Chutney music (Caribbean Hindustani: चटनी संगीत, 𑂒𑂗𑂢𑂲 𑂮𑂑𑂹𑂏𑂲𑂞, چٹنی موسیقی) is a genre that blends Hindustani folk music, including Bhojpuri music folk traditions, with Caribbean Calypso music and Soca music rhythms and later filmi music.
The term chutney is derived from the Hindi word Chutney, referring to South Asian condiments made of spices. Before the emergence of Caribbean Hindustani, early chutney music often featured lyrics sung in Hindi, Bhojpuri, Awadhi language or other Indian languages, blended in with West Indian Creole and Caribbean English.
This genre is characterized by fast-paced rhythms and percussive beats, often accompanied by instruments such as the dholak (hand drum), harmonium, and dhantal (metal rod percussion).[Servan-Schreiber, C. (2011). Indian Folk Music and ‘Tropical Body Language’: The Case of Mauritian Chutney. South Asia Multidisciplinary Academic Journal. https://doi.org/10.4000/samaj.3111]
History
Origins
Chutney music traces its roots to the Indo-Caribbean community, particularly in Trinidad and Tobago,
Guyana, and
Suriname. The genre emerged from the cultural practices of Indian indentured laborers who were brought to the Caribbean after the
Abolitionism in 1834.
These labourers, primarily from the
Purvanchal-
Bhojpuri region, and
Awadh regions of the present-day states of
Uttar Pradesh and
Bihar in
India, carried with them their folk traditions, religious practices, and
music - including Bhojpuri folk songs often performed by women during private wedding-related ceremonies like
matikoor. By the late 1960s, these musical forms began moving from the "wedding tent onto the stage," adapting for public performance and interacting with the wider Caribbean musical landscape.
Early Recordings and Growth
The first notable recordings of chutney music appeared in the late 1960s.
Ramdew Chaitoe, a Surinamese artist, released the album
King of Suriname in 1968, featuring religious songs with a danceable rhythm.
[Mishra, Y. (2022, January 18). How Bhojpuri Founded Chutney Music In The Caribbean. PeepulTree. https://www.peepultree.world/livehistoryindia/story/living-culture/how-bhojpuri-founded-chutney-music-in-the-caribbean?srsltid=AfmBOoqFl3lkEP6imgcMe2z2ALwZFpDC8qwPMFp0Xei7ahKhRnY_JnaS] In 1969,
Sundar Popo, often referred to as the "King of Chutney," revolutionized the genre by incorporating Western instruments such as
,
Musical keyboard, and early electronic elements, making chutney music more appealing to younger audiences.
His hit song, "Nana and Nani," was a landmark track, blending traditional Bhojpuri lyrics with
Caribbean rhythms, setting the foundation for modern chutney music.
[Malhotra, N. (2016, July 5). Listen to Some Chutney Music Today - A Vibrant Mix of Bhojpuri Beats and Caribbean Calypso. The Better India. https://thebetterindia.com/60362/chutney-soca-indo-caribbean-music-fusion-bhojpuri/]
Another highly influential early hit by Popo from the 1970s was "Kaise Bani" (How can you make phulouri without chutney?). This song exemplified the genre's early linguistic and cultural mixing, combining a possibly traditional Bhojpuri refrain with English verses. These verses referenced the Indo-Trinidadian experience through themes of local food (phulouri, chutney), specific places (Sangre Grande), plantation labour symbols (the kudari or spade), migration, and even fragments of English nursery rhymes.
Rise to Popularity and the Evolution of Chutney Soca
The 1980s and 1990s saw an increase in chutney music’s popularity, largely due to artists who fused traditional chutney with soca and
Calypso music influences. One of the most significant figures of this period was Drupatee Ramgoonai, who became known as the "Queen of Chutney."
[ Drupatee Ramgoonai Biography: Chutney Music. (2019, February 6). Chutney Music. https://chutneymusic.com/drupatee-ramgoonai/#google_vignette] She introduced the subgenre
chutney soca, which became a staple in Trinidad’s Carnival celebrations.
