Reggae Land is the biggest reggae festival in the UK and one of the largest in Europe, with up to 100,000 people expected in 2025. Known for its unbeatable line-ups, it brings together reggae legends, rising stars, and everything in between. The vibe is always warm and welcoming, with a family-friendly atmosphere that celebrates authentic Caribbean music, food, and culture.

Since moving to The National Bowl in 2023, the festival has made itself right at home. This iconic venue, famous for hosting world-class events, has a natural amphitheatre design that guarantees amazing sound. Plus, Milton Keynes is super easy to get to, with great transport links from all over the UK.

“Reggae Land has grown into something truly special over the past five years and we couldn’t be prouder of what it’s become. Starting as a dream to celebrate reggae music and Caribbean culture, it has now become the UK’s biggest reggae festival, attracting tens of thousands of people from all over the world. The incredible growth we’ve seen reflects the passion and love for reggae, as well as the unique atmosphere we’ve created – one that brings together iconic artists, amazing food, vibrant cultural experiences, and a sense of community you won’t find anywhere else. Year five is set to be our best yet!” – JBM Music (Promoters)

For the weekend, the venue will transform into a Caribbean paradise. Think of a buzzing Caribbean food village with over 50 food vendors, a reggae flea market, a reggae museum, a VIP zone, a Rum Shack, cocktail bars, and plenty of festival merch. It’s a proper celebration of Caribbean culture with one of the most diverse and lively crowds you’ll see at any festival.

The Main Stage is getting a serious upgrade this year, with bigger screens, more sound, and a stacked line-up featuring legends like Chronnix, YG Marley, Protoje, Capleton, Steel Pulse, General Levy and Kabaka Pyramid. Fan favourite Gyptian, known for his hit ‘Hold You,’ is back by popular demand, and there’s still a very special guest to be announced.

The One Love Stage will feature icons like Morgan Heritage, Etana, Spragga Benz, Christopher Martin, Israel Vibration, Marcia Griffiths, and Tanya Stephens. Meanwhile, the Carnival Stage is the place to rave, with jungle heavyweights like Serial Killaz, Mampi Swift, Ed Solo, Benny Page, and Ragga Twins. Rompa’s Reggae Shack will host takeovers from Iration Steppas and Channel One and feature DT faves Dub Pistols, Daddy Nature and Uncle Dugs, while dub fans can hit the Dub Stage for sets from Mungo’s Hi-Fi, Mad Professor, Trojan Sound System, and more.

Tickets are expected to sell out fast when they drop at 9 AM on Friday, 31st January. Day tickets start at £59.50, and weekend passes are from £110. Make sure you sign up to grab yours early! Go to the Reggae Land website here

LINE UP

SATURDAY

MAIN STAGE

Capleton – Special Guest TBA – Protoje – Gyptian – Lila Ike – General Levy – Becca D – Styxlo – Hosted by Solo Banton

ONE LOVE STAGE

Alpha Blondy – Etana – Morgan Heritage – Christopher Martin – Queens Of Lovers Rock Ft Carroll Thompson, Janet Kay, Dawn Penn & Adele Harley – Black Roots – Ras Kwame

CARNIVAL STAGE

Jungle Cakes Takeover w/ Ed Solo B2B Deekline b2b Benny Page Ft Navigator – Mampi Swift Ft Navigator – Ragga Twins Crew – Shabba Presents Carnival Sound (Lyvonne The Don, Janelle Wynter, MC Serocee) – Earl Gateshead – DJ AG 

ROMPA’S REGGAE SHACK

Iration Steppas – Ardimann MC – Daddy Nature – DJ Dansey – JP (World Dance) – MC Raptor – Mister Bounce – T-Cuts

THE DUB STAGE

Mad Professor Presents 45 Years of Ariwa w/ Tony Benjamin, Sister Aisha, I-Jah – Trojan Sound System – King Tubby’s Sound System – Greensleeves Sound System Vs Iration Steppas (Dubs From The Foundation) – Sinai Sound – YNG CPTN Sound

SUNDAY

MAIN STAGE

Chronixx – Special Guest TBA – YG Marley – Steel Pulse – Kabaka Pyramid – Sevana – Styxlo – Hosted by Solo Banton

ONE LOVE STAGE

Marcia Griffiths & Tanya Stephens – Spragga Benz – Israel Vibration – Everton Blender – Jah Lil – Mortimer – Ras Kwame 

CARNIVAL STAGE

20 years of Serial Killaz Ft Top Cat & Mad Sam – Seani B – Ray Keith B2B Nicky Blackmarket Ft Moose – Don Letts – Kash & Pharoah G (1Xtra) – Dennyhus – Reggae Roast Ft Mr Williamz & Adj – Marc Ryder

ROMPA’S REGGAE SHACK

Channel One – Ardimann MC – Ayito – Boxer Banton – Daddy Nature – Dub Pistols (DJ Set) – Skilzee – Uncle Dugs (94 Jungle Set)

DUB STAGE

Mungo’s Hi Fi – Aba Shanti I – Saxon Sound – Dub Smugglers – Rampage Sound – Dub Pistols Sound System – Side By Side Sound System

The post Reggae Land 2025 drops full lineup for Milton Keynes Bowl appeared first on Data Transmission.

In the DJ booth, Mampi is a force to be reckoned with and it’s arguably where he feels most at home. A pioneer of the double drop style of DJing his unmistakable presence behind the decks has formed the backbone of many a line up from the UK to the States and everywhere in between. A true originator he has influenced and shaped the scene like few others.

