Grove - Image Credit: Sophia Stefelle

Kahn ft. Rider Shafique - Image Credit: Sophia Stefelle

After The Fire - Image Credit: Sophia Stefelle

Rita Lynch - Image Credit: Marley Small

Hip Hop Garden - Image Credit: Sophia Stefelle

Image Credit: Sophia Stefelle

Solomon O.B - Image Credit: Sophia Stefelle

Irish Mellow + Cxption - Image Credit: Marley Small

Garden Party: Revolution Sounds was our second free-community event of the year where we said goodbye to the summer with a mix of live music, workshops, performances and an immersive exhibition: After The Fire.

As always we welcomed some of the best artists in Bristol and the South West all playing on The Den stage. From punk to experimental we had the likes of Rita Lynch, Talisman and Kahn. Kept a secret until they came on, headliner Grove closed out proceedings with an epic mosh pit.

"Inspirational people and artwork" Feedback, Garden Party: Revolution Sounds

In the Fyfe Hall, we hosted an immersive exhibition 'After the Fire', a thought-provoking odyssey through the sounds and sights of Bristol’s protest history in recent years. This exhibition allowed us to present a culmination of artwork made as part of the last two years of Art of Resistance - pieces created by participants including pottery and murals, alongside placards made as part of our Visions of Resistance including a mural made by Tanith Gould which was displayed outside People's Republic of Stokes Croft on Jamaica Street.

We also had a number of workshops running throughout the day, including Movema Dance Workshops and Button-Up Badge Making Workshop in the Main Hall, plus Hip-Hop Workshops in the Trinity Garden.

Big thanks once again to everyone that made this event possible - from the artists that performed, the exhibition curators, the workshop facilitators, the lighting and sound team working behind the scenes, the bar staff and Trinity Team, and of course all of you that came down on the day - over 1,200 of you came along, and we raised over £1,000 in donations so that we can put on more events like Garden Party for the local community.

If you'd like to stay in the loop with everything on at Trinity, head to our What's On page for all our upcoming events, or follow our Instagram, Facebook and Twitter and sign up to our mailing list to stay updated.

Art of Resistance is a two-year, National Heritage Lottery Funded project charting 100 years of protest in Bristol.

Kabaka Pyramid 2023. Photo credit: Khali Ackford

We are introducing a £1 Restoration Levy on every event ticket sold. This income will be used to create a dedicated fund for critical building works that will protect and maintain the Trinity Centre, a Grade II* Listed building and the grounds.

In Sept 2023, Music Venue Trust announced the UK is set to lose 10% of its independent venues by the end of the year. Like many grassroots music venues and arts centres across the country, Trinity faces unprecedented challenges due to the cost-of-living crisis, rising overheads and ongoing upkeep as a Grade II* Listed converted former-church.

The Trinity Centre is a space for a diverse multidisciplinary arts programme for over 73,000 people every year. Since the building has been in our guardianship, we have raised and spent over £3m in its restoration, to improve accessibility, maintain and enhance this vital community asset and invest in green energy solutions to reduce our carbon footprint.

As a registered charity, this Restoration Levy will be treated as a restricted heritage fund that will be dedicated to fulfilling our charitable mission, to preserve, protect and improve for the public benefit the Trinity Centre, formerly the Holy Trinity Church, and promote the heritage of this building.

Our aim is to continue to provide a vibrant hub where today’s and tomorrow's generations can find joy in unforgettable concerts, electrifying club nights, community gatherings and immersive, impactful experiences. Your support through the Restoration Levy will help us to continue this legacy, helping us to raise over £40,000 each year, to:

Maintain and improve the Centre: In a typical year, we spend over £100,000 on maintenance, repairs and facilities management and our 2022 conservation survey estimates over £400,000 additional repair works will need to be delivered over the next decade. This Levy will help us to ensure our doors can remain open now and for future generations.

Improve accessibility: As a locally rooted community arts centre, we are committed to ensuring our activities are accessible. These efforts have been recognised by the Attiute is Everything Bronze Award and we continue to strive to remove barriers to taking part to ensure everyone has access to great arts and cultural experiences.

Enhance sustainability: We have installed solar panels and LED lighting to reduce running costs and carbon emissions and will continue to work to improve the efficiency of the building and ensure that our programme for the people comes not at the expense of the planet.

Thank you for being part of the journey.

We are committed to creating ways in which citizens can take an active role in shaping arts and culture, through projects such as Citizens’ for Culture. This Autumn we are inviting creatives and activists in the West of England to respond to this year’s Black History Month theme ‘Reclaiming Narratives’ through the lens of Citizens For Culture’s core principles: inclusion, voice and influence. In the first of this content series DJ, vocalist and songwriter NGAIO discusses her music video Goddess.

