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Reggae’s Royalty Returns to Rototom Sunsplash 2024 | Festival Review
08/26/2024 by Gerry McMahon
Rototom Sunsplash returned to the town of Benicassim in Spain between August 16th and 21st last, marking the festival’s 29th year of promoting and presenting reggae music. As ever, the festival was characterised by its ability to attract the musical cream of the crop, whilst offering a vast array of support activities designed to entertain allcomers.
DAY ONE - AUGUST 16, 2024
Honouring the roots of this reggae genre, the festival’s Main Stage opened with a homage to the late great Peter Tosh, as his Soul Syndicate band – pack with the genre’s glitterati, who refuse to ‘Fade Away’ – got the growing audience into the mood. This set the stage for Tosh’s son Andrew to make his ‘Coming In Hot’ entrance, as he galloped through a host of his late father’s repertoire, including ‘Glass House’, ‘Not Gonna Give It Up’, ‘African’ and ‘Equal Rights’. Thereafter, Fyahbwoy’s double act was to be seen prowling the Main Stage with menace and setting the crowd swaying before Romain Virgo - having acquitted himself ably at the Reggae University earlier in the day - took up the mantle, as his commanding performance gave good gusto to his new The Gentle Man album release via VP Records. This included a tantalising take on ‘Switch You On’ and the rapturously received ‘Been There Before’. Whilst Virgo was acknowledging the roots of the music via a ‘54-46 That’s My Number’ Toots take, Mo’Kalamity (in her elegant attire) was further enhancing her reputation before an appreciative audience over on the Lion Stage.
The festival’s highlight – designed to draw the masses in on the opening night was Alpha Blondy. This 71-year-old may not be getting any younger, but he’s still well capable of delivering a musical blow. Ably aided by tip-top talented musicians, Blondy’s energy levels rarely flagged. And when they did, his female support vocalists took centre stage to good effect, as the main man sat back and recharged his batteries. This format enabled vivacious versions of the trusty ‘Jerusalem’, followed by ‘Jah Glory’, ‘Cocody Rock’, ‘Masada’, ‘Sweet Fanta Diallo’, ‘God Is One’ and ‘Politiki’, as Blondy spanned the stage in his bright jumpsuit, emblazoned with lapels confirming his commitment to Rastafari. In the past Blondy has irritated some of his liberal audience – via various political and moral stances – but nobody argued with him when he used ‘Peace in Liberia’ to call for the same status in the many jurisdictions now plagued with strife, including the Ukraine and Palestine. Given Rototom’s liberal disposition - but fraught history when it comes to such matters (see here) - it was a timely and appropriate exhortation from this informed, impressive and inspiring artiste. Finishing up on the Main Stage after 2 o’clock in the morning, Rototom’s ‘night’ was still young, as the Dancehall, Jumping and Dub Academy kept the party going.
DAY TWO - AUGUST 17, 2024
After viewing the ‘Red X’ Peter Tosh movie, the Reggae University welcomed the aforementioned Soul Syndicate to share their moving memories of a life in reggae (incl. in the early days of ‘going to bed hungry’) and with the maestro Tosh – a man who was also outspoken on the apartheid experience of Palestinians. Notably, Santa Davis couldn’t help himself but to complain that: ‘Most of the artists today is about the hype’ and they are ‘afraid of offending somebody’. This is certainly not an accusation that could ever have been levelled at the informed, outspoken and greatly missed Tosh.
A rare sighting of Black Uhuru in Europe was the first serving of the evening, as they opened on the Main Stage with ‘I Love King Selassie’, followed by ‘What Is Life?’, ‘Shine Eye Gal’, ‘Plastic Smile’, ‘Top Rankin’, ‘Guess Who’s Coming to Dinner’, ‘Solidarity’, ‘Sinsemilla’, ‘General Penitentiary’ and ‘Anthem/Living Dread’. Andrew Bees has been delivering the lead vocals for Black Uhuru since 1996, and whilst he may not have the vocal range and recognisable wailing yowl of a Michael Rose, he is a more than able ‘on the move’ front man, serving to aptly complement Duckie Simpson’s easy amble and on-stage relative immobility.
Next up was New Caledonia’s Marcus Gad, making his Main Stage debut at Rototom, with a slew of melodic and sometimes haunting sounds. Though Gad left some of his classic compositions at home, the growing audience rose to ‘Ready for Battle’, ‘False Prophets’, ‘Keep Cool’ and ‘Kanake’, whilst giving a warm welcome to his Mauritian-sourced ‘Seggae’ style music and guests.
