Event promoter and PR agent Ralston Barrett recently crowned Buju Banton the “King of Reggae” — a bold statement considering Bob Marley’s lasting legacy in the genre. Speaking during a TikTok Live on Wednesday, Barrett acknowledged Buju’s enduring influence and appeal, which have spanned decades. “Me know me probably might be a over do it, but I think Buju has ascended to being an elder statesman in reggae,” he said. “I consider him the new king of reggae music, by the way — who wah vex vex.”
Banton, whose real name is Mark Myrie, returned to Jamaica in December 2018 after serving time in the U.S., where he was greeted by fans with a hero’s welcome. He wasted no time, launching the “Long Walk to Freedom Tour,” in Kingston then quickly sold out stadiums worldwide. Earlier this year, he returned to the U.S. for two back-to-back sold-out shows at the UBS Arena in New York on July 13 and 14, where he was once again received as reggae royalty by over 30,000 fans from the trip-state area.
Following the success of those performances, Banton announced the “Overcomer Tour,” which saw him headlining arenas across seven major cities in the U.S. and Canada, a historic feat for a reggae artist. The tour set records as the highest-grossing solo reggae tour of the 21st century, as reported in the Caribbean Music Report 2024.
Longtime collaborator and mentor Donovan Germain, who has produced some of Banton’s most iconic work, including the classic “‘Til Shiloh,” offered a different perspective in an interview with World Music Views. Rather than focusing on titles, Germain emphasized the importance of longevity and artistry: “We don’t need titles in the industry; we need hit songs where we can.” For Germain, Banton’s appeal lies in his deep catalog and the authenticity of his performances. “People just love him. Sometimes artists can have hit songs, but people just love him. He is controversial, but people love him, and whenever you go on a stage, you’re going to get your money’s worth.”
The Penthouse Productions boss also highlighted Banton’s consistency, noting that despite the high expectations following his 1995 classic album ’Til Shiloh, Banton has continued to release music on his own terms, evolving artistically with each project. “You can’t make back ’Til Shiloh; he is going to record songs where he is creatively,” Germain remarked, alluding to the unique challenges artists face in replicating past successes while remaining relevant.
While Banton stands atop the reggae world today, Germain sees potential in other artists, particularly Chronixx, who represents a new generation of reggae. However, he cautioned that the level of commitment required is significant. “Me think Chronixx have the opportunity, but Buju works very hard — you see him there. You have to be really committed. Chronixx took a break, but you can’t take a break; you have to maintain it and build the catalog. Ultimately, someone will take your place,” Germain said.
