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Rototom Sunsplash 2025 Serves Up A Tasty Treat At 30 | Festival Review
08/26/2025 by Gerry McMahon
At the Rototom Sunsplash festival’s final year in Italy in 2009, almost 70 artists were billed to perform. By 2025 - some 15 years after its relocation in Spain - this festival is hosting well over 100 artists, via an 8-day extravaganza. In the absence of corporate funding or State sponsorship, it is a remarkable achievement. Despite rising costs and the genre’s fading popularity, Rototom has succeeded where many of its peers have failed, by surviving and thriving. This is not an accident. It is the produce of the hard work and persistence of a cohort of Italian émigrés, working in unison with a host of sympathetic and supportive fellow-travellers, coming from all corners of the globe.
Such was the stellar line up on the Main Stage that it was hard to be drawn away from it to any one of a multitude of the stellar attractions on site. So, without further ado:
DAY 1 - SATURDAY | AUGUST 16, 2025
The festival’s proceedings kicked off with a deferential but dynamic nod to the past, as England’s Aswad appeared on the Main Stage, to the strains of ‘Pickin Up’ from 1994, before retreating to 1988 via ‘I Can’t Get Over You’. The mellow mood therefrom was then shattered, courtesy of a cover of Toots' earth shaker ’54-46 That’s My Number’, as ‘Old Firestick’ then saw the son (called Solomon) of founding member (the late) Drummie Zeb, do justice to his father’s memory, with some classic vocal inputs and a rollicking good rendition of the classic ‘Roots Rockin’, from Aswad’s 1983 immortal and atmospheric Live and Direct album.
This roots reggae rhythm was maintained when ‘African Children’ from the 1981 album New Chapter set the assembly alight, as its social commentary evoked memories of life in London back in the day and beyond. The ‘Drum and Bass Line’ (from the 1982 album Not Satisfied) also evoked somewhat similar memories, of the plight of Caribbean émigrés in Margaret Thatcher’s Britain, before Aswad’s 1988 No. 1 hit cover version of ‘Don’t Turn Around’ lit up the Rototom masses. Next up came the ‘Warrior Charge’ - that featured in the classic 1980 Babylon reggae movie – serving to remind us as to just how long this group has been on the go and how intermittently successful they have been over the duration. Bringing the curtain down on a show that raised reminders and reflections, came ‘Shine’. As the only remaining member of the group’s original trio - Tony ‘Gad’ Robinson - now wielded his bass to maximum effect, alongside Solomon and the ubiquitous Buttons (amongst a brilliant brass selection), as all actively exhorted the audience to a higher high.
And all the while, Nadia McAnuff and her Ligerians were holding their own on the Lion Stage, as this chanteuse delivered some serious, sweet and seductive sounds to soothe the senses, whilst beating the bongos to good effect, as yet another means of displaying her impressive musical heritage.
Later in the evening, Grammy winners Morgan Heritage put in an accomplished performance, starting with the classic ‘Strictly Roots’ and following up with the wonderful ‘Don’t Haffi Dread’, with the well-received ‘Down By The River’, ‘Jamaica Love’, ‘Liberation/Rastaman Chant’ and ‘Love is the Solution’ following on shortly thereafter, before closing with ‘People Like You’. This latter slot served as one of the show’s many reminders of the premature passing of group member Peetah Morgan, just last year. With their varied set and classic backdrops, it must be said that the Morgan Heritage ensemble is one musically mesmerising mix.
