Berwyn Bares It All: From the 100 Club to Alexandra Palace

Written by Jule Riemenschneider

Photography by Evie

Fred Again’s residency at Alexandra Palace and his 10-stop, 10-day whirlwind tour have been a monumental symbol of euphoria and prowess. His return to the iconic venue was a remarkable celebration, marked by guest appearances from some of the most influential artists within the UK music scene. JME, D Double E, Ezra Collective, Kano, Flowdan, and Mike Skinner were among the pioneers who contributed to the unforgettable shows. From grime, dubstep, jazz, pop, to synths and a range of live instruments, Fred Again united key figures who have advanced UK music and cultural boundaries. It was a celebration of exceptional musicianship, community, and the collective call to dance.

Many of the standout moments of the show were highlighted by Berwyn’s captivating appearances, which reinforced a heartfelt and joyful homecoming. The thumping bass-heavy production introduced the fan favourite ‘BerwynGesaffNeighbours’. As the pulsating bass combined with techno and house elements, Berwyn began rapping, and the room erupted. The Trinidadian rapper projected an infectious energy as he danced and jumped on stage. His performances were fierce, full of adrenaline and remarkable breath control. The track held significant weight in the room, not just for its out-of-body experience but also for its sincerity. One of Berwyn’s many qualities was his ability to radiate warmth, undeniable passion, and gratitude, not only to the crowd but also to Fred. It was a reminder of their admiration, friendship, and shared purpose to celebrate community and genuine artistry.

For newcomers, Berwyn’s appearances during Fred Again’s shows provided a compelling introduction to the multi-talented singer and rapper. For long-standing fans, his performance at the iconic venue was nothing short of triumphant. Berwyn’s display of excellent artistry and charismatic presence was no anomaly for the Trinidadian rapper; it echoed the striking moments of his previous concerts, most notably his set at the 100 Club. Berwyn graced the historical venue with a captivating mix of authenticity, charm, and storytelling-driven musicianship, making the emotionally charged set an unforgettable night.

Berwyn’s artistry is grounded in striking beauty and vulnerability, woven into visceral poetry, charisma, and storytelling. His 2024 album, WHO AM I, embodies these qualities while exploring themes of identity, immigration, and perseverance. The Trinidadian rapper and singer continues to reckon with the challenges of being an immigrant in the UK while also reflecting inwardly to assess the emotional impact of his experiences. The album serves as a personal and social commentary, which was brought to life in his compelling sold-out performance at the 100 Club. 

Fans reciprocated his energy and enthusiasm from the moment he took the stage, cracking jokes and chatting away with the audience as if they were friends catching up. The show started on a high note as Berwyn said, “shoutout to Fred, there’s only one Fred again,” before singing ‘BerwynGesaffNeighbours.’ The thumping bass of the electronic track transformed the room into a nightclub ambience with flashing and flickering lights synchronised to the rhythm. Berwyn performed with boundless energy, rapping each word without missing a breath. 

‘I AM BLACK’ carried that same momentum, an affirmative chant as he marched up and down the stage, each word landing seamlessly while the drummer echoed Berwyn’s sense of affirmation beat for beat. 

Berwyn’s perseverance and articulacy continued into ‘DEAR IMMIGRATION.’ Like the studio version, the letter was performed stripped of instrumentation, with only his voice filling the space, as the audience listened attentively. Not a breath was wasted, nor a word missed, as he shared his own harrowing experience of immigrating from Trinidad to the UK. The track recounted his experiences as a child, separated from his parents at nine and left to fend for himself, while criticising the immigration system: “How was he born in the country and still he need papers and that?" Berwyn’s voice grew progressively louder, almost shouting towards the end, before turning around and angling his message towards the ‘Jesus Loves Illegal Immigrants’ sign behind him. It was a profoundly moving performance of the track, filled with intention and emotional depth. 

‘GLORY’ carried a similar weight and stood out with its emotional resonance conveyed through sheer lyricism. Berwyn revealed that he “hasn’t played the song in about three years because it’s fucking triggering,” before delivering a solo piano performance that laid bare family hardships and weighed up his hopes and fears. Between songs, Berwyn updated the crowd on his upcoming “super fucking special album,” which is about “80% done,” with a spark in his eye that radiated genuine excitement and passion. Fuelled by the cheerful applause, emotional resonance from the crowd, and the reciprocal energy, he performed unreleased tracks like ‘God Owes Me.’ His undeniable charisma persisted even in the heavier moments as he joked, “It’s a sad song, stop smiling,” to the audience while performing ‘This Ain’t a Place to Raise Your Boy.’ 

The live band, with Rudi on bass and JJ Walace on drums, were seamlessly in sync throughout, their chemistry with Berwyn adding another layer to the arrangements. Berwyn closed out the night with slower-paced, stripped-back tracks like ‘VINYL’ and ‘TO BE LOVED.’ The vulnerable, devoted love songs moved between themes of love, loss, and hope, keeping the crowd captivated in the moment.

Berwyn’s performance at the 100 Club was as infectious and electrifying as it was vulnerable and compelling. It was a reminder that this artist continues to give it his all.