His opening performance this Saturday balanced a collection of tracks from his collaborative records with MARO, including the breakout “TEMPO” and “I SEE IT COMING”. The duo played a show in Toronto almost a year ago on the dot, and when MARO is on stage, she takes the spotlight as the leading voice. Tonight, however, NASAYA owned the stage, accenting certain tracks with instrumental guitar moments. During the second half of this set, NASAYA set the guitar aside and began to DJ, riling up the crowd into a dance, arms moving, heads shaking. The late-night NASAYA is something we’d like to see more of.  

While oddly dark techno quietly played in the background during the break, a crew of people began to tinker with the stage, repeatedly testing lights and filling fog machines. Mindchatter is known for his dynamic performances featuring immersive audio-visual backdrops, and this show is obviously set to be the same. The triangle set-up looks fit to accommodate three people, but this is a solo show, and this show is impressively executed by a solo act.

Mindchatter’s latest album, Giving Up on Words, builds on his previous work with a comedic mix of social commentary. “This album is the closest I’ve come to defining Mindchatter,” shared Connolly in a press release. “Giving Up On Words is about the quiet battle between the thoughts and their observer. It intentionally drifts between genres but stays consistent – whether it’s a dance track or a ballad, the feeling is familiar.” 

The show opened with track one, “Don’t Trust A Thought,” setting the scene for the monologue-forward performance about to unfold. While Mindchatter’s videos often feature Bryce as the main character, the live performance visuals are carefully curated animations, heavily stylised and very, very thematic, adding layers to each track with mythological characters. The full-screen Medusa was a wild mind stimulant, impossible to look away from. And then came angels, Roman Gods, and plant children on horses… An awkwardly pointed webcam would occasionally add live layers of Bryce Connolly on the screen, smiling through the entire set.

The room was vibing, arms up, from front to back for the high-energy songs and swaying and bopping to the rest. When “Corporate Shakespeare” came on, everyone joined into collective, relatable giggle. The track poetically combined every corporate jargon found online into a single track. Lyrics typed out line by line in an email on the screen are as relatable now as they were when released in 2024. His cover of Peter Bjorn And John’s “Young Folks” fit into the set seamlessly, bopping angels and all, room singing along. 

Mindchatter shows are an experience one must enjoy live. It can be described, it can be recorded, but the joy and weirdness of it do not translate quite right. And surely he knows it, because with the majority of his year spent on the road, you will have plenty of opportunities to see Mindchatter live in a city near you.

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By 9 PM, Le Bon (draped in a loose, diaphanous white outfit) stepped into the light with quiet authority. She played until nearly 10:30 pm, leaning heavily on her latest, critically acclaimed album Michelangelo Dying. Standouts included “Is It Worth It (Happy Birthday)?,” “Love Unrehearsed,” and “I Know What’s Nice”.

What struck me most was how her body of work, ranging from the angular, off‑kilter pop of Crab Day to the lush, wistful palette of her recent material, folded together effortlessly onstage. The band, anchored by longtime collaborators including Euan Hinshelwood on saxophone, played with a kind of instinctive alignment. Their exchanges opened up unexpected detours in the songs, especially during the more entrancing stretches where synths, guitar, and saxophone dissolved into a single, shifting swell.

The truth is Le Bon’s live world remains unmistakable, an otherworldly ambience that drifts between performance art and something like a seance. The stage design echoed the album’s sensibility too: fabric draped over mic stands and instruments, muting the room into a subtly surreal environment, as though the band were performing inside a dream half‑formed.

For all the avant‑garde cool, Le Bon herself seemed visibly moved by the crowd’s response, pausing to say there was nowhere she’d rather be. Toronto fans answered back with smiles and cheers.

By the end, the evening felt less like a conventional tour stop and more like a temporary passage into her own sonic journey. A place where music and love coexist, and where even a bitter January night seemed the warmest place in the city.