Tarrus Riley’s late arrival at the Main Stage – about half an hour after schedule – was no accident. It opened an inviting opportunity for alto saxophonist and longtime legend Dean Fraser to put his impressive wares on display, as he held the Rototom massive in the palm of his hands with some soulful sounds prior to Riley’s arrival. Once on board, Riley’s appreciative audience simply couldn’t wait to hear his 2008 award winning ‘She’s Royal’ hit. And true to form, Riley didn’t disappoint. Notably, it was ‘Rebel’ – from the 2011 album of the same name – that really got the crowd in a groove, as it drew on Haile Selassie’s United Nation’s speech, as popularised in the prophetic and still relevant ‘War’ by Bob Marley. The pace cooled with ‘Just The Way You Are’, before ‘Good Girl Gone Bad’ and ‘Sorry Is A Sorry Word’ brought the set to a rousing close, long after the scheduled time, serving to compensate in good measure for the late start. This show crossed over with everybody’s favourite wacky uncle, the everlasting David Rodigan (courtesy of the BBC), who was spinning discs and dubplates at the well-oversubscribed Dancehall, as he embarked on a characteristically whirlwind world tour of the genre, with Shabba, Sean Paul, Jacob Miller, Agent, Beres Hammond and Jesse Royal all getting a look in.
DAY 2 - SUNDAY | AUGUST 17, 2025
Rototom’s unique and much-loved Reggae University came into its own on Day 2, firstly when it hosted Big Youth, Mad Professor, Aisha and Nadine Sutherland, for the purpose of celebrating 45 years of Ariwa Records. Cutting to the chase, the Mad Professor promptly explained to the sizeable audience that: ‘Big Youth is the Godfather of Ariwa’, before insightfully explaining some of the tests and trials associated with adapting to the ‘changing nature of the music just to stay in business’.
Secondly, and shortly thereafter, Winston Rodney (aka Burning Spear) entered the house of learning - characteristically early - in his efforts to promote the man called Marcus Garvey. Skilfully facilitated by (needs-no-introduction) David Katz, Rodney traced his roots to Studio 1, where he was ‘disappointed’ by Coxsone Dodd, forcing Spear to: ‘stand up for me’. Though it was ‘one of the best studios’, Dodd just didn’t ‘take care of artists’ Rodney explained, whereas Jack Ruby (Spear's subsequent producer) ‘was a people’s person .. I don’t find no fault with Jack’. He also made time to trace his lifetime travels, all the way to ‘winning a Grammy’. His first foreign outing (in 1974) brought him to Toronto, Canada, where a capacity crowd of no more than 60 people crammed in to witness the initiation of a legend. Further to his first ever European show (in Milan), Rodney concluded that Europe was providing the warmest response to his music. He also took time to acknowledge the inestimable aid that his wife (Sonia) has been to him over the years. But Spear's main purpose at the Reggae University – coinciding with Marcus Garvey’s birthday – was to promote the man’s message and memory, whilst (again) calling for a subject in school and a national holiday in recognition of the prophet’s works.
A little later, Spear’s contemporaries - the immortal Third World (with the cello-laden Cat Coore to the fore) - kicked off on the Main Stage, with their ‘96 Degrees in the Shade’ classic, before treating us to some other golden oldies like ‘Reggae Ambassador’ and ‘Now That We Found Love’, before the more recent ‘Loving You Is Easy’ release interjected. This band’s longevity was again reinforced, as the popular ‘Irie Ites’ evoked a warm audience response, whilst Big Youth was getting warmed up on the sidelines, in eager anticipation of his contribution to ‘Satta Massaganna’ in a range of formats, as part of a lively, varied and very well received set.
By the time the sun set, Mortimer was taking over, with a selection of smooth and easy songs from his most recent release ‘From Within’, before ‘No Lies’ (from the Fight the Fight album) lit up the Rototom’s Main Stage area. And whilst the crowd eagerly awaited Julian Marley, some swore that Freddie Krueger – deejaying between shows – was the best selector ever!
Like his siblings, Julian Marley trades heavily on his father’s legacy – but then, if Bob Marley was your father, wouldn’t you? Entering the fray with ‘Positive Vibration’, the junior Julian or (Juju) couldn’t go wrong, as Bob’s memory was further invoked via ‘Running Away’, ‘Crazy Baldhead’ (with Cat Coore on board), and ‘Bend Down Low’. Though this Marley didn’t sell himself short, with his own compositions such as ‘Harder Dayz’ and ‘Roll’ going down a treat, before he departed appropriately via the immortal ‘Exodus’.
