The recent passing of the deeply influential roots reggae maestro Max Romeo has cast a poignant light on a growing concern within the reggae fraternity: the looming crisis of identity and, more crucially, continuity. As the echoes of his powerful voice fade, industry insiders are collectively asking a weighty question: who will step forward to carry the torch?
The landscape, frankly, looks a little barren. The past two decades have witnessed the heartbreaking departures of giants who shaped the very sound of reggae: the rhythmic genius of Robbie Shakespeare, the conscious vibrations of Joseph ‘Culture’ Hill, the smooth lover's rock of Gregory Isaacs and John Holt, the sonic wizardry of Lee ‘Scratch’ Perry, the soulful harmonies of Albert Griffiths of the Gladiators, the irrepressible energy of Toots Hibbert, the iconic harmonies of Tabby and Bunny of the Mighty Diamonds, the soulful cries of Peetah Morgan, and the enduring presence of Cocoa Tea. Their absence has left a gaping void, particularly on the live reggae circuit, the lifeblood of the genre's connection with its global fanbase.
Adding to this sobering picture is the fact that other foundational pillars of reggae are either nearing or already in the twilight of their careers. The legendary Big Youth (76), the politically charged Ivorian voice of Alpha Blondy (72), the incisive dub poetry of Linton Kwesi Johnson (72), and the ever-burning Burning Spear (a majestic 80 years young) are all either on the verge of or firmly within their retirement years.
Even those still active face significant hurdles. The soulful Freddie McGregor (68) has been impacted by a stroke, affecting his ability to tour. The global icon Jimmy Cliff (80) is also reportedly not actively touring. Behind the scenes, tour gurus like Copeland Forbes, who helped bring reggae to the world stage, are less active. Ska pioneer Derrick Morgan, an octogenarian, is also not as present. And Ken Boothe, a significant draw in the UK market, faces visual impairment, limiting his activity.
"The question we have to ask is: Are we creating the sounds that will stand out in years to come? Who will be the new headliners? And can they fill up venues?" booking agent Cabel Stephenson pointedly asked Observer Online. It's a stark realization that we might indeed be witnessing the close of a monumental era.
Stephenson further emphasized the creative void: "The reggae producers Lee Scratch Perry and Striker Lee have passed on, but where are the new great reggae creatives? We need new music and new products to penetrate the marketplace." The engine of innovation, it seems, needs a serious jumpstart.
Yet, amidst this somewhat somber reflection, there are flickers of hope. "The third generation of the Marleys is continuing the tradition, the Marley sound is still alive. The burden of touring is now on the shoulders of artistes like Capleton, Buju Banton and Protoje," Stephenson noted, highlighting the torchbearers from a more recent generation.
But what about the new reggae stars, those under the age of 35 who should be poised to take the reins? Renowned Barcelona-based reggae promoter Julian Mancebo offers a more critical perspective, suggesting that this new wave has largely failed to truly manifest.
Mancebo theorizes that the recent self-imposed absence from the live music scene of prominent emerging artists like Chronixx and Koffee has significantly stalled the "reggae revival" movement that gained traction in the mid-2010s. This, in turn, has reportedly hampered reggae's future growth and appeal.
His critique was particularly sharp regarding Koffee, citing a perceived lack of spirituality and consciousness in her musical output. "For me, the ‘reggae revival’ is fake," Mancebo asserted, suggesting it was largely driven by "uptown people" who exploited an "empty space" to promote a new style, with Koffee allegedly using the genre as a springboard to pop, aiming for "quick but ephemeral success."
Mancebo points to Koffee's career trajectory, noting her Grammy-winning Rapture EP and the hit "Toast," followed by her full-length project Gifted. However, he argues she then encountered the unique challenges faced by reggae artists, such as limited streaming data from their core Jamaican fanbase and restricted radio play in the American market.
Mancebo feels a sense of betrayal by these new frontrunners, believing their movement failed to connect with US and European audiences while simultaneously alienating the roots reggae faithful in Europe. He contrasts them with artists like Luciano, Anthony B, Lutan Fyah, and Cocoa Tea, who consistently produced material and toured relentlessly. He suggests the newer generation focused on experimenting with styles deviating from roots reggae, leveraging their Jamaican identity primarily to penetrate European markets.
Chronixx's absence from the live scene, according to Mancebo, has further diminished reggae's appeal in Europe. While acknowledging his past success, along with artists like Buju Banton and Beres Hammond, Mancebo argues they "forgot that touring and performing at local venues was essential for the maintenance of the genre among the European public," opting instead for exorbitant fees that limited their appearances mainly to larger festivals, not always reggae-centric ones.
Interestingly, Chronixx is slated to headline the Reggae Land Festival in the UK this August, marking the end of his extended hiatus. Last June, he attributed his absence to a lack of creativity, stating he couldn't rush the process.
The struggles aren't just on the artist side. Last year saw the cancellation of the Sierra Nevada World Music festival in California due to "extreme financial challenges," and the Reggae Lovefest was postponed indefinitely. The Overjam Festival in Slovenia and the Sundance Festival also took a hiatus in 2024. Even the once-popular Garance Festival in France hasn't been held since 2012, indicating a contraction in the live reggae music industry.
Stephenson offers a call to action: "What we need to do as a culture and as a people from Jamaica, a small island with so much influence, is to protect the platforms we have now. We need to approach event planners and investors to find out what is happening. Ask: how do we help to preserve and keep the remaining surviving platforms for our music?"
He also stresses the need for professionalism: "We have to curate artistes and entertainment managers to be punctual, reasonable, business-like and corporate-leaning in their attitudes to negotiate deals. A lot of festivals are still being held now and there are no Jamaican acts on these festivals, we need to change that and find a way to export our talent overseas in large numbers again."
Despite the challenges, Stephenson remains optimistic. "There is hope again, that is why this Roots and Culture 3 tour was so important in re-establishing the base, returning the industry to the basics," he said, highlighting the success of packed venues on that tour.
He believes a key to revitalization lies in diversifying the sounds in the diaspora and packaging the best acts with real entertainment value, urging established artists like Glen Washington and Beres Hammond to be more present in the marketplace. Ultimately, Stephenson concludes, "We just need more hit songs, we need more stars."
