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Are we any closer to justice for Grenfell?

June 14 2026 will mark 9 years since the disaster of Grenfell Tower. This week the Metropolitan Police Service [MPS} announced that they are planning to ‘seek criminal charges against 77 companies and people‘. They are hopeful that the CPS will reach a decision in time for the 10th anniversary commemorations in 2027. This is the culmination of almost 9 years of MPS investigation, c. 11,400 witness statements, 56 interviews under caution, involving 100s of police staff and costing many millions of pounds. In addition, the Grenfell Inquiry (already archived) disclosed over 320,00 documents, received over 1,600 witness statements, and held more than 300 hearings, costing the nation many more millions of pounds. So how is it, that after all this work, all the posing and answering of questions, all the soul searching, discussion and debate, we still seem to be no further in finding justice for the 72 people who died, the many who were harmed, both mentally and physically, those bereaved and their families and friend? Additionally, everyone saw this disaster unfold before their very eyes, whether they were at the scene or vicariously though the media. We all instinctively know what was experienced that night was avoidable, a human made tragedy, a crime, Whilst there is no one law which addresses the scale of this disaster, nevertheless all who bear witness recognise the horror, the injustice and the need for accountability.
Stormzy spoke for many at the Brit Awards in 2018, identifying those responsible as criminals, pointing out that the Criminal Justice System knows very well what to do with them. Many other artists, such as Edwin (below), Chris Ofili, Big Zuu and Lowkey (ft. Kaia) to name but a few, have also utilised their medium to make space for those critical perspectives to be seen and heard. You would think for a country famed for the spread of its CJS throughout its empire and created on the basis of Cesare Becarria’s principles of celerity [swiftness], certainty and severity, that justice would be not only done, but seen to be done. After all millions of people, both home and abroad, witnessed the events of that horrific night and they are watching to see that justice is delivered.
But to return to the start of this blog entry, the MPS announcement has received mixed responses, some are cautiously optimistic that change may eventually come. But many more are frustrated at the time this has taken, the lack of urgency demonstrated by successive governments, the perceived likelihood of any successful prosecutions, the list goes on. Grenfell United capture much of this in their response to the MPS ‘announcement.

Grenfell United are right to be concerned about the resourcing of the courts. In 2025 the National Audit Office reported that the Crown Court had a outstanding caseload of 67,284. This further increased by December 2025 to 80,203, who knows where it stands now. Just think of all those lives suspended in limbo – victims/survivors, defendants, witnesses, the bereaved and their families/friends – left waiting, unable to move on, unable to reach closure, unable to assess whether justice has been achieved. An institution at breaking point.
So does this mean that we’re now living in a lawless society where anyone can commit crime, no matter how serious, and get away with it? Not really, it just means that the CJS has a different perspective on violence and harm, going for what, in Criminology, we would describe as “low hanging fruit”. Rather than make sense of the complexities contained within Grenfell tower, there are many other crimes to be solved, ones that make the data look impressive. If you don’t believe me have a look at the list below:
- Omega Mwaikambo
- Reis Morris
- Eamon Zada
- Alvin Thompson
- Koffi Kouakou
- Daniel Steventon
- Moses Ettienne
- Antonio Gouveia
- Derrick Peters
- Elaine Douglas
- Tommy Brooks
But what do these names have in common? It may surprise you to know that they have all been convicted of crimes in relation to Grenfell Tower. However, not one of these people were involved in the building, maintenance or oversight of the Tower, neither were they involved in the response on the night or its aftermath. Instead, these people have been convicted of different crimes, ranging from posting photos of the dead on social media, to false claims to residency in Grenfell allowing them to access financial support, to running a cannabis farm within the Tower.
Let’s consider just two of these, survivor Omega Mwaikambo who took photos of a dead victim and posted them to facebook. Within two days of the fire’s outbreak, he was sentenced to three months imprisonment. A man who had lost his home and his belonging, traumatised, is incarcerated. Another example, on 6 March 2018, not even a year after the disaster, courts were able to sentence another survivor, Eamon Zada, to a 12 week suspended prison sentence plus a community service order of 200 hours for growing cannabis.
What this list above tells us is that the CJS has an appetite for justice, it can act with celerity, certainty and severity, when it wants to. It can recognise harm and culpability, but again, only when it wants to. At this point we also need to recognise the repeated well-founded allegations that the CJS operates with partiality and discrimination both in terms of race and gender. Much as I hate to think of crime in terms of triviality/seriousness, recognising the harms inherent in all crime , it is hard to comprehend that for the CJS, the crimes detailed above are seemingly more important than the lives of the former residents of Grenfell Tower.
