Five Steez & Mordecai face off in mini action movie for A.B.S.

In a strange turn of events, Five Steez & Mordecai face off against each other in their new music video for the song A.B.S. from their recently released EP HeatRockz 2.0. The cinematic piece, directed by Kinematix Studios, depicts Five Steez as a rebel soldier being investigated by Mordecai, who plays a secret agent.

The music video features Five Steez tied up in a basement, defiantly rapping despite being beat up, and eventually laughing at the end. Mordecai is seen deep in his investigation, staring at his wall of clues and building his case slowly but unsuccessfully, while Steez is on the run.

“I love action movies and we got to make one of our own right here,” says Five Steez, about the video which was shot at undisclosed locations across Kingston. Mordecai says, “We had a wild idea and Kinematix helped us bring it to life and make something unique.”

A.B.S. is one of four tracks on HeatRockz 2.0, which was released on July 3 exclusively on Bandcamp then made available on all streaming platforms on July 31. The Bandcamp version features a fifth track as a bonus only when purchased.

HeatRockz 2.0, which is a sequel to Five Steez & Mordecai's first EP in 2016, boasts boom bap bangers, made of moody, dusty and atmospheric beats, paired with top-tier rhymes. This is the duo's third project, having followed up their introduction with the Love N Art album in 2019.

Last modified on Monday, 24 August 2020 00:59

Five Steez & Mordecai fire new HeatRockz 2.0 EP

Kingston-based MC/producer duo Five Steez & Mordecai have released HeatRockz 2.0, a new four-track sequel to their first EP in 2016. HeatRockz 2.0 boasts boom bap bangers, made of moody, dusty and atmospheric beats, paired with top-tier rhymes marked by precision and ease. This is the duo's third project, having followed up their introduction with the Love N Art album in 2019.

HeatRockz 2.0 begins with Five Steez establishing himself on the opening song as Commander in Chief before making it clear he's The Vanguard. He takes over on A.B.S. and lets everyone know who is king on U.G.K., the EP's final track.

“The process for HeatRockz 2.0 was the same as before,” says Mordecai. “I cooked up a batch of the hottest beats and sent them over for Steez to do his thing.”

Five Steez says, “The main difference in the approach this time was that I locked in at home because of this pandemic and did most of this project in one weekend.”

HeatRockz 2.0 is available exclusively on Bandcamp until July 31 when it will become available on all digital streaming platforms.

“Bandcamp is best for independent acts like myself,” says Steez. “They have been supporting artists during the pandemic by waiving their revenue share for all purchases on specific Fridays. Some of my fans have been showing love on these Bandcamp Fridays so releasing HeatRockz 2.0 on such a day felt like the right way for us all to give to each other.”

Last modified on Friday, 03 July 2020 03:14

Do You Really Know My Steez?

The Journey of An Artist (and a Genre) in Jamaica

History is a subject I never studied in high school, but I always appreciated. ‘Black History’ or African history were my favourite topics as a teenager. As my love for music grew and I started making it, its development over time, naturally, became an interest. Being a Jamaican, I was familiar with Mento, Ska, Rocksteady, Reggae, Dub and Dancehall, but I wanted to know the details of who did what, when, where, how and why.

Strange to some, but not uncommon for many in my generation, my love for Hip Hop outweighed my appreciation of any other form, including Jamaica’s indigenous genres. If I ever had any doubt or reservation about my love for ‘foreign’ music, I was given assurance and confidence in knowing the culture’s forefathers and some of its greatest contributors were Jamaicans or the children of Jamaicans and other Caribbean people. This is why history is important.

I know I envisioned it for myself in some form when I was younger, but I didn’t see myself being a part of history quite the way I am now. You may consider me to be ‘underground’ (a badge I wear proudly because that’s where art has to be authentic to thrive) and I am not a full-time working artist as I strive to be. However, somehow, I have found myself on stages overseas, in a recent national advertising campaign, mentioned in books and the subject of academic papers. Not bad, considering I used to be told that rapping in Jamaica would get me nowhere.

