Headlined by UK Funky legend Roska alongside the brilliant Tailor Jae, expect a high‑energy mix of UK Funky, Grime and Dubstep at Trinity.

A powerhouse night of UK Funky, Grime and Dubstep at Trinity headlined by the legendary Roska alongside the boundary pushing Tailor Jae.

Roska is a long‑standing UK producer, remixer, and DJ whose skippy drum patterns, club‑focused sound, and genre‑shifting innovation have made him one of the country’s most accomplished underground figures.

Tailor Jae is an East London–born DJ, producer, and presenter known for her raw, heavy‑bass style, quick‑fire mixes, and boundary‑pushing approach that’s earned her widespread recognition across major platforms and stages.

Expect a high-energy blend of Bristol and London's finest talent all under one roof.

Line Up:

• Roska
• Tailor Jae
• Asher

Please find accessible info here

Trinity Presents - Celebrating 50 Years of Music

This event is part of Trinity Presents, our in-house series that bring outstanding performers and exciting new voices to communities at the heart of the city.

Badliana is a Bristol-based artist known for her dark sound that merges grime, rap, and alternative R&B with haunting vocals. Supported by BBC Radio 1, BBC 1XTRA, and BBC Introducing, she is currently part of Big Team's Next Level program.

Ahead of this Sunday's International Women's Day edition of  Seedling Sessions, we’re getting to know some of the artists at the heart of Bristol’s evolving grassroots music scene.

With women and non-binary talent still disproportionately underrepresented across festival line-ups, senior industry roles and technical fields, platforms like Seedling Sessions remain vital spaces for visibility and advocacy.

Ahead of the show, we caught up with Badliana, talk about her creative journeys, the people who inspire them, and what performing at this International Women’s Day edition means to them.

Hi, we're so excited to have you, let's start off by telling us a bit about yourself. How would you describe your sound in a sentence or less?

Badlina: I would describe my sound as emotionally charged, slightly ethereal with a darker undertone.

Seedling Sessions has a legacy of spotlighting emerging talent. What does performing at this International Women’s Day edition of the event mean to you personally as an artist?

B: It feels really special to be a part of such a great day alongside other amazing artists and I'm really looking forward to it.

This year’s event shines a light on women working both on stage and behind the scenes. Who are the women or NB mentors, local or otherwise, who’ve helped you grow on your artistic journey?

B: I'd like to give a shout-out to my good friend Charlie France, a friend of mine and a director who I've worked with over the years, who's been a massive support of mine and encouraged me a lot in my artistic journey. I'd also like to give a shout-out to Gabby, my mentor and teacher, who's been a massive support over the years, too. And of course, Saffron Records, they played a massive part in my launch into Badliana and without them I wouldn't have been able to release my debut EP. So I'm very grateful for them. Thank you very much.

The UK music industry still faces significant gender inequalities, from festival line-ups to roles in production and engineering. What changes do you feel are most urgently needed, and what can be done to help push that change forward?

B: I've seen how mentorship and support from people in the industry can make a huge difference. Programs that amplify the voices often overlooked can create real change for the next generation of musicians.

For audiences discovering you for the first time, what message or feeling do you hope they leave with after your performance?

B: I hope people leave my show feeling empowered, cute and fun.

Seedling Sessions was created to nurture new voices. What advice would you give to young women and gender-diverse creatives starting out today, especially those navigating barriers in the grassroots music scene?

B: Some advice that I would give to other artists would be keep going, keep learning and keep growing. Embrace the challenges and stay open to new experiences and always be your biggest cheerleader.

Is there anything else you would like to share?

B: I would like to say come to the Trinity Centre on the 8th of March for a sexy, badass show. Woo!

Come and catch Badliana, RED and Moxie Dolls this Sunday at Seedling Sessions: Celebrating Women in Music.

Trinity Community Arts has secured a significant boost for the restoration of Jacobs Wells Baths through a £350,000 Capital Grant from the Architectural Heritage Fund (AHF). The award will support essential repair works now underway on the Grade II listed former bathhouse, forming part of a wider programme to bring the building back into safe public use.

The new investment builds on AHF’s earlier £78,000 Development Grant, which helped shape future plans for the site. Together, these grants form a critical foundation for Trinity’s phased approach to conserving the building, preparing for public reopening, and enabling new cultural and community uses. Both grants were awarded through the AHF's Heritage Revival Fund, which is delivered in partnership with the Department for Culture, Media and Sport (DCMS) and Historic England.

