The process of getting a movie off of the ground is a lengthy endeavor, with casting standing out as one of the essential elements of the process. Simon Doe has his tongue planted in his cheek as he describes the fictional skills of his advancing agent.Praesent iaculis, purus ac vehicula mattis, arcu lorem blandit nisl, non laoreet dui mi eget elit. Donec porttitor ex vel augue maximus luctus. Vivamus finibus nibh eu nunc volutpat suscipit. Nam vulputate libero quis nisi euismod rhoncus. Sed eu euismod felis. Aenean ullamcorper dapibus odio ac tempor. Aliquam iaculis, quam vitae imperdiet consectetur, mi ante semper metus, ac efficitur nisi justo ut eros. Maecenas suscipit turpis fermentum elementum scelerisque.
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“Simon Doe has his tongue planted in his cheek as he describes the
fictional skills of his advancing agent.”Steve Kowalsky
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[youtube https://www.youtube.com/watch?v=bPh0kfMRIFA]
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Night 2 of Freedom Street Festival carried the momentum forward with high-energy performances, surprise moments, and a legendary headliner that stamped history in Malta.
DJ Dynamic & Juvey – Setting the Pace
The evening began with DJ Dynamic and host DJ Juvey, who kept the stadium lively for over an hour. Juvey’s stage command and natural crowd engagement made him stand out as a rising star, steering the audience like a seasoned professional.
Jada Kingdom – The EastSyde Queen
The stage was set for Jada Kingdom, introduced by her tour DJ Tech and a dancer on the pole. She made a grand entrance with G.P.P., instantly captivating the Freedom Street crowd.
Interacting throughout with her loyal Twinkle fans, she ran through a strong catalogue: Top Tier, Dickmatized, Which Gyal, Feelings, Only You, Heavy, and Shake. Jada didn’t hold back—dropping diss bars from London Bed aimed at Stefflon Don, which drew an explosive reaction.
She continued with Can’t Tell Me That, Gen Z Rebel, Big Buddy Whats Up, Turn Me On, and G.A.D., sealing her status as the EastSyde Queen. While there were slight distractions with outfit adjustments and what seemed to be in-ear audio issues, her vocal delivery remained sharp, clear, and precise. Even with hints, she could have gone longer. Jada Kingdom officially ignited Night 2.
Skeng – Dancehall Rockstar Energy
Freedom Street – Night 2 Skeng
Freedom Street erupted when Skeng entered in dramatic fashion—rolled onstage strapped to a trolley, acting the role of a psychiatric ward patient. His energy was unmatched as he tore into Street Cred, Gang Bang, Curves, Taliban, Likkle Miss (with Vybz), and Sha La La.
Freedom Street – Night 2 Skeng
Mid-set, Skeng welcomed Shaneil Muir, who gave a commanding performance of Expensive, Paradox 1 & 2, Ride It, Top Gyal, Exclusive, Hype & Boasy, Naturally, 3D, and her collaboration Ride It with Vybz Kartel. She exited on a high with Yamabella, leaving the crowd buzzing with admiration for her vocal strength and control.
Freedom Street – Night 2 Skeng
Skeng returned in fresh attire, raising the tempo once more with 23, London, Heaven Passport, Good Deeds, Gvnman Shift, and his anthem Protocol. He closed with Life Changes, proving why he’s hailed as a true Dancehall Rockstar.
Freedom Street – Night 2
Vybz Kartel – The King Commands the Stage
The stadium exploded as Vybz Kartel, the World Boss himself, made his entrance to the sound of Street Vybz Rum. For 30 minutes, he dedicated anthems to the ladies—Ever Blessed, Tun Up Di F**k, Wine Up, Bend Like Banana, Come Home, In Stock, Virginity, and Ramping Shop, among others.
Shifting gears, he saluted the thugs with tracks like We Nuh Fraid, Last Man Standing, and Send a Hell. In true Kartel fashion, he worked in witty social commentary, poking fun at Ryanair flights and social media chatter, before giving the crowd timeless classics: Summertime, Miami Vice, Fever, Clarks, Beg Yuh a F*k, U & Him F*k, Love Dem, Nah Let Go, Go Go Club, Story Book, Bicycle, and Straight Jeans & Fitted.
Freedom Street – Night 2
The energy peaked when Kartel called Ishawna on stage. She delivered Restraining Order and their fresh collaborations Woof and Porn Flick—the cheeky line “Scatta don’t look” sparking loud laughter and cheers. After Ishawna’s exit, Kartel powered through more fan favorites before closing with God Is the Greatest, leaving the crowd emotional yet satisfied.
He reminded fans that Spice, Tommy Lee Sparta, and more were set for the festival’s grand finale, building anticipation for Night 3.
Freedom Street – Night 2
Verdict: Night 2 of Freedom Street Festival was a thrilling ride—from Jada Kingdom’s EastSyde charisma to Skeng’s theatrical chaos and Shaneil Muir’s commanding vocals—all crowned by an unforgettable performance from King Vybz Kartel.
The inaugural night of the historic Freedom Street Concert Festival opened in fine style, setting the tone for a weekend of world-class reggae and dancehall.
Saxon Sound Foundation
Freedom Street
UK legends Saxon Sound, represented by Shawn Muscle with hosts Kal-I and Big Man Zest, warmed up the venue and established an authentic sound system energy. Their selections and hosting created the perfect pace for the night ahead.
Kranium – Smooth First Act
Freedom Street – Night 1 Karnium
Following the intermission, Kranium officially opened Freedom Street Malta. Arriving with his tour DJ, he set the vibe immediately with Nobody Nuh Fi Know. Technical challenges were evident early, as he pointed out the lack of monitors, quipping: “Me can’t hear nothing out yah so.”
Freedom Street – Night 1 Karnium
Adjusting quickly, Kranium centralized his performance, blending acapella transitions with full-stage presence—showcasing tactical showmanship. Through storytelling, he shared insights on his journey into music while delivering fan favorites such as Sit Down, Last Night, and We Can.
Freedom Street – Night 1 Karnium
He balanced lovers’ anthems with street hits like Higher Life, while demonstrating his vocal range and falsettos. A playful moment came when he invited a woman from the crowd to join him, acting out the sensual themes of his music. Kranium closed his set with Lifestyle and a piece of History, officially christening Freedom Street Festival’s first night.
