Artwork credit ASLS

Trinity CEO Emma Harvey reflects on the importance of community buildings following the news that Jacob Wells Baths is now at risk of being taken out of public ownership.

Jacobs Wells Baths is an asset owned by us. Built in 1889 to serve the working poor, the Grade II Listed building holds within its walls a wealth of of architectural and social heritage - from its time as a public swimming baths to its 30 year history as a dance hub.

This all risks being lost as, in December 2022, leisure company Fusion Lifestyle announced they were pulling out of restoring and managing the space meaning our cash-strapped local authority may now table it for disposal.

The story of this asset is sadly not unusual. A 2019 report by Bristol Cable revealed how Bristol City Council has sold off millions of pounds’ worth of public property as part of their ongoing response to austerity. This local saga is set against a national backdrop dubbed as ‘The Great British Sell-Off’, with local authorities across the UK attempting to combat funding crises through sale of our shared civic and heritage spaces.

"One thing you can say about Bristol is we’re a city that has demonstrated we can take complex heritage assets and transform them into viable community and cultural hubs."

It’s a pattern that shows no sign of stopping in 2023. Bristol faces yet another round of cuts and the pressure’s on to plug a £32m funding gap in whatever way possible. 134 years on from the Baths’ construction, it feels as though Bristol folk are still working hard though still very much the poorer for it.

It’s really easy to reduce these buildings to numbers on a spreadsheet. If we sell Jacobs Wells then the headache as to what to do with it next is finally over. Plus, we get some cash to plug a gap so we can all breathe a temporary sigh of relief until the next cycle of cuts. If you grew up poor it’s actually understandable. I’m sure many of us have memories of our parents pawning what few possessions they’d acquired just to make ends meet. It’s just what you do when you’re broke.

The problem though is that, when our Councils take this same attitude to balancing the books, this robs current and future generations of the assets we own and makes us all collectively poorer. In a city like Bristol, growing in density and diversity, it deprives us of places to come together, connect and share experiences. To learn and grow, to grieve or to celebrate. To keep fit, dance and be merry. To avoid loneliness or just to get out of the cold. Even to problem solve, mobilise and take collective action about the things that matter to us.

What is unusual about Bristol though is that for every Jacobs Wells Baths there are other success stories that run counter to this ‘sold from under you’ narrative. From Spike Island, to Watershed, to the Tobacco Factory, one thing you can say about Bristol is we’re a city that has demonstrated we can take complex heritage assets and transform them into viable community and cultural hubs.

The Trinity Centre is one such building as over the last 15 years we have demonstrated that we can take a big old dilapidated liability and transform it into a celebrated, multi-use arts and community asset.

So what’s stopping us from doing the same with JWB? Even with our track record, groups like Trinity just aren’t treated as serious contenders when the future of assets like Jacobs Wells Baths comes up for discussion. Maybe that’s because we don’t have millions of pounds at our disposal, or maybe its because I look like a Fraggle and talk like the love-child of Russell Brand and Janet Street-Porter. Decision makers just aren’t that great at trusting anyone to solve complex problems if the solution isn’t packaged in received pronunciation and a smart suit.

We don’t do it because we’re told we can’t, are scared to try or don’t believe we can. If we want to change this narrative this doesn’t start with the Council. It starts here and now with us. If we want to save our spaces and protect Jacobs Wells Baths and other shared civic spaces for this and future generations, as citizens we need to come together and say we want one last shot at reimagining a different future.

The Council may be the landlord but these buildings are ours. Once they’re gone they’re gone and there is no going back. We just need to believe for a moment that we can do this Bristol. Let’s put our heads and voices together and make it happen.

Take action today:

• Contact your Councillor and MP – write to them about why JWB is important
• Prepare a statement for local Cabinet
• Check out past feasibility study and plans for viable asset management
• Send your support to ensure it is registered as an Asset of Community Value
• Share on social media using the tags #SaveOurSpaces #SoldFromUnderYou #SaveJWB
• Read our 100 Beacons Report and find out more about Power to Changes We're Right Here Campaign

BAFTA Award winning Thespians are not necessarily what first comes to mind when one thinks of Trinity. But national treasure Miriam Margolyes - our charity Patron since 2014 - kindly agreed to support our fundraising effort by contributing her time, spirit and humour for one night only, December 2015.

