In light of recent protests against redevelopment, Cardiff Council has taken significant measures to safeguard local venues and foster new talent in the city. Artists in the area find themselves encouraged, but they emphasize that there’s still much work to be done.
The phrase “In these stones, horizons sing,” etched in copper above the entrance of the Wales Millennium Centre in Cardiff Bay, beautifully illustrates the diverse creative voices present in this city. For years, Cardiff’s vibrant music scene has been overlooked, and its resilient communities have often been underestimated.
Located near Butetown, one of the UK’s oldest multicultural neighborhoods, the Wales Millennium Centre is a key feature of the Cardiff Music City festival, which spans an entire month. This festival harmonizes existing events like Llais, focusing on vocal performances, with new offerings such as Sŵn, alongside unique shows like a special double billing of Leftfield and Orbital. The lineup includes a variety of artists, from cult pop favorites like Fabiana Palladino and Porridge Radio to experimental composer Gwen Siôn, who creatively blends field recordings with traditional male voice choir elements and electronic instruments. The festival also showcases Tuareg rock, jazz from Butetown, and songs in the Noongar language from Western Australia.
Cardiff Music City represents more than just another festival in the UK; it signifies a remarkable revival of the city’s cultural landscape. In 2017, local independent venues on Womanby Street faced closure due to threats from proposed residential developments and a Wetherspoon’s hotel, leading to concerns over noise complaints. Residents united, marching through the streets and successfully pressuring the council to recognize the significance of this vibrant “music quarter,” home to venues like the rock club Fuel and the iconic Clwb Ifor Bach. Adam Williams, head of music at Clwb Ifor Bach, reflects on that pivotal moment, saying, “It was a powerful moment that brought thousands of people together.”
The collective action resonated with local leaders. Cardiff Council leader Huw Thomas remarked, “That moment was the catalyst for us to really start thinking seriously about the value music has to the city.” As a result, the redevelopment plans for Womanby Street were ultimately abandoned, and in December, the council brought in cultural consultancy Sound Diplomacy to develop a strategy aimed at revitalizing Cardiff’s music scene in response to the protests.
However, some venues, including Gwdihŵ and Buffalo, shuttered before the council released the Cardiff Music Strategy in April 2019 due to rising business rates and mounting redevelopment pressures. The closure of these venues galvanized further advocacy, resulting in 12 key recommendations to protect and promote music in Cardiff, including the establishment of the Cardiff Music City festival.
Thomas underscores the council’s dedication to “developing talent in our schools, protecting our grassroots music venues, and creating the necessary infrastructure for us to be a world-class music city.” This initiative also led to the formation of a Music Board made up of councillors, venue operators, and journalists, alongside a dedicated music officer within the council’s framework. “All of this has helped us reach a point where music professionals in Cardiff understand that while we may not be able to address every issue, we are here to help where we can,” he adds.
The Cardiff Music Strategy set a benchmark as a national first, influencing similar initiatives in Belfast and Liverpool aimed at rejuvenating their local music scenes post-pandemic. Tom Rees from the indie band Buzzard Buzzard Buzzard notes that the council and local funding bodies are now more supportive of those involved in the music scene. “This is definitely an improvement compared to the past,” he observes. To further support local independent venues post-pandemic, open-air gigs were introduced at Cardiff Castle, and support has been directed toward securing new locations for the multi-arts hub Porter’s.
Reflecting on past challenges, Rees wrote the 2021 single “Crescent Man vs Demolition Dan” in response to the protests to save Gwdihŵ, noting that the venue “didn’t get the support it deserved” from the council. He stresses the continuing need for more grassroots spaces to make up for those lost. “Many artists in Cardiff still feel disillusioned with the industry, but I respect the ongoing efforts to address that,” he shares, appreciating the positive impact of the Cardiff Music City festival, which provides an essential platform for evaluating ongoing changes.
Welsh music prize nominee Aleighcia Scott echoes this sentiment, declaring, “Wales is known as the land of song, so it’s only right for the capital to be a home for that.” She observes that the progress made in recent years has nurtured a spirit of collaboration among emerging Welsh talent, especially evident in the festival’s diverse lineup. Scott is set to perform alongside a variety of artists, including soul and hip-hop acts and bilingual drill rapper Sage Todz, at an event co-organized with the Mobo Awards.
At the Wales Millennium Centre, creative director Graeme Farrow envisions the festival as a way to build community and highlight Cardiff’s unique identity. “People have often been so modest about what Cardiff can contribute,” he notes. “I hope this festival not only changes that narrative but also allows us to proclaim that this is a city with a truly distinctive voice.”
The Cardiff Music City festival runs at venues across the city until October 20.
