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Copeland Rules Part 2

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The continuation of BACKAYARD’s interview with one of the historians of Jamaican music: Mr Copeland Forbes


The way you fly (Jangan Nangis) (Mystic Pulse Remix)

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A hypnotic synth pattern drags you into the song while Salam’s vocal fades in from the background. A steady kick combined with deep sub bass and sharp high hats make you move.


Keida….. Flow

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Stamping her mark of prominence as a member of the emerging contingent of young conscious roots artiste, with hits such as ‘Stand for Something’ and ‘Ganja Tea’, Makeida ‘Keida’ Beckford’s new EP,

beenie man vector

It Is Good To Be King: An Oral History of Moses Davis Part 2

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Part 2 of BACKAYARD’s extensive interview with The King of the Dancehall Beenie Man


Copeland Rules Part 1

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Generally, we at BACKAYARD have placed most of our collective focus on the entertainers on the stage while somewhat neglecting the people who work, with far less fanfare, assiduously behind the scenes to make sure that all the artiste/s needs are  taken care of on the road. However for this issue, we sought out probably the most accomplished Tour Coordinator, Tour Manager, Road Manager and Personal Manager Jamaican music has ever seen, Mr. Copeland Forbes


New West Summit Nov 20-21 San Francisco, CA

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On November 20 and 21, 2015, the New West Summit http://www.newwestsummit.com/ will take place in downtown San Francisco at the Parc 55 hotel. The conference is the first of its kind to bring together business, technology, and media for the legal cannabis market to take a serious look at what’s going on now and what’s coming up.


Diaries of a Sound Engineer Part 2

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What follows is a stop by stop breakdown of the audio setup at each venue through the eyes of sound engineer Gregory Morris while on the road this summer with Protoje and the Indiggnation band.


It Is Good To Be King: An Oral History of Moses Davis Part 1

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Life has been good to Moses Davis. Since he was a pre-teen, Moses has been known within the dancehall music genre as “Beenie Man”, a playful moniker given to him in definite reference to the maturity and confidence it took for someone so young to perform in front of an audience filled with people more twice his age.