FREEDOM STREET // Observing the Unstoppable Influence of Dancehall Music

For the second time in the past 6 years, we've witnessed the historic release and return to the stage of a dancehall legend at the National Stadium in Kingston, Jamaica.

Like the countdown to Buju Banton's "The Long Walk to Freedom" concert in 2019, the New Year's Eve "Freedom Street" show celebrating Vybz Kartel on Tuesday, December 31, 2024 was a must-see production for reggae and dancehall enthusiasts.

After serving 13 years, Kartel (Adija Palmer) was released from incarceration on July 31, 2024. From that moment, this "first" performance has been anticipated.

The excitement. The chatter. The suspense. The extreme FOMO for those not able to make it to Jamaica for the show (present company included). The focus on the island of Jamaica, attracting the who's-who of dancehall, music lovers, cultural supporters, music media, and patrons and supporters of reggae and dancehall who were eager to ring in their 2025 as one of the fortunate thousands gathered.

One thing that has increased since Buju Banton's concert in 2019, is the availability of access through social media--particularly the use of TikTok and YouTube. Pre-pandemic, Instagram and Twitter were definitely heavily used (as they continue to be now), but livestreaming has dramatically changed.

For example, independent vloggers and streamers are more common, and the likelyhood of catching a live feed now is on a completely new level than it was even a few years ago. For that, I was grateful because I was not attending the show...but watching from my home in Toronto.

I would have rather taken in the live energy and enjoyed the immaculate vibes and atmosphere that only Jamaica can bring...but circumstances had me watching from afar.

Fortunately, I still didn't miss a beat thanks to the official (and unofficial) coverage available online. All devices on deck.

7:00 PM - Already, there was streaming available from the entrance to the Stadium, showing the arrivals of patrons, the lines--the outfits!--and the general setup of the venue. Everything appeared to be moving and operating smoothly.

Downsound Entertainment (DSE)'s socials featured video of the early arrivals, where you could see the mix of locals and foreigners, eager to be a part of history. Well coordinated, which is an element of production that I truly appreciate: the ability to capture and publish activities and moments in real time.

I am always impressed by the ease and coordination with which major Jamaican events are executed and brands communicated: particularly the stage shows.

Not only for the local Jamaican audience, but also for the promotion that it gives to outsiders who are curious, passionate, and interested in activities on the ground. Large events like Freedom Street present a great opportunity to showcase the best of the island, the talent, the logistics, and the professionalism.

The media accreditation process and communication was smooth and informative, with instructions provided for parking, entry, and an overview of what the proceedings would be on arrival.

Based on the professionalism experienced beforehand, I was also confident that the entrances and security would be well coordinated. This is an important part of the process to me and others hoping to visit from outside the country, and those looking forward to doing their part to communicate and share the significant events.

This was to no surprise, of course, since Jamaica continues to be one of the top tourist destinations not only for food, beaches, vibes, hospitality, and relaxation...but also for their roster of top-tier reggae music events.

9:00 PM - Promptly ready to watch and listen to the early warm from the featured selectors/MCs--Nuffy, Boom Boom, Chromatic, Ricky Platinum, Chris Dymond, FyahMan, Brush 1, Franco, ZJ Chrome, and Code Red--the Pay Per View stream and ticketing provided by DSE via the tixr.com platform, was buffering.

I was hopeful this would sort itself out before showtime, and it turned out to be quite OK.

In the interim, thank goodness for the streamers operating live low-key from inside the stadium. Much appreciation for this community service!

10:00 PM - Meanwhile on Instagram, anticipation for potential guest performers was escalating. With Toronto artists Pressa, Top 5, and top hip hop journalist DJ Akademics living their best lives on the island...it only felt natural that their peer Drake wouldn't be too far away.

Especially since Joe Bogdanovich (CEO of DSE) announced at a press conference that there would be a special guest from Canada. Yes, it could have been Kardinal Offishall or Exco Levi (or miraculously, Tory Lanez...to truly celebrate Freedom), but seeing the Drake loyalists on the ground only confirmed that this was the most likely option.

Wearing all of their diamonds. The heaviest, most expensive jewelry in their possession. They brought it all to Jamrock.

Also in an extravagant chain, Busta Rhymes was on the island this week. Ever-proud of his Jamaican heritage, he gave an impromptu performance at Uptown Mondays. I could only imagine the energy in the days leading up to the show.

(Busta and his BFF Spliff Starr also hit the stage during the show. Consummate performers, from time).

For those in Canada, the U.S., Europe, across Africa, and other international locations who were also unable to make it to the show or the environment, the content creators and streamers really provided a service.

The online/international community-building was amazing, and I can't stress enough how important this part of the experience is. This is the part that will continue to help circulate the messages, the vibes, and inevitably continue to build and monetize (where possible) the genre and culture.