But it was the musical and visual feast that is Iseo and Dodosound that really got the (mainly) Spanish audience singing and swaying. The pair put in a characteristically sound and solid set, giving good vent to tracks from their new En La Tormenta album - with its all-Spanish tracks, serving to confirm the duo’s target market. The set also included ‘Frozen Desert/I’m Burnin’ from their early days Cat Platoon’album, the lively ‘Digital Shoots’, the popular ‘Chan Chan’, the spacey (with accompanying visuals) ‘Roots in the Air’ track and a brave solo rendition of ‘Turn Your Lights Down Low’ from Iseo. Thereafter Dodosound bravely left the mass gathering in no doubt as to where the pair’s political sympathies lie on the Palestinian question. Taking a closing bow to the Congos’ immortal ‘Fisherman Row’ track, it is clear that whilst this combo might well be able to escape into an easy ‘light pop’ style, their roots are deep and their thoughts are conscious. Bringing the Main Stage proceedings to a close was Busy Signal, whose on-stage vivacity was a sight to behold, as his swelling audience agreed that all ‘Parts of the Puzzle’ were now firmly in place, as they peaked with pleasure to ‘Brighter Days’. And for those not convinced, the Jamkunda stage was kicking up a storm of its own, with Oyofe’s DJ set, whilst Anier was amusing her audience as she strutted about with a punk rocker’s attitude and accompanying vocals over at the Lion Stage!
DAY THREE - AUGUST 18, 2024
Approaching the festival’s mid-point, Iseo and Dodosound graced the Reggae University with their presence, taking the opportunity to explain their different backgrounds, how they met, their musical roots and creative process and to emphasise that their new album was in Spanish as a dedication to their followers. Clearly Rototom’s re-location to Spain has presented an ideal opportunity and big bonus to this duo, giving their quality repertoire mass exposure to both an adoring native and increasingly curious and admiring international audience.
The Main Stage proceedings kicked off with the Gladiators, as Albert Griffiths' son Al opened with ‘Dreadlocks The Time Is Now’ and proceeded to regale the audience with a combination of old originals – including the popular ‘Roots, Natty Roots’ and ‘Hello Carol’ - and newer material. They were joined presently by the mighty Congos – minus the (paperwork-problems) presence of vocalists Watty Burnett and Kenroy Fyffe. No matter, as Cedric Myton and Ashanti Roy took centre stage to lead the show, with the able assistance of Winston Jones coming in on drums. The Congos’ set was comprised of a nice combination of old tracks – incl. ‘Ark of the Covenant’, ‘Open Up The Gate’, ‘La La Bam Bam’, ‘Lost Sheep’, ‘Revolution’, ‘Free the People’ and the aforementioned immortal ‘Fisherman Row’ – and a foretaste of their new album, in the form of ‘Babylon Have Control’ (whose release is imminent, via Michel Jovanovic’s Mediacom). Immediately after their show, Myton and Roy hit the Reggae University, to advise all that ‘Lee Perry is a great man’ and explain that their impressive longevity is attributable to exercise and seaweed! And the good news for audiences planning to catch the remainder of their 40-date tour is that Burnett and Fyffe are due back in the fold shortly.
And whilst all this was going on, Seville’s SFDK mix and match of hip-hop and reggae was going down a bomb on the Main Stage with their Spanish admirers, as the pair (Zatu and Accion) easily expended more energy than a pair of Olympic contestants!
Then came another scion of the Marley family’s dynasty, as Cedella’s son (and Bob’s grandson) Skip took to the stage with a rousing rendition of ‘Exodus’. Many more of his grandfather’s tunes were to be heard in Skip’s set, including ‘Waiting In Vain’, ‘Jammin’, ‘Is This Love’, ‘Concrete Jungle’, ‘Heathen’ (with some tasty percussion), ‘One Love’ and wrapping up with ‘Could You Be Loved’. Skip is blessed with many of his grandfather’s mannerisms, sound, stage presence and agile antics – and he has already been nominated for multiple awards (e.g. by MTV, Soul Train and the NAACP). So, it may not be long before this Marley follows in the footsteps of his uncles’ Ziggy, Damian, Stephen and Julian with a Grammy award? However, to see if the promise can come to fruition, the world still awaits his debut full album, The night’s Main Stage proceedings closed with a clinical performance from the seasoned Harrison Stafford of Groundation, as his easy vocal drawl was wonderfully well complemented by female vocalists and a full brass set.
