LIVE SHOW Review

An Untold Story

Buju Banton Live, September 20^th, 2006

The Fox Theatre, Boulder, Co

Review by Larry Leiber

Pictures for ReggaeMovement.com by JBella Studios

Buju Banton, Jamaica’s legendary dancehall voice with a conscious nature, traveled through Boulder, Colorado, the other day, bringing his unique blend of conscious dancehall along with questions that have surrounded him since an organized backlash against his music has arisen within the past couple of years.

Amidst a swirl of protesting along his tour, celebrating his latest release “Too Bad,” Buju has seen shows cancelled, as in Indiana and San Francisco, and his venues change, in Los Angeles. In Boulder, outside of The Fox Theatre, a peaceful assembly with signs labeling him with “hate music” and “gay killer” circled around out front, causing a bit of a furor throughout the early evening as concertgoers showed up.

Inside the Fox Theatre, however, Buju sang about life, spirituality, and an outlook on life purporting that all help all. Buju, in his bellowing, powerfully deep and raspy voice, provided an uplifting, energetic performance which both inspired and electrified.   The energy and message Buju filled the Fox was filled with love and positive thoughts, denouncing violence and encouraging responsibility, entertaining a house filled with fans that had paid their money to listen and watch.

When those who continue to spearhead the backlash against Buju Banton with comments such as “Buju Banton is notorious for his violently anti-gay lyrics,” they, along with other critics, have latched onto one song. “Boom Boom Bye” which Buju wrote when he was 15 years old, has become the beacon which critics have labeled his entire body of music.  “Boom Boom Bye” consequently, was released in 1992, 4 years after it was produced.

One could never defend the lyrics of the song, which in no way is it anything but an explicit description of anti gay violence. However, with knowledge of Buju’s entire body of work, the lyrics appear nothing less than a confused adolescent, lashing out with the ignorance of any 15 year old boy. 

Along the course of his musical progression, Buju has embraced the roots of Rastafari, first as an inclination of transformation within his album “Til Shiloh” in 1995, and emphatically throughout his immensely inspirational album “Inna Heights,” released in 1999.   Since those two albums, Buju has continued to inspire with a positive outlook, establishing himself as one of Reggae’s biggest stars and draws. 

“Destiny,” off of “Inna Heights”, gives a clear example of how Buju can be as inspiring as any of his forefathers.  Invoking the words of Bob Marley to start off the song, Buju ‘preaches’ the necessity of ruling one’s own destiny through strength.   Walking from side to side, singing from down to the ground to the sky in his trademark style, his ode to “rule his destiny.”  

His cry out to the poverty beset his own country through his own eyes, “Untold Stories” continues to remain a powerful edification of the trials and tribulations which confront the less advantaged, where to the rich comes the spoils.  It’s an impassioned cry for the rich to better the world for all, imploring those in charge to concentrate on creating opportunities for everyone.

Not only was Buju electrifying, as he always promises to be, he also educated all about Jamaica’s number 1 export throughout their history, Reggae.  After a lesson about Ska’s importance as the foundation of reggae in the early 60’s, Buju chanted on top of a ska riff from the Skatalites.  Bringing out some classic Studio One with Delroy Wilson in the skanky, snaky form of “I Don’t Know Why,” Buju spread his message across the foundations of reggae, educating along the way.

Either “Boom Boom Bye” will continue to haunt Buju Banton, or he will embrace this opportunity to become the great influence in this most progressive era of reggae.   Reggae has, in the past decade, expanded to become world music, with its roots now set in all corners of globe.  Merely by speaking out on what is right (the fact that violence is not the resolution,) Buju has the opportunity to transgress his genre in much the way some of his forefathers had done before him.  A strong willed, inspiring figure, willing to stand up to his own responsibility, both as a voice to the world and as a person who has come to grips with his own past, and is willing to take steps to make the futures of those that come after him.

Invoking the history of reggae as he did throughout his show, Buju has the opportunity to embrace the idea of carrying the proverbial torch of reggae for the coming generation.   Something reggae desperately needs.  Something it must have.   However, without making an acknowledgement of mistakes, if indeed he feels the song is a mistake, it will be hard for many of those who are on the edge to believe his message.

Review by Larry Leiber, Comments can be sent to Larry@ReggaeMovement.com