The Music Is Black: A British Story, V&A East

In an era where the proliferation of misinformation and AI-generated content necessitates a vigilant approach to cultural preservation, the V&A East in Stratford, London, is set to unveil a significant exhibition that aims to safeguard and illuminate a vital, often overlooked, chapter of British cultural history. Titled The Music Is Black: A British Story, the exhibition, curated by music and culture lecturer, journalist, and writer Jacqueline Springer, opens its doors in April 2026. It promises to trace the profound and complex evolution of Black British music over 125 years, underscoring the indispensable contributions of the wider Black diaspora.

The imperative for such an undertaking is articulated by Terri Lee Freeman, president of the Reginald F. Lewis Museum of Maryland African American History & Culture. "If you don’t have archives, if you don’t have collections, if you don’t have the griots and the storytellers, who is going to tell the truth?" she posited in a recent interview, a sentiment that resonates deeply with the exhibition’s core mission. The Music Is Black: A British Story seeks to be a repository of truth, meticulously archiving the sounds, artists, and socio-political contexts that have shaped Black British musical identity.

Tracing the Roots: From Pan-Africanism to Youth Culture

The exhibition commences its expansive narrative in 1900, a pivotal year that saw W.E.B. Du Bois present his groundbreaking exhibit on African American culture at the Paris Exposition. His subsequent visit to London for the inaugural Pan-African Conference provided a crucial early link between diasporic intellectualism and the nascent British musical landscape. It was at this conference that British composer Samuel Coleridge-Taylor, son of a Sierra Leonean father and an English mother, was commissioned to create music. Springer highlights this moment, stating, "We’ve got classical music… We’ve got the son of a Sierra Leonean father and an English mother. We’ve got Pan-Africanism, the desire to explore global unity and to wrestle national autonomy from colonial powers." This intersection of classical composition with burgeoning Pan-African ideals sets an early precedent for the cross-cultural fertilization that would define Black British music.

A central tenet of The Music Is Black is the act of demystifying historical narratives and correcting inaccuracies. Springer challenges the widespread misconception that youth culture is a post-World War II phenomenon. The exhibition argues that the roots of mid-20th century youth culture are firmly planted in the pre-war era, primarily through the influence of jazz. The 1930s saw seminal American jazz artists like Duke Ellington make impactful visits to the UK, immersing the nation in the genre and fostering the growth of dedicated jazz clubs and events. Following the war, established enclaves of Black artists not only garnered individual acclaim but also significantly bolstered the reputation of Black British artistry as a whole. This period laid the groundwork for subsequent musical revolutions, demonstrating a continuous lineage of innovation and cultural impact.

The Impact of Migration and Early Chart Successes

The post-war years witnessed a significant influx of West Indian migrants, a demographic shift that profoundly influenced the British music scene. Among the beneficiaries of this new cultural exchange was Trinbagonian ragtime star Winifred Atwell. In 1954, Atwell achieved a monumental milestone, becoming the first Black artist to top the British charts with her infectious single, "Let’s Have Another Party." Springer notes Atwell’s unique position: "Winifred was classically trained, but performs ragtime music too. She was inadvertently tackling class, because [people] associated ragtime or jazz with the lower classes, and classical with higher." The exhibition endeavors to re-center the contributions of artists like Atwell, whose achievements have often been relegated to footnotes in mainstream historical accounts. Springer emphasizes, "Winifred is the benchmark, and everybody should know about her and what she achieved."

The burgeoning rock ‘n’ roll scene, heavily influenced by American pioneers like Sister Rosetta Tharpe and Little Richard, also found fertile ground in Britain. By the close of 1959, another ragtime hit, "Don’t Tell Me Your Troubles," by Emile Ford and the Checkmates, commanded the UK singles charts for over a month. Springer offers a fascinating insight into the band’s nomenclature: "The band’s name—referring to chess and its black and white pieces—might seem inelegant from today’s perspective. But for the time, calling themselves ‘the checkmates’ was a really rebellious way of making the point that they were a multiracial band." This detail underscores the subtle yet powerful ways in which artists navigated racial dynamics and asserted their identity through their creative choices.

