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.

The Bristol collective of producers, vocalists & sonic provocateurs create boundary pushing sound with elements of dub, bass, drone, grime, noise & techno all under one roof.

• Alya L
• Anina w/ Rider Shafique
• Fiesta En El Vacio
• Intel Mercenary
• Jabu ft. Birthmark + Memotone
• Kahn + Neek w/ Sgt Pokes
• Ossia, Dan Johnson & Dali de Saint Paul
• Regina Collage

Performing in Fyfe Hall.

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

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.

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.

Trinity are proud to be invited for a take over at the Rhythm Corner this year at We Out Here Festival, hosting a huge Bristol takeover.

WOH have invited some of their favourite parties and projects from across the country to give them a helping hand across the stages. Alongside familiar faces they welcome Pineapple records, Trinity, WET LDN and Distant Planet Vs Future Retro to the WOH family.

Sat 16 Aug, Rhythm Stage line up:

• Roni Size
• DJ Krust
• DJ Die
• Om Unit
• k means & i-sha
• Neffa-T
• Kahn & Pinch
• Phaeleh
• Rose Holland
• amaia

‘This is my Church. This is my Church’ this famous line from the late Great Maxi Jazz is a mantra to many for Bristol’s Trinity Centre.

Although deconsecrated in 1976 Trinity remains a Church for many, its DJ’s priests reinventing new religions from the embers of past sounds, and from the rewiring of old and new technologies.

Trinity’s life as a temple of Bass began in 1976 when the Church sold the building to members of the African Caribbean community who were keen to find a community building that could serve a variety of community needs.

The centre was envisaged as a multipurpose community hub providing vocational training and a cultural space for the Windrush generation and their descendants. Things did not quiet go to plan. the crumbling lichen covered gravestones outside the Church proved off putting for Caribbean elders raised on duppy stories.

The young pioneers of Bristol’s sound system culture had no such qualms nor too the punk kids. Musically and culturally punk and reggae were persona non gratis for Bristol’s central venues still caught in the bright lights of late disco. Black youth faced the added problem of racial discrimination at the club door.

Pangea, credit Elliot Hingston

Trinity became an incubation and cross pollination space between artists and audiences. On its dance floor people from across were exposed to the booming reggae bass and punks' raw aggression. The classic Bristol Sound, as typified by collaborators such as Smith & Mighty, Roni Size, DJ Krust and DJ Die were born out of these encounters. Trinity was also one of the few spaces where audiences could see, then, underground acts The Specials, The Clash, Linton Kwesi Johnson and Benjamin Zephaniah.

Trinity closed in 1984 and after extensive refurbishment reopened under new management six years later. The new Trinity flourished with the growth of the dance music scene. Nights such as Tokyo Sex Whale, and Sundissential were broad umbrellas where clubbers could enjoy Techno, House, Trance and Jungle. Over time these genres splintered becoming singular promotions. The fusion between reggae, dancehall electronica led to jungle and Drum and Bass derivatives and became a mainstay of Bristol’s pioneering musical calendar.

Mala & Joey Armon Jones, credit Khali Ackford

Today Trinity remains a social conscious space, which heavily nods to its heritage and a space for community activities. As Bristol changes, so too does Trinity, but its heartbeat remains the same. More than bricks, basslines, and stained glass, it stands as a living monument to resilience, reinvention, and radical joy. From punk to jungle, protest to celebration, it has always been a space where the margins move to the centre.

Today, whether you're stepping into a community workshop, a club night, or a poetry reading, you're entering a continuum, a place where past and future harmonise in sound. Trinity isn’t just a venue for many; it’s still a sanctuary.'

Deep Medi, credit Khali Ackford

As a child growing up in Handsworth, Benjamin was inspired by Jamaica’s poet laureate Louise Bennet, or as she is most affectionately known Ms Lou. Folklorist, scholar and nationalist, Ms Lou brought a dignity and playfulness to Jamaican English which was hitherto described as broken English - this being one of the many legacies of colonialism.

His decision to become a poet came after a period of disruption. Benjamin was a bright, energetic child but struggled to read. Growing up in 1970s Britain dyslexia was often missed especially among children of African Caribbean heritage who were already racially othered by the British education system.

