Last week saw the end of Cardiff Music Festival, a “new” festival that sought to bring together existing festivals like Sŵn and Llais, plus the Welsh Music Prize that already take place each October, adding more events over three weeks and rebranding it under the CMF banner. This is part of a plan to prove that Cardiff genuinely is a music city.
The council’s organisers boasted of its potential to help “bring 20,000 music fans” to the city. They stated it aimed “to celebrate artists who have pushed the boundaries of music production and performance and continue to do so, creating a space for new and established acts to inspire audiences, try new things, and deliver unique participation experiences.” They also claimed that Cardiff Music festival with “a festival site that stretches and sprawls through a labyrinth of spaces, busy streets and quieter corners, through Cardiff’s dynamic city centre to the glistening river mouth and freshwater lake of Cardiff Bay, Cardiff Music City Festival is reinventing what a music festival can be.”
Cardiff Council Leader, Cllr Huw Thomas, said: “Music is the beating heart of Cardiff and the first Cardiff Music City Festival is a key part of our music strategy to support every part of the city’s music ecosystem – from musicians to producers, promoters, venues and beyond..”
The festival featured multiple events at a range of venues across the city from the 27th of September to the 20th of October, including shows from Orbital and Leftfield, Ms. Lauryn Hill and The Fugees, Irish rap trio Kneecap, and saxophonist Alabaster DePlume who performed in the serene surroundings of Llandaff Cathedral.
Whilst some questioned whether the event would be “Cardiff enough”, it included laudable local events and artists, including a celebration of ten years of the Forte Project & Horizons featuring alumni including HMS Morris and Minas. Plus N’famady Kouyaté with Bridget O’Donnell and Misha Mullov-Abbad at Porters, local act Ritual Cloak who played an immersive event at CULTVR and promising alt-pop artists Honddu, Freyja Elsy and Yellow Belly who performed the Moon club. Also, a bill curated by rapper Mace the Great who was born and raised in Splott, taking place at Tramshed: ‘Welcome to Wales’ was a showcase of the exciting local Welsh hip-hop talent, also featuring Sage Todz and Luke RV, Aleighcia Scott, Adjua, Local Source and Silk Futures.
“The Welcome To Wales show was most certainly one of the highlights for me and others from the amazing feedback received,” says organiser and artist Mace The Great. “It had a real buzz, and sense of unity for music of black origin in wales. A real pleasure to be given the opportunity to curate and promote such a meaningful event that will go down in Welsh music history!”
Tân Cerdd C.I.C – a collective of Black creatives committed to fight for inclusion, authentic representation and recognition for Black Welsh Artists, also ran shows in association with the Gate and Porters. Their show on the 20th of October featured artists like Terri Walker, Aisha Kigs and Anwar Siziba. These are events that would not have happened without the investment of Cardiff Music Festival. It’s clear Cardiff and indeed Wales has a wealth of talent. That isn’t the issue.
In the run up to the event a widely shared article in the Guardian trumpeted the festival and argued that it showed how the city had come back from the brink of losing most of its venues. But given the lack of a clear strategy, obvious direction from the music board, the closure of a number of venues since it was established and still threats to the small number of venues in the city that remain, I tactfully ask the writer to look a little deeper. Whilst there have been positives with investment in venues like Clwb and Porters, is putting a ‘bow’ on existing music festivals, and events adding a few extra ones and calling a festival really the best use of resources(allegedly £600,000)? Do these events really prove that Cardiff is thriving? Why is Cardiff more of a music city than anywhere else? Are lasting roots and infrastructure being laid in the city, so that outside of three weeks at the end of September and into October, the city lives up to the bill as a “music city” all year round?
A huge grassroots fan-led campaign entitled “Save Womanby Street”, the central area for venues in the city, was seen as successful back in 2017. It culminated in a huge and inspiring march, that I joined, through the city. “It was a powerful moment that brought thousands of people together,” rightly noted Adam Williams, Clwb’s head of music.
