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Something to hide, Beaufont? Why else would you go to this effort and get yourself arrested?! Keep up the good work, Wiltshire Hunt Sabs….. this video is the most compelling and upsetting yet.
Pot pourri, Rodney, mange tout! If we’ve brought to your attention as large a variety of local festivals as possible, here is one that is completely unique, and you will learn something from, rather than, like me, remaining speaking French with the fluency of Del-Boy!
Marlborough School of Languages is the newly branded Marlborough Language Tutors’ Hub; a group of independent language tutors who offer a wide range of courses and workshops for secondary school students and adults. They are now taking bookings for the 2024/25 academic year. But as well as these workshops and a Spanish student exchange program, over the week from the 7th to the 11th July they are holding a summer fiesta across Marlborough’s grand high street; a unique week of language, culture and fun!
The fiesta is an immersive summer experience designed for language enthusiasts of all levels, it includes morning language lessons in Spanish, French, Italian and English as a foreign language with expert tutors. There are afternoon cultural talks and workshops in language, culture, and gastronomy, and to really twist your arm, you will also enjoy meals at top local restaurants, a paella feast on Wednesday, and a finale celebration of wine tasting, tapas and live music the tutors call the “Battle of the Nations.”
It must be a challenge second only to teaching pet hamsters quantum mechanics, to teach the average English person a foreign language! Personally, I assume shouting in the same English what has already been misunderstood, while ingeniously adopting a wonky foreign accent will generally suffice! But you should be rest assured the team at Marlborough School of Languages are a dedicated bunch.
There are eight fully-qualified tutors at Marlborough School of Languages. Valérie Calder for French, who comes from Champagne, Italian tutor Claudia Marin from Venice, Laura Simons who teaches English, Welsh and French, Kate Browne from Canterbury, who teaches English, and four Spanish tutors, Nazaret García Val from a town in Zaragoza, Nacho Panadero Carroceda from Vigo, newest member Ignacio Vargas online only from Cantabria, and the founder María González.
“After years of tutoring students of all ages in Wiltshire and London, I decided to offer the locals the opportunity to make their learning experience a social event too,” María explained, native Spaniard from Lugo, in the beautiful Galicia who has lived in the UK for twenty-five years, teaching at Marlborough’s St John’s Academy, organising Spanish learning clubs in local primaries and is now working at the Department of Modern Languages in Marlborough College.
Maria said, “We aim to give our students, whether secondary school pupils or adult learners, a chance to really immerse themselves in the language and understand a little about different cultures from our base in the picturesque Wiltshire market town of Marlborough and online. We offer them the opportunity to engage in cultures and perspectives beyond their immediate environment.”
“The tutors at the fiesta will be Andrew Brown (French), Matt Gow (EFL), Claudia Marin (Italian), and I will teach Spanish,” Maria continued, “Andrew and Matt both worked at Marlborough college and they are just doing this event with me. They have 30 and 25 years of experience so, over the moon with their input!”
This could be the golden opportunity to broaden your horizons and learn a language the fun way, discovering new cultures, and making unforgettable memories. Always a silly sausage, I struggled with languages in school truth be told, troubling with English even, but had my teacher brought in a paella feast things might have been oh so different!!
There are limited spaces available for this, so secure your place with a £100 deposit HERE. The cost overall is £345 per person. Book now at: www.marlboroughsol.com
Contact Marlborough School of Languages at info@marlboroughsol.com or call 07940910821 for more information…. or información, con su permiso mi amigo… okay, there’s no fooling you, I used Google translate, but you might not need to after this and the world will be your oyster, or ostra!
Without sounding like a stuck record, it’s the same unfortunate news for Devizes Street Festival as it was last year; Arts Council England has not awarded DOCA funding for their programme of summer events in 2025…..
DOCA was sorry to announce today, a spokesperson saying, “funding across the country has diminished significantly and demand for it has increased. As a result our already small staff team will be reduced to a minimum as we try to secure funding for the future.”
“This means that the Street Festival cannot go ahead as intended on 4th & 5th May. We will, however, still be delivering an exciting event in town that weekend. The YEA Devizes project (Youth Event Area Devizes,) which has been funded by National Grid, will present a youth-led event in the Market Place, created and delivered by the incredible young people of our town.”
Devizes Yea would like to connect with other community groups and individuals, so if you are a young person interested in being a part of it, or an organisation or club that would like to support the event please get in touch at: yeadevizes@docadevizes.org.uk ( For all non-youth related enquiries please use info@docadevizes.org.uk)
Alongside this DOCA will host Grow Devizes that weekend, a concept that encourages and combines both growth in nature, and growth in our community. To this end, the Out and About project will take the performing arts out into a rural village and in turn invite people from those areas back into all they do in town.
“We are still navigating the best way forward for our other summer events,” DOCA continues, “such as Colour Rush, Confetti Battle, Picnic in The Park and Carnival, working with our partners around town and funders to come up with the best solution. Please bear with us while we consider all available options and we’ll update you as we know more about each specific event.”
This was such a special event in Devizes, loved by all. It is such a shame to hear this terrible news for a second year running. The effects of the government’s 16% cut in real terms across the UK to arts funding since 2017 is beginning to impact significantly on free events such as town carnivals and village fetes.
Earlier this month Wiltshire Council confirmed an increase in funding to its arts and heritage partners. The council funds four arts organisations across the county; Pound Arts in Corsham, Trowbridge Town Hall Arts, Wiltshire Creative in Salisbury and Wiltshire Music Centre in Bradford on Avon. Funding also goes to Wiltshire Museum and Salisbury Museum.
We support, of course we do, all additional funding for arts in the county, but Devizes gets zilch for arts. They stated this demonstrates WC, “is committed to the delivery of culture in the county by agreeing to uplift each of its grants to arts and heritage partners by 10% in 2025/26.” Yet this excludes every charitable event organisation in the county dedicated to providing arts and culture freely, as while many of their heritage partners fundraise for important charities, all events at the venues require tickets.
The failing of funding for community events is the remnants of a conservative austerity ethos that arts and entertainment will only be available to those able to pay for it, and if Wiltshire Council were as thoroughly dedicated to arts and culture as the claim they are, they would provide budgets for town carnivals as well as the ticketed venues affiliated with them. Instead, and to illustrate by example, one of our Conservative town and county councillors and area board managers criticised the beloved Street Festival for not having a “diverse audience.”
The statement was, obviously, poppycock and only made to favour profit-making events in the town; Street Festival was, by a country mile, the most diverse event Devizes has ever seen and attracted the most diverse audience, being it was free and open to all.
Street Festival was a true colourful display of music, arts and theatre, and was once a testament to all which can be accomplished freely when a community comes together. It is heart-breaking to have to mention the event in the past tense, but this sad news today casts a shadow over any hope the Street Festival will ever return.
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We remain in awe of the deserved success of indie-pop band The Sunnies, which has continued to flourish since winning Take the Stage at the Neeld two years ago. But is their hometown ready for the next big teen sensation? If so, I’m predicting it will be Between the Lines, because it should be Between the Lines…..
