Soca is currently seen as a lucrative by-product of calypso but is decried as being lyrically poor because of its primarily smutty and instructive focus. As a result, the few scholarly articles written about soca refer to its inventor, influences and the dances that revolve around it. My thesis evaluates soca in a different light. I posit that a study of soca’s lyrics will reveal an art-form which keeps close to its calypso roots. Additionally, soca has embraced women as performers, not just wining behinds, who can embrace and voice their sexuality in song without impunity. Consequently, I show that soca’s lyrical focus on relationships and more social concerns constitute a response to the global trend fostered by the new colonial/neoliberal laws which dominate countries of the Global South throughout the world. These laws are especially relevant to soca artists who perform not only in the Caribbean but also in the First World countries which have significant portions of Caribbean nationals and their descendents. This thesis therefore attempts to open dialogue in these areas and show that soca’s smutty and instructive lyrics which embrace the “jump up and wave” ideology is a valid part of Caribbean identity and continues a tradition set forth from the outset of calypso music.