High. I want to go back to a discussion I was having recently in regards to an album we looked at late last year that was, easily, one of the most interesting and popular releases of 2025; "Exile" by Chronixx. One of the bases (basises???) that I used for the review of that album was to talk about there exists a certain class of artist that we look upon and full-on expect to do special things. That isn't to say that others CANNOT but with this specific group, it can be to the point where listeners will almost assume that special is in the offering and when too long of a period of time has passed without it, CLEARLY something is wrong... amongst ridiculously demanding listeners such as You and I. This time around, however, we're going to have a far more positive and even magnified discussion because I think that the actual PLATFORM calls for it. Reggae/Dancehall is one thing. There isn't a schedule really and if there is one it's set by people who have the ability to set it and delay it as much as they want (you can delay the release of anything and you can cancel a performance - happens allllll the time and it isn't the biggest deal). In Soca though, ass insane as it is to say, things're a bit more rigid. Carnival comes when Carnival comes and, again, the biggest of names are presumed to arrive with the biggest of hits and IF THEY DON'T... it's kind of a wasted season which is awful as the wait shifts to next year. Sure, they'll have other songs that year but it won't be the same as it was for their own Carnival season and that'll be that. Furthermore, isn't there just SOMETHING about Soca (of course there is)??? The music is inherently BIG and DRAMATIC and it often has a competitive intent behind it. So, each and every year, as the tunes begin to roll out, you'll INSTANTLY see calls for 'Roadmarch winner' as soon as ArtistX releases what we assume is their big hope for that season; and sometimes those calls are correct! When they are correct -- at least in my opinion -- given that schedule that they're on and how incredibly easy it can be to trace it back many years later, Soca's stars have the ability to impact their listeners with as much DELICIOUS NOSTALGIA as any participants of any artform on the planet. When they do GREAT, you'll likely NEVER forget it.
Let's take a look at someone who has been "doing great" for decades now, Machel Montano. While people like me are probably guilty of throwing around the word "LEGEND" far too casually, it fits super snug in Montano's case. He is a legitimate, undeniable legend of Soca and Caribbean music, in general. Still, though now slightly north of half a century of age, Montano is looked upon as being capable of delivering brilliance every season (even when he takes the season off, essentially, from making Soca and focuses on Calypso as he did a couple of years ago and managing to take home Calypso Monarch) and when he doesn't, he isn't seen as having passed his best or any such thing - he is not afforded that excuse (though I did try to place him in that category once upon a time.... never more).
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| 2025 |
...and it is apparent that he does not need it. Just last year, Montano would take home his ELEVENTH Road March title, tying him with the legendary Lord Kitchener for the most all time wins (he'll take the crown, alone, at some point) and that's not all of it. Because of the nature of Soca music -- being on that schedule -- albums can be quite simple (and well planned if done correctly). They can either be total compilations of multiple seasons or, as is the case here, they'll end up as a collection of the work a particular artist did for one season (with maybe a roadmix or an unreleased tune thrown in the flesh it out).Going back through his catalogue, Montano has charted several big projects to his name to say the least. On this blog, we have a long running series called 'Modern Classics', were we observe what I feel are truly spectacular albums that have released from the modern era and we reached installment #43 last year. The only Soca album that we've ever covered there was #29, "Flame On". There were also BEAUTIES such as "The Book Of Angels", "Machelements", "Happiest Man Alive" and several others. Machel Montano belongs to a very select group of individuals in Soca music who actually release albums on an at least semi-consistent basis. Just last year he set out with "One Degree Hotter" which was well received (I didn't particularly like it but a lot of people enjoyed it a lot more than I did) and if you go back to 2016's "Monk Evolution", Montano has now had five albums - averaging an album every other year. Said fifth album, "Encore", now arrives and does so at yet another really BIG time for its creator. Virtually simultaneously, he's also set to release a documentary of his life (which I thought that I remembered from years ago but is, apparently, being billed as new) so, along with the typically atypical madness that a Carnival season presents, 2026 brings with a bit of an added light to, arguably, its brightest star. Fortunately he appears up for the challenge. Along with slimming down a bit, Montano has been in a FINE form, musically, from what I've heard and, because of that, when the news reached that he was releasing an album this year, I got really excited. At least so far (as is normally the case) album shelves have been quite thin coming from Soca. I'm expecting Destra to have something to say about that (maybe more like HOPING, given what she's been up to) but there hasn't been much movement at all so, once again, Montano is helping to carry at least a certain mantle for the genre...