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Fans waited in line outside the Ramova Theatre in the freezing cold, excited to see Earl Sweatshirt and company. Once a historic movie palace, now a hip music venue, fans packed the Spanish-inspired architectural structure from the top floor balcony to the barricade in front of the stage. Before trying to wrestle a good vantage point, it was important to grab a drink or check out the merch tables (yours truly bought Earl’s album on cassette). No time was wasted as the event kicked off immediately with Zelooperz having the duty of getting the show going, and he didn’t disappoint.

The lanky Zelooperz strutted to the DJ booth with an SP404 in hand as fans cheered when he began his set with tracks off his latest album Dali Ain’t Dead. Displaying his storytelling skills, Zelooperz rapped about growing up in a rough environment with “Bebe Kids”. Afterwards, wanting to get the fans riled up, he leapt into the crowd to mosh for the collaborative song with Zach Fox, “Push Me Around”. Definitely a hyped track that you’ll want to bump in some speakers and let out some aggression. The chorus repeats “Bet you a n***a won’t push me around,” getting fans energised and ready to attack any sucker that dares to step out of line. Zelooperz showed range in his character as he performed the amusing track “Tryna Figure Out Where My Phone At?,” “F**k Cigarettes,” the old school hip-hop focused “Jay Jay-Z,” and even hosted a dance competition. Zelooperz ended his set by getting the crowd to turn their phone lights on, making the venue feel like stars in space for his throwback “Satellites”.

After such intensity, things mellowed down a bit when Liv.e took the stage. She had some diehard fans losing their minds when she arrived, even to her surprise, with one fan’s poster reading, “Liv.e is my big gay sister!” She appreciated the gesture. Liv.e certainly has a unique style blending soulful R&B and solid raps with spacey chiptune beats. She even joked, “Don’t act like ya’ll never heard no weird beats before”. Still through all the boops and beeps, her wonderful voice shone through on the jazzy track “Wild Animals”. Earl Sweatshirt chilled on stage the whole time, and it was nice seeing him vibe and truly support the artists he brought on tour with him. Liv.e continued to scat a bit and played some instrumentals, hinting at her 2026 collaborative album with GENA and Karriem Riggins, The Pleasure is Yours, before abruptly leaving the stage without notice.

Nevertheless, Earl Shirtsweat picked things back up, and the fans were ecstatic! He grinned widely, seeing the turnout and began with Live Laugh Love’s opener, “GSW VS SAC”. Earl performed a slew of tracks off the album, including “Static,” “Exhaust,” “Infatuation,” and “Gamma”. It was incredible to listen to how far the quirky kid from Odd Future had morphed into a more complete artist, both lyrically and with the instrumentation. He showcased that growth by performing “Heat Check” off his VOIR DIRE project with legendary producer Alchemist. “The live and die with a smile. Getting fly, watching water rising. Blood on the horizon. Blood spilling out the idol. They try and judge like Simon. Im leaving on a note most highest. Drop the mic like Ryan.” Yet Earl still repped the early stages of his career by taking us back with tracks from yesteryear like “Molasses” and “Molliwopped”.  

People often perceive Earl’s mellow, nonchalant delivery of his lyrics often are perceived as him not caring. That couldn’t be further from the truth. He has worked hard at his craft, continuously developing as an artist and an individual. He simply figured out who he is, and maybe you should too.

The post Earl Sweatshirt says “Live Laugh Love” to all appeared first on Quip Magazine.

Maybe it was the pre-holidays festive spirit, or perhaps the lingering post-COVID joy of unbridled access to live music, but upon first step inside the venue, there was something in the air, something palpably laid back, that set the tone for the evening. Smiles sprinkled throughout the crowd, clinking tin cans between comrades, and not a single person shoving through the crowd for as far as the eye could see.