11:00 PM - The performances begin! Kartel emerges dramatically in a suit...and the livestreams all simultaneously begin to lag: official streams, bootleg streams, nothing is happening. 

The initial momentum was lost for the virtual viewers, searching for clarity and consistency, as Kartel is joined on stage by Sheba and Lisa Hyper. As Rvssian came out to perform "Jeans and Fitted," and up to midnight when Spice arrived on stage.

The transmission issues took away from the experience, needless to say. Up until then, the performance energy and the vibes weren't there (watching virtually), but when Ms. Grace hit the stage in her custom blue "Romping Shop" jacket and matching fit, everything changed.

She said their 2009 collab for the hit song changed her life.

A true global professional, Spice's stage presence was felt, and her ability to captivate the crowd and engage with Kartel was evident. Excitement, entertainment, and classic hits made for a great segment. Her freestyle brought the first forward of the night (from my perspective at home), and was well deserved as she has worked hard to build, maintain, and elevate her brand and artistry.

Their on-stage connection was great, and their genuine love and appreciation of one another was also tangible.

The stadium rang in the new year with fireworks and the Jamaican national anthem, followed by an appearance from Shawn Storm, Jah Vinci, and Sheba before the artists took a break and the DJs returned.

When Kartel returned to the stage, he looked like the familiar "Black Kartel" as they were exclaiming in chat rooms across the internet landscape (I kept my eye on TikTok, YouTube, and Twitter/X throughout the evening to observe the impact and messaging in the commentary).

IShawna performed, before Kartel called up his sons Likkle Vybz and Little Addi, and also took the opportunity to rest a bit, sitting on an on-stage monitor.

In another significant moment, the African dancehall king Shatta Wale made a brief appearance (the online chats were filled all night with Ghanian flags), and Shatta honoured Kartel by letting him know how much of an influence he was in his life, and how admired he was around the world. He acknowledged him like royalty, and thanked him for inviting him to his first performance in Jamaica.

A comment in the chat that stood out to me at this moment: "The culture that we have is so big, and it's loved by so many people around the world. Shatta is the African dancehall king. Anyhow we never so badmind, we run the world. We talented, and we powerful as a people."

Skillibeng receive another big forward for the night, performing "16 Choppa." He also had a seasoned stage presence.

Jamal received a great reception: fully dunce. I'm not a fan of the moniker, but the people seem to love it!

The energy shifted around this time. Kartel seemed more comfortable, although still visibly and audibly tired, he was comfortable around his peers, his fans, and the celebration. The addition of plenty dancers (Dyma and Rebel in particular), a motorbike on stage, and and increase in vibes reminded everyone that this was indeed a dancehall event.

All elements on display from the orange outfits, the antics (dancing while on the bike), and just a touch of chaos felt like the evening took a turn. It was then I realized that this show wasn't going to be a neatly produced series of events, but instead a natural representation of the genre.

Another reminder: Vybz Kartel's catalogue of music runs deep. Many, many hits, including the anticipated "Clarks" with Popcaan. He did an amazing job keeping up all night, and when he said he'd be on stage for three and a half hours, he wasn't lying. Kartel's presence was constant on stage, as the tribute orbited around him.

Popcaan arrived, after a few intermittent mentions and pleas for the police to let him in. Throughout the night, Kartel expressed frustration as artists like Popcaan and Bounty Killer appeared to be prevented from accessing the stage.

Microphone in hand, Popcaan let the frustrations be heard with a SYM here and a BBC there. He declared that, "It's a lifestyle moment, regardless."

As tensions escalated, even within a great performance from another seasoned international performer, Popcaan, Chronic Law entered the chat and also told Skatta Burell and Joe Bogdanovich to "behave themselves." Amongst other choice words and recommendations.

This is where my Canadian radar went off. As much as I'm a lifelong dancehall fan, I also look at the experience from the lens of a foreigner, as a writer, and as a documenter and observer of the culture. I don't know the details and origins of all the conflict, but I do know that there are obvious issues that have carried over across years.

I would have preferred to not see the conflict brought to the international stage...particular to satisfy the "I told you so" rhetoric from those who think dancehall doesn't deserve to shine or represent Jamaica on such a large and powerful platform.

I also recognize that the conflict, the interpersonal relationships, and the evolution of the artists and culture is in itself a part of the dancehall culture. Part of the fun. Conversations and debates about this night will carry on indefinitely.

Bounty Killer reinforced this sentiment, as a legend. A legend across decades. A legend who now graced the stage in a suit, with composure, and with the presence of a true dancehall icon.

2:10 AM - Their exchange was significant, and a big moment for the culture, when Bounty said to Kartel: "I don't want you to feel like you are taking anybody's thrown. You built your home. You never signed to an international label, and still sold gold and silver from inna prison. A king has risen."

I also liked his warning to Kartel (that should be amplified across the music industry at-large, at this point): "Don't sell your soul."

