Following the liquidation of the New Trinity Community Association in 2001, Bristol City Council held a tendering process for the future management of The Trinity Centre. Shifting funds away from community centres and towards 'Millennium Projects' coupled with a series of financial problems, forced Trinity to close once again in 2000, shutting its doors for what seemed to be the last time.

Enquiries were made from a variety of community and commercial developers and seven applications for new use were made. This included an application from the Avon & Somerset Constabulary to turn the building into a police training centre.

Others who submitted Expressions of Interest included: Travelling Light, the Bristol Festival of Dance, Undercover Rock (now happily housed in another converted church in St Werburghs), SARI and a Church group, as well as the 'Save Trinity' campaign.

The Save Trinity Campaign

A group of budding social-entrepreneurs launched the Save Trinity Campaign to get the Centre back into the hands of the local community. Following this, Trinity Community Arts Ltd (TCA) was officially constituted in 2002 and set out to develop plans for the Trinity Centre as a creative hub for East Bristol.

The group submitted an Expression of Interest, which outlined how they would encourage partnership with other local community and arts organisations and provide subsidised space to maximise the breadth of activities on offer. This was perhaps the most compelling case made, as, whilst other bidders represented specific communities of interest, TCA was able to provide a diverse community and cultural offer, as well as working alongside others to make full use of the space.

TCA's subsequent application for community asset transfer was successful and the group secured a short-term lease of Trinity Centre in 2003. The building was re-opened on 1 October 2004 as a community arts centre.

With a strong focus on training and outreach, TCA works with a range of community groups, arts organisations and individuals to provide a lively and varied activities and events programme for the City of Bristol.

In 1991, almost a decade after the BCCE group ceased to exist, the new landlords Bristol City Council leased Trinity to the New Trinity Community Association who reopened the building as 'The Trinity Hall' in 1992.

The new tenants and a dedicated team of volunteers began a second round of development and renovations, which included the installation of the sprung wooden floor downstairs.

It was under this new management that Trinity would again gain international fame, playing host to the biggest domestic and international music stars of the time. This helped to bring Bristol to the world's attention as a creative melting pot with its own distinct flavour - The Bristol Sound.

As well as the successful music nights there were also daytime community activities from bingo madness to a boxing club, the two levels provided a much needed space for local people's use.

In their annual report of 1978, BCCE chairman writes "our aims and objectives are clear - a centre for youth and community activities; the philosophy is a multi-racial multi-cultural centre. The project is part of this community, and if it is to progress then the community must believe in it." (As quoted in Venue Magazine, no.70).

1 July 1978 - 'Trinity Community Institute' as it was then named - is officially launched, with a grand opening to coincide with St Paul's African-Caribbean Carnival to reflect the group's drive to embrace and celebrate Caribbean culture. The Centre is used every evening of the Festival week.

20 September 1978 - Official notice is given by the Church Commissioners that an Order in Council came into operation on 21st December 1977, allowing Holy Trinity building and its land to be used as a community centre.

October 1978 - The Easton Christian Family Centre newsletter contains an update on Trinity Church building: "The old Holy Trinity Church has been taken over by the Caribbean Community Association, who are a division of the West Indian Community. They have made extensive alterations, putting in a stage in the main auditorium for a theatre, and changing the side aisles into separate small rooms. The vestries have been changed into offices. They are currently negotiating plans to turn the graveyard into a large play area including tennis courts."

In 1992 Trinity was reopened by the New Trinity Community Association.

The new tenants and a dedicated team of volunteers began a second round of development and renovations, which included the installation of the sprung wooden floor downstairs.

Designs were produced by Architect Daniel Pacaud, which at the time caused great controversy with the Church Commissioners Advisory Board for Redundant Churches, who felt that the proposed works compromise the architectural heritage of the space.

The Church was at the time considered to be one of the finest examples of the work of Architect Thomas Rickman, who built the church between 1829-1932 with Henry Hutchinson.

