After five years, over a million hours worked, and tens of thousands of people involved in the capital project, the completed once-in-a-generation £132 million transformation of Bristol Beacon was finally revealed on Thursday, November 30th. The flagship venue now boasts four new world-class performance spaces, allowing it to deliver over 800 events annually and generate an estimated £13 million a year to the economy.

Described by Arts Council England as “one of the great cultural icons of modern-day Britain”, the largest concert venue in the Southwest of England also represents the second largest investment in the arts in England by the Arts Council in the last ten years.

I was so pleased to see Jools Holland, hailed as one of his generation’s most versatile and influential musicians and one of my favourites, was the first big name to perform in this beautiful flagship venue, delivering a diverse programme of 600 concerts and festivals from classical, jazz, folk and world music, to rock and pop and local choirs, orchestras and schools including 60 free performances and six major festivals to an audience of over 300,000 each year.

I have followed Jool’s musical career since his time with Squeeze in the late seventies and have seen him often. I was an avid fan of Later… with Jools Holland, The Tube and love his Jools Holland and Hootenanny. I can’t count the number of times I’ve tried for tickets to the latter!

Singer-songwriter, multi-instrumentalist, bandleader, presenter, and broadcaster, Jools has been involved in many musical projects and initiatives, such as founding the Jools Holland Rhythm & Blues Orchestra and supporting young musicians through charities such as Music for All, Drake Music and Abram Wilson. He has also been a musical ambassador promoting British music around the world. Do you remember the G8 Conference in Holland in 2004, where they played All You Need is Love for the Western world’s leaders? 

Jools has also received many awards and honours for his contributions to the music scene, such as an OBE in 2023 for his services to the British music industry as a television presenter and musician, a BAFTA with his sound team in 2019 for the Sound: Factual category, for their special show Later… With Jools Holland: Jools’ 30th Birthday Bash and the Outstanding Achievement 02 Silver Clef Award in recognition of his influential career and in particular for hosting BBC 2’s much loved ‘Later… with Jools Holland’ since 1992.

His show on December 7th, with his Rhythm & Blues Orchestra at the Bristol Beacon, was something special – a spectacular display of musical virtuosity and diversity performed in a venue that is considered to have some of the best acoustics of any concert hall in Europe.

The improved acoustics were so welcome and long overdue. They were accomplished by reconfiguring the balcony, the ceiling, and the stage and renewing all surfaces to make them acoustically friendly. Each of these was a major piece of work, and I’m sure that there was much more done that we were not aware of, but these alone would account for the five-year closure.

The level of musicianship on the stage was dazzling. It consisted of pianist, organist, drummer, three female vocals, guitar, bass guitar, two tenor saxophones, two alto saxophones, a baritone saxophone, three trumpets, and three trombones. I was initially disappointed that we had only been able to get tickets for the upper tier, but in fact, our sightlines were excellent, and the detail was projected onto a large screen at the back of the stage.

London-based Rana Begum was responsible for creating bespoke textiles for the transformed auditoriums. She collaborated with Bristol-based fabric designers and textile trend consultancy Dash & Miller to assist with translating her work into the design of new fabrics. The bespoke upholstery is beautiful and super comfortable, a far cry from the fixed tip-up, unattractive, rough seats of the past, and there was lots of legroom. Despite the concert being three hours long, I didn’t notice any discomfort.

The concert was a testament to Jools’s musical legacy, influence, and ability to bring together different artists and styles. He was obviously enjoying himself on stage, cracking jokes, telling stories, and interacting with the audience.

Jools showcased his impressive skills on the piano as his fingers flew across the keys with speed, precision, and flair. His ability with his left hand, which he uses to create complex and rhythmic bass lines on the piano, was in clear evidence. His left-hand prowess exemplifies musical talent and versatility and is a testament to his passion and dedication to his craft.

If like me, you are in awe of Jools’s phenomenal piano skills then you need to watch this interview with journalist Krishnan Guru-Murthy about how the piano changed his life, sparking a lifelong love affair with music.

