In the time since Ziggy Marley’s last proper solo studio album, the nine-time Grammy-winning reggae star survived the COVID-19 pandemic, produced his late father’s box office-smashing biopic and dropped a star-studded duets album featuring the likes of Tom Morello, Busta Rhymes and Sheryl Crow. Naturally, it was time for a reset.

To do so, Marley headed out to Los Angeles to build Rebel Lion Studio, the perfect new playground for him to freely and fully experiment with recording in 432 Hz, the sonic frequency that grounds his quietly defiant Brightside LP.

Comprised of just eight songs, Marley’s new album certainly doesn’t overstay its welcome. Instead, the breezy record blends deep personal revelations with a world music-infused roots reggae foundation, resulting in a morale-boosting listen that fashions universal proclamations of hope out of grounding Rastafari principles. Grammy-winning instrumentalists Sheila E. and Trombone Shorty appear on standout track “Why Let the World,” while pop-soul vocalist Nikki Costa and ukulele virtuoso Jake Shimabukuro guest elsewhere on the tracklist.

“Mike Schuppan, who engineered the record, put the studio together right before we came into record Brightside,” Marley tells Billboard. “It’s like building your house and then living in it.”

Brightside first entered the world as a vinyl-exclusive release, arriving on Record Store Day (April 18) alongside a signing at Los Angeles’ famed Licorice Pizza. By May 1, the album hit streaming services with a new Big Boi-assisted version of “Racism Is a Killa,” adding another lauded voice to the LP’s tight circle of collaborators. Marley will support his ninth solo studio album with the 20-date Brightside Tour, which kicks off on June 19 at Fox Theatre in Tucson, Ariz., and concludes on July 22 in Nantucket, Mass., with Hawaiian reggae sensation J Boog appearing as a special guest on select dates.

Below, Ziggy Marley talks about the peculiar emotions around the heart-wrenching “Many Mourn for Bob,” celebrating 20 years of his classic 2006 album Love Is My Religion and diving straight into his next record.

When did you start to feel that a new album was taking shape?

I started writing some songs while I was on the Bob Marley movie set, which was about three years ago. After the movie wrapped, I kept writing because I was feeling down, and that inspired me to write songs like “Why Let the World” and “Jah We Give Glory.” I just wanted to express myself in the music, and that eventually led me to “Many Mourn for Bob.” It was a season for writing.

I also felt it was time for an album; I like doing albums, and it’s been almost eight years since I’ve done one like this. And I have my own studio now, which makes this record the first to be recorded there.

What else changed about your creative process for Brightside?

This is the first album I’ve recorded in 432 Hertz, which is the frequency I’m tuned to now. 450 Hertz is the standard musical tuning. I experimented with 432 Hertz on tour before I did [Brightside], and it just felt good to me. Regardless of what they say it does — it vibrates close to the frequency that human beings do, and it’s also used for meditation — if I didn’t feel how I feel, then I wouldn’t use it. This is the only frequency I’m using from now on.

In the past, I would also go into the studio without songs being fully thought out, but this time I had a really clear picture of where I wanted to go beforehand.

Do you think that comes from growing deeper into your artistry?

That’s exactly it. Doing things differently was a big part of this record.

We also see that in the way the album was released. Why did you opt for a physical release for Record Store Day before bringing the album to digital platforms?

I was always making this record to be pressed on vinyl; it was never about how it was going to sound digitally. We also wanted to respect the people who buy vinyl because I love vinyl. We must support the local stores; they support artists more than streaming. And if the technology goes down, you no longer have the music. What are you going to do without music? You have to own your music because the system can and will take it away from you.

What song demanded the most from you?

“Many Mourn for Bob” is the most emotional one; I have a deep connection with that one. When I was recording it, there was definitely sadness, but also understanding. It’s like when you realize that Superman has his kryptonite, and he’s not all-powerful. It’s a weird thing to feel.

How did Sheila E. and Trombone Shorty end up on “Why Let the World?”

We had another drummer on there at first, and I was like, “Yo, we need to lighten up this thing.” So, we called [Sheila] up, she came in and said, “You need a good percussionist on this.” She blew my mind. She’s more incredible than people know; it’s much greater than people understand. She’s a spiritual musician, and that’s the type of musician I like; it just happens. Pure feeling.

Trombone and I toured together a few years back, and we just vibed. I felt this record needed that New Orleans-type horns vibe. I like the spirit of the music down there, so Trombone helped me fulfill that dream.  I got a couple of shows with him coming up soon, and I’m also gonna talk to Sheila when I have some gigs close to her.

This year also marks 20 years of Love Is My Religion. What’s your favorite memory from that time, and what does this album mean to you today?

I did that record in a house I had — it wasn’t in Beverley Hills, but it had the area code. [Laughs]. We had a little guest house at the back, and that’s where me and my engineer did those songs. We had some guests come in, but it was very small compared to what I have now. In that period of my life, I remember saying the words “love is my religion” to someone, and it just pushed me light-years ahead. It wasn’t something I thought about; it just came out.

I even Googled it, because I thought someone must have used those words in a song already. I couldn’t believe I was the first one to come up with it, because it felt too easy. But there was no one who put it into music. Lenny Kravitz [put out a song with the same title] a year ago, though. But when I said it, I realized something spiritually about myself; I found my philosophy. That was the universe telling me what [my mission] is. That mantra fulfilled everything.

How do you think Brightside builds on what you were cultivating with Love Is My Religion?

Brightside is the next step. It’s really for me. I did this album for myself, and I never thought about it like that until this conversation. I made this music for myself, even though I’m sharing it. I listen to this album as if I didn’t make it myself.

What else can we expect from you in 2026?

I’m going to start working on my next album in August. We’re coming back-to-back. It’s not another Brightside; I’m not trying to do something I already did. I also want to get into the visual side of things. I feel it bubbling up in me.

Would you ever make a visual album?

I’ve never done that. I like that. Watch out!

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