It followed proposals for a hotel in the Wetherspoons building and plans for residential buildings on the street, that could have threatened key venues in heart of the city like The Moon club and Clwb Ifor Bach. In 2019 a similar campaign to Save Gwdi Hw led by Daniel Minty saw thousands march and sign a petition, to save the venue and the neighbouring buildings from redevelopment, yet they sadly now lie as shells after a decision to sell the buildings by the landlord with only the frontages of the buildings on Guildford Crescent remaining, until they were bulldozed by developers, apparently without permission. Buffalo Bar was forced to close due to an increase in business rates.
In 2019, Cardiff Council and Sound Diplomacy dubbed Cardiff “a music city,” Sound Diplomacy is a company that had already worked with cities Barcelona, Berlin, San Francisco and London to try and expand and protect their city’s music environment. They pledged to “work with the whole music sector in Cardiff and its stakeholders to form a music tourism strategy. The idea is to work with musicians, promoters and venues, through to planners and licensing authorities to look at the value music can bring.” Since then there was a report produced by Sound Diplomacy with 12 key recommendations, including a new “music board” which was formed.
By 2020 it was announced that a planning application had been submitted to turn the Ten Feet Tall and Undertone venues on Church street into a restaurant and commercial units. This came as a shock to its staff who said they found out when they read the news on Wales Online and who all resigned on mass citing the owners lack of interest in music and plans to replace the venue with a restraunt. In many ways these events exposed the lack of protection for these venues and the council’s willingness to give in to redevelopment.
Since the formation of the board Cardiff Council said it would buy a derelict building next to Clwb Ifor Bach, helping protect the street’s music venues from potential unsuitable residential developments,. This was a welcome development and there have since been proposals, reported last year, that Clwb would shift from a 300 capacity venue to rooms with 500 and a 200 capacity at the venue. Clwb started a fundraising drive that it says would culminate in a planning proposal being submitted in 2025, but there is yet to be an update on how far they have got in securing funding for the development, in the intervening year.
Despite the fact we need more regular venues, there have been a few positive developments in recent years, The Moon managed to survive as an independent venue through fan funding of its patrons and its strong booking and intelligent tapping into the local music community. Tiny Rebel opened up a music room at the other end of Womanby street, Fuel rock club has survived against the odds. Unique spaces like Sustainable Studios and CULTVR have opened.
Cardiff Music Board and Creative Wales helped Porters, a key venue for grassroots artists given its “free” gig offering, to relocate to Charles Street with a fan-funded campaign matched by assistance from Creative Wales Music Capital Fund, they have managed to satisfy the debtors that threatened its existence, for now.
Owner Dan Porter said the money had helped make the new venue more accessible for customers with disabilities. “I cannot overstate how difficult it is for grassroots venues at the moment – everything is against us.”
“There is no doubt in my mind that without support like this we would have found it impossible to continue, meaning and artists and audiences would have lost another venue.”
Of course Cardiff isn’t alone, grass roots music venues are struggling to survive across the UK. Earlier this year it was reported more grassroots music venues risked closure. The Music Venue Trust (MVT) said financial stresses led 125 UK venues to abandon live music in 2023, with over half of these shutting entirely.
Despite great work done by many venues, promoters and artists and welcome investments in the venues like Clwb and Porters, it’s still questionable if Cardiff can claim to be a “music city” when the number of grassroots venues in the city has actually shrunk since 2017.
In the intervening period we have lost venues like Four Bars (which was a cornerstone of Womanby street music venues) Ten Feet Tall, Undertone, Buffalo, Gwdi Hw, and others I’ve probably missed out here.
Promoter and owner of Diverse Records Matt Jarrett responded to the Guardian article on Facebook:
“In 2017, there were loads of venues that you could book and put on shows as an independent promoter, loads of great stuff was going on, Dempseys was still open (just), there were decent pubs to hang out in before and after gigs. Cardiff was brilliant.
But hey! Now we’ve got the same things that were happening anyway (Sŵn/Llais), but under a shiny new banner. Hoorah! We’re all saved! Everything will be OK!