The opening set from La Luz – a four-piece surf-rock group from California whose name translated from Spanish means “the light” – was a psychedelic fusion for both the eyes and ears. Visually, the band embraced a dreamy aesthetic with a gigantic, googly-eyed, and potentially papier-mâché sun, along with videos of tie-dyed patterns in pleasing pastel shades. The ambience was, simply put, psychedelic, baby. 

Sonically, La Luz offered a unique, echo-drenched, female-forward sound that was both beachy and haunting. The quartet’s tight harmonies were reminiscent of a ‘60s sound, while still maintaining a modern indie energy. Tracks like “Call Me in the Day,” “California Finally,” and the moodier, “Always in Love,” suggested themes of endless summer and unrequited love; dreamy and melancholic. Throughout their set, I couldn’t help but think how well these songs would suit a Sofia Coppola-inspired scene: sun-drenched, slightly ethereal, and oh-so atmospheric. 

After a speedy set change, headliners Portugal. The Man took to the stage, presenting what seemed to align with the night’s theme: a melting, atmospheric kaleidoscope of sounds and visuals. Dramatically opening with floor-to-ceiling screens, which played throughout their entire set, the band challenged us to dig a little deeper. This included consideration of the complex relationship between humans and nature through sweeping videos of the Alaskan landscape, along with provoking voiceovers and stills. To kick things off, the band chose a clip of a lone orca, swimming listlessly in a marine park, with a voiceover that asked us to question the meaning of life itself. This quickly transitioned into beautiful, sweeping shots of wild mountains and tundra. This was a clear nod to the mighty Denali, North America’s highest peak, which also happens to be the name of Portugal. The Man’s current tour, the new album’s first track, and located in their home state of Alaska. Perfect harmony.

Given that the band’s latest album, SHISH, released in early November, also references the 49th state, this visual presentation made perfect sense. It also made the experience feel fulsome, like something that went beyond sound and was meant to be consumed via multiple senses. Sonically, SHISH is a much different album from the band’s earlier music. It feels more rock-oriented and experimental, while still managing to deliver infectious pop hooks that the band has become known for producing. Regardless of genre, the crowd ate it up as Portugal. The Man alternated between full-throttle rock, flashes of metal, and infectious pop hooks. All while in matching track suits, I should add. 

Particular set highlights included their title track, “Denali,” a song that oscillates between electro-pop and heavy riffs, and the lighter, more melancholic “Tyonek” – a song with shades of their previous albums. This fluctuation was seamlessly navigated by all eight members, who appeared to simply be having the best time; moving, grooving, and hyping each other up. Concertgoers reciprocated the grooving towards the latter half of the set, which offered up crowd pleasers including “Feel It Still” and “Live in the Moment”.

It’s also fun to note that the performance offered multiple nods to Canadiana, featuring photos of Torontonians like John Candy, Eugene Levy, and Catherine O’Hara, along with a scene of Michael J. Fox in Back to the Future. 

All in all, both bands’ performances not only demonstrated their musical versatility but a commitment to the live music experience. It was an immersive, fun evening of camaraderie that felt both sonically and visually satisfying. 

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The Paradox and Four Year Strong set the tone early in the night, ringing out some incredible hits that got the crowd moving. Mayday Parade, longtime staples of the alternative and pop-punk scene, delivered a set that struck the perfect balance between nostalgia and renewed vitality. Derek Sanders’ vocals were emotive and incredible, doling out fan favourites while also giving newer songs a well-received spotlight. The band’s connection with the audience was palpable, with crowd surfer after crowd surfer making their way over the sea of hands up into the arms of security guards, mosh pits breaking out around the venue, and lyrics being screamed louder than the amps could play. 

Mayday Parade’s performance also set an emotional precedent for the rest of the evening. Their set was a love letter to fans who have grown up with them. Their performance didn’t just warm up the crowd, it elevated the atmosphere entirely, setting the stage for the hometown heroes everyone was waiting for.