All of my achievements have been without a record label, a manager, a publicist, a ‘producer’ (in the Jamaican sense where one is expected to invest in and ‘buss’ an artiste) or any major investor or sponsor. I cannot take credit for everything and say I have never received advice, help or support, but I am the quintessential example of an independent artiste, and, more precisely, a DIY (do-it-yourself) artiste. That often means playing all the previously mentioned roles, plus many more. I took control of my career and put the wheels in motion whereas I found that many Jamaican artistes had a mentality of waiting for things to happen or people to do things for them, and no concrete plan that they could execute for themselves.

As a Hip Hop artiste in Jamaica, I quickly learned my artform wasn’t viewed the same way Dancehall or Reggae was, and the traditional avenues for music were not open and welcoming to my genre. It was not so much a case of people not liking Hip Hop or not liking me personally, or my music necessarily... they just did not believe in it. This includes other artistes, industry insiders and even friends. Hip Hop in Jamaica just did not appear to be a nice bandwagon to ride, and it still is not. Chances are if you are a Five Steez fan, it is because you genuinely appreciate my character and/or my work, and not because you think I am the biggest thing or the next superstar. I love these fans the most because human beings can be fickle. Some people ‘lose offa’ an artiste when they don’t become as successful or famous as they had hoped. For me, as a true fan of music, as long as the artiste’s work is good, I will still be listening and following.

Getting support doing Hip Hop in Jamaica was not easy. Like many artistes have experienced, radio play seemed to be garnered mostly through connections and payola, if you were not already established or popular. In 2007, a series of live events catering to Hip Hop, or at least embracing artistes of the genre, emerged (I chronicle these events in this article on my website). By early 2009, my peers and I also discovered that while radio wasn’t an open field for us, local cable television was. One of the first music videos I appeared in was Get Down. It was then we began releasing visuals that were shown on Hype TV and RE TV, as well as the traditional TVJ and CVM. While we had some opportunities to perform, there was little community ownership of these events and the platforms eventually fizzled.

The year 2010 was incredibly pivotal in my journey and that is when I stated making a name for myself as Five Steez. This is when I start my official story, although my closest peers will tell you I was first called Five Star and belonged to a group called The Bulletproof Army (The BP Army / BP). Nomad Carlos of The Council was a member and so was Simon the Writer (then Simo-B) who is now more recognised in the local creative scene as a poet and the main organiser of The Apollo Series.

Many developments took place in 2010. Like many creatives have done or wish to do some day, I took a massive leap of faith and left the corporate world. I returned 3 years later, but what I was able to accomplish and learnt over the period is invaluable. I definitely lost out on income at the time, but I laid a foundation for the path I am on today.

The time I had at my disposal and the passion within me led me to working as a part of the non-profit organisation Manifesto Jamaica (MJ). It was Simon the Writer that told me about this initiative for some time before I joined. I remember my first MJ meeting and it was the energy I heard expressed that made me feel I was around the right people. I was also interested in the organisation’s connection with Manifesto Community Projects in Toronto, which has been staging what is now the largest urban arts / Hip Hop festival in the Canadian city.

I was Simon’s assistant for the Literary Umbrella. With Simon overseas that summer and MJ ramping up fundraising efforts, I found myself leading on the execution of the ART’ical Exposure series which was held at Bookophilia. These were the first art/music events I ever helped to organise and, interestingly enough, staging events has become a part of what I do now. Being a rapper, and being based at the now-non-existent Gambling House Recording Studio (which was regarded as the Mecca of Hip Hop in Kingston), I did my best to incorporate rappers I knew. When the final and third staging of ART’ical Exposure was held, it was a major moment for the local movement as dozens of rappers performed to a supportive crowd of hundreds and it received good press. The Gleaner article days after was my first media mention, highlighting my performance that night.

