Live at The Mothership
8 February 2025
Live Review by Music Journalist: Paul Marshall
Solo Banton Ignites The Mothership With Reggae Fire
On a sticky summer night in Auckland, a thick haze of bass and good vibes enveloped The Mothership as Solo Banton took the stage for the first time ever in Auckland, delivering a masterclass in roots reggae and sound system culture. With the venue sparsely packed, the UK-based MC and lyricist proved exactly why he remains one of the most electrifying voices in the reggae underground.
Born Edward Ronald Browne, Solo Banton has made a name for himself in the reggae and dancehall scenes with four albums that blend roots reggae, dancehall, soul, and hip-hop influences. From the moment he took the stage, decked out in his signature militant yet laid-back style, Solo Banton commanded the room, his deep, baritone voice resonated through the venue, luring the audience into his world of bass-heavy beats and lyrical prowess.
Backed by a heavyweight sound system that rattled ribs and shook the very foundations of The Mothership, he launched into an incendiary set that blended deep, conscious lyricism with a party-starting energy.
The opening track’s rolling groove and call-and-response hooks immediately set the crowd alight. Banton's voice, rich and thunderous, cut through the dense mix of basslines and dub echoes, carrying the weight of reggae’s storied past while pushing its sound into the now.
Banton, ever the showman, masterfully engaged the audience between tracks. His raspy West London accent, laced with Jamaican Patois, gave his banter a rhythmic charm. At one point, he set up a call-and-response challenge: “Listen, I want you to do me a favour—when I sing this song, I need you to end me. Just say the last word, that’s all you need to do.” The crowd responded enthusiastically, falling into his cadence with ease.
One of the night’s most electrifying moments came when a dancer near the stage caught Banton’s attention. Moving with fluid, hypnotic precision, she captivated the room—and the man himself. Mid-song, Banton called out, “Everybody dance, everybody dance!” and extended his hand, inviting her onstage. Without hesitation, she accepted, launching into a display of world-class moves—twerking, bending, and twisting with an effortless grace that left the crowd in awe. Her name? Sisca Jamming, a Chilean dance producer and promoter whose skills go far beyond the dance floor.
Another highlight came when Banton playfully tested the audience: “Every time I put my hand in the sky, I want to hear everyone shout ‘No!’ Alright, let’s practice first.” When someone in the crowd (me) cheekily shouted “Yes,” Banton chuckled, “There’s always one, innit? Don’t muck around with me, I’m a comedian as well, you know!” The room erupted in laughter before launching into a rowdy call-and-response rendition of his hit song “No.”
With his roots in St. Kitts and Nevis and a Chelsea, London upbringing, Banton’s musical journey started early—MC’ing at just 11 years old. His name, a fusion of “Hans Solo” (a nod to Star Wars and his unique style) and the reggae term “Banton” (meaning storyteller), reflects his evolution from a graffiti-loving hip-hop head to a revered reggae artist. To date, he boasts over 50 releases and collaborations spanning a wide spectrum of sounds and cultures.
Throughout the set, the bass reverberated through the venue, a visceral force hitting like a heartbeat. Even for rock loyalists, Banton’s hypnotic rhythms were impossible to resist. The groove seeped into every limb, and soon, The Mothership was bouncing in unison.
In between tracks, Banton was as much a preacher as a performer, effortlessly freestyling and engaging the crowd with his razor-sharp wit and deep knowledge of reggae’s roots.
And then there were the dubs. When the selector stripped the riddims down to their barest elements, reverb cascading into infinity, it was as if time itself slowed. Banton rode the stripped-back grooves with the ease of a veteran, proving his mastery of the sound system tradition.
Before the night wrapped, Banton challenged the crowd to keep up with his rapid-fire rhymes—starting simple, then escalating in complexity until the words blurred into a high-speed lyrical assault. It was part masterclass, part entertainment, and 100% captivating. To cap things off, he dropped an acapella preview of an unreleased track—raw, intricate, and razor-sharp.
By the end of the night, The Mothership had morphed into a reggae cavern, with a crowd bound by rhythm and energy. Solo Banton didn’t just perform—he connected, entertained, and left an imprint on Auckland’s music scene that won’t fade anytime soon.
Reviewer: Paul Marshall
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