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A few days before the successful launch of Panorama 2026 on November 9, I had a conversation with the person who is the main man behind my regular North Stand medium and large bands Panorama semi-finals lime which left me feeling distraught. This is an extremely enjoyable non-corporate lime that has been successfully taking place in the North Stand for umpteen years, so when he told he was not sure he would be organising it in 2026, I felt as if I had been sucker-punched. Despite my chagrin, I fully understood his reluctance to continue since his crew, like so many other long-time regular crews and fans, is increasingly concerned with what seems to be the sidelining of ordinary pan lovers in favour of corporate patrons. The matter came to a head at this year’s semi-finals when the North Stand was completely sold out, leaving many long-time North Stand enthusiasts on the outside, angry and frustrated. Several took to social media to express their dissatisfaction, claiming the inclusion of an increasing number of corporate entities severely limited the number of tickets available to “hardcore” pan enthusiasts. Additionally, those who were successful in obtaining tickets complained that the corporate entities were given the prime “real estate” while they were shunted from their traditional spots to less desirable sections of the venue. In response, Pan Trinbago’s president, Beverley Ramsey-Moore, explained that the arrangement was part of efforts to attract and reward corporate sponsors, many of whom support up to 20 steelbands. The then-minister of culture Randall Mitchell also noted that government funding alone cannot sustain the art form, and that corporate involvement was essential. No one can reasonably dispute the need for private-sector support in keeping the national instrument alive. But the way that support is being integrated into Panorama warrants careful thought. The North Stand has always been more than just a “stoosh” viewing area—it is a vibrant space where generations of pan fans, from every walk of life, come together in rhythm, laughter, and love of the music. To many, it represents the heartbeat of the event. When large portions of that stand are cordoned off for corporate groups, regular fans are not merely losing seats—they are losing access to a space that has long embodied the communal soul of Panorama. While corporate clients bring in valuable revenue, they often do not bring the same energy, spontaneity and grassroots passion that have made the North Stand a cultural institution. To use local parlance—the vibes not the same. It is therefore not unreasonable to ask Pan Trinbago to strike a more visible balance. If sections of the North Stand must be reserved for sponsors, then a clear portion with proper proximity to the stage should be guaranteed for the public, with the appropriate number of tickets being made available. After all, the true sustainability of Panorama lies not only in dollars and cents, but in the people who have faithfully supported the movement—rain or shine—for decades. So, to echo the sentiments expressed by the greatest soca artiste to ever live, in his first offering for 2026, we just need to compromise on it. Claude A Job