Later in 2010, I released my first mixtape The Momentum: Volume One with New York city underground radio icon DJ Ready Cee. Although I had a project in 2008 which may be known to some familiar with the underground scene in Kingston at the time when I had the moniker Five Star, I consider this to be my first release.

The journey continued with more mixtapes, performances and press, leading up to 2012, which was momentous due to the creation of Pay Attention, Kingston’s premier Hip Hop event which ran until 2015, and the release of my debut album War for Peace.

Pay Attention was first held on April 21, 2012 at Heather’s Garden Restaurant, just a two-minute walk down the street from Gambling House Recording Studio, which was at 21 Haining Road (now, a car lot). It had four stagings there until it moved to Juggz Sports Bar and Grill (formerly Christopher’s), downstairs the Quad Nightclub, and then Funky Munky on Holborn Road, before settling at South Beach Café in March 2013. While the movement started before, it was there that the brand really took shape.

The release of War for Peace was another proud achievement. It received great reviews locally and internationally. The one that stood out the most to me was the iTunes Editors’ Notes, not because it said anything particularly magnificent, but because of what it meant for an outlet like that to review an album from a ‘nobody’ like me, an independent artiste making a genre in a country with no industry for it (or its own genres for that matter... but let’s not go there now). The album was also featured on the front page for Hip Hop as New & Noteworthy.

With War for Peace available, Nomad Carlos having Me Against the Grain out and Pay Attention in full swing, The Council (before we were The Council, but were just members of the Pay Attention Committee) came together to host The Takeover in December 2012. This stageshow paved the way for Pay Attention to take on a new life, The Council to be formed later and for my working relationship with Mordecai to begin. At this event, The Sickest Drama (TSD), Nomad Carlos and myself performed Kingston Invasion, a track we did on a Mordecai beat and released just days earlier. Mordecai and I went on to release HeatRockz in 2016, Love N Art in 2019 and will release HeatRockz 2.0 this summer.

One of the things I took from my experience with Manifesto Jamaica was how we could create our own platforms. I saw the need for the Hip Hop community to have its own space and that was a major motivation behind the foundation of Pay Attention. Always keen on the Jamaican Hip Hop identity, we helped to spread the term ‘First Coast’, which is essentially the idea that without Jamaica-born Godfather of Hip Hop DJ Kool Herc going to the Bronx, there may be no Hip Hop as we know it today. It is also a term we use for the local movement and even the island of Jamaica itself. For years, we shouted this term... TSD, especially, at the top of his lungs, as he hosted many stagings of Pay Attention, and The Apollo Series, in more recent times.

Today, I am confident people will be embracing the term ‘First Coast’ a lot more. In March 2019, The Council gave the presentation ‘First Coast: The Jamaican and wider Caribbean involvement in Hip Hop’ at The Trinity International Hip Hop Festival at Trinity College in Hartford, Connecticut. We have also been accepted to do the same at the University of the West Indies’ (UWI) conference The Legacy of DJ Kool Herc: Celebrating the Jamaican Roots of Hip Hop, which has been postponed to October due to the COVID-19 pandemic. I am also discovering that my career and work is the subject of some of the submissions that have been accepted. I hope the event does take place, and I also hope UWI is exploring a virtual option in the event that it cannot happen physically due to the ongoing pandemic. In any event, we will be submitting a ‘First Coast’ paper for the conference’s anthology to be published. I may also do a similar presentation at another international forum to which I have been invited for November.

Now, earlier this year, we could truly say Hip Hop came full circle when DJ Kool Herc himself returned to Jamaica for the first time in decades as a special guest of honour at the Jamaica Music Conference. I wrote this article ahead of his arrival to articulate what I believe this meant historically. I also had the distinct privilege of not just meeting and building with him and his sister Cindy, with whom he held Hip Hop’s first block parties, but also sitting with them at the conference’s media briefing to speak a little about what he means for Jamaica, Hip Hop and the local community. Of course, I explained the term ‘First Coast’ for the audience. That was definitely a surreal moment. It was almost like we spoke it into being.