To answer the question posed in the title, I would say no. Until the CJS, institutions, government and indeed, society changes its view on what is harm, what is crime and who are the dangerous members of our society, we can expect this injustice to continue and unfortunately, be repeated again and again.
A smorgasbord of thought (AKA a head full of magic)

Its been a few weeks since I’ve written a blog and whilst there are plenty of topics to pick from, I never quite got my head round writing about anything in depth. I’ve thought about a lot, I never stop thinking about a lot, some it meaningful and some of it not. I like to think that some of the stuff is quite profound but that’s just in my imagination, I think. Anyway, rather than trying to put together some deep and meaningful narrative about the state of the world I thought I’d provide a few highlights.
When I read Jes’ blog the other week about graffiti, I couldn’t help thinking that we do far too much to try to justify and somehow nullify the effects of criminality. For all our theorising and empathising as criminologists, we shouldn’t lose sight of the fact that crime results in victims and being a victim of crime is at best an unpleasant experience. So, I have to disagree with Jes on one point, grafitti is not art, its criminal damage, vandalism if you like. Very rarely have I ever gazed upon a graffiti covered bridge, wall, shop front, shutter, railway station siding or railway carriage and thought to myself, wow that’s nice. Let’s call it what it is.
I think it was the same week that I read a post on ‘LinkedIn’ about the silence surrounding the murder of Julia James, a 53-year-old Police Community Support Officer. The silence the author of the post was referring to was the contrast between the public response to Julia James’ death and that of Sarah Everard, a 33-year-old marketing executive. No vigil, no public outrage, no ‘claim the streets back’. I wondered what dictates the public response to such horrific events. Is it age, occupation, circumstance or just timing?
I watched the news this week somewhat bemused by the response of some industry chiefs and business owners. The airline industry is less than pleased with the government’s approach to relaxing of restrictions around travel and some business owners are apoplectic about the fact that the removal of restrictions might be delayed. It might be a bit simplistic to state this, but it seems that they value business more than lives.
As for those that went on holiday abroad, thinking they wouldn’t need to quarantine when they came back only to find that the rules changed, and they now have to. More fool you, maybe I’ve missed a trick here, but I don’t think the Covid virus and its mutations will wait for you to enjoy the rest of your holiday before spreading a little more. Don’t complain about quarantine nor the cost of testing, you put yourself in that position, now take some responsibility and suck it up instead of blaming someone else.
In a conversation, a friend of mine told me ‘the problem is people don’t like being told what to do’. This was said in the context of Covid and our discussion about the idiots that think any rules or guidance just doesn’t apply to them. The comment did however make me think about a paper I read some time ago by Storch (1975). When the new police were introduced into this country in 1829, there were few who looked upon them favourably. One of the main issues was simply that the populace did not like being restricted in their ‘immoral or illegal’ pastimes. We can have a debate about who makes the rules but it seems to me the most pressing point is that little has changed. Take off the rose-tinted glasses, there never was a golden era of policing, the police have never been liked and never will be. I wonder how the population would act if there were no police though?
I’m a little weary now, all of this thinking and writing has worn me out. Time for a lie down in a darkened room.
It’s different now… it happened to me
A few weeks ago, @paulaabowles shared an article on the Criminology Facebook page which posed the question of whether graffiti is art or crime. My response was art. And like all art, not all variations, interpretations or styles are for everyone. I know I can look at some graffiti and be quite taken aback at the brightness, boldness and creativity which shines through. I can also look at some and go ‘eugh’. However I have the same reactions to various classical and well-known pieces. My unrefined self does not get all the hype about a number of Picasso’s works (possibly all the ones I have seen). Nevertheless this is the beauty of art: it is down to individual taste.
So for me, I was fairly certain on my opinions and convictions towards graffiti as an art form, and as an example of the CJS further stigmatising and criminalisation young people’s behaviours: something I am certain we are all quite familiar with at this stage in our criminological journey. However those beliefs and informed views were put to the test over the Bank Holiday (BH) Weekend, and in all honesty I think I am still trying to get to grips with them. It is different now…. It happened to me.
Some context: as those of you who have read various blog posts from myself will no doubt remember, my partner runs a small kiosk near one of the Royal Parks in London. Often during the weekends and summer months, I provide an extra pair of hands to help clean and serve during the busier periods. And as a result of the pandemic, my partner finds themselves going from a team of 4 down to just them, and me when I am able to support: this was the case for the BH Weekend. Off we popped, down to London for a day of serving hotdogs, drinks and ice creams. However our day was thrown off course by some ‘ugly’ graffiti all over the front of the kiosk.
