May 13 | Written By Harvey Dibden-Angus

Bristol can often be defined by its somewhat contradictory characteristics – vocalised and progressive politically, yet culturally dispassionate; extremely welcoming of outsiders and their ideas, yet no desire to attach itself to the herd; a blissfully ignorant oasis for the weed smokers, the conspiracy theorists and the part – time painters, yet come early evening, it descends into a vibrant and chaotic merry-go-round of debauchery; it’s politicians eager to propel the cities name into the limelight both nationally and internationally, whilst its inhabitants battle to preserve its uniqueness and creativity – something which has stirred tensions caused largely by gentrification for some time in the city. 

Spend a bit of time in Bristol and you begin to notice something quite interesting. It would appear as if life has been set to 0.75 speed; an unwritten, unspoken, yet mutually understood code of living. In the pubs, on the streets, in the shops - a general aura of nonchalance prevails, which in one way or another has had a lasting impact on the city’s music scene and its overall production of superstars. To put it simply, no one in Bristol seems to be in any sort of imminent rush, and the same may be said for its artists. 

 The question is, when comparing Bristol to other musical cities of the UK past and present, does it ought to of had its own ‘Madchester’ or ‘Northern Soul’ or even its own chart - topping Brit-Pop act in order to be considered as a true UK musical institution? Should a cities scene be defined by its ‘eras’ or its biggest acts anyway? Most notably, Manchester, Liverpool and London can be characterised by their music scenes and their respectful alumni. Liverpool’s Merseybeat and the perennial Beatles, Manchester’s explosive acid house scene and Brit-pop phenomenon Oasis, and London’s plethora of movements throughout the years, from punk rock to garage and grime; not to mention some of the greatest rock bands in history, Led Zeppelin, The Rolling Stones and Queen (to name a few). 

Compare Bristol to these cities and there are some noticeable differences. London; nepotistic, bustling, populous. Manchester and Liverpool; industrialised, and at least throughout the 80s and 90s, politically turbulent. This isn’t to say that Bristol hasn’t got its own history of adversity; sound – system culture emerged in Bristol out of laws passed following the St. Paul’s Riot. It definitely isn’t stating that chart topping, era – defining music always stems from densely populated areas with histories of oppression. Internationally renowned talent can and does pop up from the most unlikely of places. Essentially, the talent that has emerged from Bristol has seemingly followed in the footsteps and philosophies, whether consciously or un-consciously, of Bristol’s greatest musical export – Trip Hop. 

The Wild Bunch was a trailblazer of the sound-system culture in the 1980s, hosting numerous all-night raves at abandoned warehouses, clubs, in the streets of St Pauls and surrounding areas. Generally speaking, their mixes were hip-hop, but after they broke up and Massive Attack was formed, they started infusing elements of jazz, dub, reggae, and electronica. Thus, Mix Mag would go on to coin the term ‘Trip – Hop’ in the 90’s to describe what Massive Attack were doing. The idea of a so-called ‘Bristol Sound’ followed in the wake of global success by the likes of Massive Attack, Portishead and Tricky, who most would argue to be the three great pillars of Trip Hop, their music the soundtrack of the coffee shops and afterparties as opposed to the clubs and charts. The Bristol Sound is the main means by which Bristol has been able to establish itself on the map of the UK’s musical cultural heritage.

 Trip Hop instantly encapsulated the mood of the bohemian capital of the South West; equally weird and wonderful, laid-back and delightfully innovative. A true melting pot of genres, Trip Hop emphasised the importance of experimentation. Nestled in psychedelia, bass – heavy beats and melancholic lyricism, Trip Hop played tribute to a more introverted camp of musical devotees; the type that don’t wish to be spoon-fed instantly gratifying guitar riffs or catchy choruses. You have to try a little harder with a Trip Hop album, like a lengthy book with a small font. It takes a little longer to get into, but once you get there it allows for a highly satisfying listening experience; sensory evoking, carefully orchestrated, subtle, euphoric. Massive Attack’s Blue Lines (1991) would set the precedent and prove a hard act to follow. 

Due to the tortuous nature of the genre and its artists reluctance to cater to a mainstream audience, Trip Hop remained truly unique, an exemplary model of music well suited to a city whose culture romanticises individuality and contrariness. It may therefore be driven by this strong desire to remain ‘underground’, localised, and self – sufficient with regards to its art, for any one true sound or genre in the city to cement itself. From a purely artistic perspective, this created a ‘you come to us’ narrative. Come and play your music at our venues, bring your friends, and tell them to bring their friends too.

Bristol may therefore never produce its own Beatles or Oasis, and it may never be tied down one definitive sound or scene; but it is likely to always remain true to its roots and will continue to accept all types of sound, so long that it’s loved by those listening and those who strive to keep on experimenting. Bristol creatives and musicians are doing their own thing it would seem, always have done, and don’t seem to be at all bothered by the grips of its exposure. And when it comes to churning out highly enjoyable, consistently innovative music, nowhere in the UK does it better. Just at a pace that suits its artists and their listeners, not the big labels. That is the true importance of being idle. 

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