When All Time Low finally took the stage, The Anthem exploded with a level of excitement that could only come from a homecoming show. The setlist spanned their extensive catalogue, weaving classic staples with material from Everyone’s Talking! era. Their crowd interaction and tight musicianship made the night feel both polished and intimately personal. Even from the massive stage, the band maintained the crowd-to-artist connection that has long defined their live performances.

As fans poured out into the frigid and windy D.C. harbour night, there was a shared sense that this show would linger long after the amps cooled. The Anthem became a temporary home for thousands who came to celebrate the music that shaped them. If Everyone’s Talking! World Tour is a testament to anything, it’s that these bands continue to thrive not just because of their songs, but because of the community they’ve built around them.

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Wild Child is a departure from Jackson’s early work, a record on which he “fully frees himself from his adult hangups”. In many ways, this sentiment was present at the live show. The stage centrepiece was a rainbow-shaped light fixture, rotating bright colours on the outer loop and flashing what felt like portal entry lights along the inner circle. Various painted wooden fixtures decorated the stage with an upbeat, psychedelic vibe (a pink flower with an eye inside? Sure, why not). Big Wild himself wore a youthful flower-printed wide-leg pants and a yin and yang t-shirt, perfectly matching his majestic head of hair.

Joined on stage by a guitarist and a drummer, the trio played some old and new tracks to a highly energetic room of fans, dancing and singing along. We travelled from “No Words” to “When I Get There” and “Venice Venture”. During “Too Loud,” Jackson took a moment to check in with the audience, receiving yet another wave of cheer from the dancing crowd. Instrumental moments from the band added a surprising dimension to the show, ebbs and flows of musical experience the fans welcomed with open arms. Big Wild’s vocal range took the spotlight, start to finish, rivalled only by his energetic dance moves and Cajón drumming skills. 

Upcoming Big Wild tour dates:

$1 from every ticket sold to benefit Portland’s Ethos Center

9/18 – Royal Oak Music Theatre – Detroit, MI
9/19 – The Salt Shed – Chicago, IL
9/20 – The Sylvee – Madison, WI
9/23 – First Avenue – Minneapolis, MN
9/24 – The Truman – Kansas City, MO
9/25 – Boulder Theater – Boulder, CO NEW SHOW ADDED
9/26 – Gerald R. Ford Amphitheater – Vail, CO
9/27 – Mission Ballroom – Denver, CO
9/30 – Rockwell at The Complex – Salt Lake City, UT
10/2 – Channel 24 – Sacramento, CA
10/3 – The Greek Theatre – Berkeley, CA
10/4 – The Wiltern – Los Angeles, CA
10/7 – Knitting Factory Concert House – Boise, ID
10/9 – Showbox SoDo – Seattle, WA
10/11 – Edgefield Concerts on the Lawn – Portland, OR

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Sunday’s lineup included: Baby O, Le Ren, Ace of Wands, Finom and Charlotte Cornfield. All who are amazing songwriters and performers in their own badass way, each artist deserves a listen.

Baby O

For fans of rock music, Baby O, and Ace of Wands should be added to your music roster. Both acts brought in such high energy and just proved to us that rock and roll never died, it just moved to Canada and is thriving.

Charlotte Cornfield

Le Ren and Charlotte Cornfield are perfect for those who love folk and easy listening music; both feel like a nice hug after a long day. Last but certainly not least, Chicago duo Finom are perfect for the indie/alternative fan. They, along with everyone else on the lineup, are so cool, and I am in awe of their talents.

Ace of Wands

Wavelength has proven to be a quintessential piece in Toronto’s extensive music scene and making music easily accessible for show goers of all ages. Events like these are so important and are needed to keep our ever-growing music scene alive for years to come. Having an event like this in such an open space is also so nice, as those passing through can stop and listen as they walk through.  Seeing the audience slowly grow as the evening went on and them being so attentive, captivated by all the performers, not to mention seeing other artists in the audience supporting their friends – it warms the heart. 