The audience arrived promptly at 7pm, to be greeted by the scent of mince pies, mulled wine. The aromas set the tone for an evening of festive mischief.

We considered carefully which performers would compliment an evening with Mirriam Two of Bristol' s finest Opheila Biltz and Tom Marshman immediately came to mind.

The delectable queen of double entendre, cabaret-compère Ophelia Blitz, charmed, teased and enthralled the audience in a sequinned costume that sparkled almost as much as her wit.

Chameleon, performer and theatre maker Tom Marshman served up a warm dish of surreal character sketches borrowed from his show ‘A Place in the Sun’ - exploring the pleasures, pains, highs and lows and sunburn, of package holidays. The audience of 80, somewhat new to Trinity, may have wondered what they had wandered into as his characters challenged them with churlish quips and dry rebuffs.

Pianist Jack Calloway - of Old Duke stalwarts the trad-jazz aficionados, Prohibition Jazz - filled the space before Miriam's entry. Miriam cut short what was to be a roll call of her achievements by staff member Edson Burton with a playful ' none-of-that-nonsense' approach, before launching into her performance.

With decades at the top of her game, Miriam has a treasure-trove of memories from which to draw. But far from reeling off her achievements, she drew us into her confidence as if we were old friends. Throughout the hour, Miriam took us on an enthralling journey through her life, punctuated with songs, poems and readings from Dickens.

Miriam is a consummate raconteur and a fantastic entertainer but, for many, it was her candid reflections that were most engaging. With surprising frankness she named and shamed those now famous bullies who ridiculed her commitment to theatre during her university years spent at Cambridge. Miriam has, of course, had the last laugh. She is a national treasure. At a time when many celebrities have fallen from grace she is untarnished indeed she glows brighter. Her eyes sparkled with tenderness as she spoke movingly of her long term relationship. A relationship which begun at a time when attitudes to same sex relationships were less enlightened.

Behind her cut glass accent - acquired through elocution classes - is a survivor who has learnt to thrive as a woman in theatre. It is fitting then that the night raised a total of £2,200 towards our youth music provision, which caters for young people experiencing emotional and family stresses.

Miriam brought a new audience to the Trinity. Towards the end of the evening, as we all sang the Daisy Bell song by Henry Dacre, aka Daisy Daisy, we all felt just that little bit closer.

Trinity would like to give a big thanks to Miriam for hosting such a wonderful evening.

Big thanks also to Alice, Tom and Jack for performing alongside Miriam in-kind, to raise vital funds for our youth training programme.

Left to right: Ophelia Blitz; Tom Marshman; Miriam Margolyes & Jack Calloway; Miriam Margolyes. Images by Jessica Bartolini.

Kabaka Pyramid 2023. Photo credit: Khali Ackford

We are introducing 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, a Grade II* Listed building and the grounds.

In Sept 2023, Music Venue Trust announced the UK is set to lose 10% of its independent venues by the end of the year. Like many grassroots music venues and arts centres across the country, Trinity faces unprecedented challenges due to the cost-of-living crisis, rising overheads and ongoing upkeep as a Grade II* Listed converted former-church.

The Trinity Centre is a space for a diverse multidisciplinary arts programme for over 73,000 people every year. Since the building has been in our guardianship, we have raised and spent over £3m in its restoration, to improve accessibility, maintain and enhance this vital community asset and invest in green energy solutions to reduce our carbon footprint.

As a registered charity, this Restoration Levy will be treated as a restricted heritage fund that will be dedicated to fulfilling our charitable mission, to preserve, protect and improve for the public benefit the Trinity Centre, formerly the Holy Trinity Church, and promote the heritage of this building.