The Rhythm & Blues Orchestra was equally impressive, featuring a tight rhythm section which included original Squeeze member and co-founder Gilson Lavis on the drums and a powerful brass section. Unsurprisingly, they have collaborated with some of the biggest names in the music industry, such as Sting, Tom Jones, Paul McCartney, and Adele, and have entertained millions of fans worldwide with their live shows and television appearances.

Jools was joined by a host of guest singers, including Grammy-winning singer Joss Stone, the UK queen of soul Ruby Turner, super talented singers Louise Marshall and Sumudu Jayatilaka and Pauline Black and Arthur’ Gaps’ Hendrickson of The Selecter.

Together, they performed a range of songs that spanned genres and eras, from boogie-woogie classics to ska anthems to contemporary hits.

Seeing Joss Stone and Jools Holland on stage together again was such a treat. They have collaborated on several occasions and clearly have a mutual admiration and respect for each other’s musical talents and styles, and they share a passion for soul, blues, and jazz genres. Joss was a guest vocalist on Jools’ album Sirens of Song, which was released in 2014 and featured songs by female singers who had worked with Jools over the years. She also performed with Jools and the Rhythm & Blues Orchestra on The Andrew Marr Show in 2014, singing a song called ‘Letting Me Down’. And, of course, she was lucky enough to join him again on New Year’s Eve at his Annual Hootenanny in 2023, along with other guests such as Rod Stewart, Sugababes, and Tom Jones.

Pauline Black and Arthur ‘Gaps’ Hendrickson, lead vocalists of The Selecter, one of the most successful ska bands of the 2-tone era, notching up several top forty singles in the British charts, such as “On My Radio”, “Three Minute Hero”, “Missing Words” and “The Whisper” have collaborated with Jools on many occasions. They were also on the Andrew Marr Show in 2014, on tour with him in 2016, and at the Hootenanny in 2023. They share a musical affinity for ska, soul, and blues genres and have praised Jools for his support and enthusiasm for their music.

They set the audience alight with the most captivating and charismatic performance, which took me right back to the eighties. They had lost none of their skill and passion, and the audience responded accordingly. I made a mental note to check out where they would be playing in the upcoming months.

And finally, the powerhouse that is the legendary Ruby Turner! Ruby and Jools’s musical partnership began in 1994 when they recorded a duet of the song “Enjoy Yourself” for Jool’s album The Full Complement.

Since then, they have released four studio albums together, featuring a mix of jazz, blues, soul and R&B songs. They have also performed live at various venues and festivals, such as the Royal Albert Hall, Glastonbury and the Montreux Jazz Festival.

They are, in fact, very close friends. Describing Ruby as the sister he never had, Jools even invited the singer to perform at his wedding. The duo has written music together and travelled the world with tours alongside the rest of the much-loved big band.

As Ruby came on stage, there was a ripple of excitement and anticipation from the audience, and we were not disappointed. She sang with passion, emotion, and an unparalleled level of energy. She had the audience eating out of her hand as her voice soared over us, filling the Beacon with warmth and joy. Her performance was a celebration of life, love, and music.

It was altogether a very special event, and we left feeling so energised and happy.

As well as having world-class acoustics, the accessibility arrangements for people with disabilities were very impressive and have earned the Beacon an Attitude is Everything Bronze Award. This is an award given to venues and events that have made efforts to improve the live music experience for disabled visitors.

There is a dedicated page on the Bristol Beacon website detailing comprehensive and extensive access provisions for people who are deaf, disabled, visually impaired and neurodivergent. I was impressed with the Access Requirement Register (ARR), which enables staff to find the best tickets for people with access needs and may require specific seats or a carer to support them during their visit to a live event venue. It also helps the venue staff understand their visitors’ needs and provide the best possible service.

The backstage areas have also been refurbished to a high standard, and floor levels have been altered to provide exemplary access for disabled people and equipment.

I could not finish this piece without referring to the look of the building! It is quite simply beautiful! The historic core has been restored to its Victorian magnificence, which includes restoring the glazed skylight, replacing the unsightly staircase with an elegant spiral stair in the atrium, creating a light and airy bar and new restaurant space, and the beautiful new geometric designed tiled artwork created by Giles Round.

Giles was very recently in the news (November 28th) with his latest project, “Time passes & still I think of you”, a 48-metre-long architectural frieze at the new Brent Cross West mainline train station.