Here’s to many years of Wavelength! I wonder who will be on the lineup next year…

Le Ren

The post Music for all: Wavelength Summer Thing 2025 appeared first on Quip Magazine.

The concert was an immersive experience, with Dayes leading his ensemble through intricate rhythms and syncopated beats, creating a seamless interplay between jazz improvisation and contemporary sounds. His band, composed of talented musicians, added layers of complexity with smooth basslines, atmospheric synths, and melodic piano riffs, which paired perfectly with Dayes’ percussion work.

One of the highlights was his ability to engage with the audience, creating an intimate vibe despite the large outdoor setting. The energy was palpable, as fans responded to Dayes’ ability to shift effortlessly between tight grooves and more free-flowing, experimental sections.

The showcase also saw the introduction of new material, which drew strong reactions from the crowd, reflecting the anticipation around his evolving sound. Dayes’ performance was not only a showcase of technical prowess but also an emotional journey, full of depth and musical exploration. His live performance at Central Park was an unforgettable night for music lovers, blending virtuosic instrumentation with a deep understanding of rhythm and sound.

The post The Yussef Dayes experience at SummerStage NYC appeared first on Quip Magazine.

One of the most popular summer events, which tours across Canada, is the Skratch Bastit BBQ party. The event takes over a public city space called The Bentway, a space well established as the common ground for many cultural and art events. The two-day BBQ-themed festival program is a spotlight on hip-hop culture with breaking battles, scratch DJ performances, rap music showcases, and DJ battles. Needless to say, this space and event are an ideal match, framed by the concrete city atmosphere and a viewing lawn.

Over the years Bastid has participated as the judge in various Red Bull competitions, including Thre3style, so it was no surprise that the event stage was the Red Bull transformer bus. An ingenious invention I must admit. The rest of the space was shaped by beverage vendors serving up samples of Monkey Shoulder cocktails and Casa Del Rey mixed tequila drinks. And then, of course, there were the BBQ and food vendors offering an endless supply of tasty libations.

Between the breakdancing battles the competing and amateur dancers took turns practising moves and tricks. Surrounded by a supportive crowd they were cheering one another through head spins and trips alike. Even the junior attendees were welcome on the dance floor.

Throughout the weekend Skratch Bastid, dressed in a BBQ apron, took the stage a few times himself but mostly shared the space with talent from across the city. Deejay T-Jr, 2X Canadian DMC Champion, set the scene early on Saturday with some firey hip-hop and Latino tracks while another DMC winner, DJ Starting from Scratch showcased his flavour of scratch DJing on Sunday. Raz Fresco, joined on stage by the BKRSCLB, got real and lyrical with the attendees taking the evening into adults-only hours with DJ Koco and Alchemist.

Bastid’s BBQ has been hosting people out in the sun since 2010 and the event is only getting bigger. For many folks, especially in the hip hop community this event is a highlight and a reunion. For many others it is an opportunity to do something different and be a part of something bigger then a tourist-packed street food festival.

The post The annual Skratch Bastid BBQ wins over Toronto once again appeared first on Quip Magazine.

“I’ve been coming here since I was a teenager,” one attendee shared with me, “it’s my favourite event in the city,” she continued while bopping along to the music.

The moment you land at the QC airport you are greeted by FEQ posters. Temporary bike lanes are placed along the main festival road and festival staff can be seen on every corner, answering questions and directing foot traffic. Grande Allée E, which cuts through most of the city, turns into a pedestrian street, furnished with FEQ performance highlight posters and a row of sponsor activation booths. Want a foot massage? Chevrolet got you. Need a makeup refresh? Sephora is also there.

