Village Dispatch: An Interview With Kes

Soca music is known for its ability to elicit joy. Whether you have been to Trini Carnival, another Caribbean festival or have tapped into the vibes while working out, you have experienced it. One band that best embodies Soca’s ecstasy is Kes. With passionate performances and sultry hits they have captivated fans worldwide. Their annual concert Tuesday On The Rocks is one of the biggest, most attended and most anticipated on the Carnival circuit. Kes has mastered creating music that encapsulates Trini culture while being relatable to those far beyond the Caribbean.

Their new album, We Home, transports listeners to the islands with groovy, sexy, exuberant songs. At this time of social despair, restricted  travel and banned live shows, we can find solace in Kes’ latest recorded offering. 

I recently sat with lead vocalist Kees Dieffenthaller for a chat about the release.

Ancestral Memory:What  did you hope to capture with this album?

Kes: I wanted people to feel as though they were listening to the music live. So even though they can’t go to a fête or a show right now, that energy would come across in their home or wherever they’re listening from. Even though as an artist I miss the live in-person interaction with the fans, there was a chance to put a similar energy into the album. Of course, the feel might be slightly different but people can still imagine that they’re in a fête - feeling the love. When you’re at a fête or some other event you don’t think about the arrangement of the music. You shouldn’t have to anyway. You just enjoy it. We even approached the song selection for the album like it was a (performance) set. I also wanted the album to be a nice introduction to the genre for someone hearing Soca for the first time. You could hear it and want to explore Soca more deeply. 

AM: In what ways do you think this album reflects where you  presently are  in your evolution as an artist?

Kes:I think I’m more open and more aware of the possibilities creatively. After working with various musicians such as jazz trumpeter, Etienne Charles and renowned engineer, Dexter Simmons who previously worked with Michael Jackson and Whitney Houston, I feel more in a space of being able to explore things with my music that I may not have thought about before. 

AM: What songs on the album did you most enjoy creating?

Kes: I enjoyed making each of them for different reasons.(Laughs) When we created each song, there was a certain vibe or experience in that moment that made the particular song special. However, I’m probably most excited that we found a home for Beautiful Life. We made it as a demo without being sure what we would do with it. I feel like it found  the perfect home in this album. 

AM: One of my favourite songs on We Home is the collaboration among yourself, Jimmy October and Jazz musician Etienne Charles. How did it come about?

Kes: Etienne and I actually go way back. We came up doing music in school together. I was there when Etienne first picked up the trumpet. Back in the early days of my career we also recorded music in the same building in Times Square. We have since crossed paths many times. I have always wanted us to do  a song together. Once I had the song (Magic) I approached him  like “this is it Etienne”. As for Jimmy, he and I came together while working on a song with Shenseea. Etienne, Jimmy and myself have each created contemporary music while honouring traditional calypso. We’re on the same tip.  I think that’s what collaborations should be, they should come from artists being on the same vibes. The decision  should be intentional and deliberate - creating music together because your paths have  crossed and brought you to that moment  creatively. 

AM: As Soca and Afrobeat have expanded their global reach over the past several years, there has simultaneously been a steady increase in collaborative projects between the two genres. What significance does such exchange, for eg., your new song with Wizkid,  hold for you as an artist? 

Kes: There has definitely been a continuous cross-pollination  between Caribbean and African music, which is cool to see and experience. It’s  like on both sides we have been peeking over the fence to see what the other is doing. (Laughs) Soca and Kaiso ultimately come from Africa so I think it’s important to connect with our roots. I have long had a fascination with Africa. Whether we are in Africa, the Caribbean, Latin America, we are all making Black music. We may interpret drums differently but the rhythm is still there. This music transcends borders. We have to create our own platforms through which we can engage with one another. 

 AM: A recurring question regarding Soca has been how to make it viable outside of the Carnival industry and the Carnival circuit? From early on you have created Soca that is  universal and timeless. Still,  when one considers the impact that the current pandemic is having on the Carnival industry, how are those conditions shaping how you approach making Soca. How do you think the genre can adapt to the circumstances ? 

Kes: If we look back into the history of Soca and Calypso, we will see that the artforms have always adapted to the times. I think we now have an opportunity to reflect on what’s at the heart of our music and where we wish to take it. Yes, Soca is tied to fêtes and Carnival and, to be honest, over the years we became more focused on certain elements because of the economic value. That has served a purpose, but there are important elements that have been there since the foundation that we’ve kinda neglected. We now have the opportunity to turn inward and remember these things, to remember the history of Kaiso, the history of Soca. There are so many stories that speak to what our music  has given to the world.

Photography Credit: Marlon James