
. . .without Toots or the Maytals.
While in London this summer Andrew and I have been looking out for the chance to hear bands we might be familiar with; but to be honest, there haven’t been many whose names we even recognize. Just across the road from where we’re staying is the home base of the duo, The Paisley Daze, whom we wouldn’t even have known was a band except that on occasional sunny weekends they have been coming out on their balcony and giving an impromptu performance to anyone who cares to gather on the grassy bank across the street. Later this month we have tickets to hear Pauline Black, leader of the 2-Tone band The Selecter, perform in Margate with original Selecter drummer Charlie ‘H’ Bembridge. We also hope to act on our musician friend Marcia Mello’s advice and take in an open mic night at the Kilburn Arms. But the first show we managed to catch was “Toots and the Maytals Featuring Leba Hibbert” at the Electric Ballroom in Camden Town.
Now, any of you who are fans will know that, sadly, Frederick Nathaniel ‘Toots’ Hibbert of Toots and the Maytals, that gentle giant of reggae music, was taken from us by Covid back in 2020. Andrew and I got out and played our old vinyl LPs, remembering the many, many times we had sung our way through them over the years, and the two times we had been able to see Toots perform live, most memorably in the late 1970s, when we had the honor of accompanying our late friend Eugene ‘Geno’ Williams to interview him after a show in Harvard Square. So when, even before leaving for London, we came upon the announcement that Toots’ daughter Leba would be in the UK on a Reggae Got Soul Tour, in honor of her father and the 50th anniversary of the release of the album of the same name, we didn’t think twice.
It turned out that the Electric Ballroom is a storied venue just a short bus ride away from where we have been staying. My cousin Sue warned us to look out for pickpockets and for trip risks on their uneven floors. Looking up the place ahead of time I learned that it was an open floor plan with very few seats we resolved to arrive early so as to be able to grab one of them. Our days of getting as close to the stage as possible and being squashed and pummeled by a wall-to-wall crowd are over. (To be honest, we had never been into that scene.)
We did get there early and were one of the first few people to get in. We did find a terrific place to sit and stand, in the front and center of the only balcony, overlooking but a little set back from the stage. Robin Catto, a well-known reggae DJ, warmed up the crowd with old favorites, followed by a warm-up band who were just all right. Finally, the top-billed band came onto the stage with a great deal of fanfare, well-deserved but solely on the strength of the lead singer’s relationship to the dear departed singer. She herself was still an unknown. The happy, nostalgic crowd, at least half of them old-timers like us, was willing to cut her all the slack she needed, as long as she and the band performed enough of her father’s hits. And that she did.

I thought I had written them all down but can’t find the scrap of paper. Thankfully I found a playlist from another performance on the same tour. Here are the ones I knew, though they were interspersed with a few of Leba Hibbert’s own songs, which I’m afraid pretty much passed me by.
Six and Seven Books
Never Grow Old
Pressure Drop
Time Tough
Sweet and Dandy
Love is Gonna let Me Down
Reggae Got Soul
Bam Bam
Funky Kingston
You’ve Got A Friend (sung by Leba Hibbert with her father toward the end of his life)
Take Me Home, Country Roads
Louie Louie
54-46 Was My Number
And for the encore:
No More War (this recording from a performance on the 2026 tour)
Monkey Man
(Did they sing “True Love is Hard to Find”? I’m not sure, but just in case, here it is.)
What did I love about the concert? Being at a performance in which more than half of the audience clearly knew the songs and readily sang along, as did I. Seeing the mix of old-timers and curious younger people drawn by the legendary name, Toots and the Maytals. And of course, there was the nostalgia of revisiting the music of our twenties in the city of my birth, where reggae had always had a huge following, where it had been mainstream, not just a niche genre.
What did I not love as much? Well, despite being his daughter and singing his songs with a good band that included veteran reggae musicians, Leba Hibbert was not her father. The rich, fluid quality of his voice is unmatched and unmatchable. In my opinion the songs were rushed, both in their tempo and in the arc of each one, where it seemed to default too soon to exciting the crowd into a crescendo, chanting key words over and over again and ending with a burst of drumbeats. Sometimes this was fun, but it didn’t allow for the slower numbers to simmer and, in at least one case, it was at odds with both the mood and message of the original. “Time Tough” is about the unaffordable cost of living as it gets higher and higher—something that is still relevant and resonant with a contemporary audience, as in the chorus:
Time Tough (Time Tough)
Everything is out of sight, so hard
(So hard) so hard (so hard)
Time Tough (Time Tough)
Everything is going higher and higher
(Higher and higher)
Instead, Leba Hibbert attempted to whip the crowd into a frenzy, inciting them to chant “higher and higher” in a completely different sense. It just didn’t feel right.
But let me return to what I loved and the nostalgia factor I mentioned earlier. Two of the songs moved me to tears as I sang along. First, the wedding song, “Sweet and Dandy,” one of two of Toots and the Maytals’ numbers in the soundtrack of the reggae blockbuster movie, The Harder They Come (starring the late great Jimmy Cliff). It had been a favorite of my mother, ever the incurable romantic, and I could just hear her singing with me. The other was “Take Me Home, Country Roads,” Toots and the Maytals’ cover of the John Denver song that I firmly believe is better than the original.
Almost heaven, West Jamaica. . .
A group of us lived on a farm out in North Central Massachusetts when our children were small, and Maile, our friends’ Mark and Ruth’s daughter, chose this song to walk with her parents on either side of her down the “aisle” of a newly mown field outside her childhood home on her wedding day. Listening to that song brought a whole era of my life back to me, one that now seems so far from me as to be irretrievable. Here too I found myself weeping as I sang along with the crowd to a song that has meant so much to me.
We had a terrific time that evening, and I’m very glad that Andrew and I were able to pay tribute to a singer and a band that we have loved and listened to over so many decades. But of course, however good Leba Hibbert and her band and back-up singers were, they could never have measured up. How could they have? After all, they were Toots and the Maytals. . . without Toots or the Maytals.
Tell Me Another (Contents to Date)
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