Frustrated, he became involved in petty criminality culminating in a spell in Brixton prison for burglary. Benjamin’s transformation began in earnest from this point. A popular performer, his journey into print began with rejections by major publishers unsure that an audience existed for his work. Reflecting on this period he noted that they "they didn't understand it because it was supposed to be performed."

Indeed, Benjamin was part of the new wave of second generation Black British poets. Along with Jean Binta Breeze and Linton Kwesi Johnson, he pioneered dub poetry – a form of spoken word inspired by the Caribbean orality syncopated to the sound of the drum. Venues such as the Trinity Centre were part of a receptive circuit welcoming new forms of poetry and music arising from Britain’s new youth cultures.

He published his first poetry collection Pen Rhythm by One Books in 1980. Since then, he has been one of Britain’s most prolific writers. As well as writing poetry for children and adults, he has written novels, and memoir. He has been an actor, activist, scholar and musician. It was this in vain that he is best known to Trinity’s audiences. Benjamin’s 2017 performance at the Centre was one of the standout gigs of the year. His lyricism and energy were enthralling; his combination of charisma and generosity truly unique, and his humour heartwarming. The iconic image of Benjamin skanking freely locks flowing will live in the memories and digital files of all those who attendance.

But, away from the stage, to Trinity’s staff he was the star who came to earth. During his second visit Benjamin met with young people taking part in Trinity’s flagship initiative Making Tracks. He spent far more time than was originally agreed speaking candidly about his life, art, and the challenges of dyslexia. The memory of this encounter still lingers among the young people who came that day.

Generations have been disarmed by his accessible verse, and amiability disarmed because belying his wide toothed smile and Midland's patter was an intense passionate commitment to humanity. He was a spiritual giant and a man of the people.

By Dr Edson Burton

Images © Khali Ackford, KoLAB Studios

Their debut album Wolo So and follow-up When The Dust Settles explore collective polyrhythms, emotional themes, and personal stories, capturing the journey of Black identity and community in the diaspora.

+ support from Kesh

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

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.

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.

Trinity x acs earplugs - credit Khali Ackford

Your hearing is priceless, and at Trinity, we believe in protecting it. That’s why we’ve teamed up with acs, leading specialists in high-fidelity hearing protection, to offer reusable earplugs designed for music lovers who want to experience the full depth of sound without compromising their hearing health.

Live events can expose you to high decibel levels, which over time can lead to permanent hearing damage. By wearing high-quality ear protection, you can reduce this risk without dulling the sound - keeping the music clear, balanced, and immersive.

As proud supporters of the NTIA’s ‘Listen for Life’ Charter, we’re committed to promoting safe listening practices in live music spaces. Hearing health is wealth, and we want to ensure that music lovers, artists, and staff can enjoy the power of live events for years to come.

Our Trinity-branded acs earplugs come with a protective case for easy storage and are now available to purchase at the bar. Get yours today and take a simple but vital step toward long-term hearing care.

🎧 Look after your ears – they’ll thank you later! 🎧

Image by Khali Ackford

Trinity is proud to support the Black Creatives Network, a monthly meet-up designed to provide support, reflection, and opportunities for Black artists across all disciplines.

The Black Creatives Network offers a dedicated space for artists to connect, share experiences, and develop their practice in an environment rooted in community and collaboration. Open to walk-ins, meet-ups take place on the fourth Monday of every month at Trinity.

The journey so far

This initiative, led by Rider Shafique (I-Dentity) and Khali Ackford, emerged from feedback gathered during online workshops delivered as part of Trinity’s community arts project, What I Want To See, What I Want To Be.

The need for greater representation and support for Black artists has been widely discussed, as highlighted in this BBC article, which explores the barriers Black artists face in the creative industries.

The Network has collaborated on projects that amplify Black creative voices. In 2024, members of the network contributed to the New Black Narrative exhibition at the Royal West of England Academy (RWA), in partnership with the Diverse Arts Network. This was a groundbreaking showcase exploring new perspectives in Black contemporary art.

