It’s a rainy September afternoon in the centre of Huddersfield, and I’m on Wood Street for the Sound System Culture Mini Festival, part of the nationwide Heritage Open Days programme.

The street transforms into a vibrant, colourful space where everyone is welcome. Gazebos shelter the Zion Inna-Vision Sound System, alongside several stalls catering to the daytime crowd who have braved the showers. There’s face-painting, vegan food and cakes, cards, and books on offer. Rainbow-coloured bunting flutters in the wind, the whole scene giving me that “festival” vibe despite the poor weather.

In the glowing, cave-like atmosphere of the Northern Quarter, Huddersfield bar, a steady stream of people take their seats around the large pull-down screen that has been especially set up, and an air of expectancy pervades the air. “Filling up nicely,” says Professor Julian Henriques, visiting from London to present a programme of documentaries commissioned by his research unit, Sonic Street Technologies, at Goldsmiths University. Every seat is soon occupied, and more attendees line the walls or sit on the steps, eager to share in this collective experience. The distant siren from the outdoor sound system blends into the indoor atmosphere, merging the worlds of film and reality.

Introducing the first film, a fascinating documentary about Gabre Selassie and the formation of the Kingston Dub Club, Julian acknowledges the importance of Huddersfield in reggae history, mentioning the legendary Venn Street nightclub and declaring that “Huddersfield in the 80s was the epicentre of reggae in the UK.”

The film programme is an excellent whistle-stop tour of the current landscape of sound systems around the world, taking in Jamaica, India, Colombia, Brazil, Australia, and finishing, with a poetic circularity, in South Africa. All of the films highlight reggae music’s power as a force for self-empowerment, community building, and as a social safety valve.

Throughout the screening, more people continue to file into the venue. Each time the door opens and closes, you can hear the outdoor sound system and the lively Brazilian drums performance by Grupo de Gringos Percussion.

As the films end to a warm applause from the audience, we are at standing room only, with a diverse mix of young and old, a wide range of races and cultures represented—Huddersfield’s diversity in all its glory.

The scene inside mirrors what’s depicted on screen inside: a dimly lit, atmospheric room with a diverse crowd, food, and drink being served. The team have done a great job recreating the vibe of a dub club.

As the energy from the films flows out into the street, the same heavy bassline fills the air, with people chatting, dancing, laughing, eating, and drinking, with DJ Andi G on the decks and Marshall on mic duties.

Eventually, the sun makes an appearance, and over the next few hours, more people arrive, swaying to reggae bassline. The free entry means many passersby pop in, drawn by the sweet music and vibrant atmosphere. Conversations flow, with strangers bonding over their shared love for the music, their faces lighting up as familiar tracks play. There is a collective cheer as Marshall exclaims, “We don’t want no rain no more,” echoing the crowd’s mood.

Riddim Master from Ras Ambassador Sound System then takes control of the decks, delivering an all-vinyl set that opens with Rod Taylor’s unmistakable “His Imperial Majesty” and the warm crackle of dub. Next up is Bigga Puss from Shakatone Esquire Sound System, warming up the crowd with a seamless selection of ska, rocksteady, and roots. As the familiar tones of “Kunta Kinte Dub” by The Revolutionaries fade in, a moment of recognition sweeps through the crowd. Finally, the legendary Papa Burkey, pioneer of the Earth Rocker Sound System from the 80s, takes over, keeping the energy high as the dancing continues, alongside Ras Sis Highness and Dee Bo General on the mic.

Well done to the event team for creating such a vibrant festival, much-needed entertainment in the heart of Huddersfield.