Shenseea – Star Power & Stagecraft
Freedom Street – Night 1 Shenseaa
Next, Shenseea stormed the stage to Blessed, accompanied by her dancers in vibrant choreography. Though her microphone levels initially seemed low against her DJ and backing tracks, the energy soon synced as the crowd sang along.
Her performance was a blend of bold conversations about relationships and sexuality—highlighted in songs like Foreplay and Rebel—and dazzling stage routines. Her falsettos shone on Lighter and Hit & Run, while Shake It to the Max and Murder electrified the audience, climaxing in a multi-national women’s dance-off on stage.
Freedom Street – Night 1 Shenseaa
Shenseea navigated through her impressive catalogue, from juggling riddims to international chart-toppers, giving Malta a full showcase of her artistic evolution. Though the audience craved more, her set left them deeply satisfied.
Dexta Daps – The Closer with Command
Freedom Street – Night 1 Dexta
Closing out Night 1, Dexta Daps entered with explosive energy, pulling up Shabba Madda Pot before launching into anthems for the ladies—Forever, Twinkle, Call Me If, and Breaking News. His dancers added flair, complementing his dynamic stage presence.
He connected personally with the crowd, admitting he was allocated 75 minutes but wished for three hours, acknowledging fans who traveled from far. Balancing sensual tracks with gritty rude boy anthems like Leader, Squeeze, and Flight Mode, Dexta kept every demographic engaged.
With humor and banter, he declared Malta his new romantic adventure, weaving it into performances of Mi C Mi Bed and Miss U. The venue was alive with women screaming, men being pulled into dances, and phones recording every moment.
From No Underwear and Owner to the throwback 7Eleven, Morning Love, and Slavery, Dexta pleased both longtime fans and new listeners. His tribute segment honored legends like Shabba Ranks, Bounty Killer, and Vybz Kartel before dropping Masicka’s Whites and returning to Shabba Madda Pot to thunderous approval.
Dexta Daps closed with gratitude, leaving Malta charged and fulfilled, cementing his role as the perfect headliner for Freedom Street’s opening night.
Verdict: Night 1 of Freedom Street Festival at Ta’Qali Stadium was a masterclass in dancehall showmanship—from Kranium’s smooth tact and Shenseea’s commanding star power, to Dexta Daps’ unforgettable, high-energy closing set.
Notting Hill Carnival is the perfect time to take to the streets and learn something new. Whether that’s immersing yourself in new sounds, jumping with a band for the first time, or bearing witness to jab jab (which took the internet by storm this year), there’s much to uncover. The mix of Caribbean traditions (steel pans, jouvert, playing mas), Jamaican sound system culture, and Brazilian samba schools is unique to NHC—and united by origin stories rooted in rebellion.
@KnowYourCaribbean (Fiona Compton), @KayneKawasaki, @KearnChris at Notting Hill Carnival 2025.
When we get festive, we must get political too. There are too many atrocities happening today and remnants of colonial destruction for us to forget the resistance and cross-cultural unity at the heart of Notting Hill Carnival’s story. When Trinidadian human rights activist, Claudia Jones, hosted the first indoor Caribbean carnival in 1959, she said, “a people’s art is the genesis of their freedom.” Her efforts to counter racial tension and violence laid the groundwork for our present-day celebrations—and for that I am truly grateful.
Last year, I wrote a reflection on NHC 2024. This year, we saw the return of street education (set in motion by the people)—I’m so here for it. After raising donations on Go Fund Me, the historian Kayne Kawasaki secured an iconic spot on Ladbroke Grove for Kelso Cochrane’s billboard to make this part of history impossible to overlook.
The historic Kelso Cochrane billboard in Notting Hill.
Although Jouvert was officially cancelled in 2024 (due to a lack official band participation), the early-morning tradition returned this year with the full force of drums and political stands against oppression. And that’s the thing… after years of successful commercialisation, Caribbean music reverberates in the mainstream. With our rich culinary delights, even our cuisine has a seat at the table.
But if we’re not careful, the less palatable side of Caribbean culture—everything rooted in anti-colonial defiance like jouvert, speaking creole or carnival’s origin story—will get lost.
Luckily, we have some incredible content creators, linguists, organisers and historians like Kayne who are dedicated to documenting, archiving and preserving cultural practices:
Cold Islanders | Community-focused cultural events in the UK
As each Carnival passes, we add to this line of history. The images we capture, stories we tell and how we choose to engage with all aspects of the culture determines NHC’s future. What do we want that to look like?
Mangrove Steel Band at NHC 2025
POV: You’re a carnival convert—from roaming civilian to masquerader
I have been going to NHC for as long as I can remember. As a child, I attended a soca school and felt the sweet vibrations of steel pans alongside other Caribbean kids.
Once I got older, I put on my brightest, most colourful outfit and draped an extra large Jamaican flag around my shoulders like a cape. Bursting with pride and joy, I felt unstoppable and at home amongst the masses of people.
One minute I’d be wandering sound-system-riddled streets in search of reggae and dancehall then checking my bestie’s family at Trini corner. Hours later I’d get twirled around by Colombians and Cubans at Portobello Road’s Latin corner.
Every year, I’d see jewelled masqueraders rolling waistlines and chipping their way to judging point. I’d either observe in awe or follow the trucks as far as I could to catch the sounds of soca.
Something from my teenage years affected me for far too long as an adult. I’m not sure whether it was body shame, the prim and properness of my parents, but it never crossed my mind that I could be one of those pretty girls.
I played mas for the first time a few years ago. It set my spirit alight. I loved playing in the colourful paint, and found myself lost in the moment—I was truly present. Swing around to 2025, I had the privilege of greasing it dung with dutty-mas-winning band Island Mas.
Before and after jab jab with Island Mas Band at Notting Hill Carnival 2025.
“Black blood in mi vein”
I had seen Grenadians go off to jab at fetes and drag chains with sea creatures hanging out of their mouths at Carnival in previous years. It was fierce and mesmerising, but I didn’t know what it all symbolised. If I was going to cover myself in oil and black paint too, I thought I should find out.