Click here for more info and dates of upcoming meet-ups.

Interested in joining? Just turn up on the day or reach out to jamell@trinitybristol.org.uk for more info.

We sat down with Steve Rice of Downbeat Melody Soundsystem to talk 50 years of Soundsystem culture, Roots Reggae and what makes Bristol's music scene so unique. Downbeat Melody Soundsystem will be running a Day Party at Trinity on 16 July as part of Trinity Presents - click here to get your tickets.

How did you first get into reggae and soundsystem culture?

When I first got into Ska and Rocksteady the word Reggae had not yet been coined, it was around 1966. I grew up in Clapham and Brixton and went to school with, and lived near, lots of Jamaican families. My first encounter with soundsystems was with Sir Coxsone who was playing in the street where my friends lived. We used to buy weed from a pub in Clapham North and got invited to Blues dances where I really got the bug. In ‘71 I built a small system and played at parties we held in squats. In ‘73 I cut a record and it got released by Pama. When you find an art form that opens up your heart, you can’t leave it.

How do you feel that the culture has changed over the years?

I play the music I love in the way it was played to me and what I do has pretty much stayed the same. To quote an old sound man “a man would buy an amp and build all speaker box and string up the sound” and that is what my sound is.

People arrive at what is called soundsystem culture from various places and occupy various places in that space. What I do is play Jamaican music from its golden age in the style it was played at the time. My system is not the loudest or biggest but it sounds wicked and people love it.

Why do you think Bristol has such a vibrant reggae and soundsystem culture?

Bristol has always had sound system dances - my mic man Champion came here often with Jamdown Rockers and Clapham Sound and sounds from here are numerous and long lasting too. It makes sence for people relatively new to it to have something to hold to. Of course things change and it’s easy to spot differences, but I prefer to look for similarities.

When you have to repair amps and replace speakers or pay the rent and load vans at four in the morning you cuss and swear it’s the end of it. Then you string up, put the needle on a record and boom! You’re back in love again!

What relationship does Downbeat Melody have with Trinity?

I’ve played at Trinity a handful of times and it’s always been good - It’s a nice space to fill with noise.

More than that, Jamell’s mum Marcey loves my sound and in particular, love me and Ras Digby when we play together! It’s always been a pleasure to do anything there.

What can people expect from a Downbeat Melody Day Party?

At the day party they will see the soundsystem which is hand built and unique - it’s possibly the most photogenic system around.

The line up is myself and Paul Solution, who has become my key man on the sound. He has his own, much bigger sound that has played Notting Hill Carnival for years. We have a lot in common and his selection compliments mine really well. We have the same outlook and ideology of sound. Our guest is Ras Digby from Sir Jessus Sound in West London .

He has such depth of music and boxes of dubs that nobody else can touch . He is my favourite selector and over the last 20 years I have learned much from him. Together we have over 100 years of experience in sound. People who come can expect to hear the best selections of Jamaican music played by three veterans who play for the crowd and, as they say in Jamaica, “sweet the people dem”.

Ahead of their Day Party alongside Booty Bass on 29 July, we spoke to Yusuf and Safiya Suave, co-founders of South Asian events and podcast collective RepresentAsian, about diversity in the events industry, transitioning from podcasting to events, and plans for the future.

RepresentAsian will be performing at Trinity on 29 July for a day party alongside Booty Bass as part of our in-house music programme Trinity Presents - click here to get your tickets.

How did RepresentAsian come about?

Yusuf: RepresentAsian is definitely Safiya’s brainchild. We were both home over Christmas and she wanted a “passion project”. At the time South Asians were essentially ignored outside of BBC Asian Network and Safiya felt a podcast would be a good platform to shine a light on those underrepresented. I was classically sceptical and dubious, but she talked me around so we bought the cheapest mics we could find and hit record.

Safiya: We were aware of South Asians doing bits across the UK music industry, but no one was talking about it. Daytimers were in their infancy at the time and an organisation called South Asian Audio Creatives released some research highlighting major radio stations had almost 0 South Asians on their presenting team. That was reason enough for us to try and do something about it.

How did you transition from podcasting to events?

