Acoustic . Soul . Folk . Singer/Songwriter
The Voice of the Philippines Season 1
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Kisean Anderson, best known by the stage name Sean Kingston, is a Jamaican-American reggae fusion rapper and songwriter. Known for his dark lyrics, Kingston won the 2007 MOBO award for Best Reggae Act and a Teen Choice award for Best R&B track. Born in Florida, Kingston grew up in Jamaica with his grandfather, reggae producer Lawrence “Jack Ruby” Lindo. In 2007 at the age of 17, Kingston was discovered on Myspace by Tommy Rotem, of Britney Spears and 50 Cent fame, who signed Kingston with Beluga Heights Records. In a joint venture between Sony, Epic Records and Koch Records, Kingston released his first single, “Beautiful Girl”. It was an instant success, reaching number one on Billboard’s Hot 100 and topping international charts. His next single, “Me Love”, released at number one in Australia. Later that same year, Kingston toured with Gwen Stefani and Beyoncé as an opening act. The collection of singles was released as his self-titled first album later that year. In 2009, Kingston released his second album, “Tomorrow” with Lady Gaga, produced by RedOne. The single “Fire Burning” debuted at #5 on Billboard while “Face Drop” climbed to #61. In 2010, he joined the UK group Sugarbabies to record “Miss Everything” and was featured on Bow Wow’s single “For My Hood”. Over the next two years, Kingston released multiple singles featuring guest appearances from T-Pain, Nicki Minaj, Kanye West, Akon and Dr. Dre. He appeared on Justin Bieber’s single “Eenie Meenie” and his cover of “Pretty Boy Swag” and “Billionaire”. In 2011, Kingston released his free online mixtape “Kings of Kong” which featured Akon, Soulja Boy and Justin Bieber. His most recent album, 2012’s “Back 2 Life”, peaked at number 33 on the R&B Album charts and #52 on Billboard’s Hot 100. The single “Beat It” with Chris Brown and Wiz Khalifa reach number 17 on Hot R&B charts.

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OKeh short history: 

OKeh was founded by Otto K. E. Heinemann when he set up his own recording studio and gramophone record pressing plant in New York City in September 1918. Heinemann formed the name of the record label "OKeh", from his initials.  OKeh began by issuing popular songs, dance numbers, and vaudeville skits similar to the fare of other labels, but Heineman also wished to experiment with music for audiences neglected by the larger record companies. OKeh produced lines of recordings in German, Czech, Polish, Swedish, and Yiddish for the USA's immigrant communities. In 1920, Ralph Peer's recordings by African-American blues singer Mamie Smith were a surprise smash hit for Okeh. The company perceived the significant, little-tapped market for blues and jazz by African American artists. Louis Armstrong, Duke Ellington and Bix Beiderbecke are only a few names of jazz greats that have recorded for the label. By 1926 Columbia Records bought the label and kept it running into the 60's with jazz and R&B recordings. 

In 1994, Sony Music reactivated the OKeh label as a new-age Blues label. Okeh's first new signings included Keb' Mo, Popa Chubby, and Little Axe. By 2000, the Okeh label was again retired, but in 2013 it will see its re-launch as a jazz label once again.

Back in the day (we’re talking 2002), I genuinely thought I was that guy. I’d just discovered that DJing required two CDJs and a mixer—not just one lonely deck—and yet there I was, already telling anyone who’d listen that I was a DJ. Truth is, I didn’t have the faintest clue how to transition tracks or what “BPM” even stood for.

By 2005, I’d made the move to the Philippines. The attention? Addictive. Gave me a confidence boost I probably didn’t need, but it was a rush. I was dropping basslines like mic drops, whipping up chaos on the dancefloor, flying all over Asia for gigs. But it wasn’t all glitz—I’d be flying in, smashing the set, then dashing back out again to juggle a proper day job. Felt invincible. Spoiler alert: I wasn’t.

I was walking around like I’d invented music itself. Cocky? Probably. Out of control? Absolutely. The DJ lifestyle catches up with you fast. Luckily, I had solid mentors—Erwin Edralin, Reo, Patch, and Manster (and his magical twiddly fingers on the mixer knobs)—who kept me somewhat tethered during my resident DJ stint at HeyJude in Boracay from 2005 to 2010.

Then came the moment when it all came crashing down—feet off the ground, head in the clouds, ego inflating like a hot-air balloon. When the rhetorical shit hit the fan, Erwin sat me down and gave me the talk. You know the kind—the one that sticks with you for life. I sank like the Titanic. Lesson learned the hard way. Ego: 1. Me: 0.

Two decades on (yes, that’s 20+ years for those playing catch-up), I’ve earned the stripes. Some call me an OG, though I prefer “still learning.” This game has humbled me. Big time.

These days, I see DJing for what it truly is—an art form that boasts complete mastery of instinct, timing, and yeah… serious rhythm. One that slices through wanting to get laid, mainstream culture, and the sneaky ego. Sure, technique matters (and I’ve got a fair bit of that now), but it’s more than that. It’s about letting moments breathe, lighting fires when the time’s right, and knowing when to shut up and let the music do the talking.

I’m grateful I became a DJ before it was trendy to call yourself one on Instagram. DJing is storytelling: every track’s a journey, every mix a mood shift. That moment when two tracks melt into each other and no one even notices? That’s the magic. I don’t just play songs—I try to guide energy, read the room, and create a space where people can lose themselves (and maybe, just maybe, find something better).

Vibe check:The British sarcasm’s still sharp. The Filipino warmth keeps me grounded. And that fiery Spanish streak—thanks to eight years growing up in the south of Spain—adds a bit of flair to the mix with its song selection.

I’m pushing forward now we’re in 2025—more connections, more growth, transitions to practice, more stages around the world. But the goal now? Not just to be seen, but to make people feel something. And remember it.

Not here to impress. Still experimenting, still messing about with sound, especially genre jumping. You might love it, you might not. Either way, I’m curious to see where my unique  music and mixing style takes me… you coming along for the ride?


– SURFY (UK)

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