News Westgate To The World: Transforming Wakefield

Owen Hatherley, ‘A Guide To The New Ruins Of Great Britain’, 2011.

Given that Hatherley’s words are spot on – he quantifies it by saying “Wakefield feels normal – just a bleaker version of normal” – it’s the last place you’d expect to see veritable green shoots of cultural growth and reinvigoration emerging, but thanks to the effects of the imposing, impressive Hepworth gallery (sited an unbelievable sub-5 minute walk from Kirkgate station) and the tireless work of those behind the Long Division festival, there’s a genuine sense that steps are being taken to improve matters.

As both the Hepworth’s outgoing Visitor Services Supervisor and a Sheffield-based DJ and promoter, Pull Yourself Together’s Dan Feeney has been in a position to view the changing landscape from a number of different perspectives. “In the time that I’ve been getting to know the city of Wakefield I would definitely say it is benefiting from a programme of cultural regeneration. Obviously the birth of a £35 million, world-class art gallery is going to make a difference and act as a catalyst for change and there are a lot of things that seem to be happening which are bringing together creative people across the city and Yorkshire. The Hepworth Wakefield isn’t the only thing going on, when you look at what Rhubarb Bomb and Long Division are achieving in terms of live music, Philophobia in terms of releasing records, and the great artists working out of Westgate Studios, it’s not hard to see Wakefield as a city which is revitalising itself through culture.”

It’s a view seconded by Dean Freeman, who through his Rhubarb Bomb fanzine/promotions has championed the local scene for years, culminating in a recently-published book documenting the history of the local music scene and the organisation of the Long Division city festival. “I think part of it is just making better use of what was already here and promoting it better. Things like Yorkshire Sculpture Park have been national draws for years but it feels like all the various institutions are beginning to work together more effectively. And are more interested in working with less ‘official’ organisations, things like Rhubarb Bomb. Because in a place like Wakefield there is often this gap between ‘The Arts’ and ‘Normal People’ and it is always about engaging people who may not usually be into The Arts. That is really beginning to happen now.”

This engagement was never more evident than at this year’s edition of Long Division, where curious locals jostled with music obsessives to see the likes of This Many Boyfriends and The Longcut grab everyone’s attention at The Hop, Art Brut decimate Wild West-themed nightclub Magnum’s, and The Twilight Sad and Aidan Moffatt spellbind their respective audiences at the picturesque Theatre Royal. A sub 5ft old lady in a pea coat could be found bopping away merrily to Standard Fare. It’s worth noting that Long Division receives a large part of its funding as a Co-Op Community Project, and walking around this year’s festival the way in which the residents were behind it, and how it seemed to bring the best out of the city, were both inescapable and near-tangibly evident. More so than the likes of, say, Camden Crawl could lay claim to.



It’s something Feeney definitely agrees with. “I see Long Division as being far more thought out than a number of the more established city festivals, and that is because it is being put together by those with passion for supporting Wakefield, rather than pleasing sponsors. Where something like The Great Escape is about the industry back slapping, Long Division is about packing venues and allowing great bands to get recognition alongside more established acts who will sell tickets to the less savvy punters.” Speaking about how the festival first came about, Freeman is clear that when he started Long Division he wanted an event that would in no uncertain terms bring the city together. “It was a natural progression from what Rhubarb Bomb had been trying to do for all these years and trying to get people to pay attention to some great music that is often overlooked. And going to events like Live @ Leeds and seeing all those people, then putting on a great band in Wakefield and only 30 people turn up. The big question was always: Why don’t people come to Wakefield to see live music?”

“The answer is perhaps partly, they don’t associate it with live music. There were a couple of ‘festival’ type events in Wakefield in 2010 that were dreadful and I simply couldn’t take it any more - it needing doing properly! So I spoke to The Hop, a music venue in Wakefield and together we got the ball rolling. We knew we’d succeeded when there was a near capacity crowd for opening band The Spills at midday. Some many Wakefield bands were exposed to new audiences that day and I heard so many people say they were proud to be from Wakefield off the back of it, which I don’t ever recall hearing before.”

Talking of the comparisons between the likes of Tramlines and Live @ Leeds, and the effect the festival has had on the city in the widest sense, Freeman adds that the DIY ethos is something which has seemed to resonate the Wakefield’s populous “That said, the festival is huge in relation to the city. Of the 9 stages we are using, only the two at The Hop regularly host live music. So we’ve had to think outside the box somewhere to find these space. Again - I love that aspect of it. Very Zine, very DIY and in that sense it opens people’s eyes up to what Wakefield is, in a different way.”

“That DIY ethos has always been in Wakefield. It has had to be that way because it is a city so ignored by a lot of people, certainly the majority of the media. Instead, I would say Long Division changed people’s perceptions of how much could be done. How big you can go. And yes, that we can compete with those places. The thing I love about Long Division is that it is clearly a different beast to Live @ Leeds, which in turn is very different to Tramlines. And that’s great for everyone, because those are great festivals that I love going to. Each city with its own unique festival, showing itself and its bands off is clearly the way things are going.”

