Tactical urbanism is a term used to describe do-it-yourself, citizen-led interventions in urban space, such as painting bike lanes, putting up stop signs at unsafe intersections, or installing café tables and planters without government approval. Though its detractors criticize a potential disruption in social order, its proponents advocate for its nimble approach to urban problem-solving through non-governmental means. Drawing on the work of Sylvia Wynter and Julan Henriques, archival research at York University and NYU, and fieldwork in Toronto and Brooklyn, this paper connects tactical urbanism to diasporic Caribbean performance practices through an analysis of Toronto's Caribana and Brooklyn’s Jouvé, the largest Caribbean festivals in North America. I argue that Afro-Caribbean street performance, built upon long-standing practices of resistance strategies to colonial oppression, are a form of subaltern territorial claim and improvised spatial reorganization within the urban environments of Toronto and New York City. In doing so, I aim to both reframe and expand tactical urbanist discourses to highlight/include the sonic and performative and bring the concept of tactical urbanism to bear on ethnomusicological case studies. My paper will analyze the ways that Caribana and Jouvé, which use sonic and visual/performance practices to claim urban space and assert Caribbean presence, operate as citizen-led interventions that address issues of invisibility and marginality that diasporic Caribbean citizens encounter in North American metropoles.