UK Town of Culture

I beg to move,

That this House has considered the UK Town of Culture competition.

It is a pleasure to serve under your chairship, Ms Furniss. I want to begin by saying why the UK town of culture competition matters to towns like Halesowen. At its best, culture is not a luxury for places that are already well off; it is the glue that keeps communities together when the economy is changing around them. It is the thing that turns a high street into a meeting place, a park into a shared memory, and local history into a source of confidence for the next generation. The town of culture award is not just a title for the tourist brochures; it can be a lever for investment, volunteering, skills and pride, and for the practical business of renewal, as well as the poetry.

It is right that the competition has arrived when it has, because anyone who has spent time in the Black Country will know that we have quietly been a centre of British culture for years. London may have the west end, but the Black Country was the birthplace of British rock music, with Led Zeppelin and Slade hailing from our part of the world. The capital may have art galleries, but we have the Black Country Living Museum to preserve the history of glass making, chain making and real industrial crafts. Through the Hawne Halesowen townswomen’s guild we have probably the best yarn bombers in the history of the world.

We are not short on culture, but we have been short on other people noticing it. That is why I am proud to speak today about Halesowen, a town that deserves to be understood. Halesowen sits at a remarkable junction: a market town with the industrial inheritance of the Black Country and the green breathing space of the surrounding countryside. It is a place where in the same afternoon people can feel the legacy of making and the comfort of landscape. That combination is not accidental: it is the outcome of centuries of people working the land, working the forge, and creating a community that knows what it means to pull together.

When we speak about the Black Country, we speak rightly about manufacturing, and Halesowen has that story in its bones. In and around Halesowen, families built livelihoods through skilled trades and hard physical work done in small workshops and backyards, with a pride in workmanship that still shapes our local character today. It is tempting to describe that as history and move on, but that would miss the point. The value of that heritage is not simply that it happened, but what it tells us about the people of Halesowen today. It is a town where practical intelligence is still prized, where people understand the dignity of work, and where small and medium-sized businesses do not need lectures on resilience, because they have been living it for decades.

If Halesowen is a town that makes, it is also a town that imagines. One of the great cultural treasures of the constituency is the Leasowes, a historic landscape that was shaped by the poet William Shenstone. The Leasowes is not merely a park; it represents an idea—an early expression of the English landscape tradition where beauty, nature and the rhythms of rural life were brought together in a way that influenced English gardens far beyond our town. Its remarkable beauty drew two former US Presidents to visit: John Adams and Thomas Jefferson. I issue an open invitation to the sitting US President to follow in their footsteps—it is a much nicer place than Greenland.

Within the Leasowes is a place that is exactly what the town of culture competition should be about: the Leasowes walled garden. It is hard to think of a more fitting symbol of what we are discussing. The walled garden is Halesowen at its best: respectful of the past, practical in the present and quietly ambitious for the future. It is not just a historical feature; it is a demonstration of civic pride in action. The walled garden has been brought back from ruin through the determined efforts of the Halesowen Abbey Trust and a remarkable team of volunteers who have given their time, skill and patience to restore a piece of heritage for public benefit. That work has received national recognition: just last month, the Leasowes walled garden was listed as grade II by Historic England, recognising both its historic significance and its architectural interest.

Halesowen has not only landscape but cultural reach through literature. It is the birthplace of Francis Brett Young, whose writing helped to put our region in the frame. Culture is not only what happens in big cities; it is also the patient recording of lives and places that feel to the people who live there like the centre of the world.

Halesowen is also the world centre of music. I mentioned Led Zeppelin earlier. Robert Plant grew up in Hayley Green and went on to become one of the defining voices in British rock; indeed, he was voted the best lead singer of all time by Rolling Stone magazine. And no town is complete without sport. Halesowen Town football club is not merely a team but an institution. It is one of the places where community life is renewed weekly, through familiar rituals: the talk on the terraces, the work of the volunteers behind the scenes and the intergenerational bonds that non-league football clubs uniquely sustain.

That brings me to someone who deserves to be named in this debate—Colin Brookes, the long-standing chairman of Halesowen Town FC, who passed away at the end of last year. Colin was a towering figure at the club, and he is remembered by many as the embodiment of its spirit and in many ways the town’s spirit, too. Colin guided Halesowen Town through many challenges, always remained close to the club and—fittingly—passed away while watching his beloved Yeltz.