But it’s not only Long Division that has been helping to bridge the gap between the community and the arts world. As a cornerstone of the regeneration project, The Hepworth has succeeded not only providing a focal point for the city’s efforts but has also worked closely with the musical community to facilitate links between the two. Thanks to its involvement with the city’s Artwalk events, the gallery has seen the likes of Wichita – and Feeney – curate evenings at the gallery, resulting in the likes of Patterns and Peggy Sue playing within its spaces. Speaking of its willingness to work with the music community, Feeney says, “You only need to look at the ‘Late at Tate’ programme to see that art and music are meant to go together. As a musician/DJ/promoter the chance to do something in such an incredible, unique space is an unbelievable opportunity. I feel that it is hugely important that large arts institutions, in this case The Hepworth, do their bit to support the people and arts communities who make their city thrive. The gallery has several cultural ambassadors that are helping the gallery with this crossover between music and art. Katie from Sky Larkin and Wild Beasts has been a big supporter of the gallery, even before it opened she was in touch about how she could get involved and help to promote The Hepworth Wakefield to the music-going audiences. We’ve also had The Cribs come to visit and most recently Gary did an interview with BBC Radio 4 Front Row to help support our campaign to win the Art Fund Prize ‘ Museum of the Year’ award. We missed out sadly, but it’s great to have support like this.”

Freeman meanwhile insists that state-assisted projects like The Hepworth, and the way they interact with with both the artistic and wider community is paramount, and beneficial to all “It’s important they are keen to embrace other aspects of what is happening. It is this crossing over of Arts strands. As I said above, this thing about Art engaging with ‘normal people’ is something that Arts bodies are always obsessing over. And obviously, that is what music has always done. It’s the most direct way to engage with the public. They are waking up to the fact that Wakefield has this amazing, self supporting scene with absolute zero public funding. To the benefit of us all. The Hepworth can be a place to bring people together and move towards greater collaboration.”

To many though, despite Rhubarb Bomb and Long Division’s creditable efforts, music begins and ends with The Cribs. Ask both Feeney and Freeman about the state of the local scene though and they’re both adamant that it’s in the rudest of health. Freeman for one thinks this is down to the relaxed, out-of-the-way environment working from Wakefield affords its musicians. “Rhubarb Bomb celebrated its 5th birthday last month. I put together a book covering that period of time called The City Consumes Us. And the thing that came across in that was this slow burning method of development in Wakefield bands. The zine has followed the development of a lot of bands who are just releasing their début albums after 4/5 years. It’s the flipside of being in a place of Wakefield. You have time to hone your craft. You have a safe environment to find your sound and approach.”

”It’s the same with record labels like Philophobia Music, now four years old. Watching them grow to be the impressive label they are now has been great. Slow burning, under the radar is the Wakey way. But it feels like it’s reaching critical mass now, and with The Cribs back in town it feels like our time in the wilderness is coming to an end. Everyone knows everyone - that old thing - so there certainly is a very healthy community and it always makes us proud when people visit from elsewhere and feel like they’ve discovered this cool little thing going on.”

It’s a view shared by Feeney, who is quick to acknowledge the impact that Freeman and his Rhubarb Bomb organisation have had on the local environment. “I think Wakefield actually has one of the best scenes in the country right now, and I’m pleased to be able to feel that in some small way I am a part of it. You can only hope that The Cribs’ new record will help to draw people’s attention to all the great bands who are making music here at the moment. It also helps that all these new bands are so well supported by Dean and the guys behind Rhubarb Bomb, and have a cracking venue (with great ale too!) by way of The Hop, where they can get out and play.”

Ask Feeney to elaborate on who he thinks are the leading lights of the Wakefield scene at the moment and he’s clear who he currently rates; “Probably the band I am most excited about right now is Runaround Kids, who went a long way towards stealing the show at Long Division. They make the kind of noisy pop music that only young men in a small town/city can make, yet filter it all through mid-90s American bands. The same can be said for The Spills, who wear their Pavement influences very proudly on their sleeves and sound great for it. Beyond the noise, St Gregory Orange are West Yorkshire’s answer to Arab Strap, The Passing Fancy make knowingly smutty folk pop that can’t help but make you beam from ear to ear, and at the heart of the city is Mi Mye - who seems to be spending equal amounts of time playing his own great shows as he does making everyone else’s records sound brilliant, as a super-producer.’ A view which to a name Freeman agrees with, adding ‘I’d say the best place to get a taste of what’s hot in Wakefield would be at Long Division festival! Failing that our book comes with a CD containing 18 exclusive tracks by 19 Wakefield bands, including The Cribs. The record alone is available as a download and is as good an intro to Wakefield as you will find! - https://rhubarbbomb.bandcamp.com/’

With plans of a new project, Unity Hall being run as a co-operative with a heavy arts leaning, the city has clearly taken recent ideas to heart and are hellbent on maintaining momentum. Freeman elaborates; “If you were writing this article in 12 months time, that would be the focus, fingers crossed. It will mean an 800 capacity venue in the centre of town. But more than that, it will be run by the people of the city and will have a heavy arts leaning and should embody this cultural improvement and I would hope would signal a new era of art and culture in Wakefield.”

So, far from sitting somewhere between some kind of Northern dystopian nightmare and a running joke, there is a very potent feeling that Wakefield is re-imagining itself as a city embracing culture and the arts more than ever. Granted, these assumptions are based on the success of two major projects, with the potential for a third, but as a certain New Jersey-ite said, “You can’t start a fire without a spark”. The final comment should be left to Freeman, who when asked about the day-to-day impact on Wakefield provided by recent developments says; “Despite the economic mess, which hits a working class city like Wakefield pretty hard, the fact that people are pushing the arts and culture stuff is a relief because it means there is still something to be interested and involved in, or - on a day to day basis - something to actually DO.”

“Wakefield feels like a better place to be.”