have a Paul O’Donoghue, the owner of United Colours of Mas, as my mentor. He has taught me a lot, not just about design and creativity but also about running a business and a carnival band section. He gave me the opportunity to design and lead my first section for carnival at Notting Hill in 2022.
What challenges did you face when starting out, especially as an independent designer in the UK?
As a new independent designer in the UK my biggest challenge was building a brand that people feel like they can trust. That’s why I place so much emphasis on the quality of my designs and the service I give to people.
How did you finance and build your first collection or costume line?
I financed my first carnival section on my own. It required some very careful balancing acts to make the finances work but I was very lucky to have such supportive masqueraders who made it a huge success by selling out the section.
How has your Caribbean or cultural background influenced your design approach?
I like to try and be modern with my designs but I also feel it is important to be respectful to culture and heritage. That’s why I will often use traditional fabrics in my designs, but place them in a new context, for example by putting them on lycra instead of cotton. This can be a difficult balancing act though because I don’t want to be disrespectful to the cultures where those fabrics come from.
Looking back, what would you say was your first real “breakthrough moment” for KenVee?
There have been a few stand-out moments for me. I still remember my first online order which felt like a huge breakthrough moment at the time, I’ve seen my designs on stage for Miss Universe and that was also very emotional and I remember being on the road with my first carnival section for Notting Hill which was a very proud moment, especially after so much hard work over many months, hand-making each individual piece of featherwork.
How would you describe the KenVee Design aesthetic in three words?
Confident. Unapologetic. Sexy.
What inspires your collections — music, culture, travel, or emotion?
Its a bit of everything really. Music can be a powerful motivator for me. Culture inspires me and I combine this with travel, where I take traditional ideas and put them in a new context. What happens if take that shape, colour or texture and put it into a different context?
How do you balance creativity with practicality when designing for carnival or custom wear?
I listen to masqueraders and customers. The design always has to look amazing, but I also think about the experience that people will have. If the backpack is going to be big, I think of creative ways to keep it light and comfortable such as using different materials or having thicker shoulder pads. For swimwear, I offer thigh bags for women, and shoulder harnesses for men. The harnesses are something I am very proud of and they are unique because usually men just get a t-shirt and I wanted to offer them something that was more of an experience. I balanced that by offering the harness, which gives them somewhere to keep their phone. The harnesses have been very popular.
What’s your design process like from concept to finished piece?
Well there’s usually an overall theme that I am working to and then I have a specific idea from that theme. Past themes for Notting Hill Carinval for example include Amazonia, where I took inspiration from the Anaconda. We also had a theme for the Great Silk Road and I took inspiration from Silla Kingdom, an ancient pivotal Korean dynasty. From the theme I look-up images related to my subject and then begin to create a colour palette. From there I sketch a few designs and iterate towards a final product, using key shapes and features that I have identified in my research as anchors for the design. It’s a long process and it can be slow and frustrating at times, but it’s very rewarding to see the final product and to construct that into a prototype. For
Do you prefer designing custom one-of-a-kind pieces or ready-to-wear lines?
Custom piece are by far my favourite. There’s an opportunity to get to know the person I am designing for and create a piece that really lets them express themselves through the design.
You’ve built a strong presence in carnival and swimwear — what drew you to those categories?
I was drawn to swimwear because of the structural design aspect, I love finishing a piece and seeing it fit the mannequin perfectly. It’s satisfying to see that, because it validates all the design work, the grading and pattern making that I did before. People have told me that lycra is a difficult fabric to work with but I prefer it over any other material.
Tell us about your experience designing for Notting Hill Carnival — what does carnival mean to you?
For me carnival is about being together and celebrating the people who have paved the way for us to be here now. That celebration can look different in Notting Hill compared to a more traditional carnival in Guadeloupe for example, but it’s the same feeling of coming together and celebrating who we are and the people that got us here.
What materials or craftsmanship details do you prioritize to make your designs stand out?
For me it’s about quality, I want my designs to still look good at the end of the carnival. That means using materials that will survive the excitement and energy of carnival. I have had masqueraders hang my pieces on their walls at home after carnival is finished and that’s a real tribute not just to my designs, but to the quality of my craftmanship and the material choices I make.
How do you ensure that every KenVee piece empowers the wearer and reflects individuality?
What are some behind-the-scenes realities that people might not see in your design journey?
