Trinibad artists and producers are speaking out against restrictions on the genre at Tobago Carnival, arguing that the music should not be blamed for wider social problems affecting the country.
The debate surrounding the place of Trinibad music at Tobago Carnival has intensified, with artists and music industry figures offering different views on what should be played during the celebrations.
Some members of the Trinibad community believe the genre is being unfairly targeted, while others maintain that Carnival should remain strongly centred around traditional soca music.
Rheon Elbourne Calls for the Public to Have Its Say
Singer, songwriter, and producer Rheon Elbourne, known for his hit Build My Dreams, has questioned whether Carnival patrons actually want restrictions placed on Trinibad and other genres.
Elbourne suggested that organizers should allow the public to decide through a poll.
According to the artist, music is ultimately created for the people, regardless of whether it is Trinibad, soca, dancehall, chutney, or another genre.
He pointed to the 2025 festival as an example, noting that Trinibad artists performed without major disruptions among patrons.
Elbourne also rejected the idea that playing a small amount of Trinibad during a predominantly soca event would automatically lead to violence.
His argument is that listeners are capable of enjoying different genres without music being directly responsible for criminal behaviour.
‘Change the Country, We Go Get Different Things to Sing About’
One of Elbourne’s strongest points was his argument that music often reflects the environment in which artists live.
He suggested that issues such as crime, corruption, poverty, illegal firearms, and drugs influence the subjects artists choose to address in their music.
His position is essentially that if the social conditions change, the music coming from those communities may change as well.
For Trinibad artists, the genre can serve as a reflection of the realities experienced by young people and communities across Trinidad and Tobago.
That raises a larger question for the local music industry: Should artists be blamed for describing difficult realities, or should the underlying social issues receive more attention?
Sadiki De Leon Offers a Different Perspective
While Elbourne is calling for greater public involvement, Sadiki De Leon, co-founder of Nice Nations Records, offered a different perspective on the issue.
De Leon believes that when the word “Carnival” is central to the discussion, traditional Carnival music should remain the priority.
From his perspective, soca is fundamentally connected to the culture and identity of Carnival, and the festival should therefore place greater emphasis on the genre.
His position highlights the cultural argument behind the restrictions: Carnival is more than a party, and the music associated with the festival plays an important role in preserving its traditions.
The Bigger Debate: Culture, Music and Responsibility
The disagreement illustrates a much broader conversation taking place within Trinidad and Tobago’s entertainment industry.
On one side, there are artists who believe genres such as Trinibad should have the opportunity to reach audiences without being automatically associated with violence or social problems.
On the other side, there are industry voices who believe Carnival should protect and prioritize the traditional sounds that helped build the festival’s cultural identity.
Both arguments raise important questions about the future of Tobago Carnival.
Should Carnival organizers decide which genres are appropriate? Should patrons have a greater say in what music is played? And can multiple genres coexist during one of the country’s biggest cultural celebrations?
Trinibad’s Place in Trinidad and Tobago’s Music Industry
Regardless of where people stand on the Carnival debate, Trinibad has become an increasingly recognizable part of Trinidad and Tobago’s modern music landscape.
The genre has provided another platform for young artists and producers to tell their stories, build audiences, and develop a distinct sound.
The current discussion could ultimately become an opportunity for the industry to have a more meaningful conversation about music, culture, censorship, audience choice, and the responsibility of artists and event organizers.
For now, the debate continues.
As Tobago Carnival approaches, the question remains whether Trinibad will have a place alongside soca and other genres or whether Carnival organizers will continue to limit the music based on concerns surrounding its lyrical content and perceived social impact.
What Do You Think?
Should Trinibad music be allowed at Tobago Carnival, or should Carnival remain primarily focused on soca?
Share your thoughts with DLB Music Marketing.