This conversation exploded across the internet the week following Carnival. People were asking: What is jab jab? Why do they wear horns? And what does it all mean? Others came with their judgment, dismissing these powerful traditional practices as the devil’s work. Once again, some fantastic content creators took the time to educate and correct the narrative.
Island Mas Jab Jab at Notting Hill Carnival 2025.
Back to basics—why street education is a must
The shock that comes with the bold display of jab is part of that street education. We need more spaces to document our collective histories as diasporans in the city. Tourists flock to visit the colourful houses and Portobello Road Market all-year-round. Why don’t we have a permanent home for carnival history in Notting Hill? A place where industry professionals and band leaders can run workshops with adults and children, making and creating things to keep the spirit of Carnival alive beyond August.
Masqueraders from D Riddim Tribe masqueraders at Notting Hill Carnival 2025.
Mek the people dem free up
Despite what some may think, when we step out adorned in jewels or covering one another in paint, we are not performing for onlookers. We are basking in free expression and liberation. As I’ve said before, carnival emerged in the Caribbean as an act of resistance; to oppose the enslavement of our people, with women in particular reclaiming autonomy over our bodies.
At NHC, I’m energised by my fellow masqueraders. I release everything that’s been weighing me down. Any stress locked in my hips loosens upon waistline activation.
When we dance, we unlock the freedom our ancestors preserved in drum patterns—for us and generations to come.
Though that freeness for female masqueraders and carnival goers is sometimes breached by wayward men who have lost their way.
Gemiah played pretty mas with Flagz this year. She told WorlMag that reuniting with family members brings her unparallelled joy, but she also thinks some bands need to revisit their safety protocols. As TikTokers have demonstrated, the route has major issues, particularly the approach to judging point, which poses additional challenges to managing safety.
Members of the public mixing in with masqueraders at Judging Point.
The experiences of those inside and outside the ropes will be different. Either way, whether it’s a quick dance or photograph, consent is key. Entitlement and other foolishness needs to be left at the door. We all have a moral duty to call this kind of behaviour out. Next year, I’ll be holding a sign to speak on just that.
Gemiah with Flagz Mas at Notting Hill Carnival 2025
“Good good spirits”
Carnival is about everyone jumping up together and catching “the good good spirits” that the dynamic Trini duo Full Blown sing about. As cultural ambassador and historian, Fiona Compton, said it was beautiful to see men wining alone content. That kind of joy is contagious.
When we asked regular carnival goers about NHC 2025, they all emphasised the importance of feeling free and coming together: “I can be my fullest self and feel tied to the music and culture I love and have grown up around from a young age,” said Tansy. This is the kind of sentiment I want the hundreds of thousands of first-timers and visitors to feel when they pour into the city.
Kaeshelle, Shynell, and Tansy with Wotless (Bacchanalia) at Notting Hill Carnival 2025
More education, more money: carnival not “carni”
This year, it seemed like more people than ever before were pushing for NHC to be called carnival—not “carni”. Jack, an actor and content creator, said: “People were coming on social media to vocalise how important it is to remember why it started, its roots—and calling out the wrongens and incorrectness at carnival. It was beautiful to see and well overdue in my opinion.”
For me, the elaborate and creative signs are what truly stood out. I’d love to see them stored in the archives. Whether it’s a call to gate-keep culture, a question to make people stop and think, or a cheeky inside joke, there’s room for all of these signs at Carnival. Each one reminds us that NHC is as much a demonstration as it is the second largest street party in the world.
When you attend Carnival, you navigate a sea of Caribbean music, body movement, and masterful craftsmanship—That is true togetherness.
The fact that people pooled money together to make the Kelso Cochrane billboard a reality was symbolic. Darcus Howe’s words, “If it wasn’t for the murder of Kelso Cochrane, carnival wouldn’t have happened,” stood strong, but not everyone recognised its significance.
“One moment stuck out like a saw thumb for me, when I saw the billboard of Kelso Cochrane and two white girls underneath having water splashed all over them, having no clue or respect for the billboard that was above them,” said Jack. Anecdotes like this are a wake up call. It’s all fun and games until all meaning is lost.
Scenes at the Kelso Cochrane Billboard at Notting Hill Carnival 2025.
NHC is estimated to generate £400 million annually for London’s economy. Big brands make huge profits around Carnival; meaningful collaborations with content creators could help us share our stories on a bigger scale. Next year, I think outdoor advertisers like JCDecaux or Clear Channel Outdoor should offer these spots to local and community organisers for free in the run up to Carnival’s anniversary.
2026 marks 60 years of Notting Hill Carnival
Every year, mainstream media portrays carnival in a negative light with the talk of police, security measures and crime in an effort to shut it down. Despite all the noise, we push on, and now we have arrived at NHC’s 60th anniversary.
Berenice played pretty mas with Caribbean Sessions this year. She highlighted that we’re blessed to have retained some traditional Caribbean elements within our diasporic carnival, including Jouvert and Panorama with its glorious steel pan showcases. “It’s sad that they’re not better attended. I’d love there to be more ways for people to consider that part of their carnival weekend,” she said.
When Jouvert returned this year, people dressed in traditional costumes, some brought bellowing drums and others waved Palestinian flags. It all served as another reminder of Darcus Howe’s words. NHC came about as a response to race riots, resistance is part of NHC’s DNA. In all our joyful exuberance, we can’t afford to let those elements fade.
Let’s get bigger, bolder and more brazen. Let’s bring more tradition, education and anti-colonial resistance to Notting Hill Carnival’s 60th anniversary.
From Dominica to Guyana, and now rooted in the UK, Lia’s carnival journey is one of reclamation, identity, and artistry. Growing up, she wasn’t the child pushed through Notting Hill’s streets in a pram, nor raised on a steady diet of bouyon and steelpan. Instead, her connection came later — a teenage discovery with friends that blossomed into a modelling career representing some of the Caribbean diaspora’s most vibrant designers and bands. Today, whether performing at Glastonbury, on set with UCOM, or radiating energy through a Cropover lens, Lia brings more than beauty to the costume. She channels the spiritual grounding of her Dominican heritage, the resilience of her Guyanese roots, and the authenticity of a diasporan determined to embody both culture and self in every step, pose, and performance.
Where does your carnival heritage stem from? Was it something you grew up with, or did you discover it later?
