Bro Keith

Brother Keith, born in Aston, Birmingham, to Jamaican parents who were both pastors, grew up surrounded by music in the influential urban areas of Aston, Handsworth, and Newtown.

Although raised in Sunday school, his primary focus in his teenage years was on sound systems, attending events and aspiring to be part of the scene, influenced by prominent sounds like CIFAR. His main musical interest lay in lyrics, leading him to write rhymes from an early age, influenced by reggae artists like Yellowman and Tiger, but developing his own unique lyrical style.

A significant turning point occurred in 1997, at Easter, when he “gave his heart to the Lord.” This conversion marked a major shift, though he candidly acknowledges making mistakes in the subsequent 25 years. He emphasizes honesty about his struggles, learning to recover by going directly to God rather than relying solely on human accountability. He believes in using his talents to encourage others and “earn an an honest living.”

Brother Keith initially saw himself as a singer, contributing to Roger’s “Gospel for You” project, but he soon realized his strength lay in spoken word and writing lyrics, eventually transitioning to poetry. He discovered that his poetry was more impactful when delivered in Patois, often mixing it with English. He identifies as a “British born Jamaican,” embracing his natural fluency in Patois, noting how it sometimes changes the perception of white colleagues, making him feel accepted.

He uses his poetry and his radio platform to encourage people, playing “conscious music” and gospel for the message, not just for enjoyment. He plays artists like Sizzla, whose lyrics about life’s struggles resonate universally, emphasizing that success comes from hard work. His music, radio work, and poetry are all interconnected parts of his journey aimed at community contribution. He advises young poets to write authentically, not to please others, as “silent listeners” are often the most genuine supporters.

Brother Keith recalls his early experiences with internet radio, finding that his sound system background helped him communicate effectively with an unseen audience, leading him to secure his own slots playing gospel reggae and hip hop. He believes that events like the Shekinah sound system at Handsworth Leisure Centre were “eye openers” and “life changing” for many, demonstrating that “God is everywhere” and inspiring numerous gospel DJs to embrace diverse genres.

He names Spanna as his favorite Midlands gospel artist, admiring his boldness in transitioning from street life directly into ministry and his controversial but impactful lyrics, such as “Come, Come Mr. Blair,” which spoke to society beyond church walls. He praises artists like Spanner, Sonia King, and Rose Anderson for their ability to attract and minister to people from the street who were touched by the real messages in the lyrics, despite not being “saved.”