There are loads of people that have kept this city’s music scene going since 2017 and they know who there are. They probably won’t get a mural or a Guardian article.”
In September it was announced that a new venue fund would offer grants of 10,000 to venues. Councillor Thomas trumpeted this and the work of the board: “coupled with the work we’ve done to find new homes for venues like Porters and Sustainable Studios, the capital funding we’ve made available for grassroots venues, the new ‘Little Gigs’ talent development scheme we’re delivering in schools, the appointment of the city’s first-ever Music Officer – whose focus is solely on working with the industry – that’s all helped get us to a place where people working in music in Cardiff understand we can’t solve every problem, but know that if we can find a way to help, then we will.”
But many locally criticize the board for a lack of action and practical results since it was formed, and despite the fact it contains some passionate and excellent members, even the independence and transparency of how it was assembled. According to their own website The Music Board last met in 2021, and there is a question of why there aren’t more regular updates? Some artists I’ve heard from still report difficulties in playing in the city, and venues, artists and promoters are still facing daily challenges from travel costs, parking fees on Womanby Street, to rising business rates and the decline in footfall since the COVID-19 pandemic and with a cost of living crisis. “The council has supported Clwb and there’s some support for existing venues. But the idea that everything is rosy is absurd. There are far fewer Grass Roots Music Venues than previously. Even before Covid venues were being lost quickly, and I really see what the CMC is doing would have saved any of them if the same scenarios came about.” Local promoter Lloyd Griffiths argued. “They have supported Porters and that’s to be applauded, but there needs to be more GMVs and more protections for them. Carnedd closed the same week CMF started I think, and I didn’t hear a peep about it.”
There is still a lack of a clearly expressed music strategy with defined aims and objectives that can be tested too: to support and grow the local music scene, to protect venues, promote listings, improve transport links and everything else Cardiff needs. “It’s not clear to me what the music board is doing and how the council see the role of that. There have apparently been meetings since 2021 but they aren’t listed on the council website.” Griffiths continued.
Ed Townend a promoter and technical manager at independent venue The Moon is more positive of the support citing the recent appointment of a Cardiff Music Officer: “I think whilst The Guardian article feels a little weak in terms of covering the bigger picture of Cardiff’s current issues, from what I’ve experienced this year with the new Cardiff Music Officer and the support and opportunities Cardiff Council have given us, I think it’s of benefit to the music scene for these sorts of events and schemes to happen.”
Still, the gentrification (also a curse to independent venues and spaces in major cities like London and Manchester) of Cardiff town centre continues with the rise of high-rise private student accommodation and souless flats. The owners and directors of these buildings talk about “balance” but where’s the balance when they want to turn their spaces into another office block or restaurant when there’s already a huge preponderance of these in Cardiff city centre?! As a council Cardiff needs to think carefully about logistics and the balance of culture and accommodation in the city centre, if you strip away the cultural landmarks and history from the city what do you have? Music and culture has always been at the heart of what brings Cardiff city center to life, part of what makes it unique allowing young people to make music, gives scenes an opportunity to thrive and fans the chance to experience the thrill of live music in the flesh, we need to protect and support it before it’s too late as the rush for profit strips it away. “That, Gwdihw and other venues closed because landlords decided to close them. If we’re relying on the kindness of city centre landlords to protect the cultural life of our city then we’re always going to end up losing places people love.” Griffiths points out.
Llais opened with a fantastic Welsh Music Prize and it was the best one I’ve attended, fully sold out at the Wales Millennium Centre, there was a buzz in the air, the performances from the likes of Gruff Rhys, Chroma, HMS Morris, WRKHOUSE, Voya, Aleighcia Scott and winner L E M F R E C K were excellent. And the inspirational achievement speech from Eric Martin known for his work with Technetronic was inspiring. L e m f r e c k’s win for his excellent album Blood Sweat & Fears felt like a real moment, not just for him as a brilliant artist with the potential to break out, but his community too. It really felt like the Welsh Music Prize had responded to criticism that it was too narrow in it’s scope and not diverse enough, with fifteen nominated artists and a good representation from the exciting Welsh black music scene.
