Author Archives: Todd Judd

It has been quite a year for seeing reggae history. Over the past several months, I’ve had the privilege of standing in front of legends including Carlton Livingston, Papa Michigan, Glen DaCosta, Third World, and The Skatalites—the people who built this music and carried it around the world. A run like that deserves an exclamation point. On a Sunday night in Glenside, Pennsylvania, UB40 delivered one—and along the way, changed my mind about a song I thought I already knew by heart.

Forty-eight years after forming in Birmingham, England, UB40 rolled into the Keswick Theatre on September 27 as part of The Unstoppable Tour, and if there was one thing the night proved, it was just how appropriate that tour name really is.

From the opening notes of “Food for Thought,” the band sounded fantastic. Nearly five decades of experience were evident in how effortlessly they moved through the set, but nothing about the performance felt like a group simply going through the motions. Quite the opposite. They were having an absolute blast onstage, feeding off one another with an audience that spent most of the night on its feet, dancing in the aisles and singing along.

The musicianship was exceptional throughout. Founding members Earl Falconer on bass and Jimmy Brown on drums still provide the rock-solid rhythmic foundation at the heart of UB40’s sound, while the two-person horn section of Ian Thompson and Martin Meredith was nearly flawless. Beyond sounding great, the pair were incredibly entertaining to watch, constantly moving and dancing, adding to the infectious energy onstage.

By the third song, “The Way You Do the Things You Do,” the party was officially underway.

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I planned to experience Kabaka Pyramid’s Rebel Music – The Lyrics Tape for the first time on vinyl. I preordered the record and convinced myself I would wait for it to arrive before listening. That patience lasted about a week and a half. Eventually, I gave in, pressed play—and I am incredibly glad I did. Let me say this immediately: I absolutely love this album.

Released August 28, The Lyrics Tape arrives 15 years after Kabaka’s foundational “Rebel Music” EP introduced his unmistakable combination of roots reggae, hip-hop, dancehall, and conscious lyricism. This is more than an anniversary project, however. After losing an enormous archive of studio files and unfinished material, Kabaka treated the setback as a creative reset. Written and recorded between March and June 2026, these ten tracks reconnect with the hunger and raw energy of his beginnings while showcasing everything he has learned since.

Heavy reggae basslines, gritty hip-hop beats, soulful samples, and flashes of dancehall make the production outstanding, but Kabaka’s explosive flow and wordplay remain the centerpiece. This may be his strongest overall lyrical performance yet.

“Stand Firm” lights the fire immediately. Built around a powerful Peter Tosh introduction, Kabaka attacks the heavy riddim with sharp lyrics centered on truth, resistance, and spiritual strength. Pressure Busspipe matches his intensity perfectly, making the song a forceful opening statement.

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KING OF PRUSSIA, PA | There was something a little full circle about seeing Collie Buddz at Concerts Under the Stars in King of Prussia, Pennsylvania. Sixteen years ago, I took my two sons, Kiran and Janak (both in middle school)—now 29 and 27—to see Collie in State College. I brought my camera along that night and photographed a concert for the first time. There was no assignment and no real plan; I was simply doing it for fun. But somewhere during that show, I remember thinking, This is really cool. Maybe I should do this.

Sixteen years later, I was standing in front of a Collie Buddz stage with a camera again, this time covering his Spark Up Summer Tour for The Vinyl District. Funny how things sometimes come back around.

Concerts Under the Stars proved to be a perfect setting for the night. Tucked into the King of Prussia community, the outdoor venue has an easygoing, neighborhood feel that fits a reggae show perfectly.

Atlantic City’s SensaMotion got things started with an impressive set of their positive, roots-driven reggae. Together for nearly 16 years, the band has continued building momentum following Life In True Color and their sophomore album, Feel It All Around. Songs including “Truth and Discovery,” “Beautiful Day,” “Feel It All Around,” and “Show Love” connected with a crowd that was clearly into the band from the start. It was exactly the kind of opening set you want on a summer reggae bill.