Reclaiming the Narrative: NGAIO and Goddess

The creation of this music video was so important to me, to tell my story of what it’s been like to find myself and my beauty in a Western world as a mixed-race woman. The beginning scenes were filmed on the streets of St Pauls, where my topless billboard was put up as part of the Censored campaign, which was put together to raise awareness about the sexualisation of women's nipples and the persecution received when seen in public.

"Goddess is about saying we're all Goddesses - no matter what anybody tells us, we are exactly what we need to be. We don't need to starve ourselves. We don't need to have the same face and body. Our uniqueness is what makes us individuals."

Men can go topless at any time, but women can’t, why is that still the case? It folds into a wider discussion about how heavily women’s bodies are policed when we look at reproduction and beauty standards - it all comes back to what external people think women should do with their bodies and how they should look (which changes all the time). These consistent messages of scrutiny in society through the media, and comments made and overheard, led me to feel deep shame, embarrassment, and fear.

I have been on a journey of loving my curves and accepting - some days even appreciating - my lumps and bumps. Never in a million years when I was young did I think I would feel steady enough to not only be pictured without a top on, but to let that be shown to the world on a street five minutes from where I grew up.

Goddess is about saying we're all Goddesses - no matter what anybody tells us, we are exactly what we need to be. We don't need to starve ourselves. We don't need to have the same face and body. Our uniqueness is what makes us individuals. Whatever the shape, size, colour, or gender; you are a Goddess in every sense of the word. People try to tell us that we should look a certain way or act a certain way. We're consistently being told who we should be, but how we feel about ourselves shouldn’t be dependent on the external world. We are more expansive than that.

Goddess is about understanding that we are connected to more than this moment we're in right now on this planet. It is about the connection that we have with our spirituality and our ancestors which is why in the middle scenes I’m surrounded by foliage outside with my natural hair picked into an afro. These scenes were to symbolise the necessity of connecting with nature and the Earth from which we are all born and will all return. Some see the Earth as a rock we live on that serves us, and that is so sad. This living, breathing, organism has given us and our ancestors life - it continues to connect us in space, spanning time we can’t even fathom.

The breakdown in the song is a celebration of that realisation that we are our past and our future and if we are ever feeling lost or unsure, we can tap into the Goddesses inside us to find our way. Through connection to nature or connection to ourselves - knowledge and love are always there, inside us. It ends on a scene which was a nod to a duo who have inspired this new chapter of my musical journey - Ibeyi and their first release, River.

It was filmed by Charlotte Sawyer, a long-term collaborator and lover of nature who’s just won an award for her incredible documentary Rave on for the Avon to raise awareness about the dangerously unsanitary state of our water in East Bristol.

This song - for me at least - was made for moments when I’m feeling unsure, to calm me with melody and stillness, to shake me up with love, before releasing me back into the world. I hope it can do the same for you.

About NGAIO

NGAIO, the versatile artist renowned for her vocals, songwriting, and DJing prowess, seamlessly blends these talents to craft electrifying live performances. This year, she will debut her first self-produced EP 'Four Quarters' and accompanying live show, featuring live vocals and recreations of her productions delivered through Ableton Push. Soundscaping trip hop, jazz, bass and global music in a multigenre sound reflecting her travels - there's something for everyone. As a mixed-race woman, NGAIO infuses her artistry with personal experiences, enriching her music with poignant storytelling told through spoken word and jazz-infused vocals delivered with passion.

Transitioning from band and DJ gigs to curating a solo show, NGAIO intricately weaves jazz and underground bass influences, earning comparisons to the eclectic iBeyi and Greentea Peng. Beyond music, NGAIO advocates for cultural understanding, bridging divides between races and classes.

Check out NGAIO’s website or socials @ngaioamusic

Videographer - Charlotte Sawyer

Photographer - Charley Williams

Interested in finding out more?

• Email Imogen@trinitybristol.org.uk to join our Citizens For Culture mailing list
• Find out more about what a Citizens’ Assembly for Culture is in this Q&A
• Become a Citizens for Culture Associate

Citizens for Culture is an initiative from St Paul Carnival CIC, Trinity Community Arts, Citizens in Power and West of England Combined Authority and is supported through funding by Arts Council England, Paul Hamlyn Foundation and Calouste Gulbenkian Foundation (UK Branch).

Mya is part of Mandala Theatre Company. Credit Seed Guardians/Mandala Theatre Company

We are committed to creating ways in which citizens can take an active role in shaping arts and culture, through projects such as Citizens for Culture. This Autumn we are inviting creatives and activists in the West of England to respond to the Black History Month 2024 theme ‘Reclaiming Narratives’ through the lens of Citizens For Culture’s core principles of inclusion, and voice and influence. In the second of this content series, writer and actress Mya Fraser shares her poem Justice.