Llais also hosted some unique events including Georgia Ruth with a string orchestra Joan As Policewoman, plus a performance by an original pop voice, Fabiana Palladino. It ended with a event featuring amongst others Lady Leshurr, Sara Pascoe, Irvine Welsh, Hollie McNish, Jackie Kay, Carys Eleri and Norman Blake (Teenage Fanclub). Some did question if it quite had the star power of previous years, however, it’s undoubted there was an eclectic range of events to dip into.
Sŵn festival this year undoubtedly hosted many brilliant local and national acts, but there were also a few issues with logistics, communication and booking. On Thursday I received a few messages about mixers and the conference asking me if I was in attendance, but despite receiving a pass to the festival I was neither invited or even informed of the conference timetable or mixers so I didn’t attend. Surveying those who did appear on panels I noticed the majority were industry people from London and elsewhere, whilst it is brilliant to bring that kind of experience, insight and expertise for local musicians and those in the local scene to tap into, it’s also a bit of a kick in the teeth for local media and figures who are part of the infrastructure of a music scene all year round not to be included too. This is something Focus Wales do really well they are in inclusive event and conference and promote Welsh media and industry figures and those interested as well as international delegates.
On Friday night some festival goers were denied entry without a wristband despite holding a ticket and asked to traipse across the city in the rain and back to pickup a wristband instead of being able to gain entry at the Tramshed venue, which if you know Cardiff is at least twenty to thirty-minute walk – that’s unless you can walk as fast as an Olympic athlete. In fairness to Swn they responded and by Saturday that issue was resolved.
Elsewhere despite these niggles there was a lot to enjoy on the bill, I saw some incredible acts including energetic local rapper Razkid, a band I had never heard of from London called The None who were awesome, blowing my head off with a hard-hitting mixture of punk rock, relentless percussion and primal vocals, inspiring a raucous moshpit at Clwb Ifor Bach, while the dreamy meditative electro tapestries drawn by Art School Girlfriend beguiled on the top floor.
On the Saturday buzz bands like Mary and the Junkyard and others were inexplicably in tiny venues like Jacobs market where it was one in one out, which was frustrating. Also with a nearly sold out festival huge queues and overcrowding in venues, have been an issue before. But other highlights included Melin Melyn, English Teacher, and Lambrini Girls.
Kaptin Barratt – Hip-hop Coordinator at Amgueddfa Cymru / Museum Wales offered “It’s been a tough time for live music recently, but the festival proved that we can make it work still. It was such an exciting and inspiring few weeks that hopefully it will be the boost needed to recharge the scene here over the following months”
Welsh music prize nominee Aleighcia Scott told the Guardian, the sense of collaboration and spirit of the local scene was reflected in the line up: “Wales is known as the land of song, so it’s only right for the capital to be a home for that.”
“I think we still have a way to go in terms of calling Cardiff a “music city” but this festival was proof we have so many amazing artists, bands, & djs there’s absolutely no reason we can’t achieve that status in due time.” Argues Mace
“For me to be a music city it has to be all year round and not just for one month, It’s come a long way but still more work to do. What I can say is next year will be bigger and better, but the progress over the last 5-10 years has been incredible, and I’m super excited to see what the future holds for Cardiff and the Welsh music scene!”
Whilst there are positives from rebranding this time of year as a Cardiff Music Festival, the investment and the highlighting of the fantastic artists and venues we have is to be welcomed, maybe moving forward the opportunities for better coordination between each part of it, if the event continues in future years.