Our aim is to continue to provide a vibrant hub where today’s and tomorrow's generations can find joy in unforgettable concerts, electrifying club nights, community gatherings and immersive, impactful experiences. Your support through the Restoration Levy will help us to continue this legacy, helping us to raise over £40,000 each year, to:

Maintain and improve the Centre: In a typical year, we spend over £100,000 on maintenance, repairs and facilities management and our 2022 conservation survey estimates over £400,000 additional repair works will need to be delivered over the next decade. This Levy will help us to ensure our doors can remain open now and for future generations.

Improve accessibility: As a locally rooted community arts centre, we are committed to ensuring our activities are accessible. These efforts have been recognised by the Attiute is Everything Bronze Award and we continue to strive to remove barriers to taking part to ensure everyone has access to great arts and cultural experiences.

Enhance sustainability: We have installed solar panels and LED lighting to reduce running costs and carbon emissions and will continue to work to improve the efficiency of the building and ensure that our programme for the people comes not at the expense of the planet.

Thank you for being part of the journey.

Teachings in Dub regular sound system night @Trinity, ©Khali Ackford

Trinity Community Arts Statement re Trinity Road Police Station Redevelopment, Sept 2021

Trinity welcomes the prospect of increased affordable homes in the locality offered through the proposed scheme, but it’s important for everyone to understand what that will actually mean in practice.

People need housing and existing residents also want to see improvements to their area. However, as one local resident has fed back to us regarding the proposed development; “When they say affordable housing there is no mention of social housing - that simply means people on benefits will have no chance to get a house, which is the issue we have in Bristol - there's not enough social housing. Not affordable housing. Social housing.”

As with other developments in the city and country, we have to be mindful about the 1st of 10 principles from the Govt’s National Design Guide, which is ‘context’ and this rapid re-imagining of our city has to include everyone.

Unfortunately, in spite of Agent of Change, the responsibility to protect what exists already falls to individual businesses and citizens like us.

As with recent developments near venues such as Motion, we are keen to see as part of this development that a Deed of Easement is placed onto the application as a condition at planning stage, to protect Trinity as an existing venue with a rich music and cultural heritage and a lively and diverse present-day offering.

We have discussed with developer acoustic considerations and are keen to understand more about how they've been incorporated into the design. So far, there has been a lot of good will expressed.

Now we just need to ensure this translates into conditions and mitigation measures as part of the development to legally safeguard Trinity’s future as a cultural institution for East Bristol.

We recommend anyone with concerns to direct these through the Bristol City Council planning portal (application ref no. 21/04338/F).

Trinity's Community Consultation

Thanks to the support of Architectural Heritage Fund, we were able to carry out an extensive community consultation, led independently by Artspace Lifespace. Working with PH3 Designs, we also worked to update our Feasibility Study for the Trinity Centre, to ensure we have a plan for future capital works linked to the feedback of communities we serve.

Our 12pt action-plan, linked to our Business Plan for 2023-26 will help to ensure we remain on track to respond to these fundings and recommendations, in line with our values:

Accessibility & visibility

1. Achieve 'Attitude is Everything Charter' Silver Award to further improve venue accessibility
2. Develop a 'soft' entrance into the building, introducing visual aesthetics to make the Centre more inviting, welcoming and celebratory of our communities
3. Provide a programme of publicly accessible drop-in activities to enable visitors to attend and utilise the site freely

Relevancy & equity

1. Develop activities in direct response to feedback and community needs analysis, including open access activities for young people and targeted provision for men aged 55+ living locally
2. Increase place-based work, delivering activity outside of Trinity to connect and engage new communities in partnership with local groups and artists
3. Adopt Equity Union minimum rate of pay for freelancers/artists and prioritise resources to nurture and support locally embedded artists
4. Invest in a cross-sector partnership model and prioritise support for grassroots groups who can proactively respond to community needs and interests

Reach & representation

1. Develop existing and new participatory decision-making forums to ensure representation across programmes
2. Develop targeted community-specific communications and engagement, including neighbourhood champions to reach our diverse communities and celebrate community achievements
3. Adopt Unlock: the Inc Arts Diverse Workforce Toolkit, which includes inclusive recruitment actions to reach and support a diverse workforce