The global artist lineup is an array of genres from 50 Cent to Nickelback, J Balvin, and Mötley Crüe. Attending the entire 11 days might feel somewhat overwhelming so most people chose a handful of days to immerse in. Much like the previous years, Quip attended three nights of showcases. Much like the previous years, the rugged Canadian weather stole one of the nights from us. This time, however, the extreme gusts of wind and rapid heavy rain were courtesy of Hurricane Beryl rampaging its way through North America. But even in this rainy, somewhat tropical weather, fans came out by the dozens and for electro night danced through the showcases in non-stop drizzle.

Baltimore’s Future Islands played one of the medium stages to a packed and extremely loud crowd. The frontman Samuel T. Herring is a very theatrical performer, adding layers to each track with both vocals and dance moves. From kicks and exaggerated facial expressions to bear walks and polka breaks Herring took very few moments to rest during their 70-minute set. “We are Future Islands. This is what we do,” he proclaimed addressing the screaming fans.

The inner-city stage housed a lot of melodic performances from guitarists to singers/songwriters and alternative bands. Gabrielle Shonk took the stage mid-day with a sunny Sunday morning type of vibe that progressively grew into an instrumental and vocal showcase. Quebecer Elliot Maginot followed her set with a highly anticipated melancholic performance.

After the storm closures in the early evening, Montreal indie rock band Karkwa took it upon themselves to make things up to the festival goers. The group built a tight mini-stage on the festival’s largest stage creating a jam session type of environment, a different approach than this stadium crowd is used to seeing. Throughout their set Karkwa invited a handful of guests to join them including electronic musician CRi, singer-songwriter Talk, and New Brunswick trio Les Hay Babies.

The above-mentioned storm had impacted quite a few hip-hop and rap sets including NAS and TOBi, who we did meet earlier that day for an interview. The night prior, however, Nicole Wray, aka Lady Wray, played a free show on the Hydro-Québec Stage. Nicole got her start in music as Missy Elliott’s protégé and that influence is certainly visible in her performance. In her own words, Lady Wray offers “Aretha Franklin-era soul matched with a Lauryn Hill 1990s hip hop vibe” and that’s honestly the best way to describe her powerful and poetic R’n’B showcase. Nicole was joined on stage by a full band – backup singer, guitar, bass, drums – and every member was bringing it.

Berlin’s DJ and electronic music producer LOVRA treated Québec City to two performances, one on the main stage and a late-night set at the Extras in The Armoury. With the consistent rain, this was not the easiest electro night but attendees came prepared decked out in rainjackets, rainboots, ponchos, and glamorously trimmed black garbage bags (Balenciaga’s take notes). LOVRA kicked off the night on a high note and each performer who followed – Mike Demero, Loud Luxury, Alan Walker –  progressively elevated the energy and volume. There was fog, there were pyrotechnics, strobe lights. The tricks were pulled, the bling was brought, and at the end of the festival, it all ended with epic fireworks. 

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Every year, Red Bull’s Culture Clash travels the world bringing the spirit of Jamaican Sound System (aka Sound Clash) culture by showcasing head-to-head performances from four crews, each celebrating the city’s historically lively parades. This year’s Culture Clash featured Papi Juice (representing the Pride March), Remezcla (representing the National Puerto Rican Day Parade), Eastern Standard Times (representing the Lunar New Year Parade), and No Long Talk (representing the West Indian Day Parade).

Red Bull Culture Clash gives New Yorkers the opportunity to openly display love and pride for the city’s different cultural music scenes on one of the biggest stages in the world.” 

~ No Long Talk Crew

On June 1st, at Greenpoint’s Open-Air Terminal Market, with the NYC skyline and East River as the perfect backdrop, Red Bull’s Culture Clash set up four competing stages. Upon arrival, attendees navigated the long driveway, passing stacked, decorated shipping containers until the East River and skyline were revealed, shimmering in the beautiful 80-degree weather. The anticipation attendees felt during entry was met with excitement and pride for their cultures being a part of this day.