Recent progress on the restoration has included bringing the historic Pump Room into public use for the first time in its history. Further works underway will stabilise key structural elements, address long‑term maintenance issues and support the development of Trinity’s Phase 2 delivery plan, which has also received match funding from the National Lottery Heritage Fund.

Alongside the physical repair works, Trinity has begun activating previously inaccessible areas of the site, including the old pool boiler room, through artist‑led interventions as part of the new Art of the Possible pilot program. This creative activity is helping shape and envision future plans for how the building might be used once restoration is complete.

The AHF’s continued support is a major step toward Trinity’s goal of safely reopening Jacobs Wells Baths for community use.

Trinity’s wider renovation and engagement programme is supported by a range of funders and partners including the National Lottery Heritage Fund, thanks to National Lottery players, The Nisbet Trust, John James Foundation, Society of Merchant Venturers, Historic England, Pilgrim Trust, Bristol City Council, the Ministry of Housing, Communities and Local Government, Centrica Energy and Trinity’s individual donors and sponsors.

To follow news about the Jacobs Wells Baths project, email info@trintiybristol.org.uk to join our mailing list.

As we look ahead to March and prepare to celebrate International Women’s Day, we’re spotlighting Veronica, a member of our Art for Wellbeing group who first connected with Trinity last year. Her story reflects the power of creative community spaces to shift perceptions, build confidence, and reconnect people with long‑forgotten passions.

For a long time, Veronica didn’t pay much attention to what was happening at Trinity. She had heard negative stories in the past, and those early impressions lingered. “I didn’t take any notice before,” she admits. “But now I see what is happening.”

When she joined one of our arts and craft sessions last year, she discovered a completely different Trinity to the one she had imagined.

“I’ve learnt so much and met such lovely people … that’s not how I imagined it would be.”

What surprised her most was the warmth of the people she met and the sheer amount of activity taking place behind our doors. “There are friendly people,” she says, “but that’s not how I imagined it would be.”

Reconnecting With Creativity

Creativity isn’t new to Veronica. Her mother was a skilled artist, and Veronica has vivid childhood memories of watching her work, learning alongside her. But as life unfolded, first her nursing training and exam commitments, then raising a family, art gradually slipped out of view.

Now retired, Veronica is determined not to sit at home.

“There’s no way I’m going to sit down at home.”

Instead, she seeks out opportunities to be active, social, and creative. That’s what drew her to Trinity’s Art for Wellbeing programme.

Even though Trinity is outside her neighbourhood, Veronica chooses to travel here because she enjoys meeting new people in a fresh environment.

“I am just happy to get up in the morning and come over.”

For her, the social aspect is just as valuable as the creative one. Being surrounded by others inspires new ideas:

“You get ideas from people.”

Her daughter was initially surprised she was attending the programme, “I can’t believe you are going to this!” but after seeing her artwork, her family understands the joy it brings her.

Veronica vividly remembers her first visit:

“I was shocked!”

She now realises how much she had missed out on by not coming sooner, but is grateful to have found the group when she did.

About Art for Wellbeing

Launched in October last year, Trinity’s Art for Wellbeing programme is delivered in partnership with the Bristol School of Art. This free course invites adults of all abilities to explore art in a relaxed, supportive setting.

Participants experiment with a wide variety of mediums, including lino print, acrylics, clay, and collage, to build confidence, develop personal artistic expression, and support overall well-being.

No previous art experience is required. All materials, light refreshments, and bus travel support are provided, and participants simply need to be able to commit to the full course duration.

Finding Connection Through Creativity

Veronica’s journey is a reminder of how creative spaces can change perceptions, support wellbeing, and bring people together. Her experience shows how stepping into something new, even unexpectedly, has the power to lead to new friendships, rediscovered passions, and a renewed sense of purpose.

“I’ve learnt so much and met such lovely people.”

To support KS2 children from our Cultural Alliance schools, Trinity continues to deliver free, creative after‑school clubs and holiday provision funded by BBC Children in Need and Bristol City Council. While the after‑school clubs take place across four partner school sites, our Holiday Clubs are hosted here at Trinity, providing a vibrant, welcoming space for children to explore their creativity outside the classroom. Keeping creative thinking alive outside of term time is just as important as nurturing it within school, and our recent Half-Term Holiday Club is a brilliant example of that in action.