Then it was time for Collie Buddz.

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I could have listened to Roots, Rock, Reggae: Live at the Hammersmith Odeon the moment it hit streaming services. Instead, I waited. For me, there is simply no better way to listen to Bob Marley & The Wailers than on vinyl. The warmth of the bass, the space between the instruments, the physical act of lowering the needle, and those few seconds of anticipation before the music begins all somehow feel right with Marley. So when this long-buried piece of Wailers history was finally released, I wanted my first complete listen to come from the records themselves.

And this is not just another archival Marley release. Recorded during the band’s four-night residency at London’s Hammersmith Odeon from June 15–18, 1976, Roots, Rock, Reggae catches Marley at one of the most important transition points of his career. The shows opened the second leg of the Rastaman Vibration tour and represented an enormous step up for the band. Hammersmith held roughly five times the audience of a typical Wailers venue at the time, yet all four nights sold out.

The timing was perfect. Eric Clapton’s “I Shot the Sheriff” had introduced Marley’s songwriting to a massive American audience, while the 1975 live version of “No Woman, No Cry” had become Marley’s breakthrough UK hit. Marley was no longer simply reggae’s most important international ambassador. He was rapidly becoming a global star. Rather than documenting a single night, the 18-track album pulls together standout performances from across the Hammersmith run, creating an 87-minute portrait of the Wailers at their best.

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Songs written inside a prison cell. A producer chased down by hopping a fence, climbing a tree, and waiting outside a trailer with cash in hand. Collaborations that happened because the right people walked through the door at the right moment. There is nothing tidy about the way Not Free Money, the new album from Dale and the ZDubs, came into existence—and that is exactly what makes it worth your time.

The record itself is another matter. Produced by DENM and Surfer Girl, Not Free Money is deliberate, layered, and thoroughly modern, stretching well past the boundaries of reggae rock into pop, hip-hop, and punk. Underneath all of that production is something considerably more raw. Much of the material traces back to the three years Dale Rodman spent incarcerated, where he never stopped writing.

I’ve known Dale for about five years, and in that time, I’ve watched a tremendous amount of growth, personally and musically. The artist I first met was already driven, but the songwriter I spoke with for this interview has clearly been shaped by everything that’s happened since. He talked with The Vinyl District about writing behind bars, chasing down his producers, the record’s long list of features, and how a prison nickname became one of its most personal songs.

For people who may just be discovering Dale and the ZDubs for the first time, how would you describe who you are as a band and what you bring to the reggae-rock scene?

What makes us stand out is the amount of range we have. We’re a multi-genre band—rock-reggae-based, but we can get pretty poppy and downtempo, and we can also get heavy and hard-rocking. We focus on songwriting, and I think our lyrics stand out compared to other bands in the scene. In the reggae-rock scene, there’s a lot of predictable, linear songwriting. I think we sing about more than just smoking weed, sunshine, and girls.

You’ve been doing this for a while now. When you look back at your early days compared to where you are now, what do you think has changed the most, both musically and personally?

First, I want to say that we still feel—and know—that we’re a small band. But the sound evolves and the relationships within your band evolve. What’s changed is the caliber of the songwriting and the playing. We were pretty bad when we started. I was a mediocre-to-bad singer, and I was a pretty dismal songwriter too. But it’s been thousands of hours over 15 years, and a lot of those hours went into the craft—singing and songwriting—when I was incarcerated. There’s still a long way to go, but it comes down to putting those hours in.

Let’s get into the new album, Not Free Money. What does the title mean to you, and why did it feel like the right title for this particular record?

A lot of the songs were written in prison. “Not free money” is something we would say, kind of a colloquialism. Anytime it seemed like you were cutting a corner or beating the system, you’d say, “Not free money.” We released a record in 2024 called Off the Rip, and a handful of those were written in prison. But I had more, and I really wanted to get DENM to produce them. He’s one of my favorite producers and one of my favorite artists. I think he’s bending the boundaries of what it means to be an American reggae artist.