My mum was born in the UK, but she spent a lot of her younger years going to more French Caribbean events. She was also a dancer and used to feature in Congolese artists music videos, so being in touch with carnival was not something I grew up with. I actually recently asked my mum why I have no photos or memories of me attending carnival as a child, and she said it wasn’t really her thing growing up. She said that one of the reasons for this was that when she was younger, the Dominican music genre, Bouyon, was not often played by DJs in events, so Dominicans created their own event spaces with other French Caribbean people living in the UK.
It was only when I was 14-15 years old that I started going to carnival with my friends. I think this is just an example, though, of how diverse the Caribbean experience is; not everyone has memories of being pushed in a pram through carnival crowds, but through unity, we all come together and celebrate our culture in the present moment. I think it’s beautiful.
What traditions or memories from home (and community) influence how you approach carnival costume modelling?
The two experiences of being back home are memories for me that influence my approach. By that, I mean Dominica has such a surreal, spiritual energy when you spend time in nature. Being back home is such a grounding experience where I can just switch off when I’m at the beach, in the jungle at a waterfall, or driving around the island. Dominica is so serene. But when we free up, it’s also the same spiritual energy being channelled in a different way. There is definitely less serenity under our rum! But there is also something in the background that reminds us of who we are, and so we express and embrace our culture with all our heart, no holding back.
So when I am modelling, yes, I want to look good, but I also want people to feel my energy, and I try to radiate this in my work. I think the perfect example of this is the Anansi for Cropover 2024 shoot, where people have said they can feel my energy through that photo. That is what I want to create every time I’m on set.
Anansi for Cropover 2024
Do you feel your cultural background enriches your creative vision? If yes—how?
Dominican people are themselves wherever they go; we have no filter. And we are unapologetically so. As much as I am a diasporan, I go home often, and I don’t think I have ever met a Dominican who does not wear their heart, lungs, personality, chest, tout bagay, on their sleeve! So, when I am approaching carnival costume modelling, I am inspired to be myself. It reminds me that who I am got me to this place at this time, which allows me to adopt a mindset where the focus is on me creating art, and others around me are doing the same.
Which carnival traditions or icons inspire you most when you’re preparing for a UK-themed event?
I’ve performed at Glastonbury three times in a row now with the Notting Hill Carnival team, and there was one year when everyone was making beats by banging on random things whilst we were getting ready backstage. I loved that it felt like a lil warm up before the bass kicked in and we started the parade! However, other than this, a lot of events I attend are Caribbean-themed, so I have very little experience of going to UK-themed events.
How did you first get into modelling carnival costumes? Was there a pivotal moment that inspired your journey?
I was first interested in modelling for carnival costumes when I was studying at university away from London during my undergraduate years. So, I was seeing everyone model, but my university life was too busy for me to be travelling back and forth to London.
After my master’s degree, however, I joined @rockitentertainment, run by the amazing powerhouse, Rhona, and I remember thinking it would be a long way until I could find my feet in carnival modelling after joining the agency. But it was less than a week after my audition that Rhona called me and said a band saw a snippet of my audition video and wanted me to model. That felt like a moment where I knew this was going to be a space where people wanted me for who I was, so I continued showing up and being who I am, and here we are, a few years later!
Walk us through your prep process for modeling.
I always have a booking bag ready with all the essentials, so my prep process doesn’t always involve much. I always pack “just-in-case” items and make sure I have maximum comfort on the day. For example, packing loungewear and sliders so I can be cosy on set when waiting around or doing make up is a must. I don’t always eat before a shoot/ launch, so I bring a snack for when I get hungry later. I also try to remember to bring water as some locations don’t always have nearby shops. Lastly when I arrive, I approach the team to introduce myself, ask if there is anything additional that I need to be aware of, or ask questions that I may have.
What’s the most memorable costume you’ve modeled, and what story does it tell?
The UCOM costume for the Jaguar 2025 teaser. Firstly, Santana (@looksbysanty) on the makeup killed it. She did my make-up for my wedding, so that just shows how much I trust her art. She did this jaguar print on my eye, and the beat was amazing as usual. Next, as I was at the camp and put on the bodywear, as always, Paul’s (@eccdesigner) costume felt like a dream to wear. The details of the fur trimming, the reflection of the colours from the gems, the bodywear, everything came together perfectly.
Then for the shoot. This was my first outdoor shoot, and it was in an enclosed area surrounded by trees. I was with the UCOM team, who feel like the F1 pit stop team. Once it’s time to put on the costume, they are on it – accessories, headpiece, backpack, all on in moments, so I always feel well-supported by them. Then shooting with my fave photographer, Dwaine (@d.tobierre), who I’ve always felt comfortable shooting with from day one. So, the creativity was all around me; the lighting, the makeup, the costume, and the whole concept was my inspiration when modelling that costume. I was so caught up in that shoot that I didn’t even see the final look until months after!
Overall, I’ve mentioned names of people who I’ve worked with over the years, not only to show appreciation for their art, but to highlight and acknowledge that there is a community of people who are so talented, and come together to produce and create the most amazing costumes, photos, concepts etc. Their hard work and creative process is the story. So, when I am on set, it’s my turn to show up for that community and showcase their art/ creations.
What are the most challenging and rewarding aspects of modelling costumes in the carnival scene?
Challenging:
Not much, other than having to sit still with my eyes closed whilst getting my make-up done when there are things happening around me!
Rewarding:
Noticing my own growth and development when looking at launches and photoshoots. I can look back at my photos and know there have been things that I have wanted to work on, and to see that change happen along the way can really feel like you are perfecting your craft.
Other people complimenting you on shoots, or saying they recognise me from other shoots – it isn’t just about being memorable, but it feels like I am being recognised for my art, which I appreciate.
As someone based in the UK, how do you see carnival culture evolving here?
I see carnival as a way for Caribbean people to embrace a reclamation of their culture. I feel like there is a current drive in carnival culture now for Caribbean people to learn about the history of carnival, and they are actively creating a modern twist on this, which I appreciate. It feels like there are more purposeful intentions when merging the past with the present as it narrates the story of who we are. In our history, there have been many moments when our culture has been taken away from us, stolen, exploited, or erased, so I think the evolution of carnival culture has been, and continues to be, a reflection of what generations before us have already been doing that is, keeping history alive to remember our story.