This February, we welcomed a fantastic group of children to our arty Holiday Clubs, bringing together young people from several local primary schools. With lots of new friendships forming and collaborative creativity buzzing around the room, the atmosphere was joyful from start to finish.

We were delighted to have Colourful Minds facilitating the sessions, guiding the children through the creation of giant Chinese dragons and beautifully delicate lanterns in celebration of the Lunar New Year. Thanks to our funders, the clubs offered free access to a trusted, inspiring space, somewhere our local young people could express themselves, try new things, and enjoy the freedom of creative play.

Colourful Minds on the Power of Shared Creative Spaces

Laura from Colourful Minds shared her reflections on the week:

“It was wonderful to see children from different schools coming together, mixing and forming new friendships. The holiday clubs seemed to create a relaxed, welcoming space where children who might not usually meet were able to collaborate, chat and socialise naturally through shared creative experiences. It was lovely to watch their confidence grow as they worked alongside each other and build connections. The room was full of music, chat and laughter.”

She also spoke about how the Trinity space shaped the creative experience:

“The space at Trinity worked brilliantly for the holiday clubs. Having room to spread out and move around meant the children could fully immerse themselves in the activities without feeling restricted. The openness of the venue really fed into the scale and energy of the art we created, allowing for bigger ideas, more experimentation and a real sense of freedom in their making.”

We’re already looking forward to welcoming everyone back in the April holidays!

As part of Trinity’s Cultural Alliance programme, this month has been full of workshops and rich reflective practice sessions with both students and teachers from our four partner schools. What follows is a reflection on what we learned, observed and experienced, and how these moments are helping us understand the growing impact of the programme.

A Month Immersed in Creativity and Reflection

This month I was able to fully immerse myself in the joy and real-time creative production that emerged from our feedback and reflective practice sessions. Working closely with Dr Harriet Hand, our Resident Researcher from the University of Bristol, we planned interactive and creative sessions designed to gather meaningful insight. We were also supported by Laura from Colourful Minds, who facilitated the artistic elements as we toured each school site.

These sessions gave us a valuable opportunity to understand how the programme is landing across the four schools, not only through structured feedback, but through candid, honest conversations and creative expression.

Reflective Practice with Teaching Staff

Our reflective practice sessions with teaching staff and SLT Leads invited them to spend dedicated time revisiting specific memories from recent dance and drama lessons. They shared poignant stories about individual young people as well as observations about broader group dynamics.

We held these sessions during the weekly staff meeting, arriving with muffins and fruit to help everyone over the final push of a long day.

Discussions went deep into what it "feels" like to be a teacher navigating ever changing days, shifting class groups and complex social pressures. It was inspiring to hear how passionately staff spoke about the experiences they try to create for their pupils, and how much they value creative input as a way to nurture confidence, imagination and blue sky thinking.

Challenges Around Creativity and Engagement

A common theme was recognition of how screen-heavy home environments and limited access to resources can restrict children’s creative development. Many children share the same narrow set of interests such as online games or YouTube personalities, which has become their default space for downtime and play.

Teachers reflected that when the project began in September 2024, most KS2 children did not understand the arts as a form of active learning. Many had missed out on creative experiences earlier in childhood and struggled to see the value of drama or movement. This often led to low confidence, awkwardness and social pressure preventing them from fully engaging.

“It is really lovely to see just how intentional, resourceful and creative the team at Trinity are within their Cultural Alliance work. I have pointed out to the team that so many community workers and researchers would benefit from replicating the Cultural Alliance’s creative methodologies.

This project continues to be a success largely because it has been held with such care and commitment, and I specifically want to name Sarah and Adam here, and praise their efforts. I have done a lot of work across monitoring and evaluating various projects, and this is one of those I find myself telling people about aspirationally.”

— Dr Furaha Asani, PHF Consultant supporting Trinity’s Cultural Alliance

Breakthroughs and Growing Confidence

With clear relief and pride, staff shared how embedding weekly Cultural Alliance sessions into the curriculum has given children a sense of safety, continuity and permission to engage. Over time, they have begun to imagine more freely and loosen the grip of self-consciousness.

We heard moving accounts of breakthrough moments where children found their voices, overcame fears of performing, collaborated more confidently, formed new friendships and softened a previously entrenched gender divide in class. These stories are powerful markers of the programme’s growing impact.