Over the last decade, Mampi Swift has kept his head firmly down, dedicating his time to creating ‘Victory Rose’, an album born out of blood, sweat and tears and a true reflection of his journey up until this point. This masterpiece is nothing short of genius, a collection probably sent from the Gods. With bated breath, his global fan base have been waiting patiently for the release of Mampi’s latest album for some time now – but as we all know only too well, when it comes to his own creations, Mampi is a serious perfectionist. Every single track packs a powerful punch and catapults you on a euphoric, sonic voyage through his life, mind and soul.

Most importantly to Swift, this album also shows a deep-rooted dedication and passion for his fans, as well as a love for this game that he knows like the back of his hand. If you can’t imagine something that powerful being created, just sit down and listen – let the music do the talking. ‘Victory Rose’ Chapter 1 drops on 27th December on Charge Recordings and we can’t wait!

We have the absolute privilege today to bring you the debut of ‘Soul’ which has been given a remix by A.M.C! Loads of old skool vibes and a heavy bassline this track is full of energy from the off and is crying out to be listened to with your speakers up full whack! Check it out below and make sure you pre-order the ‘Victory Rose’ album from here

Merry Christmas to us all!!

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Playaz have announced their New Year’s Eve plans at the iconic 02 Academy Brixton for the brand’s biggest ever event.

Headlining are Hype & Hazard performing a special back to back set, plus a festival-sized line-up featuring My Nu Leng, Bad Company UK, Heartless Crew, Benny Page b2b Potential Bad Boy featuring General Levy, Mampi Swift b2b Crissy Criss (7-deck set), DJ Die b2b Randall, Danny Byrd b2b Mollie Collins (Full Spectrum set), and Taxman b2b Tyke b2b Annix. Very special guest will be Clipz. Rum ‘N’ Riddim will host Room 2.

In the world of drum & bass there are few labels that match the events record set by Playaz. The imprint has notched up over 150 shows since their first party at legendary London venue The End, before relocating to world-renowned Fabric, and since then running sold out shows at the majestic Electric Brixton.

General sale tickets are released Friday 13th October at 9am. Final chance to register for early access to tickets: www.playaz.london

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Whilst there’s no denying we all love going out spending our hard earned cash (unless you’re a guest list wanker like me) watching our favourite DJ’s smash, occasionally clang or even feign the art of mixing (yes Mistabishi I’m still looking at you…) as they earn above average sums of money, it’s the bedroom DJ who helps makes the drum & bass world go around. We’re the ones buying all the vinyl or illegally downloading suspect MP3’s so we can fritter away hours and hours with other likeminded bedroom DJ’s, waving our hands about and generally pretending to be Andy C in room one at Fabric on a Friday night.

It’s part of the backbone of being a fan. Learning to beat match so mixes don’t sound like power tools trying to fuck each other. Knowing which tunes go together so your blends don’t tune to a pitch only dogs are able to hear. Forget all that mixing in key bibble though. Chin stroking nonsense. Your ears should be enough to tell you if your mixing somehow resembles a car crash in a plate shop window. Unless you’re actually deaf, then it’s simply quite unfortunate. Mastered the basics? Good. You’re probably ready for the next inevitable step: the recorded set.

Anyone who’s done this knows the obstacles. From making sure everything is set up correctly to the actual recording of the mix itself. It’s called Red Button Syndrome. That’s not an official medically proven diagnosis by the way. Don’t look it up. It’s more a description of what happens when the mixes you’ve practised and nailed for days on end suddenly turn to shit once you hit the record button. I’ve had my share. Messing up intros, fuck ups mid way through (or, even worse, near the end) to recording the Serato tone for 45 minutes, it’s an occupational hazard. There are those who can power through and record perfectly. But they’re either sync button pushers or downright show offs. And no one likes a show off. People like that are basically the DJ equivalent of vegans and no one likes them either.

I get sent many recorded sets from various friends and DJs. They’re great to have on when working and, honestly, some of what I hear is better than a majority from so called professional DJs. There is however one habit I’ve become more and more aware of lately. With more DJ’s than ever now using a third turntable or CDJ it’s suddenly bred the idea that you need to play all the tunes… ever. I’m not averse to 3 deck mixing. It’s a great skill when done right. But sometimes it’s utilised so badly it makes listening to sets a little off putting. To me, the point of a recorded mix is to showcase the music with little flashes of technical flair here and there. Nowadays though you can’t move for all the forced 16 bar teases you hear crammed into most DJ’s mixes and majority of them don’t really work half the time. Teasing a tune should be a nice surprise. Like going home to find your lady naked. Once it starts to become the norm it ultimately begins to lose it’s effect and can detract from the tune you were listening to in the first place. In a live setting it’s totally appropriate (to a degree) to smash the tunes in and out because you’re feeding back off the crowd energy. With a recorded set it’s about holding the listeners attention, having faith in your selection and making the music the focus. Letting tunes breathe and giving them space to roll out once in a while is a good thing. Honest. As one of my Twitter followers so eloquently explained, “There is a breed of D&B DJ’s that thinks that the more tunes you cram into an hour long mix the better DJ you are.”

Deep down we all want or are trying to channel our inner Andy C / Friction / Mampi Swift (delete as applicable). It’s part of what makes DJing drum & bass fun. There have been countless times I’ve left the rave, gone home to emulate what I’ve just witnessed, ears still ringing with varying degrees of success. But just because you can use a third turntable to cram that extra tune in before the breakdown doesn’t mean you always should. Make it work in a creative way or simply have faith that letting the music do the talking during a mix is the whole point of undertaking the task in the first place.

Anyway, I’m off to go and drop as many tunes as I can into Messiah on 6 turntables. Will let you know how I get on. 

Words: Wayne Mackenzie

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