How do you balance traditional Caribbean elements with your expressions of UK and diaspora identity?
In my main job, I do a lot of research on acculturation and biculturalism, so this is something I can talk about forever! But in short, my experience of being part of the diaspora in a diverse part of London has meant that from a young age, embracing my identity as a Caribbean person has always been encouraged. I remember international evenings and times in school where everyone painted their country’s flag, and not once did I ever feel that being Caribbean was separate from me. In addition to this, those experiences are what make me British, memories of a community that lives life together and shares our culture.
In my daily life, balance therefore feels like being able to appreciate the culture of others and be curious and interested in how this shapes their daily experiences, whilst being strongly grounded in my own.
How do you maintain mental and emotional balance amidst the demands of modelling and creative expression?
There is something about not taking modelling and creative expression too seriously. From a young age, I’ve loved being on stage and performing; from dance to gymnastics, drama to cheerleading, there is something I find so important about bringing yourself into the space. I always enter a creative space with the question of “what do I want to achieve today?” and “how do I do it in a way that is authentic to me?” and that feels so important for my mental balance.
Emotionally, I can honestly say I always get butterflies in my stomach when entering a creative/ modelling space because there are a lot of unknowns – who is going to be on set, what are you going to wear, what is the theme or idea etc. I don’t try to change the feeling of nervousness as I go in, I just acknowledge this and as I focus more on the question above around what I want to achieve, it serves as a reminder of my purpose on set for that day.
What support systems or self-care rituals help you stay grounded?
My husband! He is so supportive and has seen my journey over time, and my confidence building over the years with modelling. He is often either with me at shoots/ launches, or dropping me off/ picking me up, so it’s always very refreshing after a job to decompress with my person on our way home.
My beautiful little sister, as well, she is always supporting my modelling on social media. She’s away at university at the moment, but I can always depend on her to share my posts of photos online. Also, as an older sister, I have always felt the need for me to set a good example for her, so going after what I want to show her that you can achieve whatever you put your mind to gives me the push to keep growing.
Lastly, I feel like answering these questions has been a self-care ritual. It feels really grounding to be able to document my journey and remind myself of my purpose. I haven’t reflected much on my modelling journey, so it has been helpful to do it for this feature.
Have there been moments when your mental health influenced how you engage with your art—positively or otherwise?
Mostly positive experiences – I love being on set and at launches and catching up with people who I haven’t seen for ages. In my professional life, people do not know much about carnival or my culture, so it has been nice to form connections with people who share a similar background.
I also love a supportive model on set with me, where both me and the model can give each other constructive feedback or advice to help us grow. Creative industries can easily feel like competition is everywhere, but working as a model is exactly what the question says, it’s an engagement with your art, so I don’t spend time on set getting distracted by comparing myself to others.
Negative experiences – I think in the beginning of modelling I felt like Bambi on ice – my nerves were stopping me from reaching my potential. I was also super aware of being at an early stage in modelling where everyone knew each other, how to pose, what to do etc., so that feeling of being out of sorts felt quite isolating. Hence why I feel like once you embrace the process and bring yourself into the space, this becomes less important. Your focus and purpose will get you through.
Who inspires you most—whether within carnival, modelling, or beyond—and why?
Rianna (@riannanaomi). As a model, Rianna’s commitment to her craft and dedication is *chefs kiss*. I’m always looking forward to what she creates. On top of this, she is so down to earth and kind when we speak, so I am always surprised by what she delivers on set/ at launches.
I’ve just opened my NHC2025 costume for the road, so this has been inspired by that moment, but Kenny (@kenvee_design). His attention to detail always leaves me so excited to see what he creates next. But in addition to this, Kenny has been super supportive with me in my modelling journey. Being on set with him, you can see that he has a standard that he wants to meet, so you naturally want to make sure that you also meet that expectation. Those moments have pushed me as a model, and I appreciate him for the opportunities I’ve had to grow.
Lastly, those in the Caribbean community who educate about our history through many forms, and work tirelessly to maintain the spirit of carnival. For example, I learn so much about my history through @knowyourcaribbean, and it is easy to get caught up in the present experiences of carnival. However, knowing about those who came before me reminds me to recognise carnival as a space where I can honour their legacy.
What personal or professional goals are you working towards in the next few years?
I will be finishing my doctorate soon, and I am passionate about developing ways to promote the mental health and well-being of Caribbean people, so I would love to form connections with others from the region/ diasporans with similar interests.
How do you hope your modelling and costume work might influence or inspire others in the future?
I hope that others can see my personality through my carnival modelling, as I believe it’s so important to be yourself. It can be easy to be in your own head- someone is taking pictures of you, others are watching, and there is little time to really climatise yourself to feel comfortable enough to be yourself. It can, therefore, be easy to lose yourself due to worrying about how you are perceived and all the other noise.
However, I hope that my work and presence on set/ at launches continue to encourage others to be themselves. My main focus is to work towards my purpose, both immediate and long-term, and that is what you see in my modelling and costume work.
If someone were stepping into carnival modelling today, what advice would you share with them?
Be confident in asking for help when you need it. If you feel nervous, unsure, or less confident about something, my experience of carnival modelling has been that there is always someone around to support you. I remember asking an experienced model on my first shoot to support me with my poses, and I still use all her tips and advice until this day. It’ll add to your development. If you ever see me in any creative space, I am more than happy to be that person if you want any support or help!
What’s your vision for the future of UK soca and carnival culture? What does the next chapter look like?
I hope for it to look like a community of Caribbean people who embrace the multi-faceted nature of what it means to be Caribbean. For example, I hope the next chapter continues to depict the resilience that we hold, the experiences that we all share, and the spirit and energy of a collective who are proud of their cultural identity.
From a personal and cultural standpoint, what does carnival represent to you at this point in your life?
Reclamation and narrative reshaping. There is something about Caribbean people paving the way for the future of carnival. Be it through education, carnival bands, events or otherwise, there is an energy that shows a real dedication to passing on the baton for the next generation.
I am also at that pivotal stage where I am (finally!) nearing the end of my education and will be working as a clinical psychologist. I hope to continue to find ways where I create a version of myself that I can look back at and know that I am proud of who I am.