Having seen Burning Spear in concert barely a week beforehand, this reviewer was concerned about Spear’s capacity to maintain his elevated status at the Rototom show. Looking like a man that might return to retirement sooner rather than later, one observer suggested that Spear was ‘going through the motions’. But he didn’t go through the motions at Rototom. This was a highly energised show from the 80-year-old, who must have been ecstatic at the prospect of going on holidays immediately after the concert! But fans need not worry, as there’s a North American tour with Ziggy Marley already scheduled.
From the opening beat – via a song that grows on you, called Jamaica, from his most recent No Destroyer album - to the departing African Postman, this was a show of some superiority. The rejuvenated Rodney rocked the masses over an hour and a quarter. Interspersed with much jogging (on and off the spot), not so much bongo beating as usual, but with plenty of handclapping exhortations to his audience, this Spear was ascending with an adrenalin rush to a higher high.
Surprisingly, after the opener, Spear retreated to ‘Identity’ from the 1993 album entitled The World Should Know. He then rewound a full half century for a fast-paced and extended ‘Red, Gold and Green’ (from arguably his finest album, entitled Marcus Garvey). And an accomplished brass trio escorted him all the way, as he spanned the stage’s length, exhorting his fans and again inquiring: ‘Are you feeling irie?’. Afterwards came ‘Call On You’, followed by the staple starter ‘Pick Up The Pieces’ (with a brilliant brass intro.), the rarely publicly performed ‘Not Stupid’ from the Grammy-nominated Rasta Business - from which he also drew ‘Africa’ - leaving the hands up crowd pleaser ‘Slavery Days’ for later. Spear subsequently reversed again, this time back to 1976, as an extended version of ‘Man In The Hills’ surfaced, albeit with only a little of the artist’s much-loved birdsong to be heard. Reiterating his raison d'être, Rodney then urged all not to forget ‘Old Marcus Garvey’, before heading to the hills himself at a gentle jogging pace, in his capacity as the ‘African Postman’. Great show – well done, Mr. Rodney.
DAY 3 - MONDAY | AUGUST 18, 2025
Notably, the 76-year-old Big Youth (aka Manley Augustus Buchanan), was far from backward about coming forward, when without ‘taking any sides’ he urged all to ‘stop the war, genocide, killing’, during his input to the 45-year anniversary celebration of Ariwa Records.
This Main Stage show also featured the Mad Professor himself, with Empress Aisha – and her considerable vocal range and impressive stage presence – alongside the grounded Nadine Sutherland and Sister Nancy. Various vocalists did full justice to a set that included ‘Fire’, ‘Shine Eye Gal’ (with a female spin), ‘Jah Protect I’, ‘General Penitentiary’, ‘I Can See Clearly Now’, (Rita Marley’s) ‘One Draw’, ‘Satta Massagana’ (instrumentally and with the full vocal treatment), ‘Jammin’, ‘Hit The Road Jack’, ‘Three Blind Mice’ and ‘Stop That Train’.
All the while the crowd swelled, savouring the last of the Ariwa set and in eager anticipation of the latest Wailers’ incarnation. When the Wailers did arrive they lost no time in getting the festival’s largest crowd up to this point to ‘Lively Up Yourself’, followed by a selection of classics, including ‘Stir It Up’, ‘Rock My Boat’, ‘I Shot The Sheriff’, ‘Crazy Baldhead’, ‘Is This Love’, ‘One Drop’, ‘Africa Unite’, ‘Waiting In Vain’, ‘Don’t Worry’, ‘Jammin’, ‘One Love’ and ‘Get Up, Stand Up’ with Julian Marley in tow, before ending with ‘Redemption Song’. In terms of audience reaction, this was easily the festival’s highest point to date. But then, how can you go wrong with such a set list?
