Cambridge’s student music scene is undeniably vibrant, with bands, DJs, a cappella groups, and orchestras bringing venues across the city to life. But does this ecosystem truly reflect the full spectrum of student talent and taste, or does the classical tradition dominate, limiting space for other genres and underrepresented voices? Are structural barriers hindering a more diverse and inclusive scene from flourishing? And crucially, can Cambridge’s music scene become as dynamic as the community it serves?

The city is rife with routine musical traditions, like the overarching presence of church bells as they chime across the city in fifteen minute increments; every evening is filled with the glorious voices of church choirs reverberating around the cobblestones. Later in the evening, ensembles like the Cambridge University Orchestra take to the West Road Concert Hall stage. Cambridge’s traditional music scene historically centred on and promoted the efforts of Western classically–trained musicians (as did the Music Tripos), and its classical performance venues also supported these visions. In fact, Cambridge’s dedication to its classical music scene and the opportunities it promised was one of the reasons I originally applied here. But while I benefit from the way in which the city and the University has been built to support the kind of music I enjoy making, I also question how much it can realistically support the development of new traditions by helping other musical genres flourish.

“By shedding our expectations about where we might stand or interact, the space encouraged dynamic engagement rather than passive spectatorship”

The concert hall ostensibly accommodates a wide range of performances due to its size and capacity, but its efforts to maintain a neutral space are weakened by its identity. When the Gamelan Society collaborated with East Javanese master musician and puppeteer Ki Bagus Baghaskoro Dhalang in 2023 for a Wayang Kulit shadow puppet performance, I was painfully aware of overt architectural and cultural barriers. The structural design, with the audience situated directly opposite the performers and the significant distance between the stage and the back rows, had a major impact on this. What struck me was the difference in interactions during the intermission: suddenly, the rigid limitations were dissolved and the stage facilitated free-flowing conversations between audience and performer. By shedding our expectations about where we might stand or interact, the space encouraged dynamic engagement rather than passive spectatorship.

This isn’t to say that venues in Cambridge are not suited to other forms and genres of music-making – the ‘Take it to the Bridge’ final was held at Junction, and Pink Week’s ‘Battle of the Bands’ was at Vinyl – but non-classical genres face more barriers in securing opportunities, receive far less funding, and often have to define their identity in ill-suited, and even unfriendly, performance spaces in order to be legitimised. The lack of structural and institutional support also requires higher levels of proactivity, self-determination, and a careful blend of new and conventional sound.

“More structured financial and institutional backing for underrepresented genres is essential—not just for their survival, but for their legitimacy and visibility”

It makes sense, then, that student bars like Clare Cellars should become vital hubs by providing steady exposure and performance opportunities to promising talent throughout the year. However, certain conventions still remain firmly in place, even in more flexible environments. May Week has the potential to showcase the best talent in Cambridge, lifting under-represented sounds into the limelight, but ultimately concedes defeat in the face of tradition: setlists reinforce a narrow musical landscape featuring yet another cover of ABBA, once again prioritising nostalgia over innovation.

What Cambridge’s music scene truly needs is a mindset that evolves with its performers. Rather than forcing artists to conform to existing spaces, we should reimagine venues to suit a wider range of musical expressions. The University should take a more proactive role in preserving and supporting music performed in smaller venues like the Portland Arms, ensuring their continuity. More structured financial and institutional backing for underrepresented genres is essential – not just for their survival, but for their legitimacy and visibility. Expanding promotional efforts, increasing funding, and fostering diverse collaborations and multimedia experiences are key steps towards building a music scene that is both vibrant and representative of the community it serves.

The richness of Cambridge’s musical ecosystem should not be measured solely by the longevity of its traditions, but by its capacity for renewal and inclusivity. By embracing change and expanding support systems, we can ensure that each musical voice – not just those rooted in tradition – has the opportunity to be celebrated.

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