Reclaiming the Narrative: Mya Fraser and Justice

Justice

Think of a boomerang, an object which is designed to return

back to that throws forcer. What happens if it doesn’t come back?. History. Left behind whilst they dare to live without them. I believe in clarity. what i would like to clarify is the detachment clarify the sadness the hurt the wonders. I believe in comfort. something you can’t breathe properly without. your beats no longer stating the same rhythms. that irregulation speaks volumes. the very same songs the luth sings isolated. As if there’s a complete loss of control. where lies the control when the one creator's captured fix stays lost. You've Left the hand waiting behind whilst finding that paternal break. The originator plucks the air it once sat. pondering in what it’s doing. Where are you? Hopeful you’re homesick. do theirs caress better?  do theirs care for more?. Remaining wishful of tracing those invisible tracks in which the sand once led for you. Fulfilling the void that formed in your absence. To hear your sound once more would be an extraordinary pleasure in the figure and in the residential care of your beloved. Bring them home. Because again, I believe. and what i believe in most is a happy ending. rewriting a story doesn’t change the idea of the first plot, it manipulates the initial honesty. Here’s to history.

About Mya Fraser

Mya Fraser is a 20-year-old actress and writer, brought up in Oxford. At the age of 15 she decided to begin her acting career by joining young theatre companies based in her hometown. She later went on to receive her acting diploma in 2022 on a two year A-level equivalent diploma course at Bristol School of Acting. Fraser has been on multiple international tours with Mandala Theatre Company and is currently in their show Seed Guardians.

Follow Mya on Instagram

Interested in finding out more?

• Read the first part of this series, an exploration of NGAIO's music video Goddess
• Email Imogen@trinitybristol.org.uk to join our Citizens For Culture mailing list
• Find out more about what a Citizens’ Assembly for Culture is in this Q&A
• Become a Citizens for Culture Associate

Citizens for Culture is an initiative from St Paul Carnival CIC, Trinity Community Arts, Citizens in Power and West of England Combined Authority and is supported through funding by Arts Council England, Paul Hamlyn Foundation and Calouste Gulbenkian Foundation (UK Branch).

Tide and Tales perform during Summer Stay and Play sessions. Photo credit: Alistair Brookes

Trinity CEO, Emma Harvey, reflects on the challenges facing Bristol arts in the context of the wider cuts to arts funding and the impact this has on limiting pathways into careers in the creative industries.

In December 2023, Bristol City Council (BCC) announced their decisions for the Cultural Investment Programme, awarding grants in principle to 15 organisations. This included Trinity, newly funded Unique Voice, and Travelling Light Theatre Company who recently lost their regular funding from Arts Council England. Also Acta, ASLS, Asian Arts Agency, Bristol Pride, Circomedia, CYN, KWMC, Paraorchestra, Rising Arts Agency, Spike Island, St Paul’s Carnival and the Tobacco Factory.

With nearly a 40% reduction in total funds compared to past rounds, 13 groups missed out on regular investment. This included previously funded groups Bristol Old Vic, Encounters, Exchange, IBT, MAYK, RWA, Saffron, St Georges, Trigger and Watershed, alongside new proposals from APE, SSGB and Wardrobe Theatre.

"Rather than sharpening our elbows to fight for the crumbs that fall from the table we should be Oliver Twisting it up and asking for more."

As testament to the sector’s precariousness, two long-standing arts organisations were listed as, “closed or closing so not considered for investment”. Those not selected have responded with concerns about the continued cost of living crisis reducing audience revenue alongside rising overheads placing pressures on finances. Cultural institutions traditionally seen as too big to fail are facing an uncertain future and all funding is still subject to annual approval. This continued uncertainty means we're all on a sinking ship, just at different points of an inescapable decline.

Successes and setbacks are all part of business as usual at Trinity. After almost 20 years the best I can say when someone asks if we'll be here in twelve months is, "hopefully". In the voluntary sector, survival is as good as it gets. Hearing frequent ‘Nos' then trying to work out what's next is part of the job. Competitive funding rounds linked to political cycles are perhaps the worst at breeding a "them and us" mindset, making organisations old and new, big and small go up against one another for ever decreasing funds. It creates a short-term focus and leads to over-commitment, particularly from those smaller, newer groups desperate to move from being “out” to “in” any funding portfolio round. It leads to an unrealistic emphasis on measuring the intangible that benefits no one and decreases our appetite for risk, stifling the very creativity we’re seeking to support.