This left the remainder of a thunderous, wet and windy night to the assertive Spice, who had a lot to sing and say, before the insomniacs wound their weary way to the Dub Academy for the Mad Professor and his crew, followed by the Iration Steppas, giving out some heavy bass lines and a thump that would keep you wide awake.
DAY 4 - TUESDAY | AUGUST 19, 2025
In the aftermath of the thunder and lightning came the news that Ijahman Levi had been struck down with fever. Kenyatta Hill – capitalising on the great works of his late father Joe – took to the Main Stage to remind us of classics like ‘Jah Pretty Face’, ‘Jah See Them A Come’, ‘Why Am I A Rastaman?’, ‘Addis Ababa’, ‘Zion Gate’, Marley’s ‘Redemption Song’ and then - delivered in a hardcore style - came ‘She Want Money’, before ‘Behold’, ‘International Herb’, ‘Wings of a Dove’ and ‘Not Ashamed’ brought the set to a close. Kenyatta may not have inherited the full span of his father’s fantastic guttural echo, but he cuts a fine figure with a solid stage presence, enabling him to do justice to the memory of his late great father’s repertoire. And it is a credit to him that he has done just that since taking over in 2006, in the self-same week that his father passed. Meanwhile, Florida’s Kaylan Arnold was singing her heart out on the Lion Stage, with the classic Santana ‘Black Magic Woman’ getting the special treatment, much to the audience’s delight.
But the crowds really came out in force for the ever-impressive Shaggy, with his wonderful ability to light up an event, which he did yet again at Rototom. Amongst his surprises was a timely take on Mungo Jerry’s ‘In The Summertime’ from 1970, ‘I Need Your Love’, the popular ‘Angel’, ‘Fly High’ and ‘I’m Sorry’, whilst he opted to spare his straining vocal chords by spinning the discs that included Neil Diamond’s/UB40’s ‘Red Red Wine’ and ‘Buk-In-Hamm Palace’ from Peter Tosh. Great credit is due to Shaggy for his ongoing ability to give his all - and of course he was never going to go wrong with his hit ‘Oh Carolina’, bringing the adoring audience to an emotional climax.
Thereafter, Sister Nancy – whose fine performance was the talk of the Rototom village the next day - and Channel One, were taking no prisoners, swaying and staying up to 5 in the morning. And not missing out on the 30th celebrations were Italian heroes Mellow Mood, who took control of the Lion Stage, where they’re swelling audience was not disappointed.
DAY 5 - WEDNESDAY | AUGUST 20, 2025
Long time Rototom fellow-traveller and liberal Alborosie started us off after the festival’s half-way mark, by putting in an unexpected turn with the good people from the House of Rastafari at the Reggae University. Though Alborosie’s Rastafarianism may be qualified by his interview comment that ‘what people do in the bedroom is their own business’, this doesn’t stop him from lending support to the community’s admirable efforts in Ethiopia.
After a short delay, the rejuvenated Cimarons - promoted to the Main Stage since their Lion Stage appearance in 2023 - opened proceedings with ‘Struggling Man’, before retreating to 1967(!) for the rapturously well received ‘On The Rock’. But it was ‘Ship Ahoy’ that really burst the banks, whilst ‘Harder Than The Rock’ – the same name as the impressive 2024 documentary on the band’s tortuous journey - was elevated to signature tune status – rain or no rain! But the damp conditions did lend themselves to some ‘Talkin’ Blues’, with reflections on ‘Mother Earth’ prompting ‘Trust In Jah’, in eager anticipation of some ‘Morning Sun’, as founder Locksley Gichie on lead guitar and newcomer (gospel-career musician) Michael Arkk took on the lead vocals. At the same time, Joy Martinez – with an enviable head of hair – was giving full vent to her extensive vocal range on the Lion Stage, as South American style reggae took over.
