CITY SPLASH 2025
City Splash 2025: A Community Celebration That Refused to Be Silenced
words and photos by lizzy brown.
“Dem a-go tired fi see mi face
but dem cyaan get me outta di race
Oh, man, yuh said I’m in your place!I want to disturb my neighbour
Cause I’m feeling so right
I want to turn up my disco
Blow them to full watts tonight
In a rub-a-dub style, in a rub-a-dub style
In a rub-a-dub style, in a rub-a-dub style
In a rub-a-dub style, in a rub-a-dub style
In a rub-a-dub style, in a rub-a-dub style”
(Bad Card – Bob Marley)
Amid tight logistics and growing expectations, City Splash 2025 returned to Brockwell Park with pride, power, and a soundtrack that echoed the genres of the Diaspora through the crowd like a lion that had waited too long to roar.
But the soul of City Splash began well before the bank holiday. From May 22 to May 25, the festival unfolded across South London in a series of community workshops and wellness activities. There were DJ sets, street football events, movement-based classes, and grassroots cultural events designed to elevate the next generation. It wasn’t just about music—it was about heritage, healing, and pride.
Then came Monday, May 26. Bank Holiday Monday, as it’s known in the UK. Notoriously cold, wet, and windy, and with last year’s mud-fest still fresh in memory, this time, the weather and the stellar lineup promised something much brighter.
The iconic Channel One Sound, Foundation Stage (presented by Cecil Reuben Events) were present as they have been in the past. However due to the extremely long delay in start times for Rastafari Reasoning Corner, regretfully, I wasn’t able to make it to either.
So, for me, the afternoon really started back at The Yaad Stage Immanuel ‘Ras -I’ Kerr (catch him next at SXSW London in June) who’s ‘Somewhere Wonderful, was the official soundtrack for the Jamaica Tourist Board’s (JTB) 2025 Easter campaign. Nesta, and Jaz Elise followed soon after. All three artistes formed part of the City Splash Rise Up initiative “an inspiring platform spotlighting emerging Caribbean voices.” Their raw energy was pure and fresh—sharp, joyful, unapologetically present. They brought a new perspective to real, reggae roots music into 2025, with intention and grace to the heart of Brixton.
RAS-I ©lizzy brown
NESTA©lizzy brown
JAZ ELISE ©lizzy brown
As the sun started dipping and the threat of rain hovered above in menancing dark clouds, Tarrus “Singy Singy” Riley stepped onto the stage, opening with his track “My Day”, a timely anthem of gratitude and upliftment. Backed by the legendary Blak Soil Band and the inimitable Dean Fraser, whose golden saxophone seemed to speak its own language, Tarrus reminded us what real reggae sounds like.
TARRUS RILEY
DEAN FRASER
The crowd, both old-school fans and Gen Z flag-bearers, harmonised to every lyric to classics like “She’s Royal”, “Gimme Likkle One Drop”, and “Simple Blessings”. The ever-shifting digital backdrops behind him beamed images of Black African pride and positive representations of Black women, while the band, dressed uniformly in khaki trousers and shirts, stood as a unified force. It felt like being part of a moment that spanned generations. I felt nostalgia rising in my chest. This wasn’t just music: it was memory.
Meanwhile, across the park, a quick glance at my WOOV app reminded me that at the Pull Up Stage, Morley’s was bringing the flavour with a 40th anniversary celebration that showcased rising dancehall talents like Teejay, and Valiant. And without a doubt, the Rampage Sound Stage with Bossy LDN and the legend Ms. Dynamite would be repping the women properly.
Then came Spice.
Arriving onstage astride a motorbike from Luxury Rides London, singing ‘Romantic Mood’, clad in a blue glitter bodysuit, electric blue thigh-high boots, and her signature candy floss blue wig, Spice was pure theatre, pure power. The epitome of professionalism, she gave a Masterclass in professionalism and hardcore Dancehall – a reflection of her 25 years of experience in the music business.
SPICE
She had landed from Guyana less than 24 hours earlier. With no rehearsal, she tore the place down.
Dropping Vybz Kartel references like prayers throughout her set, she honoured the iconic artist’s legacy with sharp lyricism and fearless energy. Her presence supported by her army of dancers and full band was volcanic, a living, dancing testament to resilience, legacy, and womanhood.
SPICE
Spice ended her set dressed in pure white and having abandoned the boots for blue Puma Speedcats. Her dancers now a backing choir, resplendent in flowing white gowns. Spice lead the energised crowd from the Dancehall to a place worship and praise with her to emotive Number 1 Gospel track: ‘You are Worthy’, a moving, musical testimony to God, to resilience.
“If you are grateful to be alive…big up Jesus and Father God…!”
But not everything ended on a high.
Kudos to Seani B who worked hard with DJ Larni in between sets to keep the energy levels of Spice and keep the patrons distracted from the extraordinarily long wait for the final act.
SEANI B. ©lizzy brown
Popcaan, the night’s headliner, kept an increasingly restless crowd waiting for close to 45 minutes. Restlessness turned to agitation. The front barriers strained under pressure as fans booed loudly, and the already exhausted security crews had to step in to maintain control. What could have caused this delay? Was it a sound issue? A travel misstep? What?
His late arrival brought to mind the Vybz Kartel Freedom Street concer, another case of near-chaos and broken expectations. Is Popcaan becoming the Jamaican Lauryn Hill? I mused to myself.
But, he’s not known as the Unruly Gad for no reason. When he finally leapt onstage, his unmistakeable high pitched vocals, supported by The Ruff Cut Band proceeded him, throwing what was left of the more easily forgiving crowd into a frenzy. 5’6 of human dynamite, he exploded across the stage, plumes of white smoke jetting upwards behind him adding to the drama of his delayed entrance, in an effort to prove he is still The Ravin’ King.
“…Seh party shot, like one M-16 / Dem call me di Ravin’ King…”
POPCAAN ©lizzy brown
But Popcaan could not pull off a Lazarus and there would be no Biblical compassion from the set managers waiting to just flick a switch and call it a day.
His performance was underwhelming with the pressure of just mere minutes left to do his entire set. This limitation would have been overwhelming even for someone as experienced on stage as he is.
Within a few minutes, myself and other media personel were unceremoniously swept out of the pit by a tsunami of security, meanwhile rogue photographers and chancers stormed the stage to grab photo ops. The sense of unease was heavy and I was filled with a sense of disappointment.
It was only the next morning did I learn that minutes after I left, his mic had been cut off, having already run 20 minutes past the park’s strict curfew. An attempt to salvage what was left of the night, saw Popcaan descend the stage into the media pit to speak with his remaining fans. And the following day, graciously issuing a formal apology on social media.
A night meant for glory ended in frustration and disappointment.
And yet.
City Splash 2025 was an absolute triumph. A real win for the local community and the culture with room to grow and become bigger, better, stronger.
A court case had tried to stop it. The Protect Brockwell Park (PBP) group, took legal action against Lambeth Council in the high court last week, complaining about holding large-scale events in Brockwell Park.
And, according to the Association of Independent Festivals (AIF) the UK lost 78 festivals in 2024 alone, more than double that of 2023. Not City Splash. It’s roots in the community holding it firm and strong.
2025, the festival showed it’s growth and came back prouder, more purposeful, despite bleak outlooks and uncertainty for the entire festivalscene.
But like the lion in the headline, this celebration of black culture in all its glory, could not be tamed.
City Splash is about culture, not politics. Community, not conflict. It’s about the people, for the people.
2026 – bring it on!
About Author