Rather than sharpening our elbows to fight for the crumbs that fall from the table we should be Oliver Twisting it up and asking for more. Were BCC to fund all 30 organisations listed to the maximum annual grant amount of £30k per year, this would amount to the amount to less 2% of the city’s total annual revenue spend. With many administrations nationally issuing or on the verge of section 114 notices due to difficulties in delivering balanced budgets, this can make such a case for arts funding appear entitled and out of touch with the everyday suffering of many across the country. But cuts to arts funding are part of a wider narrative (see links, below) of reduced investment in the arts that deprives those without the means from carving out meaningful experiences and careers in the creative industries.

Arts can be an easy thing to cut in difficult times but we’re doing so to the detriment of those who benefit from its power most. There is an intrinsic value that’s accepted and widely evidenced. Art is good for us; our economy, our health, our sense of place and belonging. And yet, one of the wealthiest city's in one of the wealthiest countries globally can’t even resource the creativity that sits at the heart of our local identity.

Collaborating with three local primary schools, Trinity recognises the significance of early engagement with culture in igniting creative aspirations. Children locally and nationally have witnessed reduced access to arts education compounded by challenges stemming from the pandemic and the ongoing burden of cost of living limiting access to out of school activities.

The ongoing decline in arts investment nationwide results in a gradual erosion of our opportunities to engage with the arts, limiting our cultural pathways. As the voices shaping our shared narratives become fewer, the story of our national identity risks being conveyed through an ever narrowing lens. Over time, this reduces the chances for individuals without existing wealth and means to pursue meaningful careers in an industry that contributes billions to the UK's economy annually.

It is commendable that, for the time being at least, BCC have sought to protect what remains of their public subsidy for the sector and focus what resource it can with the aim of sustaining participatory arts provision within neighbourhoods. But if we really want to ensure everyone has the opportunity to access and make art we need to think of better ways to ensure the investment is felt beyond a handful of suspects, however usual or unusual.

Some of the most successful schemes to support arts and diversify the arts sector have come from creative co-option of back-to-work schemes, from Future Jobs Fund and the recent Kickstart Scheme, providing paid entry level roles for <25s, to Thatcher’s Enterprise Allowance, which enabled some of the UK’s most prolific cultural practitioners to carve out their early careers and saw the birth of Brit Art movement.

Some trusts and foundations are catching on and supporting organisations and creatives in new and flexible ways. As far as public subsidy goes, we’re fighting for a seat at a table where chairs are continually being taken out of the game. Who will secure the chair once the music stops? A more impactful path involves collaborative efforts to lay the foundations for fairer resource distribution. Let’s stop playing someone else’s game and tip the table over.

By Emma Harvey, CEO

Further reading:

Bristol City Council defends cultural venue funding cuts (BBC)

Restore Bristol arts funding! (Equity)

The arts are in crisis (Gal Dem)

Government urged to intervene over local arts cuts (Campaign For The Arts)

Funding cuts and weak economy send UK’s visual arts into crisis (The Art Newspaper)

How will art funding cuts in schools affect creativity? (It’s Nice That)

Huge decline of working class people in the arts reflects fall in wider society (Guardian)

‘One Foot in the Dark’ is an exploration of our known and unknown experiences of identity, culture and change through text and movement.

It comprises a double bill of solo ‘The Skeleton is White’, exploring how the colour of our skin can affect our relationship to each other and to the environment and ‘Six Degrees from Home’, an inter-disciplinary duet by Divija Melally and Saili Katebe, exploring borders and connection through movement and poetry.

Both are honest explorations of two artists from the global majority understanding what it means to navigate through life, questions and unknowns.

Credits: First commissioned by Pegasus Theatre and Dancin’ Oxford Festival 2023.

About Trinity Presents:

This is part of Trinity Presents - our in-house programme of music and performance, bringing world-class artists and emerging talent to inner-city audiences.

Accidental Meetings & Trinity join forces for the release party of 'Singing Vessels', the debut LP of Nervio Cosmico.

Support comes from one of Bristol's best in Memotone.

Bristol-based duo Nervio Cosmico, Chilean composer Daniel Linker and Italian sound artist Matteo Amadio, fuse ancient South American instruments with live looping, generative sound design, and electronics to craft immersive sonic journeys.

Singing Vessels draws on Amazonian and Andean traditions, featuring clay whistles and shamanic instruments like the shacapa to evoke nature’s spiritual resonance. Blending organic timbres with evolving electronic textures, the performance unfolds as a ceremonial passage through sound, from the dense jungle to moments of catharsis and renewal.

Please note this is a standing event, accessible seating is available. To reserve a limited seating spot and/or arrange a companion ticket, please contact info@trinitybristol.org.uk

About Trinity Presents

This is part of Trinity Presents - our in-house programme of music and performance, bringing world-class artists and emerging talent to inner-city audiences.