Children’s Voices at the Heart of the Evaluation

Additional insight came from sessions we facilitated during the schools’ creative after-school clubs. Here, children built their own TV screens and microphones from cardboard and paint sticks, crafting interview questions to ask one another about their experiences of the programme.

This activity gave them freedom to shape the conversation in ways that felt personal and relevant. Hearing directly from the children has been essential in measuring engagement and understanding how the programme is supporting their self-efficacy and comfort with new ways of learning.

The Role of Our Creative Partners

Our partners, acta and Movema, continue to design bespoke termly lesson plans that align with each class’s curriculum themes. Their thoughtful preparation ensures that sessions feel relevant, inclusive and closely connected to classroom values. This preparation is key to making the work feel meaningful and accessible to every child.

What Comes Next?

Once all of this analysis has been brought together, we will be able to share detailed findings alongside some of the most moving and insightful vignettes collected so far. Together, they will paint a fuller picture of the programme’s impact and its long term potential.

Eleri is one of Trinity’s part-time music tutors, working closely with young people to help them explore, experiment, and grow through music. Her one-to-one sessions cover a wide range of skills, from singing and music production to learning instruments like drums, always with a focus on building confidence, creativity, and technical ability in a supportive, nurturing environment.

Alongside her individual tuition, Eleri co-runs Move On Music in partnership with Bristol Drugs Project. This weekly group is a progression from BDP’s Beginners Music programme and offers a space for participants to build on existing skills, connect with others with shared experiences, and enjoy making music in a relaxed, judgment-free setting.

And there’s more to come. Beginning in March 2026, Eleri will lead brand new after-school music sessions with Year 6 children at Easton CE Primary School. This marks an exciting next step in strengthening our partnerships with local schools and expanding opportunities for children and young people to get creative through music.

Earlier this month, we caught up with Eleri. Here's what she had to say:

Hey Eleri, what do you enjoy most about teaching music in our community?

I love connecting with people of all ages from all walks of life through the universal language of music. Everyone has something to say, and providing my community with the means to express themselves in their own way, as well as the chance to be heard, is the best part of my job.

What projects are you involved with at Trinity Community Arts?

I have fingers in many pies here at Trinity! I run a weekly session in partnership with BDP's Creative Communities called Move on Music, aimed at anyone with a lived experience of drug and alcohol who would like to build on skills already learnt at BDP's beginner music groups. I also regularly help out with Next Gen, our open-access music group for 14-25 year olds, where young people can do anything from taking part in live instrumental jams to DJing and recording beats. When I'm not taking part in these groups, then I'm facilitating 1:1 music sessions in our studios or working live gigs and events as a sound engineer.

What things are you involved with coming up in 2026 that we can look out for?

Trinity will now be putting on after-school music clubs for primary and secondary schools in the area, taking in some equipment such as our new Ableton Push and teaching children how to make music in a fun and interactive way. We also plan on hosting a school holiday club over the summer, which would be building on the same skills. I will also be involved in various BDP Creative Communities Concerts that will be happening throughout the year at Trinity Centre, as well as a couple more projects that we're still developing. It's looking like an exciting year for our music department

Community Stalls

Discover local makers, creatives, wellness practitioners, and community organisations offering goods, services, and resources rooted in culture, care, and empowerment.

Sofa Talks

Join relaxed, intimate conversations where real people share real stories that touch on lived experience, culture, wellbeing, and community wisdom.

Panel Discussion

Hear from community leaders, creatives, and changemakers as they explore identity, resilience, and collective progress, offering inspiring insights and practical takeaways.

Audience Q&A

Your voice is part of the experience. Engage directly with speakers through an open, respectful Q&A session.

Connection & Community

Enjoy dedicated time to meet others, build relationships, and connect in a warm, inclusive environment.

A Bright, Inclusive Atmosphere

Colourful, uplifting, and rooted in community. This is a space to feel seen, celebrated, and inspired.

She began her professional career independently, releasing two singles, "Place We Were Made" and "Birthday". In 2018, she signed with Atlantic Records, releasing two EPs and the second series soundtrack to the British comedy series, Trying.

Please note this is a standing event. For accessibility requests, please contact info@trinitybristol.org.uk

Last entry 2 hours before curfew

Venue levy: Trinity has introduced 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 building and grounds.

Known for his rock-and-roll inspired solo albums, as well as his contributions to internet funk sensation Vulfpeck, Katzman has had this feeling bubbling in the recesses of his mind for some time now, weaving its way through his songwriting process and onto his recordings. The feeling itself is multi-dimensional: it's a subtle sarcasm, but not at the expense of sincerity; criticism, but not at the expense of joy; character, but not at the expense of vulnerability.