Preceded by a pro-Palestinian presentation on the Main Stage, the (arguably) high point of the night arrived when Ky-Mani Marley – in his preacher’s hat - gave us a blast of Bob. This opened with ‘Heathen’, followed thereafter by ‘Roots Rock Reggae’, ‘Jammin’, ‘I Wanna Love You’, ‘Don’t Worry’ and an Alborosie assisted ‘Natural Mystic’, ‘Zion Train’ and Albo’s own take on ‘Kingston Town’. This show also featured the very well received ‘Diamond Sox’ with Iba Mahr guesting, before the show closed with a full-blown line up getting stuck into ‘One Love’. Notably, Marley also used the occasion to unleash versions of his own material, with ‘New Creature’, ‘New Heights’ and his ‘Rasta Love’ collaboration with Protoje featuring. At the same time, Joe Yorke was introducing himself to the Rototom massive on the Lion Stage, where his impressive falsetto pitch would have done justice to (and compared favourably with) his predecessors Junior Murvin and Cedric Myton. Thereafter, the seasoned French reggae and hip-hop artists L’Entourloop delivered their varied and esoteric set from the Main Stage, whilst the Jumping and Jamkunda areas soaked up the stragglers.
DAY 6 - THURSDAY | AUGUST 21, 2025
The long-established Lloyd Parks and his We The People band set the early evening tone on the Main Stage, as the crowd grew in eager anticipation of the Queen of reggae’s arrival. And when she arrived, Marcia Griffiths swung straight into it, with ‘Put It On’ later followed by ‘I Shall Sing’ and her classic 1970 hit with Bob Andy entitled ‘Young, Gifted and Black’. The accomplished Griffiths also had time for Desmond Dekker’s ‘Israelites’, Rita Marley’s ‘One Draw’ and a well-received Marley tribute via ‘Buffalo Soldier’, ‘Iron Lion Zion’ and ‘Redemption Song’, before shutting up shop with the powerful ‘Stepping Out Of Babylon’. Next up came Koffee, with her adoring fans rising to the occasion and reserving a special reception for ‘The Harder They Fall’, ‘Run Away’ and ‘Pressure’. This popular artist displays a relaxed stage presence, giving effect to her mixed pace set - and she didn’t forget to pay tribute to her hero, the recently deceased Cocoa Tea.
If it’s your 50th anniversary, you’re allowed to be more than 20 minutes late for your Main Stage appointment! So, that’s exactly what David Hinds’ Steel Pulse were, before letting loose via their extensive reggae repertoire. The Pulse opened with ‘Rally Round’, followed sometime later by ‘Nyah Luv’, ‘Wild Goose Chase – Who Shall Save The Human Race’, ‘Don’t Shoot’, ‘Drug Squad’ ‘Babylon Makes The Rules’, ‘Don’t Let Go’ ‘Life Without Music’ and the hugely popular ‘Steppin Out’. Hinds has well and truly served his time on the circuit and never fails to deliver a professional rock and roll extravaganza, with some circus and theatrical effects added in for a fine old artistic mix. He kept this show rolling long after the scheduled end time, but didn’t forget to demand peace, reserving special mention for the Middle East and Ukraine.
An undoubted festival ‘special moment’ materialised before night’s end, when Marcia Griffiths – whilst reflecting on her life works and the absence of much material gain - confided to your reviewer backstage that ‘the satisfaction filled my soul and spirit more than any monetary gain’.
DAY 7 - FRIDAY | AUGUST 22, 2025
After Lloyd Parks and crew had warmed up the arriving audience via ‘Mafia’ and ‘Officially’, probably the festival’s most emotional moment materialised when the debilitated Ken Boothe was wheeled onto the stage in his majestic throne for a 45-minute tour-de-force. Boothe admirably rose to the occasion, doing justice to ‘Freedom Street’, ‘Silver Words’, ‘Say You’ and ‘When I Fall In Love’ from 1968, followed by ‘New World Order’ and both the much loved ‘Artibella’ and ‘Everything I Own’, leaving his Shaggy collaboration ‘The Train Is Coming’ and ‘Moving Away’ for an encore.
