A remarkable transformation is taking place in the world of contemporary art and fashion, where high-end sound systems are becoming central elements rather than mere background accessories. This cultural shift is most prominently displayed at Peter Doig's "House of Music" exhibition at the Serpentine Gallery, where visitors encounter not one but two sophisticated sound systems that transform the traditional gallery experience into an immersive audio-visual journey.

The north gallery showcases a vintage Western Electric and Bell Labs system that was originally used in movie theaters during the 1920s and 1930s, while Doig's personal collection includes Klangfilm Euronor speakers that he acquired from Kraftwerk's Florian Schneider. These powerful audio systems pump music throughout the exhibition space, complementing Doig's "Maracas" painting, which features towering speaker stacks as its central motif. "I was actually quite nervous," Doig admits about his bold approach. "Would people be sort of scratching their heads and saying why do we need music to look at paintings?"

Doig's innovative exhibition represents part of a broader movement where contemporary artists are transforming traditional gallery spaces into dedicated listening environments. Theaster Gates has hosted intimate listening sessions during his exhibitions at the White Cube in New York, drawing selections from his extensive vinyl collection to create unique sonic experiences. At Liverpool's Walker Gallery, Zinzi Minott's blood-filled speaker installation hummed mysteriously over the groundbreaking "Conversations" group exhibition, while this past spring, the Victoria and Albert Museum East hosted "Sound Clash," an entire weekend dedicated to sound system-based cultural activities.

The trend continues to expand with upcoming events that further blur the lines between visual and audio art forms. Later this month, Autograph and House of Dread will present "Listening Room," a performance piece that explores how sound functions as presence, erasure, and resistance within archival contexts. Doig has also invited friends and collaborators to host their own sound service sessions, with poets Roger Robinson and Linton Kwesi Johnson taking control of the audio experience this week.

This artistic movement draws heavily from sound system culture, which originated in Jamaica during the 1950s as an affordable, democratic way for entire neighborhoods to experience the latest musical releases. The culture traveled to Britain with the Windrush generation, including the establishment of the first system operated by Duke Vin in west London. This cultural transplantation helped transform UK music by introducing the heavy, rib-tickling bass that became synonymous with Caribbean sound system culture.

Doig's personal connection to this culture developed during his time living in Trinidad, where sound systems are deeply embedded in everyday life. "Even at his daughter's school fete there was a huge speaker stack, something you'd have at Notting Hill on the street would be there, just for the kids," he explains. "Sound system culture is just something that's there. It is just a fabric of the country." This firsthand exposure to Caribbean audio culture profoundly influenced his artistic vision and his understanding of how sound can transform social spaces.

Professor Julian Henriques of Goldsmiths, University of London, who has dedicated his career to studying and participating in sound system culture, believes that Doig's work represents the opening of entirely new territory. "I think it's new territory for sound systems," he explains. "It is taking it to new audiences and they're being seen in a different way." Henriques specifically references the Turner Prize-nominated Black Obsidian Sound System, a Black and Brown queer collective of artists who have hosted takeovers at the Whitechapel Gallery and are actively reimagining the sound system as a community resource rather than a purely commercial enterprise.

The influence of sound system culture extends far beyond traditional gallery spaces, making significant inroads into the fashion industry as well. Luxury fashion houses are increasingly incorporating high-end audio systems as essential accessories, with Valentino installing a sophisticated audio system in its New York flagship store where it hosted a remarkable 10-hour listening session. During this year's Milan Design Week, Stone Island collaborated with Shivas Howard Brown's Friendly Pressure, creating immersive audio experiences that complemented their fashion presentations.

The fashion industry's embrace of sound system culture can be traced back to Doig's influential 2020 runway show collaboration with Dior, where massive speaker stacks loomed dramatically over strutting models, creating a powerful visual and sonic statement that arguably triggered the entire fashion trend. This collaboration demonstrated how sound systems could serve as both functional audio equipment and striking visual elements that enhance the overall aesthetic experience.

Culture critic Suze Webb, who has written extensively about this trend in her Substack publication, believes that speakers have evolved into powerful status symbols in contemporary culture. "Sound systems and quality hi-fi have over the last few years become cool and aspirational," she observes. Webb notes that the increased presence of Black and Caribbean people in creative teams has brought greater understanding and appreciation for sound system culture as a comprehensive cultural phenomenon rather than merely a technological trend.

The influence of late designer Virgil Abloh looms large over this cultural shift, as he was a DJ before becoming a fashion designer and brought deep understanding of sound culture to his creative work. His protégé Devon Turnbull built the acclaimed OJAS Listening Room at 180 the Strand, which regularly hosts deep-listening sessions that attract art and fashion enthusiasts alike. This venue exemplifies how sound system culture is being integrated into high-end cultural spaces while maintaining its community-focused roots.

Professor Henriques acknowledges that while some of the original radical roots of sound system culture may have been diluted through its mainstream adoption, he views the popularity of the culture as fundamentally positive. "I'd rather it was happening than not happening," he states. "That's to say, I'd rather the brand picked sound system as the backdrop to their fashion show or whatever than a skating rink or any other kind of cultural event." This perspective suggests that even commercialized versions of sound system culture can serve as gateways for broader cultural understanding and appreciation.