Last weekend The Sunnies headlined a town council’s 4Youth “Next Gen Gig” at The Melksham Assembly Hall. Being just a smidgen over the age limit I missed this, but a video of the support act, Between The Lines, shared on social media caught my eye, or at least, my ear!
Formed five months after The Sunnies took the Neeld’s stage, in October 2023, Between The Lines are smooth indie-rock female-fronted four-piece, consisting of bassist Belle upfront, lead guitarist George, and Ethan and Louis, who both switch between drums and guitars, the latter being the rhythm guitarist.
They put out a demo single, Fading Time earlier this year, with an irresistible classic rock riff, some nonchalant and confident vocals, and an enchanting hook. It’s raw, for sure, but a grower. Its ingredients blend wonderfully, painting a melancholic picture of adolescent romance; the tune is moreish, and blossoming to bursting point with potential.
“Fading Time was the only song we recorded in that session,” George explained, as I thought I should catch up with them, sooner rather than later, “but there are exciting new ones due to be released very soon.” I look forward to hearing them; progression feels imminent with this promising new band; you should keep an eye out for them.
With the band members currently studying music courses at either college or sixth form, I always like asking teenage groups what their music teachers thought of their band, poorly assuming it’ll break the ice! Even if referencing their education is highly unlikely to do that, I tend to stereotype teachers in retrospection of my own, wondering if they retain the doddery notion rock music is the “work of the devil,” and attempt to throw classical violin at them, or they’ve modernised, least enough to be hip to be square on a Huey Lewis level!
Louis answered this one, elucidating George’s and his music teacher had, “supported our band on multiple occasions, with gig opportunities and equipment in the past, and has always been enthusiastic about it. Fortunately, no classical violins!” Ah, got you. Our music teachers used to be funky too, though only in the archaic definition of being unpleasantly smelly!
Ethan expanded on this, and moved onto their first few gigs. “My drum teacher was always telling me to form a band and after talking with Isobel,” He said, “she was adamant to get something going. Through music GCSE, we started Between The Lines, playing songs with each other for assignments and eventually starting regular rehearsals. We’re still new to the gigging scene, and have performed at the Kings Arms in Melksham and The Queen’s Head in Box.” The latter being a fortunate venue to play so early, Ethan also went on to reveal they’re on the bills for Box Revels in May and CorFest at Corsham’s rugby club on June 21st.
George explained how they’d heard of The Sunnies before they had formed, upon me cheekily asking them if they thought they were the next big thing to come out of Melksham; you’ve got to big yourself up in the Sham, they’ve got a golden arches, and Henry Moule inventor of the dry earth toilet, as claims to fame!
“Well, hopefully!” he laughed, but remained modest. “It really was great to play with people that you’ve looked up to, in a way, and of course they bring such an energetic and fun performance which is something to be fond of. As for us, it’s exciting to see lots of new people enjoy what we do and it brings a lot of motivation for us to keep moving forward and expand as much as we can, it’s only up from here.”
Based solely on this single, I strongly hope and suspect it will be, so we moved on to the demo, Fading Time. I suggested the opening riff reminded me of the intro to Sweet Home Alabama combined with a dollop of Natalie Imbruglia’s Torn, even if it’s showing my age, it’s an accolade. I wondered if this smooth feel-good indie-pop rock was the kind of quality they were going for.
“The song itself came from a simple melody idea that I had for ages never necessarily taking any inspiration from others,” George expressed, “and we bounced back and forth from each other’s ideas until we recorded it in the short space of time we had.”
Ethan expanded on the backstory of Fading Time, in answering that cliche question I fired at them about their working process. “So far,” he clarified, “our originals have stemmed from one idea. For example, ‘Fading Time’ came from a melody idea from George and our unreleased single developed from a project I created for a college assignment. We then developed the song together to add a little bit of each other’s personality in our parts. We are fairly new to songwriting as we’re mainly a cover band but we all develop our own little ideas and send them to each other!”
Their current repertoire includes covers of The Foo Fighters, Radiohead, and Chris Isaak, among others. “We try to choose covers that are both crowd-pleasers and that reflect the same vibes as our originals,” Belle expressed.
Between The Lines’ website cites Radiohead and Matt Maltese as influences, Belle expanded on this, “as the main lyricist of the band,” she suggested she took inspiration from “very poetic artists, like Boygenius, Fiona Apple and Bon Iver. Ethan focuses on instrumentation, inspired by Big Thief and Better Oblivion Community Centre. George is all about the hooks and guitar riffs, he’s influenced by Wallows. Louis works on a strong rhythm, taking from Foo Fighters and Seal.”
Phew, at least the last two my dilapidating database has heard of! You’ve got to love Seal, I saw him live once, but he didn’t do Kiss From a Rose nor Crazy, just balanced a beach ball on his nose and clapped his flippers. That was the last time I went to a gig at the Sea Life Centre.
As a finale, I pondered what’s in the band name, perhaps they met in a history class about WWII, you know, between enemy lines … .perhaps, ah, forget it, I’ll get my coat! When actually, Belle revealed rather than history, they did meet in GCSE music, “doing a project for the Christmas concert!” Not too far off the mark then, just the wrong lesson, which goes in line with my own schooling. I was often found in the wrong lesson, and if I was in the right one, I tended to be somewhere else mentally; kind of explains a lot.
“Choosing a name for the band was quite difficult,” Belle said, signalling her vast music knowledge supersedes her age, “everyone suggested different names every day. Ethan suggested the name In Between The Spaces, which reminded me of two things – Between The Bars by Elliot Smith and especially the album Between The Lines by Janis Ian. After numerous ideas for names we decided on Between the Lines!”
Deliberating on a band name is important, it might fatefully fade into obscurity as the competition of a tough market to break takes its toll, or it could be that name in lights for decades to come. I wish Between The Lines all the very best with their ambitious beginnings, and very much hope the result is the latter.
I advise you to support new local talent and follow their socials, TikTok, and website here, as while I’m no clairvoyant, I know what I like, and predict we will be hearing a lot more good stuff from Between The Lines in the near future…..
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I’m heading that way too, trying to pick up pace and overtake them, so as not to convey I’m some creepy codger following them from the bus! Some lads intervened with a wolf-whistle down the Brittox, I gathered at them and not me. I’ll quip with them to break the ice, in hope they see it’s coincidental that our destinations are the same. It worked, they seemed unconcerned, and giggly.
With a fresh lick of paint it really didn’t need in comparison with others, and a scrumptious selection of designer burgers, The Three Crowns is the go-to pub for gen z coming of age, millennials, and a number of elder diehard party heads who still think they’ve “got it,” because they have, bless ‘em!
But the greatest thing about these cross-generational gatherings at The Three Crowns is the carefree atmosphere without division. Everybody is here to enjoy themselves. They crave a live band to throw high-energy covers at them, era-spanning songs they know, love and can sing along with, and they’ll party trouble-free together. Younger attendees will high five the elders, and dad dancers mingle without mockery, I hoped!!