For instance, Llais and Swn are still very much stand-alone festivals when they could share logistics, timetables and clear travel information. Townend believes the local music scene needs to embrace and work with the board. “I think a healthy dose of cynicism is … healthy, but I’ve seen in Cardiff that for far too long anything that could be positive or a turning point for a music scene has been approached by some with as much enthusiasm as one would approach a porcupine.“
“Yes there’s always an element of “is this going to actually help or change anything?” when things like this are announced, but I think that now through feedback and working together these things are posting. Rather than holding something like this at arms length or scoffing at it, those who have engaged with the Cardiff Music City endeavour have actually really benefitted from it.”
Many of the events that happened this past month, wouldn’t have happened without the investment from the music board and the noises from many of the venues are positive about its impact. “I think having some support with these shows allows people (ie us) to put on shows we might be a little more cautious about putting on. “ Notes Townend at the Moon. “It allowed us to programme genres that have smaller audiences or put on shows for under 18s. That benefit of funding/support is a massive help in a time when every music venue in the country is scraping by.”
But despite this just from seeing the pictures circulated afterwards, some of the bigger shows at Cardiff Music Festival didn’t sell out, including the appearance of Lauryn Hill at Utilita Arena, so while they may have attracted visitors, did the cost of bringing big names to be part of the event prove to be a worthwhile use of funds? Also, there are questions around cost and accessibility for residents, if this is a Cardiff festival shouldn’t it be more reasonably priced across the board to attract local people, we are still living through a cost of living crisis after all? Disadvantaged communities may feel excluded. For instance, a Sŵn festival weekend wristband would set you back £130, you would also have to pay separate fees for Llais (who in fairness have recognised this offering tickets at around £30 and free tickets to a certain portion of locals) and the other standalone events to be able to enjoy all of the events. Compare this to Focus Wales in Wrexham, which is one wristband for all events over three or four days.
Also, the conference could be one big one, that’s also inclusive of local and Welsh media too, how about inviting more local media, promoters, academics or labels? Too often it’s a case of who you know or who invites you, when in reality communication and inclusivity could be improved to help the whole ecosystem thrive. It’s not hard to identify the small group of interested local media, influencers or academics and to make them delegates who sit alongside London publications like DIY, both things can exist. These are issues that could be addressed if CMF returns next year.
Hopefully, this event does recharge the local music scene outside of this month, it’s my home town and I passionately want that. But despite the positives, one can’t help but think that CMF is a bit of a sticking plaster in a way, another reason for the board to exist. As well as new one off events, we need to tackle some of the deeper issues and barriers in the local music scene, and if there aren’t the building blocks for a genuine linked-up CMF in future, the effect will be temporary.
Despite some good recommendations, some of which have and haven’t been enacted, there still isn’t a clearly defined music strategy that’s inclusive of all local parties, venues, promoters, musicians and media. In my view for what it’s worth, there needs to be a linked-up strategy looking at challenging the issues and costs venues face, the lack of travel links(to South Wales across the Severn bridge/also into and out of the valleys), parking costs, better cooperation between venues, the promotion of local listings and media and regular inclusive networking events. Otherwise, venues will continue to struggle in Cardiff, and unlike Swansea which seems to be thriving in comparison right now, the audiences will be inconsistent.
We need to look at how we can make it easier and more enjoyable for artists to play here all year round. So that Cardiff is a destination, not a place some big tours skip because they don’t want to cross the bridge, also how we can protect the spaces in the face of gentrification and the preponderance of student flats and high-rise tower blocks springing up around the city. We have to look at where the gaps are in the cities’ offering of venues, many have found their spaces as unviable.
We need to look at creating new types of unique venues, that are a joy to visit, that fit in with people’s shifting lifestyles, ones that attract the large student population – many of whom may not be aware of the shows available to them on their doors steps. They don’t have to be traditional music venues but could be more comfortable venues with matinee shows at times.
While the investments from CMB and Creative Wales, the increased engagement with venues, and the highlighting of Welsh talent are to be embraced, more can be done. There are practical areas to immediately address for the Cardiff Music Officer that’s just been appointed, which could, in my view, have a deeper and more lasting impact than another rebranding exercise or PR splash. Only then can Cardiff start to live up to the tag “music city.”
