In a world where musical genres continuously evolve, Kabaka Pyramid stands tall as a modern-day torchbearer for authentic reggae music, blending traditional roots with contemporary hip-hop lyricism.
In an exclusive interview, the Jamaican lyricist opened up about his journey, his influences, and his mission to elevate consciousness through music.
Discovering Reggae Through the Church and the Streets
Kabaka Pyramid, born Keron Salmon, didn’t grow up in a household immersed in reggae music. Instead, his earliest musical memories came from the church, where gospel music and hymns dominated the soundscape. “At home my mom listened to a lot of gospel music, so I didn’t really get much in terms of the depth of the history of reggae music,” he shared. “Growing up in the church, you’re singing a lot of gospel choir and hymns and stuff like that, but I never really got into the music through the church—it just didn’t really appeal to me on a deep level then.”
It wasn’t until he was around 17 that reggae truly spoke to him. “The moment I knew I wanted to do reggae music was around 17 when Sizzla’s music actually impacted my life, like seriously,” Kabaka said. “I grew up Christian… it was his music that brought me really into Rastafari. When I saw how powerful that was, I always knew that I wanted to be able to do that for other people through the music and just shift the consciousness and the mindset of people.”
A Childhood Split Between Two Worlds
When his parents separated, Kabaka found himself navigating two very different musical environments. His mother remained steeped in gospel traditions, but his father introduced him to a broader reggae palette. “When I lived with Dad, he had a component set with CDs, and I would listen to Buju Banton, Dennis Brown, a lot of Bob Marley and the Wailers,” he said. “When we’d drive into the country, he would play those albums for me. That’s how I got introduced to the music as a young kid.”
Hip-Hop Roots, Lyrical Dexterity & Advocating for Authentic Jamaican Sound
Though reggae laid the foundation, hip-hop played an instrumental role in shaping Kabaka’s signature lyrical style. “Definitely hip-hop is a big influence,” he said. “Early—like Wu-Tang Clan, Nas, Mos Def, Black Thought, The Roots—a lot of the lyricists, you know? So that’s kind of why my music is the way it is—it’s heavily lyrical. A lot of that is because of the hip-hop influence.”
His high school years were a mash-up of genres, with dancehall icons like Spragga Benz, Sizzla, Bounty Killer, Baby Cham, and Sean Paul further contributing to his versatile musical persona.
As someone who tours internationally and shares stages with major acts, Kabaka sees the need for more equitable representation of authentic Jamaican reggae on global platforms. “Here’s the thing—people are going to gravitate towards what they like. But my thing is, if you’re only exposed to one vibe or one sound, then that’s what you’re going to like,” he explained. “I would love if more authentic reggae music from Jamaica was presented more to people at festivals like this and given a fair chance in terms of time slots, so people can really connect with the music.”
He emphasized that audiences do respond positively when exposed to conscious roots reggae. “Anytime we do these festivals… I’m not even the greatest singer—I’m more like a lyricist—but we still bring the culture through the music, and the people love it.”
Kabaka wants more opportunities for up-and-coming Jamaican acts, noting that the industry has changed, making it harder to break through without major hits. “The live music scene, the culture, the ecosystem of support—going on the road with bigger acts—I would love if more acts from Jamaica doing authentic roots music, conscious music, music with strong messages, could really get the exposure.”
Creating “Red Gold and Green” with Damian Marley
Kabaka’s critically acclaimed album The Kalling, produced entirely by Damian “Jr. Gong” Marley, includes the powerful track “Red Gold and Green.” He explained the creative process behind it, emphasizing the symbolic nature of the song. “We felt like we needed a hard-hitting, proper reggae song that can play in many different areas—Jamaica, abroad, Europe, the U.S.—and kind of have a universal message,” he said.
“Red Gold and Green” started with Julian Marley on keys, laying down a chord progression. “Then Damian was programming the drums on the MPC. I got the demo mic and just started messing around with melodies. That’s when ‘Red Gold and Green’ came,” Kabaka said. “We penned out how we wanted the chorus to be, I took it home, recorded some verses, went back to the studio with Damian, and then we tweaked some of the verses. He felt inspired to do a verse on it too, so that’s how the song came together.”
The message, he said, is clear and grounded in Rastafari ideology: “Red, gold, and green—these are the colors of the Ethiopian flag. This is what Rastafari is about. It’s about the flag itself, the meaning we ascribe to it, and the fact that we’re carrying this banner across the world. That’s the mission with reggae music.”
The Mission Continues
Kabaka Pyramid’s purpose has always been more than entertainment. It’s about transformation—of individuals, communities, and global consciousness. “I always knew that I wanted to be able to do that for other people through the music,” he said, reflecting on his first encounters with Rastafari and reggae. “We are here trying to bridge that gap for sure—that thing is needed, and the people want it.”
And it’s clear that he’s doing just that—carrying the banner of red, gold, and green, one verse at a time.
