The term „Reggae Revival“ is always mentioned in the same breath with the names of the artistes, so they are considered as representatives or personification of this term. They embody the revival, are the visible carriers and represent the movement. They can be defined as charismatic leaders of the movement.
The „core revivalists,“ „activists,“ or „revivalists“ and their dissatisfaction with current conditions (social, musical-aesthetic, political, etc.) are the driving individual forces for the emergence of musical revival movements in general (see Hill/Bithell 2014).
Their importance as charismatic leaders in the Reggae Revival movement and for its global success is due to their inspiration and role model functions for others and Jamaica’s youth, their sensitivity for addressing socially relevant issues in their music, their competencies and strategies for self-promotion, and ultimately their ability to reach a very diversified mass through their work and appearance.
Born Jamar McNaughton in Jamaica in 1992. Son of dancehall deejay Chronicle, he was introduced to music and other artistes at an early age. Produces a lot of his music himself and was nominated for a Grammy in 2017 with Chronology . Has toured all five continents and regularly headlines major festivals.
Jamaican popular music cultures have also always emerged from political and social malaise, discontent, and social inequality. In the case of the Reggae Revival, too, such grievances are partly the cause for the emergence of the movement but also topics that are taken up by it. For example, the riots in Tivoli Gardens in 2010, political corruption within the Jamaican government, poverty and social inequality, and discrimination.
Reggae Revival artistes are seen as an inspiration for young people and they consider themselves to be reference persons for them. Artistes such as Protoje or Chronixx are seen as role models for (former) upcoming artists, such as Lila Iké or Koffee. Female artistes in particular, who were rarely to be found in reggae until a few years ago, now see the increased emergence of successful artistes like Jah9, Hempress Sativa and the new generation with Lila Iké, Sevana and Koffee as evidence that there is also a stage for them beyond dancehall.
One a di tings I decided that is good […] is to find that kinda talent and give dem this kinda platform, […] it’s great fi be able fi push out some young artistes within the ting
[Chronixx] is jus 25, I’m 25. He did it – I can do it. So, jus a boost of confidence and self-worth […], ‘cause he is representin’ our millennial right now. So, what he achieves and what he does; it has a direct impact on this generation.
The Reggae Revival artistes are able to reach a relatively broad and diverse mass of people with their music and their work. This is especially due to their music, which covers a wide spectrum of genres, ranging from reggae to dancehall, dub, hip-hop, trap and pop. Thus, different generations are addressed by the Reggae Revival.
"[Revival communities] often bring together people
whose paths might never have crossed outside of the revival."
(Livingston 1999: 72).
Because [Chronixx’ music] is like a younger version of Reggae that [older and middle-aged people] grew up with. So, when [Chronixx] came and did a talk here [...] a lot of the people who turned up to listen to him talk were middle-aged. It wasn’t younger people, it was older people on campus..
'I’ve been called the leader of a reggae revival’, says Chronixx, but I try not to use the term reggae. It’s just Jamaican music.'
The artistes are familiar with media, have a sense of marketing and an awareness of the significance of self-presentation. A constant presence in social media with an appealing unified design and memorability puts the artistes in direct contact with a global audience. Visual artistes are also particularly important in this regard, which demonstrates the Reggae Revival's connection to institutions such as the Edna Manley College.
"'[Chronixx] understands the younger generation that’s into social media. He’ll come to town and sell 1,000 tickets without a flyer'"
(Kenner 2017).
you just see this big man [Protoje] that is pretty hip like he looks. He’s representing us in the way he dresses, the ways he talks… stuff like that. […] The people gravitate to listen to the music because of how he looks.
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