My partner was angry, and felt personally attacked (not really sure by who- but guess that’s besides the point). It is not the first time the kiosk has had graffiti on it, but it is the first time I have seen it in person and witnessed my partner’s response. Rather than starting our working day and opening up, we had to clean the graffiti off. My partner set to this: just over 3 hours later some of it has been removed, but so has some of the kiosk’s paint. It looks a mess. We are now at midday and we cannot afford to remain closed and keep cleaning. We have lost 3 hours of trading time to try and remove it, only to remove some of it and some of the kiosk’s paint. I am informed that we shall need to go to B&Q to try and find some graffiti remover: Capitalism wins again! But seeing my partner cleaning for 3 hours, losing the trading hours and for this end result: I can’t help but feel angry, frustrated and in want of some kind of justice. It’s different now… it happened to me.
But what realistically would justice be in the scenario? What do I actually want as a result? I have no idea. I asked my partner who said they just wanted them ‘not to do it’. It is private property, will my partner call the police? Nope: just nuisance annoying behaviour, but not much anyone can do about it. I feel less inclined to call it art. I like my partner’s use of ‘nuisance’ behaviour: it feels very accurate. I do not think my partner was targeted, I think it was available as a surface to be used for that individual or individuals to express themselves. But I am shaken in my previously held convictions. Shouldn’t something be done. We lost 3 hours of trading, the kiosk now needs to be repainted and we shall need to purchase some graffiti remover. All for some expression of ‘art’? Shouldn’t there be some kind of repercussion?
I am not too sure. I also know when this has happened before, and I have not been present to witness the impact it has on my partner and the kiosk I have been very nonchalant about it. ‘Oh dear, that’s frustrating’, ‘ah well, never mind’. But being there and seeing it: I view it differently. And this is something many of us come to grips with when considering hypothetical moral situations and larger ethical questions. We think we will act one way, but if it happened to us: it is quite possible our opinions, informed views and beliefs would change. I still think graffiti is art, but I am not so convinced in my previous assertation that it is not a crime…
A Love Letter: in praise of art
Some time ago, I wrote ‘A Love Letter: in praise of poetry‘, making the case as to why this literary form is important to understanding the lived experience. This time, I intend to do similar in relation to visual art.
Tomorrow, I’m plan to make my annual visit to the Koestler Arts’ Exhibition on show at London’s Southbank Centre. This year’s exhibition is entitled Another Me and is curated by the musician, Soweto Kinch. Previous exhibitions have been curated by Benjamin Zephaniah, Antony Gormley and prisoners’ families. Each of the exhibitions contain a diverse range of unique pieces, displaying the sheer range of artistic endeavours from sculpture, to pastels and from music to embroidery. This annual exhibition has an obvious link to criminology, all submissions are from incarcerated people. However, art, regardless of medium, has lots of interest to criminologists and many other scholars.
I have never formally studied art, my reactions and interpretations are entirely personal. I reason that the skills inherent in criminological critique and analysis are applicable, whatever the context or medium. The picture above shows 4 of my favourite pieces of art (there are many others). Each of these, in their own unique way, allow me to explore the world in which we all live. For me, each illustrate aspects of social (in)justice, social harms, institutional violence and the fight for human rights. You may dislike my choices. arguing that graffiti (Banksy) and photography (Mona Hatoum) have no place within art proper. You may disagree with my interpretation of these pieces, dismissing them as pure ephemera, forgotten as quickly as they are seen and that is the beauty of discourse.
Nonetheless, for me they capture the quintessential essence of criminology. It is a positive discipline, focused on what “ought” to be, rather than what is. To stand small, in front of Picasso’s (1937) enormous canvas Guernica allows for consideration of the sheer scale of destruction, inherent in mechanised warfare. Likewise, Banksy’s (2005) The Kissing Coppers provides an interesting juxtaposition of the upholders of the law behaving in such a way that their predecessors would have persecuted them. Each of the art pieces I have selected show that over time and space, the behaviours remain the same, the only change, the level of approbation applied from without.
Art galleries and museums can appear terrifying places, open only to a select few. Those that understand the rules of art, those who make the right noises, those that have the language to describe what they see. This is a fallacy, art belongs to all of us. If you don’t believe me, take a trip to the Southbank Centre very soon. It’s not scary, nobody will ask you questions, everyone is just there to see the art. Who knows you might just find something that calls out to you and helps to spark your criminological imagination. You’ll have to hurry though…closes 3 November, don’t miss out!