Responsibility & accountability

1. Update our 2014 Green Audit to identify short, medium and long-term actions in response to the climate emergency
2. Appoint a dedicated mental health lead for Trinity’s workforce and offer mental health first aid training to support staff and centre users

Context

Trinity’s values are Empower, Respond and Amplify and we are committed to living these values through the proactive development of our workforce, programme and building. In response to previous surveys and feedback we have taken the steps to ensure our actions align with our values, including:

• Empower: Becoming a Real Living Wage employer in 2020 for all age-groups and roles, to ensure everyone is paid fairly to start their career in the arts

• Respond: Appointed a new Activities Coordinator in 2021 to lead asset-based community development activities and initiatives

• Amplify: Ran the 100 Beacons campaign, 2022 to raise the profile of the work of community buildings across the city, helping to inspire a £4m Community Resilience Fund for the city

If there is anything else you think we could or should be doing to make sure we live out our values, please get in touch with your suggestions: feedback@trinitybristol.org.uk

More info

What's Next? Community Consultation, Artspace Lifespace

Feasbility Study, PH3 Designs

Trinity Business Plan, 2023-26

The Real Living Wage Foundation  has announced that the new RLW will be increased by 10.1% in the new financial year (April 2023). Outside of London new Living Wage rates will rise to £10.90 an hour (£1 increase).

"We should not treat staff as a cost cutting measure but the engine which drives everything we do.  We know low-paid workers are being hit the hardest, with over half using foodbanks in the last 12 months, so the time for us to act is now". Adam Gallacher, Deputy CEO

With the largest year-on-year RLW increase announced recently we stand firmly with our commitment to ensure all staff and regular contractors are paid fairly. As such we have implemented the changes as of October 1 2022. This will mean entry level-staff members and those on casual contracts will benefit early from the increase.

We are proud to be an accredited RLW employer. New research from the Cardiff Business School shows that workers being paid the Real Living Wage have benefitted from more than £338m in extra wages since the start of this year, with one in ten employees now working for an accredited Living Wage Employer.

Find out more about the Real Living Wage by watching a short film about the positive impact it has on some of our team members here.

Tide and Tales perform during Summer Stay and Play sessions. Photo credit: Alistair Brookes

Trinity CEO, Emma Harvey, reflects on the challenges facing Bristol arts in the context of the wider cuts to arts funding and the impact this has on limiting pathways into careers in the creative industries.

In December 2023, Bristol City Council (BCC) announced their decisions for the Cultural Investment Programme, awarding grants in principle to 15 organisations. This included Trinity, newly funded Unique Voice, and Travelling Light Theatre Company who recently lost their regular funding from Arts Council England. Also Acta, ASLS, Asian Arts Agency, Bristol Pride, Circomedia, CYN, KWMC, Paraorchestra, Rising Arts Agency, Spike Island, St Paul’s Carnival and the Tobacco Factory.

With nearly a 40% reduction in total funds compared to past rounds, 13 groups missed out on regular investment. This included previously funded groups Bristol Old Vic, Encounters, Exchange, IBT, MAYK, RWA, Saffron, St Georges, Trigger and Watershed, alongside new proposals from APE, SSGB and Wardrobe Theatre.

"Rather than sharpening our elbows to fight for the crumbs that fall from the table we should be Oliver Twisting it up and asking for more."

As testament to the sector’s precariousness, two long-standing arts organisations were listed as, “closed or closing so not considered for investment”. Those not selected have responded with concerns about the continued cost of living crisis reducing audience revenue alongside rising overheads placing pressures on finances. Cultural institutions traditionally seen as too big to fail are facing an uncertain future and all funding is still subject to annual approval. This continued uncertainty means we're all on a sinking ship, just at different points of an inescapable decline.