For Lia, carnival is more than sequins and feathers — it’s a living narrative. It’s history carried forward, energy transformed, and a celebration of being unapologetically Caribbean in every space she enters. As she nears the end of her doctorate in clinical psychology, her mission extends beyond the stage: to advocate for the well-being of Caribbean people while continuing to inspire through her artistry. Whether reclaiming carnival’s story in the UK or standing tall in costumes that reflect an entire community’s creativity, Lia reminds us that carnival is about much more than what we see — it’s about the spirit that we feel.
Rum n Wuk have become a reliable source of colourful, themed fetes all year round over the past year. And they were very serious about the pink theme back at the height of British summertime. They may as well have said, “wear pink or go home,” turning people away at the door. The event was equivalent to the Barbie movie premieres last year, except we were looking at an 800-strong room full of dancehall lovers and soca heads—it was real sweet.
Rum n Wuk
Upon arrival, we received fluorescent pink wristbands and all-important branded cups, making sure partygoers stayed on brand—even while sipping concoctions of rum and other such spirits. Baby pink ribbons, fuchsia balloons, and other magenta decorative objects hung from the ceilings and adorned the venue’s walls. The vision was not only crystal clear but well executed. Cynics might only see the strict dress code policy as a marketing ploy, and let’s face it, the sea of pink was something to look at, but there’s something about maintaining the vibe as a collective. Those who are down to make an effort, those flaunting the theme wicked bad, also tend to come to fete hard.
Rum n Wuk
I’m personally always grateful for the sunshine, and I hope the heatwaves we’ve been experiencing get drawn out throughout the summer. That said, it was too hot inside that Shoreditch venue. Yes, there was a space outside for us to cool off, but with no outdoor sound system, the tunes were just a murmur among the chatter. Fortunately, the energy was just as high as the temperature. Dancehall, soca, bouyon, reggae and an array of other sounds from the Caribbean filled the room. And when jab came on, the Grenadians, of course, let loose as Spice Islanders should.
Rum n Wuk
With his roaming microphone and usual antics, Mr Influential played the role of MC with finesse. On one hand, he kept the fetin’ spirit high, which meant no rest for the wickedest waistlines. Yes, it was hot and steamy. The heat of summer officially touched down in London, and this fete harnessed that energy into Caribbean-flavoured joy. The girlies in pink did not come to play, and neither did the man on the mic tasked with hyping them up.
Rum n Wuk
On the other hand, Mr Influential gently reminded partygoers that the DJ booth ought not to be used as a brace to secure whines. And rightly so. The decks on the table were one bunx away from unplugging wires, inciting major upset. At one point, the attentive MC even got Majikal to reload a record he thought he could quickly skip past, de-escalating the outrage of reggae lovers caught in their feelings. What that tells us is that the dance was alive.
It may have been a bit cloudy, muggy, and sometimes sunny over the past few weeks. However, summer isn’t over yet. Everyone should be keeping their fingers crossed for the sunshine to show out this carnival weekend.
Rum n Wuk
Rum n Wuk will continue to party after we’re all done on the road with a costume party on 2 November 2025. See all upcoming events in the UK and abroad on the website: www.rumnwuk.com.
Vybz Kartel – Night 2, O2 Arena (Freedom Street Tour) Review
London, Friday Night – 5 September 2025
The second night of Vybz Kartel’s Freedom Street Tour at the O2 Arena carried all the weight of expectation, and it did not disappoint.
Vybz Kartel – Night 2, O2 Arena (Freedom Street Tour) Review @kevin_agastra
Setting the Vibes
The arrival set the tone perfectly as Ricky Platinum warmed up the arena with sharp mixing, before Seani B added his trademark humour and crowd engagement. Their banter and back-and-forth created not only nostalgia but also a genuine sense of respect: one selector on the rise alongside a stalwart of dancehall broadcasting. Ricky Platinum’s supreme selection included the Shabba Madda Pot instrumental, before he exploded the O2 with one high-energy drop that reminded everyone why he is now considered one of the best in the game.
Opening Acts
Ishawna was first to step on stage. Though her set was short and at times could have connected more deeply with the audience, it succeeded in building anticipation for the night’s headline performance. ZJ Chrome and Nuffy followed, but the chants for Ricky Platinum’s return underscored how much of an impact he had made.
Vybz Kartel – Night 2, O2 Arena (Freedom Street Tour) Review @kevin_agastra
The King Arrives
Then, the moment London had been waiting for. Kartel made his entrance — emerging once again from a prison cell stage set. This time, instead of Dollar Sign, the intro flipped into Akon’s Locked Up remix, with Kartel ad-libbing “Let me out” before the grill lifted. The roar from the crowd was deafening.
Launching into Gun Session and rolling through anthem after anthem, the “World Boss” delivered with precision. Ramping Shop, Ever Blessed, Tun Up the Scheme, Virginity, Bend Like Banana — Kartel made sure the women, as he put it, were “pleased first.”
Managing the Unexpected
Midway through, a brawl broke out in the crowd. The sound system was cut, leaving only Kartel’s mic live. Rather than leave the stage, he refused, calming the arena with the words “Me nuh like this”. It was a moment of control that showed maturity, and once the tension eased, the music resumed.
Vybz Kartel – Night 2, O2 Arena (Freedom Street Tour) Review @kevin_agastra
Special Guests & Surprises
The night became historic when Shawn Storm joined Kartel on stage, the two sharing a spotlight after their shared time away. UK artists Krept & Konan and Sneakbo also lit up the crowd, Sneakbo’s Touch a Button freestyle drawing pure frenzy. Choreographer Amber Rae and her dancers brought the I Know challenge to life, though one felt their energy could have been used across the entire “gyal segment.”
Growth, Refinement, and Critique
Kartel addressed the “TikTok reviewers” directly, proving that he and his team are paying attention to fan feedback on set lists, attire, and arrangements. He tailored parts of the performance to UK audiences with songs like Party from Good Good Productions, while some numbers still showed vocal strain, with keys and octaves needing adjustment. Yet the crowd compensated, singing along word for word — even when Kartel seemed to lose track of a lyric.