Working with materials can be tough on your hands. There’s hot glue, bending and cutting wire, a lot of drawing and cutting out, sometimes thousands of pieces of fabric. It can be punishing on your body, especially your hands. People see the finished product and they don’t see the burns from the hot glue.
The hours of pattern making and the overall design process can be slow and detailed. It’s not just a case of drawing a design and then sewing it together. Taking a design concept from a drawing, and turning it into a pattern so that I can sew it together and make it a reality is skilled and time consuming work.
How has your brand evolved since launching in 2020?
The brand has really established a confidence in the past few years that it didn’t have before, and I think that’s a reflection of my own journey as a designer. When I look back at the designs I was producing a few years ago I can see my own growth since then and that’s one of the things that I love about this work, I keep learning and get to apply what I’ve learnt directly to my next project to see how it works in practice on a living breathing costume.
What have been some of your proudest moments so far — collaborations, features, or clients?
My proudest moment is actually one that took place behind closed doors. I was visiting my mom in Guadeloupe and I was also working on a project while I was there. It was the first time she saw my work and I think it really helped her to understand what I mean when I say to her that I am “working”. She said she is very proud of me for everything I have achieved.
How has social media, especially Instagram, shaped your brand’s growth and visibility?
Social media has been great for showcasing my work and helping people to understand what I am capable of offering and for them to show me pictures of past designs that they want for inspiration. It’s like an archive of my achievements and that’s a nice thing to have just for my own awareness as much as for public visibility.
What role does the Caribbean diaspora play in your brand’s story and community?
Its an opportunity for me to share my heritage and culture and Kenvee is a vehicle to showcase and expose people to the French Carribean culture that’s a part of my identity.
Sustainability and ethics are hot topics in fashion — how does KenVee approach this?
I try to be very sustainability focused. The business park where Kenvee is based actually shares this value with me and it’s a big part of the reason for deciding to base business there. My design studio is a reused shipping container which is a key feature of the development and a lot of the power for the site comes from solar. I’ve also experimented with sustainability in my designs; I took used jeans and used them to make a patchwork denim fabric which I created into a patchwork denim coat. It taught me a lot about how old products can be given new life.
What challenges have you faced balancing creativity, business, and personal life as a designer?
I haven’t really found it possible to have a balance just yet. I am still a solo designer and I don’t have a team yet so I believe that there has to be a lot of sacrifice. If you believe in something and want it to succeed then you have to be prepared to work hard for it and unfortunately that has meant a lot of sleepless nights and missed parties. And I would do it all again, gladly.
How do you handle the pressure of deadlines for major events like Carnival or fashion shows?
I wish I could say that it’s down to good organisation and starting production early, but even when I have done those things there’s always a last minute rush and a few sleepless nights needed to get it over the line. I am very lucky to be surrounded by very supportive friends and family who can volunteer their time to help me when it’s really stressful and that’s always a huge help and I am very grateful to them.
How would you describe the KenVee woman or man — who are you designing for?
I try to design for everybody and be inclusive in my designs, promoting body positivity and peoples own unique identity. Whilst I might have an idea of what I want people to look like in my creations, I have to accept as a designer that people will use my designs to express themselves and their own identity and sometimes their vision will differ from mine. I love that as a part of the process because sometimes people can really surprise me and take my design and do something with it that I hadn’t intended.
What’s the message or feeling you want people to experience when wearing your designs?
I want people to feel confident and to be themselves. I am not trying to impose any identity or experience onto people, I want my design to bring out of them whatever they feel inside and give them the confidence to express themselves, fully and unapologetically.
What’s next for KenVee Design — where do you see the brand in the next 5 years?
For carnival wear, I think the brand will continue to mature as I continue to learn. I am designing for my first international carnival this year which will showcase my work to a different audience and establish my reputation as a creative, confident and reliable designer. For my ready-to-wear lines I really want to get setup with a physical shop. Selling online is good, but selling to people face-to-face is different, the customer feels how to the product fits them and as the creator I get that immediate feedback through their reaction.
KenVee Design stands as a testament to passion, perseverance, and the power of cultural expression. Whether crafting intricate carnival costumes or modern ready‑to‑wear pieces, the designer’s mission remains clear: to empower people to feel confident, authentic, and unapologetically themselves. As he beautifully put it, “I want my design to bring out of them whatever they feel inside and give them the confidence to express themselves, fully and unapologetically.” With international carnivals ahead and dreams of a physical storefront, the next chapter of KenVee Design promises even more innovation, visibility, and cultural impact.
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