DAY FOUR - AUGUST 19, 2024
With the festival now just over the half-way mark, the Social Forum chose to revisit the Wikileaks debate and the imprisonment of the ‘leaker’ - Australian Julian Assange. But at the exact same time the Reggae University was inviting legendary vocalist Johnny Clarke to give his take on a journey from the start to the upper branches of the reggae tree. This session also enabled David Katz to launch a revised edition of his fine reggae research, in a Deep Cuts publication entitled ‘Solid Foundation: An Oral History of Reggae’. Thereafter, the technical experts took over the space (to the sound engineers’ delight), to explain the finer points of the analog versus digital debate.
Then the UK’s bold and brash Bad Manners hit the Main Stage, as their legendary lead, the lively and engaging Buster Bloodvessel (who was in fine fettle) - with the assistance of a full accompanying triple brass suite - educated all, as he explained that ‘for those who don’t know’ beware, because ‘This Is Ska’. Thereafter followed the classics, including ‘My Boy Lollipop’, ‘Lorraine’, ‘Walking in the Sunshine’, ‘Too Good To Be True’, ‘I Love You Baby’, ‘Can’t Take My Eyes Off You’ and ‘Sally Brown’ to follow. This set overlapped with the Lion Stage’s invitation to Midnite (from the US Virgin Islands), where Ron Benjamin ably took over the lead role from his late brother Vaughn. For many this was the highlight of the festival, as Midnite treated the gathering to a delightful rootsy set that was soft, sweet and seductive and will long be remembered. The repertoire included some new and many well-received classics from their extensive album store. And by the time they departed, Spain’s Fernandocosta was kicking up a storm to the crowd’s delight with bullet paced vocal delivery from the Main Stage. For those drawn to neither attraction, it was off to the Sinai Sound System, where they were packing them in at the relocated Dub Academy.
A wave of expectancy then came over the Main Stage crowd before its final offering of the evening. This was sold as an ‘exclusive show’, with Alborosie and (his many) friends filling nearly two and half hours with a wonderfully-well received set. It was probably the longest duration ever for a show appearing on Rototom’s Main Stage, and it was appropriately launched with ‘Ready’, from the 2021 album of the same name. The delivery was well choreographed, as Alborosie swung his impressively long locks in a cartwheel style to the rhythm of the track. Next up came the ‘Rastafari Anthem’, as the artist showed that he is in full and fine voice, with an athletic agility that kept the crowd’s eyes fixed firmly on the main man. Following up on his principled commitments, there followed ‘No Cocaine’ and - having paid homage to Mykal Rose - there followed ‘Waan The Herb’. Other well received offerings included ‘Ginal’, ‘Poser’, ‘Living Dread’, ‘Unprecedented Time’, ‘Still Blazin’ and ‘Kingston Town’, together with a Wailers’ classic in the form of the everlasting ‘Get Up, Stand Up’ and Bob’s ‘Iron Lion Zion’, not to be outdone by Albo’s own classic ‘Herbalist’. All round, this was a tip-top finish to a tip-top show, where Alborosie’s fine front-man skills and generous inclusivity ensured that many of Italy’s finest male and female vocalists were given welcome exposure by the conductor himself. Chief crowd pleasers here included Italian rappers Guè Pequeno and Clementino, with Manudigital ‘making the beats’. And for those whose musical appetites were not yet sated, the Dub Academy was rocking til 6 in the morning, to concoctions from the UK’s formidable Word Sound and Power, featuring Jimmy Ranks.
DAY FIVE - AUGUST 20, 2024
The penultimate day of Rototom 24 day opened on the Main Stage with a ‘Rototom Special’, courtesy of the Dub Asante Band, with Matic Horns wielding his mighty trombone in a manner akin to an orchestra conductor with a baton. Thereafter, Johnny Clarke (looking hale and hearty) entered the arena, offering up a sweet and select sample from his vast repertoire, including Bob’s ‘Crazy Baldhead’, alongside ‘African Roots’, ‘Blood Dunza’, ‘Move Up Rastaman’, ‘Rally Round’, ‘Take My Hand’ and ‘Ride On’ from his ‘dancehall glory days’. And all the while, over on the Lion Stage, Samuel Blaser and his co-conspirators – with violin and trombone to the fore! – played and paid tasty tribute to the late great Jamaican Don Drummond.