Restoration of the beautiful 19th-century Byzantine frontage revealing features and colours not seen for sixty years is magnificent. Highly skilled specialist contractors were brought in to painstakingly clean and restore it, using the same stone to match the existing façade. They also salvaged the pieces that weren’t needed to be reused elsewhere. There is a beautiful new columned and glass-fronted restaurant on the lower level in the space that was the original box office and entrance to the concert hall.

Four artists were commissioned to deliver the public art programme alongside Rana and Giles; the other two were Bristol-based Linda Brothwell, a visual artist based at Spike Island in Bristol who works internationally. Linda trained in goldsmithing, silversmithing, metalwork and jewellery and is interested in heritage, place-making and how people look after their surroundings and Bristol-raised Libita Sibungu who works across sound and performance on solo and collaborative projects to explore the politics of the body and landscape in relation to migration, blackness and colonialism.

Each was tasked with exploring a particular aspect of the building and extracting new perspectives on its historical place and future direction. Together, their work reframes the building’s narrative for a modern audience by referencing its history in a contemporary way and so allowing it to move on, empowered by its past.

The result is a collection of works that add to the richness of the building and its interior designs, bringing a contemporary response whilst drawing on historical aspects. The works each enhance the venue through two central ideas: firstly, a consideration of the craft of music making and how it is an all-consuming, shared, communal artform; secondly, how the venue ties socially and culturally to the trading and manufacturing past of the city.

The commission’s programme was not designed to shy away from Bristol’s past as an international trading port. Indeed, the commission brief invited artists to consider a relationship to the city’s generations of international trade. As such, each artwork responds to an aspect of Bristol’s place alongside the water and the crafts brought across it, not just the music but also the materials and media such as textile, fabric, stone, metal and ceramic.

Louise Mitchell, chief executive of the Bristol Beacon, said:

“The transformation of our building is about more than just the bricks and mortar. It has been an important and iconic venue in the heart of the city for generations, so our public art programme will help us to ensure we make the most of and celebrate this special space, reflecting the 150-plus years of history whilst also looking forward to the future.”

The transformation was made possible by a partnership with Bristol City Council, Arts Council England, HM Treasury, The National Lottery Heritage Fund and WECA. Their leading supporters were Bristol Water, Burges Salmon, Foyle Foundation, Garfield Weston Foundation, Jack and Monica Britton Trust, St James Place, John James Bristol Foundation, Nisbet Trust, Quartet Community Foundation and The Wolfson Foundation. In addition, over 9,000 individuals made one-off donations to the transformation project, with contributions ranging from £5 a month as a seat namer up to a £1m gift. 9,000 individuals! Such a figure reflects how much the people of Bristol and the local area care about their community and heritage. It reflects their passion, generosity, and pride in being part of Bristol.

Being pressed for time, there was so much we didn’t see, and I can’t wait to go back to the Bristol Beacon and explore. I’m looking forward to seeing the restored Lantern Hall and the fantastic thirteen-panel Story Wall, from Mel Northover, artist, designer, and creative director at Northover&Brown, ably supported by Bristol-based, multi-talented Ngaio Anyia, an inclusion and diversity consultant who passionately believes that the creative sector is one in which anyone can thrive. The Wall tells the vivid and diverse history of the venue taking visitors on a journey from 1867 to 2023.

I’d also love to see the vaulted lower cellars, which have been opened up for the first time in a hundred years and include a new, intimate club-style performance space, The Weston Stage, which has a separate entrance from the rest of the building. The previously inaccessible cellars now house the Bristol Water Sound Studios state-of-the-art recording and practice rooms focussed on developing young talent and up-and-coming artists. As the Music Education Hub for Bristol, the team with its creative learning programme works in 150 schools (91%) across Bristol ensuring that every young person has the opportunity to progress their passion for music. 

I love Bristol! There’s always something new to discover, whether it’s a street art festival, a live music gig, a food market, or a cultural exhibition. It will inspire you, challenge you, and entertain you. It’s a welcoming city made up of vibrant and diverse communities. I love the name change from Colston Hall to the Bristol Beacon, which is so much more in keeping with the values of such a progressive, forward-thinking city and symbolises hope, unity and joy for everyone.