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HARRISBURG, PA | Certain live performances feel less like a concert and more like reconnecting with an old friend. Slightly Stoopid has always been one of those bands for me. I’ve seen them many times over the years, but somehow it had been a couple of years since our paths crossed. Their Road Trippin’ Summer Tour 2026, rolling into Harrisburg’s Riverfront Park with The Elovaters and DENM, was the perfect way to fix that.

Riverfront Park might also be one of the best settings in Pennsylvania for a reggae show. Stretching alongside the Susquehanna River between the shoreline and Front Street, the park provided a beautiful backdrop for a summer evening filled with reggae, rock, hip-hop, and plenty of good vibes.

Before the music even started, I ran into another familiar face: Ray Broome. If you spend enough time around reggae shows in the Northeast, chances are you’ve crossed paths with Ray. Artists know and love him, bands know and love him, and fans know and love him. He’s simply one of those genuinely good people who seem to be everywhere, but it had also been a couple of years since I’d seen him. There was really only one proper greeting for the occasion. Sheeeesh!

Before his set, I also had the opportunity to meet up with DENM for a few photos and a quick conversation. He was exactly what his music suggests—super laid-back and incredibly cool. My only complaint was that we didn’t have more time to talk. Then he hit the stage and flipped the switch.

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Day two of the Lion Heart Music Festival arrived with another packed lineup, plenty of sunshine, and temperatures that promised another long, hot day of music. What no one knew was that Mother Nature was about to throw a serious curveball into the schedule. But if there was one thing the second day proved, it was just how well this festival is run.

Before getting into the music, a huge shout-out needs to go to the volunteers, staff, and everyone behind the scenes who make Lion Heart happen, especially Rebel Sounds Rising. A storm rolled through mid-afternoon, forcing set times to change, artists to move between stages, and the schedule to be reshuffled on the fly. They even found room for an artist whose day one performance had been rained out.

Behind the scenes, people were running everywhere making adjustments. Out front? You would have barely known anything was wrong. The music kept flowing, the crowd kept moving, and the festival never seemed to miss a beat. Pulling that off takes serious organization.

Coastal High got day two rolling on the main stage with their sweet reggae-rock vibe, while Head High opened the Dub Stage tucked away in the woods. Head High immediately established a rootsy feel, but it was their take on Bob Marley’s “The Heathen” that really stood out. Rather than simply covering the classic, they completely made it their own, stretching it into an almost dub-style interpretation. It worked beautifully and easily ranked among my favorite songs of the entire weekend.

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There are music festivals, and then there are festivals that feel like their own temporary community. The Lion Heart Music Festival falls firmly into the latter category. Held August 7–8 at Paradise Lakes Campground in Hammonton, New Jersey, Lion Heart spread across 100 acres of fields and woods, combining live music with camping, food, vendors, yoga, workshops, and enough space to disappear into nature between sets.

The Vendor Village added to that atmosphere, offering everything from original artwork and handmade clothing to jewelry, glasswork, wellness products, and plenty of food choices. It felt less like something placed alongside the music and more like another part of the festival itself.

But on Friday, the music was unquestionably the story—and day one belonged to the louder side of reggae. Dr. Beardface wasted no time establishing that theme. Charged with getting the day moving, the band came out rocking and brought an immediate burst of energy to the Lion Stage. Opening a festival can be a difficult assignment, as people are still arriving and settling in, but Dr. Beardface attacked it as if they were playing much later in the evening. It was exactly the jolt the afternoon needed.

ialive followed with a change of pace, delivering a hip-hop-driven set before Ashley LaRue Band provided the first real standout performance of the festival. LaRue has a voice that immediately commands attention. Powerful and remarkably versatile, she can soar one moment before digging deep into the next line with an almost growling edge. That contrast gives her vocals some serious personality, and the crowd responded accordingly. By the end of the set, Ashley LaRue Band had established themselves as an early crowd favorite—and one of my personal highlights of the entire weekend.

