Each Caribbean nation boasts a unique sonic fingerprint, a rhythmic identity that resonates with its people and beyond. For example, Guyana is known for its sweet folklore music while Trinidad and Tobago is known for its pulsating calypso tunes and groovy soca. As for Grenada, it is known for its unique version of soca called “jab jab” and Jamaica is known for its beautiful reggae heartbeat and invigorating dancehall.
Amid this rich cacophony, many local artists often seem to sound as though their are replicating the sounds of these other nations; an action some argue, is slowly killing Guyana’s rich musical culture.
Omaiah Hall, a 22-year-old Guyanese artiste and current finalist for the upcoming 2024 Soca Monarch, candidly spoke of this creative travesty, boldly asserting that some Guyanese musicians have become “foreign-minded” in their musical endeavors. As we explore her vision for change, Hall emerges as an aspiring trailblazer, seeking to carve a distinctive space for Guyanese soca in the sea of Caribbean sounds.
Hall’s venture into the soca monarch scene has been a gradual yet determined ascent. From her early days of captivating audiences in junior competitions to now gracing the adult soca monarch stage, Hall, in her interview with Guyana Standard noted that her journey is marked by authenticity and a desire to be true to herself.
Hall shared, “My journey into the soca monarch scene is one I’ve been wanting for years now. I’m no stranger to the stage, having been a participant in junior competitions. Known for calypso in those competitions, I’ve always been excited about joining the adult soca monarch competitions because I feel like I can truly be myself.”
Her love affair with soca is rooted in her childhood, where the vibrant beats of the genre were always in the backdrop. Raised in a musical environment, she found solace and joy in the infectious rhythms that characterized the soca scene of her hometown. The music became more than just a sound; it became a companion, a source of inspiration that would accompany her on the journey to come.
As the young Omaiah stepped into the world of junior competitions, she found herself not just participating but immersing her soul in the cadence of soca. Calypso competitions became her training ground, the place where her love for both calypso and soca deepened. The cheers of the audience and the resonance of soca melodies formed the backdrop to her artistic awakening, laying the groundwork for the passion that would guide her future.
Her transition from junior competitions to the grand stage of the adult soca monarch marked a musical coming-of-age. It was not merely a shift in categories but a metamorphosis of her relationship with the genre. The stage, once a playground, became a canvas for her to paint the vivid colors of her authentic self.
When asked about what sets Guyanese soca music apart, Hall offered a candid response, “I do believe we Guyanese are still finding our sound, and I’m loving the efforts being made to push more of us.” She acknowledged the ongoing evolution of Guyana’s musical identity, with artistes like herself at the forefront of shaping a unique sonic landscape.
Addressing perceptions that Guyanese soca may not sound as appealing compared to other Caribbean nations, Hall remarked, “We’re foreign-minded. Because our music may not reach the international stages like that of the other Caribbean nations we feel as though it doesn’t sound as good. I’m not saying we can’t do more, because we can and we are.”
Hall expressed gratitude for the Ministry of Culture, Youth, and Sport for addressing concerns and constantly raising the bar for creatives in Guyana. However, she emphasized that despite the foreign influences, Guyanese soca and calypso should be appreciated on its own merits, urging listeners to focus on the sweet sounds it produces.
This honest reflection set the stage for further exploration of Hall’s vision for change in the Guyanese music industry.
Navigating the intricacies of the Guyanese music industry, Hall shed light on the challenges she encounters as a young soca artiste. Financial constraints and a dearth of support from producers are significant hurdles she and many others face. “Rarely do you find producers seeing potential and working with you, so you have to invest hundreds of thousands,” Hall revealed. Despite these obstacles, she remains resolute, highlighting the passion required to persevere in the face of economic challenges.
A Plea for More Airplay and Diversity
Expressing her aspirations for change, Hall passionately called for a shift in the airplay dynamics on major radio stations. She urged them to go beyond the traditional focus on Guyanese music during seasons like Mashramani and instead provide consistent support. “Stop playing our music Mashramani alone. The big radio stations have our music; stop playing it once a year and give us airplay,” she boldly declares, emphasizing the need for ongoing visibility to propel the careers of emerging soca talents.
Inspiration from Local Icons
As Hall strives to shape the future of Guyanese soca, she draws inspiration from local icons like Nekeita, Big Red, Jumo, and Carlvin Burnett, all of whom she considers to me authentic to their sound. These figures not only influence her stage presence and vocal style but also provide crucial support. Hall considers Nekeita her “big sister in the industry” and appreciates the constructive feedback from Carlvin Burnett. This mentorship and camaraderie within the Guyanese soca community contribute to Hall’s resilience and determination.
Global Ambitions for Guyanese Soca
Looking beyond the horizon, Hall envisions taking Guyanese soca music to global heights. “I wanna take Guyanese soca music everywhere… booked out for Carnivals is the goal,” she declared, outlining a future where the infectious rhythms of Guyanese soca resonate with audiences around the world.
Her desire to see Guyanese soca recognized globally, she said, is an extension of the profound love she holds for the rhythms that have shaped her life.
Her advice to fellow musicians is to break free from the allure of imitating sounds from other countries, and focus their pens on the richness of Guyanese music that lies in its unique identity and weave a narrative that authentically reflects the soul of their nation. According to Hall, it’s not about conforming to external expectations but about celebrating and elevating the distinctive qualities that make Guyanese music a vibrant and unparalleled force in the global musical landscape.
