The role of non-white musicians in the UK post-punk scene—particularly throughout the 1980s—has often been overlooked.

So, this month I’ve pulled together a selection of 1980s post-punk that highlights the work and influence of Black artists.

Given how deeply the genre draws from Black musical traditions, that absence in the narrative feels surprising, considering the genres that follow on.

I’ve tried to emphasise how Black players brought dub influences into the genre through rhythm sections (Bruce Smith, Rip Rig + Panic; Eskimo Fox, Missing Brazilians; Bonjo Iyabinghi Noah, African Head Charge and bass (George Oban, African Head Charge, Vivien Goldman; Barry Adamson, Magazine), but also in the studio via Dennis Bovell and Don Letts.

This dub influence is much better documented in the work of white bands The Slits (although produced by Bovell), Public Image Ltd., This Heat and more or less the entire Factory Records roster.

The tracks featuring Neneh Cherry, Andi Oliver and Pauline Black (all vocalists) show more clearly links with soul, jazz and hip-hop.

Black creatives are an under appreciated but essential force in one of the most exciting intersections of genre, culture, and experimentation the UK has seen.