Enriching Soca’s sound
with his strings
Kyle “KP” Peters, a musician from Palo Seco in south Trinidad, has become a defining collaborative force in Soca music. With over 150 track credits to his name, the sounds he has contributed to have amassed more than 30 million Spotify streams. His work—primarily on guitar and bass—reflects a substantial and refined musical output, spanning collaborations with emerging talents, rising producers, super-producers, and celebrated performers.
On paper, Peters’ career is a constellation of titles: Managing Director at Visionary Music Group Ltd., Musical Director at Vizion Musiq Academy, instrumentalist, session guitarist, producer, tutor. Yet these descriptors barely scratch the surface of his influence.
His musical journey began with the cuatro, a four-stringed instrument central to Trinbagonian folk traditions, but quickly expanded to include guitar (acoustic, electric, and bass), steelpan, piano, tenor pan, and drums. His first musical inspiration was his mother, Denise Jones-Peters, a stellar guitarist and choir leader at Los Bajos RC Church. Recognizing his talent, she enrolled him at Joseph’s School of the Arts in Siparia, where he studied under the late Ashford Joseph, a mentor whose influence shaped generations of musicians. Peters continued to hone his craft in the communal world of parang music. Performing with the La Divina Pastora Parang Group introduced him to Lloyd Gilbert—the “Mandolin Man”—whom he regards as a mentor, noting that he “learned things by watching his approach to songs on the mandolin.”
While earning a degree in Business Management at the School of Accounting and Management, music remained his true calling. In 2011, he joined Destra Garcia & the Bakanal Band as Music Director. By 2014, Peters had founded Visionary Music Group Ltd. and Vizion Musiq Academy in Siparia. The academy was more than a business venture—it was a tribute to his mentor. “I think [Ashford Joseph] saw something in me that I probably didn’t see in myself,” Peters reflected in a 2024 interview with Newsday. “I want to see his things live on. That was the whole point of opening the school.”
His recorded output began to surface on Spotify between 2015 and 2017 with seven credited tracks, but it was during the pandemic that his work accelerated. Between 2019 and 2021, he averaged more than ten new tracks annually. In 2021 he began pursuing a degree in musical arts at the University of the West Indies’ St. Augustine campus and in 2024 graduated with first-class honours, balancing academic rigor with a rapidly expanding professional portfolio.
In the years that followed, Peters’ name became a fixture in Soca liner notes. The numbers tell part of the story: 32 tracks in 2022, 41 in 2023, and 48 in 2024. Over the past three years, his collaborations have generated nearly 28 million Spotify streams, with 2024 alone contributing over 11 million—35 percent of his career total. But raw figures fail to capture the deeper truth: Peters’ work has become a defining thread in the cultural tapestry of Soca Music.
In 2024, Peters’ guitar work was essential to “DNA,” the Road March winner, performed by Mical Teja and co-produced by Teja and Tano. One year later, his fingerprints were on Machel Montano’s “Pardy,” produced by XplicitMevon and BadJohn Productions, which claimed the 2025 title. He also played on “Carry It” by Bunji Garlin, produced by Stemz Productions, which finished second in the same competition. Beyond Trinidad’s borders, his work with Fraser Recordz on Diana Chapman’s “My Home” earned the 2025 Guyana Carnival Soca Monarch crown.
His influence extends beyond the Road March stage. Peters’ contribution to Tano’s 2022 High Street Riddim—featuring Kes’ “Jub Jub,” produced by Tano—offered an early glimpse of his versatility. In 2024, he not only played guitar but also earned additional writing credits alongside Kes and Tano on the hit “Miracle,” also produced by Tano, further cementing his role in shaping the contemporary Soca sound. The following year, his guitar work could be heard on two of 2025’s biggest Soca records: Kes’ “Coca Tea,” also produced by Tano, and Yung Bredda’s “The Greatest Bend Over” from the Big Links Riddim—a Full Blown project. These projects highlight not only Peters’ technical skill but also his ability to adapt to Soca’s evolving sonic landscape.
Peters’ recent collaborations showcase both his versatility and commitment to elevating Soca music. His creative partnership with Mical Teja and Tano reflects the collaborative spirit at the heart of his success. In a 2024 behind-the-scenes video documenting the creation of “DNA,” co-produced by Mical Teja and Tano, they credited Peters’ initial guitar strum as the spark that ignited the Road March-winning anthem. Beyond session work, Peters is expanding his role as a producer. In December 2024, he released the Sweet Waist Riddim, a project that reflects his growing ambition to shape Soca’s future from behind the boards.
With a work ethic as relentless as the Carnival rhythm and an ear finely tuned to the genre’s pulse, Peters’ contributions have positioned him to help shape the sound and spirit of Soca. From collaborations on Road March-winning anthems to chart-topping hits to supporting emerging artists and producers, his work underscores a rare talent—and Soca music is the beneficiary.
Listen to the Soca songs shaped by Kyle “KP” Peters—whether through his mastery on guitar, bass, or his work as a composer and producer.