...and he is doing so damn near FLAWLESSLY. Soca music, in general, has been strong this year in my opinion. The aforementioned Destra has been burning it up as has the always dependable Bunji Garlin; as have the 'usual suspects' in Voice, Patrice Roberts, Michael Teja and a few others. Still, at least for me, it has been Montano and Destra leading the way. That is a fact that is crystal clear throughout the former's big new album, "Encore", which gets up and going with the GORGEOUS and smooth 'Compromise'. Produced by the increasingly crucial Tano, this tune has a couple of things going for it in regards to the album. First of all, like I said, it's outstanding. It's a beautiful and laidback type of vibes but it's also quite catchy and infectious on its own. Furthermore, if you set it as it is here, at the head of the album, it's very inviting and what I'm picturing is maybe someone who stumbles upon this album on some digital site and decides to listen to some clips; the first one they hear will be 'Compromise'. IT WILL MAKE YOU WANT TO HEAR MORE! It is a FINE choice for an album opener and one of the best tunes that "Encore" has to offer, altogether. Next in is a very cool reimagining of an old favourite from the great Travis World, 'Tempa Wine'. The all-conquering original reached over a decade and a half ago and featured Patrice Roberts and I was actually surprised to see it back this year but THANKFULLY the song pays homage to its brilliant predecessor. This time Montano fittingly taps the burgeoning Tempa (Tempa should be on 'Tempa Wine') to handle the accompanying vocals. Tempa's interesting for a variety of reasons (one of which being something unrelated to music that Google can tell you about if you're curious), not the least of which is her style which is more on the Dancehall side than Soca. While I do prefer the original (and always will), this remake definitely works and has a flame of its own and biggup Tempa for adding all kinds of different colours to the tune. Travis World also supplies the foundation for the downright glittering 'Dey-O'. Although entirely too short, what 'Dey-O' manages to do in its all too brief time with us is to GLUE itself to taste. It's a very hard sound to shake and it is IMMACULATE! You want to talk about Groovy Soca (with just a bite of Power) at its absolute finest in terms of how it is presented and you're talking about a track like 'Dey-O', without question. It's one of the best and probably THE most overlooked that Montano has pushed this season. Where the piece before it served up a "bite" of Power Soca, you get the full hundred on the song rounding out the first third of "Encore", the MAMMOTH 'Pull D Pin'. Coming through across the Monkey Business Riddim courtesy of the reigning King Bubba FM, 'Pull D Pin' provides enough carnage for the whole album but particularly near its head. Featuring big talents in Skinny Fabulous with Spice duo Lil Natty & Thunda, this one is CARNAGE. It's messy and sloppy but it's also kind of clever! I remember hearing its direction and being surprised that I couldn't recall someone using a kind of 'natural' grenading metaphor for Soca music. It works and it works PERFECTLY on a song like this which, despite its chaos, brings together big talents and puts them at their best alongside one another. 'Pull D Pin' is one of the best selections from anyone that I've heard this season and I think it speaks to the quality of "Encore" that there is AT LEAST one song carried here that I find better... maybe even two of them.
I mentioned Voice a little while back and he also joins in on the festivities of "Encore" along with Litleboy, from out of Dominica (who also features in production here, with Precision Productions and Montano, himself) who both help to beautify the in flight 'Bam Bam'. 'Bam Bam' is a song that really helps you figure out what's going on with this album if you're still trying to pinpoint exactly where it stands. 'Bam Bam' is FANTASTIC. It's also grimy and disheveled. It may've showered this morning but it most certainly DID NOT brush it's teeth and it didn't have dinner last night either. It's a used gift in a shiny package is what 'Bam Bam' is and you won't mind at all (after you're done with it, put it back in the package and send it to someone else)! Though it is clearly a modern vibed track, my ears something delightfully old school coming from 'Dancing In The Streets' which features Montano alongside the well talented (and GORGEOUS) Mela Caribe. I hear a few different styles in this one and maybe Calypso is one of them (AND THOSE DRUMS!). Regardless, there is something in this song that is so damn comfortable and familiar that it is difficult to ignore. Apart from that (along with that), it's just an excellent song as well. Caribe's vocals are top notch, especially for this type of sound and, again, the mix is so right. You hear so many different influences put into that pot, by chef/DJ Private Ryan, making for one VIBRANT piece of music.
