Personal Journey Through Black British Music
The year 1989 marked a pivotal moment in Black British music: Soul II Soul was ascending to prominence, Sade had already achieved global acclaim, and artists like A Guy Called Gerald and Nightmares on Wax were captivating the Hacienda. Jesse Bernard, born in that year, begins his compelling memoir and cultural history, Escaping Babylon, at this significant juncture. The book is structured like a mixtape, weaving together skits, short interludes of fiction and poetry, and the loosely connected narrative of Bernard's own life as he evolves from a mischievous schoolboy—expelled for placing rotten fish in school radiators—to a musical explorer, DJ, and journalist.
Musical Foundations and Influences
Bernard's musical education began in his parents' car, where artists such as Mica Paris, Soul II Soul, and Carol Wheeler provided a constant soundtrack. His exposure expanded with moments like watching Craig David perform "7 Days" on Top of the Pops in 2000, one of the earliest instances Bernard witnessed a "distinctly British R&B" singer. These personal recollections are interwoven with Bernard's encounters with numerous artists throughout his journalistic career, forming a foundation for his analysis of Black British music's origins and trajectory. A key perspective comes from former Tippa Irie, who likened reggae to a tree, with all UK sounds as branches sprouting from it. Through Bernard's lens, readers engage with many of these branches, including UK funky, grime, jungle, and drill.
Highlighting 1990s Black British Artists
Escaping Babylon dedicates significant and well-deserved attention to Black British artists who emerged in the 1990s, notably Lynden David Hall. Hall, a smooth operator who passed away in 2006 from Hodgkin’s lymphoma at just 31, is remembered for his talent and tragic story. Bernard notes Hall's ability to
"embody the spirit of Marvin Gaye and Teddy Pendergrass with his own south London steez sprinkled on top". The book also underscores the importance of The Lick, a show hosted by Hall’s mentor Trevor Nelson and broadcast on MTV Base throughout the 2000s. Bernard paints a picture of Black British music maturing alongside its community, developing a stronger sense of history and future direction.
Insights into the Black British Music Scene
Bernard's enthusiasm and expertise make him an insightful guide through this era of transformation. Among his notable observations is the idea that Black British artists had to establish their own version of the Chitlin’ Circuit—the network of juke joints and venues African American artists performed in during segregation. Importantly, this was not a distant historical phenomenon but persisted into the 2000s. Dizzee Rascal recalls venues such as Le Fez in Deptford, the Stratford Rex, and the Palace Pavilion in Romford as places where
"you could get a shot but not make a lot of money".
Contemporary Challenges and Legacy
Some aspects of this legacy continue today. The controversial Form 696, a venue-vetting document used by the Metropolitan Police to effectively ban Black music events in London, has been abolished. However, police now monitor the lyrics of hundreds of young emcees to label them as "gang" members. Bernard does not extensively explore this broader context, as his work is framed as an "intimate history" focusing on his personal experience as a Black British man rather than a comprehensive examination of external influences shaping his world.
Structure and Style Considerations
This approach has its limitations. The book frequently presents bold, declarative statements that receive only brief exploration before transitioning to another idea, song title, or skit. This rapid shifting can leave some arguments feeling underdeveloped and fragmented.
Significance and Timing
Despite these flaws, Escaping Babylon stands as an important contribution amid another significant year for Black British music. It arrives shortly after the MOBO Awards celebrated their 30th anniversary and coincides with the V&A East exhibition The Music is Black: A British Story. Through this ambitious and dynamic narrative, Bernard adds a valuable chapter to the increasingly rich history of Black British music.
