Reggae Sumfest 2025 Reigns with Power, Drama & Soul

(ReggaeVibeMedia.com) – Montego Bay’s Catherine Hall recently hosted Reggae Sumfest 2025, and from the first note to the last encore, the festival stamped its mark as a cultural colossus. Backed by impeccable production and world-class infrastructure, this year’s staging set a new bar for live reggae and dancehall experiences.

High above the crowds, lighting rigs cut through the night skies, LED screens anchored stage presence, and crisp, powerful sound systems made every vocal, drum hit, and bass line pulse with clarity. It was more than a stage—it was a fully immersive, global-standard production befitting Jamaica’s premier festival.

In a bold move, Culture Minister Olivia “Babsy” Grange praised Sumfest’s evolution, affirming its role in showcasing authentic Jamaican artistry and revealed that designs are underway for a new multi-sports and entertainment stadium—meant to serve as the ultimate home for adaptable mega-events.

🔥 Night One – Dancehall Galore

Shaneil Muir, Montego Bay’s shining “Top Gyal,” was arguably the highlight of Night One. Delivering an energetic 30-minute set, she performed fan favorites like “Exclusive,” “Blessings,” and “Pretty Naturally,” dazzling in a gold metallic jumpsuit that hugged her silhouette and shimmered under stage lights. The outfit featured intricate sequin detailing and a flattering cut that made her one of the evening’s standout fashion statements. Her confident stage presence and lyrical potency confirm she now occupies the upper tier alongside icons like Spice

Govana set the tone. Dressed in a crisp, tailored white suit bearing Strike Force insignia, he ruled the stage with hits like “Bake Bean,” “Gyal Clown,” and “Convo.” A genuine moment erupted when he gifted his mother a new CR‑V, bringing her—and the crowd—to tears.

Masicka kept the fire alive, delivering “Reverse Time,” “20 Matic,” and “They Don’t Know” in a fierce burst of lyrical strength that left the crowd buzzing.

Then came Vybz Kartel, officially crowned “King of Dancehall.” His high-energy set lit up Catherine Hall. But controversy surged online when thousands tuning via pay-per-view had their experience mishandled—his set on the live stream was cut abruptly due to a 15-minute contractual limit. Organizers later apologized, citing the clause, but fans who paid expecting full access remained vocal in their disappointment.

Skeng rode a Joker-inspired wave—complete with vivid makeup, neon-green hair, and tracks like “London”—but his set was unexpectedly interrupted by Tommy Lee Sparta, whose motorcycle entrance forced an early shutdown. Meanwhile, younger acts delivered pulsating drum patterns and repetitive chants (“Labba, Labba, Bang Bang”), prompting a widely shared critique: dancehall’s youth need stronger, more original lyrical content and stage presence.

🌿 Night Two – Reggae’s Soulful Return

Angel Eyes Ellis kicked off the night with electrifying energy, setting a vibrant tone before Annae’ took center stage. Her supple, strong melodic voice captivated hearts, marking her as “a beautiful young empress” to watch.

Following them, Warrior Love Band warmed up the stage, spotlighting two of their own emerging artists with tight musicianship and soulful harmonies—an encouraging nod to reggae’s rising talents.

Next came Fantan Mojah, whose late slot placement led to visible frustration—his irate tone reflected disappointment at his early scheduling. His health also raised concerns: Mojah, who was hospitalized in Martinique last July with breathing issues and chest pains, struggled with mobility and seemed breathless throughout. At 47 and a heavyweight in talent, he was forced to adapt performance-wise. Accompanying him was One Emma, a mere 12 years old, who stepped forward like a seasoned pro, holding her own in a standout moment.

Pressure Busspipe brought refreshing Virgin Islands vibes to the Jamaican stage with breezy, rhythmic warmth.

Bosey Boy Floyd ignited the audience with theatrical flair—his bold costume sparked laughs and viral social chatter.

I‑Wayne fired up the crowd with motivational swagger, though some were taken aback by vivid lyrical imagery.

Bugle shared a tear-laced tribute to his late mother, reminding everyone the stage is as much about heart as it is about hits—he emphasized the need for artists to be physically and mentally prepared for high-impact performances.

Lila Ike owned her story, addressing onstage the rumors linking her to a “blue plate” incident, transforming speculation into empowerment.

Protoje elevated the mood with politically charged lyrics paired with conscious commentary, deepening the night’s thematic resonance.

Tarrus Riley, the evening’s última Caribeña soul, closed the night with grace. Backed by Dean Frasier and the Black Soil Band, he invited his son on guitar and daughter to sing—creating a family-rooted finale that was both iconic and deeply moving.

For global livestream audiences, Toni Braxton’s performance sparked confusion rather than satisfaction—not due to her vocals, which were absolutely stunning, but due to a technical hiccup that altered the experience for many. Onstage, Toni looked radiant in a form-fitting, elegant white gown that shimmered under the lights—one of the most breathtaking fashion moments of the entire weekend. Her vocal delivery was crisp and powerful throughout the set, silencing any doubts about her ability to perform live. However, what some interpreted as lip-syncing appeared to be more a result of her microphone being set far too low. At one point, she tried to engage with the crowd, but her mic was inaudible, causing visible confusion among fans both in person and online. She went on to perform a few more songs, but when the issue persisted—especially during another crowd interaction—it seemed to visibly frustrate her, leading her to exit the stage abruptly. Organizers have not addressed the situation publicly, but for many watching via livestream, the moment was disheartening despite her otherwise graceful presence and vocal excellence.