ISSUE #1 — LIMITED COLLECTOR'S EDITION

ISSUE #1 — LIMITED COLLECTOR'S EDITION ONLY 25 PRINTED COPIES • $10 Own a piece of Texas reggae history. The inaugural issue of the Texas Reggae Journal is a 12-page independent publication documenting the artists, venues, Read more

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INSIDE ISSUE #1 - FALL 2026

From the Control Tower

By Sergio Ortiz - Editor

Welcome to Issue #1 of The Texas Reggae Journal. Down here in the Lone Star State, our reggae scene pulses through the hardworking artists, bands, producers, DJs, radio shows, venues, festivals, and the everyday people who show up to support the movement. With this quarterly project, our goal is simple: to make a humble contribution to the community by highlighting and showcasing a few of the incredible faces, places, and stories that keep Texas reggae alive and thriving.

This little zine—printed in a strict, limited run of 25 copies alongside our digital releases —is built to give our Texas reggae culture a permanent space on paper. Whether we're spotlighting the musicians and vocalists driving the music forward, capturing local festival energy, or diving into custom sound systems, every issue is a snapshot of our scene, by our scene.

Thank you for picking up a copy, supporting independent music, and helping us document the culture.

Sgt. Remo

Editor

Bass Culture in the Lone Star State

By Sergio Ortiz. Photograpy by likkle boom archives

Deep in the heart of Texas, custom audio craftsmanship is alive and thriving through the physical, bass-heavy tradition of sound system culture. At the heart of this movement sits Likkle Boom Sound System, a heavy-bass, custom-built rig based out of Austin, operated by selector and builder Bob Selecta (Bobby Babbitt).

Rooted in authentic sound system craftsmanship, Likkle Boom acts as a central hub for roots reggae, steppers, and dub in Austin, TX. Utilizing a custom 5-way setup controlled by a bespoke UK preamp, the system delivers a raw, physical sonic experience that bridges traditional Jamaican and UK dancehall traditions directly with the Texas scene.

For Bob Selecta, building a custom sound system wasn’t a choice—it was a natural continuation of a lifelong education. Having

learned 5-way sound system engineering from Hector at I-fficially Sound System back in Puerto Rico, Bobby brought those foundational blueprints straight to Austin.

Today, Likkle Boom stands as a physical manifestation of that craft: a true 5-way active setup featuring custom, old-school-inspired enclosures—handling sub-bass, bass, low-mid, high-mid, and tops —all driven by a custom UK Ligwa reggae preamp.

Armed with specialized boxes, high-power drivers, and British signal processing, Likkle Boom delivers its signature raw sound: crisp, soaring highs backed by chest-rattling sub-bass.

Curating a dance with a rig like that is all about reading the room. While Bob’s heart lies in roots music—often opening a session with a conscious vibration that can carry the whole night—he knows how to let a dance naturally shift into heavy steppers when the energy demands it. No matter the trajectory, the mission remains constant: keeping the vibration positive and heavy for everyone inside the dance.

That commitment to the culture has turned Likkle Boom into a vital bridge connecting Central Texas to global sound system community. By hosting international legends such as Channel One, Vibronics, and Ranking Joe, working side-by-side with Texas innovators like McPullish, the sound system is actively putting Austin on the global map.

And the engineering never stops. With plans to expand every year—currently building more double-bass enclosures and additional tops to keep the frequency response clear—Likkle Boom is locked in. More sessions are on the horizon, and the foundation in Texas is only getting heavier.

Ragga Diplomacy: Soulfiya and the GY2MX Movement

by sergio ortiz - photography by ace plus studios / soulfiya archives

From his base in Galveston, Texas, Soulfiya operates on a frequency that stretches far beyond the Gulf Coast. As a Guyanese-American vocalist, DJ, and producer who is entrenched in the Texas reggae scene since 2008, he views music through a wide-angle lens.

"My sound comes from a mix of reggae, soca, dancehall, and the wider Caribbean musical traditions I grew up around. We call it Ragga music," Soulfiya explains. Being Guyanese informs his entire approach, blending cultural threads stretching across India, Africa, Europe, and the Americas into a signature style. Over a career that has spanned international releases, charting on Billboard, and performing across 39 states and four countries, he has shared stages with heavyweights worldwide. Yet, whether singing original material or working the decks, the live stage remains his true home.

