How a small town in Hertfordshire became a hub for UK garage culture, underground raves, and the birth of Big Drum Records.
In the mid-1990s, while London was exploding with UK garage, a parallel scene was developing in Stevenage, Hertfordshire. What started as a handful of DJs playing imported garage records at local house parties quickly evolved into a thriving underground movement that would shape the sound of UK garage for decades to come.
Stevenage's proximity to London meant that the latest dubplates and white labels would make their way up the A1(M) within days of being pressed. But rather than simply copying the London sound, Stevenage producers and DJs developed their own distinct flavor—darker, heavier, with more emphasis on the sub-bass and stripped-back percussion that would later influence the grime and dubstep movements.
The town's industrial heritage and working-class roots gave the local garage scene an edge that set it apart from the more polished, commercial sound emerging from West End clubs. This was music made by and for the people—raw, uncompromising, and deeply connected to the streets.
When Big Drum Records opened its doors in 1995, it quickly became more than just a record label—it was the beating heart of the Stevenage garage scene. The shop served as a meeting point where DJs, producers, and fans would gather to discover the latest releases, exchange dubplates, and share information about upcoming raves and events.
Every Saturday afternoon, the shop would be packed with DJs and producers sharing tracks, discussing production techniques, and planning the next underground event. It was where connections were made and collaborations were born.
Big Drum was known for getting the hottest dubplates and white labels before anyone else in the area. DJs would travel from across Hertfordshire, Bedfordshire, and North London to get their hands on exclusive pressings.
Before social media and event websites, Big Drum was where you'd find out about the next rave. Flyers were distributed through the shop, and word-of-mouth information about secret warehouse parties was shared among trusted regulars.
The shop attracted people who truly understood and loved UK garage. It wasn't about fashion or trends—it was about the music and the culture. Lifelong friendships and musical partnerships were formed within those walls.
The shop's owner and founder understood that building a scene required more than just selling records. It required creating a space where the culture could flourish, where newcomers could learn from veterans, and where the underground spirit of UK garage could be preserved and passed on to the next generation.
The Stevenage garage scene wasn't confined to record shops and bedrooms—it came alive in the underground raves and warehouse parties that took place across Hertfordshire and the surrounding areas. These events were the lifeblood of the scene, where the music was played loud, the bass was felt in your chest, and the crowd was united by their love of UK garage.
Abandoned industrial buildings around Stevenage, Hitchin, and Letchworth became temporary temples of UK garage. These unlicensed events operated in the shadows, with locations revealed only hours before through phone lines and word-of-mouth networks. The sound systems were massive, the crowds were dedicated, and the atmosphere was electric.
Local DJs like Ray Hurley and Jeff Big Drum cut their teeth at these events, developing their skills and building their reputations. The warehouse parties were where new tracks were tested, where producers could hear their music on a proper sound system for the first time, and where the Stevenage sound was refined and perfected.
As UK garage gained mainstream recognition in the late 90s, legitimate club nights began to emerge. Venues in Stevenage, Luton, and surrounding towns started hosting regular garage nights, providing a more accessible entry point for fans while maintaining the underground ethos that defined the scene.
These club nights became crucial for the local scene's sustainability. They provided regular income for DJs and producers, created a consistent space for the community to gather, and helped bridge the gap between the underground and the mainstream without compromising the music's integrity.
The Stevenage scene produced numerous talented artists and spawned several independent record labels that contributed to the UK garage movement. While Big Drum Records was the most prominent, it was part of a wider network of labels, producers, and DJs working together to push the sound forward.
Artists associated with Big Drum Records became synonymous with the Stevenage sound. Producers like Tova Brown, Ray Hurley, Jeff Big Drum, and Chris Bass developed distinctive styles that reflected the darker, heavier aesthetic of the local scene while maintaining the groove and swing that defined UK garage.
These artists weren't just making music for commercial success—they were documenting their experiences, their environment, and their community. The tracks they produced told the story of Stevenage, of late nights in warehouses, of the camaraderie in the record shop, and of a scene that refused to compromise its underground roots.
The Stevenage scene thrived on a healthy mix of collaboration and competition. Producers would share techniques and equipment, but they'd also push each other to create better tracks, to find new sounds, and to innovate within the genre. This creative tension drove the scene forward and ensured that the music never became stagnant.
DJ battles and production competitions were common, with Big Drum Records often serving as the venue or sponsor. These events weren't just about winning—they were about showcasing skills, earning respect, and contributing to the collective evolution of the Stevenage sound.
The Stevenage UK garage scene of the 1990s and early 2000s left an indelible mark on British dance music. The darker, more stripped-back sound that emerged from the town influenced the development of grime, dubstep, and bass music. Artists who came through the Stevenage scene went on to work with major labels, produce for mainstream artists, and shape the sound of UK underground music for decades.
Big Drum Records continues to operate today, now based in Bedfordshire, still serving as a hub for UK garage culture. While the physical shop may have evolved, the ethos remains the same—supporting underground artists, releasing quality music, and maintaining the community spirit that defined the original Stevenage scene.
The story of the Stevenage garage scene is a reminder that great music and culture can emerge from anywhere. It doesn't require major label backing, expensive studios, or media attention. It requires passion, dedication, community, and a commitment to the music above all else.
Today's UK garage revival owes a debt to scenes like Stevenage. The emphasis on heavy bass, the stripped-back production aesthetic, and the underground ethos that characterizes much of contemporary UKG can be traced back to the warehouses and record shops of Hertfordshire in the 1990s.
As Big Drum Records continues to release new music and support emerging artists, we carry forward the legacy of that original Stevenage scene—proving that the spirit of UK garage is alive and well, and that the underground will always find a way to thrive.
