From powerful performances to industry recognition, the second National Music Awards highlighted the depth, legacy, and evolving future of Antigua and Barbuda’s music.
The night unfolded as a rich celebration of Antigua and Barbuda’s music, framed by a classy, high-end production that elegantly carried each segment of the programme.
From the opening prayer, a hair-raising duet by Radnor Sharpe and Dana Barnes, the tone for the evening was immediately set. The performance was both powerful and reverent, grounding the ceremony in a sense of cultural pride and musical excellence.
Each musical presentation that followed was thoughtfully curated, weaving together different elements of the musical art form and showcasing the depth of local talent. The programme moved fluidly, highlighting the many layers of Antigua and Barbuda’s musical landscape.
Perhaps the evening’s most captivating moment came with Dr. Roberts’ rendition of “God Bless Antigua.” The performance unfolded less like a single musical presentation and more like a journey through sound. His interpretation moved through shifting musical textures and moods, inviting the audience to experience the national anthem in a way that felt both familiar and newly discovered.
At key moments, what became a two-hundred-plus voice chorus was not a formal choir at all, but the audience itself rising instinctively to join the performance. The spontaneous swell of voices created a powerful sonic landscape that elevated the rendition beyond a traditional presentation, transforming it into a shared musical experience.
For many in the room, it was the kind of moment that almost demanded new vocabulary to describe it. In that instant, the evening moved beyond ceremony into something deeper — a reminder that music remains one of the most powerful ways a nation tells its story.
The closing sequence later offered a thoughtful bridge across generations of Antiguan and Barbudan music. Through a reflective monologue, the programme connected the iconic classic “In Dey” by Sir Oungku and the Burning Flames with Young Voice and New Gen’s contemporary restyled interpretation. The pairing illustrated how the sound may shift with time. Yet, the underlying rhythms, themes, and cultural expressions remain recognisably connected: different in style, yet unmistakably part of the same musical lineage.
If there was one small absence in an otherwise impressive production, it was the unmistakable presence of a live calypso performance, a genre that has long served as one of the island’s most powerful storytelling traditions.
The ambience of the evening matched the calibre of the performances. The setting was modern and polished, yet carefully infused with vintage touches and cultural elements that quietly paid tribute to the nation’s musical heritage. The design blended contemporary staging with hints of nostalgia, creating a visual atmosphere that honoured both the past and the future of Antiguan and Barbudan music.
Against this backdrop, the second National Music Awards, held Tuesday, March 10 at the American University of Antigua (AUA), brought together artists, musicians, producers, bands, and cultural leaders to celebrate the achievements shaping the country’s music industry.
The Winners Circle
Beyond the performances, the ceremony recognised excellence across a wide range of categories, acknowledging not only the singers and performers who command the stage but also the arrangers, instrumentalists, DJs, producers, and event promoters who help sustain the industry.
Gospel Artiste of the Year was awarded to Rashid Walker, with fellow nominees Melonnie Saddler and Hadassah.
Dancehall Artiste of the Year went to Niqko Wyld West, with additional nominees Muscle Don – Hugan Tonge, Kritique – Dion Pile, JAbormal – A’John Welsh, and Karl “Fucha Kid” Edwards.
Calypsonian of the Year was captured by Ge’Eve Philip, with Ruez Tuitt and Young Destroyer also nominated.
Soca Artiste of the Year was awarded to Tian Winter.
Producer of the Year was Andrew Dorsett, with fellow nominees Tadj Martin, Eric Magloire and Garfield Whaul, and Blashford “DJ Quest” Wilkins.
Songwriter of the Year went to Drastic, alongside nominee Arlen Seaton in that category.
Song of the Year was awarded to “BB Service” by Soca Villain. Other nominees included “Antigua Mas” by Tian Winter, “Daughter Come” by Ge’Eve, “Why You Leaving” by Island Prince, “Scatrow” by Sir Oungku and the Burning Flames, “A Plus Wine” by Young Lyrics, “Cape” by Empress and “Good NF” by Niqko Wyld West.
Steelpan and Instrumental categories
Panist of the Year was Maurisha Potter, with Japhon Bathley also nominated.
Arranger of the Year went to Dr. Zahra Lake, alongside nominee Maurisha Potter.
Steelband of the Year was awarded to Hellsgate Steel Orchestra, with Pandemonium and Rising Star Steel Orchestra also nominated.
