A striking tribute to the rich, vibrant history of Black British music opens this weekend at the newly inaugurated V&A East in London’s Olympic Park. Among the highlights of the exhibition, titled *Music Is Black: A British Story*, is the infamous stab-proof vest worn by Stormzy during his historic Glastonbury performance—the first by a British rap artist to headline the iconic festival. This exhibition offers an evocative exploration of 125 years of Black music in Britain, showcasing how genres from jazz to grime have shaped the nation’s musical landscape.
A Testament to Cultural Resilience
Stormzy’s vest, designed by the renowned street artist Banksy and adorned with the Union Jack, is more than just a fashion statement; it symbolizes the intersection of music, identity, and social issues in contemporary Britain. Curator Jacqueline Springer highlights the importance of this artefact, noting, “That’s the beauty of street art, of graffiti, of rap music, is that it’s making you think constantly about issues you don’t really want to confront.”
The vest is displayed near the exhibition’s conclusion, serving as a powerful reminder of music’s role in addressing national identity, crime, and prejudice. It places Stormzy’s contributions within a broader historical context of protest and rebellion, tracing a lineage back to earlier movements and musical expressions.
From Colonial Roots to Contemporary Soundscapes
The exhibition takes visitors on a compelling journey, beginning with the influences of African and Caribbean music that arrived in Britain, shaped by colonialism and religious traditions. As Springer explains, “Before rock and roll’s rebellion, there was jazz. Jazz’s rebellion emerges from the blues, and the blues is a stripped-down, less churchified, incarnation of gospel.” This historical progression illustrates how Black music not only laid the foundation for popular genres in America but also profoundly influenced the British music scene.
One standout exhibit is Winifred Atwell’s battle-scarred upright piano, the instrument on which she crafted *Let’s Have Another Party*, the first number one single by a Black artist in the UK. The piano is covered in graffiti, a result of Atwell’s encouragement to her fans to leave their mark. As Springer notes, “What’s key about Winifred is that her experience with prejudice, both racial and gendered, is that she factored it into her own activism.” The instrument serves not only as a musical artefact but also as a testament to Atwell’s legacy in breaking down racial barriers.
Musical Evolution and Cultural Impact
Other notable pieces in the exhibition include original sketches for the 2-Tone record label logo by Jerry Dammers, the Nintendo console used by grime artist JME to produce his first tracks, and the glamorous dress worn by Dame Shirley Bassey during an Oscars tribute to James Bond. Each item tells a story of cultural significance and artistic achievement.
As visitors navigate through the exhibition, they are greeted by specially programmed headsets that create a personalised DJ mix, enhancing the immersive experience. This auditory journey reflects the evolution of British music, showcasing how reggae bands from the Windrush generation, such as Aswad, forged a unique identity that resonated with the British experience. Tony “Gad” Robinson of Aswad reflects on this impact, stating, “We didn’t know it at the time, but that was our spearhead. That allowed people to connect with us, here in England.”
Documenting a Legacy
The exhibition not only highlights the individual stories of artists but also underscores the significant influence of Black music on British culture. Recent reports indicate that Black music has accounted for a staggering 80% of the UK music industry’s £30 billion revenue over the last three decades. Neo-soul singer Omar encapsulates this sentiment, stating, “Black music has been a big fixture in the UK. We have a unique style.”
The V&A East serves as a vital platform for documenting these contributions, allowing new generations to appreciate the legacy of artists who paved the way for contemporary sounds. Robinson poignantly remarks, “To have the exhibition means so much because it means it’s been documented. When we started back in 1976, there was nothing really here in England that we could look back on and say, ‘Well, this is where we came from.’”
Why it Matters
*Music Is Black: A British Story* is not merely an exhibition; it is a celebration of resilience, creativity, and the indelible mark that Black British music has left on society. By spotlighting artists who have navigated the complexities of race, gender, and identity, the exhibition provides a necessary reflection on the past while inspiring future generations. As music continues to evolve, understanding its roots becomes essential in recognising the cultural contributions that have shaped the very fabric of British life. This exhibition is a crucial reminder that music is not just entertainment—it is a powerful vehicle for change and understanding.
