St. Philip, the largest parish in Barbados, has not only contributed to the island’s agricultural and scenic richness, but it has also nurtured some of the nation’s most powerful musical voices in the genres of calypso and soca. During the 1970s and 1980s, calypso in Barbados began to blossom into a distinct cultural force, driven by a need for social commentary, storytelling, and community connection. In this fertile environment, two sons of St. Philip Stedson “Red Plastic Bag” Wiltshire and John King emerged from local tents and community stages to become celebrated icons in the Caribbean music scene.
Both RPB and John King began their journeys in the parish’s vibrant calypso community, shaped by grassroots performances and a supportive village culture. One of the first calypso tents in St. Philip was the Conquerors Tent, which later gave rise to the Untouchables Tent established in part through the influence of RPB, who had already made a name for himself with a Calypso Monarch win in 1982. These tents became essential spaces for emerging talent, fostering a new generation of musicians committed to lyrical excellence and rhythm-driven performance.
Stedson Wiltshire, widely known by his stage name Red Plastic Bag or RPB, entered the calypso arena in 1979. With a strong poetic sensibility and a gift for storytelling, he quickly rose to prominence. In 1982, he captured his first Calypso Monarch crown with Mr. Harding and Can’t Find Me Brother. Over the years, he would go on to win the title ten times, setting a national record with victories in 1982, 1984, 1989, 1996, 2002, 2003, 2007, 2009, and 2012. His music covered everything from political criticism and economic issues to celebration and community pride, with signature songs like Ragga Ragga, The Country Ain’t Well, Boat Ride, and I Thank You Calypso. RPB’s popularity extended beyond Barbados; his infectious rhythms and conscious lyrics found audiences across the Caribbean, the UK, and North America.
Similarly, John King, another stalwart of St. Philip’s cultural landscape, began his music career performing under the name “Johnny Ma Boy.” He gained acclaim in the 1980s, especially through the Conquerors Tent, and would go on to win the Calypso Monarch crown twice, first in 1986 with Tribute to the Skipper, and again in 1994 with I’m Back and Jump and Wave. King’s catalog of hits includes Fool’s Paradise, How Many More, which blend social awareness. His influence on the industry extended beyond music, as he later became the Minister in the Ministry of Creative Economy, Culture and Sports, where he advocated for the development of Barbadian arts and cultural industries.
What’s remarkable is that both RPB and John King performed not only in the tents and parks of their home parish but also at prestigious venues like Sam Lord’s Castle. Before it was damaged and later redeveloped, the iconic castle in St. Philip served as a popular location for cultural entertainment, including calypso shows and musical showcases. The historic charm of the venue made it a fitting backdrop for performances rooted in oral tradition and national pride. It became a space where music, history, and tourism met where locals and visitors alike could witness the storytelling power of Bajan calypso.
The successes of these two artists inspired a wave of other Barbadian performers who helped shape the soca and calypso sound into what it is today. Icons such as The Mighty Gabby, Edwin Yearwood, Alison Hinds, Lil Rick, and Hypasounds continued to build on the legacy left by RPB and King, each adding their own flavor and influence to the evolving musical culture. Gabby, while born in Emmerton, often shared stages with the St. Philip legends and was equally committed to using music as a tool of education and political expression.
The story of calypso and soca in Barbados cannot be told without acknowledging the role St. Philip played in shaping its direction. From the early days of the Conquerors Tent to the formation of the Untouchables, and from village stage to national arena, the parish has long been a fertile ground for artistic innovation. Events like We Gatherin’ serve to reignite this history, shining a spotlight on communities like St. Philip that gave birth to the sounds that now echo across Crop Over, Kadooment, and the Caribbean diaspora. Through decades of lyrics, rhythm, and revolution, St. Philip remains a place where music is more than entertainment it’s a declaration of identity, empowerment, and pride.