Pacaud's plans for conversion, involved the installation of a dividing floor. But, despite the Church Commissioners' discontent, the build project went ahead.

The images found show this development in full flow and include pictures of a visit by politicians - including a rather young looking Kenneth Clarke - to see first hand the "Community Initiative" in progress.

Works included:

• Installing the first floor and sprung wooden floor on the ground level
• Repairing many of the windows which had been smashed over the years
• Cleaning the exterior sandstone, using a sandblasting method, to remove graffiti and pollution dirt

However, the costly process meant that many of the works proposed by Pacaud - particularly the developments of the upstairs hall spaces - were eventually abandoned.

Today, Trinity continues to renovate and develop the space to try to avoid any further compromising of the interior and realise this original vision to make a multi-functional community hub.

"Although the very fine interior of this church would be ruined by the proposals as the building now belonged to the local authority Board members felt that it would be a waste of time to try and say it by fighting a rearguard action. It was RESOLVED: That the Church Commissioners be informed that the Advisory Board regards the church of Holy Trinity, Bristol, Diocese of Bristol, as a building of considerable architectural and historic interest with a fine interior that would be entirely compromised by the present proposals for conversion to a community centre" - Church Commissioners Advisory Board for Redundant Churches, June 1987.

Simi was a hugely dedicated and influential figure in Bristol’s voluntary sector, devoting her life to the betterment of services for the city’s South Asian community, developing a wealth of activities that included a multi-faith youth service for young people, the first Asian youth festival, an Asian radio show on BBC Bristol and a day care centre for elderly Asian people.

She is most known for her work with Awaz Utaoh, meaning 'raise your voice'. The charity was established in 1997 and has supported women primarily from across Bristol's South Asian community for decades.

Through her work with Awaz, Simi was able to develop and deliver a regular programme of activities embracing and connecting women of all religions. She was a strong and inspiring figurehead for a core group of women who met every Wednesday at Trinity, until her retirement prior to the pandemic. She crafted a safe space for well-being and empowerment that helped to unite and give voice to women of all ages.

For anyone who was blessed with the good fortune to attend Awaz, you were welcomed by a space full of music, dancing, food and fun. Thanks to Simi’s generosity and spirit, everyone was made to feel like part of one big family, of which she was very much the mother figure.

Over the years, Simi’s dedication and work in the voluntary sector has been recognised through several awards including the Lord Mayor’s Medal.

Towards the end, sustaining this valuable work became an increasingly uphill struggle, with the challenges of cuts to funding compounded by Simi’s own declining health. Still, she persisted, never giving up, to ensure that the women who relied on this service continued to have somewhere to go. As one of the women using this service was quoted; "What the statutory agencies of the city could not do for them over the last 15 years, Awaz Utaoh did it.”

We give thanks to this hugely important woman and hope that her work and vision will serve as inspiration to others that - in spite of all our differences and the challenges we face - if we raise our voice, one woman can have the power to bring change, hope and light to the world around her.

Simi's family have created a memorial page where those who knew her can leave their words, photos and memories.

In life, we chase rainbows. In death, we want something much simpler. Our own salvation or damnation dependent on the compatibility of our relative goodness to those who mourn our passing. Making saints of those held close and casting aside the sinners, though the space between is the one most of us occupy. Society depends on us all trying to be the best versions of ourselves. Our crimes are committed in the moments where we forget to try. It’s those who touch the extremities of expected behaviour -both good and bad - who create the most ripples.

Phil served 13 years in prison for a devastating crime. He came to Trinity in 2004 on a back-to-work ex-offender placement.

Sometimes there can be no forgiveness. But, in that space between life and death is where we find community. A space for the misfits and the troubled. Beyond the warmth of our family and our friends, a sense of belonging that is unconditional.

Emma Harvey, CEO

It was just a shabby shell back then, after a period of closure that many thought would mark its end. A re-imagining, but without any of the resources needed to realise that vision.