At the same time, St. Lucia’s Taj Weekes was on the Lion Stage, giving full value via his high-pitched delivery, set to a solid rhythm that was centred to a range of righteous considerations. After Saian Supa’s hip-hop (and much more besides) show ended, the eagerly anticipated return of Misty In Roots to Rototom came to pass on the Main Stage. Led by the original Poko (on vocals), Misty stirred the memories via ‘Wise and Foolish’, ‘Slavery Days’ , the strictly righteous ‘Dance Hall Babylon’, ‘Cover Up’ ‘West Livity’ and a finale that included the popular ‘Ghetto Of The City’, ‘See Them-A-Come’ and ‘Poor And Needy’. Whilst the show may not have reached the heights of their Live at the Counter Eurovision album from 1979, overall Misty went down well, at what looked like an under-capacity Rototom 2025, where 218,000 people arrived from 111 countries over 8 days, giving effect to the festival’s motif ‘Celebrate Life’.
DAY 8 - SATURDAY | AUGUST 23, 2025
The festival’s final day saw Marcia Griffiths address the Reggae University, recalling her time with Bob Andy, whom she noted ‘was everything to me’. She also recalled the contradiction associated with the 1970s skinheads taking to her Nina Simone cover hit of ‘Young, Gifted and Black’, before wisely warning that ‘music touches the soul .. that no doctor can touch’. Her faith in music even went so far as to suggest that it enabled Nelson Mandela’s release from prison – and she has a point!
The Main Stage was dominated for a lengthy duration by the popular Mafia & Fluxy, with Japan’s talented saxophonist Megumi Mesaku finding herself fronting most of the instrumental proceedings, until the Eek-A-Mouse arrived. And when he arrived in his sombrero and Mexican throw – with that characteristic menacing look in his eyes - there was no holding back, as his first words were ‘Free Gaza’. He then treated the assembly to ‘Travelling Man’, ‘Do You Remember Those Days Of Slavery?’ and ‘I Love Weed’, before returning for an encore - dressed like an African dictator, with a penchant for rock and roll(!). And there was great delight when he offered up his trademark tunes ‘Ganja Smuggling’ and ‘Wa Do Dem’, before exiting again and finally with a ‘Big Up Gaza’ call out
Later the same evening, the Main Stage witnessed the rare sight of the Meditations – with Mafia, Fluxy and Megumi still on board - tear into it. The Meditations – who reminded us that they served up some support to Bob Marley in his recording days – did justice to ‘Book of History’ and the timeless ‘Life Is Not Easy’, ‘Fly Natty Dread’, ‘Running From Jamaica’ and ‘Woman Is Like A Shadow’. But pride of place was reserved for their Marley collaboration entitled ‘Blackman Redemption’.
Rototom’s 30th came to a close sometime around 6am, after the Venetians Moa Anbessa’s collective kicked up a storm at the Dub Academy, long after Vandal had departed the ever-popular Lion Stage.
Spanning different incarnations of reggae across a selection of shades, this festival goes from the Rastafari rooted spirituality and political consciousness that followed ska and rocksteady, all the way to the dancehall’s rude bwoy raggamuffin straying into hip-hop, with some artists even associated with its glorification of guns, slackness and homophobia. When this Rototom Sunsplash festival launched 30 years ago, it came in on a high musical and moral slipstream. Marley and many of his associates had taken the genre mainstream, as chart success and an outspoken stance on many of the world’s ills enhanced its popularity. Today, that slipstream has almost evaporated, if not run dry. Reggae no longer enjoys major mainstream chart success, whilst many of its moral and political positions might be described as an embarrassment.
Hence, it is remarkable that Rototom continues to hold its own on the international festival circuit. Long may it continue to do so. Bring on the next 30!
WATCH THE REGGAEVILLE VIDEO FESTIVAL COVERAGE HERE:
