MixTate Don Letts on Horace Ové

When Carnival first started, it was the sounds of the smaller islands; Soca and calypso really dominated. But in the early to mid-seventies, Carnival was hijacked by sound system culture and reggae, which reflected the mood of the country. Times were tough, socially, politically, economically and racially, so the soundtrack shifted. The lyrical content of the music seemed to translate perfectly to the streets of London – Junior Murvin’s ‘Police & Thieves’, for instance, or ‘Chant Down Babylon’ by Yabby You. We could really connect with these ideas, because we were feeling the pressure.

But for two days out of 365, the streets were ours. You felt empowered, you felt inspired. It was about freedom and letting off some steam. Carnival is a testament to the power of culture to bring people together.

For me, Horace Ové’s photograph Sound System Boys, Notting Hill Carnival c.1980 captures the spirit of Carnival, when sound systems ruled the day. It takes me back to my best years there, in my early teens. Those boys skanking away – that could’ve been me back in the day. I’m a disciple of sound system culture; that’s where my heart is.

I decided to put together a mix of the music that captured my imagination back then, and that was dub. We’re talking about a genre created in Jamaica that’s now part of the fabric of modern music. Dub is all about bass and space – leaving room for you to put yourself in the mix. It can soundtrack every emotion.

^{Sound System Boys, Notting Hill Carnival was purchased with funds provided by Tate International Council in 2024.}

^{Don Letts is a film director, DJ and musician from London}