+ sepcial guest tba

Doors: 19:00

Last entry: 21:00

Curfew: 23:00

Please note this is a standing event. For accessibility requests, please contact info@trinitybristol.org.uk

Last entry: 2 hours before curfew

Venue levy: Trinity has introduced 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 building and grounds.

Art is circus, not economic gymnastics - Image by Khali Ackford

As Peter Holbrook, CEO of Social Enterprise UK, challenges the definition of the £428bn “impact economy”, our CEO Emma Harvey asks, what if we stopped counting?

Money Matters: Or why should we stop counting

A quiet shift’s been happening towards the language of economic impact underpinning most conversations about the value of arts, culture and civic life. It’s about maths right so it’s important, or so we tell ourselves. Only, it doesn’t hold any value to us or our people. A kind of gymnastics, only it's all contortion without a rhythm or flow and leaves us feeling hollow. If you’ve found yourself sleepwalking into measuring legitimacy through this lens and wondered, how did we get here? you're not alone.

Profit isn’t a dirty word. Many charities are social enterprises in some form and should absolutely measure profitability. We know what makes a surplus and what that surplus has to carry. Whoever you are - and especially if you have less of it - financial literacy is survival. Money matters.

But it is also reductive. It flattens complex human work into numbers never designed to hold it. And we’ve seen what happens when this logic hardens. Take NEET contracts reengaging 16-18 year olds. Early on at Trinity we were able to make contacts like this work, to give intensive support to those young people whose needed it most. But over successive contract cycles, payment-by-results milestones became unattainable for smaller providers, shifting provision towards volume. Quietly, young people were sorted into those who were fixable and fundable and those too costly to help. If value’s only defined economically, what becomes of us unviables?

Economic impact does little to convert minds not already convinced. The economic case for culture has been made repeatedly by folk with far more letters after their names than me. We know about local economic multiplier effects and how vibrant cultural spaces animate high streets. When art makes a place thrive speculative investment often follows. That movement of money is all the proof you need.

Getting small organisations to count what doesn’t matter all that much to people distracts and detracts, pulling scarce energy towards chasing ghosts. Time is spent proving, calculating and modelling experiences into metrics to services decision-makers we may never meet. It shapes programmes around what can be counted rather than what is needed. Measurement isn’t neutral; it consumes time, attention and worst of all our spirit. And like any beast, we’ll never fully sate it.

Economic impact language blurs the boundary between profit and purpose. Peter Holbrook, chief executive of Social Enterprise UK, recently warned of this risk, with the £428bn “impact economy” defined in a way favouring investor-led models over ones built explicitly for public benefit. When everything is framed within the same metrics it’s a game we can’t win. It allows those primarily driven by profit to say, “Oh yes, we also care too”. And then carbon offsetting permits continued extraction and recycling bins in clothing stores capture our sense of doing good while production patterns remain unchanged. Language that - if we also adopt it - softens the edges of power structures to allow them to remain unchallenged.

Community organisations cannot outcompete on terrain designed for capital and conquest. Adopting this language without challenge collapses extraction and reinvestment, shareholder return and community accountability. The promise that continued growth will eventually lift everyone impact rests on a fading ideology and many communities have lived long enough through iterations of that promise to treat it with scepticism. That’s dangerous especially right now because it deepens disenfranchisement of those who already have lost trust and faith in decision-makers' intentions. Growth is happening just not for you. You don’t matter to us.

When we centre growth as proof of value we risk reinforcing the same scarcity logic that traps minds and builds conflict. Someone else out there is winning whilst I’m losing. We risk aligning ourselves with a world that many already experience as failing them. When growth doesn’t translate into feeling better off, people look sideways to see who is benefitting. And then we're in cookie cartoon territory, where the dude sits behind a plate piled high pointing at the one due opposite the other whilst saying, He's taking what's yours. It's data to stoke tension between those who feel they’re losing out because of a notion of a transaction happening elsewhere that’s making someone else better off. And as we're all butting heads, deeper extraction continues unchecked.

Money matters for most only in the direct transaction sense. Pay people to do the work that needs to be done as well as you can afford. Don’t ask artists to work for free. Pay young people for their time. Pay communities for their advice. Do not ask people to do more with less while citing economic impact. Don’t push the boulder up the hill by exploiting your team or yourself. If a claim made somewhere doesn’t translate to wages if folks’ pockets it’s a story that rings hollow. I can’t pay my bills with your data.

