Industry Insights: Firmly Rooted SoundSystem
By Resonate | November 18, 2021
Words by Ruby Lawrence
Photos by RUUMEDIA
Our colorful Bristolian streets are filled with art and rich with culture. From Stokes Croft to St Paul’s, this city has held some of the biggest street parties, carnivals and events; and sound systems have become an integral part of the ‘Bristol sound’. In the wise words of Firmly Rooted Soundsystem founder Big Jake: “Sound systems are much more than just the boxes.” Behind the stack is a family unit, a deeply rooted culture and a universal love for the music that these systems power. Resonate sat down with the talent who runs Firmly rooted Sound System, Jake Stewart (Supplya, Big Jake) and Ben John (Murma), to explore the foundations of their journey and the scene itself.
What are the roots of Firmly Rooted SoundSystem: where did it all begin?
Big J: I was always inspired by Bristol’s sound system culture, and for about 4 years I worked with a sound system called Lionpulse. They took me on, I observed and learned – becoming more and more entwined and fascinated by the system and everything around it. And one day I decided that I’d like to begin my own journey. The soundsystem, as it is now, began about 4 years ago.
Ben: I got involved a little later. Me and Jake loosely knew each other and I loved seeing the stack at events. One day outside of a Revinyl event, I said to Jake that I was keen to help him lift boxes and pretty much never left.
I like what you say about ‘observing’ whilst you were working with another sound. I feel learning is a crucial part of sound system culture – would you agree?
Big J: It’s important to understand sound system culture, but it’s just as important to stand under it and never think that you are above it. This enables you to not only earn more respect from others but also ensures you respect the foundations on which the culture was built.
Ben: Completely, I kind of mirror Jake’s experience with Lion pulse but with Firmly Rooted; you learn a lot every time something goes wrong, and you can also learn a lot from going out and watching other people doing their thing. And you can take it as deep as you like. There’s always a way of improving things or changing the way you do things – for example Sinai Sound are currently building some radical new speakers.
Do you feel an atmosphere of understanding and respect during the dances you play?
Big J: I feel there is a sense of respect because people understand it’s more than just music, there is a culture behind it, there is a spiritual teaching behind most of it, and I feel people do appreciate that.
Ben: It does vary from crowd to crowd, depending on the type of crowd the promoter is trying to draw in as well. I’d say that atmosphere is definitely there within dub dances – they are probably the most mellow and the music lends itself to that. Dubstep is kind of the same, although those dances can get kind of crazy at times.
We also want to respect the elders of the scene ourselves. We don’t want to take what they have given us and throw it back in their face, so we always want to ensure that we deliver our dances with respect.
In an interview I read with Michael McMillan – curator of the exhibition -Rockers, Soulheads & Lovers: Sound Systems Back in Da Day, McMillan said: “With dub music there’s no vocals, so ‘you’ make the music what it is. You don’t have to relate it to a particular event. It’s very much about what you take away from it.”
Do you resonate with that? Do you feel dub speaks a universal language?
Big J: It’s positive, it’s uplifting, it’s very melodic, and it’s very rhythmic as well – and all those aspects fundamentally agree with all humans. There’s nothing in there that taps into any sense of identity other than the identity that you attach to it, yourself. You feel cleansed and energised after leaving roots/dub events.
However, when referring to reggae, I feel that lyrically this music can also speak a universal language – because a lot of the messages that they preach have an uplifting tone about love and appreciating each other, whereas roots is more about oppression and struggle. So even if there are different messages within the music, they might still resonate with people universally.
Ben: I recently read in an article which relates to that statement. It said that bass within music can bring about a natural adrenaline, because before we had speakers that could recreate these tones the only time people would experience it was through massive collisions in nature; so bass is almost like a prehistoric, primal feeling, which is why it’s so addictive.
For me, the Firmly Rooted vibe is a modern take on old school dub culture. Would you say Bristol influenced this?
Big J: It’s nice that you say that because that’s the ethos we aim for. It’s kind of a nod to the old school culture but with a twist with our modern vibe and sound. This runs through everything, from the aesthetics of the sound to the control tower, to the amp rack and the boxes themselves; even the way they are painted – the front has a natural finish with the sides painted up.
I’d say Bristol definitely influenced everything that we do. Bristol is very much at the forefront of developing sounds. The city very much appreciates and acknowledges sound system culture. I would not be where I am today without Bristol and I wouldn’t have been inspired or educated in music the way I have been.
Ben: Because everyone knows each other in Bristol we’ve had helping hands from people who really know their shit – and there’s that mutual respect within Bristol’s music scene in general, not just the sound system scene. Teachings in Dub was one of the first dub dances I would have been too and that definitely influenced me.
Has the scene changed much in the time you’ve been involved? Perhaps a bigger female presence?
Big J: There is definitely a bigger female presence in the music scene as a whole. I feel roots and the sound system scene still has a long way to go in terms of introducing female artists – there are a few but it’s still underrepresented. However, the scene has become much more open to people like myself.
Ben: Since I’ve been involved the biggest change would have been the pandemic. We were probably one of the only sound systems actually running during that time; whilst many systems were in their lock up we managed to run sit-down dances at the HighRise Hub. We powered events for multiple legends, for example Aba Shanti-I played his Notting Hill Carnival set with us and that wouldn’t have happened without Notting Hill being cancelled. We were blessed to be able to do that, especially during lockdown.
Where do you think the scene is heading?
Big J: Forwards, never backwards.
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