Skip Marley. Supplied Picture: Jack McCain
As the grandson of reggae icon Bob Marley, Skip Marley has music flowing through his veins.
Though he’s carved out his own distinct path in the industry, blending genres from reggae, pop, and R&B to Afrobeats, the Marley legacy is undeniably woven into his artistry.
Skip Marley gained widespread recognition with his 2017 single Lions, his collaboration with Katy Perry on Chained to the Rhythm, and the global hit Slow Down with the R&B powerhouse, H.E.R.
When the Zoom notification finally pings and I’m admitted into the call, Skip Marley is already in his element – sitting in his studio, humming a melody that floats through the digital space.
He doesn’t notice me at first, lost in his own musical world, and for a moment, I’m treated to an impromptu pre-interview performance.
“Hi, how are you?” His warm greeting cuts through the initial digital awkwardness, immediately setting a tone that feels less like a formal interview and more like catching up with an old friend.
The Citizen: If you could collaborate with any South African artist
“Tyla!” he jumps in before I can finish, eager to share his thoughts.
“I have a song where, you know, it can be nice if Tyla will be on it,” he says adding that Tyla’s vocals would blend in seamlessly with the song.
His enthusiasm is infectious, and he reveals they’re already working on making it happen.
And obviously, everyone must know what Marley’s favourite Bob Marley song is, so I ask the cliché question to which Skip answers “I don’t have one favourite, you know I love all of them for different reasons, and I always tell people this”.
He says it’s hard for him to pick one song and fondly recalls discovering his passion for music through his grandfather’s iconic artistry, which sparked a connection and inspired him to learn from and build upon that legacy.
The young Marley said he would’ve been a farmer if he had not pursued music, “I have a green thumb”, he says, sharing his connection and love for taking care of the Earth.
The Citizen: Your latest single ‘Close’ has gained significant attention with over 180k views on YouTube. What inspired this song, and what message do you hope listeners take away?
“We’re bringing the old to the new,” he interjects with a grin, unable to contain his excitement about the project.
“It’s a reimagination of Max Priest’s song, Close To You,” he says, adding that it is about spending time with the people one’s heart calls out to.
“My mother did bring the idea to me to re-imagine Max Priest’s song and so I said ‘It’s done’.
“I know sometimes people got to cover a song and you can miss, but I feel like this one was right on point, you know.”
Throughout our conversation, Skip’s responses come quick and passionate, sometimes cutting through my questions like a skilled musician anticipating the next beat.
His studio setup forms the perfect backdrop – a space where creativity clearly flows freely, with two guitars hanging on one side of the wall.
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The Citizen: How would you describe your musical style compared to your family’s and how does it differentiate your music from your family’s iconic reggae sound?
“Differentiate?”, he prompts.
“It’s just a different time, and so I would say you hear a lot of different elements in the music, you know what I mean? Um, but I would say really it’s the same.”
Skip adds that his music is merely a branch from the same tree. His hands move as he speaks, conducting an invisible orchestra of genres.
“That means I can stretch forth and reach onto R&B, Afro, funk, blues, jazz, rock, calypso, soca,” he explains emphasising the idea that his music is an amalgamation of genres.
When asked about his creative process, and which artists he draws inspiration from, his whole demeanour shifts into something more contemplative.
“My family is really my heaviest inspiration. You have a lot of other reggae artists, pinnacles and pillars in reggae music, [like] Burning Spear, Wailing Souls, Toots & The Maytals,” he says.
He also mentions some of the greats from Jimi Hendrix, John Mayer, BB King to Marvin Gaye, and Curtis Mayfield.
“There’s a lot of different music that inspires me,” he says delving into the second part of the question answering that God inspires his creative process.
“It’s Jah works,” Skip says with conviction.
“The people who make the world worse drive my process, the people who feel like there’s no love in the world drive my process, the people who give up drive my process. All these things in the world drive my process. God drives my process.”
He says his music is for those who have ears and are seeking to drive positive change in the world.
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The Citizen: You’ve worked with diverse artists from Katy Perry to Rick Ross. What do you look for in collaborations?
“It’s really about the outlook and the reach,” he explains.
“It’s about spreading the message to the four corners of the earth. Nothing wrong with saying I want to go pop, rock, hip hop, or afro. It’s about the unification of the world,” he reiterates his interest in multifaceted musicality.
“I’ve been blessed and fortunate enough to have worked with such talents, you know, and I give thanks to all of them where, it has pushed the music further and further, you know, till it reached the right people,” he adds gleeing with gratitude.
In 2017, his song with Katy Perry skyrocketed to the Top 10 of the Billboard Hot 100, this marked him the first among the Marley lineage to achieve such heights.
According to him, he took that as a representation of his family.
How do you navigate the expectations of being a Marley while forging your own path?
“By doing Jah-works and doing my duty,” he states firmly.
“When you see me, it’s not just me alone you see. I am that team. There’s no overshadowing – I am that.”
Snooping around trying to get more about his collaboration with Tyla, I ask him about his upcoming projects and dream collaborations.
You did speak about Tyla. Can you tell us more?
“No, I can’t tell you more about that. I can’t tell you. I can’t tell you,” he laughs smugly.
However, he mentions that there is a diverse palate of music he is working on ,featuring South American, Jamaican, Afrobeats and Afropop vibes.
“More music for the people. And you know, when the timing is right, we will be in South Africa as well, boy, I wish it could be tomorrow.”
He reveals that he does not necessarily have a top five of artists he’d wanna collaborate with.
“But I would like to work with a unique artist who you might not think about,” he says and pauses.
“Sade,” he reveals with a smile. The answer hangs in the air like a perfectly placed note, unexpected, yet fitting.
Even through the digital interface, his energy is palpable, his responses genuine if sometimes impatient – the mark of someone who lives and breathes his art.
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