Compared to Thursday’s show, Friday felt more refined, with higher energy and smoother crowd interaction. But there remain areas for development:
•Greater use of dancers and backup singers to fill out the performance.
•A dedicated hype man to support lyrics and crowd work.
•Stronger visual production — video backdrops, synced graphics, and AV could amplify the “King of Dancehall” brand.
•Merchandising opportunities were notably missed. No merch truck or memorabilia outside the venue meant fans left without souvenirs of what was a landmark night.
Vybz Kartel – Night 2, O2 Arena (Freedom Street Tour) Review @kevin_agastra
Final Word
By the close, Kartel’s emotional delivery of God Is the Greatest left the O2 in awe. Diplomatic in his praise, he highlighted Jamaica, NYC, and other stops, carefully avoiding controversy but still acknowledging London’s passion.
This second sold-out night at the O2 may well be his strongest performance yet on the Freedom Street Tour — proof that Kartel is still learning, still adapting, and still capable of commanding one of the world’s biggest stages. For a generation who grew up with his music, to see him deliver hardcore dancehall to a packed O2 Arena was nothing short of historic.
Vybz Kartel didn’t just perform — he cemented a legacy.
Vybz Kartel – Night 2, O2 Arena (Freedom Street Tour) Review @kevin_agastra
DJ KingBeatz Feature Interview website banner image
Born and raised in Saint Lucia, DJ King Beatz has been surrounded by music for as long as he can remember. What started with a Facebook name generator and a natural gravitation toward DJing has since grown into a career that bridges cultures and sounds. With strong influences from reggae, old-school classics, soca, dancehall, and afrobeats, King Beatz has carved out a space that’s uniquely his own. Inspired by Caribbean trailblazers like DJ Puffy, and sharpened by his time on radio and live stages, he’s quickly becoming one of the region’s most promising talents. But his journey hasn’t come without hurdles — from late payments to being overlooked as a young DJ — challenges that he continues to overcome with persistence, growth, and a dedication to the craft.
Can you share the story behind your DJ name, “King Beatz”?
I got it from a Facebook name generator, then I removed “DJ” and added “King”.
What inspired you to pursue a career as a DJ, and how did you get started?
It was something that just happened naturally. I grew up around music/djs
Who are your biggest musical influences, and how have they shaped your style?
DJ Puffy was a huge inspiration for me. Watching him succeed on the Red Bull Thre3style stage and become recognized for his music production, and seeing someone from the Caribbean who I could relate to achieve that level of success, really gave me the confidence that I could make it as well.
How has your upbringing influenced your musical tastes and career?
My father significantly influenced my music taste. He found his happy place listening to reggae and old-school music, and by extension, I absorbed much of his musical preferences. Growing up in Saint Lucia, Soca, and Dennery Segment were and still are very influential in the music I play. Additionally, my friends were all passionate about music, so I was constantly exposed to a wide variety of sounds.
What challenges have you faced in your career, and how have you overcome them?
The biggest hurdles I face are late payments and event promoters not taking younger, upcoming DJs seriously. On a more positive note, I’m constantly growing and refining my craft. I’m always working to improve my mic usage, scratching, and mixing techniques. My role at the RCI radio station has been a huge help, and my mic skills have definitely improved because of it.
How would you describe your signature sound or style?
Being a DJ from the Caribbean means I’m immersed in a melting pot of diverse musical genres that have influenced the world stage. Because of this, it isn’t easy to distil my style down to just one word.
What genres do you specialize in, and how do you keep your sets fresh and engaging?
I specialize in Dancehall, Soca, Hip Hop, and Afrobeats to name a few. To keep my sets fresh and engaging, I stay on top of what’s trending and new by closely monitoring social media.
Can you walk us through your process of preparing for a live set or event?
I don’t typically prepare my sets in advance. Instead, I make sure to arrive at an event at least an hour early. If I’m not opening, I’ll listen to the DJs playing before me, taking note of what they’ve already played and how the crowd reacts. This helps me get a good read on the type of audience and what will really get them going.
How do you approach creating a playlist that resonates with diverse audiences?
I usually freestyle my sets, letting the energy of the music guide me. It’s all about how the music makes me and the audience feel. My playlists are a mix of vibes and hits, you know those songs, like “Get Busy” by Sean Paul, that people recognize and love no matter where you play them.
How do you read and adapt to the energy of a crowd during a performance?
There are clear signs when a DJ is going in the wrong direction with their music choices. The energy of the event drops, and people’s reactions and body language are big giveaways. It’s a lot of trial and error, but with time, you become better at maintaining the high vibe of an event.
Can you share a memorable moment from one of your gigs that stands out?
I specialize in Dancehall, Soca, Hip Hop, and Afrobeats, to name a few. To keep my sets fresh and engaging, I stay on top of what’s trending and new by closely monitoring social media.
How do you handle song requests that might not fit the vibe you’re creating?
I just don’t play it.
DJ KingBeatz Feature image
Have you ever had to deal with technical difficulties during a set? How did you manage the situation?
There are many types of technical difficulties that can come up. Some I can solve on the fly without anyone even noticing, just by keeping calm and thinking quickly, while others are simply out of my hands.
How has the landscape of this career changed since you started, especially with technological advancements?
The equipment and software available now are advanced. We can now stream music during live sets, meaning that with an internet connection, we have access to virtually all the music in the world. These new mixers/controllers also allow DJs to reimagine and create new mixing techniques that were previously not possible or extremely difficult
What advice would you give to aspiring DJs looking to make their mark?
Stay focused, keep practicing, do it for the right reason, and be all-rounded as an artist.
For DJ King Beatz, the mission is simple: keep the music alive, keep the crowds moving, and keep pushing boundaries. His versatility, cultural roots, and ability to read and adapt to any audience make him a rising force in the global DJ scene. And as technology reshapes the industry, King Beatz is determined to stay ahead while remaining grounded in his Caribbean essence. If one thing’s clear, it’s that this Saint Lucian DJ isn’t just spinning tracks — he’s building a legacy, one set at a time.
