Most of the soca artistes and local entertainers generate a significant portion of their annual income during this period. Machel has performed a few “love songs” and some “message songs,” which were equally successful. Eddy Grant once remarked that one of the major hindrances to soca gaining wider international appeal was the dearth of songs dealing with man/woman relationships in the context of love. He emphasised there was a need for more love songs in this music. This writer has enjoyed performances of Machel at shows in New York, and witnessed the tremendous control he has over his audience and the discomfort this power had on the New York law officers. Over the years this anxiety of the police might have been responsible for some of the parties he played being closed off earlier than originally advertised.

A young relative has also seen Machel in full flight at one of the upscale clubs in Manhattan and Madison Square, and she continuously mentioned his level of professionalism in putting on a magnificent international show. When Machel appeared at the Calypso Dialogues at the University of the West Indies about five years ago, he did so with an acoustic guitar and he indicated he was trying to learn this instrument because he wanted to put more melodies into his songs. Since then, he has produced some songs with interesting melodies but he continues to rely on the rhythm of the music. Is the total reliance of rhythm appropriate for the marketing of soca music to a diverse international audience? There is a perception that large recording do not sign Trinidadian soca artistes because their representatives usually conclude that local artistes “cannot sing.” This description is not applicable to Machel because in his early years he sang a number of ballads to various audiences.

It is a fact that most soca artistes utilise mainly rhythm and a staccato approach in presenting their songs, thereby reducing the use of melodies but producing a hypnotic effect on people enjoying the music. Soca songs with interesting melodies and varied lyrical content can help to eradicate the myth of “the can’t-sing Trinidadian soca performers.” Machel, congratulations on taking this critical decision (not to perform to a T&T audience this Carnival) which shows that you are a man of great courage and self belief. Everyone knows that this resolution comes with tremendous personal and financial sacrifices, since performing to a Trinidadian audience is utopia to some artistes and you usually generate substantial income during Carnival celebrations in Trinidad. Many of your friends, fans, masqueraders and even your detractors are going to miss your energetic live performances. You now have the opportunity to reflect on your position in the musical landscape of Trinidad and beyond.

You must view yourself and your music as being more than just Carnival with its restrictive lyrics and instructional songs. The world must be your stage. Consider yourself as “Sometimes going to foreign lands, where they have never heard a calypsonian” (Shabaka–Soca Taking Over) Great religions of the world have always embraced reflection and sacrifices as essential tenets of their doctrines. You must accept your position of messenger and leader in spreading “the Gospel of Soca.” Your philosophical review should inform your development of various strategies to produce, perform and market quality music both locally and internationally. You are qualified to lead the musical brigade, as Rudder always mentions that you are different from many of the other soca artistes because you know the history, the traditions and the power of calypso music. Best of luck in the future.