Breakin’ convention 2026

Ill-Abilities by Paul Hampartsoimian

You would think after 23 years, the magic, excitement or sentiment of gathering in Angel at Sadler's on the first bank holiday weekend in May would have dissolved or shrunk a little. This is never the case with Breakin’ Convention. Jonzi D booming “keep it up, keep it up” at the start of the event encapsulated this. Hip Hop will always keep up and keep on. 

The night began with social media superstars Let it Happen, made up of sisters Norah, Yarah and Rosa plus one equally talented youngin. The Netherlands is already known for gifting us The Ruggeds and  Ghetto Funk Collective: two of the world's most accomplished and respected hip hop crews. Let it Happen has undoubtedly secured their position as another addition to that list. Seeing these young women translate their craft from mobile phone screens to the theatre exemplified their timeless excellence. Seeing solos to tracks like ‘On and On’ - 20 years after it was released with such impeccable musicality and precision left a great sense of pride for the next generation of female hip hop artists. 

Next up French AS Compagnie invited us to witness their ethereal duet. Draped in navy blue long sleeves and grey trousers, beginning under one perpetual spotlight, the bare footed pair’s hypnotic Lockin’ choreography took hip hop to a Steve Reich, gallery-esk dimension. The piece felt durational, poetic and mathematical all at once. At points it imbued an intense competition or a game, later they posed as two workers, slotting on the clock. Either way their suspended, synchronised brotherhood is innovation at its peak.

East London came to represent with heavy beats and palpable grooves. Gary Clarke’s choreography brought the energy and the vibes. Every silhouette was a mood. Every tableau a throw back. The duets had an old school Kid n play attitude but with a youthful, highly skilled 2026 take. The young musician on the mpc downstage right really reminded me of J dilla somehow. It was a nice theatrical choice that grounded the business of the dance.   

‘Ill-Abilities’ never fail to surprise and inspire me. The lyrism and effortlessness of the duo make every movement breathtaking. The repetition of fish rolls in slow motion into freezes posed an indescribable edge. It’s magnificent that almost every year they return, outdoing the previous year's wonder.  

“Want to play with me, I’m here” was one of the many utterances that Compagnia Bellanda spoke with their voices and their bodies. Floor flirting, kissing arguments and Contemporary dance wrestling opened the second half of the night. The tension of the duo's push pull relationship invited the audience to question when we ourselves are folding, submitting or dominating in our own lives and maybe on the dancefloor.

One man’s plight appeared to be the you of Y.O.U Company’s ensemble piece. Jordan Franklin center stage with his harem quartet seemed to be an embodiment of his subconscious. Writhing, exploding, quaking, the movement was emotive and unmuted. 

Rock Force Crew from California was a phenomenal end to a phenomenal night. The audience was transported to 1983 and journeyed through a west coast style hip hop dreamscape. The remixed ‘TV Off’ trio to the masterful ‘Shadows of Tomorrow’ instrumental solo were impeccable. 43 years of hip-hop lineage was present  in London on its grandest dance stage. 

I genuinely don’t know how they do it but every year Breakin’ Convention proves that no matter what state the world is in, Hip Hop has the power to move mountains and change the game.