Calypso Controversy Sparks Debate Over Political Commentary in TUCO Nationals
Controversy erupted after the semifinals of the National Calypso Monarch competition at Skinner Park in San Fernando, with several politically charged calypsos failing to reach the grand final. Patrons and artists questioned whether political kaiso is being sidelined by the Trinbago Unified Calypsonians’ Organisation (TUCO) and the judges, given calypso’s historical role as the voice of the people.
Roderick “Chuck” Gordon, who did not advance with Tory Time, joined the chorus of voices raising concerns. In a social media post, he described the semifinal results as “real hurt,” noting that while he understood the judges’ decision is final, “the discrepancies in the marking… wow.”
Responses to Gordon’s post reflected divisions among calypsonists and fans. Some suggested that TUCO could be influenced by the United National Congress (UNC) Government, pointing to performers with pointed political commentary who were left out of both the semis and the final. Others argued the criticism overlooked the tradition of the competition, noting that similar politically charged calypsos existed under the previous government but advanced to Dimanche Gras night.
Calypso historian Zeno Obi joined the call for transparency, urging the full release of scores for all competitors. Obi argued that verification is essential before drawing conclusions and suggested performers request detailed breakdowns of their marks. He also questioned potential inconsistencies between judges’ scores and the final master score sheet, noting that allegations of score changes by officials are not new in the competition’s history.
Guardian Media spoke with Omari Ashby, a PhD candidate at the University of the West Indies who researches calypso. Ashby emphasized clarity, particularly around TUCO’s assertion that the organisation is apolitical. He clarified that apolitical can mean the organization does not officially support any political party, but that rejecting political commentary entirely would undermine calypso’s essence. “Calypso can be a song of praise or a song of shame,” he said, highlighting its role in protest, social critique, and national storytelling. He urged TUCO to ensure that “apolitical” does not equate to discouraging political expression.
Penelope Beckles, the Opposition Leader who attended the event, said she had not seen the judges’ score sheets and could not determine whether political commentary influenced the results. While acknowledging discussions about politically charged calypsos, she warned that disagreement over results is a Carnival tradition. Beckles noted that without access to scoring criteria and marks, concluding that the judges targeted any performer would be unfair.
Semifinal results saw 11 acts advance to the final on Dimanche Gras at Queen’s Park Savannah, where they will face defending monarch Helon Francis for a $1 million prize. The final lineup includes:
– Yung Bredda (Akenathon Lewis) – The Messenger
– Terri Lyons – Blessings
– Rikki Jai (Samraj Jaimungal) – Doh Spoil Meh Name
– Giselle Fraser – No Village Can
– Karene Asche – Nobody Wins Until
– Kerice Pascall – No Conscience
– Muhammad Muwakil – Calypso
– Nicole Thomas-Clarke – Sacrifice
– Rivaldo London – Water Thicker
– Roslyn Reid Hayes – Calypso Calling Me
– Ta’Zyah O’Connor – Cast Them Away
Brian London was named a reserve.
Notable semifinals moments included Rikki Jai delivering a potent blend of humor and emotion in Doh Spoil Meh Name, addressing fatherhood, responsibility, and legacy; Yung Bredda (Akenathon Lewis) steering a strong performance of The Messenger centered on moral guidance; Terri Lyons’s red-clad, crowd-pleasing Blessings, which sparked intense social media discussion; and Duane O’Connor’s energetic critique of leadership and power, though he did not advance. Heather Mac Intosh offered a socially charged piece on justice and the treatment of cultural icons and families, drawing visible emotion from the audience. Earlier performances included Squeezy Rankin’s exploration of violence and moral struggle, and Muhammad Muwakil of Freetown Collective delivering a visually rich celebration of calypso and national identity in Calypso.
On Thursday, TUCO issued a statement reiterating its claim of apoliticism. At the Saturday show, however, fans and commentators accused the organization of sidelining political commentary.
Guardian Media reached out to TUCO President Ainsley King, along with veteran calypsonians Dr. Hollis “Chalkdust” Liverpool and Weston “Cro Cro” Rawlins, but there were no responses at press time.
Finals take place on Dimanche Gras, with the winner receiving $1 million. The field features a mix of artists known for social and political content alongside those delivering more traditional calypso fare. Whether TUCO’s apolitical stance holds or whether political kaiso continues to shape, divide, or redefine the competition remains a topic of lively debate as Carnival week progresses.
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