Sun Rider 9 Productions Presents The Reggae & Ska Fest!
Join us on Saturday, October 3rd, 2026 from 1:00pm to 10:00 PM at The Vortex at CAA Park for an unforgettable day of Reggae and Ska Music!
There is plenty of delicious food from the food trucks at the event and beverages including adult beverages. So grab a lawn chair and blanket and come out and enjoy this event at The Vortex!
Doors open at 12:00pm. Rain or Shine. No Outside Coolers. No pets allowed.
🎶 Lineup 🎶
STAGE ONE:
Culture featuring Kenyatta Hill
John Brown’s Body
The Pietasters
Jah Works
Yellow Dubmarine
STAGE TWO:
The Players Band
The Loving Paupers
Eastern Standard Time
Higher Education
🌟 Exciting News About Tickets! 🌟
🎟 Ticket Details 🎟
Early Bird General Admission Advance Tickets:$20 (no fees) Available from February 13th until March 13th
General Admission Advance Tickets:$25 (no fees) Available after March 14th
Children 12 and Under:FREE
Event Highlights
Delicious food trucks
Refreshing beverages, including adult options
Two Stages
Art vendors
A stunning 12-acre venue with lush greenery, nestled in the heart of the Catonsville Arts & Entertainment District
Conveniently located just 6 miles from BWI Airport and 10 minutes from downtown Baltimore
Important Information:
Rain or Shine event
No outside coolers, pets, tents, beach umbrellas, or backpacks allowed. Service pets only are allowed.
Bring your lawn chairs and blankets for a comfortable experience
Celebrate Catonsville’s first 12-acre outdoor music and event venue, a space designed for live entertainment and community gatherings. Explore local shops and restaurants within walking distance, and kick off your day at one of Catonsville’s finest taverns or eateries.
Come and enjoy our second presentation of The Reggae & Ska Fest!
Thank you, Music City Maryland Association
VIP TENT! 10 TICKETS, 10X15 POP UP TENT & 10 CHAIRS PROVIDED. INCLUDES COOLER OF SODAS & WATERS & 3 DRINK TOKENS PER PERSON. DRINK TOKENS FOR 21 AND OVER, TENTS ARE LIMITED
Camp Meade is ONLY AVAILABLE to people with current Dept of Defense IDs
Press Release:
Reggae & Ska Fest Brings Culture ft. Kenyatta Hill, John Brown’s Body, The Pietasters, Jah Works, and More to Catonsville
Catonsville, MD – The Music City Maryland Association presents the Reggae & Ska Fest at The Vortex on Saturday, October 3, 2026, a full-day, all-ages celebration of reggae and ska featuring two stages and nine bands, including Culture ft. Kenyatta Hill, John Brown’s Body, The Pietasters, Jah Works, and more.
Culture is an internationally renowned roots reggae powerhouse, emerging from Jamaica in the late 1970s with a string of landmark albums including Two Sevens Clash, which was named Reggae Album of the Year in 1977 and later ranked by Rolling Stone as one of the 50 coolest records of all time, the only reggae album on that list at the time. The New York Times described Culture as “the leading exponent of conscious reggae.” Today, Culture ft. Kenyatta Hill, son of the late Joseph Hill, continues his father’s legacy by bringing the group’s catalog of classic songs and Rastafarian roots reggae to new audiences worldwide, while headlining major international festivals such as Rototom Sunsplash in Spain.
John Brown’s Body has been a cornerstone of the modern reggae movement for more than two decades, known for blending deep roots reggae with dub, jazz, and funk influences, the band has released a catalog of acclaimed albums and earned a reputation as one of the most powerful live acts in the US reggae scene. The Pietasters are among the most influential bands to emerge from the American ska revival of the 1990s and remain an unstoppable driving force. Jah Works is a staple of the East Coast reggae scene, performing continuously since their founding in 1993. Yellow Dubmarine has built a loyal following for their reggae reinterpretations of Beatles classics. The Players Band is a veteran Mid-Atlantic ska heavyweight, founded in Catonsville in 1999, making this performance a hometown return. The Loving Paupers are a lover’s rock, rocksteady, and dub group whose polished recordings have earned them recognition within the modern traditional reggae revival. Higher Education is a staple of the Baltimore reggae rock scene, known for high-energy live shows. Eastern Standard Time is one of the longest-running traditional ska bands in the world, founded in 1995, with extensive US and international touring that has helped shape the modern American ska scene.