Seedling Sessions - Image Credit: Claudia Rojas Nunez

In September 2024, we welcomed 'Seedling Sessions' as part of our in-house programme, Trinity Presents. The event is dedicated to showcasing early-career musicians with the goal of fostering a more inclusive music industry in Bristol. Beyond performances, people are able to access work experience opportunities in areas like artist liaison, stage management, and sound engineering.

The event is the brain-child of Bristol-based artist MĀDŁY (aka Cassie Madly) who curates diverse lineups, showcasing various genres which allows audiences to connect with artists they might not have discovered otherwise.

“Seedling Sessions felt more like a curated art experience than a gig. Each act took me on a journey, and the night flowed beautifully from start to finish. I can imagine it becoming a mainstay of Bristol’s nightlife.” - Audience Member

During September's event, Madly programmed Experiment x O.B, a fusion of Deems Experiment and Solomon OB; Jausmė, a Lithuanian artist known for her innovative use of the kanklės and Immy, a Bristol-based musician programmed through a partnership with music college BIMM.

For the event the Fyfe Hall featured decor designed to evoke the ambiance of an old-school jazz club, with cabaret-style seating, candles, and a cocktail menu. With over 110 attendees, the night was a resounding success.

On bringing sessions to Trinity Cassie shared that “Trinity is an iconic venue in Bristol that a lot of musicians dream of playing at. When I mentioned bringing my concept there, they were immediately supportive. The upstairs room, with its historic features and stunning stained-glass window, was perfect for the vibe I had in mind,”

Seedling Sessions were originally founded in 2016 by Cassie Madly (aka Madly), the event began as a monthly showcase, providing artists with the opportunity to perform live, while also receiving professional photos and videos to help promote future gigs.

Click here to see what's coming up on Trinity Presents

Duppy Hunter. Photo Credit: Sophia Stefelle

Over the summer, we teamed up with Tamasha Theatre Company and BAFTA award-winning game designers Coney to develop and deliver ‘Duppy Hunter’, an interactive theatre piece where audiences are invited to embark on a playful exploration of St. Paul's, assuming the role of Duppy Hunters in pursuit of an elusive spirit hidden amongst the streets and sights of this vibrant neighbourhood.

"A great way to hear about local history while walking around" Feedback, Audience Member

Duppy Hunter was created as part of the third instalment of ENDS & TALES, a series of immersive smartphone adventures. Previous adventures have included uncovering the untold stories of the Bangladeshi community in London’s Brick Lane and Chinese community in Liverpool’s Chinatown.

Bubbling with magical realism, audiences were invited to help fictional character, Josie (played by Nadia Williams - I’m Not Running (2019), Broadchurch (2013)), track down a duppy that has become loose in St Paul's. Josie is from a line of obeah women priestesses that have fulfilled the role of duppy hunters, who hunt for duppies that are trying to capture human souls to walk the earth and leave a host open to future possessions. Through helping Josie to solve the riddles the duppy leaves on its trail, the adventure will take audiences past Stapleton Road and Pennywell Road and crossing the Danny, before heading onto to St Paul's. Promising to conjure up nostalgia and a Bristol of yore, audiences will be immersed in stories unfolding through their headphones.

The performance was inspired by the stories share by residents of St Paul’s during workshops within the community that were delivered in partnership with 'Malcolm X Elders' community group. In the workshops participants reminisced over the old shops, nightlife, community movements and music which filled their younger years.

During one workshop one attendees reflected that they were really happy that to be able to share their histories of coming to Bristol from the Caribbean in the 1960's and 70's. Reflecting that this brought back memories of their younger days attending night clubs such as the famed 'Bamboo Club' , and the underground 'Shabene/Shubs' parties in the 70's. They also remembered going coming to the Trinity Centre in the 70's when it was an African Caribbean Community Centre

Writer Duppy Hunter Dr Edson Burton and Director Hannah Adu-Boateng then created a performance that mixed a walking tour, promenade theatre, and gaming elements to create an adventure and touching intergenerational story.

In total 71 downloaded Duppy Hunter and 20 took part in the community workshops. The performance is available as a free download for anyone to experience. Click here to download now.

Community stakeholders take part in Understory a digital mapping session by Onion Collective and Free Ice Cream. Photo credit: Trinity Community Arts/Alastair Brookes

A £3.1million investment package has been secured by Mayoral Combined Authority from Arts Council England and match funders to deliver a two-year programme that will open up the creative sector to more diverse talent, to create opportunities for more communities take part and create arts experiences and build a resilient sector that will drive economic growth in the West of England.

'Culture West' will include the creation of a citizen-led cultural delivery plan for the West of England region in 2024 through our Citizens' Assembly project that we developed in collaboration with St Paul's Carnival and David Jubb (Citizens in Power).

