Edge Zones

Edge Zone 1 – 1945 – 1962
The Anglo-American special relationship of the Second World War triggered an evolution of musical trends in Britain. 

Big band music became popular through visiting GIs and the revived sounds of Dixieland and New Orleans trad jazz were introduced into the London scene. The do-it-yourself creed of 1950s skiffle encouraged young musicians to pick up cheap guitars and start their own groups. British pop was transformed by the rock’n’roll craze in the mid 1950s.

Edge Zone 2 – 1962 – 1966
In the 1960s, British music went global with the irresistible tide of the ‘British Invasion’. 

The original look and sound of beat groups like The Beatles, R&B bands like The Rolling Stones and female singers like Petula Clark took America by storm and Britain became known as a pop powehouse.

Edge Zone 3 – 1966 – 1970
British pop became increasingly involved in cultural exchanges with underground political activity, fashion, art and drugs.

Inspired by the 1967 ‘Summer of Love’ in San Francisco, Britain began to stage their own ‘love-ins’ and ‘happenings’, with themes of peace and love becoming the inspiration for music in this period. The 12″ album toook centre stage and pop evolved into rock as music broke out of the small clubs onto the arena circuit and emerging festival scene. 

Edge Zone 4 – 1970 – 1975
In contrast to the tough social and economic crisis of 1970s Britain, the charts began to fill with performers singing of escapism, glamour and excitement. 

A darker vision of 1970s Britain soon appeared through albums like the post-apocalyptic Diamond Dogs by David Bowie and progressive rock flourished. The music industry expanded and audiences sought entertainment, making sell-out arena tours the pinnacle for any successful artist. 

Edge Zone 5 – 1975 – 1985
This was a period of economic recession in Britain. Pop music reflected this with tougher, more outspoken styles. 

Punk dramatised Britain’s social divisions, while the grassroots Rock Against Racism movement popularised reggae and brought a return to political involvement. 

Edge Zone 6 – 1985 – 1993
The mid-to-late 1980s was a time of accelerated social, economic, technical and political change. Videos, CDs and satellite broadcasting meant that music was more accessible to the masses. 

The late 1980s were also a time of regional and musical diversity. Heavy metal was reborn, imported house music reached ecstatic heights with the ‘Second Summer of Love’ and the ‘Madchester’ scene was blossoming in the North. 

Edge Zone 7 – 1993 – 2004
In the mid-1990s, ‘Cool Britannia’ swept through all areas of British identity. Britpop revived the traditional pop values of the 60s and 70s. 

The period also saw the rise of manufactured boy bands and The Spice Girls unleashed ‘Girl Power’ on the world. The rise of Youtube and streaming gave audiences new ways to access music. It presented artists with unchartered waters in the form of new channels emerging to promote their music. 

Edge Zone 8 – 2004 – Present
2004 saw the launch of X Factor. The manufacturing of pop stars by UK audiences is balanced by the diversity of artists rising to the top of the charts. Rap and R&B stars, indie bands and singer-songwriters take the download chart by storm. 

The Future
It is impossible to predict the future of British music. 

Who will be the next superstar? how will we listen to music in 2025? Whatever the future, one thing we can be sure of is that the intimate relationship between music and the fan will always continue to transcend any technological, cultural or social barriers.

No photography is allowed in the the exhibition. 
The Beatles Story Museum

Living History Audio Guide at Beatles Story Albert Dock has been compiled and is narrated by John Lennon’s sister Julia and is complimentary. Ten languages: Brazilian Portuguese (new), English, French, German, Italian, Japanese, Mandarin (new) Polish, Russian and Spanish. We also have a family audio guide in English.

Parking – Albert Dock has a number of car parks on site and has in total eight accessible car parking bays, with three available in car park A, near to the estate’s main entrance and five in car park B opposite The Beatles Story and Premier Inn hotel.

Wheelchairs – The exhibition is fully wheelchair accessible. Due to fire evacuation procedures, we can only admit three wheelchairs on site at any one time. We have a standard wheelchair available which can either be booked in advance by telephoning +44 (0) 151 709 1963 or borrowed on the day by asking a member of staff at the main entrance (subject to availability on the day).

Lifts – We have two accessible lifts: One situated at our main entrance (accompanied with audio announcements) and one located in our Fab4 Store going down to the Fab4 Cafe.

Toilets – Wheelchair-accessible toilets are available within the exhibition and also in the Fab4 Cafe area. Please see a member of staff for assistance.

Induction Loops – Induction loops are available to use with our audio guides. Please see a member of staff when picking up your audio guide.

Large Print Gallery Books – We have large print transcripts available in all 10 languages offered on our audio guide, which are available at our Admissions desk. Please ask a member of staff for more details.

Guide Dogs – Guide dogs are welcome.

Sign Language – Should you require sign language assistance, please contact us on +44 (0) 151 709 1963 and we will check staff availability to ensure that help is on hand during your day of visit.

Cloakroom – Our cloakroom allows guests to store coats, prams/buggies and suitcases.

Fab4 Cafe – The Fab4 Cafe is located on basement level and is accessible via the exhibition and our Fab4 Store. The Fab4 Cafe is partially self-served – however, assistance is available if required. 

Find out More about British Music Experience + The Beatles Story Museum