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By the second day of Ithaca Reggae Fest, one thing had become clear: events like this don’t simply happen. Behind every performance is an army of volunteers directing traffic, keeping the grounds clean, and setting up gear so thousands can simply enjoy the weekend—along with the vendors, food trucks, nonprofits, and staff who make it run. Their efforts often go unnoticed, but they deserve as much applause as the musicians on stage.

Sunday’s lineup was another reminder that Ithaca Reggae Fest isn’t only about big names—it’s just as committed to introducing artists you’ve never heard. One of the afternoon’s first highlights came from Mosaic Foundation. Fronted by the immensely talented Cha Cha, the band delivered a beautiful blend of roots reggae and sharp musicianship. Cha Cha owns a voice that commands attention—powerful, smooth, soulful—making it one of the day’s best early sets.

Between performances, DJ Art V and RDF spun reggae classics, dub, dancehall, and lovers rock, while Roadman added another strong set—one continuous celebration rather than a string of concerts.

Then came one of my biggest surprises of the weekend. I’d never heard iGNITE! before stepping into Stewart Park, but by the time their set ended, I understood why. They didn’t just perform—they threw a party, every musician sharp, the harmonies keeping the crowd dancing, start to finish. They left with plenty of new fans.

The surprises continued with Strykers Posse. All-female reggae bands remain a rarity, making their set even more refreshing. Traveling from Baltimore, they owned the stage—thunderous riddims, undeniable confidence, and beautiful harmonies. Their chemistry was unmistakable, and by the end, they’d won an entirely new audience.

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Some festivals are built around the lineup. Others are built around an idea. Ithaca Reggae Fest belongs firmly in the second category. For someone like me, reggae is always the main attraction. Give me a weekend of roots legends, conscious artists, and Jamaican culture, and I’m happy. But after day one at Ithaca Reggae Fest, it became obvious the music is only one part of what makes this event so special.

Festival director Russ Friedell told me before the weekend that the goal has always been to create something bigger than a concert. Reggae is the heartbeat, but protecting Cayuga Lake, celebrating local culture, welcoming families, promoting wellness, showcasing skateboarding, and bringing together people from every walk of life give the festival its soul.

Stewart Park couldn’t be a more fitting home. Along the southern shore of Cayuga Lake, towering trees throw shade, families spread blankets across the grass, children dance barefoot in front of the stage, and strangers quickly become friends. It’s impossible to spend much time here without feeling exactly what reggae has always tried to create: unity.

One of the day’s first highlights wasn’t even musical. The Gayogo̱hó:nǫʼ Cultural Celebration offered a heartfelt look into the history of the Cayuga Nation, whose ancestral homeland surrounds the park. Through storytelling, traditional dancing, music, and plenty of humor, it reminded everyone that understanding a place begins with understanding the people who first called it home.

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Protoje’s The Art of Acceptance was officially released on April 17, but I waited to hear it the right way—on the vinyl I had pre-ordered. There is something different about listening to a record. It is a ritual that forces you to be present: selecting the record, sliding it from the sleeve, dropping the needle. The sound feels warmer and more alive, and because you have to physically flip it midway through, the album becomes a complete journey rather than a collection of disconnected songs.

That appreciation for music as something physical and intentional runs all through this record. When I recently spoke with Protoje, he pointed to Love Has Found Its Way by Dennis Brown as a record that still holds meaning for him—not just for the music, but for the story of finding it. That same spirit feels embedded throughout The Art of Acceptance.

Now seven albums into his career, Protoje sounds fully settled into his artistic identity. Reuniting with producer Winta James, he blends authentic roots reggae with hip-hop, soul, and modern dancehall while never losing his foundation—warm one-drop rhythms layered with polished contemporary detail. Featuring collaborations with Stephen Marley, Damian Marley, Shenseea, Jesse Royal, Masicka, and Pressure Busspipe, this 16-track set already feels like one of the defining reggae releases of 2026—and possibly one of Protoje’s most complete works to date.

