Haseeb Iqbal - Noting Voices: Contemplating London’s Culture

Haseeb Iqbal

First published in 2020 by Rough Trade Books

Design by Craig Oldham

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, copied or transmitted in any form or by any means - electronically, photocopy, recording or otherwise without the permission of the copyright owners. Haseeb Iqbal, 2020.

The right of Haseeb Iqbal to be identified as author of this work has been asserted in accordance with Sections 77 of the Copyright, Designs and Patents Act 1988.

Print ISBN 9781912722914

eISBN 9781912722952

This project is about how groundbreaking culture can be born when the rulebook of convention is torn up. It follows a framework of art in which the pre-assigned roles of performer and audience member do not exist. It aims to understand how shaking up such roles can make certain environments and spaces accessible to all, looking at the positive effects this can yield. By contextualising culture, we are able to ground the experiences, and our understanding, of those who offer it; those we are introduced to as icons and geniuses. We begin to see them as humans rather than distant, untouchable forces. This project looks at the power of a two-way exchange in elevating art, where both parties are reliant on each other. It explores a set of spaces and environments that have been underpinned by this ethos, enriching Londons cultural landscape in the process. It appreciates the imperative relationship between community and space, and shines a light on why we, as a society, depend on these spaces in order to grow.

In school I loved being in all the theatre productions but I was unsettled by how it would be the same group of people auditioning each time. I thoroughly enjoyed the limelight and performative element but what theatre signified to me was a safe space where I could build my confidence and express my voice without restriction, whilst feeling valued and listened to. The benefits this brought to my life left me baffled as to why this wasnt being encouraged to more people. I saw friends, who I knew would thrive off being given this opportunity, feel totally detached from the idea of ever being a theatre person. They were instead assigned the role of the audience person. Each group were proudly defined by the pre-appointed roles designated for them, both separated distinctly on either side of the fourth wallwith nobody inclined to blur the lines.

Entering the spaces I write about in this book at the age of 15 or 16 was a game-changing point for me. Suddenly these lines were blurred. The performers and audience members could not be distinguished from each other. And there was little to no ownership over embodying a performative role, but rather a collective sentiment that inspired a feeling of participation. I found it empowering. I looked around and saw various strangers being their various selves. I felt I could be whatever version of myself I desired; an identity not defined by either the spectator or performer role that so often seem to dominate creative spaces.

Starting Mare Street Records with some friends was a response to the countless media outlets who appeared to be jumping on the hype-train of a community that was clearly generating some attention amongst youngsters. They tended to quantify this cultural shift as the London Jazz Sceneperhaps the most frequently assigned term used to describe this community. I aimed to take it back to the foundations of the scene by starting a podcast platform through which I could relaxedly converse with figureheads and personalities who I deeply respect. Whose observations and insights could help illuminate the magic of what was going on with a depth and intimacy that was yet to be seen through the endless articles and spreads that seemed to be coming from all corners of the globe. Whilst all of the journalism centered on the culture, few outlets seemed to take it back to the sourcethe spaceand those who facilitated it. This project focuses primarily on five of the seven conversations I have had so far, tuning into five personalities who have been vital backbones, and mouthpieces, in serving one of the most fascinating cultural shifts the capital has seen for a while. It aims to take the quality of conversation I enjoyed one step further, converting it into a medium that is both tangible and physical. It aims to cross-reference the conversations, illuminating a sense of polyvocality across various topics that are discussed with each guest in hope of adding some context to the culture.

*Episodes of Mare Street Records
which this project primarily focuses on*

Episode 2: Marina Blake

Founder and Creative Director of Brainchild Festival:

Created in 2012 by a 19 year old Marina and a bunch of fellow first- year university students, born from a pureness of ignorance and ambition, Brainchilds DIY-run, volunteer-led, small-scale ethos has always been a commitment to ensure that its a place to manifest ideas. For the last eight years it has championed the bold ideas of young people, offering a platform for many to experiment, having aided and nurtured some of the citys most exciting creatives in the process. Its uniquely sponsor-free, community-driven approach has kept it limited to under 3000 people, allowing togetherness and collaboration to thrive, whilst redefining the perception of what a festival embodies.

Episode 3: Alexis Lex Blondel

Founder of Total Refreshment Centre (TRC):

Also formed in 2012 within an inconspicuous Edwardian warehouse space behind a petrol station in Stoke Newington, north London, Lex and some friends acquired this building through an unappealing Gumtree advert. It had historically served as a chocolate factory, gearbox factory and radiant Caribbean social club. Repurposing it into a recording studio, workshop and live music event space, TRC soon became the nucleus for a beaming community to congregate and create within. It also became a pivotal space for performing musicians to take risks, allowing Londons jazz heads to both collaborate and grow in organic, refreshing ways, as well as connecting live music and DJ culture in a raw form that had not been seen before. Hackney Councils revoking of their licence in 2018 saw their stint as a venue sadly come to an end, however they have continued to thrive as a studio, record label and ever-growing community.

Episode 4: Wayne Francis aka Ahnans

Founder of Steam Down:

Born in the summer of 2017 as a weekly Wednesday jam night at a bar in Deptford, south east London, Steam Down came as a product of Waynes busy touring routine that had put him out of touch with jamming alongside other musicians on a regular basis. He formed it for the purpose of connecting instrumentalists and vocalists, and has built it since as a community who have radically shifted the face of London jazz. An environment that offers hypnotic poetry alongside thumping bass rhythms on the same evening, Steam Down has allowed many of Londons younger musicians a platform to grow under the guidance of Wayne. Additionally, it has had the likes of more established musicians such as Kamasi Washington, Shabaka Hutchings, Nubya Garcia and more all pass through on multiple occasions. As well as forming into a collective, Steam Down has been a driving force for taking the sound of this scene forwards into uncharted territories.