Stormzy’s stab vest goes on display in landmark exhibition of Black British music

Stormzy’s Stab Vest Features in Pioneering Exhibition on Black British Music

The inaugural display at V&A East, London’s new cultural hub opening this weekend, showcases a range of iconic artifacts from the past 125 years of black British musical history. Among the standout items is a stab-proof vest worn by Stormzy during his headline performance at Glastonbury, now on exhibit as a symbol of artistic expression and social commentary. Designed by Banksy and adorned with the Union Jack, the vest sits near the exhibition’s conclusion, emphasizing music’s role in reflecting themes of identity, crime, and discrimination.

Curator Highlights Music’s Power to Challenge Norms

“The allure of street art, graffiti, and rap lies in their ability to provoke constant reflection on issues often avoided,” remarks Jacqueline Springer, the exhibition’s curator. “This piece embodies ambition in the face of legal barriers, moral constraints, and racial prejudice. It’s a testament to how art consistently finds a way to resonate.”

The show situates Stormzy’s statement—his historic Glastonbury headlining—within a broader narrative of protest and rebellion. Before arriving at contemporary works, the exhibition traces music’s journey from Africa and the Caribbean, shaped by colonial influences and religious roots, to its transformation in the UK. Jazz, reggae, and the blues are highlighted as foundational genres that inspired British sounds like Two Tone, Garage, Trip Hop, and Grime.

Key Exhibits Capture Musical Evolution

Other notable artifacts include Joan Armatrading’s childhood guitar, stage wear from Seal and Poly Styrene, and handwritten lyrics to Michael Jackson’s *Thriller*. The collection also features a battle-scarred upright piano once used by Trinidad-born musician Winifred Atwell, who composed *Let’s Have Another Party*—the UK’s first number one single by a black artist—in 1954. The piano bears graffiti etched by fans, a nod to Atwell’s impact in breaking racial and gender barriers.

Springer explains that Atwell’s experiences with prejudice informed her activism, with the instrument serving as a living testament to her connection with listeners. “Her journey reflects not just a musical genre, but a deeper relationship with her audience,” Springer adds.

From Windrush to Genre-Building

The exhibition delves into how British musicians, such as those in the Windrush generation, reimagined Caribbean music in the 1970s. Tony “Gad” Robinson of Aswad recalls that they lacked the tropical imagery of Jamaica but channeled their experiences in Britain to create a distinct sound. “We spoke about our lives here, and that became our spearhead,” he says.

V&A East’s curated journey also spotlights venues like the Four Aces, which played a pivotal role in fostering British reggae. This evolution gave rise to genres such as Lover’s Rock, Brit Funk, and Garage, underscoring the interconnectedness of global and local musical traditions. Of the eight British-born movements highlighted, seven trace their origins directly to African and Caribbean roots.

Interactive Experience Enhances Immersion

Visitors are offered a personalized audio experience via specially programmed headsets, which adapt to the exhibition’s progression from juke joints and jazz clubs to reggae nights, carnival, and pirate radio. The display underscores how music has consistently bridged cultural divides, echoing the legacy of pioneers who reshaped soundscapes through resilience and innovation.