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.
Each member had their moment to shine. Tristan Gilbert locked into a deep, funky pocket while showcasing tight, technically impressive solos. Jake Banaszak delivered gritty, soulful riffs reminiscent of Stevie Ray Vaughan and Jimi Hendrix, full of fire and feel. Meanwhile, B.J. Muntz anchored the band with infectious, high-energy basslines—his slap technique adding a percussive, funky groove that earned him nicknames like “Funkmeister” and “Slap Happy Pappy.” Their set didn’t just entertain—it ignited the room and set the stage perfectly for what was to come.
Then it was time.
The band assembled to celebrate Rastaman Vibration, with Kenny Vannella at the helm. He brought together a stellar lineup, including Glen DaCosta on sax and Jimmy Malcolm on piano. A last-minute addition, drummer Nevin Thomas, stepped in seamlessly. The full ensemble featured Hugh Carey (bass), Pape Dembe and Dennis “Baba Adili” Minus (percussion), Stephen “Wale” Peterson (keys), Chris McCord and Tom Cleary (guitar), John Hoey (trumpet), Matt Diamond (trombone), and a powerful trio of background vocalists—Lauren Bishop, Ebony Zuudia, and Aziza Nailah—beautifully channeling the spirit of the I-Threes.
From the opening notes of “Precious World,” the vocalists set a high standard, with Kenny joining to launch into “Wake Up and Live,” instantly lifting the crowd. The band moved through the Rastaman Vibration album with care and authenticity, while also weaving in Marley classics that elevated the experience into something truly special.
“Positive Vibration” lived up to its name, radiating energy through the room. “Roots, Rock, Reggae” featured Glen DaCosta’s smooth, expressive sax work—a true highlight. Kenny delivered one of his strongest performances on “Johnny Was,” bringing emotional weight and sincerity to the song. “Cry to Me” continued that momentum, with the vocal harmonies shining.
“Want More” stood out for its driving bassline, locking the crowd into a groove that was impossible to resist. “Crazy Baldhead” flowed seamlessly into “Running Away,” with the band bringing power and precision to one of Marley’s most enduring tracks. “Who the Cap Fit” followed, with Kenny delivering a passionate and heartfelt performance.
Before “Night Shift,” Kenny joked about bringing a forklift on stage—a nod to Marley’s time working in Wilmington. While a real forklift didn’t appear, the moment added a layer of storytelling that connected the music to place and history.
“War” was a defining moment of the night—tight, powerful, and deeply moving—flowing naturally into “No More Trouble,” just as Marley and the Wailers intended. The band closed the album with a dramatic and fitting rendition of “Rat Race.”
But the night wasn’t over.
The crowd called for more, and the encore delivered. “Sweet Lovin’ Love” by Zap Pow gave Glen DaCosta another chance to shine, followed by Kenny’s own “Platinum Lion,” a welcome addition that showcased his artistry. The evening closed with a beautiful, uplifting rendition of “Jah Live,” sending the audience out on a powerful high.
This was more than a concert—it was a celebration of legacy, community, and the enduring power of reggae music. From the diverse opening acts to the deeply respectful and passionate tribute to Rastaman Vibration, every moment felt intentional. With a legend like Glen DaCosta on stage, a familial connection through Jimmy Malcolm, and a band fully committed to honoring the music, the night carried both history and heart. It reminded everyone in the room that Bob Marley’s message is not frozen in time—it is alive, breathing, and still moving people today. Nights like this don’t just entertain—they reconnect you to the spirit of the music. And if you left without feeling something… you might want to check your pulse.
