Reggae music in Namibia may no longer dominate the mainstream, but according to Brother Rootz, the genre is far from dead. Instead, he says it has gone through a long journey of evolution—shaped by history, independence and changing technology—while still holding onto its core message.
Tracing the roots of reggae locally, Brother Rootz explains that the genre began taking shape in Namibia in the late 1980s. Early bands like We Culture, Irie Dub Mix and Shemyetu helped introduce reggae to local audiences, laying the groundwork for what would later become a powerful cultural movement.
He points to the 1990s as one of the most important periods in Namibian reggae.“That time was very interesting because it was around independence. There was a lot of enthusiasm, people coming back from exile, and a fusion of ideas. It created inspiration,” he says.
According to him, many of the artists who are now considered foundational figures in Namibian reggae started their careers during this period. He also highlights the arrival of internationally respected reggae group Midnite in the late 1990s as a key moment.“
That sparked a vibration that carried into the 2000s,” he explains. By the early 2000s, reggae had become more visible in Namibia. Brother Rootz recalls a time of live performances, album sales and strong fan engagement, with artists performing regularly and reggae becoming part of everyday life.
“That was the time when reggae was really in people’s space—concerts, albums, merchandise, everything,” he says.However, he notes that things began to slow down from around 2010 onwards, as the industry shifted and other genres started dominating the airwaves.
Despite these changes, Brother Rootz insists that reggae has not lost its identity. “The production has changed because of digital tools, and artists can now produce their own music. But the identity is still the same. Reggae is about Rastafari, African identity and conscious messages,” he says.He adds that Namibian reggae has developed a unique cultural signature, especially through the use of local languages.“You can even find songs in Khoisan languages. That’s something very unique. When you hear it, you can tell this is Namibian reggae,” he explains.
On the question of whether reggae is still a voice for struggle and consciousness, Brother Rootz is firm.“That message has never changed. Reggae is still speaking about poverty, government, war and injustice,” he says.
He argues that reggae remains one of the few genres globally that consistently addresses serious issues.“You won’t easily find other genres talking about things like Sudan, Western Sahara or global conflicts. But in reggae, those songs are there,” he says.
While the message remains strong, the genre’s commercial position has weakened. Brother Rootz believes this is largely due to a lack of diversity in what gets played and promoted in Namibia.“The market is focused on just a few genres like hip hop, amapiano and Afrobeats.
There are many other genres, but they are not given the same opportunity,” he says.He also places some responsibility on DJs and selectors, urging them to dig deeper into music and expose audiences to a wider range of sounds.“People need to study music, not just play what is popular. That’s how you grow the culture,” he adds.
The rise of genre fusion is another area he addressed. While he acknowledges that blending reggae with other styles can help artists reach new audiences, he warns that it can also weaken the genre if not handled carefully.“If you have an album of 12 songs, most of them should still be reggae. Otherwise, you lose the foundation,” he says.
He believes that in many cases, other genres benefit more from reggae than the other way around. “Reggae has a strong identity. Other genres borrow from it and gain something, but reggae doesn’t always gain from them,” he explains.Looking forward, Brother Rootz says growth in the reggae scene will depend on artists becoming more disciplined and intentional with their craft.
He encourages musicians to produce consistently and study the deeper roots of reggae beyond the most popular names. “Artists need to listen to more foundation music, not just the big names. That’s how you develop your sound,” he says.Beyond his role on radio, Brother Rootz is also working on expanding reggae culture through independent projects. These include podcasting, documenting performances and building archives that can preserve the history of reggae in Namibia.
“We want to document everything—interviews, performances—so future generations can understand where this music comes from,” he says.He also hinted at plans to introduce a more traditional reggae experience inspired by early sound system culture, focusing on community spaces where music can be shared outside of mainstream platforms.
As the industry continues to shift, Brother Rootz remains committed to pushing reggae forward—not just as entertainment, but as a tool for education, culture and awareness.“Reggae is more than music. It’s a message, and that message is still alive,” he says.
