A blue plaque commemorating pianist Winifred Atwell, the first Black artist to achieve a number one hit in the UK, has been unveiled at her former residence in London.
Born in Trinidad in 1914, Atwell relocated to London in the 1940s and remains the only female instrumentalist to ever secure a top-selling single in the UK.
The plaque was revealed at her previous home located at 18 Bourdon Street in Mayfair by broadcaster and fellow pianist Jools Holland, who referred to her as “an inspiring figure at the piano for both Sir Elton John, myself, and many more.”
English Heritage, the organization that oversees the blue plaque initiative, highlighted Atwell as an “internationally acclaimed pianist, television star, and pioneering businesswoman.”
The plaque also signifies the location where Atwell housed her two most iconic instruments: her Steinway concert grand piano and her “other piano”—a purposely out-of-tune upright piano that became synonymous with her unique sound.
From 1952 to 1960, Atwell spent a remarkable 117 weeks in the UK charts, graced over 100 BBC radio shows, and hosted her own programmes on both ITV and BBC television.
While in London, this musical icon also leveraged her skills as a trained chemist to launch a hair salon in Brixton, specifically designed for Black hair care.
Before the unveiling, Holland remarked, “Winifred Atwell holds significant importance in British cultural and musical history. She was among the first women—and notably one of the first women of Afro-Caribbean descent—to emerge as a prominent figure in 1950s British entertainment.”
He expressed that being part of the blue plaque ceremony was “a tremendous personal honor.”
Musician and broadcaster YolanDa Brown praised Atwell as “a mesmerizing performer and a genuine trailblazer,” emphasizing that her entrepreneurial drive allowed her to transcend racial and musical boundaries in mid-20th century Britain.
Brown further stated that Atwell “paved the way for Black artists” and called the plaque “a tribute to a woman who truly deserves greater acknowledgment in the narrative of British music.”
