This bank holiday, over two million people descended onto the streets of west London for Notting Hill Carnival. As one of the longest-running street parties, we meet the people preserving its essence while pushing the music in new directions.

It’s just over two weeks before Notting Hill Carnival and Linett Kamala is stressed. Struggling to find sponsorship for her LIN KAM ART sound system, the Jamaican-English DJ and academic sits on the other side of our Zoom call, briefing me on the difficulties organisers of the UK’s vibrant weekender experience in the months leading up to it. “It’s free, but it isn’t free if you’re putting on the sound systems. I’m championing the next generation, so it’s never straightforward getting funding.” As one of the first female DJs to play on a sound system at Carnival, and an affiliate of BASS (the British Association of Sound System), she has left an indelible mark on the second-largest street festival in the world.  

 

Born in the mid-60s as a response to the race riots of and growing tensions in Notting Hill, Carnival’s 56-year existence has been defined by community, culture and togetherness. The vision was to create an outdoor, multi-cultural space that encouraged participation and celebration in the name of Caribbean music and culture; it’s since become a personification of pluralism and the global diaspora. Over two million visitors from across the world descended on west London this bank holiday – the streets laced with toppling speakers and chest-rattling tunes while a parade lined Ladbroke Grove with effervescent floats, steelpan bands, street art and food stalls.  

After the rioting that followed the fatal stabbings of three girls in Merseyside last month, Carnival’s representation of unity felt particularly powerful this year. Seeing thousands of anti-racism protesters hit the streets reminded us of the pride we take in being multicultural. Still, the numerous public disorder arrests symbolise a hateful discourse stoked by political deception and intolerance. Notting Hill Carnival is arguably the biggest counter-protest we have.  

 

This is why its future is so important. Among the hive of sponsored sound systems and established DJs, LIN KAM ART and its Future Sound Systems Programme ensured that the next generation of selectors and sound fanatics got the exposure their talent merits. “You won’t necessarily know the names of the DJs on my sound system, but you will in a few years. The reward for me is seeing their growth,” says Linett. “My message is that reggae is cool, but that’s not what sound system is about. It’s about community, amplifying good music, positivity, peace, and uplifting people through good vibrations.” 

It’s a principle that major festivals like Glastonbury have used to attract revellers for years, but the sentiment is purest during Carnival. Since Duke Vin, an apprentice of Tom the Great Sebastian, an early Jamaican sound system started by Tom Wong in 1950, moved to England and set out to make a custom speaker and amplifier, sound system culture has been ubiquitous in British music. Renting out the set-up to Blues Dances, he offered immigrants communal relief from outside hostilities. You could argue that electronic subgenres like jungle, garage and grime have had a similar impact.  

 

This year, LIN KAM ART joined forces with legendary sound system Trojan 7 to showcase a cohort of Carnival debutants. A part of the Sound System Futures Programme, Eli, JamRoki, JETZ, Rebelle and Tanya held down the stacks with their forward-thinking selections, which span beyond the genres you would typically associate with sound system culture. Over email, Eli tells me that he’s eager to continue the legacy of the legends who have made Carnival what it is today but understands that he can’t just copy what’s been done if he’s going to make an impact. “Sound system is about working as a team and being part of something bigger than yourself. The culture will always evolve and we’re seeing that with new genres becoming more appropriate for sound systems.”

Eli’s sets encompass “Anything bass heavy that can connect with people,” like dubstep or electro. Similarly to reggae and dub, he sees the spectrum of UK dance music as a vessel for unity. For Rebelle, keeping the essence of sound system culture alive is a way of embodying her Caribbean heritage and the elements that aren’t always told in mainstream forms of education. All the DJs agree that sound system culture is helping young people discover a deeper sense of community, and as youth services have suffered cuts for over a decade according to YMCA, initiatives like LIN KAM ART have become essential. “I think the acceptance of all people and different types of music can bring young people together to connect in the universal language of music,” explains Tanya. “We don’t need to look or be the same to enjoy the same sounds and hold a vibe. Being involved in the community can breed new opportunities for young people, helping them learn more about individual skills and nurture specific talents.” 

 

LIN KAM ART and the Sound System Futures Programme has given space to people who weren’t born into the culture but share a burning desire to keep grassroots music alive. As Carnival continues to grow, the challenges organisers like Linett face are becoming more substantial, but the compulsion to maintain its traditions and bring through a new crop of talent is what keeps them going. “I could just retire; I don’t need to do this! This morning, I woke up and thought, ‘Why am I doing this? I’ll just enjoy carnival,’ but we have a legacy and that legacy needs to carry on.”