None of this means abandoning accountability to funders. We should measure what keeps us afloat and be transparent about our finances. When asked to show GVA, it might be worth asking what they’re looking to understand from those numbers, who needs to be assured and whether the absence of economic data lessens the legitimacy of the work. If their response is to scratch their heads and say they don't know and that someone further up the chain is asking, that might at least give us pause for thought. Provide the data and still ask the questions, because following instructions unquestioningly is how we uphold bureaucracies at the expense of ourselves until we all wind up doing more work for less meaning, trapped in a system that rewards compliance over change.

There is no reason for thinking

That, if you give a chance for people to think or live

The arts of thought or life will suffer and become rougher

And not return more than you could ever give

Louis MacNeice, Autumn Journal (1939)

From Use or Ornament, Comedia’s report on the social value of the arts, 1997

At Trinity, I cannot promise folk I’ll make them rich. What I hope we offer is a place for people to come to find connection and build meaning together. A place where stories are shared, mistakes are made and power is practised differently, even if it doesn’t always work out. People come at times at a crossroads in their lives and often move onto bigger and better things. Like that old slouchy jumper, you love it till you wear it right through. It’s a place where value is measured by knowledge, energy and commitment to making things as good as possible with what we have.

The only real arbiter of wealth is the money in my pocket. In what I can give that I don’t need paid back. In the time that it affords me to worry about it less and care about what gives me meaning more. “What is it that breathes fire into the equations and makes a universe for them to describe?” said Stephen Hawking. Is the arbiter of our worth counted by pounds and pence or the smile on our face at the end of the day and the energy we find to get up again tomorrow. In this world of the now that’s rich with data yet poor on trust, culture’s the fuel for growth, turbo charging connection, courage and conviction. Right now, that may be the more honest thing to count.

This is an opinion piece by Emma Harvey, CEO

Line up:
- Benny L b2b T>I
- DLR b2b Amoss
- Hollie-May
- Kathryn Brenna & Ryda
- KRÆK
- Minor Forms b2b Umbra
- Objectiv
- QZB
- Sydney Bryce
- Teebee
- Zero T

Hosted by:
- Ellis Esco
- Fokus
- MC Gusto
- Medic
- Rider Shafique

Doors: 14:00

Last entry: 18:30

Curfew: 22:00

Please note this is a standing event. For accessibility requests, please contact info@trinitybristol.org.uk

Last entry: 2 hours before curfew

Venue levy: Trinity has introduced 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 building and grounds.

She began her professional career independently, releasing two singles, "Place We Were Made" and "Birthday". In 2018, she signed with Atlantic Records, releasing two EPs and the second series soundtrack to the British comedy series, Trying.

Please note this is a standing event. For accessibility requests, please contact info@trinitybristol.org.uk

Last entry 2 hours before curfew

Venue levy: Trinity has introduced 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 building and grounds.

Throughout the day, activities will run across three distinct spaces, allowing you to move freely and shape your own experience. You might be dancing at a céilí on one stage, listening to a session in another room, while children take part in music learning nearby. This is intentional. Irish culture thrives through shared spaces, overlap, and informality, and the event is designed to reflect that.

What's on:

• Live Irish music & dance performances 
• Participatory sessions & workshops 
• Family-friendly activities & crafts 
• Céilí dancing, sessions, and community vibes 

Bring your friends & family for music, movement, and community spirit in true Irish style!

About W.E Irish:
W.E. Irish is a non-for-profit organisation, recently rebranded as it has grown from the 'British Irish Society'. Their mission is to share with people Irish culture and tradition, beyond the stereotypes. To make people aware of what Irish people, past and present, have contributed to the West of England; To promote diversity in Bristol and to share learnings from the Irish immigrants’ stories, to benefit those now arriving in our City of Sanctuary. To find out more please visit here.

West is blending vintage 60s/70s influences with modern production. He has garnered attention for his charismatic, high-energy live shows and released his debut album, Give Me All Your Love in 2025.

+ special guests

Doors: 19:00

Last entry: 21:00

Curfew: 23:00

Please note this is a standing event. For accessibility requests, please contact info@trinitybristol.org.uk

Last entry 2 hours before curfew

Venue levy: Trinity has introduced 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 building and grounds.