YUNGBLUD’s chaotic 5 day takeover of the O2 Kentish Town
20th August 2021
Photo: Tom Pallant Less than a week ago, Yungblud – the alt-pop/rock superstar leapt back onto the stage across the nation for his ‘OCCUPY THE
THE STORY OF SUBCULTURE: ROCKABILLY
Words by Selin Kir
The 1950s in America were a time of contrast and rebellion, a period when the clean-cut conformity of post-war prosperity met the restless spirit of the youth setting the perfect stage for the birth of Rockabilly. This was an era where teens craved something different, something that echoed their desire for freedom and excitement, away from the cookie-cutter lifestyle of suburban bliss that their parents aspired to. The air was electric with change—cars were getting faster, skirts were getting shorter, and music… well, music was about to get a whole lot louder.
Image by Rebel Youth: Karlheinz Weinberger
Late 1940s and early ’50s, a world where radio waves crisscross the air, carrying the soulful tunes of blues, rhythm and blues, and gospel music. This was the sonic backdrop for the birth of rockabilly. Young, white, working-class musicians, buzzing from the energy of these tunes and steeped in country music styles like western swing and honky tonk, began experimenting. They mashed the African-American rhythms with their own hillbilly boogie, creating a sound initially dubbed as country-and-western rhythm and blues. But it soon got its own name: rockabilly—literally, rock and roll played by hillbillies. Despite the term hillbilly’s derogatory undertones, these musicians owned it, turning it into a badge of honour.
Image by Rebel Youth: Karlheinz Weinberger
In July 1954, a young Elvis Presley stepped into Sam Phillips’s Sun label in Memphis, Tennessee, and rockabilly found its potentate. Recording “That’s All Right” and a sped-up “Blue Moon of Kentucky,” Elvis blended African-American musical styles with his country roots, delivering it with an emotional intensity that was unheard of. He was backed by Scotty Moore’s electric guitar and Bill Black’s upright bass, creating rockabilly’s signature sound. This trio, often joined by drummer D.J. Fontana, set the South on fire with their tours, inspiring musicians to switch from country to rockabilly. The movement gained momentum, with stars like Jerry Lee Lewis, Carl Perkins, and Johnny Cash—members of the iconic “Million Dollar Quartet”—joining the fray.
Rockabilly’s increment came in the late ’50s, with hits like Perkins’s “Blue Suede Shoes” defining the genre. Nashville and other music hubs churned out rockabilly tracks, with artists like Wanda Jackson and Brenda Lee bringing a feminine fierceness to the scene. However, as the ’60s dawned, rockabilly’s raw edge was smoothed over by additional instruments and pop influences, diluting its sound and spirit. The genre receded from the mainstream charts, but it never truly died.
Elvis Presley’s first appearance on The Ed Sullivan Show (September 9, 1956).
Scottie Moore is on guitar, Bill Black is on bass.
The punk movement of the late ’70s, with its DIY ethos and rebel heart, found a kindred spirit in rockabilly. This led to a revival that began in Europe and UK, fuelled by a yearning for authenticity and a nostalgia for the ’50s. Fans dressed in vintage, hunted down classic records, and revered icons like Presley with a near-religious zeal. The Stray Cats strutted onto the scene with their slicked-back hair and double bass, igniting a Rockabilly fervor with hits like “Stray Cat Strut“ and “Rock This Town“. Meanwhile, the Polecats, with their electrifying performances and infectious tracks like “Make A Circuit With Me,” bridged the gap between 1950s rock ‘n’ roll and the punk attitude, crafting a sound that was irresistibly catchy yet edged with a punk rock snarl.
The Stray Cats
Jerry Lee Lewis, with his fiery piano skills and a voice that could shake the rafters, gave us classics like “Great Balls of Fire,” proving Rockabilly was as much about attitude as it was about music. Then there’s Reverend Horton Heat, who turbocharged the scene with a psychobilly twist, mashing up punk, country, and swing into a high-octane musical frenzy. Wanda Jackson, the queen herself, showed us all how it’s done with her powerhouse vocals and a badass vibe that earned her the title of the “First Lady of Rockabilly.” Bill Haley, meanwhile, was laying down tracks like “Rocket 88,” which many argue kickstarted the whole rock ‘n’ roll revolution. Brenda Lee, or “Little Miss Dynamite,” exploded onto the scene with her energetic hits, proving size really doesn’t matter when it comes to belting out soul-stirring rockabilly tunes. And let’s not forget about the legends like Janis Martin, Buddy Holly, and Carl Perkins, each bringing their own unique sound and swagger to the mix.
Wanda Jackson
At its core, rockabilly is distinguished by its brisk tempo and the use of the double bass, which gives it a distinct, slapping rhythm, laying the groundwork for what would evolve into the backbone of rock ‘n’ roll. The electric guitar, often a hollow-bodied Gretsch or Fender, is another hallmark, delivering piercing solos and chunky, rhythmic chords that cut through the mix with sharp precision.
Vocals in rockabilly are as eclectic as the genre itself, ranging from deep, soulful croons to high-pitched wails, embodying the spirit of rebellion and freedom. This raw vocal energy, combined with echo effects, amplifies the genre’s live, unpolished vibe. The incorporation of boogie-woogie piano riffs adds a layer of complexity, driving the music forward with an irresistible swing.
Lyrically, rockabilly songs often explore themes of love, rebellion, and the quest for freedom, reflecting the youthful exuberance of the era.