Successes and setbacks are all part of business as usual at Trinity. After almost 20 years the best I can say when someone asks if we'll be here in twelve months is, "hopefully". In the voluntary sector, survival is as good as it gets. Hearing frequent ‘Nos' then trying to work out what's next is part of the job. Competitive funding rounds linked to political cycles are perhaps the worst at breeding a "them and us" mindset, making organisations old and new, big and small go up against one another for ever decreasing funds. It creates a short-term focus and leads to over-commitment, particularly from those smaller, newer groups desperate to move from being “out” to “in” any funding portfolio round. It leads to an unrealistic emphasis on measuring the intangible that benefits no one and decreases our appetite for risk, stifling the very creativity we’re seeking to support.

Rather than sharpening our elbows to fight for the crumbs that fall from the table we should be Oliver Twisting it up and asking for more. Were BCC to fund all 30 organisations listed to the maximum annual grant amount of £30k per year, this would amount to the amount to less 2% of the city’s total annual revenue spend. With many administrations nationally issuing or on the verge of section 114 notices due to difficulties in delivering balanced budgets, this can make such a case for arts funding appear entitled and out of touch with the everyday suffering of many across the country. But cuts to arts funding are part of a wider narrative (see links, below) of reduced investment in the arts that deprives those without the means from carving out meaningful experiences and careers in the creative industries.

Arts can be an easy thing to cut in difficult times but we’re doing so to the detriment of those who benefit from its power most. There is an intrinsic value that’s accepted and widely evidenced. Art is good for us; our economy, our health, our sense of place and belonging. And yet, one of the wealthiest city's in one of the wealthiest countries globally can’t even resource the creativity that sits at the heart of our local identity.

Collaborating with three local primary schools, Trinity recognises the significance of early engagement with culture in igniting creative aspirations. Children locally and nationally have witnessed reduced access to arts education compounded by challenges stemming from the pandemic and the ongoing burden of cost of living limiting access to out of school activities.

The ongoing decline in arts investment nationwide results in a gradual erosion of our opportunities to engage with the arts, limiting our cultural pathways. As the voices shaping our shared narratives become fewer, the story of our national identity risks being conveyed through an ever narrowing lens. Over time, this reduces the chances for individuals without existing wealth and means to pursue meaningful careers in an industry that contributes billions to the UK's economy annually.

It is commendable that, for the time being at least, BCC have sought to protect what remains of their public subsidy for the sector and focus what resource it can with the aim of sustaining participatory arts provision within neighbourhoods. But if we really want to ensure everyone has the opportunity to access and make art we need to think of better ways to ensure the investment is felt beyond a handful of suspects, however usual or unusual.

Some of the most successful schemes to support arts and diversify the arts sector have come from creative co-option of back-to-work schemes, from Future Jobs Fund and the recent Kickstart Scheme, providing paid entry level roles for <25s, to Thatcher’s Enterprise Allowance, which enabled some of the UK’s most prolific cultural practitioners to carve out their early careers and saw the birth of Brit Art movement.

Some trusts and foundations are catching on and supporting organisations and creatives in new and flexible ways. As far as public subsidy goes, we’re fighting for a seat at a table where chairs are continually being taken out of the game. Who will secure the chair once the music stops? A more impactful path involves collaborative efforts to lay the foundations for fairer resource distribution. Let’s stop playing someone else’s game and tip the table over.

By Emma Harvey, CEO

Further reading:

Bristol City Council defends cultural venue funding cuts (BBC)

Restore Bristol arts funding! (Equity)

The arts are in crisis (Gal Dem)

Government urged to intervene over local arts cuts (Campaign For The Arts)

Funding cuts and weak economy send UK’s visual arts into crisis (The Art Newspaper)

How will art funding cuts in schools affect creativity? (It’s Nice That)

Huge decline of working class people in the arts reflects fall in wider society (Guardian)

Scaffolding in place at Trinity - image by Khali Photography

“We are pleased to continue to support the Trinity Centre in its project to repair the historic fabric of this Grade II* listed building which was a former church. This additional grant will enable the conservation of further stonework and the windows. These works will help transform the appearance of the Trinity Centre which is a significant landmark in both Old Market and Bristol.” Sarah Ball, Heritage at Risk Architect at Historic England in the South West

Having already supported us with a grant of £106k, Historic England have pledged a further £68k uplift grant towards our urgent conversation works. Significant historic damage to the building’s fabric - including corroded iron works and damage to the stained glass windows - was uncovered as part of recent investigations carried out on the 19th-Century Grade II** listed building - leading to fears that Trinity Centre could one day face closure if not addressed.

