VIBES
We were sitting on a rooftop in Trenchtown, with dub music
blasting into the late night sky; I looked at my companion
and said “You can’t beat these vibes - Jamaica is a
beautiful place”. It’s “vibes” that is at the centre of our
musical success story, and it’s vibes that are the real way
to a musical future that can enrich and rejuvenate not just
the cultural scene, but the country and region as a whole.
Jamaican music is at a crossroads at the moment. The
successes of the past have created a space filled with
possibilities, and there is a huge amount of potential. There
are, equally, many dead ends and false trails, some of
which we are currently pursuing with a passionate intensity.
This article is not espousing any one approach, there are
many ways that can lead to a harmonious musical future;
what it is espousing is a more holistic, reasonable, unselfish
and, above all, “vibes centred” perspective by the people
most able to exert influence over the situation.
Jamaica has the huge advantage of a famous musical
tradition and reputation and close proximity to the world’s
cultural monopole right next to it; Jamaica has the huge
disadvantage of being small and poor, with the world’s
biggest cultural monopole right next to it. This means that
we can influence, but are far more likely to be influenced.
All of this is to say that Jamaica’s musical tradition will not
be served by simply trying to fit into a brave new disposable
world, doing what we’ve always done. Instead, we have
to focus on what we do extremely well; and learn to do it
better. And musically (and other ways), what we do well
is vibes.
I’m a musician, and I’ve played with people from all over
the world. I can safely say that there are few countries
which produce more natural musicians than Jamaica. I
don’t mean that we produce more technical virtuosos,
with precise command of their instruments. I mean that
we know what sound to make, and how to make it (well,
sometimes, anyway). So that’s something to build on. The
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aforementioned musical tradition means that we have the
means to command attention on the world stage. And our
far flung and disparate ex-pat culture provides a natural
entrance to many different “markets”. It is, in short, highly
doable for us.
We’d have to start believing in ourselves, though. Musicians
would have to have the bravery to do something new,
or try something different (instead of just trying to copy
Kanye or Beyonce); Promoters would have to be open to
different styles and approaches, instead of just following
the quickest safest route to money (which is often not the
quickest and safest route to money); Venues would have
to be created with at least usable spaces and equipment;
Radio stations would have to be a bit more open (in every
way) and the government might have to start thinking of
ways to help it be possible to be a musician in Jamaica.
That last is a great irony. As musical as we are, it is
exceedingly difficult to be a professional musician in
Jamaica. The regular routes are: joining a touring band,
and eventually getting into production when you’re
sick of that; becoming a music teacher and playing the
occasional gig, being in a duppy band (playing at funeral
events) or playing the north coast hotel scene. None of
these are hugely lucrative, and only a small number of
people can do most of them, so there isn’t really much
scope to make music your life without the constant threat
of eviction. Additionally, none of the above routes are
conducive to much creativity, which is, above all, what we
need.
And despite everything, it’s possible to sit on a rooftop in
Trenchtown, listening to great music made by people you
know, sip your drink and say “You can’t beat these vibes”.
Maybe that’s what’s really important
by Omar Francis