Jerry Lee Lewis
Rockabilly fashion feels like a fusion, cranked up to the neon-drenched, rebellious 1950s, then smashing straight into the heart of a 21st-century punk concert. It’s where the slick, suave sophistication of pompadours and victory rolls meet the edgy, anarchic spirit of leather jackets worn with an air of defiance. It is strutting down the street in a pair of cuffed denim jeans, the kind that hug your curves or drape just right, paired with a cherry-print halter top that pops against the monochrome cityscape. Or swirling in a polka-dot swing dress, its skirt billowing out in a perfect circle, reminiscent of those jukebox-fueled diner dances, but with a modern twist—maybe a pair of bright red sneakers or a fiercely studded belt.
And let’s talk about the iconography of this style—the roaring engines of classic cars, their shiny fenders catching the sunset in a gleam of nostalgia, and motorcycles that rumble with tales of freedom and adventure. These aren’t just modes of transportation; they’re steel-and-chrome emblems of a bygone era, polished to perfection and roaring to life under the hands of those who cherish the Rockabilly ethos. Then, there are the tattoos, where each inked line tells a story of personal rebellion, love, or a tribute to the music that fuels this entire culture. These tattoos are the badges of the bold, the symbols that speak volumes of individuality in a world that often forgets the beauty of standing out.
Modern Days of Rockabilly
Artists and bands across the globe has fueled this resurgence in the 90s and 00’s crafting a sound that’s rooted in the past yet infused with contemporary zeal. Imelda May, with her powerhouse vocals and tracks like “Johnny Got A Boom Boom,” exemplifies how traditional Rockabilly can be electrified with a modern sensibility, attracting fans from all walks of life. JD McPherson, a true modern-day rockabilly revivalist, on the other hand, used the genre’s roots while weaving in elements of soul and blues, producing a sound that’s both authentic and fresh. His tracks like “North Side Gal“ serve up a hot rod ride back in time, with a fresh coat of paint.
The Reverend Horton Heat keeps the psychobilly torch blazing, a subgenre that injects punk’s raw energy into Rockabilly’s classic framework. Songs like “Psychobilly Freakout“ are a contour to the genre’s appeal, a manic, high-speed chase through the best of both worlds.
Artists like Robert Gordon and bands like The Cramps have shown that Rockabilly’s influence stretches far and wide, from CBGB’s punk scene to the eerie, guitar-driven tales of the supernatural.
The Cramps
In the contemporary scene Rockabilly is kicking, screaming, and sliding across the stage in a pair of polished creepers. The Rockabilly scene of today is a glorious mash-up of vintage mood and modern swagger.
Talents like Colton Turner remind us that Rockabilly’s roots are still fertile ground for new growth. With a voice that seems lifted straight from the genre’s golden age and a style that’s all his own, Turner’s music feels like a letter from the past, delivered by the future.
The Delta Bombers bring a grittier edge to the scene, with their blend of rockabilly, blues, and a dash of punk. Their track “Pressure and Time“ is a masterclass in how to keep the genre evolving, proving that Rockabilly can pack a punch that resonates with today’s listeners.
Nikki Hill, with her powerhouse vocals, straddles the line between Rockabilly, R&B, and soul with an ease that makes genre boundaries seem quaint. Her music, infused with the energy of Rockabilly, showcases the genre’s ability to adapt and thrive.
Colton Turner
If interested, annually drawing in crowds exceeding 20,000, happening this year in April, the Viva Las Vegas Rockabilly Weekend is a four-day of non-stop Rockabilly mood, featuring hot rods, swing dancing, burlesque, and relentless revelry. With a lineup boasting over 75 bands alongside Rockabilly pioneers, coupled with a host of dynamic DJs, the festival is a place to be for Rock ‘n’ Roll enthusiasts.
The Viva Las Vegas Rockabilly Weekend hosts North America’s premier pre-1960’s car show. Here, hundreds of classic hot rods take center stage, surrounded by vendors offering everything from retro clothing and nostalgic home decor to Rockabilly tunes and essential vintage reproductions.
Viva Las Vegas Rockabilly Weekend (Image by the official website)
The Rockabilly genre, a sultry dance between rebellion and tradition, lives on in the past and present. Here, the past is not merely remembered; it’s resurrected, celebrated, and transformed. In the fusion of past and present, Rockabilly assures us that some things—like the thrill of a double bass and the roar of a vintage engine—are timeless.
photo by Alexander Thompson
Our subculture blog is a continuous report of subculture and the “underground” examining and reporting on contemporary music, fashion, art, and design from the underground universe. We always have new posts on the blog and don’t forget to have a good delve into the archive full of subculture references.
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If you found this a good read, you might like these other posts
https://underground-england.com/the-story-of-subculture-goth/
https://underground-england.com/the-story-of-subculture-new-romantics/
https://underground-england.com/the-story-of-subculture-northern-soul/
ROCKABILLY 82 Gil Rigoulet
A personal photo account of the French Rockabilly scene in 1982 by Gils Rigoulet. A couple of six-packs sit on the boot of the blue Chambord with a white roof, Saturday afternoon in a dead-end street of St Michel. Detached houses from the Fifties stand all around us, the car’s backlight needs to be changed, the mohawks look sharp, we are discussing the rusty patches, the Ranch where the gang is to meet that evening. A young girl with a headscarf from another era sits next to us, two Arondes pull in, the afternoon is slipping away, from the Chambord’s tape player tunes from Crazy Cavan & The Rhythm Rockers fill the air, the six-packs are gone, the V8 of the Simca Versailles is purring like an American one, we all cram into the cars about to roar off.
On Key
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