Resistance, Revolution, and the Rise of Genre

The latter half of the 20th century was marked by both artistic triumph and significant social upheaval. The vibrant Black British cultural scene, while flourishing, also navigated the pervasive reality of racial tension. A flashpoint occurred in 1976 when rock guitarist Eric Clapton made overtly racist pronouncements onstage, aligning himself with the inflammatory rhetoric of politician Enoch Powell. This incident served as a catalyst for the formation of Rock Against Racism, a powerful coalition of musicians from diverse genres including punk, ska, and reggae. As Springer elaborates, "You’ve got Poly Styrene, you’ve got the Clash, Misty in Roots, Steel Pulse, the Specials, the Body Snatchers and bands like the Selecter. [These groups were] inspired by different musical forms, from ska to rocksteady, reggae, soul and rock. But there’s a political agenda that’s being addressed: anti-racism." The exhibition situates this crucial period within its broader social and political context, offering a nuanced understanding of the lived realities that fueled these artistic and activist movements.

The 1980s saw the emergence of distinctly British musical subgenres. Brit-funk, two-tone, and acid jazz all bore the imprint of Black creativity, pushing sonic boundaries. Sade, with her band, became a national icon, achieving critical and commercial success with their multi-million-selling album Diamond Life, earning her the distinction of being the first Black British winner of a best album award at the BRITs. This decade also witnessed the ascendancy of Shirley Bassey, who cemented her status as a national treasure by lending her powerful vocals to the James Bond franchise, recording the iconic theme song for Goldfinger in 1964.

The early 1990s heralded a rapid evolution in UK hip hop, with artists like London Posse, Cookie Crew, and Roots Manuva expanding the genre’s lyrical and sonic vocabulary. By 1994, DJ EZ’s remix of Todd Edwards’ house track "The Praise (God in His Hand)" laid crucial groundwork for UK garage (UKG). Simultaneously, Shy FX and UK Apache’s chart-topping hit "Original Nuttah" popularized jungle, a precursor to the drum and bass sound that would soon dominate the electronic music landscape.

The Grime and Afrobeats Phenomenon

The turn of the millennium saw an explosion of creativity, with artists experimenting in UKG and fusing it with grime, rap, house, pop, and R&B. Craig David, Mis-Teeq, and So Solid Crew were instrumental in broadening the appeal of these genres. The emergence of UK funky, championed by artists like Funky Dee and Donae’o, further diversified the sonic palette. Between 2000 and 2002, grime coalesced as a distinct genre, an evolution of UKG that blended elements of dancehall, garage, and rap. Dizzee Rascal, Skepta, and the Boy Better Know (BBK) collective became synonymous with this raw, urban sound.

In 2011, DJ Abrantee coined the term "Afrobeats" and launched a dedicated show on Choice FM, bringing a renewed focus to West African music. Simultaneously, Sneakbo’s "Touch ah Button" paved the way for Afroswing, a hybrid genre that seamlessly blended Afrobeats, UK rap, and dancehall. These developments illustrate a dynamic and ongoing dialogue between diasporic influences and British innovation.

The period between 2012 and 2017 was characterized by the popularization of UK drill, with acts like 67, 150, and Headie One articulating its distinctive sound and lyrical themes. In parallel, a resurgence in UK R&B began to take shape in the late 2010s and continues to the present, featuring artists such as Tiana Major9, Shae Universe, Bellah, Jvck James, and FLO.

Global Reach and Enduring Legacy

The exhibition also addresses the significant global influence of Black British artists, particularly in the 2000s and 2010s. International superstars like Drake and Kanye West have actively engaged with and collaborated with UK talent. West’s 2015 BRIT Awards performance of "All Day" alongside grime luminaries like Skepta, Stormzy, Novelist, and Jammer underscored the genre’s growing prominence. Drake’s sustained interest in UK rap, R&B, and drill has led to notable collaborations with artists including Headie One, Central Cee, Jorja Smith, and Giggs. Today, a new generation of artists—including Ceebo, Jim Legxacy, and Natanya—are capturing the attention of global icons like SZA and Tyler, the Creator, demonstrating the enduring strength of Black British artists on the international stage.

