Producing Maloney for the World
Written by: JOEY BARTLETT
Producer Sullivan Joel Stewart is building a sound aimed at the world.
For years, Maloney has carried a reputation shaped by headlines, police reports and political discussion about crime and violence in east Trinidad. But for Stewart, his community represents far more than the singular narrative often attached to it.
It is a place that demanded choices early in life, choices that would eventually shape both his character and music.
“I grew up and had to choose between the good, the bad and the ugly. Those influences informed my positive choices", Stewart says.
Now 35, Stewart has spent the last 12 years building himself as a producer in the local music industry, blending soca, reggae and calypso influences into a sound he describes as “clean and pristine".
Beyond creating rhythms and recording sessions, Stewart is focused on something larger: developing Caribbean music in a way that can resonate internationally while preserving its identity.
Music, however, was not his first creative outlet. Long before entering a studio, Stewart was immersed in dance; he was always involved in the arts.
“I started with dance, then moved into music because I was already familiar with it from dancing, and eventually I moved into production.”
That transition and the success of its reach became more of a reality after watching one of his close associates, soca artiste Akeem "Preddy" Chance, gain recognition in the soca industry.
“I began taking music production seriously,” he says.
Unlike other producers who enter the field through formal music education, Stewart’s development came through observation, collaboration and hands-on experience. Over the years, he worked alongside names such as Chris Alexander, Sampson Lee Lung and KG Reality Records, learning the technical side of production while refining his own instincts creatively.
That self-taught background still shapes the way he approaches music today. Rather than chasing trends or reproducing formulaic sounds, Stewart says versatility remains one of the defining features of his production style.
“Diversity in genres and artistes makes my production different,” he says.
While soca forms the foundation of his sound, his influences stretch across reggae and calypso traditions, drawing inspiration from cultural icons such as Machel Montano, Lord Kitchener and the reggae styling of Brandon "I-Sasha" Young.
Stewart says preserving Caribbean musical identity is central to his work, particularly through the use of live instrumentation.
“My signature technique uses steel pan, drums and horns jointly and separately", he explains.
That focus on organic Caribbean sound comes at a time when music production globally has become increasingly digital and technology-driven. While Stewart embraces modern software and equipment, including Logic Pro, studio microphones and experimental instrumentation, he believes creativity should never become secondary to technology.
“Some people argue that producers depend too much on modern technology without being artistically creative,” he says.
It is also why he believes younger creatives should approach artificial intelligence carefully within music production.
“Don’t use AI, or do so sparingly, while preserving your own unique identity,” Stewart stresses. He believes music creation is also about storytelling rather than rhythm alone.
“Concept comes first. That gives clarity on the story or theme that will direct the music.”
From there, melody establishes the emotional flow before percussion and rhythm complete the structure. It is a process that allows music to feel cohesive instead of mechanically assembled.
His approach was strengthened during his involvement in the No Small Talk Rhythm project, which brought multiple creatives together in a collaborative production setting. Stewart says the experience deepened his understanding of teamwork and musical chemistry.
Ironically, collaboration is also one of the areas where he believes the local music industry still struggles with.
“There is not much collaboration in the industry."
It is one of several concerns he has about the wider direction of the country's music development. While Stewart is adamant Trinidad and Tobago continues to produce exceptional talent, he argues local talent should be consistently promoted outside the Carnival period.
“I need more home-grown music being played in rotation year-round."
According to Stewart, many artists and producers struggle to maintain visibility once the Carnival season ends in an increasingly fast-moving digital musical landscape dominated by global content.
But there is hope; he believes social media and online platforms have created new opportunities for independent creatives.
“These platforms are a main avenue of growth with free worldwide exposure for independent productions and producers,” Stewart says.
Streaming platforms, social media marketing and digital collaborations have significantly changed how music is distributed and consumed, allowing creatives to connect with audiences far beyond the region. Stewart acknowledges talent alone is no longer enough; branding, consistency and online visibility now play equally important roles.
Even so, international collaboration remains one of the missing links for emerging producers.
“I need more foreign international collaboration than just local for broader global impact,” he says.
Stewart hopes his music will eventually reach audiences across Europe, Australia and other international markets while still maintaining its distinct Caribbean identity. Among his ambitions is a future collaboration with Kes. Long-term, however, his aspirations extend beyond producing songs alone.
"My goal is to own a major music label company."
For now, the focus remains on consistency, growth and improving his craft. Like many creatives navigating the realities of the music industry, Stewart acknowledges maintaining motivation can sometimes be difficult, particularly in a field where recognition and financial stability often take time.
But music itself remains his driving force.
“Music, music, more music and the love of music. That keeps me motivated.”
Outside the studio, he credits his close circle of friends and collaborators for helping him stay grounded amid the pressures of creative work. Despite the ambition surrounding his career, his definition of success remains relatively simple.
“Success means learning something new every day.”
It is a perspective that mirrors his wider journey, one built not on shortcuts or overnight recognition, but on patience, experimentation and steady development. Maloney may have shaped the beginning of his story, but he refuses to let it determine the ending.
Instead, Stewart hopes his music can stand as proof that talent and creativity can emerge from any environment, and undiscovered local sounds, when nurtured and supported, have the potential to resonate far beyond the region that created them.
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