Epik Jones is more than just a DJ — he’s an ever-evolving entertainer, producer, consultant, and storyteller who lives by the mantra Entertaining People Increasing Knowledge (EPIK). From growing up between St. Thomas, Jamaica and multicultural London, to becoming a trailblazer in dancehall’s sound system culture, Epik has carved a path that blends innovation, creativity, and cultural pride. Whether rocking a stage as Sean Paul’s tour opener, producing viral hits like “Let Out the Donkey,” or consulting some of the biggest brands and events, Epik Jones continues to prove that his journey is about more than music — it’s about building a global movement grounded in Caribbean culture and knowledge.
Can you introduce yourself to our readers—who is Epik Jones in your own words?
Epik Jones is an ever evolving entertainer that lives the EPIK lifestyle of Entertaining People Increasing Knowledge, this applies to all ventures whether DJing, Sound System culture, Producing, Marketing, Consulting and
How did you first get into music, and what drew you to DJing specifically?
I wanted to club but starting school young, the one gap to get in venues was to become a DJ and not get asked for I.D
Where did you grow up, and how did your environment shape your musical tastes?
I grew up between Albion, St. Thomas, Jamaica and London. Life in Jamaica, street dances, radio and life in multi cultural London meant I was always going to be musically rounded and uniquely developed.
What was the first event or gig that made you feel like, “This is what I’m meant to do”?
When I was featured on Winford Williams ‘The Party’ on CVM TV from Asylum Night club as Dancehall’s first computerised sound, Epik International, it was aired the Saturday in the intermission of Boys & Girls Champs, where Bolt announced himself as the future of athletics. I was a celebrity by Monday morning.
How would you describe your DJ style or sound?
Innovative, Creative, Story telling and everything I stand for, Entertaining People Increasing Knowledge #EPIK
What’s your go-to song or riddim that always gets the crowd moving?
Something out of the dub box as a song or a remix, I make and for riddims showtime, bam bam, and Diwali does not fail
You’ve played in a lot of places—what’s been your most unforgettable event or location so far?
The opening act on Sean Paul tour in terms of events and location Pereira, Colombia was memorable.
How do you prepare for a set—especially when playing for a diverse Caribbean crowd?
85 percent of my work is done before I even walk into a venue, I am forever organising, listening to, and curating music.
What do you think separates a good DJ from a great DJ?
A good DJ plays what the people want, a GREAT DJ gives them something they did not even know they needed until it was delivered.
You’re not just a DJ, you’re also a producer—how did that transition happen?
Naturally, I am a poet, songwriter, from rewriting dubs for my sound, doing mixtapes for artists, I was encouraged from school days to start producing, then it happened with the infamous ‘Let out the Donkey’ Diss Spice recorded that created that viral moment at Sting.
What was your first major production or collaboration, and how did it come together?
That really depends Let out the Donkey still considered one of the best diss songs by a lot of critics, however Meck it Clap remix with Xyclone & Konshens was my first independently released Million streaming song, Cool it by Spice is what I am known for, however the remix with Konshens was orchestrated by Xyclone, Spragga Benz and some parts actually recorded on my iPhone in my living room.
Do you have a specific process when creating?
EPIK vibes, always prepared to execute an idea in my mind or develop a new one.
How do you balance producing music that fits current trends with maintaining your originality?
I don’t try to fit current trends, I listen to so much music, and I am always hearing sounds round me in this world, I aim to create things that evoke emotions, movements or feel right and then let the world do its thing.
Which artists have you enjoyed working with the most and why?
Xyclone, creatively challenge each other a lot and willing to take music to places where its never been before and we have seen most continents with the music we created.
You also consult—what does that side of your work involve?
Well some of the biggest concepts, events, brands that people consume, enjoy involve EPIK in the ideology, execution, maintenance process. I have a Global MBA and lets say I globally help maximise people, brands and companies success.
How important is branding and image for DJs and producers in today’s music scene?
Brands are vessels of data, our stories, journeys, images, value, relevance, and equity something I learned from my Professor Jonathan Wilson. I believe brands go beyond logos, it suppose to hold emotional value. In my case, Entertaining People Increasing Knowledge guides everything I do its a movement.
What’s one common mistake you see up-and-coming creatives making and how or what can they do to change it?
Constantly trying to fit in and not being true to who they are. Change it by finding yourself and being true to what you are, believe and desire.
Do you think DJs today need to be entrepreneurs as well as artists?
No, they can just be DJs and surround themselves with professionals.
How do you stay relevant in an industry that’s constantly shifting?
By working towards being the best version of myself daily, the rest sorts itself out.
What does Caribbean music culture mean to you personally?
Unity, good vibes, expression and a lot of energy.
How do you see your role in promoting Caribbean music globally?
My experiences, inspiration are heavily influenced by my time growing up in the Caribbean and being around likewise people. I am a great story teller, documenter and I have a very creative mind so I would hope people appreciate my contribution.
Do you think the global music industry gives enough credit to Caribbean influences?
Well I heard a wise person say you get what you negotiate not what you deserve.
What changes would you like to see in the Caribbean entertainment scene?
More infrastructure that is tailor made for our stories, we need the museums, the venues for seminars, shows, arenas, film studios and academies.
Are there any new genres or hybrid sounds you’re excited about?
I love the Basshall movement, I love the variations of soca from different islands like Dennery, Bouyon, Jab, and the other elements.
What’s one song or artist currently on repeat for you?
Tamo J Alone
Who inspires you outside of music?
My 2 sons
What’s one thing your fans would be surprised to learn about you?
I don’t know the words to most songs
If you weren’t in music, what do you think you’d be doing?
I could have easily played cricket for the West Indies, written books, gone into sports punditry, or had my own TV show.
What’s your proudest moment so far in your career?
Releasing my own album
What can we expect next from Epik Jones in 2025 and beyond?
Still touring, promoting my album ‘Now That’s Epik’, new music, expanding my sound system in Jamaica, writing a book, preparing documentaries and establishing some projects my sons want to execute.
From pioneering moments in Jamaican nightlife to shaping international stages, Epik Jones has solidified himself as a cultural force who wears many hats: DJ, producer, consultant, entrepreneur, and visionary. His story is one of authenticity, evolution, and impact — never chasing trends but always creating timeless experiences. As he continues touring, promoting his album Now That’s Epik, expanding his sound system, and even venturing into books and documentaries, one thing is certain: Epik Jones is not just playing music, he’s writing history.