I’m at the back gate chatting to landlord Simon while tonight’s band is sound checking. It’s this Marlborough-Swindon based band’s debut at The Three Crowns, but I assure him what I suspected, that Static Moves will fit like a glove. Not wanting to blow my own trumpet, but I was bloody right an’ all!
Static Moves are a side-burns, flat caps and pork pie wearing, two-Clives five-piece covers band with keyboards, in self-promoting black t-shirts. Even if these other elements don’t convey Static Moves are bringing a touch of new wave eighties mod retrospection to the table, any band boasting two Clives is a win-win!
Being honest, there have been occasions when I’ve dropped into the Crowns to see a great cover band, yet my desire for originals redirects my zimmer frame over to the trusty Gate, and I’m faced with two half-reviews; not this time. Static Moves are irresistible, and enthral any audience.
The systematics of Static Moves’ repertoire appears to be anything which can be delivered loud and proud like it’s Coventry in 1980 or Madchester in 1990. If a particular song choice isn’t, they make it so it is. Taking no prisoners they were greyhounds out of the starting traps, rarely coming up for air, save a short break.
The frontman isn’t Luciano Pavarotti, needs not to be, but is commandeering, can hold a note, and a dynamic showman, with a habit of launching his tambourine either airborne or into the crowd.
The band compliment the lively mannerisms, though fairly recently formed, all members hold a wealth of experience, which shows. It looks like a tight ship, a new drummer slipping into the kind of camaraderie which reflects onto the audience; they’re having fun, you will too.
Static Moves compact a party into their pocket, and, for want of a less Potterhead analogy, like a Choranaptyxis it expands to fit the available space when they catapult it out upon an anticipated crowd. They told me they were working on some originals, we’ll hold the front page.
There were components to their set, it kicked off seventies, absolutely scorched Primal Scream’s Rocks, then launched tongue-in-cheek into early eighties pop hits like Nena’s 99 Red Balloons, Kim Wilde’s Kids in America and even found time to make one-hit-wonder Tiffany’s smash their own! As you might imagine, this was my personal summit, ‘cos I bought those singles, but I also observed all generations present acknowledging and lapping up those bubblegum classics.
It moved as swiftly as their tempo onto tracks I’d consider were their own favourites, the more less commercial punk anthems like The Buzzcocks, by which time they had the audience eating out of their hands and could’ve pulled any cheesy bygone slush puppy out of their bag and still rinsed it! As it was they took to The Beastie Boys’ Fight for your Right, which was only amusing until they followed it with a grand attempt at Smells Like Teen Spirit.
Despite the diversity, the template of loud and proud prevented pigeonholing, a party band with a big sack of crowd-pleasers and an unrivalled enthusiasm to deliver them. The finale alongside Billy Idol, were millennial showboats, Britpop anthems, you know the one from The Killers, and yeah, they did Wonderwall, but while I deem that cliché, they did it well, and it always gives the youngsters an opportunity to show everyone they have torches on their phones!
Ahem, that’s irrelevant against the positivity of a diverse crowd throwing away their cares for a moment and enjoying themselves. That’s what’s infectious; you’re duty bound to follow suit with a band like Static Moves. I couldn’t physically leave until the deal was fully sealed.
The Three Crowns revel in this infection, and is the reason it bucks the trend of a decline in pub culture. Here is a Devizes lesson in how to do it, they deserve the praise but don’t really need it. Stalwart for a number of years now, most know the Three Crowns is a testament to a memorable night, including, it seems, girls bussing in from Bath.
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Debuting in 1990, The Brand New Heavies may not be so new any longer, but they’re still the heavy, funky acid jazz pioneers who toured last year to celebrate the thirtieth anniversary of their ground-breaking 1994 album Brother Sister. Propelled by the classic singles Dream On Dreamer, and Maria Muldaur’s Midnight At The Oasis, the record achieved huge success (a #4 chart position, over a million sales and a BRIT nomination) as they cemented their position as the pioneers of Acid Jazz.
Featuring original members Andrew Levy and Simon Bartholomew, with the phenomenal vocalist Angela Ricci, the The Brand New Heavies continue today, and make for a brilliant end to what looks to be the festival worthy of your hard-earned cash.
Heavies, brand new or not, is not the reason I loft Minety on such a high pedestal. Yeah, they book universal big names to headline, but the whole community feel, affordable markets, food and drinks, so much for the younger attendees, and so much more so, their devotion to upcoming local live music is something to behold.
Set over four stages, there’s a plethora of great acts, from tributes to The Foo Fighters, Pink Floyd, Sex Pistols and The Police, to many of the original local artists we’ve praised right here on Devizine; I See Orange, M3G, The Vooz, Jimmy Moore, SN Dubstation, Bottle of Dog, and those The Real Cheesemakers, naturally! Plus of course, many other bands new to us, which I’ll endeavour to catch as many as I can between chilling at the Incapable Staircase tent.
Midnight though, I hope there’s an international time zone between Minety and the Oasis, because the cider there is affordable, and I’m not sure if I’ll hold out for that long!
Minety Music Festival runs over the weekend of 3rd – 6th July 2025. It’s a scorcher, tickets and more info HERE.
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Once the demonic entity Spring-Heeled Jack entered folklore it became subject to many books and plays, diluting the once real threat of this Victorian bogeyman into a mockery of mass hysteria and hoaxes. If our local upcoming blues soloist JP Oldfield is resurrecting the legend as an opening to his forthcoming debut EP, Bouffon, the track’s haunting ambience is broken by the usage of his kazoo, implementing the very vaudeville element of satire the album’s title reflects….
Bouffon, being a French theatrical term for a performance of mockery, much like a jester becomes subtly apt once you’ve listened, but there’s deeper prose at work. “I threw a lot of names around in my head for this project but nothing seemed to fit,” Josh told me, “I wanted a name that summed up everything that these songs, my style, stood for. As such Bouffon, I think, is an unexpected title for my debut EP but I’ve never really seemed to like following the mould with any of this musical stuff and despite at first I rejected the idea, it sat in the back of my mind and wouldn’t go away.”
In a town where blues is taken extremely seriously my initial reaction to this EP was “there he goes again, blowing that kazoo when traditionally there should be a harmonica!” But it soon dawned on me, this, and his beaten up suitcase pedal-drum looking like a juke joint throwout, is all part of the unique and idiosyncratic approach JP Oldfield has forged, and its originality works wonders.
If there’s one notable eccentric kazoo-blowing duo on the local circuit it’s Devil’s Doorbell, who Josh supported at Chippenham’s Old Road Tavern. But whereas those crazy boaters with ukulele and washtub bass rely solely on the jaunty and jocular, there’s a much deeper tenet to JP Oldfield, richly layered, psychologically.
“To me a Bouffon clown holds a mirror up to the audience,” Josh explained, “at times it can be hard to look at, deeply sad, and presents you with things you’d rather not face, but in the end it doesn’t pull its punches, and allows for anything to be possible, a blank space where you’re truly free to explore. I really resonate with the idea of this. I’ve always enjoyed the strange, quirky and unlovable. Elements of this have bled far enough into my music to feel a need to name my debut after it.”
