Prepare to be amazed: Sound system culture, born from the heart of Jamaica, is taking the UK art and fashion scenes by storm. But how did this vibrant, bass-heavy phenomenon make its way from the streets to high-end galleries and designer runways? Let's dive in.
When you step into Peter Doig’s 'House of Music' exhibition at the Serpentine, you're immediately immersed in sound. The gallery features not one, but two distinct sound systems. One is a vintage Western Electric and Bell Labs system, harking back to the cinemas of the 1920s and 30s. The other, Doig's own Klangfilm Euronor speakers (acquired from Kraftwerk's Florian Schneider), fills the space with music. His paintings, like 'Maracas', even depict towering speaker stacks.
Doig himself admitted to initial nerves, wondering if the audience would understand the integration of music with art. But he's not alone. This is part of a growing movement where artists are transforming galleries into listening spaces.
Consider Theaster Gates, who hosted listening sessions at the White Cube in New York, drawing from his extensive vinyl collection. At Liverpool’s Walker Gallery, Zinzi Minott's 'blood-filled' speaker resonated during the 'Conversations' group show. This spring, V&A East hosted 'Sound Clash', a weekend dedicated to sound system culture.
This month, Autograph and House of Dread are presenting 'Listening Room', exploring how sound functions in archives. Doig has even invited friends to curate their own sound sessions, with poets Roger Robinson and Linton Kwesi Johnson taking the stage.
This trend isn't entirely new. Japanese-style listening bars have been on the rise across the UK. But the visual arts are now embracing the culture that originated in Jamaica in the 1950s. Initially, it was a democratic way for communities to access the latest music releases.
Here's a key moment: The Windrush generation brought this culture to Britain, with Duke Vin's system in west London transforming UK music with its heavy bass. Doig's exposure to Caribbean sound system culture during his time in Trinidad further fueled his appreciation. He recalls seeing massive speaker stacks at his daughter's school fete, a testament to how deeply ingrained this culture is.
Professor Julian Henriques of Goldsmiths, University of London, sees Doig's work as a new frontier. He highlights the Turner Prize-nominated Black Obsidian Sound System, a collective reimagining sound systems as a community resource, opening the culture to new audiences.
But here's where it gets controversial: Traditionally, sound system culture was a male-dominated domain. The inclusion of diverse voices is reshaping this narrative.
It's not just the art world that's embracing this trend. Fashion houses are also incorporating high-end audio systems. Valentino installed one in its New York flagship store, hosting a 10-hour listening session. During Milan Design Week, Stone Island collaborated with Shivas Howard Brown’s Friendly Pressure. Doig arguably sparked the fashion trend with his 2020 Dior runway show collaboration, featuring colossal speaker stacks.
So, why the high-fidelity obsession? Culture critic Suze Webb suggests that speakers are now status symbols. She notes an increase in Black and Caribbean creatives, bringing a deeper understanding and appreciation for sound system culture. The influence of Virgil Abloh, a DJ turned designer, and his protégé Devon Turnbull, who built the OJAS Listening Room, further solidifies this trend.
Professor Henriques acknowledges that some of the original radical roots of sound systems have been softened, but sees the popularity as a positive development. He'd rather see brands embracing sound system culture than other, less relevant cultural backdrops.
What do you think? Is the mainstream adoption of sound system culture a genuine celebration, or a dilution of its original spirit? Share your thoughts in the comments!