The Open-Air Market featured vendors like The West Indian Carnival Association, NYC Pride, BreadxButta, Everything Oxtail, Forsyth Fire, and Boba Guys. BreadxButta, for example, showed their love for Puerto Rico by setting up an immersive photo op where you could hear sounds recorded from the island. As attendees continued through the vendors (sipping newly acquired Red Bulls), there were opportunities to try foods from different cultures and an option to relax at communal picnic tables before the event.

As you entered the battle area, four stages were set up in each corner of the venue, all facing into the DJ and crowd-decibel sound reader. Each stage was decorated almost like a parade float, with intricate details and storylines representing their respective cultures. The Papi Juice Crew, representing PRIDE, had their stage sparkling in silver and pink, wrapped with pink and white airbrushed illustrations of their crew members. Remezcla displayed Puerto Rican cultural staples on their stage, such as life-sized dominos, a card table, a car wrapped in the Puerto Rican flag, and a Piragua cart with the word “Nuyorico” painted across it.

No Long Talk’s stage combined West Indian and NYC culture by displaying street signs reading Eastern Parkway and Utica Ave. Their mega speaker system was built into a yellow truck cab, with a backdrop of illustrated people waving flags as if they were in the parade. Lastly, Eastern Standard Times decorated their stage to celebrate the Year of The Dragon, with traditional symbology and designs celebrating the Asian diaspora.

Before the competition started, attendees celebrated and danced together to music by The Large, a British DJ based in New York known for her unique blend of up-to-the-time soundsystem heaters featuring club music from around the world. Performing crew members could be seen handing out blow horns, cowbells, fans, flags, and other noisemakers. Initially confused but excited, attendees soon realized why these would come in handy.

As the competition started, the hosts Mel Ottenberg, creative director and editor-in-chief of Interview Magazine, and Devin Halbal, a TikTok influencer known for her off-the-cuff phrases like “Met Gala Behavior,” introduced each crew and laid out the rules:

There would be four rounds, with each team having 8 minutes to win over the crowd. Each round’s winner would be decided by crowd cheer and a sound decibel system. This system encouraged attendees to stay in front of the stage they were supporting and make as much noise as possible during voting at the end of each round.

Round 1: Temperature’s Rising

Papi Juice Crew (featuring Papi Juice, Raul Lopez of Luar, Mazurbate, Bronze Goddess, Byrell The Great, Kimberly Drew, and West Dakota), kicked off this round with a high-energy lip sync performance with dancers on stage. Above the stage, their crew held signs saying “Protect Trans Kids,” “Pride Was A Riot,” and “For Marsha.” Their high-energy performance set the tone for what was to come.

Remezcla (featuring J.I The Prince of N.Y, Nina Sky, Tony Touch, DJ Bembona, and Christian Martir with Capicu!), followed with a group playing cards as a DJ played traditional Puerto Rican songs, accompanied by spirited Conga percussionists. They called for the community to come together and celebrate Nuyorican culture, representing the cultural and intellectual movement involving poets, writers, musicians, and artists of Puerto Rican or Latin descent who live in or near New York City.

No Long Talk (featuring DJ Puffy, SilentMatic, DJ Madout, Disco Neil, Jus Jay King, Kevin Crown, Major Penny, Rheezus, Shacia Payne, and Travis World), jumped straight in with classic calypso, soca, reggae, and dancehall hits while dancers waved flags from different Caribbean islands. Kevin Crown spoke to the deep roots of Caribbean culture in NYC, with specific reference to Eastern Parkway and Utica Avenue in Brooklyn.

Eastern Standard Times (featuring P-Lo, Bohan Phoenix, Sunkis, 12 Pell, Ted Park, Inspecta Jones, Deb Kim, Sangarang, and Slayrizz), started with a high-energy set featuring an Asian spin on hip-hop while dragons danced across the stage. They brought out Jay Park, a current hitmaker in the Asian rap scene, to excite the crowd. After introducing their crew, they took a moment to thank the crowd for coming and noted the hardships faced by the Asian communities in recent years. They ended with a message of unity and celebration of the Asian diaspora.