The Citizens' Assembly pilot took place in 2023 and was funded by the Celeste Gulbenkian UK Branch. As part of the partnership project, we delivered a series of exploratory workshops that included inviting South West residents to take part in sessions. The pilot project has helped shape the delivery for the 2024 project region-wide Citizens' Assembly.

Alongside the Citizens' Assembly. 'Culture West' will also offer support for creative professionals, mentoring and business advice, commissioning new festivals and offering industry-led skills training. The project will also see the region's schools have increased access to inclusive cultural experiences, with support for museum and theatre visits, artist residencies, and skills sharing.

Set the vibe for your weekend at The Den Socials in our outdoor venue

Nestled in the grounds of the historic Trinity Centre, uncover The Den; a place for food, friends and some of the best music from the underground scene right now.

From March 03 head down to the The Den Socials on Thursday and Friday evenings and enjoy food from local vendors, drinks and music from resident DJs and collectives.

The Den will be hosting local independent food traders and resident DJs each month. In March, local vendors Ceylon and Beyond and Small Fire Pizza will offering an array of Sri Lankan Street Food and handmade stonebaked pizza.

DJ collective Booty Bass - fresh off their sell-out New Year's Eve event at Trinity - will help set the tone for the weekend with their Friday evening residency (6pm-9pm). On Thursdays the Trinity team have connected with some of Bristol’s best producers and DJs to bring you an eclectic mix of artists including Mr Fitz, Kreed and Discobobulator.

Launching on 03 Mar the Den Socials will run Thursday/Friday evenings throughout the spring.

There is no booking required and entry is free – just bring good vibes and good friends.

Find out more about The Den Socials on trinitybristol.org.uk

March lineup:

Thursdays: Mr Fitz/Kreed/Discobobulator + more TBA

Fridays: Booty Bass DJ's

This series is part of Trinity Presents - our in-house programme in our brand new outdoor venue The Den.

Mungo's Hi Fi performing at Sequences Festival with Eva Lazarus and Charlie Hands

We are working with Bristol-based external promoters and artists to platform local grassroots artists alongside internationally renowned musicians. Teachings in Dub have been a staple of Trinity's programme for the last 15 years, honouring Trinity's legacy as a soundsystem venue by bringing some of the best Dub soundsystem operators and MCs to Trinity with monthly events at The Trinity Centre.

Ahead of our Day Party with Teachings in Dub and Mungo's Hi Fi on Sunday 18 August, we sat down with Mungo's to chat soundsystems, summer plans, up-and-coming artists and much more.

Q: Hi! Can you introduce yourself and tell us a little about how Mungo’s Hi Fi formed?

A: Hello - we are Mungo's Hi Fi, a Soundsystem based in Glasgow and named after Glasgow's founder, St Mungo. We started collecting vinyl, playing out, organising club nights, free parties and protests in the 90s. We saw the music as part of a social movement, and developed a DIY culture around what we did, starting to build our own soundsystem at the time.

"Bristol is the capital for UK soundsystem culture at the moment, fed by the deep enthusiasm for the festival and party scene, far enough away from London to have it's own scene, but still close enough to be involved with what's going on there" - Mungo's Hi Fi

Q: Your soundsystem is pretty legendary – can you tell us how it was developed?

A: We helped out with other people's sounds to begin with, and then found some old speaker boxes discarded in a skip. We bought an old amp, fixed them up and started building from there. We had a monthly gig in a bar which we took the sound to and played music at, as well as our own promotions in an old working man's club. We used the money from these events to pump back into buying more and better speakers and amps, as well as building speakers ourselves, some of which we are still using nearly 20 years on. It has improved over the years, and we have become more experienced in every aspect of using it.

Q: How did you first link up with Stryda and Teachings in Dub?

A: I am ashamed to say I can't remember. We used to listen to their radio show and they helped promote the releases we were putting out since we founded Scotch Bonnet in 2005...so we have been in touch for around 20 years. They have always been supportive of what we do, and vice versa.

Q: You’ve been a staple of Bristol lineups for some time now – is there anything about Bristol that sets it out from other cities in terms of Soundsystem culture?

A: Bristol is the capital for UK soundsystem culture at the moment, fed by the deep enthusiasm for the festival and party scene, far enough away from London to have it's own scene, but still close enough to be involved with what's going on there.

Q: What else does the summer have in store for Mungo’s?

A: This summer is pretty crazy for gigs. It started off with tours in Australia, New Zealand, America and Canada, and since then has been a whirlwind of festivals in the UK and Europe, from Latvia and Croatia, to the depths of the Scottish countryside. It is such a privilege to be invited to these sacred gatherings of various tribes. Got to say Boomtown will be a highlight this year with our first ever soundclash with David Rodigan.