S: So Yusuf can actually take credit for this one…

Y: By this point, South Asian DJs were being talked about and a few big names were appearing in Bristol. It’s a tough one, it was great to finally start seeing brown faces on stage, but the promoters of these events were your classic white men, perhaps looking to make some quick money off the back of a current trend. I was walking home after one of these events and sent Safiya a voicenote saying “we should be the ones booking brown DJs!”. On top of that, truly diverse dancefloors are hard to come by in Bristol and I wanted to try and create a space that encourages more POC’s to be seen and engage with the community. Often we don't feel seen so hopefully RepresentAsian is changing that for South Asians in Bristol.

What's it like working with your sibling?

Y: No comment. Joking, I would say 99% of the time it runs very smoothly?

S: We did have one big argument during a podcast recording…

Y: Oh yeah! But all was forgotten within a few hours. We know each other very well so when one of us gets annoyed, we know when to back off and let them settle. Plus, Safiya basically does all the work. I’m just the pretty face and I’m ok with that.

S: Hilarious. The face for radio, maybe.

What do you think can be done to make sure that people of South Asian heritage are better represented in events/music scene?

S: Good question – there’s a constant battle of representation vs quota box checking and pigeon holing. If you book a South Asian DJ are you expecting them to play bhangra or desi edits? We’re about to launch DJ workshops for South Asians in conjunction with the Asian Arts Agency. We hope by opening the doors to more people, we can encourage the next wave of budding talent to get involved and to make sure we’re not a flash in the pan.

Y: Whilst there has been a positive shift towards representation across the board. It comes in more forms than just DJs on a lineup. It would be great to see more South Asian (and POC in general) on the booking and programming teams at festivals and major events. More diversity at stakeholder level across music; be it management, booking agents, labels, promoters etc. We want to encourage people to pursue that career in music.

What can people expect from a RepresentAsian x Booty Bass day party?

Y: quite simply, it’s going to be a high energy, bangers – on – bangers - filled day. Expect music from across the world with bouncy basslines. We can’t wait!

What’s next for RepresentAsian?

S: We have our DJ workshops coming soon, more podcast episodes and more nights across Bristol and Amsterdam.

Teachings In Dub has been a Trinity mainstay since 2008. As arguably Bristol's most famous dub night, Teachings is a core part of Trinity's club programme, continuing our heritage of dub and soundystem focused events. Teachings has hosted some of the most influential figures in dub, including Jah Shaka, Aba Shanti-I, Channel One and many more. As Teachings in Dub prepare to return to Trinity on 05 May with Indica Sounds and King Original, we spoke to Teachings co-founder and one half of legendary dub outfit Dubkasm, DJ Stryda, about how Teachings started, their influence on the Bristol music scene, and big plans for the future.

How did Teachings in Dub start?

In 2007 we launched as the downstairs room of a two floored club (now bulldozed) called Clockwork on Stokes Croft. Dubstep legend Pinch ran his infamous event Subloaded in the upstairs room while we did Teachings in Dub downstairs. These events have gone down in history and are remembered by many as some of their most influential events of that time.

"We aim to give elders a space to enjoy the music and vibes they grew up on as well as a window for newcomers to enter a music scene they may have otherwise not even known existed” - Stryda, Teachings in Dub co-founder

When did Teachings move to Trinity Centre?

In 2008 Clockwork announced it was closing, Pinch and I looked into another two roomed venue but none seemed to exist that fitted the vibe so TID and Subloaded went their separate ways with TID moving to Trinity where we've remained ever since.

How do you think Teachings has maintained such a high level of popularity over 15 years?

I'm one half of the duo Dubkasm and have travelled the globe pushing Roots and Dub, in turn this has kept me in tune with what's going on in the scene and helped establish firm relationships in dub which all leads back to TID and the type of cutting edge lineups we offer.

What do you think Teachings in Dub offers to the Bristol music scene?

A space to come and experience the real deal in Reggae soundsystem. We pride ourselves on keeping the tradition alive and not only have two different sounds meeting in the arena but we also offer ital Caribbean food, Arts and Craft plus Record stalls for the full cultural experience.

