Bob Marley & The Wailers Light Up Cleveland’s Agora Theatre, 1975
Roots, Revolution, and Reggae Take Over the Midwest
In the spring of 1975, a musical storm swept through Cleveland, Ohio, shaking the historic walls of the Agora Theatre with the heartbeat of reggae. Bob Marley and The Wailers, riding the waves of international acclaim and righteous purpose, brought their powerful sound and revolutionary message to one of America’s most legendary rock venues. What happened that night was more than a concert — it was a cultural awakening.
The Rise Before the Storm
By 1975, Bob Marley and The Wailers were no longer just a Jamaican act — they were global messengers of change. Albums like Catch a Fire (1973) and Burnin’ (1973) had broken reggae into new territories. The release of Natty Dread in late 1974 marked a new chapter for the band, featuring iconic tracks like “Lively Up Yourself,” “No Woman, No Cry,” and “Them Belly Full (But We Hungry).” It was also their first album without Peter Tosh and Bunny Wailer, with the I-Three — Rita Marley, Judy Mowatt, and Marcia Griffiths — now providing the signature soulful harmonies.
As part of the Natty Dread U.S. tour, the Wailers rolled into Cleveland, a city known for its rock ‘n’ roll roots but ready for something new. The Agora Theatre — a venue that had hosted everyone from Springsteen to Bowie — opened its arms to the island rhythm of Kingston.
The Performance
Marley took the stage like a prophet, dreadlocks swinging, guitar slung across his shoulder, commanding attention with his quiet intensity. Backed by the seasoned Wailers band and the harmonies of the I-Three, the show opened with a firestarter: “Trenchtown Rock.” Instantly, the crowd — a mix of reggae lovers, rock heads, and curious newcomers — was drawn into the spell.
The set was a masterclass in soul, rhythm, and resistance. Marley weaved through political anthems like “Rebel Music (3 O’Clock Roadblock)” and “Them Belly Full” with the passion of a preacher. The heartbeat thump of Aston “Family Man” Barrett’s bass and the tight drumming of Carlton Barrett laid down the groove like a foundation of steel.
One of the night’s defining moments came when Marley performed “No Woman, No Cry.” With just an organ and his aching voice to start, the crowd was silent — reverent. But by the final verse, hundreds of voices were singing in unison, a shared emotional release that transcended genre or geography.
Cleveland Meets Consciousness
This wasn’t just a concert — it was a cultural moment. For many in Cleveland, it was their first live exposure to the power of reggae music, and Marley delivered not only sound but substance. His lyrics spoke of injustice, poverty, love, and liberation. Between songs, Marley addressed the crowd in his signature patois, sharing messages about unity and resistance with an authenticity few performers could match.
The I-Three added richness and dimension, swaying in sync with Marley as their voices elevated songs like “Natty Dread” and “Talkin’ Blues.” It was a dynamic interplay of masculine and feminine energy, of power and poise.
Legacy of the Night
While Cleveland may not be the first city that comes to mind in Bob Marley’s global legacy, that night at the Agora Theatre remains etched in the memory of those who were lucky enough to be there. It was one of many seeds planted across the U.S. during Marley’s 1975 tour, which laid the foundation for reggae’s enduring popularity in North America.
Just weeks later, Bob Marley and The Wailers would record their legendary Live! album at London’s Lyceum Theatre — but the spiritual and sonic fire that burned in Cleveland was no less significant.
Conclusion
Bob Marley’s performance at Cleveland’s Agora Theatre in 1975 was more than music — it was a movement. It brought a message of Rastafari, of resistance, of redemption to a new audience. In the heart of the American Midwest, reggae found a home, if only for one unforgettable night.
And as the smoke cleared and the final notes faded, one truth remained: the revolution was not only being televised — it was being danced to.
“One good thing about music, when it hits you, you feel no pain.” – Bob Marley
Original ad from a 1975 Scene Magazine promoting 15-60-75 opening for Bob Marley and the Wailers at the Cleveland Agora on June 16, 1975.
10-60-75 front man Jack Kidney had some interesting recollections about seeing Bob Marley for the first time:
“I remember we were there at the Agora all day and that night that we recorded what became Jimmy Bell’s Still in Town we were opening for Bob Marley and the Wailers. It was a very tense situation.
Some of the fellows in the band were aware of who Bob Marley was though I wasn’t. I had heard about this fellow and reggae music but it was all very new to me. But we were there all day and had some minor interaction with Marley’s band though they didn’t want to have anything to do with us. I never did actually meet Bob Marley. That’s pretty true though about most opening act situations. Ya know they were from Jamaica, they didn’t know who we were or why we were there. They were suspicious of us and acting like I might do something to fuck them up. But that’s ok. I didn’t have a problem with that. They were probably being smart.
I remember that I never got a word in with Bob Marley. I did not say hello to him and he did not say hello to me. I did see him backstage though. Back then the Agora had separate dressing rooms; one for the opener and one for the headliner. Sometimes we got the headliner dressing room, sometimes we got the opener dressing room and there was no difference between them other than one room was a little more private. But I saw him backstage because he and the Wailers had to come through our dressing room to get to the stage.
Bob Marley went on to play and I was just mesmerized. I remember while he was playing I was thinking that there was a fire somewhere like ya know in the jungle and these people were taking me to this really mysterious wonderful place.
I don’t remember much about our performance. I remember being there and I remember playing the Hammond organ and playing the congas with David. I always enjoy doing that but I don’t have any real specific things that I can go to about what I remember about the performance other than the crowd just wanted us to be done and there was some tension because we’d already had two shots at making this record.
I remember I watched Bob Marley’s soundcheck and I remember that he was authoritarian about his music. Especially with the women singers. He wanted things exactly right. He was no high loose guy. He was 100 percent on the money professional like fucking Frank Sinatra. That’s the way that went down. It had to be right. As I look back on that night, that’s an aspect I find interesting.”
SETLIST
1. “Slave Driver”
2. “Burnin’ And Lootin’”
3. “Concrete Jungle”
4. “Kinky Reggae”
5. “Midnight Ravers”
6. “Lively Up Yourself”
7. “I Shot The Sheriff”
8. “Get Up, Stand Up”
9. “Nice Time”