That was February. A lot has changed since then. Many plans are up in the air right now for creatives worldwide because of the new pandemic, myself included. Fortunately, my full-time job does not appear to be at risk at the moment and I am able to work from home. My efficient weekday time management and the lack of traffic (which took up 2-3 hours per day of my pre-COVID life) is giving me more time for myself. Add that to my crazy work ethic in general, my determination to make the most of this ‘downtime’ and my slight anxiety that I, too (and you!), could die during this pandemic so I need to do as much as possible (I’m feeling like Tupac on Death Row Records right now LOL)... I am getting a lot done! I am now at my peak of physical activity and creative output since I was around 18, and I am also improving my business and financial acumen, while tying up loose ends.

This year started strong for me and I am not going to let this Coronavirus slow me down or discourage me at all. I intend to build on and leverage the familiarity that Jamaicans now have with my face and voice as a result of the Broadcasting Commission of Jamaica’s What If advertisement, in which I am featured as a rapping teacher. Last year was excellent as I released two projects in one year. In addition to Love N Art, there was the Pantone EP with French beatmaker J-Zen in October. This year, I could do the same. By the time this is published, I should be close to releasing HeatRockz 2.0 and should have finished recording an album with Brazilian producer Sono TWS. I should also be at work on another project that will remain secret until the time is right.

One of the next steps I’ve been exploring and researching is organising my own tour, or at least, more festival appearances. This is definitely where COVID-19 has wiped out much of what was possible for 2020. I am not deterred, however, as I will be using the time to learn the ins-and-outs of getting and being on the road, while creating and marketing online my brand better than before. My intention is to have new product, all my business in order and to be ready to take on the road by the time that travel and large gatherings resume. I am very hopeful that mankind will find a way to defeat this pandemic and simply make it a moment in history that we know will never return. It is just that we are very early in a fight against a new virus and we cannot see the light at the end of the tunnel as yet. We will get there, I’m sure.

In these uncertain times, I know some of what I have in store, but there is so much we cannot predict. My journey as an artist will continue. That includes writing (like this) and (maybe not so much again now) organising events. One of the things I’ve learnt in my journey is that you don’t always know when you’re making history or being a part of it. I always tell artists to stick to their vision if they truly believe in it. If people don’t get it, find those who do. I have also found it important to tell your story and document the journey as I am doing here. As a Hip Hop artiste locally, I’m prone to being overlooked or my story being misrepresented so it is essential to me, from a marketing perspective, to control my own narrative and influence others’ perceptions.

These articles I write at times about my artistic journey and/or Hip Hop in Jamaica are not journal entries, although they revolve around me and I try to be very conversational and open. These are, in fact, historical documents, for those who are interested in Hip Hop culture, as well as music in Jamaica. I can do only so much, however, and these writings are small fractions. It’s funny, I always loved history, and I tried my best to study whatever aspects of it were most relevant to me. That included history about race, ancestry, nationality, culture and music. Now, I find myself writing history. And who is more qualified to do so but the one that is actually on the frontlines making history too? The journey continues...

Originally published on the Kingston Creative Blog

Last modified on Thursday, 04 June 2020 20:29

 The Council, Eesah and SpaceAgeRasta rep the Streets of Jamaica

Jamaican Hip Hop collective The Council connects with Reggae artistes Eesah and SpaceAgeRasta for a new single titled Streets of Jamaica, now available on all digital platforms, under the All Nations Music label. The song is also accompanied by a music video, directed by Fyah Roiall, which may be seen on Youtube.

The new school boom-bap beat and raw verses from The Council’s Five Steez, Nomad Carlos and The Sickest Drama, alongside SpaceAgeRasta, make this song a deadly combination, effortlessly blending social commentary with braggadocio. Eesah’s catchy hook fits right in place to remind everyone where all this dopeness comes from - “We going hard again / Dem think seh ah foreign but ah yard again.”

