initiated via personal connections. Nevertheless, despite numerous complications,
individuals involved with pirate radio broadcasting regularly negotiate a myriad of
complex issues in order to support the cultural development of their scene.
ConclusionThis chapter has provided insight into several procedures that have been
incorporated into the UK garage scene and identified a sense of belonging or
spirituality resonating within the UK garage community. Undoubtedly, gospel-
music traditions were crucial in the development of house music emanating from
New York, New Jersey, Chicago and Detroit. Notably, the production and
consumption of house music in these regions drew on various aspects of African-
American worship to inform its musical structure and delivery The emergence of
UK garage was heavily influenced by American house music and later embodied
religious practices associated with the Baptist church. Similarities can be found in the
way DJs and preachers approach their respective performances and also in the way
they are regarded as key cultural figures. However, in the context of UK garage these
parallels can be extended further to incorporate the central role of the MC, as MCs
have adapted features associated with Baptist preachers, such as using call—response
techniques to interact with their audience. In addition, MCs have developed a
community role by raising a wide range of social issues in their vocal repertoires and
maintaining essential links with disaffected youth and the wider UK garage
community through their involvement in pirate radio broadcasting, which has
recently grown in significance as a direct consequence of informal restrictions placed
on UK garage events. Furthermore, the emergence of Sunday after-hours events
transformed a traditional worship period into a key element of the scene and helped
to establish UK garage’s ‘Sunday best’ dress code.
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SOUNDS OF THE LONDON UNDERGROUND 193