What's next for Teachings in Dub? Any big plans for 2023?

We have some huge sound meetings scheduled this year, each one is going to be special including later in the year teaming up and celebrating 25 years of Leeds' renowned dub event SubDub.

Teachings in Dub returns to Trinity on 05 May with Indica Sounds and King Original, click here to get your tickets.

Kabaka Pyramid performs at Trinity on 07 April

Ahead of his show at Trinity on 07 Apr as part of Trinity Presents, we spoke to Grammy award-winning Reggae artist Kabaka Pyramid about performing to UK audiences, the Reggae Revival movement, and much more.

Tell us a little about your musical journey up to this point, and any upcoming plans for 2023

My journey has been great with ups and downs of course, from sound system days to small home studios, starting an independent label, to working with Damian Marley, to winning a Grammy. It’s been amazing. This year we are touring worldwide and continuing to push my album The Kalling.

As a key pillar of the reggae revival movement, how do you feel the international recognition of new reggae artists has impacted the scene as a whole?

I think the international recognition has shone the light on our generation’s movement, and that helped to elevate our status and profile in Jamaica, so overall it’s been a very positive thing.

What have your experiences been like playing for a UK audience? Have you noticed any difference in the atmosphere and energy at UK shows compared to other international audiences?

It depends on where in UK, festivals like Boomtown are similar to other festivals around Europe and even the US, but a club show in South London is closer to the vibes in Jamaica. People react more to the popular songs so I usually have to change my setlist in the UK.

Are there any UK artists that you’d like to work with in the future or other Jamaican artists you'd like to highlight?

Man like Stormzy and Giggs are legends, I also rate Ashley Walters and Kano, looking forward to releasing something with Maverick Sabre and also Plan B - we’ve been in studio before. I like Little Simz's vibe as well.

For someone who’s never seen you perform in person, what can they expect from Kabaka Pyramid live?

My live show is really high energy, a lot of fun for fans, nuff lyrics and some reggae classics mixed, and look for songs off my Grammy album 😉

Kabaka Pyramid will be performing at Trinity on 07 April as part of Trinity Presents - click here to get your tickets.

About Trinity Presents:

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

Booty Bass - Credit: Khali Ackford

Ahead of their collaboration as Obsidian this New Year's Eve at Trinity, we spoke to Ngaio of Booty Bass, and Betty from Shade Cartel about inclusivity, creating safe spaces for everyone on the dancefloor, and what makes Bristol audiences the best. Booty Bass are a collective of female/nb DJs formed in 2018, while Shade Cartel are an inclusive dance and performance collective of colour, consisting of drag artists, aerial/pole artists and professional dancers.

How did Booty Bass come about, and what was the idea behind it?

Ngaio: When I first began DJing I was shocked by how few women, women of colour or queer people were on the line ups I was being booked on and how intimidating the spaces were when they were filled with predominantly white, cis, men. Even if a lot of them were my friends and they were good people, I felt an overwhelming sense of having to prove myself because I was the only one who looked like me behind the decks. When I was given a residency at the Plough in Easton every other Thursday, I was able to see the type of crowd and sense of community that could be cultivated when they saw a woman behind the decks having a great time, dancing for myself and no-one else. As that gained popularity, I was given a weekend slot once a month and opened up the warm up to other women; queer women, women of colour and non-binary people. At the end of 2018 I was given New Year's Eve where some of the warm up DJs from the year joined me and from then on, that was the beginnings of Booty Bass. That was also the last time we threw our own New Year's Eve party!

How did Booty Bass come into collaboration with Shade Cartel?

N: Funnily enough me and Betty grew up a town away from each other in rural Wales but never properly spoke until 2021 when Booty Bass and Shade Cartel were booked at an event at Lakota Gardens. We knew of each other but hadn't had space to properly chat until then I think and then it all came out! That we grew up in a similar way, had worked in the festival and events industry for years, and were trying to diversify the landscape with our crews - me with Booty Bass on the music side and Betty with Shade Cartel on the dancer's side. Every time our crews got booked to play the same stages, we would have the best time, so when 2022 came about we thought let's not wait for others to put us together, let's take control as we have already and carve out space for ourselves.