School Steelband of the Year was captured by PMS Serenaders, with Irene B. Williams Secondary School also nominated.
Instrumentalist of the Year was awarded to Dwight Laviscount, with fellow nominees Dalma “Boogie” George, Javonte Chatham and Bradley Farrell.
People’s Choice Awards
The People’s Choice Awards, determined by public support, reflected the strong fan base surrounding many local artists.
Recording Artiste of the Year was won by Tian Winter, with nominees Soca Villain, Claudette Peters, Island Prince, Niqko Wyld West, Hope Serrant‑Empress, Young Lyrics, Drastic, Arlen Seaton and Kritiqz.
Band of the Year was awarded to Kutting Edge Band, with nominees Climaxx, 1761, Climax and Disturbance Band.
Jam Band of the Year went to Kaution Band, with fellow nominees Burning Flames, Kutting Edge Band, Venom X, 3 Cylinder and High Voltage.
DJ of the Year was DJ Quest, while the nominees included DJ Tenny, Kavity, DJ Riddim Master, DJ Nez, and DJ Elements.
MC of the Year was Steve “Ibis” Freeland, with nominees Mario Connor, Supa Dymond, Patrice Martin, Ercil Charles Jr., and Robyn Joseph‑Nathaniel.
Sound of the Year went to King Warriors, with Stonewall Reloaded, Kanabis, and 3Sevens also nominated.
Large Scale Event of the Year was awarded to Rise by DJ Jime Events, with other nominees Sunnyside Up by DJ Quest, De Breakfast Fete, BBB, Good Morning D’Inclusive by Alliance 268, Farmers Only, and Footprints by Strangle Entertainment.
The ceremony also included Special Recognition Awards presented to individuals who have made significant contributions to the development of Antigua and Barbuda’s music industry. Honourees Dr. Renee Smith, Patrick “Johnny” Gomes, Veron Henry, Dalma “Boogie” George, Ogliver Jacob, Vince McCoy, Patrick Edwards, and James “Sly J” Simon.
The Ricardo Drue Foundation Bright Light Award was presented to Ge’Eve Philip, with Island Prince and Soca Villain also among the nominees.
The Chairman’s Award was presented to Enoch Thomas.
A highlight of the evening was the presentation of Lifetime Achievement Awards to four legendary figures whose influence helped shape the country’s musical heritage. Honourees Junior “Jagger” Martin, and posthumously Roland Prince, and Sir Rupert ‘King Swallow’ Philo.
The responses from the award recipients themselves were also a delightful part of the evening. Their remarks added warmth and authenticity to the programme, offering brief but heartfelt reflections that reminded the audience of the dedication, discipline, and passion behind the music. In many ways, those moments of gratitude and humility enriched the ceremony, adding another layer of value to what was already an evening of musical homage and entertainment.
Beyond the results and recognitions, the evening also offered moments for reflection on the broader landscape of Antigua and Barbuda’s music industry.
There was, for instance, the quietly overlooked opportunity to feature the full gamut of the nation’s musical expressions during the prelude to the ceremony. Antigua and Barbuda’s musical tradition spans genres and generations, and a prelude segment provides a natural space to celebrate that diversity. One suspects this was less a deliberate omission than an oversight, the kind of detail that can easily be strengthened as the awards continue to evolve.
Equally noteworthy was the business sector’s visible involvement in underwriting the event. Corporate participation was evident in the presentation of sponsored awards throughout the evening. That level of engagement speaks volumes. It signals growing recognition that music and the wider creative industries represent more than cultural expression. They also represent economic potential.
When the private sector expands its investment in artists, producers, bands, and cultural institutions, it sends an optimistic signal. It suggests that the industry is beginning to be viewed not simply as entertainment, but as a legitimate and investable sector of the national economy.
In that sense, the National Music Awards represent more than a single evening of celebration. It is an institutional step in the continued maturation of Antigua and Barbuda’s creative industries.
The foundation has been laid. What remains now is the steady nurturing of the platform so that it grows in scale, credibility, and influence.
Congratulations once again to all the nominees whose work continues to define the sound of Antigua and Barbuda. And three cheers to the winners in every category.
When a nation pauses to celebrate its music, it is not merely applauding a performance; it is recognising the voice of its people.
In Antigua and Barbuda, that voice has always carried far beyond the stage.