CULTURE FEATURING KENYATTA HILL:
Culture is reggae’s preeminent harmony group. Born in the 70′s golden age of reggae, the ever viable Culture garnered continual US and international acclaim for its long series of classic “roots” albums. Culture’s legendary “Two Sevens Clash” (Shanachie) was Reggae Album of the Year in 1977 and is acknowledged today by Rolling Stone Magazine (April 11, 2002) as #25 of the 50 all time coolest records (the only reggae album to make the list).
Culture’s music, featuring the shining lead vocals of Joseph Hill, is solidly roots, perfectly executed and delivered with genuine emotional fervor. Joseph Hill’s devotion to the traditional Rastafarian values of purity, simplicity and justice is exemplified by Culture’s lyrical themes. Milo Miles, writing for The New York Times, named Culture as “the leading exponent of ‘conscious reggae’”. Hill’s message is clear and uplifting. His songwriting abilities are outstanding and music reviewers have lauded his achievements for two decades.
Born in St. Catherine, Jamaica and involved with music since early youth, Joseph Hill began his professional recording career in 1972 with the single “Behold the Land.” By 1976 Joseph and his cousin Albert Walker had formed a trio whose name evolved into Culture with the release of the mythic “Two Sevens Clash.” Joseph Hill performed solo under the name Culture and recorded several projects during the early eighties; he and Albert subsequently reunited and produced a long series of critically acclaimed recordings. In fact, Culture’s entire body of work (over 28 albums) can be recommended almost without exception. Noted albums such as “Nuff Crisis”, “Cumbolo,” and “Wings of a Dove” virtually define the “roots” genre.
Culture’s level of energy and creativity are consistently superlative. They have performed brilliantly to spellbound audiences at countless festivals, concerts and clubs around the US and throughout the world. Culture’s backing band provided cohesion and energy behind the sweet harmonies of Albert and Telford Nelson and Joseph’s dynamic lead vocals.
Kenyatta Hill’s career began the day his father’s ended. Joseph Hill, singer and songwriter for the legendary Jamaican vocal trio Culture, collapsed and died while on a 2006 tour of Europe. To the amazement of promoters, fans and critics alike, Kenyatta stepped onstage and delivered electrifying performances time and again – nineteen shows in all – until the tour was complete. This was unheard of in any genre of music at any time. Kenyatta gave of himself so totally – as his father had for so many years – that the two seemed to become one, the eerily similar voices and the vibes igniting the critics and yielding a new reggae mantra “magic, not tragic!”
At the Ranny Williams Center in Kingston Jamaica at the memorial concert for his father, Kenyatta’s performance with Culture was the highlight in a star studded night and garnered him the rousing support of the hard-to-please Kingston reggae audience. Kenyatta went on to front Culture in a series of performances in the US, Caribbean, Brazil, Argentina and Peru, again leaving audiences amazed and delighted.
Influenced by elements of dancehall, grounded in the roots tradition and motivated to carry on his father’s work, Kenyatta set to writing – to finish songs that Joseph had started and create new music of his own. On his poignant debut single, “Daddy,” (Tafari Records), backed by a masterful roster of musicians including Sly Dunbar and Dean Fraser, and produced by Lynford “Fatta” Marshall, he confronted the emotional pain and uncertainty he felt after the loss of his father. He cried while he wrote, just as audiences in Europe had cried while he sang.
Pass the Torch, the complete CD described as having “a collector’s item feel,” was released in 2007 to longtime Culture fans and critics who have embraced the son, named for Jomo Kenyatta, the first Prime minister of Kenya. With its “very lovely and high level vibe” Kenyatta Hill’s first CD prompted one longtime Culture fan to proclaim “Culture is ALIVE.”
Indeed, Culture featuring Kenyatta Hill continues to share the wisdom of Joseph’s conscious reggae overlaid with Kenyatta’s own lively and youthful musical vision. Touring in support of Pass the Torch with a number of festival appearances continued throughout 2009, including most recently a highly successful US tours with Beres Hammond in 2009 and 2010.