The music video shows amped up performances from all the artists, interspersed with various visual effects, matching the high energy of the song itself, which would sound equally at home in many Hip Hop, Dancehall and even modern Reggae playlists.

Streets of Jamaica is the second release, following Life Goes On which featured SpaceAgeRasta, Inztinkz and The Sickest Drama, from collaborative sessions with The Council, NRG and Eesah.

The Council comprises Five Steez, Nomad Carlos, The Sickest Drama and Inztinkz while NRG (New Reggae Generation) consists of SpaceAgeRasta, Iyah Gift and Rseenal. Eesah joins the fold as a singer or singjay, bringing the melody, among a circle of rappers and deejays.

Last modified on Monday, 25 May 2020 15:22

Daley ft Five Steez - All I Know

Daley is one of the spitters out of Montego Bay that I have been impressed by for some time so it was dope to finally link up and do some music. This is the first of what may be more to come from the both of us. 

Last modified on Saturday, 02 May 2020 14:33

The Council Interview w/ Self Suffice at the 14th Annual Trinity International Hip Hop Festival

This weekend would have been the 15th Annual Trinity International Hip Hop Festival in Hartford, Connecticut, however, it was cancelled due to the COVID-19 pandemic. I feel I've developed a connection with the festival and the people who have been involved after performing there twice, as a solo artist in 2018 and with The Council in 2019. While The Council was not selected to perform this time, we knew we would be naturally reminiscing on last year and wishing we were there. So, now is surely the best time to share this lengthy interview we did with Self Suffice, who is a rapper and educator based in Connecticut. This is some interesting content because, possibly for the first, all members of The Council are on camera explaining the history of how we met and some of the intricacies of the music scene in Jamaica.

Last modified on Saturday, 28 March 2020 21:07

Five Steez & Mordecai drop new visual for Days N Times

Kingston-based independent Hip Hop duo Five Steez & Mordecai have released a new music video for Days N Times from their album Love N Art. The visual, shot and directed by Lynky, utilises the sunlight, shadows and silhouettes to show a day’s progression. “In the hook, I speak about the need for the sun rays to shine so we decided to play upon that,” says Five Steez.

The sweet, jazzy sound of Days N Times evokes the hopeful feeling of a brighter future despite rough circumstances. In just under 4 minutes and 44 seconds, Five Steez shares useful gems and lessons. “Life is what you make it, some things you can’t control,” he says in the first verse. “Work around that and let your plans unfold / Whatever you do, make sure you have your soul / Because peace of mind is a bag of gold.”

Last modified on Tuesday, 25 February 2020 02:02

The Council at The Trinity International Hip Hop Festival on Saturday, March 30, 2019, at Trinity College in Hartford, Connecticut. (Photo by Greg Schick)

The Council to welcome DJ Kool Herc at the Jamaica Music Conference

Kingston and New York-based Hip Hop collective The Council will welcome the man regarded as Hip Hop's founding father, DJ Kool Herc, at the Jamaica Music Conference (JMC) on Thursday, February 13, at Dub Garden, 10A West Kings House Road, Kingston 10. The group will be performing as part of The Apollo Showcase at the Welcome Reception of the conference, which has DJ Kool Herc as its guest of honour.

The open stage and concert event, The Apollo Series, has curated a 30-minute showcase that will highlight some of the best local Hip Hop talent to have graced its stage. Five Steez, The Sickest Drama and Inztinkz of The Council is slated to appear, with a feature from Dizzy the Ill One.

“We see the JMC as an essential forum, filling the gap of formal knowledge sharing in the country’s music landscape,” says organiser of The Apollo Series and head of A.C.T.I.O.N. Jamaica, Simon the Writer. He said when presented with the opportunity to curate a showcase, The Apollo Series team could not pass up on it. “We feature all kinds of talent on our platform and that includes local Hip Hop artistes, so it was a no-brainer for us to present a set suitable for a guest of honour such as DJ Kool Herc.”

