The U.K. is one of the places that has always been an advocate of my music and I spend a lot of time touring here. I've got family and friends over here, but more than that, there's a large Jamaican community and the Jamaican culture is very widespread in the U.K. which I love.
I used to buy records in high school. Mainly dancehall: Super Cat, Buju Banton.
I can remember the first time I ever recorded my vocals on to a beat. Cat Coore from Third World - a legendary Jamaican band - had a little demo set up at his house. I'm very good friends with his eldest son, Shiah, who plays with me now. So we were rhyming over a track by the dancehall artist Peter Metro. I've still got it somewhere.
I record all night and sleep all day. It started because you're excited about the music and you want to stay up longer, but over 15 years, it's become a habit. In my circle, I think a lot of musicians operate like this. When the place is quiet, you're more creative. I have plenty of people I can call at 4 A.M. and know they'll be up.
I like singing all songs, really, but I find that writing social commentary comes naturally.
Coming where I'm coming from, really, my family name isn't a pressure because, you know, music is not like sports, where you can go and do a hundred reps in a gym and come out and be all buffed up. Music is an expression of what's inside of you. And that's how I make music.
You say 'African music' and you think 'tribal drumming.' But there's a lot of African music that's like James Brown, and a lot, too, that sounds very Hispanic.
Jamaica full of ghetto, but boy, I tell you: me never see it like that.
I would never say that being Bob Marley's son has been a pressure. It has been a door opener.
I'm a big fan of hip-hop, so it reflects in my approach.