Phil offered us a lifeline. Without him, the building could never have reopened. Nor could it have remained open during those early years, when so much manual work needed doing in order to make it a safe space.

On Phil’s release, he continued to work at Trinity for no financial or personal gain. He did so much and grafted in a way that was unimaginable. It was his dedication and determination that inspired everyone who met him in those times. Others would try to emulate it, but we’d all be in bed crashed out at a time when he was up and about, working on setting things right so we could open our doors the next day.

His atonement laid the foundation stone of Trinity today. So many times, he managed to help us pull something unrealistic out of the bag and make the magic happen. His work ethic at times seemed superhuman and pushed him to breaking on several occasions. He was so stubborn in his dissent from that ladder, when it came to his retirement in 2016.

With his cynicism, it was like he hated all that busyness and insanity that gave the place life. When the lock-down started, the team joked that this was the Trinity Phil had always wanted. A quiet space with no people and the building all to himself. But, that was his trick on us - he loved the building’s life, he just never felt that he deserved to be a part of it.

During the Phil years, to walk in and see a weathered old man followed by his faithful hound, you just knew you had found somewhere where you could just be in spite of, not because of, your past self or any future expectations.

Trinity made him feel something in a space someone more poetic might call his heart. He felt enough of a sense of being part of the wonderment though just by being in the background as He who was both church care taker and care giver, whilst never permitting himself to fully become immersed.

For those who Phil hurt most - as for any victim of crime and their families - the worst thing to have is that sense of the perpetrator’s life being allowed to continue. The fear and anger that they are somehow able to enjoy that which they have taken from their victim. That they get to feel the warmth of the sun on their face.

The reality is much more complex. Even in our most joyous of times, Phil never basked in that sunshine. There was no absolution, just resolution and resignedness to a life in the shade. To paraphrase Indigo Girls (a band he loved) even if his sweat smelt clean, the glare off the sun would hurt his eyes.

Father. Husband. Functioning alcoholic. A mask that began to slip more and more with the passing of time. But, what never changed was a deep warmth and an unwavering loyalty beyond reason. Humour in the face of adversity. Cigarettes with Steve when there was nothing else. Amongst the glimpses of joy - guitars and fish and chips and T-shirts and Poppy - there were subsequent losses and drinking alone and fear and loneliness. Life meant life.

Love. There was so much love and hurt over past wrongs so damaging that they can never be set right, no matter how virtuous any subsequent action. Nevertheless, he was deeply loved by his Trinity family. We reflect on the life of a person who touched and changed lives dramatically and catastrophically. We respectfully mourn and pay tribute to a one of a kind man who inspired us to work hard and do better, knowing he could never be forgiven.

Sometimes there can be no forgiveness. But, in that space between life and death is where we find community. A space for the misfits and the troubled. Beyond the warmth of our family and our friends, a sense of belonging that is unconditional.

That he has passed during such particularly challenging times gives us greater cause for reflection. If a criminal can become such an outstanding citizen then we can hold onto hope that good grows out of even the most darkest of moments. That one might work toward a better future they might not be part of, but which still very much exists because of the part they played.

Restoration if not of a soul, at least of a building that is still very much here. A space for love, life, death and reincarnation. A place of radical inclusiveness, helping us to see that grace extended - even if it is felt to be undeserved - can take us all to somewhere better.

Phil. A reminder that who we are at any one moment does not define us. After all, we can always choose to change ourselves.

Big love always

Emma x

Blokey was part of what gave Trinity that family feel - not least because he also managed to rope in his family to help out run the place in those early days!

From running the bar and rigging the lights to writing policies and business planning, Blokey's commitment helped to shape the Trinity that we have today.

Blokey was the glue that held us together. A cheeky chap. A man who seemed to promise the world and, amazingly, somehow deliver. When the place steadied, he moved on to new adventures, yet always reappeared in any moment of crisis.

