One of the highlights leading up to Montreal Carnival was being invited to appear on CJAD 800 AM to discuss Soca music. I received a call from Duke Eatmon, who explained that host Akil Alleyne was looking for someone knowledgeable about Soca to join the Open Mic program and share insights on the genre’s history, current state, and future.
My interview aired live from 7:30 to 7:45 p.m. Although it lasted only fifteen minutes, it was a meaningful opportunity to represent soca on a mainstream radio station and speak to an audience beyond the Caribbean community.
Being on CJAD was especially meaningful to me because my mentor, Egbert Gaye, founder of The Community Contact, was once a radio host there. Having the opportunity to speak on the same station where he once shared his voice made the experience even more special. It reminded me of his dedication to community journalism and the importance of continuing to inform, educate, and represent our Caribbean community.
As a community radio host myself, the experience also reinforced something I have long believed: community radio and mainstream radio each have an important role to play. Community radio gives a voice to local communities and emerging talent, while mainstream radio has the reach to introduce our culture to a much wider audience. Both are valuable, and I was grateful for the opportunity to experience both. So, I would like to thank both Duke Eatmon & Akil Allyene.
Last year, I wrote that this was the third year of the Montreal Carnival under its current direction and that it was time for the organization to improve. I also shared my own experience with a liaison whose conduct, in my view, did not reflect the professionalism expected of someone representing the organization. When people are placed in public facing roles, they become the face of the organization, and they should understand the responsibility that comes with it.
This year, however, before doing my recap I would like to acknowledge the progress that appears to be taking place. From what I’ve seen, there has been a modest increase in government funding, a slightly longer parade route, allowing for approximately two hours on the road and a broader representation of participants, including more Mas bands, T-shirt bands, and Jab Jab bands, also fund-raising attempts. These may seem like small steps individually, but together they represent progress, and progress deserves to be recognized.
That doesn’t mean the work is finished. Accountability should never disappear simply because improvements have been made. Our community should continue to encourage higher standards whenever necessary, but criticism should always come with the intention of helping the festival grow, not tearing it down.
Once this year’s Carimas has concluded, I’ll most likely share my observations on what worked well and where there is still room for improvement. My hope is that Montreal Carimas continues building on its momentum and moves closer to becoming the world class celebration our Caribbean community knows it can be.

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