"When we announced the news earlier this year we were overwhelmed by the messages of support, generous offers and donations from the community. Funding from Historic England means we are one step closer to our £200k fundraising goal - we are very grateful for this support.” Emma Harvey, Centre Director.

We have launched a fundraising campaign to raise another £135k to cover the full cost of the planned programme of works - which includes sustainability measures to reduce running costs - before the scaffolding is planned to come down in the Autumn. Running from March - October we have an an exciting program of fundraising activities - including our famous annual garden party, 13th May.

Help us secure Trinity's past, present and future

Locality, an organisation that supports community businesses to be strong and successful, came down to Trinity for a day to film a short video focusing on Trinity's role as a community arts hub.

"In a physical space when you’re enjoying something, whether you’re having fun just getting down, having a dance or making something and being really proud of that thing that you made – art is just quite magical". Emma Harvey, Trinity CEO

Featuring Trinity regulars Hype Dance as well as CEO Emma Harvey, the film shines a light on the range of community activities at the centre, from neighbourhood celebrations to accessible and affordable dance and music events, as well as nurturing emerging artists.

Trinity is one of the few remaining truly independent community arts venues in the city so it felt fitting to launch the film on Venues Day, 5th October 2021. To mark the film's launch, Trinity took over Locality's social media to celebrate the charity's role as a hub for community arts.

The film was part of a wider set of films showcasing the many great activities that take place across the community and voluntary sector. You can find out more about the work Locality do by visiting their website.

Isto é PARTIS & Art for Change 2024 - Image Credit: Carlos Porfirio

In January, Trinity participated in the Isto é PARTIS & Art for Change 2024 conference held in Lisbon, Portugal, shining a spotlight on the transformative potential of citizen-led approaches in the arts.

The Calouste Gulbenkian Foundation and "La Caixa" Foundation are actively working to platform and support the tangible impact of participatory arts initiatives, reshaping cultural dynamics, and fostering more just and cohesive communities. The conference served as a beacon for continued dialogue and action in the pursuit of a more inclusive cultural landscape.

Featuring panels exploring diverse methods of citizen involvement in cultural dynamics, Trinity Community Arts, represented by CEO Emma Harvey, emphasized the significance of creative community spaces in shaping cultural dynamics in the arts. Emma shared insights into Trinity's work managing the Trinity Centre as a publicly-owned civic arts space, alongside efforts to save another publicly-owned asset, Jacobs Wells.

Trinity shared a panel with Lara Seixo Rodrigues, Marta Silva, and Miguel Atalaia, highlighting examples of collaborative and citizen-led cultural activity, including the Largo Residências in Lisbon and the Bons Sons festival in Tomar. Bons Sons - akin to Trinity's annual Garden Party, the annual community festival involves the entire village coming together to deliver a celebration of music, culture and local pride—an inspirational example of true citizen empowerment.

Trinity's partner, Saad Eddine Said, Co-Director of the Citizens in Power initiative, delivered a keynote speech on avenues for active citizen-led decision-making. Trinity, in is working with Citizens in Power and St Paul’s Carnival, to develop a Citizen Assembly for Culture, supporting communities in the West of England Combined Authority to shape their cultural delivery priorities and plans – funded by Calouste Gulbenkian Foundation (UK Branch) and the West of England Combined Authority. The conference also highlighted Battersea Arts Centre’s social enterprise programme, The Agency, which uses a co-design model to support young people to unlock their creative potential.

This collaborative effort, led by The Calouste Gulbenkian Foundation, amplified initiatives that are unlocking the transformative power of citizen-led approaches in the arts. The Foundation's commitment to fostering partnerships between communities, creatives, and institutions, as showcased in the PARTIS & Art for Change initiative, exemplifies a forward-thinking approach to shaping the future of towns and cities. This conference facilitates key conversations and projects that contribute to the creation of more just, cohesive and culturally vibrant communities.