Betty: Booty Bass does in the music scene what Shade does in the dance scene; so it made sense to bring them together. Both collectives are run by two creative black women (myself and Ngaio) committed to inclusion, self-empowerment and creating safe spaces. Bringing our babies together has been pure vibes and it feels great to perform onstage with DJs where you feel completely comfortable and free; it’s a beautiful queer family affair.

2022 has clearly been a big year for you both, what have been some stand out moments from this year?

N: Launching Obsidian has got to be the stand-out for me, I think. It was hard work for sure and took a lot of planning and grafting but being able to do it as 2 crews pulling together being led by 2 women of colour was seriously special. The last day our venue was open at Boomtown, me and Betty watching Grove perform Black in our venue for our community that we put together was amazing. We stood in the crowd hugging; it gives me goosebumps thinking about it now!

B: Shade have performed on lots of great sets and festivals this year but the highlight has got to be creating and growing obsidian; bringing our collectives together. We’ve had so much fun with it.

Creating a safe space on the dancefloor is clearly important to Booty Bass, do you think venues are doing enough to make people safe, and if not what more could they be doing?

N: It's very important to us, because namely on that New Year's Eve night 4 years ago, one of our friends was sexually assaulted by a man who lied to get himself on stage and even now refuses to acknowledge that what he did was wrong despite being banned from our events. It wasn't someone who came regularly and clearly thought he could get away with it. After that I began a series of Halt Harassment dinners where venues, promoters, security teams and audience members for together to talk about how to tackle this as a unit. Through that project I created a policy that we in Booty Bass adhere to and talk through with each venue we work with but these conversations need to continue. I think there is a responsibility that artists, venues and promoters have to try their best to police the spaces they invite people into and take action if they see something wrong. Booty Bass rarely runs events in venues where the dancefloor can't be seen by the DJs because I think we all have to work together to push the message that harassment is not something we will sit back and let happen.

There’s been a focus over the last couple of years about the importance of promoting diverse line-ups – have you seen this change happen or is there still work to be done?

B: I think there was a drive for diversity a couple of years ago but it feels like the movement's since fallen flat. I can’t say I've seen a massive change. Most lineups are still predominantly male. I feel like promoters and platforms still have lots of work to do here.

N: I think there's still a lot of work to be done. A lot of the music and entertainment industries made a big show and dance of putting up black squares and bringing in a tokenistic artist here and there during 2021 but since then the push for a lasting change I think has diminished. Since 2020 the number of BAME people in the music industry has actually dropped despite the claim that this was one of its focal points post-BLM. For me the question isn't just 'who's on your line up' but also, who is running the space? Who is backstage? Who's on the door? Yes, representation is key but alongside that needs to be industry-wide training around how to be actively anti-racist and uncover your unconscious biases to understand what the experiences are for those people that you put on the line ups. There should be a push in representation across the board - not just for the performers on the stage. Which is why Booty Bass and Shade Cartel make such a great match, because we understand what those experiences are - of being marginalised on the stage, in the offices, behind the scenes, and recognising all the things we would do differently to make that space once that in inclusive and diverse. It's also why I work as a trainer and consultant in this field, because I feel passionately that if everyone participated in learning and growing, the scene would be much stronger for it.

What do you think makes the club scene in Bristol unique?

B: People within the Bristol music scene are super creative and vibrant and there's always loads of cool collaborations going on. The close proximity of the music venues means there’s a concentrated party feel which is fun.

N: The fact that people ultimately want to go and dance the night away! Bristol audiences are the best - there's no pretence. No trying to look sexy the whole time or standing at the side of the dancefloor not getting involved - we go in! We dance hard, we sweat, we laugh, we meet new people, we smile at strangers, we love polyrhythms and big Bassy bangers. We are a fusion of cultures, music styles, Soundsystem children. We like to hear things we haven't heard before - we thrive on the unknown. And we're also political, we want to be part of the change and hold each other and ourselves accountable. It's a very special scene to be a part of.

And finally, any big plans for 2023?