No points were given as Round 1 was a warm-up. However, the crowd made the most noise for No Long Talk, hitting over 100 on the decibel reader.

Round Two: Parade 

Remezcla started the second round by celebrating the Puerto Rican Day Parade with high-energy dancers decked out in Puerto Rican flags and clothing. They continued by creating a nostalgic soundtrack for their parade with musical guests like Nina Sky, Lumidee, and Judy Santos.

No Long Talk showed love and homage to Trinidad, the originators of the Caribbean Carnival. Masqueraders dressed in carnival costumes danced across the stage, amping up the crowd while some of the biggest Soca hits played.

Easter Standard Time transported the audience to the Lunar New Year Parade with dragons dancing across the stage. Slay Rizz, dressed in a gold outfit emulating a dragon, strutted down the stage, giving the audience the performance they came for.

Papi Juice Crew continued to show their love for Pride by highlighting some of the biggest black female artists in the industry. They celebrated their queerness by reminding the crowd that “Everyone’s a little gay”.

While all the crews put on a stellar performance, the point for this round went to Papi Juice Crew!

Round 3: New York, New York

For this round, the groups had to remix the song “New York Groove” by Hello into their performance.

No Long Talk remixed the song into a traditional reggae mix. The crowd was encouraged to wave their flags and show love for New York City. Eastern Standard Times continued their hip-hop celebration, mixing the song with tracks from their crew and cultures. Papi Juice brought a ballroom performance with voguing, and they brought out rapper Precious who paid homage to the birth of Hip-Hop, turning up the heat and energy on stage. Remezcla put a reggaeton twist on the song, performed by J.I The Prince of New York, ending with signs promoting ForPuertoRico.art, a site with a petition for the freedom of expression and autonomy for the Puerto Rican people.

This round’s point went to No Long Talk, tying them with Papi Juice.

Round 4: Special Guest

Eastern Standard Times expressed their appreciation to the black community for creating hip-hop and invited Philadelphia-based artist Pink Sweat$, who amped up the crowd with call-and-repeat lyrics before performing some of his top hits.

Papi Juice brought out Ms. Boogie, who rapped over a classic New York drill beat, filling the air with a feeling of queer liberation and celebration.

Remezcla brought out legends Laura Styles, DJ Tony Touch, J.I The Prince,  and Jim Jones. During the performances, folkloric characters integral to Puerto Rican culture and festivals were on stage dancing and exciting the crowd. 

No Long Talk wowed the crowd by bringing out YG Marley and Wyclef Jean. Just when the crowd thought it couldn’t get any better, Wyclef Jean played exclusive dubplates of Whitney Houston and Michael Jackson. The set ended with a remix of Kendrick Lamar’s “Not Like Us,” calling out all the opposing crews.

The fourth round ended in a close call, but the double point went to No Long Talk, crowning them the winners of the Red Bull Culture Clash 2024. We asked the winners how they see this performance contributing to the recognition and celebration of West Indian culture in NYC, to which they replied:

“Our crew hopes to execute a performance that shows the wider world that Caribbean music has the power to unite people from so many different places, and that it is really a source of healing for so many New Yorkers. Hopefully, the show speaks for itself, but we look forward to solidifying Caribbean culture as one of the driving forces for New York’s rich and diverse cultural palette.

“I hope people remember this event as one that showed the world that 1) the Caribbean can dominate against any culture (doe size up),” No Long Talk Crew continued, and “2) we can also dominate in a way that is celebratory and uplifting. I also hope that this event leads to a greater level of respect, recognition, and opportunities for Caribbean culture globally.”

As the sun set over the New York City skyline you could feel the immense amount of love, support, and community. You could feel the melting pot. The celebration of culture and community is something that defines New York, and this experience was incredibly special for all involved. We want to congratulate No Long Talk on this year’s win and celebrate the entire Caribbean culture for their contributions.

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