Further reading:

Trinity Presents – Celebrating 50 Years of Music

This event is part of Trinity Presents, our in-house series showcasing outstanding artists and fresh new voices, rooted in communities at the heart of the city.

Community painting day with Rose Popay. Photo credit Khali Ackford

Trinity is a charity whose work connects communities and contributes to urban regeneration, through a progressive programme of live music and creative activities.

Following the success of Trinity’s recovery post-Covid we are in an exciting period of change and growth in the organisation and are looking for new team members.

Youth Service Manager

Join our Arts Programme team in the newly created, full-time, Youth Services Manager – in response to consultation, we are expanding our programme of activities for children and young people and require an experienced Youth Services Manager to help us build on our longstanding offer in music and nature play, developing  new areas in dance & performing arts, alongside an enhanced outreach offer for schools and neighbourhoods.

The successful candidate will be experienced in designing and delivery of creative programmes for children and young people and will be passionate about using arts and creativity to help build skills, confidence and progression for those taking part.

Duty Manager

We're also looking for a part-time Duty Manager (15hr pw basic) to join our team in time to help us with the delivery of our late-night programme alongside our varied community events.

The ideal candidate will have a passion for working in a community and live-events setting and  will be flexible and adaptable, ideally with previous experience as a key-holder or event/house manager.

To find out more about the roles head over to Get Involved to download the recruitment packs or if you have any questions about the roles, please get in touch on info@trinitybristol.org.uk

New intern Davontay Benjamin checks out the damage to the stone with specialists.

Last October, work commenced a 11 month project to undertake vital repairs to the building's fabric and structure.

Enabled through the help of Heritage Lottery Fund, Historic England, Allchurches Trust and 13 other funders, as well as generous donations from members of the public, works began on the lead-roof, original stained glass windows and stonework structure, including the iconic Georgian towers.

With full scaffolding in place, specialists have been able to undertake a more comprehensive metalwork survey. Investigations to metal cramps that hold the stonework in place, reveal the damage to the building is far worse than anticipated.

If we don't do these works now, Trinity will be placed back onto Historic England's At - Risk Register. In real terms this means we are going to have to raise an additional estimated £200k other wise Trinity will be at risk of closure- and we need your help to do that.

How you can help

Trinity is and has always been a central part of the community. Our mission it to keep it that way and protect the building's future and to ensure that Trinity’s doors stay open.

A donation, however big or small, will help us to bridge the gap and ensure we are able to complete these important repairs.

Your support will secure the future of our much-loved community space.

Click here to donate today.

Some of the damaged stoneworks

Get involved

Last year Trinity was used by over 50,000 people. Everyone has a story about Trinity - attending a gig, taking part in a community garden activities, taking part in one of the many community led programmes or even being one of the 200 young people attending our bespoke music courses.

If you're interested in becoming a part of our heritage story - a part of a community and a part of this much-loved building's journey - why not get involved in our Heart & Soul Heritage project? Click here for more info...

Trinity was exited to welcome IDLES band to the Centre in January 2021, as part of a socially-distanced film for their single Carcinogenic.

"Venues are at greatest risk because they are mostly small businesses, not interested in profit or investors but in the nourishment of creative, open-minded, critical thinking."

Mark Bowen, IDLES

(NME, Jan 21)

Each band member performs in some of Bristol's most loved grassroots music venues, including The Louisiana, Exchange, The Mother’s Ruin, The Old Duke, and of course The Trinity Centre.

The film was in support of Independent Venues Week that, with support from Music Venues Trust, have been working to raise the profile of grassroots music venues impacted by lockdown restrictions.

Speaking to NME about Independent Venue Week, guitarist Mark Bowen said: “Now more than ever independent musicians and the music industry at large need to unite to keep from being decimated. Between the pandemic and a government who not only don’t care about the future of the arts (especially independence within the arts) but take a pro-active role in its diminishment, independent venues are at greatest risk because they are mostly small businesses, not interested in profit or investors but in the nourishment of creative, open-minded, critical thinking.”

Click here to read the full article in NME.