The second tune asks this directly, if the singer has the blues, as if the melancholic disposition of blues is an affliction the doctor can diagnose. But three tunes in and we’re blessed with such melancholy, Last Orders is a gorgeous ballad to vainly justifying alcoholism. Magpie which follows delves much deeper in its narrative.
“A lot of people associate me with lively suitcase drum playing, jazz chord kazoo mania,” Josh expressed, “and I get it, but that’s not the only side to my music and I would be doing myself a disservice if that was all that I recorded. All my songs are dark but sometimes it needs to bubble up fully to the surface and see the light of day.”
He examples the two as those which ‘really fill out the point of the recordings.’ “Last Orders is a deep dive into my previous alcohol abuse and really aims to look behind the curtain on the inner workings of a lonely alcoholic. Magpie is a story told from the point of view of a child whose parents have just lost a baby and the confusion that comes from that as the parent’s attempt to hide and dress up the truth. It was actually written in half an hour, the afternoon before hitting the studio, when I put it down on tape it was only the fifth time I ever played it. I had the lyric sheet in front of me and sat real close to the microphone. We did it in one take, the studio went silent and we all seemed to be in agreement that despite it not being perfect, it was exactly the take we needed for that song.”
I suggest, in its rawness, Magpie is the most emotionally driven track on the album, the song an audience will take away with them. Though achieving the balance is key here. When we first met for an interview, the topic rested mainly on his powerful basso vocal range, likening him to Cash or Leonard Cohen, and while Josh should pursue this angle in his recording, his live show wouldn’t be the same without the more kazoo blowing mockery of his macabre topics. For the finale Josh pulls in all resources. By title and topic, Satan’s Bar one could imagine we’re off in a similar style as Last Orders and Magpie, but no, mate, it’s jump blues and off he goes with that kazoo again! I suppose, solving the dilemma on how to go out, Satan’s Bar has both sides to JP Oldfield covered nicely.
If I tend to relate baritones to Jim Morrison, and his ability to induce his crowd hypnotically, (taking into account their probable intoxication!), one can suggest JP Oldfield has a similar commanding voice, and that’s a high compliment, but deserved on the strength of this EP alone.
Oliver Stone projected this well in his 1991 biopic, though those who knew Morrison criticised his persona as deeper layered than that which was represented. They claimed while Morrison was the unbalanced and sometimes vexatious character portrayed, that Stone missed his more playful and humorous side. Josh undoubtedly has the capacity and skill to mesmerise a crowd, like Riders on the Storm, yet if those middle tracks on the EP proves this, the beginning and end ones suggest his favourite Doors track might be the more gamesome Alabama Song, showing Morrison to the way to the next whiskey bar.
Bouffon is released on 25th February 2025, it certainly won’t disappoint his live fans. With this original balance of melancholic delta blues with a sense of vaudeville satire, there’s deep personal reflection versus folklore and contemporary narrative, all encompassing and blended superbly.
When I first heard Josh perform, I figured this needed the kind of guided hand only the legend Nick Beere at Mooncalf Studios could master. Coincidentally I bumped into him the weekend after Josh sent the album, and Nick not only confirmed he had recorded it, but agreed the kazoo and all JP Olfield’s gubbings were all part of the uniqueness of the act.
“Nick’s not only very knowledgeable but also a great guy,” Josh finished on. “We’d met a couple of times before, at open mics, and he already had a fairly good idea of what I sounded like. I left the production side completely in his hands, he’s the master, I just make the sound. It was the first time Nick had ever recorded a kazoo and a suitcase so I was happy to be the first!”
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Devizes singer-songwriter Jamie Hawkins, famed for poignant narrative in his songs and one-third Lost Trade, has always had a passion for filmmaking; Teeth is the breakthrough worth chatting about….or chattering about!
What started as simple yet amusing animations as Team Biscuit and the obligatory music video for his sole projects and those with The Lost Trades has come to this, Side Owl Productions.
Short film creator for music, documentaries and promo videos, Side Owl showcases its talent with this quirky horror short, a genre I firmly believe works best for the format, and this is bizarre and a tad eerie.
Torben Fugger provides the score. Jamie stars alone in the four minute flick, save some novelty chattering teeth. It’s like Hitchcock teamed with Monty Python and cast Jeff Bridges once more as The Dude… in Devizes!
“It’s been months in the making and a huge learning experience,” Jamie explained, “I’m really proud of what I feel is a massive level up from my previous work and this has been helped by the amazing original score from the very talented Torben Fugger whose work has elevated the film as a whole. I’ve always found collaboration difficult as it’s hard to let go and put my trust in others, but Torben made it incredibly easy in this case.”
“Although this was mostly a solo filmmaking project, I couldn’t have done it without the help of Ed Dowdeswell, Dougerick Marsh, and Janey Lou.” I just hope and pray he cleans the blood off the carpet, or…..well, you give it a watch and find out for yourself!
If Devizes boasts an abundance of independent gift shops of unique and exquisite or often novelty items in the face of a national pandemic of boarded up storefronts, it’s saddening to hear today The Emporium on St Johns Street is to close…..
It has been a stalwart in our town centre for generations, as long as I can recall, and it has seen off a number of similar shops. Once of a dark green façade, it was a creaking floorboard cavern, a treasure trove of curious and peculiar shiny things, from vintage clothes and Indian rugs, to charming novelty gifts and titillating joke books!
Teresa Garraud opened the shop in 1981 and ran it until retiring in 2019. The owners of the last decade Kate Suter and Kelly Harford reinvented it, gave it a fresher white design, and offered luxury gift items through the adjoining K Collection shop, but also adhered to keep it within the spirit Ms Garraud created, and has always been known and loved for.
At one point in recent history it was one of few places charms of such could be found in Devizes, now it seems it’s innovation has seen a blossoming of similar gift shops, online ones too, and with the growing popularity of craft fairs. If it sadly looked as if this is the last we will see of it, we now believe new owners have been found but are we are yet to know if they intend to continue trading as The Emporium or if products stocks will be similar.
The Emporium told its Facebook followers, “The Emporium is closing down… All stock now half price!” and has not replied to the huge response in the comments section as townsfolk, flocking to show their respect for the gift shop:
“Such a great shop for gifts. One of my favourites.” “I’ve bought so many lovely gifts for people from here.” “Love your shop. Been going in here since I was 8 years old, I am 50 this year.” “I spent hours in there when growing up buying scented rubbers and notepaper.” “Great memories of spending my pocket money in here 35+ years ago!!” And many others comments of sympathy and fond recollections are flooding in.
Times change, Amazon has some great coupons for similar products. You should see HERE for some great codes and discounts.
We have been informed unofficially that someone is seeking to continue to run a shop at the location, but perhaps not in its current format. We wish Kate Suter and Kelly Harford our best wishes for the future.
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Don’t Miss This One!
Andy Fawthrop
Just over two years ago I was privileged to be in the audience when Jazz Sabbath played their only previous show in D-Town. And what a night that was. The musical skill on show simply blew me away. No surprise then that we’re mightily looking forward to their next gig here on 1st March….