This segment of the night, fully dancehall. Skeng ran out unexpectedly in a mask. Another fella in a Canadian winter hat...(that I am not yet hip enough to identify, but will edit in later).

Then maylay ensued. A fight on stage, and the production team went for the faraway wide shot and the viewers at home just had to speculate and listen closely to see what was really going on.

When things calmed, Popcaan and Chronic Law returned to stage. Harry Toddler. Tommy Lee Sparta.

2:45 AM - And then...an abrupt ending. "The police" said the show had to lock off, Kartel said a brief thanks...and dassit.

(P.S. The JCF looove to lock off stage shows, just when they're at their peak!)

Nonethless, other than actually being in Jamaica to see the show live, there was no other way I would have wanted to spend my holiday evening. The music is important to me. The people are important to me. And the future of both: very important.

Today, New Year's Day, has been filled with conversation online! Experts, fans, and journalists are recapping the evening's events and providing their perspectives and future predictions. Recounting history. Analyzing movements.

Discussions are taking place in virtual chat groups, phone calls, and I'm here for all of it. I'm listening, I'm learning, and I'm fascinated by the solutions and reasonings that are presenting insights for the future of the genre.

The best part about significant moments like last night's Freedom Street show is that it moves the needle forward. Regardless of the production and performances, the conversation moves forward and new conclusions are drawn.

My personal conclusions? I was happy to see Kartel happy. He seemed to truly enjoy his celebration, reconnecting with the stage, the audience, and being a part of the showcase of dancehall culture to the world. He rightfully, physically, reclaimed his thrown and reminded us all why.

Vybz Kartel has the intelligence and charisma to lead, with or without the music. The countless hits: a bonus to what his legacy will continue to be.

I loved to see how many people were engaged with the conversation about Freedom Street, and continue to be engaged online. Conversation encourages critical thinking, and those critical thoughts have the potential to reveal creative plans, innovative concepts, and new ways to improve and enhance the musical experience and genre overall.

Was the show as well-produced and executed as I expected? Not so much. At times it felt slightly unrehearsed and free flowing. Not a terrible concept for a celebration, however, given the hundreds and thousands invested to attend and even view from a distance (upwards of $65 Canadian, just to watch the official PPV stream, once you convert the falling dollar) for example. Once you have to invest money, travel, and time into an experience, there is a standard of entertainment and professionalism that is expected in return.

Hearing the SYM and BBCs on stage made me cringe. Truthfully. There's a time and place. I didn't want anything to tarnish the moment, or give naysayers a reason to continue saying nay. I didn't cringe because the artists weren't entitled to their feelings and opinions, based on their own experiences...but because I knew that interaction would harm the culture rather than help it.

Although mixup and related discussion is embedded into most music culture (Such Man and his suspicious friends, for example), where listeners are invested in the activities of the artists, I do think we "as a people" would be better off if conflicts were handled...in other ways.

There were also a few artists that gave me the heebie-jeebies on sight. Not naming names, but as I tried to bring in the new year with God in my heart and in my soul, I did dip away from the laptop for prayers once that energy took over the atmosphere because my spirit felt like it was much too early in 2025 to be frightened.

These artists made me realize that while dancehall is still an international force, there are some elements that may cause it to remain localized...logistically. Certain behaviours and energies won't always translate oversees or to genuine music lovers who can do without the drama/antics. There are some conflicts, mentalities, egos, and behaviours that are deeply understood by and embedded in the Jamaican and Jamaican-adjacent communities...that others may be confused or offended by.

Even with that being said, the force and influence of dancehall music does appear to be unstoppable at this point. Knowing that Beenie Man and Sean Paul, Bounty Killer, Spice, and countless others are waving the flag high and sharing Jamaican culture and reggae music around the world at a top level...there is still work to be done.

I hope that the powers that be, the government, the tourism leaders, and others who guide (and fund) Jamaica's infrastructure can use this moment to reevaluate Jamaica's commitment to dancehall, and also find new ways to connect the power and appeal of the music and culture, to improve and enhance the country itself.

Regardless, Freedom Street was an amazing moment in time. One I was happy to witness live, even if from my laptop and not from the National Stadium. I hope it encourages new artists to strive for higher heights. I hope it motivates selectors, writers, producers, and others to continue to uplift this genre and those who make it move.

We all have to do our part, and it definitely helps when those in positions of leadership and influence are also headed upwards and demonstrating effective methods of unification and improved circulation.

And for the next few weeks, leading up to one of my favourite shows (Rebel Salute), Jamaica will continue to be filled with music, visitors, and good vibes. May we all take this energy and keep building! May we continue to celebrate Vybz Kartel, and the other legends of Jamaican music.

Music is one of Jamaica's special blessings, and has the power to do great things--worldwide--if channeled in an authentic and productive way.

Written by Stacey Robinson for Kya Publishing's "Reflection & Reason" blog.