For Soulfiya, 2026 has been a madd year creatively—defined by relentless drops and global collaborations. He kicked off the year with "Badman Style," a GY2MX collab with UK great Apache Indian that continues to gather momentum. That was followed in the spring by two singles with Texas iconic DJ & producer El Dusty on the Corpus Christi based Americano label: the culture anthem "Whata-Boderation" and the cumbia-dancehall mover "Señorita".

Soulfiya is co-founder of the new label GY2MX. Contrary to assumptions, GY2MX isn't a group; it is an independent creative platform designed to shatter boundaries. "The freedom to move beyond reggae or dancehall was something I'd been searching for," he says. Reggae, dancehall, dub, soca, house, and chutney are woven into a single cohesive thread. For Soulfiya, independent artists shouldn't wait around for corporate gatekeepers to hand out permission slips when they can build their own infrastructure.

The release schedule shows zero signs of slowing down. Hot on the heels of his current catalog is a heavy dubby-steppas cover of the Sam Cooke classic "Bring It on Home," delivered by vocalist Kroywen, alongside yet another Apache Indian collab titled "WATCH DIS." In January, he takes the movement on the road with a Florida run kicking off at ONE Reggae Fest.

Looking at the broader landscape, Soulfiya believes Texas holds massive musical character, though its sheer geographic sprawl can isolate scenes. To him, sound system culture is the great equalizer—requiring not a monster budget, but good music, a system that plays it “prappa,” and people who genuinely care. He envisions a Texas scene confident enough to forge its own distinct identity rather than mimicking elsewhere, bridging the gaps between cities, producers, and selectors.

"We don't have to agree on every musical direction to get work done. Diversity is one of our greatest strengths," he notes. As he looks ahead, Soulfiya keeps his eyes on the horizon, shouting out the network of collaborators powering the movement—from Sgt. Remo, Kroywen, El Dusty, Tracho, Anil "Coolieman" Singh, Mr. Blacc Sheep, and Gucci Boss, to the wider GY2MX circle. He also pauses to honor the late, great Mighty Sparrow, whose voice graced one of Soulfiya’s own tracks—a milestone he calls the proudest of his life.

"Keep supporting the artists you believe in, keep showing up for the culture, and keep the music alive," Soulfiya says. "We have plenty more to build."

Remo Fest '26 - Reggae in the Hill Country

by r.j. johnson - photography by ace plus studios

This was my third year performing at the annual Remo Fest in Blanco, Texas, just outside Austin, and this year felt like another step forward. What began as a gathering of friends celebrating Sgt. Remo’s birthday has grown into something bigger while keeping that same personal connection.

The venue, Hill Country Caribbean Vybz, is run by longtime Austin chef Ras Kemry and his wife, Jennifer. Kemry is from St. Lucia, and that Caribbean spirit comes through in the vibrant colors, the surroundings, and the food and drinks. It’s a great setting for reggae music, and I’m looking forward to seeing more events at this spot.

This year’s lineup was the best yet, with performances from Sgt. Remo, Ras I-Dre, Phillipidon, Ras Indio, Dre Z Melodi, Micah Shalom, Mau Mau Chaplains, Skillinjah, McPullish with Mr. Blacc Sheep, Mother Mary Wanna and Crucial Riddim. A long list of favorite local reggae DJs kept the music moving between bands, giving the day a continuous soundtrack.

he whole event ran through Sgt. Remo’s massive Jamaican-style sound system, an important part of the experience. With so many performers sharing the bill, there was plenty to take in, whether you came to hear a favorite artiste or discover somebody new.

For me, the heart of Remo Fest is the community. It brings musicians, selectors, friends, and reggae lovers together in a setting that feels personal. That matters, especially when so much of our connection to music happens through a screen.

Some people brought chairs and blankets. Some brought tents. But from what I saw, everybody brought good vibes.

As a musician, I appreciate the work it takes to bring an event like this together. As a reggae lover, I’m glad to see it growing. Remo Fest is building something worth coming back for, and I’m happy to be part of it.