Jazz Sabbath are a jazz trio headed by Adam Wakeman, son of Rick Wakeman on keyboards, Dylan Howe, son of Alan Howe on drums, and Jack Tustin (son of his parents I’m sure), on upright bass. They’ve just started on their 2025 UK tour, and many of the venues are either already sold out, or very close to doing so. And one of those dates is in our town, long in the calendar, thanks to the forward thinking of long-time fan Paul Chandler’s Longcroft Productions.
Adam’s credentials are absolutely second to none. Apart from having a famous father, Adam has played with the elite of the music world. Recent credits include Tony Hadley’s world tour, Deep Purple, Uriah Heep, Rick Wakeman, and at Ozzy Osbourne’s induction into the Rock and Roll Hall of Fame. He’s also booked to play with Ozzy and the mighty Sabbath themselves at the recently-announced farewell gig in Birmingham this Summer. That’s a pretty impressive CV in my book.
Their offering is to present jazz interpretations of Black Sabbath classics. It sounds utterly mad, but it isn’t. Adam’s jazz arrangements are an almost unrecognisable world away, and the band’s shows also feature plenty of Adam’s own contemporary compositions. To my ear it’s very little Sabbath, and very much Jazz, but the only way to test that supposition is to get yourselves a ticket and head on down to The Corn Exchange!
The band will be playing material from their latest and third album “The 1968 Tapes” which, as usual, is promoted in the band’s straight-faced spoof mock-documentary style. It’s worth the ticket price alone just to see and hear the whole comedic wrap-around, never mind the excellent music. So take it from me – you’ll be in for a superb night of entertainment.
Get out and get those tickets – this is going to be a real one-off!
Tickets available online through the band’s website at https://www.ticketsource.co.uk/booking/select/yebepzmqgpvw or at Devizes Books (the Last Minute dot Com of D-Town).
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Hold on tight, the new single from I See Orange, Mental Rot embodies everything I love about this Swindon grunge trio, and takes no prisoners…..
If there are few bands on the local circuit to have turned my head and caused me to wallow in self-pity that I sorely missed out on the grunge zenith, I See Orange is the kingpin to this personal change of tide; proof you’re never too old!
With sublime professionalism abound, they’re creating riotous rock anthems; my untrained ear evaluates what I deem to be the conventions of grunge, and this tune in particular, while sits into the subgenre only subtly, relishes more in orthodox, good old punk rock, with perhaps a slice of metal, to be savoured, and not overly-pigeonholed.
In the words of Chuck Berry, who, face it, knew what he was talking about when it comes to rock n roll, ‘you can’t lose it, any old way you choose it.’ I’m getting more Joan Jett than Nirvana with this one, a timeless sound you cannot ignore, to that of what the Smalltown Tigers are more recently putting down.
Upon hearing the title was to be Mental Rot I wrongly assumed this new one would drift in the layers of melancholy and emotionally rise and fall, in that grunge formula many their past tracks follow, but this rocks out from beginning to end and sustains an explosive feel good energy aging punkers like me simply cannot whinge about! If, as the lyrics suggest, it’s “gnawing up and getting to the claw,” hey, I like it like that!
They’re one of six finalists to play The Finsbury in London tonight for a place in The Musos Awards Soccer-Six finals at the Electric Ballroom in March; we wish them the very best of luck. Play like this new single, and I reckon you’ve got it in the pocket I See Orange.
There are only a few tickets left for this year’s Devizes Festival of Winter Ales, an important fundraiser for DOCA…..
This year DOCA has teamed up with the Southgate Inn, who have provided a fantastic selection of thirty ales and ciders, there are pies from Padfield Porkies and sausage rolls from Pig in the Middle.
Saturday 15th February 2025, is the date, at Devizes Corn Exchange. There’s an Early Session – 11am – 5pm and a Late Session – 5:30pm – 11pm.
This year they welcome Glorious Productions, who are excited to bring a taste of their legendary Social Club Cabaret to the Festival of Winter Ales. While you sip your ales and relax they provide comedy, skills and the unexpected! Compere – Goldie Fiasco, Cabaret – Jon Udry and Jude Elizabeth. And Vince Bell and Adam Woodhouse play the early session, while Burn the Midnight Oil and Junkyard Dogs take the later session.
New for 2025: based on attendee feedback, there will be a slight difference between the 2 sessions this year. Both sessions will have the same great selection of beers, alongside brilliant entertainment from bands and cabaret. However, the Early Session (11am – 5pm) will be slightly more low-key for entertainment, geared more towards those who are mostly interested in beer tasting. The Late Session (5:30pm – 11pm) will be slightly more entertainment focussed for those looking for a buzzier vibe alongside their beer.
This is a fundraising event to help meet the costs of DOCA’s free annual programme of outdoor arts events and activities, including the Street Festival, Confetti Battle, Carnival, Winter Festival and Lantern Parade.
Tickets are £13 and include your first pint free, and a souvenir glass if you want to take it home.
The Festival of Winter Ales is an 18+ event. The layout will be similar to 2024 with some seating, and some standing. If you require a seat for accessibility reasons, please contact DOCA at info@docadevizes.org.uk
More information on the Winter Ales entertainment…
Goldie Fiasco – This year’s Festival of Winter Ales will be compered by the ‘wonderfully bonkers and totally endearing!’ Goldie Fiasco. Goldie is a veteran performer with thousands of shows under her belt including – Glastonbury Festival Circus Big Top, Edinburgh Fringe, The Social Club Cabaret, Bestival, Shambala, Komedia, and Main Stage Redfest. She will preside over a smorgasbord of delectable entertainment for your delight. Sit back and enjoy the ride.
Jon Udry – There are jugglers. There are comedians. And there is Jon Udry. Jon combines the two to such a brilliant effect that his unique performance has his audience roaring with laughter from entrance to the final curtain. Formerly the British Young Juggler Of The Year and New Act of the Year Finalist 2018, Jon’s skills and stage persona have brought his show onto various television and radio shows, as well as being a regular on the bill at prestigious festivals like Glastonbury.
Jon travels internationally, working on a host of luxury cruise lines, at festivals and events, and – due to his unique comedy style – his show is also at home on the domestic comedy club circuit. Jon’s repertoire is not the normal type of speciality act – instead, it’s young, offbeat, quirky and hugely impressive. His current show ‘Jon Udry Punches Gravity in the Face’ is quickly becoming his most successful to date with a host of bookings around the UK, Europe and beyond.
Jude Elizabeth – Jude trained as a professional ballet dancer but turned to Circus over a decade ago specialising in Aerial arts and Handbalance. Now internationally renowned, she has performed alongside Hugh Jackman at The Brit Awards, performed for the Royals and at some of the most prestigious venues in the world. We look forward to bringing her exceptional talent and elegance to our stage.