2011 saw the release of “ Live On “ a highly acclaimed tribute to the music of Joseph Hill and Culture with Kenyatta performing fresh renditions of some of their classic compositions..
Since 2012 Kenyatta has released solo projects and collaborations on the Honest Music Label , toured with Culture and toured on his own to promote these releases including the 10 track Riddim of Life released in 2014 with the singles and Videos “Afrikan” and “Jah is my Friend” receiving worldwide critical acclaim. Kenyatta’s most recent release “Policeman “ also on Honest Music features Akae Beka & Puma Ptah of Theivery Corporation.
While pursuing an active solo career Kenyatta Hill keeps the Culture Legacy alive by thrilling old and new Culture fans with the classic sounds of this legendary harmony group. On this 10th anniversary year of the passing of the torch from father to son , Kenyatta continues as lead vocalist of Culture along with original founding member Albert Walker and long time harmony singer Telford Nelson.
Producer and head of Penthouse Records, Donovan Germain, on a mission to share the music of a bygone era with a younger generation has re-recorded the music of reggae legend Peter Tosh and singer Beres Hammond done by younger acts and is currently in studio doing post-production work on the music of Joseph Hill, performed by a Kenyatta and many of reggae’s best known artists. The release coincides with the 10 anniversary of Hill’s death.
Although Kenyatta is also pursuing a successful solo career 2017 will see Culture featuring Kenyatta Hill constantly on the road in commemoration of the 40th Anniversary of the release of the iconic Two Sevens Clash Album which is still heard on turntables and radios worldwide.
The torch has been relit! Featuring a group of long time JBB players, including founding members Kevin Kinsella, Tommy Benedetti, and Lee Hamilton, the undisputed OGs of the scene are fired up to hit the stage in 2025. This year, John Brown’s Body celebrates 30 years of making original roots reggae music around the world. They will be touring as well as releasing new music throughout 2025.
The group has been on sabbatical the past few years, taking a break from the road and studio. But family is always family, and in early 2023, with JBB still dormant, Kinsella reached out to Benedetti about getting together to play some of the classic era JBB music. The crew was assembled, featuring players from all different periods of JBB’s history. After a handful of recent shows the embers were burning – the music was sounding better than ever and the time was right. So, with the support and blessing of Elliot Martin, the torch will be re-lit. In addition to Kinsella, Benedetti and Hamilton, the group features Nate Edgar (bass, 2006-2016), Jon Pentronzio (keys, 2009-2018), and TJ Schaper (trombone, 2015-2018), who collectively have decades of service with JBB. Van Gordon Martin (guitar – Skatalites, G Love, and more) has been in the family over fifteen years and joins the group for the first time on stage.
With a long and storied career on the scene covering three decades and multiple lineup changes, JBB was formed in 1996 by Kevin Kinsella and released its seminal album “All Time”, which achieved near mythical status and is credited with being a cornerstone of the US reggae scene. As the original lead singer and songwriter for JBB, Kinsella is responsible for bringing a vast body of original music to the scene, and across the first five JBB releases. From its breakout release on Itown Records ‘All Time’, to multiple releases on Shanachie Records, JBB cemented itself as a successful touring and recording outfit with an original voice. In 2005, JBB joined forces with the legends Easy Star Records, which would begin a lasting and fruitful relationship spanning over ten years and seven releases.
Hailed as “Future roots, reggae, and dub with an intricately balanced weaving of vocals, percussion, keyboard, bass, guitar, and stunning horn section that ties it all together” (WRUV), John Brown’s Body has built “a legacy that has inspired and carved a path for the now thriving contemporary American reggae scene” (Rudeboy Reggae). Formed in Ithaca, New York, in the mid 1990s, at a time when there wasn’t yet a far-reaching U.S. reggae scene, JBB was one of a small handful of U.S. reggae bands that began touring nationally. Since then, JBB has played an important role in helping define distinctly “American reggae.” JBB’s music is steeped in traditional vibes, but unapologetically incorporates elements from other genres.
Their unique approach resonated with the masses. The group’s 2008 full-length record, Amplify, hit #1 on the Billboard Reggae Chart, 2012’s JBB In Dub EP reached #1 on iTunes’ Reggae Chart, and in 2013 Kings And Queens topped both Billboard and iTunes Reggae Charts at #1. On stage, JBB finds a home across a host of genres and has toured the world extensively, performing alongside: Slightly Stoopid, Dave Matthews, Burning Spear, Gym Class Heroes, SOJA, and many more.