This fusion of styles helped chutney music gain mainstream acceptance, expanding beyond Indo-Caribbean communities to wider Caribbean audiences. She has performed throughout the
Caribbean,
North America,
Europe and
India alongside many internationally renowned stars.
By the late 1990s, chutney music had gained international recognition, with record labels in the United States and Canada signing chutney artists.[ Chutney Music – featuring Guyana’s Terry Gajraj – autoplay 10 videos. (2013, March 21). Guyanese Online. https://guyaneseonline.wordpress.com/2013/03/21/chutney-music-featuring-guyanas-terry-gajraj-autoplay-10-videos/] This period saw the rise of independent recording companies, such as Jamaican Me Crazy (JMC) Records, Spice Island Records, Mohabir Records, and JTS Productions, all of which aimed to capitalize on chutney music’s growing appeal.
Impact and Legacy
Today, chutney music remains one of the most significant Indo-Caribbean musical genres, celebrated across the Caribbean and Indo-Caribbean
diaspora.
Its evolution has included influences from
Bollywood music,
reggae, and
hip-hop, demonstrating its adaptability and global reach.
The genre has expanded into major music festivals, global streaming platforms, and international collaborations.
[Baksh, D. G. (2014). Jep Sting Radica with Rum and Roti: Trinidadian Social Dynamics in Chutney Music. Popular Music and Society, 37(2), 152–168. https://doi.org/10.1080/03007766.2012.737593]
Musical Style and Instrumentation
Rhythms and Beats
Chutney music has
uptempo rhythms, which combine traditional Indian instruments like the
dholak (a double-headed drum) and
dhantal (a metal rod) with Caribbean beats such as
Soca music and
Calypso music.
The
dholak provides the rhythmic foundation while the
dhantal adds a metallic percussive element, creating a distinctive sound.
Instruments
-
Traditional instruments: dholak, Pump organ, and dhantal.
-
Modern additions: bass guitar, electric guitar, and Tassa (used in Hindu and Muslim celebrations). The tassa drums, traditionally used in Trinidadian Muslim weddings, add a dynamic and energetic layer to chutney music.
[williamtantam. (2018b, January 22). Tassa Drumming as an Icon of Indianness in Trinidad and Tobago. CICR. https://cicr.blogs.sas.ac.uk/2018/01/22/tassa-drumming-as-an-icon-of-indianness-in-trinidad-and-tobago/]
Lyrics and Themes
Early chutney songs were mainly religious or focused on folk themes, often sung by women during weddings and festivals.
These songs were performed in private settings, such as pre-wedding ceremonies known as mathkor, where women would sing and dance to celebrate the upcoming marriage.
Over time, the lyrics evolved to explore broader themes of love, life, and social issues.
Languages in Chutney Music
Caribbean Hindustani
Chutney music is predominantly sung in Caribbean Hindustani, a linguistic blend of Bhojpuri,
Awadhi language, and Caribbean English.
This language reflects the unique identity of the Indo-Caribbean community, linking their Indian heritage with their Caribbean upbringing.
Caribbean Hindustani is a creolized form of Hindi that incorporates elements of English, French, and African languages, reflecting the multicultural environment of the Caribbean.
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[[English|English language and
Hindi
Modern chutney songs often include English lyrics, making the genre more accessible to a broader audience. However, performers often maintain an "Indian sound" through characteristic vocal enunciation and the use of familiar Indian folk melodies, even when lyrics are predominantly in English. However,
Hindi and Bhojpuri phrases are still used to maintain cultural ties to Indian heritage.
[ What is Chutney Music? (n.d.). Aingram.web.wesleyan.edu. https://aingram.web.wesleyan.edu/chutney.html] The use of multiple languages in chutney music reflects the bilingual and multicultural nature of the Indo-Caribbean community.
Cultural Significance
A Symbol of Indo-Caribbean Identity
Chutney music represents the resilience and creativity of the Indo-Caribbean community. It preserves Indian cultural elements while adapting to Caribbean influences, serving as a platform for expressing Indo-Caribbean experiences and struggles.
The genre has become a powerful symbol of Indo-Caribbean identity, reflecting the community’s ability to maintain its cultural heritage.
Gender Dynamics
Early chutney music was dominated by female artists, who used the genre to express their experiences and challenges in traditionally private, women-centric spaces like wedding events.