Texas Artist Spotlight

by Selecta will dub

Sgt. Remo (San Antonio) - "ELVTD" (LP Album) [8/14/26] - In today's current age of streaming service algorithms, it's always refreshing to listen to a cohesive full-length album. The 13-track album keeps the listener's attention flowing gracefully from roots todancehall and rub-a-dub. Sgt. Remo collaborates with renowned artists from Jamaica, U.K. & Brazil. Much of the album is produced by Kutral Dub (Chile). Released by King Remo Music (San Antonio). Listen Now!

Kaya Kotura (San Antonio) - "Ay You" (Single) [4/17/26] Inspired by a long distance lady interest, the lyrics reference her birth season during the Indonesian rainy season in the year of the tiger. The rhythm is driven by keys with a guitar breakdown halfway through. It was Kaya Kotura's first self-recorded and mixed track from start to finish. Listen Now!

Crucial Riddim (Robstown) - "Oppressor" (Single) [10/31/26] "Oppressor" tells the story of a Zimbabwean inventor named Maxwell Chikumbutso (who focuses on clean free energy) and the subsequent attacks on his life. The system silences those who attempt to challenge it. Self-recorded, with mixing & mastering by Crowns Vibrations (Corpus Christi / Austin). Listen Now!

Ras I-Dre (Houston) - Chatty Chatty [4/30/26] The Original Djedite points out the hypocrisy of those who talk behind others' backs in poignant fashion. The tune lets everyone know of how some two-faced individuals can operate. Jah faith and a sense of humility can keep the badmind people at bay. Mixed by Adi (Houston), Production by Kutral Dub and released by King Remo Music (San Antonio). Listen Now!

Micah Shalom & Soulfiya (Austin/Galveston) - Stop The Fuss [7/4/26] This track calls on the world to unite, put differences aside for the betterment of humanity. Micah Shalom’s exemplary, punchy hornline seizes the listener's ear over the classic “Real Rock” riddim. When Soulfiya jumps on the mic he takes center stage with powerful vocals. The release date (July 4) further drives home the song's potent message, released on Shalom Salaam Recordings (Austin). Listen Now!

Flamingo Cantina, “Austin’s Home” for Reggae Music

story and photography by sista irie

“There’s no place like home” rings true for reggae devotees who have long made Flamingo Cantina their musical family gathering place. Opening in 1991 following the closure of Austin legends like the Armadillo World Headquarters and Liberty Lunch, Flamingo Cantina remains the city’s shining star for Reggae, Ska, Latin, and World Beat music. As one of the few original music venues still standing on Sixth Street, it preserves the spirit of old-time Austin with an atmosphere modeled after a Jamaican ‘yard style’ dancehall. Authentic Jamaican food, prepared with love by Chef Winston, adds the finishing touch to its famously homey vibe.

Over the decades, the club has hosted many of the hottest names in Jamaican music in a remarkably intimate setting at a reasonable price—bringing everyone from Buju Banton to the Abyssinians onto its cozy stage. Just as importantly, Flamingo Cantina has served as a launchpad for local reggae artists, helping homegrown singers and players build their audiences and rise in fame.

The roots of the venue trace back to Angela Tharp, who originally parked her food truck in an alley between two downtown buildings. Her intuitive entrepreneurship grew that small operation into one of the most revered indoor-outdoor live music institutions in Austin’s history, carrying on the counter-culture spirit vital to the "Live Music Capital of the World."

Though the city's music scene has faced countless roadblocks—including COVID, rising downtown costs, strict regulations, visa challenges, and parking shortages—Flamingo Cantina has survived it all. Angela remains widely known by national and international touring acts as one of the most trusted and positive venue owners in the country. Because roots reggae music centers on themes of resistance, liberation, and justice, spaces like Flamingo Cantina are essential resources for community wellness. Without them, cultural history fades. Austin is truly blessed to have a home dedicated to peace, love, international unity, and deep musical education.

About The Texas Reggae Journal

The underground sounds of the Lone Star State

Texas Reggae Journal is an independent quarterly publication documenting the artists, sound systems, venues, and communities shaping reggae culture across Texas. Published by King Remo Music, the Journal preserves the stories, photographs, and history of a thriving underground movement—told by the people who live it.

Built by the community. For the community.