Why has mainstream success evaded soca?

Along with reggae and dancehall, soca is very much the music of the Caribbean. Indeed, with its roots in Trinidadian calypso, many would argue that outside of Jamaica, soca is actually a more representative soundtrack to the region.

With Caribbean culture being exported around the world, its music has been no different. Reggae and latterly dancehall has found itself a regular and prominent feature in the pop charts of territories far beyond the Caribbean. Bob Marley is arguably one of the most celebrated musicians of all time regardless of genre. While Beenie Man, Shaggy, Sean Paul and others from the dancehall scene have experienced huge international success. Similarly, albeit with its origins in another continent, so has afrobeat as the contemporary soundtrack of the African diaspora. Yet despite the parallels, soca has struggled to achieve sustained mainstream success beyond the Caribbean.

Where Soca has seen commercial success, it’s typically been fleeting. Barbadian (or ‘Bajan’) Rupee and St Vincentian Kevin Lyttle both experienced global hits. There are of course also soca classics such as Arrow’s Hot Hot Hot that are known far beyond the soca fraternity. But despite the precedents for mainstream audiences finding soca palatable, it has otherwise been brought to unwitting audiences via watered down cover versions. Trinidad and Tobago’s Anslem Douglas first released Who Let the Dogs Out before it was covered by the Baha Men. Similarly, Alison Hinds’ Roll it Gal, a hit in the Caribbean and amongst its diaspora communities, was covered by J-Status with Rihanna and Shontelle but with a more American RnB sound. Is unadulterated soca not deemed commercially viable? And despite the examples to the contrary, why don't record labels consider soca to warrant the marketing push they’re willing to give other genres, particularly from the same region?

Where acts from Caribbean genres have found commercial success, often the characteristics of their signature sound aids this. For example, Sean Paul or Shaggy’s delivery is more melodious and less raw than say Bounty Killer’s or Mavado’s. Their cadence is often slightly slower and more significantly they use less patois and instead more standard English. Furthermore, their subjects of choice are usually more radio friendly than the Five Star General or the self-proclaimed ‘Gully God’ whose sound caters more for the core dancehall fraternity. Formulaic or otherwise, it makes for a sound that mainstream audiences are probably more comfortable with and consequently one that record labels are more willing to invest in.

For soca, the similarities are there with other acts from the Caribbean that have broken the mainstream market. Fast paced cadences are instead replaced with slowed down tempos. Not to mention a seemingly deliberate smattering of local dialect with British or American English replacing overwhelming vernacular and heavy accents. However, those who argue local dialects present a barrier to soca thriving beyond the Caribbean and its diaspora would be mistaken. Germany’s Soca Twins prove that isn't the case as they’ve managed to bring the genre to a territory whose first language isn’t even English. Furthermore, having seen them in Berlin, there isn't anything diluted about the brand of soca they play. Soca therefore needn't compromise itself and its Caribbean essence in widening its audience.

Soca doesn’t need to follow a template for commercial success. Though perhaps previously being too insular with its sound, and a reluctance to diversify in tempo and lyrical content, has worked against it in breaking the mainstream. Although this has increasingly changed. The genre has evolved to showcase its ability to produce music that isn’t just suited to carnival and party atmospheres but a variety of moods. For most genres, this diversification is often a sign of its readiness to break new markets. Nonetheless, despite soca’s commercial potential, record labels still lack the courage to push it into the mainstream.

Being born of the Caribbean, soca is accompanied with vibrant visuals and rich culture. Surely this presents a great marketing opportunity with a culture that accompanies the music - and a culture that albeit intermittently, mainstream audiences have been exposed to. As one of the largest street parties in the world (only second to Rio Carnival), Notting Hill Carnival has long held soca as its original and continued soundtrack. Similarly, the West Indian Day Parade in New York and Caribbean-inspired carnivals around the world showcase soca to the wider public. The introduction to soca is already there but the commitment and investment to capitalise on it has not been forthcoming. Record labels and media outlets either don’t see the potential or aren’t willing to take the risk in pushing a sound that they don’t feel has fully proved itself as commercially viable.

With the demise of Choice FM, Martin Jay’s Caribbean Affair has disappeared from the radio (but can still be found on www.socavision.com) and the likelihood of Capital Xtra bringing soca to its schedule is slim to none. BBC 1Xtra long removed its weekly soca show from its schedule and aside from the occasional burgeoning soca hit, soca only gets airtime during Notting Hill Carnival. As a result, soca’s mainstream exposure is lacking and only granted on an ad hoc basis. Bunji Garlin is currently getting exposure beyond the usual platforms for soca. But how long will it be until the mainstream radio stations and music channels decide they’re happy to allow another token soca hit to grace the airwaves?

In an age of physical music, soca was at a disadvantage in record sales due to the relatively small populations of the Caribbean islands it originated from. Even songs that remained popular throughout the region would not result in big record sales as the population in the region just isn’t big enough. In turn, marketing budgets would have to reflect the anticipated sales and wouldn’t support a significant push overseas. Although, in a digital era where the internet removes all boundaries from promoting music globally, hopefully soca can now get the exposure it deserves.

Soca has long been denied the opportunity to be presented to a mainstream market and showcase the soundtrack to the Caribbean. Nonetheless, as its popularity grows and the Caribbean diaspora continues to champion it, soca will continue to move toward mainstream success.