Fresh from her session at the Reggae University, Etana arrived on the Main Stage, leaving us in no doubt but that she’s the ‘Queen of the Concrete Jungle’, as she was clearly ‘On My Way’, paying no heed to any nasty ‘People Talk’, whilst ‘Love Song’, ‘Don’t Give Up’ and ‘You’re The One’ proved worthy samples from the many love distraught offerings from this chanteuse. And to ensure that we all know where she’s coming from, Etana also offered up welcome versions of ‘The Harder They Come’, ‘Simmer Down’, ‘Monkey Man’, ‘Wings Like A Dove’ and ‘No No No’. Having failed to make it on time for Alborosie’s extravaganza ensemble on the previous night, Etana then availed of Rototom’s extensive backstage technical know-how to deliver a welcome version of ‘Blessings’, followed by ‘Ganja For U’ and ‘I Am Not Afraid’.
The Main Stage’s next offering was Chambao from Malaga, Spain, with their electronic flamenco fusion, that went down a ‘bomb’ with their Spanish admirers. But this fine fusion didn’t stop the versatile group from threatening their audience to close the show with ‘Is This Love?’! This was fitting, as The Wailers were next to the Main Stage, with a belter of a set drawn from the legendary 1984 ‘Legend’ album release. It is the 40th anniversary of the release – now on ~850 non-consecutive weeks on the renowned US Billboard 200 albums chart - as it still stands as reggae’s best-selling album of all time. From the kick off warning of ‘Lively Up Yourself’ to an appropriate ending with ‘Exodus’, it was clear that Bob’s prophecy that ‘my music will go on forever’ is entirely accurate! And whilst the almost unrecognisable Wailers were re-living the past, singer Khalia – ‘Jamaican born and London grown’ – was giving a high-quality show at the Lion Stage, with special applause reserved for her recently released ‘Addicted’ and numerous outtakes from the well received 7-track 2023 release entitled ‘Stay True’, with ‘No Answer’ and ‘No Better Day’ reserved for her grand finale. And for those with the stamina, DJ Rassarella was kicking up a storm at the Dancehall until 5 in the morning!
DAY SIX - AUGUST 21, 2024
After a most informative and enjoyable session on the subject of ‘Afrobeats’ at the Reggae University many punters headed to the Main Stage, to see the legendary Twinkle Brothers, with a slew of familiar musical faces in tow. Led by Norman Grant, the Dub Asante Band were good value for their duration, with Dub Judah’s booming bass backed up by the experienced axemen Errol ‘Black Steel’ Nicholson and Jerry Lions. The Twinkle set offered up such age old favourites as ‘Forward’ from 1964(!), ‘Wrong Train’, ‘Jahovia’, ‘Never Get Burn’, ‘Free Africa’, ‘Repent’, ‘Babylon Falling’, ‘I Don’t Want To Be Lonely Anymore’, ‘Rasta Pon Top’, ‘Babylon Is A Trap’, ‘Faith Can Move Mountains’ and (arguably) their anthem ‘Throw the Comb Away’, before finishing up with the thought-provoking ‘Robot’.
Whilst the Twinkle crew were issuing strong political and religious messages, Naomi Cowan was letting rip on the Lion Stage. Her well-perfected performance drew an appreciative audience response to the offerings, as she acknowledged the influence of I-Three Marcia Griffiths – whom she had the privilege of playing in the recently released Marley biopic One Love. Spain’s Green Valley even threatened a version of ‘Natural Mystic’ when they returned to the Main Stage to take the ‘Spanish slot’ – and as always, thrilled their followers with an accomplished act. After that, Beenie Man arrived to bring the house down and the 2024 Rototom Main Stage to a close. This alleged ‘King of the Dancehall’ didn’t let anyone down, as he traversed the stage like it was his backyard, encouraging all his supporters to let a mighty roar in celebration of his birthday. And for those who didn’t get a slice of his cake, it was off to the Dub Academy, where Jah Tubby’s was giving a UK soundsystem feel all the way through the night to sunrise.
Yet again, Rototom has delivered the cream of reggae’s crop, making for another fine festival. Whilst it may have been reduced to 6 days this time round, the threat coming from the underground circles is that next year’s 30TH anniversary festival will surpass all in terms of music, activities and duration. So, you have been warned. Que sera!
WATCH THE ROTOTOM SUNSPLASH 2024 LIVE STREAMS HERE!
