Freedom Street Festival: Fans Speak on the Highs, Lows, and Once-in-a-Lifetime Vibes

The Vibes: “Felt like I was back in Jamaica”

Standout Performances: Divided Opinions

While the vibes were consistent, reviews of the performances were mixed.

Organisation and Communication: “Flawless… until it wasn’t”

Community Spirit: “Worth it in the end”

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D’yani Acoustic Show Review – Sunday, September 14

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Spice Malta Night 3 – The Night It Was

Spice delivered a once-in-a-lifetime performance on Night 3 in Malta, proving once again why she reigns as the Queen of Dancehall.

After a powerhouse warm-up from her tour DJ, Richie Feelings, who had the crowd roaring with “Unuu ready for the Queen of Dancehall?”, the atmosphere exploded. The riddim for “Goat” dropped and, on a revolving platform, Spice made her grand entrance. Masked as a goat, she danced atop the stage, and the roar from the crowd was deafening — VIP fences shook like the national stadium after a World Cup goal, horns blared, and screams of “We love you, Spice!” echoed across Freedom Street.

Soaking it all in, Spice paused — smiling, shocked, and humbled — before thanking her fans. Then came a barrage of hits: “So Mi Like It”, “Needle Eye”, and a daring moment where she invited men from the crowd to slowly undress her white outfit, revealing her signature blue beneath. The stage heated up further with a dance competition, featuring men from Nigeria, London, and Jamaica. Each gave a strong showing, but Jamaica’s mix of theatrics, charisma, and acrobatics stole the win.

Spice powered through “Indicator” before slowing down to acknowledge the diverse, all-ages audience. She saluted her day-one fans with throwbacks like “Fight Ova Man” and “Jim Screechie”, which transformed the venue into a choir of voices singing every word. She then transitioned into new material from her Mirror 25 album, speaking proudly about her longevity and resilience in a male-dominated industry.

There were special moments for the women, too. After performing “Genie”, a personal favorite, Spice invited female fans on stage to showcase their moves. Her dancers matched the moment with multiple costume changes throughout the night, each theme building fresh excitement.

When the show turned to her famously bold side, Spice opened up about sexual freedom, playfully teasing boundaries before dropping “Hell No”, followed by her unapologetic anthem: “No woman face should be no toilet fi piss or shit inna!” The crowd roared approval. She then unleashed “Chair”, complete with stage props and a sizzling routine, while her female dancers sparked an international dance-off featuring participants from French Guiana, Bermuda, London, Birmingham, Jamaica, Germany, France, and more — Malta’s diversity on full display.

The energy didn’t stop there. A Spice song-singing competition saw fans belt out her classics in true Spice style: one with “Jim Screechie”, another with “Fight Ova Man” — and then came the shocker. The final contestant dropped “Love Triangle (Blac Chyna)”, and the venue erupted into frenzy, forcing Spice to extend her set list and perform it on the spot, earning massive forwards.

As the night built to its climax, Spice dropped a blazing run of anthems — “Dumpling”, “Go Down Deh”, and finally, the crowd-favorite “Cool It”, which had the audience chanting long after she left the stage. It was a royal performance, powerful yet intimate, playful yet commanding — the Queen in full control.

And just when fans thought it was over, Spice returned for an encore — three songs with Vybz Kartel, complete with another wardrobe change, sealing the night as one of Malta’s most unforgettable dancehall experiences.

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Saturday, September 13 – Ta’Qali Stadium, Malta

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 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, and Sha La La.

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.

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.

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.

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.

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.

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Friday, September 12 – Ta’Qali Stadium, Malta

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

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

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.”

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.

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

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.

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

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.

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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.

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.

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:

• KnowYourCaribbean | History and culture
• Two Saints | Creole, culture and languages
• Soir Kweyol | Creole, culture and languages
• Kayne Kawasaki | History and culture
• Lukeyism | Cropover and culture
• 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?

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.

“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.

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.

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.

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.

“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.

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.

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.

See you on the road x

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