Council member The Sickest Drama says, “This is a historic moment for Hip Hop on a global level and for the culture of Jamaican music, of which Hip Hop is an extension by way of the sound system culture. It is for this reason The Council has been spreading the idea of Jamaica being dubbed the First Coast, as without DJ Kool Herc, there may be no Hip Hop as we know it today.”

The JMC 2020 Welcome Reception begins at 6 p.m. with cocktails. The conference, which will continue through to Saturday at the Courtleigh Hotel, will feature other showcases, panels and events geared towards sharing best practices in the music industry. The JMC closes on Sunday, February 16, with the Itopia Life Beach Day at Wickie Wackie Beach. All attendees must register. More information is available at

Last modified on Tuesday, 11 February 2020 03:28

Myself and Inztinkz of The Council during our presentation First Coast: The Jamaican and wider Caribbean involvement in Hip Hop
at the Trinity International Hip Hop Festival in Hartford, Connecticut on Friday, March 29, 2019. (Photo by Greg Schick)

Hip Hop comes full circle in Jamaica

DJ Kool Herc to be celebrated on the ‘First Coast’

You would have to know me to understand the joy I felt when I caught wind of the upcoming University of the West Indies (UWI) conference The Legacy of DJ Kool Herc: Celebrating the Jamaican Roots of Hip Hop. The event, to be held April 16-18, 2020, is intended to address the gap in scholarship about the local influence on the genre while focusing on its global significance.

DJ Kool Herc has always been of particular importance to the Hip Hop community in Jamaica. Herc, born Clive Campbell in Kingston, Jamaica, is credited as the genre’s forefather, starting with his back-to-school jam in the Bronx, New York, in 1973. Many of us Jamaicans who love Hip Hop and know its history find the local connection very interesting, even assuring and empowering.

This led to The Council, a Kingston and New York-based collective of which I am one-fourth, to coin and spread the term ‘First Coast’. After all, if there was no Kool Herc, perhaps, there may be no Hip Hop as we know it today. Therefore, we argue that Jamaica is the ‘First Coast’.

This piece of history – the influence of Jamaica’s sound system culture on Hip Hop – is not only a point of discussion within our community, but it arises in interactions we have with other people in social, and, definitely, ‘industry’ settings.

I can use my experiences with the media as examples since these are conversations where I am sometimes questioned extensively. I have done countless interviews about my music for every form of media. International outlets are often intrigued by the existence of boom-bap Hip Hop in Jamaica, and, moreso, impressed by the quality. Some local media, especially in the past, would initially question the choice of genre and seem oblivious to the quality and the obvious story in this music being done well in an unexpected location that actually has a strong claim to its foundation.

Naturally, the story of DJ Kool Herc would come up in some interviews with certain local press, as in casual social conversations, and I found that many Jamaicans, including those who should be more knowledgeable about music, really did not know much about the Jamaican contribution to Hip Hop, or the genre in general. Hence, they viewed the music as ‘foreign’ while many of us in the local community have always known it as an extension of our sound system culture and that we have a rightful place in it. ‘First Coast’ is our way of asserting that, educating and reminding people.

DJ Kool Herc sits for an interview with the Jamaica Music Conference in New York on Saturday, January 11, 2020. (Photo by Kwasi Bonsu)

With all of this in mind, you will better understand why I welcome the UWI conference. It is fulfilling to see local academia embrace Hip Hop culture and begin to study DJ Kool Herc and the Jamaican contribution. In March 2019, The Council appeared at the Trinity International Hip Hop Festival in Hartford, Connecticut, where we performed and also delivered a presentation titled First Coast: The Jamaican and wider Caribbean involvement in Hip Hop. We have submitted the presentation’s abstract for consideration at UWI’s conference and it would be an honour if we get to speak to our home audience this time. Whether we are invited to present or not, we will definitely be in attendance. Just a week after submitting our abstracts, I came across more exciting news. International Reggae Day, the 24-hour global media festival celebrated every July 1st, will be honouring DJ Kool Herc this year! Coincidence? I think not. This is synchronicity and a sort of ‘holy trinity’ because Herc himself has just been confirmed to attend the Jamaica Music Conference (JMC) on February 13-16!