Q: Who are some reggae and dub artists you think more people should know about?

A: Tough question, which depends on how much your ear is already to the ground. Coming from Jamaica right now you have to rate Samori I and Lila Ike as bringing something fresh and exciting. I'm a big fan of Johnny Go Figure from New York who I met for the first time a couple of weeks ago. As for the UK, I love what Joe Yorke is doing right now.

Q: Anything else you’d like to add?

A: I'm really keen to find out what the next generation will bring, and to see if there are ways that those of us who have been through it all can support them, cos I know it's harder than ever to make a name for yourself, let alone a career in the music industry. We help run a project in Scotland called The Soundsystem Project where we share some of the skills we have learned in building speakers, DJing, song writing, production and everything around that with young people. It really feeds my soul to see fresh faces getting involved, feeling inspired and growing as individuals and groups through the joyful act of making music together.

Mungo's Hi Fi will be playing at our Day Party with Teachings in Dub on Sunday 18 Aug alongside Solo Banton, Housewife's Choice and more - click here to get your tickets.

Ishmael Ensemble - Credit: Khali Ackford

We spoke to Pete Cunningham of Ishmael Ensemble ahead of their headline show at Trinity on 10 Nov as part of our in-house music programme Trinity Presents, to chat about the benefits of collaboration, Bristol's music scene, and what's next for Ishmael Ensemble.

Can you tell us a little about how Ishmael Ensemble formed?

I started the project in 2017 having spent years making more traditional sample based electronic music & feeling uninspired by the process so I started recording & sampling the wealth of musicians & vocalists around me in the Bristol scene. It was so refreshing to take things back to the source as well as push myself as a musician. It soon became a live band & the rest is history…

What have been your highlights of 2022?

Without doubt playing the West Holts stage at Glastonbury, I’ve been going since I was a kid & although I’ve played there before this felt like a real bucket list moment. Everyone brought their A-game & I couldn’t be happier with how the show went.

Aside from Glastonbury, we’ve been playing main stages at other festivals as well, it feels like we can finally present the project as I’ve always imagined it. I’ve definitely found a hunger to really hone the live show and dial everything in performance wise. I can’t wait to share what we’ve been up to since then.

It’s also been great to get back in the studio & work on new music.

Collaboration is clearly an important part of Ishmael Ensemble's musical identity - what benefits do you think collaborating with a range of artists provides?

It’s just a great way of staying inspired, it’s amazing to witness how different everyone’s approach to music making is. I’ve learnt so much & made some great friends through the process.

The Trinity show is going to be special as we’re able to invite pretty much all the vocalists & musicians I’ve worked with over the years. A real celebration of the project as a whole.

In your opinion, what makes the music scene in Bristol so special?

I think it’s big enough to attract a large amount of creative people but small enough for everyone to get to know each other. You can go to the pub & the rooms full of people doing interesting stuff & chances are you know most of them (& if you don’t yet, you will soon). It’s also a super-supportive community. Everyone goes to each other’s gigs & sings each other’s praises - there’s no room for inflated egos here.

What should the audience expect from your performance at Trinity?

It’s going to be a one off that’s for sure - it’s our largest headline show so we’ll be playing a super special extended set with loads of special guests joining us on stage as well as the amazing Jelly Cleaver on support.

I also feel we’re playing the best we ever have. It’s been great to really focus on the live show this year, upping the production & just getting the overall live sound & visual aesthetic right.

What's next for Ishmael Ensemble?

There’s lots of new music in the pipeline, some of which we’ll be debuting at Trinity. There’s lots of other exciting stuff but you’ll just have to wait and see for now!

Ishmael Ensemble will play Trinity on 10 Nov as part of Trinity Presents, our in-house programme of music and arts. Click here to get your tickets.

Artwork by Patch Keyes

Duppy Hunter: A Locals Guide to St Paul’s is a ‘listening experience’ where audiences are invited to embark on a playful exploration of St. Paul's, assuming the role of Duppy Hunters in pursuit of an elusive spirit hidden amongst the streets and sights of this vibrant neighbourhood.

This unique experience is a collaboration between Trinity and the renowned Tamasha Theatre Company, whose work supports both emerging & established Global Majority artists and arts organisations Coney who create playful digital experiences.

We caught up with the Director of Duppy Hunter, Hanna Adu-Boateng, to find out more about the adventure:

What attracted you to this project?

