For Calgary ReggaeFest founder and producer Leo Cripps, success has never been measured by crowd size, celebrity headliners or rapid expansion. It rests on one enduring belief: “There has to be a festival.”

This feature traces more than two decades of quiet resilience—from financial setbacks and pandemic uncertainty to the 2024 cancellation of Sunny Soul Jam. Through it all, Calgary ReggaeFest has built its reputation by growing responsibly, remaining debt-free and honouring its commitments to every artist, vendor and partner.

Cripps also reflects on the festival’s new home at The Rise on St. Patrick’s Island, the generations of families who return each summer and a lineup that carries reggae’s history forward through legends and emerging artists alike.

At its heart, Calgary ReggaeFest is a story of stewardship: choosing sustainability over spectacle and ensuring reggae music and Caribbean culture continue to have a home in Calgary. After more than twenty years, its greatest achievement may be beautifully simple—it kept its promise.

Read the full story at Afros in tha City or in our print publication.

Born into one of reggae’s most celebrated musical families, Jemere Morgan carries a powerful inheritance. But as the grandson of pioneer Denroy Morgan and the son of Gramps Morgan of Morgan Heritage, he is not simply preserving a legacy—he is building one of his own.

In “Walking in Purpose and Royalty,” Cara Eyre speaks with Morgan about spirituality, personal growth and the responsibility he feels each time he creates music. From the uplifting message of “Keep Blazing” to the relationship lessons behind “Know Better,” every song must carry intention and leave listeners with something meaningful.

Morgan also reflects on collaborating with Damian Marley on his third studio album, a more mature and vulnerable project exploring love, emotional growth and life’s difficult seasons. Throughout the conversation, he returns to a guiding belief: music should offer joy, connection and upliftment in a divided world.

For Morgan, legacy is not something fixed or protected. It is a living mission—shaped by experience, carried forward with purpose and strengthened each time the music reaches someone who needs it.

Read “Walking in Purpose and Royalty” in full at Afros in tha City or in our print publication.

Read the full cover story

Aquakultre covers the September 2026 issue of Afros in tha City. The complete story explores 1783, Matriarchs, the family histories behind the work and the moment Lance Sampson found his voice.

The full feature and photo story will be released with the September digital issue and limited print edition.

& Afro-Disco Makossa: The Dance Floor Record He’s Always Wanted to Spin & More.

Music never arrives without a history. It carries places, technologies, memories and the fingerprints of those who came before.

For our August cover story, Afros in tha City sits down with Adrian Younge to explore the sounds, relationships and creative philosophy behind Afro-Disco Makossa—a record born from his long-held desire to create music for the dance floor without surrendering the depth, musicianship or historical consciousness that defines his work.

Drawing from makossa, soul, funk and disco, the album does not treat these traditions as relics to be reproduced. Younge approaches them as living languages: sounds capable of holding their histories while continuing to move, transform and speak to the present. The result is music designed for movement, connection and deep listening—a record that looks backward only to understand where it might travel next.

But this conversation extends far beyond one album.

Younge reflects on the trust that can only be built through consistency, his enduring creative partnership with Ali Shaheed Muhammad, and the ecosystem they have created through Jazz Is Dead. Rather than positioning legendary musicians as figures frozen in the past, the platform invites living artists to continue creating, experimenting and adding new chapters to their own stories.

He also speaks about attending law school because he wanted to become what he calls “an educated artist”—someone equipped to understand contracts, intellectual property, ownership and the structures surrounding the work. His independence is not simply an aesthetic or an industry label. It is knowledge, preparation, discipline and the infrastructure required to protect a creative life.

That philosophy carries particular weight for an independent publication like ours. Building outside traditional systems requires more than vision. It requires learning how the machinery works, deciding what must remain yours and creating an ecosystem capable of supporting the work long after the excitement of an idea has passed.

Throughout the conversation, Younge retains the curiosity that first led him toward music. “We’re just bigger kids,” he says—a reminder that serious artistic practice does not require abandoning wonder. Growth can mean becoming more skilled, more informed and more intentional while remaining open enough to keep discovering.

This is a cover story about a dance-floor record, but it is also about something larger: how artists honour history without becoming trapped inside it, how independence is built rather than declared, and how curiosity keeps the conversation moving forward.

Adrian Younge covers the August issue of Afros in tha City.

Read “Afro-Disco Makossa: The Dance Floor Record He’s Always Wanted to Spin” at afrosinthacity.com and in our print publication.

Stories Shaping Culture.