New generation of Black promoters create spaces for African diaspora music in Bristol

A new wave of Black promoters in Bristol is establishing dedicated spaces for genres from the African diaspora, such as amapiano. These events aim to celebrate culture, foster a sense of belonging, and provide platforms for music that has historically been underrepresented in the city's nightlife.

Unkle Mykel, who moved to Bristol in 2017, began hosting events in his garden that evolved into gatherings for Black, Asian, and minority ethnic communities. "It's about celebrating our cultures, bringing people into that fold and connecting," Mykel said. He noted the increasing visibility of genres like amapiano, a South African house music subgenre, as an opportunity to expand the music scene.

DJ and promoter Khiah Lou launched Khaya Nights, an event focused on amapiano and other Afro-Caribbean electronic dance music, recognizing a gap in Bristol's offerings compared to other cities. "If we don't do it, who else is going to do it?" Lou questioned. She emphasized the importance of these events for identity, stating, "At first it seems like it's just a party, but it's so much more than that. It's really important for your own self-identity. If your community doesn't have events, where do you feel you can go?"

Tazmin Samuels, a DJ with the Black-led music collective Rushtown, echoed the sentiment. "My main motivation for getting together with people and starting Rushtown came from seeing the lack of representation of black music that black people are currently listening to within the city," she explained.

However, creating these inclusive spaces has presented challenges. Khiah has faced difficulties securing venues, with some owners expressing concerns about hosting events primarily for Black audiences. "I feel like black crowds are kind of met with fear, and that's really disheartening," she said. Mykel also described instances where community objections arose after venues agreed to host his events.

These experiences mirror a longer history in Bristol, where Black residents historically faced exclusion from mainstream venues, leading to the creation of informal "blues parties." The Bamboo Club, opened in 1966 by Tony and Lalel Bullimore, served as a vital cultural hub for the city's Caribbean community. Glen Crooks, who performed at the Bamboo Club, recalled it as "the only place that we could have... Especially all the Caribbean people could go and really have a good time."

Marti Burgess, co-owner of the nightclub Lakota, acknowledged that while attitudes have evolved, prejudices can persist. "There is a long history of treating a predominantly black audience as a concern, rather than recognising the audience, creativity and business that a promoter is bringing," Burgess stated. "They should not have to keep proving that black audiences are welcome or commercially worthwhile."

Lakota, traditionally known for bass music, has expanded its programming to include Afrobeats and amapiano events, partly inspired by the success of events like Latino Fest. "We want people across the different genres of black music to see Lakota as a venue that is open to them, where they can bring their music and their audiences," Burgess added.