The project came about at a time when I was seeking work with Global Majority theatre companies. I was really interested in the collaboration between Tamasha, Coney and Trinity and the concept of the Ends and Tales genre of theatre. I liked the fact that the three organisations were looking for a director who was connected to the Global Majority heritages, especially the African Caribbean communities in St Paul’s, Bristol. I came to Bristol 30 years ago to work creatively within St Paul’s for an organisation called Kuumba, which empowered and developed people of African descent. Dr Edson Burton also worked there at the same time. However, an opportunity has never arisen for me to direct/dramaturg one of his plays. The project brief also aligned with my desire to delve into work which includes interviewing members of the community to draw out personal stories connected to the rich history of St Paul’s. I also was really attracted to the prospect of developing my work with digital media and audio production, which would be a new and exciting challenge for me.

Duppy Hunter is written by Dr Edson Burton, inspired by interviews with the local people of Bristol and their memories. How do you go about directing a piece of work that use community stories?

Directing Duppy Hunter means that you must be able to connect with, design a specific set of questions that you want to ask each interviewee, but also be flexible enough to go with the stories each person wants to tell. The memories of local people and their connection to St Paul’s give authenticity to the narrative, which Edson created. It is important that the writer has confidence in you honouring his work and the local people trust and are comfortable with sharing their memories with you. I think Edson drew out a strong narrative that will relate to many of the community of St Paul’s from decades gone by, but he also included poignant individual memories of characters who have passed, which must be overseen with care and empathy.

Why is a project like this important to Bristol - and beyond?

It is so important that Bristol and places beyond recognises and celebrates the epic contribution the African Caribbean people from the Windrush era onwards have shaped the political landscape, history and culture of the city. You can learn more from projects such as this.

What should someone expect to experience when they sign up for Duppy Hunter?

They should expect to have a lot of fun experiencing the narrative unfold as it transports you from one memory and place to another, through the central character of Josie, who is a Duppy Hunter. They will also be moving through different periods of time, encountering different people who have contributed to the racial justice and equality struggle.They will enjoy music from different decades, the singing of hymns and be moved by real people who have passed but will never be forgotten. They will learn alot!

Duppy Hunter runs from 03 October - 29 October and starts at The Trinity Centre - click here to get your tickets.

Gardna - Image Credit: Khali Ackford

Ahead of Gardna's headline show at Trinity on the 14 Oct, we sat down with the man himself to chat humble beginnings, highlights from 2022, and what makes Bristol such a special city to perform in.

Trinity are collaborating with Gardna as part of Trinity Presents, our in-house programme celebrating our diverse city and platforming emerging talent.

Can you tell us a little about the origins of Gardna?

This question immediately took me back to being a young wild and free G Man aged 13, I'd always be blue toothing grime riddims to my mateys on my flip up Sony Ericson phone outside the local skatepark standardly. Then bars became a hobby then it became something more serious, making tracks regularly so on and so forth, then gigs, hundreds of free gigs, and then yeah I haven't really stopped since.

How's 2022 been for you so far? Any particular highlights?

It's been absolutely crazy to be quite honest. The albums done alright, my tune R.A.V.E.A.S.A.P has had over 100 plays on Radio 1, it's even been getting smashed out on the Breakfast Show, my tune is on the Playstation game FIFA 23, I am currently BBC Radio 1 Future Artist of the month this month? Tore up Glastonbury, opened Boomtown and did 30+ festivals. Toured America with Mungo's Hi Fi. Been on one this year mate.

How has your relationship with Trinity developed over the years?

I've been coming here for a while now. Loads of unreal nights here over the years, the venue and it's love for sound system music is unmatched in this city. Jamell has had my back and put me on for a few things at the venue including their legendary Garden Party. He believed in me to put on my headline show at Trinity, it's a big leap of faith, but its happening.

In your opinion, what makes Bristol such a special city to perform in?

Bristol is Bristol innit. We know what we're doing here in this city. No messing about. There's really no place like home.

The lineup for your event at Trinity is quite something - how did you choose who to include?

First and foremost, I'm just a massive fan of everyone playing at this event. I've booked them to be there because they're flippin great and they know how to really work the dancefloor in true Gardna & Friends style and flavour. Whether I've met them this year, or we've known each other our whole teenage lives - this line up is my musical family and it's a representation of emerging artists, long time collaborators, Radio 1 DJs and absolute foundational legends. Everyone on this line up has in some way single-handedly changed the game for me at some point and I owe them ALL a pint. Or just a good gig in October.

What should the audience expect from your night at Trinity?

A celebration of the spectrum of sound system music. My biggest headline Gardna show to date. Amazing guests. Oh, and tears. There will be tears. And rum.

What's next for Gardna?

We have some banging R.A.V.E.A.S.A.P remixes and we're already deeply in the zone writing my next album right now. Can't stop won't stop. See you in October gang.

Gardna + Friends will play Trinity on 14 Oct as part of Trinity Presents, our in-house programme of music and arts. Click here to get your tickets.