The Untold History of Welsh Reggae Sound Systems

The Welsh reggae sound system scene, particularly in Cardiff, has remained largely undocumented despite its significant cultural impact. Pioneered by groups such as Black International and Conqueror Hi Power Sound System, established in 1975 by Gilbert Anthony Watt, this movement cultivated a vibrant African-Caribbean culture in Wales. Tylo and Gary Jemmett later founded the Countryman sound system in 1981, contributing to a bustling community that thrived despite limited venues and resources. Kervin Julien, who joined Conqueror after moving to Cardiff, described the environment as “very isolated,” lacking the infrastructure found in larger cities like London and Bristol.

The Guardian

Sound systems in Cardiff became a refuge for marginalized communities, offering a sense of belonging and purpose. Eric “Beefy” Howard, a member of Conqueror, noted that these gatherings were essential as they faced exclusion from mainstream venues. “We couldn’t go to the white clubs in town,” he explained. The Casablanca Club, a Black-owned venue, became a focal point for parties, despite its dilapidated condition. Tylo emphasized the importance of sound systems as a means to assert their identity: “You’ve shunned us for all of your life but, look, we’ve made it in our own communities.”

The Guardian

The sound system scene was not without its challenges. Jemmett recounted instances of sabotage from rival crews, including a break-in during a performance. Despite these obstacles, the community thrived, with sound clashes drawing large crowds and fostering a competitive spirit. Ashish Joshi, a researcher of sound clashes, highlighted the snobbery surrounding the perception of sound systems outside London, advocating for recognition of Cardiff’s contributions.

The Guardian

By the early 1990s, the rise of dance music and changing demographics led to the decline of many sound systems. The Butetown carnival ceased for 16 years, and the Casablanca Club closed, resulting in a fragmentation of the community. Bingham lamented the loss of connection among individuals who once gathered regularly. However, there are ongoing efforts to revive and celebrate this culture. Yasmin Begum, a local researcher, has taken it upon herself to document and promote the history of Cardiff's sound systems, emphasizing the need for greater recognition within cultural institutions.

The Guardian

There is a growing call for Welsh institutions to recognize the value of reggae culture. Begum expressed hope for the establishment of a Black Wales collection within cultural archives, while Bingham criticized the disparity in funding for cultural venues, questioning why significant investments are made in opera houses but not in spaces for sound systems.

The Guardian

• “ View image in fullscreen ‘You didn’t have to find out where the carnival was – you just followed the bassline’ …” — Andrew “Bingham” Binns, Countryman Sound System

The Guardian

• “We were nobodyies, we weren’t even looked at,” — Tylo, Sound System Organizer

The Guardian

• “But there’s a lot of snobbery, with people thinking there’s no sounds outside of London that could test us. But there were brilliant MCs and sound systems all over the place that haven’t always got the attention. So, when I hear that Cardiff had a sound system scene, I’m like, ‘Where’s the tapes?’ I feel like Indiana Jones.” — Ashish Joshi, Sound Clash Researcher

The Guardian

• “I can’t wait for Welsh institutions to see value in reggae culture and for Black cultural archives to make a Black Wales collection,” — Yasmin Begum, Researcher and Activist

The Guardian

As the Butetown carnival has been renewed and Countryman continues to operate, there is optimism for the future of Welsh reggae sound systems. However, the community advocates for more institutional support to preserve and celebrate this vital aspect of Black Welsh culture.

The Guardian