Of all the musicians who have lived, worked or performed there, none has a stronger connection with Camden Town than Amy Winehouse. But the release of the Winehouse biopic, Back to Black, is a useful reminder of both the fragility of cultural moments and how Camden has been robust enough to survive a series of them, remaining a desirable location for musicians and fans through several generations, going all the way back to the opening of the Roundhouse as a concert venue in 1966.
Usually, the moment a London borough announces itself as fashionable, it’s all over. House prices rocket, all but the most successful artists are priced out, new residents start complaining about the late-night noise and young musicians move on. Camden has avoided that for decades, the area playing a central role in the development of psychedelic rock, ska, Britpop and whatever we’re going to call Winehouse and Pete Doherty’s revivalist sound of the early 2000s. Throughout this time, it has remained largely unchanged, the borough’s superficially scuzzy surface holding developers at bay while acting as catnip to anyone in search of after-hours adventure.