How he knew we needed him I just don't know. He was just always there. Perhaps that's why as long as I'm at Trinity, there'll always be a part of me that expects him to walk in just to see how we're all doing.

I will forever be grateful for his support and calm presence, during a time when it felt like the whole thing could fall apart in a moment's breath.

Thank you Pete for always being there and for creating the feeling you still are. Always in our hearts, Emma xx

Nick Fyfe epitomised the indomitable spirit that led to Trinity's reopening.

Nick Fyfe joined the campaign whilst managing a full time business building skate parks across the South West.

He had for many years combined his successful business career with active involvement in local voluntary sector.

Nick brought a vast reservoir of experience and skill to the 'Save Trinity' campaign.

Former business partner, friend and Trinity colleague Matthew Hewitt describes Nick's key contribution to the campaign:

“Nick was so good at writing documents. In half an hour he could write a two page A4 document of several thousand words and it would all make sense. Nick prepared the meticulous cash flows, business plans, and letters underpinning the campaign that were edited and reworked by the core campaign group. Armed with these documents the eclectic group presented 'a professional image' to the Council. Having secured the lease the team subsequently learnt from an informal Council source that Trinity's bid was by far the most professional and the most well thought out.”

Nick's commitment to Trinity persisted after the lease was secured. Despite 'hard graft' on the skate park he committed his time and energy to supporting the organisation. Combining long demanding hours on site with managing Trinity may have damaged his health. Matt reflects:

“I didn't see that he was passing away because he was getting weaker and weaker. He'd had pneumonia not got over it and..he was just such a stunning character none even thought that he was near checking out..He worked on site, a building site right up to the day he died. I had a phone call from him an hour before he died saying “Matthew I'm gonna drive to Trinity can you take me somewhere when I get there. A day later his son phoned me and said he died about the same time he phoned me. He was just not going to give up...”

Our upstairs 'Fyfe Hall', was named such in memory of Nick Fyfe, one of the founding directors of Trinity Community Arts. A plaque on the downstairs north wall, has also been installed in memory.

Old Market Bristol

May is Local History month, so to celebrate we’ve been looking back at our heritage project, Vice and Virtue, that documented the rich history of Old Market in East Bristol, where The Trinity Centre calls home.

Early History

Old Market is an ancient marketplace which once stood outside the walls of the Old City and served as a main thoroughfare for goods arriving from London into Bristol.

The area contains some of Bristol’s oldest buildings, with over 60 listed buildings including the Methodist Central Hall, The Palace Hotel, and – of course – Holy Trinity Church, aka The Trinity Centre.

Following the demolition of Bristol Castle in 1656, the area was redeveloped and stone from the castle is said to have been used to repave Old Market Street, with many of the original 17th century building frontages remaining to this day.

Old Market Street was a thriving centre for trade in meat and vegetables, as well as being home to an assortment of small industries specialising in the production of farming utensils, as well as several brewers, maltsters, and public houses.

Industrial Revolution

The Industrial Revolution radically transformed Old Market, with major new businesses attracting workers from across the South West. New opportunities for employment led to East Bristol’s rapid urbanisation during this period. By 1881, the population of St Phillips rose from approximately 8,000 in 1801 to 50,000.

Religion was seen as a major civilising force that followed rapid urbanisation, and as such, many churches were built in these expanding urban areas. One such church was Holy Trinity Church, now The Trinity Centre, which was built between 1829 and 1832 by Thomas Rickman and Henry Hutchinson, two architects from Birmingham and seated 1,500 people.

The new railway added to the hustle and bustle of Old Market. Traffic increased significantly when an electric tramway was introduced in 1876. Unsurprisingly, the street market struggled to coexist with the tram network, and the market ceased to operate during the 19th century, which signalled the start of rapid change in the area.

The Golden Years, 1900-1939

Old Market Street, with its transport links, entertainment centres and range of shops, was an important and vibrant part of Bristol. The first 30 years of the 20th century were marked by a series of bold new development, including The King’s Cinema, The Methodist Central Hall and The Empire Theatre, catering to a new appetite for culture and the arts. While the traditional street market from which Old Market gets its name had faded out during this period, in its place came a range of new stores and retail businesses.