The 2025 live show will feature music from the first 5 classic era JBB records and the band looks forward to presenting this music, as well as brand new material, with a rejuvenated, electric vibe to the fans.
The seed was planted in 1990. A bunch of friends started a band with no pretensions: the idea was to make music for house parties, not to make a career out of music. These guys and a girl grew up in and around Washington, D.C. The scene was small and all the Punks, Skins, and Mods intermixed in those days. You were as likely to see a Mod at a Scream show as you were to see a Punk at a Toasters show. This varied influence is what informed the covers that the Pietasters played and the originals they wrote trying to emulate their favorite bands. From Two-Tone Ska, to Jamaican crooners like Alton Ellis, to Stax, Motown, harDCore, and British Punk, the Pietasters played what they liked to play and the house partiers appreciated the mix and crammed into basements and living rooms for sweaty all night keg drinking and dancing.
Playing on weekends and during the summer they slowly expanded their touring area, made new friends, and gained the notice of music fans up and down the east coast. The influence of D.C.’s DIY punk scene informed the band of how you should tour, on your own terms. After releasing a self-titled album in 1993 they hit the road in an old school bus and headed west. Relentless touring through the early 90s got them friends all over the U.S.A. MOON Records took notice and the band released two albums, Oolooloo, and Strapped LIVE, on that storied label during the magic days of third wave ska alongside bands like Hepcat, The Slackers, Toasters, etc.
In 1997 Hellcat/Epitaph signed the band to a two album deal. Willis, and Awesome Mix Tape #6 followed. Both albums benefited from the direction of legendary producer Brett Gurewitz. At the same time ska blew up. The Mighty Mighty Bosstones, No Doubt, and Sublime ruled the airwaves. The Pietasters were lucky enough to tour extensively with The Mighty Mighty Bosstones. The Plaid Boys from Boston introduced the Pietasters to Europe and beyond as well as taking them on tours of the US and Canada. From this point on, the Pietasters were established as one of the best live shows money can buy. From the circus that is the Warped tour (US/Canada/Europe) to a once in a lifetime support slot with Joe Strummer, the Pietasters crisscrossed the world, leaving the dance floor covered in blood, sweat and beer.
After the 2002 release of Turbo on Fueled by Raman the Pietasters’ hard work was rewarded with more good luck. In 2003 the Pietasters were chosen to back James Brown at the WHFS Holiday Nutcracker Ball at Washington, D.C.’s MCI Center (now Verizon Center). This was no support slot: this was the Pietasters playing as Mr. Brown’s band for the night. This was the start of a friendship with the Godfather of Soul that lasted until his passing.
All of these influences, events, and memories were distilled in the band’s 2007 release All Day. The album showcases how the band grew from playing sweaty house parties to sweaty nightclubs to sharing the stage with some of the world’s best musical talents. While playing live they can’t get away with not including most of Oolooloo in the set, but they try to slip in as many cuts from All Day as they can. The Pietasters continue to deliver a world-class performance of their style of Ska, Rock and Soul – sing along songs and dance-through-your-socks rhythms played by friends who remain true to their roots. A new album is in the works and they can’t wait to get back to a club near you.
If you answered yes to this question, chances are you are already familiar with Baltimore’s own Jah Works . If you are new to the band, you are in for a musical treat of positive vibes and uncompromising roots rock reggae music.
Jah Works is a true grassroots success story that emerged from Baltimore’s reggae scene over 20 years ago. This is music made by and for lovers of real, authentic reggae music. Consistently performing hundreds of shows a year worldwide, they have forged their sound in clubs, festivals and on the sun drenched beaches of Negril. Their sound is firmly planted in the roots of Jamaican music and culture, encompassing rock steady, reggae, and elements of dancehall and dub. What Jah Works does best is introduce the novice music listener to the fullness of reggae music and culture.