Women played a central role in the development of chutney music, performing at weddings and other private gatherings.
Today, the genre is more gender-mixed, but female artists continue to play a key role.
The move to public stages, often dominated by male artists, also transformed chutney into "an important area in which Indian men and women could renegotiate gendered identities," influenced by interaction with broader Caribbean and North American gender norms.
Carnival and Festivals
Chutney music plays a central role in Caribbean festivals, particularly Trinidad’s Carnival, where
chutney soca competitions attract large audiences.
[Dudley, S. (2003). Creativity and Control in Trinidad Carnival Competitions. The World of Music, 45(1), 11–33. JSTOR. https://doi.org/10.2307/41700086] Chutney music has also become a part of other Caribbean festivals, such as Guyana’s
Phagwah and Suriname’s
Holi celebrations.
[ Afropop Worldwide | Peter Manuel on Indo-Caribbean Music. (2025). Afropop Worldwide. https://afropop.org/articles/peter-manuel-on-indo-caribbean-music]
Notable Artists
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Sundar Popo, the "father of Chutney music," played a key role in shaping Indo-Caribbean music. He gained fame with his 1969 hit "Nana and Nani" and went on to release over 15 albums, including tracks like “Scorpion Gyul” and “Pholourie Bina Chutney.” Popo was awarded the National Hummingbird Medal and performed internationally.
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Drupatee Ramgoonai, a prominent chutney and soca artist. She revolutionized the music scene with her 1987 hit "Chutney Soca," a fusion of traditional chutney and soca. Known for breaking cultural barriers, Ramgoonai became the first woman of Indian descent in Trinidad to sing soca and calypso. She gained international recognition with songs like "Pepper" and "Motilal".
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Ravi Bissambhar, better known as Ravi B, a leading chutney soca artist. He is the frontman of the band Karma, blending chutney soca with Bollywood, reggae, and classical Indian music. Ravi's hit “Drinka” became the first chutney soca song to surpass one million YouTube views.
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Raymond Ramnarine, the lead vocalist of the chutney soca band Dil-E-Nadan. He gained fame after winning a singing competition in 2013, and has since become known for his dynamic performances and hit songs like “Good Vibez” and “Tujhe Suraj.” Ramnarine is dedicated to promoting the positive aspects of Trinidad and Tobago through music, and has used his platform to challenge global perceptions of the region.
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Adesh Samaroo, a chutney soca artist who made his debut with the 2002 hit "Rum Till I Die." Known for his clever lyrics, such as in "Caroni Close Down," Samaroo became a prominent figure in the chutney soca scene. He won the National Chutney Monarch in 2004.
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Rakesh Yankaran rose to fame with his hit song "Dadiyya Moday Lay Lay" in 1991. He has won the National Chutney Monarch multiple times and is celebrated for his traditional Indian instruments. His contributed to chutney music, with tracks like "Mousie" and "Naroro Ray".
General references
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Broughton, Simon, and Mark Ellingham. "Trinidad: Chutney." World music: the Rough guide : [an A-Z of the music, musicians and discs.. London: The Rough Guides, 2000. 527-530. Print.
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Ingram, Amelia. "What is Chutney Music?." An Exploration of Music and Culture in Trinidad. N.p., n.d. Web. 3 May 2011. Wesleyan University
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Manuel, Peter, Kenneth M. Bilby, and Michael D. Largey. Caribbean currents: Caribbean music from rumba to reggae. Philadelphia: Temple University Press, 1995. Print.
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Manuel, Peter. "Chutney and Indo-Trinidadian cultural identity." Popular Music 17 (1998): 21-43. Print.
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Ramnarine, Tina Karina. ""Indian" Music in the Diaspora: Case Studies of "Chutney" in Trinidad and in London." British Journal of Ethnomusicology 5 (1996): 133-153. Print. subscription-only link from JSTOR
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Poppelwell, Georgia. "The Chutney Phenomenon." Caribbean Beat Magazine. (1996)
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Sriskandarajah, Ike. Indian Folk Music Brought To Trinidad Looks For Fans Outside The Caribbean. NPR. (2015).