The JMC is a forum which allows independent music professionals to network and learn best practices. I fully endorse this recurring event and was privileged to be part of it in 2016 when The Council and Canadian rapper Michie Mee had a panel. I’m happy that DJ Kool Herc will be participating and that there will also be a discussion titled The Rise of First Coast: Marketing Jamaica’s Hip Hop. While I am not a panelist, I will surely be present.

So... three events honouring DJ Kool Herc, all in the same year... the JMC, UWI’s conference and International Reggae Day. This is all very exciting to me and I am wondering what it could mean for the future of Hip Hop in Jamaica. Of course, my agenda is to strengthen the culture here and forge a path for the Hip Hop artists from Jamaica. My interest is not merely from an academic or cultural standpoint; it is also artistic and commercial.

Earlier, I mentioned my experience speaking with some local media in the past. The response I used to receive from some has changed over time, for many reasons, one being that they have become more familiar with my work and have come to respect it. For a very long time, we, in the local Hip Hop community, have heard that Jamaicans should not rap or cannot rap. Now, in 2020, I cannot remember the last time I heard that. I suspect Hip Hop’s rising popularity, the existence of local rappers all over the island and our most celebrated Dancehall and Reggae artists fusing forms of Hip Hop, from boom-bap to trap, with Jamaica’s traditional sounds, have played a part in what may be a shift in thought for some. There are still people, however, that do not know we exist and there are others that simply ignore or overlook us.

I do not know exactly what the future is for Hip Hop in the traditional Jamaican music industry, or if it will ever have a place there. What I know, however, is that Hip Hop made in Jamaica, will spread further and nothing will stop it. With changing sentiments on the island, and more artists finding international success, particularly through the internet, what’s to stop Hip Hop? Nothing.

Last modified on Friday, 17 January 2020 04:10

Michie Mee & Five Steez to celebrate birthdays at Scorpio Bash

Legendary Canadian Hip Hop artist Michie Mee is staging her annual Scorpio Bash for the first time in Kingston, Jamaica at Dub Gardens, Itopia Life, 10A West King’s House Road on Saturday, November 9. The event, beginning at 6 p.m., will be held to celebrate her birthday, as well as that of Jamaican Hip Hop artist Five Steez, and all other scorpios.

Numerous Hip Hop artists, from both Canada and Jamaica, are slated to perform on the night. From the Canadian contingent are Tonya P, Xentury, Lord Fury, Korexion, Nana and Michie Mee herself. Representing Jamaica will be Inztinkz, The Sickest Drama, Dizzy the Ill One, Iyah Gift and, of course, Five Steez. The event, which will be co-hosted by special guest, Quizz, will feature music by DJ Elmo, Inztinkz and DJ J Niiice of IHeartRadio in Canada.

“I always stage the Scorpio Bash in Toronto each year,” says Michie Mee. “This year, I wanted to take the party home, bring my Canadian friends to Jamaica and have all my Jamaican friends join in on the festivities.”

Five Steez says, “Michie and I been in touch since 2010 when we first met through the Manifesto movement, which is active in both Jamaica and Toronto. I’m happy we can now collaborate, bring our people together and have a major celebration.”

The cost for admission is $500.

Scorpio Bash is sponsored by Generation Hip Hop, the Jamaica Music Conference, Northside Hip Hop and Itopia Life.

Michie Mee is a Jamaica-born artist regarded as one of Hip Hop’s early notable female rappers and a national Hip Hop pioneer in Canada, after becoming the first Hip Hop artist from the country to sign a deal with an American major record label. Five Steez, on the other hand, is a Kingston-based underground Hip Hop act, who has performed at international festivals and staged multiple local events.

Last modified on Tuesday, 22 October 2019 01:53
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