Vince Bell – A talented singer-songwriter based in Devizes, Vince Bell is a prominent figure in the local music scene. Known for pouring raw emotion into his songwriting, he creates deeply personal yet universally relatable songs. His music is meticulously crafted and delivered with a captivating sincerity, showcasing his artistry and passion. Drawing inspiration from a diverse range of influences, including the likes of John Martyn, Pink Floyd, Bruce Springsteen, and Richard Thompson, Vince’s sound is both unique and richly textured, resonating with audiences on a profound level.
Adam Woodhouse – Guitarist and singer, Adam Woodhouse has a love of country, blues and folk music. As a solo acoustic performer, these influences are always apparent, no matter what musical genre he is playing. Adam covers a wide range of music from across the decades, bringing his own style, vibe and humour to a collection of well-known hits.
Burn the Midnight Oil – are a powerhouse trio that skim the surface of blues, country, folk, rock and pop with an all-original repertoire.
Junkyard Dogs – Junkyard Dogs are a group of seasoned musicians with a shared love of Blues and goodtime Rock & Roll. Don’t forget your dancing shoes and let the good times roll!
A sublime evening of electronic elegance was had at Bath’s humble Rondo Theatre last night, where Cephid’s album, Sparks in The Darkness, was played out exclusively to a packed house. It was, in a word, breathtaking….
The type of genius who built a laser-harp at seventeen years old, Cephid‘s composer, producer and multi-instrumentalist Moray McDonald is bound by modesty, and appeared, prior to the show, understandingly nervous about the prospect of performing. He hadn’t contemplated ever reproducing this masterwork on stage, for the project began as a collection of demos he created “for fun.” “With all my focus being on creating an album that would live up to the grand ideas in my head,” he explained, “I didn’t stop to think about whether this music could be performed in a live environment.”
Seems he shies from being centre of attention, his comfort zone on stage favouring the many occasions he hides as a keyboardist in prog rock bands. Moray, currently residing in Lavington, cut his teeth touring with progressive rock and metal artists such as That Joe Payne, Godsticks, Kim Seviour and Ghost Community, more recently he remixed for OMD.
Moray was adamant this was a totally exclusive show which wouldn’t be taken on the road, although it has the magnitude of doing so. The show was produced and promoted by his partner Charlotte, who’s theatrical flamboyance encourages Moray to overcome his reservedness. Therefore a communal air bloomed in the audience, that this was a one-off treat, and we were the lucky few; because we were.
Being I was there to review, it probably didn’t help his anxiety any telling him I’d seen Kraftwerk at a Tribal Gathering of yore, where from every tent of every subgenre ravers descended to observe the roots of it all. “Kraftwerk was the beginning of everything,” he agreed.
While it’s an accurate summary of the origins of electronic pop music, Sparks in The Darkness delves beyond this for inspiration. It’s orchestral on a Jean-Michel Jarre level; even if the show wasn’t to the same scale it was in spirit. It nodded to the trial phase of electronic music, prog-rock’s psychedelic swirls found in Pink Floyd, Led Zeppelin et al, and continues to the ambient house pioneers like The KLF and Orb. It rests on the heyday of electronica, the quirky experiments of new wave post-punk like New Order, and early US electro outfits, like Newcleus. Yet it incorporates contemporary technological advances, the variety of modern subgenres stemming from it, and it evoked in me a fascination with the history of electronic sound.
To contemplate futurist Luigi Russolo’s 1913 The Art of Noises theories, that music would change due to the ear becoming accustomed to mechanical, industrial and urban noises, and the dadaists flouting this, is to consider the eighties clunkiness of the engine sampling of the aptly named Art of Noise, or Yello, or the piercing hubbub of acid house’s 303s, for the sake of artistic expressionism rather than melodious music. Sparks in The Darkness doesn’t go there, it doesn’t tumultuously provoke, rather it’s polyphonically beautiful, sampleless, and tonally complimentary on the ear. In this, the decades of electronic music progression has become an epoch, therefore a “folk” music, effectively turning music full circle; Cephid is on that cusp, and proved it last night.
But not before That Joe Payne, who later returned to the stage to provide vocals for Cephid, supported with an astounding original set. With just keyboard and voice he acoustically gifted us with a one-man rock opera, the like I’d never seen before. Combining camp comedy with tragedy, reminiscent of Elton John’s heyday and expressed divinely with the vast vocal range of Freddie Mercury, this was delicious vaudeville. Though I cite these clear influences, they broke the mould when they made That Joe Payne, and that is the only shame about this highly entertaining character.
If That Joe Payne was something which bucked my norm in the nicest of methods, the whole evening was equally different for me, who these days is used to traditional rock, folk, or blues bands, and even with a history of dance music under my belt, this wasn’t a rave anymore than it was a gig in the tradition of, even if the effect was similar. This was a showcase of modernism, an electronica fantasy in fruition. If at any point I likened it to something visually, it was Howard Jones meets Orbital, and that’s a high compliment.
The Rondo ignited with laser lights after the interval, colouring the subtle smoke machine output, and doused with a building ambient drone. Moray appeared onstage with electric percussionist Graham Brown, both dressed in white bodysuits with scarlet tie-belts. Layers developed and the album was played out sublimely, stretched to fit the show. The skill of the pair, to unite in sound and highlight exactly how these tunes were accomplished was insightful, and amazing. The only analogue instrument being a snare, the rest was digital technology caressed to evolve the most refined musical topography, an audio landscape masterpiece.
The grand finale was the usage of the triangular centrepiece, the laser harp Moray created at seventeen but had never used publicaly. Even if many in the crowd were connected in some way to Moray or the team, akin to a family party, everyone was held spellbound when the laser harp strings lit up, and Moray took position behind it.
If the perfect composition of this groundbreaking sound, with the laser show and theatrical performance wasn’t enough to convince anyone in the crowd to the monumental importance to the artist, and the rare and wonderful occasion this was, it was Moray’s expression of sheer joy, at the audience’s standing ovation. It was confirmation that this project, so immensely well received, is surely the testament, plus an ego boost, to the diffidence of a creative genius!
You might have missed this show, but you can (and should) buy the album HERE.
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“This song speaks to anyone who’s ever felt like they weren’t quite enough for someone, yet still held out hope for just a hint of validation,” Sam Bishop explained to me about his latest release, Just a Little which is out today, 7th February….
The immediate hook to this song is in the simplicity of the riff, it glides with a summer breeze echoing in feelgood ambience. Refreshingly vehement and not overworked, Just a Little caused me to think of Natasha Bedingfield’s Unwritten, and further back to how Madonna secured her queen of pop title with the Latino hook in La Isla Bonita, or am I going too far back for you now?! Noah Kahan brought back fervency, this goes along similar lines, though Sam likened it to Coldplay and Bastille, stating, “I hope people can connect to it.”
It’s certainly miles beyond his beginnings in Devizes School boy band 98 Reasons and the duo Larkin with fellow member Finley Trusler, in commercial viability. It shows a maturity, but if we’ve followed this natural progression I could argue his previous songs were growers, whereas this was an instant like, and swift appeal is what’s needed in the fast-paced industry.
