Stormzy’s stab vest goes on display in landmark exhibition of Black British music
Stormzy’s Stab Vest Highlights 125 Years of Black British Music in New Exhibition
The V&A East’s inaugural display, Music Is Black: A British Story, features a striking centerpiece: Stormzy’s stab-resistant vest, worn during his headline performance at Glastonbury. Designed by Banksy and adorned with the Union Jack, the garment symbolizes the intersection of music, activism, and identity. It is positioned toward the exhibition’s close, emphasizing how artistic expression can confront themes of national pride, street crime, and racial bias.
A Journey from Africa to the UK
The show traces the evolution of musical styles that originated in Africa and the Caribbean, shaped by colonialism and religious influences, as they transformed upon arrival in Britain. These roots gave rise to uniquely British genres such as Two Tone, Garage, Trip Hop, and Grime. Before reaching the modern era, the exhibition explores how early sounds laid the groundwork for today’s cultural landscape.
“Jazz’s rebellion emerged from the blues, which itself was a simplified, more secular form of gospel,” explains curator Jacqueline Springer. “And so you come to see that black music underpins popular styles in America and Northwest Europe.”
Among the standout artifacts is Winifred Atwell’s weathered upright piano, a relic of her groundbreaking career. Purchased secondhand, this instrument was used to compose Let’s Have Another Party, the UK’s first number one single by a Black artist in 1954. Graffiti etched by fans at Atwell’s request now adorns its surface, reflecting her impact on breaking racial and gender barriers in the music industry.
From Protest to Popularity
The exhibition frames Stormzy’s milestone as a reflection of broader histories of protest and resistance. It begins with cross-continental roots, showcasing how African and Caribbean music evolved through decades of influence. As the narrative progresses, it highlights British artists who redefined genres like reggae, with bands such as The Cimarons and UB40 leading the way. “We didn’t have the sunshine, the palm trees, or the mangoes that inspired Jamaica’s reggae scene,” recalls Tony “Gad” Robinson of Aswad. “But we had our experiences here—cold British schools, and that became our starting point.”
“What’s key about Winifred is that she turned prejudice into her own form of activism,” Springer adds. “When she performed, she could see the messages of support from her audience—so the entire instrument becomes a testament to both music and her connection with fans.”
Other notable pieces include Jerry Dammers’ original sketches for the 2-Tone label logo, a Nintendo console used by grime pioneer JME for his early tracks, and the dress Dame Shirley Bassey wore for an Oscars tribute to James Bond. Springer notes the charm required to secure such a loan: “You have wit, you have charm, and you say, ‘Please, please, can we do it?'”
Interactive Experience
The exhibition offers an immersive journey through time, with specially programmed headsets generating a personalized DJ mix as visitors move through different eras. From juke joints and jazz clubs to reggae nights and pirate radio, the soundscape evolves, capturing the dynamic transformation of music in the UK. The 1970s section highlights how British artists began infusing reggae with local flavor, creating genres like Lover’s Rock and Brit Funk.
By the time the display reaches the present, it underscores the lasting legacy of these movements. Of the eight British-born styles cataloged by the V&A, seven are direct descendants of early Black musical traditions. The exhibition aims to illustrate how art consistently challenges societal norms, as Springer notes: “What we’re seeing is the way art always finds a way through, no matter the barriers.”