Old Market was part of the ‘golden mile’ of streets that stretched from Lawrence Hill to the City Centre, with a diverse offering of shops attracting visitors from far and wide.

Decline and Rejuvenation

Bristol breathed a sigh of relief after the Second World War, in which the city’s Historic City Centre was decimated during the Bristol Blitz, with Castle and Vine Street being flattened by bombings. However, across the city, including in Old Market, life did not return to normal immediately, with essential food items subject to rationing until 1954.

After the Second World War, Old Market had become increasingly isolated and sidelined. Now Castle Street was no more, Old Market stood on the other side of a bomb site which many Bristolians feared to cross. The electric trams ceased operation in 1941, and by the 1950s, St Philips Station was closed to passengers, further isolating the area.

The bombing of Bristol’s historic centre led to new approaches to housing, in particular high-rise flats of the 1950s, which dramatically changed the face of St Jude’s and Old Market. Old Market also had to compete with the newly built Broadmead shopping centre. The development of the ring road and roundabout as part of the 1966 Development Plan further isolated Old Market from the rest of Central Bristol. Within a dozen years, the ‘high street’ atmosphere of Old Market had all but disappeared, with a dramatic decrease in footfall in the area.

However, the idea that Old Market went into terminal decline after the Ring Road masks a more complex picture. Old Market’s isolation opened a space in which new cultures and subcultures emerged. Since then, Old Market has becoming a bustling centre of nightlife and culture, becoming a home for Bristol’s LGBTQ+ community, alongside a new and diverse offering of restaurants, bars and clubs. With one of the fastest growing populations in Bristol, Old Market’s future seems to be one defined by its eclectic mix of cultures and lifestyles.

Click here to explore Trinity's archives to find out more about the history of The Trinity Centre and Old Market.

This news item is based on information gathered as part of Trinity's Vice and Virtue project.

Bristol Caribbean Community Enterprise Group had debts of more than £100,000.

Midland Bank was the company's biggest creditor, but the Inland Revenue (who was owed £23,000) brought legal action.

Its Chairman at the time (from November 1983), Mr Richard Davis, said in Venue no.70:

"We had several months' work to do on improving the appearance of the place...it's tragic and we feel very bad about it all."

He believed they could turn their losses around but needed to overcome the drawbacks (like the gravestones outside the road widening and the state of the building) which were thought responsible for people's reluctance to use the place: "We inherited a lot of problems. It's been a long, hard slog and it seems everything's been against us."

Centre Manager, Fitzroy De Freitas was accused of stealing money and running away to Jamaica. It transpired that he was actually living at his sister's house in Clevedon, penniless, with massive loans out on his former property due to Trinity. Sadly, the rumours stuck anyway.

A sale price of £25,000 is agreed for Holy Trinity to the Caribbean Community Enterprise Limited.  Payment is expected in installments.  The purchasers are also expected 'to pay a substantial part of the purchase price and to have undertaken the conversion of the existing building before embarking on the levelling out of the churchyard.'

On 21 December 1977 Order in Council was made by Church Commissioners that Holy Trinity could be appropriated for use as a community centre. This order formed the basis of a protective covenant that is still in place to safeguard its use in the present day.

About BCCE

The St Paul's 'uprisings' of 1980 awakened the desire of African-Caribbean community activists to provide ownership for young people of a centre that offered entertainment and personal development relevant to their own perceived needs. Without the hard work and dedication of this organisation, who undertook all of the early restoration and conversion work, the Centre would not be the amazing functioning community space it is today.

BCCE timeline

1977-1984 - Roots, rock and rebellion

Jan 21-22 Arts Opportunity Theatre staged 'Black & White in Colour' in 1983. The play explored causes of the St Paul's Riots in 1980.