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Traditional African music continued in spite of legal restrictions, including the use of drums and rattles, and declamatory and improvised call and response vocals. Much African music was used in Obeah, an African religion found throughout the island. By the beginning of the 19th century, slaves provided most of the musical accompaniment for plantation festivities, such as the Harvest Home, while the white elites participate in dignity balls.

The largest Carnival cultural events which take place in Barbados are the Congaline Festival and Crop Over Festival as known internationally.

As political awareness among the black majority on the island spread, so did bebop, a kind of jazz which was associated, in the United States, with social activism and Afrocentrism. The first Barbadian bebop musician from the island was Keith Campbell, a pianist who had learned to play many styles while living in Trinidad during a time when American soldiers were stationed there, providing a ready market for bands that could play American music. Other musicians of this period included Ernie Small, a trumpeter and pianist, and bandleader St. Clare Jackman.

In the parish of Saint Michael lies Barbados' chief city Bridgetown, which is the nation's capital. Locally Bridgetown is sometimes referred to as "The City" or "B-town". Other towns include Holetown, in the parish of Saint James and Speightstown, in the parish of Saint Peter.

Following emancipation, ensembles consisting of snare and bass drums, flute and triangle emerged; these were called tuk bands, and may have been based on British fife-and-drum corps. They used African polyrhythms and syncopation, and accompanied the community dance troupe Landship, which simulated the movement of ships at sea through dance, as well as at various kinds of celebrations and festivals.