The Music Is Black: A British Story employs photography, costumes, and instruments to highlight the breakthroughs of contemporary Black British talent. However, Springer also acknowledges the complexities that accompany commercial success. "There’s something that happens when [Black] artists become commercially successful," she observes. "They’re less ‘one of us’ because they’re perceived to have sold out." By showcasing artists who have achieved massive cross-over success—such as Stormzy, Little Simz, and Seal—Springer encourages reflection on the creative decisions and pressures these artists navigate.

Celebrating Joy and Craftsmanship

The 2020s have seen a surge of books, documentaries, and exhibitions dedicated to defining and showcasing Black British history. For Springer, the exhibition is guided by two paramount aims: to underscore the privilege of pursuing music professionally and to celebrate the sheer joy inherent in the artistic contributions of Black British creators. "I would like there to be a real sense of humility as to the fact that people have this craft held within them," she states. "I just think that’s incredible. That’s what art does. It’s these confetti drops of beauty which last forever."

The Music Is Black: A British Story promises to be more than just a historical survey; it is a testament to resilience, innovation, and the enduring power of music to shape identity, foster community, and challenge societal norms. It offers a vital opportunity for audiences to engage with a rich and multifaceted narrative that has long been integral to the fabric of British culture.

Landmark Moments in Black British Music History:

• 1900: Samuel Coleridge-Taylor commissioned to compose music for the first Pan-African Conference. His classical works gain international acclaim.
• 1914: Ragtime and blues gain traction, and jazz begins to permeate public consciousness. Composers like James Reese Europe introduce the genre to military personnel during WWI.
• Interwar Years (1918-1939): The burgeoning popularity of jazz fuels the first modern youth movement, with iconic figures like Louis Armstrong and Duke Ellington visiting London.
• 1950s: Rock ‘n’ roll emerges in the US, with foundational artists including Little Richard, Big Mama Thornton, Big Joe Turner, and Chuck Berry.
• 1954: Winifred Atwell becomes the first Black artist to achieve a British number one single with "Let’s Have Another Party."
• 1957: Avril Coleridge-Taylor, daughter of Samuel Coleridge-Taylor, composes the Ceremonial March to commemorate Ghana’s independence from British rule.
• 1959: Emile Ford and the Checkmates’ "Don’t Tell Me Your Troubles" reaches number one on the UK charts.
• 1960s–1970s: Shirley Bassey becomes a national icon, notably recording the theme song for the James Bond film Goldfinger in 1964.
• 1976: Eric Clapton’s racist remarks at a Birmingham gig prompt the establishment of Rock Against Racism, uniting musicians across various genres.
• 1979: Janet Kay’s lovers rock anthem "Silly Games" becomes the first single by a Black British artist to reach number two on the singles chart.
• 1980s: The decade sees the development of British musical offshoots like Brit-funk, two-tone, and acid jazz. Sade wins the BRIT Award for best album for Diamond Life.
• Early 1990s: UK hip hop evolves significantly with contributions from artists like London Posse, Cookie Crew, and Roots Manuva.
• 1994: DJ EZ’s remix of "The Praise (God in His Hand)" and Shy FX and UK Apache’s "Original Nuttah" help popularize UK garage and jungle, respectively.
• 2000s: Artists experiment with UKG, fusing it with grime, rap, house, pop, and R&B. UK funky emerges, championed by artists like Funky Dee and Donae’o.
• 2000–2002: The creation of grime, a fusion genre led by artists like Dizzee Rascal, Skepta, and the BBK collective.
• 2011: DJ Abrantee coins the term "Afrobeats," and Sneakbo’s "Touch ah Button" paves the way for Afroswing.
• 2012–2017: UK drill gains popularity through acts such as 67, 150, and Headie One.
• Late 2010s–Present: A jazz revival is spearheaded by artists like Ezra Collective, cktrl, Venna, and Raye.
• 2017–Present: UK R&B experiences a resurgence with artists including Tiana Major9, Shae Universe, Bellah, Jvck James, and FLO.

The Music Is Black: A British Story is on display at the V&A East in London from April 18th.