Sam scribed this beauty whilst travelling the States over summer and produced it once home. “This song is for everyone who’s ever felt like they were giving their all but still wondering if it’s enough,” he expressed, “I wanted to create something that felt vulnerable, yet comforting, that also feels personal.” Yeah, Sam, I think you’ve captured that!
Just a Little is out across streaming platforms from 7th February. Check it out HERE; it’s already top ten on UK iTunes – deservedly.
Like a hedgehog poking his nose out of the bracken, just a few hours on the Sunday at Swinterfest was enough to cure me of my hibernation, which seems to lengthen with each year and causes me to worry the attraction of warm, cosy nights in might seclude me forevermore, and I’ll never see a chap strum a guitar again!
I was only at the Beehive for ten minutes before wishing I’d got here sooner, three days sooner! Swindon Shuffle organisers decided to create a winter version for last weekend, and speaking with both Ed Dyer and Jamie Hill of Swindon Link and Ink, they were wary if it would be as successful as their annual summer extravaganza. Exhausted by Sunday but still positively beaming with enthusiasm, I’m glad to report Ed signed the event off as a huge triumph.
Crowds turned out to the respective pub venues on each day; Thursday at the Hop, Friday at the Vic, Saturday at The Castle, and Sunday at the Beehive. A colossal selection of the South West’s finest musical talent united to raise some wonga for the Prospect Hospice, as they do with The Swindon Shuffle and My Dad’s Bigger Than Your Dad festival.
The team assembled for the final showdown at the Beehive, which is a crazy-good watering hole aptly on Prospect Hill; I could resist no more. From Courting Ghosts and Canute’s Plastic Army to Will Lawton, George Wilding to I See Orange I sadly missed many of my favourites, even our wonderful M3G and Devizes-own Nothing Rhymes With Orange; what can I say in my defence? Would central heating, cosy sofa or homemade stew cut the crust?!
Despite it being a whistle-stop, I was so glad to be reunited with Swindon’s premier Americana collective Concrete Prairie. At one point I was close to becoming their groupie, unfortunately our paths haven’t crossed for a while. Seconds into their set why I’ve claimed they’re better than sliced bread came flooding back. They were, for want of a technical evaluation, absolutely and steadfastly, one-hundred and fifty percent on fire.
I don’t know if it was the fact the Beehive is one of their favourite venues to play, if time had eroded my expectations of them, or they’ve polished their already proficient skills, or maybe because they opted for their more high-energy originals, or possibly now those songs have become classics fans chant them back at them, but wow, just wow!
I was introduced to Clarie, their new fiddler, previously informed she fitted like a glove into this astounding band, and they weren’t fibbing. It is in their unification where sparks fly, if individually they’d reach a level of greatness naturally, together they’re solid and tight. Concrete Prairie is the whole deal for dark and foreboding themed country-blues-rock which takes you on a mood-changing journey; they could play disco and still rouse the hairs on the back of your neck, dammit! (they don’t though, for the record!)
Prior to their invigorating explosion I was delighted to find a new love. From Newport, Joe Kelly & The Royal Pharmacy were truly a blessing. Described as a chameleonic presence, in so much as he plays solo, or his masterful originals are fleshed out with the three-part vocal harmonies, guitar and keyboard combo of his backing band the Royal Pharmacy. Joe explained the versatility of his band contained missing elements today, of drums and bass, which when added could evoke the harder rock ambience of a five-piece, on occasions, but the harmonious delivery of folk-rock masterpieces was plentiful for me to decide this outfit is something I could perpetually return to.
Perfectly pitched between smooth and rustic, Joe’s authentic raspy call of expressionism is breathtakingly emotive, his canvas is projected outwards but his brush operates inwards. It conveys that timeless fidelity and sense of personal reflection and identification of Guthrie or Dylan, with the gusto of Geldof or Petty. It is, in a word, gorgeous; music for the soul.
Through his self made independent record label, Dirty Carrot Records, there’s a selection of their recordings to check out, I recommend you do, and they’re showcasing their local circuit with five other artists on the books. Joe Kelly & The Royal Pharmacy timelessly embrace every classic element of folk-rock, the emotional poignancy, sincere homespun fashion, the evoking sound, and project them outwards nothing short of sublimely, encapsulating an audience you really need to be in!
And that was only two of the thirty three acts booked to perform at the inaugural Swinterfest last weekend; imagine the length of my waffling if I’d see anymore! Jamie at Swindon Link wore the Swinterfest T-shirt out and gave a more comprehensive evaluation, here. Me? I’m more of a Catchphrase contestant than a music journalist, I just say what I see, and those bottles won’t deliver themselves, so, I had to retire from the bustling Beehive, disappearing into the night; milk and honey not mixing well this time. Shame, because I missed Erin Bardwell and the Subject A gang, and SN Dubstation, despite knowing they’re both up my street and knocking loudly on my door.
The most important part to all this was questioning the big chief organiser of the Shuffle and now Swinterfest, Ed Dyer, if he’d make this an annual thing, and there was absolutely no sign of doubt in his tone that he would. Interestingly he suggested incorporating other arts into the mix, suggesting comedy, poetry and drama. The idea was to separate it from the music dominated Shuffle, so it lives in its own domain and isn’t viewed more simply as a winter version of the Shuffle. But as Jamie expressed, what they know best is music, so they went with that to begin with, and they certainly do!
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It’s happening on Saturday 31st May from 1-7pm, it’s free, you can roly-poly down Dunkirk Hill, and join our village family fete-like festival at the Rowde Small Playing Field (next to the church); no pressure, but I think you’ll like it!
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And I believe we may have some super-duper, and I mean super, surprises, like, “possibly” the best indie pop band in Wiltshire, and acoustic god, and oh, did I say it’s super-duper?!
Hold the front page!! More great acts to be confirmed!
Update: Wiltshire’s finest indie-pop band Talk In Code have just confirmed; you’ll love these guys!
There’s Devizes Jubilee Morris dancers, children’s activities, face painting, food and drink and side stalls, and more. You all should know by now Rowde has the best ice cream this side of Italy, so yes, Rowdey Cow are sure to be there.
It is all free, but, you lovely people, we really need some kind donations on the gate, if you can, so we can ensure we can make it an annual occasion.
If you’ve an idea for a side stall, please let us know and I’ll pitch it to the committee, they don’t bite, or at least I’ve seen no evidence of it yet.
I’m even over-excited to share the poster with you! Subject to alterations, as if I could possibly find any more room on it for other acts yet to confirm, the poster has been collated by me, but is also the fine artistic work of three pupils from Rowde Academy. So a huge thank you to Luca Dowling, Theo Doherty, and Lila Ransome for their inspirational pictures, which were incorporated into our poster.
I look forward to seeing you there; you are coming, right? Here’s the Facebook event page thingy. It wouldn’t be the same without you.
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I caught up with an excited Jonathan Hunter, leader of Devizes Town Council’s independent party The Guardians, and local loyal youth worker Steve Dewar to rap about an imminent youth centre coming to Sidmouth Street in Devizes….
I was aware Jonathan swore to create a youth project in town some years ago and was engaging with teenagers, researching what their expectations of such a place might contain.
