What SUBCAMP brought in 2026 was clarity: Southeast Asia’s sound system culture standing firm—shaped by Jamaican roots, voiced in its own language.

SUBCAMP’s strength lay in its understanding of sound order. Across three days, the festival moved with patience and intent, allowing each session to build its own weight and vibe. Pressure was held and shaped deliberately, allowing sound system culture to unfold as a cycle of meditation and release. As one of the partners, Kultur would like to share this report.

FRIDAY, January 23rd

The opening day favoured grounding over immediate impact. Early afternoon sessions focused on listening and spatial awareness. Sybren Rosseel of Totem Powah Sound, representing Belgium’s deep dub lineage, opened the SUB ARENA with a meditative selection shaped by echo, silence, and restrained low-end. The system breathed slowly, allowing the crowd to settle into both sound and environment—recalling the original Jamaican approach where space is as vital as bass.

That foundation expanded through Roadblock Dub Collective, a trio from Lampung, Indonesia. Their experimental approach treated dub as a living process: textures shifted, dynamics bent, and structure dissolved without warning. Bangsaen Dub continued seamlessly, carrying the coastal charm of Thailand’s eastern scene. Their original productions reflected a distinct local interpretation of Jamaican principles, while a collaborative track with Sami of Roadblock Dub Collective marked an early moment of cross-scene dialogue.

As daylight faded, pressure intensified. Wicked T, one of the most active figures within Thailand’s steppa movement, tightened the rhythm and elevated the dancefloor energy. This momentum was reinforced by Praise Jah Sound, whose Russian steppa discipline brought militant structure and forward motion, locking bodies into synchronized movement.

Miroll of LDC Sound System, operating out of Malaysia, asserted control through dubplate-driven selections delivered with clarity and intent—honouring the Jamaican sound system emphasis on exclusivity. Pressure continued through Rub A Dub Hi Fi, representing Ireland’s sound system tradition, blending heritage consciousness with modern, precise steppa.

Late sessions highlighted collaboration and escalation. Muangake Sound System, joined by Katahtoni from Spain, bridged European steppa aesthetics with Southeast Asian rawness. Green King Cuts, a UK-based operator, pushed the arena deeper with sharp, alarm-like mixing that kept the dancefloor alert and moving.

The closing chapter of Friday shifted tempo decisively. Mantasticmate of Javabass Sound System, a key figure in Indonesia’s bass crossover scene, introduced jungle and drum & bass into the sound system framework. Supported by MCs Tom Spirals, Dave Baransano, and King Kong Killa, the session erupted into high-speed ecstasy—an energetic teaser for what was yet to come.

SATURDAY, January 24th

Saturday confirmed that SUBCAMP’s energy did not reset overnight. At SUB YARD, Dapookster a.k.a. The Sticky Rice, a familiar figure within Thailand’s selector community, curated an irie morning session that gently rebuilt the dancefloor.

Pressure rose through Amplifyah Sound System, bringing a distinctly French dubplate aesthetic into daylight hours. Papa Kai and Duffin Jame, key protagonists of Thailand’s reggae and sound system movement, followed with an extended set balancing roots awareness and contemporary pressure. Aman Damai Sound, carrying Johor Bahru’s sound system energy, injected direct bounce, before JB Sound System closed the yard with aggressive steppa, clearly pointing toward heavier territory.

The reopening of SUB ARENA expanded the spectrum. Fever Sound—through Iqbal Djoha, Gilangfitzz, and Philiponk, accompanied by MC Yon D—channelled Jakarta’s selector tradition through ska, rocksteady, and early reggae, reaffirming Jamaican music as the backbone of the ecosystem. Selecta Kuggah immediately raised the temperature, tightening rhythms and intensifying physical engagement.

A refined contrast arrived with Yugo Taguchi, emphasizing balance, musicality, and control. That composure was deliberately shifted more by Gonja HiFi—featuring King Kong Killa, Jan Up, and Yella Sky Sound—alongside a dance performance by FLOWTONE, merging bass and movement into a fully embodied exchange.

Bun Bun the MC, a long-respected figure within Japan’s reggae circles, commanded the vocal spectrum. A technical highlight followed with An Dannsa Dub, a Scotland-based live dub project, where hands-on hardware manipulation reshaped basslines in real time, reinforcing dub as an evolving process.

Night pressure peaked through Hanamercy, carrying UK-rooted weight and rolling intensity, followed by Sinai Sound, whose uncompromising steppa reputation translated into relentless forward motion. Jony Maddkidz, representing Malaysia’s contemporary dub movement, provided a measured descent, closing the night with collective joy.

SUNDAY, January 25th

Sunday opened with intimacy. At SUB YARD, Olbi Iyah and Bongo D, reunited through Birmingham’s Jam Jah Sound, delivered a warm, conversational session grounded in shared history and roots tradition. Ras Rei and Budball, from Macau’s reggae underground, sustained uplifting basslines throughout the morning.

Pressure returned with Oomboi Lauw, a Netherlands-based steppa representative emphasizing control and heavyweight groove, followed by Selecta P, carrying Singapore’s dubplate culture through strictly exclusive selections. 46.000 Bwoy Sound System, one of Thailand’s most distinctive crews—recognizable by their purple box—asserted playful authority over the yard.

The final main-stage sequence allowed no compromise. Chakka C, representing Hong Kong’s steppa movement, opened with a tightly crafted selection. Dave Baransano, a proud representative of Papua’s Pacific reggae heritage, brought warmth and melodic depth. MonkeyKing420, alongside Dubdah Sound System, injected raw dancehall energy rooted firmly in Jamaican tradition. Million Cat Hi Fi, featuring BIMJO and JAHMON, re-established steppa foundations and reignited the dancefloor.

Bim One Production 1TA, a revered name within Japan’s dub lineage, delivered clarity, power, and restraint. The final revelation arrived through OBF x Iration Steppas, uniting France and the UK in an extended 150-minute session of towering basslines and sustained pressure. The moment gained added resonance as Rico of OBF and Mark of Iration Steppas celebrated their birthdays together on stage—turning the session into a shared ritual.

Closure came through Daddy Nature of Rompa’s Reggae Shack, bringing selector wisdom and roots consciousness into a calm, dignified resolution—closing the circle where Jamaican philosophy meets Southeast Asian echoes.
(Keyko,Sam)