"Feels like freedom
Sweet love
When we hear THE DRUM"
"Encore" also features the star power of one Nailah Blackman (who seems to becoming a bigger and bigger deal every time she makes a song) (and with good reason) who helps Machel Montano to 'Elevate' on a tune helmed by Private Ryan & Badjohn Republic. 'Elevate' is CANDY. It will make your ears feel good and it will also bring a smile to your face (I've tested it. I'm listening to it RIGHT NOW and I'm smiling). The peak of this one is as gorgeous as anything else that you'll find on the album and I want to use it to make a point about Blackman's style, in general. She has way, VERY SIMILAR to Montano's himself, of making these big, POWERFUL, pieces which are chaotic and frenetic but completely CLASSY (Destra does that as well). That doesn't work for everyone and "for everyone" CLASS isn't necessarily a good thing; but you have these songs and they're filling you with such a great emotion and an intensity - sometimes it's pretty difficult to stop and appreciate the musical ability that they require to be made. It isn't all 'jump and wave and misbehave' (not that there's anything wrong with that) or 'break something', there's a beauty in that madness and Nailah Blackman has it nailed! She's a damn specialist and it vibes so well alongside someone like Montano.... and pretty much anyone else. She's awesome. Of course, that isn't to say that there's anything wrong with BREAKING STUFF as evidenced by the next and BEST song on "Encore", the truly ridiculous 'Move Out D Way'.
"THE WHOLE WORLD MASH UP"
Travis World returns to production for the tune and he brings with him the up and coming Paris Coutain. Coutain (who ever-so-slightly resembles a young Nasio Fontaine) (biggup Nasio) is someone to keep an eye on (and biggup Machel for bringing in people like Paris Coutain, Tempa and Litleboy, shining, probably, the genre's biggest light on their considerable talents) (you might even be able to include Lil Natty & Thunda in that and, once upon a time, he did the same for Skinny as well) and if you are unfamiliar with his work, here is a fine time to become acquainted. 'Move Out D Way' is fucking nuts! It's dangerous. It's harmful. It does not promote safety or good behaviour and it is my kind of Soca music: That SWEET shot of adrenaline which the genre alone can deliver in such a way!
Trailing not very behind, AT ALL, is the actual song, 'Encore'. I hear this song what has begun to stick with me about it is the level of reverence Machel Montano has for Soca music and Carnival; as if he hadn't demonstrated that endlessly throughout the years. Helmed by ace producer XplicitMevon (filthy run that man has been on), 'Encore' is a living, breathing tribute to Carnival and Soca music and it is OUTSTANDING. Clearly thought to be his signature tune of the year, it does not disappoint and it COMPLETELY embodies what I mean when I say that we expect special things from special talents. On 'Encore', Machel dazzles from the preparation ["Frontpage is where legends belong but BACKSTAGE IS WHERE LEGENDS ARE BORN"] that goes into it (that he's been doing for years, straight through the final product that we get to see. 'Encore' IMMEDIATELY goes down as one of his finest efforts in recent years and I wouldn't be surprised if it nets him a consecutive Road March crown in a few days. "Encore", the album, also gives us a "Stage Mix" of 'Encore', done by Madness MUV, D Ninja and the very popular DJ Marcus Williams (whose work I routinely workout to). It's, essentially, a roadmix (I actually think it is the song's official roadmix) and the typical things that go into such mixes are present here as well, though it doesn't detour too much from the original during its initial stage before... becoming entirely more interesting during its second half. It is refashioning of a fantastic song and it's more than three minutes longer so there isn't a damn thing to complain about here. You also won't get much (or any at all, actually) fight out of me against 'Carnival Birthday', which taps frequent Montano collaborator, the legendary Super Blue. 'Carnival Birthday' is kind of cursory and very straightforward but I will give it its due credit: It is VERY FUN. I know what you're thinking.... they're all fun; and you're right. They are. But what this one, specifically, has going for it is that "cursoriness" that I mentioned. 'Carnival Birthday', literally, just sounds like Montano called up Super Blue to make a song for 2026 and... that's what they did. They weren't trying to win anything or change lives anywhere. They set out to make a very light, fun and intoxicating Soca song and that is exactly what they did. Finally is the albums definite changeup, 'No Wayyy' (because one Y simply could not do it justice). If you listen really closely (or even if you don't), you'll hear the Sleng Teng Riddim (of all things) playing in the midst of... a lot of other things. It's a SWEET tune, sopping with nostalgia (and a dash of oddness) and just an interesting track. It would have been even better had Montano employed more of an old school delivery but he does give it to us at the chorus and creativity, when done this well, is only to be rewarded.
Overall... special things. Machel Montano does not walk to the head of the class on name value alone. It surely will help him to a degree (a degree that he has earned) but when he does get there, he has to deliver. "Encore" is a HUGE example of him delivering. The Soca head is beyond my recommendation, he/she already knows what's going on here but I will recommend the album as well to someone maybe thinking about getting into the genre. It is such a WELL DONE, complete piece of work that if you do have ears for the sound, I don't think you get very far into this one without getting hooked by something. We look to people such a Machel Montano to lead the way in defining the sound of a generation and maybe even a few generations following his because they show themselves capable of doing things EXACTLY like what is found on "Encore": The best Soca album I've heard in a long time.
Monk Music
2026
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