“This is all part of a speech I made in council years ago,” he told me, “Asking the council to support three objectives, which were civic recognition for young people, to put them on equal standing to all the other recognitions we do in the annual civic awards, which we now do and that’s brilliant. The second was a street engagement program where we work with disenfranchised young people, on the streets, through an outreach team.”
“It’s taken four years to get the premises,” he continued. “The council have decided to redeploy what was an old bed shop. What it does is gets to the youth right in the middle of town, gives them their own café.”
If like me, your memories of youth clubs are dubious, based on the out of touch approach of our elders at the time, I was keen to discover how much of the project will be created by youths themselves. “The vison is that they get to run it and be integral rather than a bunch of older people meaning well but not necessarily understanding all the issues and concerns young people have,” Jonathan replied. “It’s going to be brilliant!”
He used the word “brilliant” numerous times, our own version of Paul Whitehouse’s Fast Show character, Brilliant Kid, right here on our town council!! But are we to overcome the stigma of said youth clubs of the past which tended to not engage the youth who might need it most?
“Absolutely,” Jonathan responded with his constant air of enthusiasm, “I’m really focussed on that, taking a collaborative approach with different people, with Steve Dewar, who inspired me five years ago to stand. Steve spoke of a ‘missing piece in a jigsaw’ with youth provision. I just wanted to go and bat for young people, and doing what’s right for the community rather than a political party or any ideological stuff, and make things happen that way, which I’m glad we can.”
I couldn’t think of a better local youth worker than Steve Dewar to be involved in this project, but as the sole-creator of a mobile youth charity and his mobile Youth Pop-Up Café travelling the county providing leisure facilities to youth, I was concerned his involvement with the youth centre would reduce usage of the pop-up café project. “We, as a charity haven’t had any financial provision for staffing the centre, that would be perhaps an independent youth worker,” Steve explained, “or someone employed by the council, to man it. The challenge we have as a small charity is we’re also committed to supporting young people in schools, through detached youth work, and there’s only me in this area and a few volunteers.”
“It is a constant battle and challenge, and is nationally, to reinvest back into youth workers as a vocation, to give it the time and professionalism that we think it deserves,” Steve expressed. “Unfortunately cuts to services has removed a lot of that peoplepower, to be able to commit to it. As much as I would love to give more time to it, as I certainly have a heart and vision for it, that needs to align with our other projects.”
“For me the challenge will always be an applicate to Wiltshire council, town councils that a centre-based provision isn’t a quick fix and isn’t a one-size fits all. It must compliment and work alongside with detached youth work, such as our pop-up van, schools-based work, and uniformed organisations, other charities. It must be a part of that. The Pop-Up Youth Cafe has had its busiest year, and we’re in the process of converting another van, to be able to respond to more needs across the county. Obviously, I want to see all these elements of youth work flourish.”
Jonathan informed me there would be three floors, the ground floor as a youth space “where they can congregate with a coffee bar or whatever they want to put in. They can hang out and discuss things in a safe space and enjoy each other’s company, without the cost of a coffee in a regular place.”
Plans for the first floor is “an aspirational hub, where different youth agencies can come together and work direct and deliver their visions. The top floor we’d love to se it going to an external educational provider which works with young people who might be disenfranchised from normal education, that are getting bused or taxied around the county access basic maths and English, to have something more local, which is sits far better for these local young people who have slipped through.”
Current town Mayor and councillor Ian Hopkins has also been working towards the project. Jonathan furthered, “also, what we’ve done in conjunction with this is, Ian Hopkins and I, are building a relationship with Devizes School, which is going well. We had a forum last week with the head and a selection of students. They’re really interested in this; they want to be involved and take a lead and be part of it.”
“What was brilliant was, when we met with the school, one of the students… these young people are so eloquent, articulate and knowledgeable, I was massively inspired by them… one of them said, ‘we need to help the parents too,’ because there are parents out there who are looking after and struggling to help teenagers growing up. It’s not an easy task, and some parents out there could probably do with some support; that came from the young people, that wasn’t our suggestion, so there’s possibilities on the top floor to develop a meeting place for parents to come together and share ideas and concerns.”
On youth engaging with the project, Steve added, “if we were doing it without them, we’ve missed the point. That’s why I’ve advocated several our local councillors to engage with young people and working in better partnerships with school staff so young people are involved, on the grounds on training.” He exampled a girl today who had been helping him create posters to go up in the youth space as they develop it, to let people know to ‘watch this space.’ “And we spoke about what she thinks the teenagers need and want.”
“Results of the school survey was young people would like safe places to go,” Steve explained, “and safe people to be able to speak to, and that’s nothing new, it’s been the case for years, and is certainly true in Devizes. Yet we’ve not been able to respond to them. That’s why I’m so chuffed, pleased, stoked, that hopefully Devizes… well, that this is the start of the journey which is starting to respond to that.”
“I’m really encouraged,” Jonathan said, “and we’ve got some seeds running through the area board, but I want to attract some funders to be able to run it, and for it to be successful and sustainable for years to come.”
I thought out loud, that the previous youth club in Devizes being attached to the school may have been viewed a hindrance and rather off-putting to the youth, whereas this, regardless of the school’s keen involvement, is geographically separate from it.
“Yes,” Jonathan agreed, “Bang in the centre of town! And what we’re looking at next is a brand, there’s a provisional name that we’ve given it, but young people are examining different kind branding and names, to give it the right kind of profile as well, and that’s with them. I think they should be the architects of that, and how they want it to develop. It’s just a great breakthrough, more to do, and talking with Steve and Ian, we want this to be super sustainable, and we want it to run itself.”
“I’m looking for this to have a halo effect,” Jonathan said, “maybe the minority of young people who find themselves disenfranchised and don’t have the infrastructure that some can enjoy, or maybe they don’t have good role models, they might look at this place and think I’d rather be there in a positive environment than be caught up in anti-social behaviour.”
Steve spoke fondly of a new national youth program, discussing a coloration of a lack of youth services has resulted in a trend of anti-social behaviour, “and those links as to how we, as communities, invest in our young people positively, goes in line with those elements to society which will take advantage of our young people,” he explained. “So, doing nothing, to me, isn’t an option, and that’s why I’m pleased the town and county council and other local organisations, hopefully local businesses as well, will get onboard with insuring that Devizes has the pullies to develop youth work provision.”
On the matter of a prospective opening date, Jonathan estimated, “the work is underway, we’re aiming for spring, an aspirational date. It’s all about working together, and I was really encouraged by MP Brian Matthew’s support, he recognises there’s a void of this kind of activity, which we’re aiming to fill.”
It all sounds amazing, certainly far better than my memories of a youth club, where you’d discover the most diluted orange squash known to mankind, in a drafty scout hall, and two kids playing on an undersized snooker table, while an aged vicar snored on a broken wooden chair in the corner! It’s all too late to save me, but good news for those just slightly younger than me! That, thanks to the organisers of this project, the youth are positively encouraged to engage with inputting what they want to get from the project.
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