The album opens with “Something I Said,” a reflective, grounded pairing with Jesse Royal whose chemistry with Protoje feels effortless over warm roots production. From there the record moves easily between modes, but a handful of moments stand out as the heart of the project.

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PHOTOS: TODD JUDD | There are artists who make songs—and then there are artists who build worlds you can step into, drop a needle upon, and live inside for a while. Protoje has always been firmly in that second category.

Catching up with him ahead of a show, the conversation moved easily between craft, intention, and the constant push to evolve—something that’s been a defining thread throughout his catalog. But what stood out most in this moment wasn’t just where the music is going—it was how deliberately he’s thinking about how it’s experienced.

This latest chapter feels different. More controlled. More intentional. And when you talk to him about it, you start to understand why. For Protoje, it’s not just about making records—it’s about building something cohesive from start to finish. Something that invites you to listen to the way albums were meant to be heard. So naturally, that led us to vinyl.

Because for an artist whose music lives in the details—the basslines, the space, the message—there’s something fitting about hearing it all come back through a needle, pressed into wax, exactly as intended.

You’ve always carried a strong sense of purpose in your music. When you look at where you are right now creatively, what’s driving you the most?

I’m just trying to make things—just the art. Trying to get better at the art of making music and making songs and seeing if I can get things to sound exactly how they sound in my head. Bringing the vision to its closest point. As long as I’m making music, I want to reach my highest ability as an artist. That’s the main driving force.

There’s a consistency in your work, but also evolution. What feels different about this current chapter?

Just the science of the music—understanding reggae, the way we’re able to make live music now. It’s always been a challenge to recreate live drums the way we want without sampling. The songwriting—where I’m at, what I’m talking about—feels more controlled, more direct, more purposeful.

I love the new album. I actually waited to listen until my vinyl came in so I could hear it front to back, and it feels very intentional. Were you building it as a full listening experience?

Definitely. Thinking about how it flows, which song fits where, giving each song its best chance to be heard. I like when people just turn it on and listen straight through.

There’s a certain cohesion to the project—was that something you mapped out early, or did it reveal itself as the music came together?

It reveals itself. The key is finding the intro and the outro. Once you have that, everything builds. For me, there are always identity tracks—the intro, the outro, and track two. Once I find those, they get easier.

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WILMINGTON, DE | As I drove into Wilmington, Delaware, for the festival, I made a meaningful stop—visiting the home once owned by Bob Marley’s mother, a place where Bob himself spent time over the years. It felt only right, a quiet moment of reflection before celebrating the 50th anniversary of Rastaman Vibration. This was going to be a special show highlighting roots and reggae in the Northeast, and one that I could not miss.

The evening was curated by local reggae artist Kenny Vannella, who assembled an exceptional band and welcomed a couple of true legends to the stage. But this wasn’t just a night of reggae—it was a community-driven event, with proceeds benefiting The Music School of Delaware. Opening performances by Cecilia Grace and Lower Case Blues brought diverse musical textures that enriched the night. Hosting duties were handled by Kenny’s friend, Sahr Abu, who kept the energy flowing.

Personally, my anticipation extended beyond the music. As a longtime fan, the opportunity to see—and meet—former Wailer saxophonist Glen DaCosta and Bob Marley’s cousin Jimmy Malcolm made the night even more special. The evening delivered on every level.

Cecilia Grace opened the show with a voice that was bold, clear, and angelic, yet grounded in a raw emotional honesty. Her ability to shift between powerful, slightly raspy belts and soft, controlled tones gave her performance real depth. Whether performing original songs or covers, she held the crowd effortlessly. Her guitar work was equally impressive—dynamic and rhythmic, creating a full sound that made it feel like more instruments were present. She was the perfect tone-setter for the night.

Next up was Lower Case Blues, a powerhouse trio featuring Jake Banaszak (guitar), B.J. Muntz (bass/vocals), and Tristan Gilbert (drums). From the moment they hit the stage, they brought an explosive energy that had the crowd fully engaged. Their sound was massive for a three-piece, blending blues, funk, and rock with an improvisational edge.

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