Formed in 1993, the band found their identity while listening to the song “Jah Works” by the classic Jamaican vocal group The Gladiators. Lyrics like “I’m a man of prayer, none of my doings, shall ever go wrong…” and “Jah hear I when I cry” resonated with the members, and so Jah Works was moved to begin writing their own original reggae music. Starting with “Feast or Famine” in 1994, the band has recorded and released 9 albums to date. They have sold over 100,000 copies independently, and with the upcoming release of “Believe”, Jah Works is set to take their music to even higher heights.
Longtime fans know that the Jah Works sound consists of strong vocals over heavy duty original reggae riddims. After a brief hiatus, founding member and original front man, Scotty P. has returned to lead the brothers forward into new musical territory. Together with the rest of the group, they have come up with their best album to date, “Believe” which will be released in 2016. The new album brings the group’s evolution full circle, with lush, horn drenched roots reggae music. Mixed by some of reggae music’s top producers, including Jim Fox (Lion & Fox) Tippy I (I Grade), Jason “Jocko” Randall (JBB), Nathan Sabanayagam (Chillhouse Studios), and Baltimore’s own Steve Wright (Wrightway), Jah Works’ latest and greatest effort will cement their standing as one of the finest reggae bands to ever come out of the United States.
Yellow Dubmarine is an American reggae Beatles tribute band, based out of Washington, D.C., United States. The band is known for their live performances, blending “various elements of reggae, dub, funk and rocksteady” in order to recreate and pay tribute to The Beatles.
On the heels of the mid-90’s ska revival, The Players Band (TPB) was founded in 1999, drawn in by the infectious rhythms and horn-heavy ska sounds originating in Jamaica in the late 1950s. 25 years later, TPB has played over 550 shows, delivering sweet Jamaican ska and reggae across the Mid-Atlantic. TPB includes current members of The Pietasters, Jah Works, Bumpin Uglies, Scotch Bonnets, Rude Girl Revue, Loving Paupers, Left Alone, and The All Mighty Senators. The band has opened for Rock and Roll Hall of Fame’s Isley Brothers and Joe Strummer, Grammy winning Toots & the Maytals and Rebirth Brass Band as well as The B-52s, The Mighty Mighty Bosstones, The English Beat, The Skatalites, and more. TPB was featured at the 2021 Supernova International Ska Festival, headlined Baltimore’s New Year’s Eve Spectacular, and Maryland’s Olympic Tribute with Michael Phelps at Fort McHenry, performing at venues such as 9:30 Club, Capital One Arena, Fillmore Silver Spring, Pier 6, Knitting Factory, Trocadero Theatre, Chance Theater, Seacrets, Bottle & Cork, Rams Head Live!, 8×10, Ottobar, and many others.
The Loving Paupers are a DC-based collective brought together through a love of Jamaican masters, with affinity for late 70s/early 80s roots. This reggae/dub band has an ever-present influence of Lennon-McCartney. The result is a one-of-a-kind alchemy of hypnotic Jamaican riddim meets British Invasion melody.
Put together top musicians from Washington, DC’s Jazz and Reggae scenes, give them the recipe for the original Jamaican Ska, throw a heavy dose of vintage Soul in the mix, shake well, and the result is Eastern Standard Time. Merging rhythms from the islands with melodies from Birdland, their sound is like no other.
Embark on a sonic journey with Higher Education, where psychedelic-soaked roots converge with the raw, rebellious spirit of rock ‘n’ roll. Hailing from the vibrant state of Maryland, this dynamic trio, aptly named Higher Ed, is composed of the Devaney brothers, Petey and Danny, wielding guitars, bass, and vocals, and the rhythmic prowess of Bradley Wilson on drums.
What sets Higher Ed apart is the distinctive songwriting of the brothers, creating an experience that feels like two bands seamlessly fused into one, yet producing a remarkably cohesive sound. As they traverse the country, their live performances explode with high-octane energy, delivering an extensive original repertoire that transcends conventional genre boundaries.
At the core of Higher Ed’s music are rocking guitar riffs, infectious bass lines, commanding drums, and captivating melodies. The result is a unique musical tapestry and signature sound that continues to refine and mature.
Their latest album, ‘We’re Not Getting on the Radio,’ is a testament to their artistry and is available for purchase on their website and across all major streaming platforms. Get ready to elevate your musical palate with Higher Education – where innovation meets the heart of rock ‘n’ roll.