N: SO MANY!!!! Can't talk about them yet but keep an eye on the socials! I myself am working on some new music that I'll be releasing in the new year and we've been hatching plans to build on some of the incredible work we've done this year. 2023, we ready!

B: Other than world domination we’ve got some very exciting festivals and events planned for 2023. We can’t spill quite yet, but keep your eyes on those line ups; we there!

Booty Bass and Shade Cartel will be joining forces for Obsidian this New Year's Eve at Trinity - tickets are now on final release, click here to get yours while you still can. Find out more about Ngaio's work, or check out Obsidian, Booty Bass and Shade Cartel on Instagram to stay up to date with what's next for the collective.

About Trinity Presents:

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

Peachin' Day Festival. Photo credit Khali Ackford

In our commitment to platform emerging talent and provide access to quality facilities for the community, we’re excited to announce a summer season of live music and spoken word events in our outdoor space, ‘The Den’.

Between July-September 2022, we will be showcasing some of the best breakthrough artist from Bristol and the South West alongside a wider programme of family friendly arts activities and events.

“Trinity have always been there providing a space for us and many other artists to do what we do best and always put creativity and community first” Ishmael Ensemble

We’ve joined forces with collectives who are making waves in the region including Bristol poetry collective Raise The Bar, who are bringing Youtuber Leena Norms to perform, 31 July and multi-disciplinary Arts organisation Beyond Face, who will take over The Den to showcase spoken word artists from the global majority.

Head over to our What's On section to find out more about events and activities at The Den.

About The Den

Our vision for The Den is to increase our presentation of creative and performing arts, and alongside this provide facilities in the interests of social welfare for recreation and leisure for community groups and local residents.

Funded by Power to Change, Bristol City Council, Tarmac Landfill Communities Fund and match funders, our revamped outdoor space feels like a secret, magical corner of a festival. The space - including bar, kitchen, outdoor seating and stretch-tent – is set within our beautiful garden and heritage grounds.

The works form part of Trinity’s phased capital works programme, that paused in 2020 when the impacts of COVID19 and Brexit caused delays to planned construction of a larger scheme of work, including a two-story kitchen/bar with offices and outdoor area.

Venue Director, Jamell Ackford said; “Like many music venues, we began to get creative with our outdoor space in response to pandemic restrictions, launching the ‘Garden Sessions’ in 2020.

Following support in 2021 from the Architectural Heritage Fund to to revisit and revise our Feasibility Study, a detailed community consultation helped us to find out what the community wanted from us in a post-pandemic environment. From this, we updated our original plans and the idea for ‘The Den’ was born.

With this new bespoke setup, The Den will provide wider opportunities including supporting local food and community activities, as well as giving audiences a unique experience.”

As part of Trinity’s post-pandemic responses, a Community Activities Coordinator has been appointed to support ‘Community Kickstart’ activity – working with local residents, grassroots groups and charities to establish new activities from the space.

If you are a local resident or group and would like to run an activity for the local community, get in touch with stefan@trinitybristol.org.uk to find out more.

Trinity features in a film created by Bristol City Council, showcasing organisations in the city who are certified Real Living Wage Employers.

The film features Trinity team members Rhiannon Jones (Programme Director) and Jamell Ackford (Venue Manager) alongside Ben Openshaw and Harry Lewis who are both employed on a six-month internship as part of the DWP's Kickstart Scheme.

"Paying the Real Living Wage means we can support our workforce who, if we retain and nurture, will become future cultural decision-makers." Emma Harvey, CEO, Trinity Community Arts

Trinity became a Real Living Wage Employer in 2020, providing employees a fair, entry-level wage, calculated independently based on living costs.

Trinity believes that the best workforce is a diverse workforce and that by paying people a fair wage the opportunity to choose a career in the cultural sector is not limited to those who can afford to take on low paid internships.

Trinity joins over 65 Bristol employers, including Quirky Campers and Hargreaves Lansdown, as a certified Real Living Wage organisation, contributing to the nearly 2,500 employees who have seen an increase in their wages relevant to their day-to-day living costs. Find out more about Bristol City Council's commitment to becoming a Real Living Wage City here.