However, the truth is that Halesowen’s culture is not only what I can list in a speech; it is also the daily life of the town. It is what happens in community centres, churches, schools, parks, cafés and small businesses; it is the volunteers who turn up in the cold to help run a youth club; and it is the sense that the town is more than a collection of streets. That matters profoundly when we talk about a town of culture, because the competition should not be about parachuting in a programme of events, and leaving behind a banner and a few glossy photographs. Instead, it should be about enabling a town to tell the truth about itself: what it has been, what it is now and what it wants to become.

In Halesowen, one of the truths that we can express with confidence is that ours is a welcoming town. For generations, people have come to Halesowen to work, to build families, to contribute and to become part of the place. That is not a recent trend—it is part of the Black Country story. We have communities who have shaped the local economy and culture over time, bringing traditions and different languages, food and faiths, that have widened the town’s horizons.

That diversity is not a weakness to be managed, but a strength to be celebrated. It is seen in the way that communities support one another. It is also seen in the celebration of the Black Country Multicultural Day in the town centre, or at the Halesowen/Dudley Yemeni community association, which offers language classes and youth activities. Culture, after all, is a shared language that allows people of different backgrounds to recognise themselves in a common home.

I congratulate my hon. Friend on securing this debate. He has given an eloquent appraisal of why Halesowen is such a beacon for culture, and I note that Morgan Rogers, who plays for Aston Villa, was born in Halesowen. Will my hon. Friend join me in saying that this competition is not just about celebrating our past but about celebrating our future and people such as Max Stokes, a constituent of mine in Redditch, who curates the “Villa On Tour” YouTube channel, which has over 80,000 subscribers? People such as Max Stokes provide an outlet for our culture, including our sporting culture, to be seen by people across the world—culture with a Redditch accent and a Redditch voice. Does he agree that this competition should be about celebrating our future as well as our past?

I join my hon. Friend in celebrating Max Stokes and his wonderful achievements in Redditch. My hon. Friend knows Halesowen well, because he has campaigned there for many years, so I hope that he will be an advocate for my town throughout the competition.

When I ask the Minister to recognise Halesowen’s cultural claim, I am not simply asking for a prize; I am making a practical argument. The town of culture award can help towns such as Halesowen in at least four concrete ways. First, it can boost our local economy, bringing in visitors to spend money in our shops, cafés and venues, supporting jobs that are rooted in a place. Secondly, it can strengthen skills and pathways for young people, particularly in the creative industries, events, heritage, digital media and community enterprise. Those sectors are growing and towns such as Halesowen should not be left to watch them grow from the sidelines. Thirdly, it can drive investment in local assets—our parks, halls, libraries and heritage sites—that towns rely on for civic life, but that often struggle to receive sustained funding. Finally and perhaps most importantly, the award can restore confidence. A community that feels seen and valued tends to act like it. Pride is not merely an ambition—it is a catalyst that changes what a town believes is possible.

In that spirit, I will put on the record what Halesowen can offer this competition. We can offer the story of a town that helped to build the country through skilled work, honest labour, technical ability and enterprise. We can offer landscape and heritage that connects people to the long thread of English history, and not as nostalgia but as stewardship. We can offer a living and modern cultural identity, and music, sport and community traditions that are rooted in place but outward-looking. We can also offer a model of community cohesion that is quietly impressive—diverse, practical and neighbourly.

I would want our programme to reflect those truths. I would want it to celebrate the makers and their skills to revitalise green spaces and heritage sites, to open doors for young people into culture and creative work, and to showcase the everyday institutions and individuals—community groups, faith organisations and volunteers—that keep our town strong.

I ask Members to bob so that I can see how many people wish to speak in the debate. To start the debate, I call Jim Shannon.

Thank you for calling me so early, Ms Furniss. I was about to sit down, but I now have the unexpected pleasure of following the hon. Member for Halesowen (Alex Ballinger). It is wonderful to be here. I am sure that everyone is going to say that their constituency is the best, but mine is the best and I will try to explain why. The hon. Member has persuaded me of one thing: if I am spared, I will make it my business to visit his constituency and see if what says is true. I am sure it is—I do not doubt it for a second.

The debate presents a wonderful opportunity to showcase all our wonderful constituencies, and I am sure that we will all plead the case very well. However, I say proudly that my constituency of Strangford may just edge it—at least I believe that that will be the case—but we will see how the debate develops and whether others are persuaded by my words. The principle of the competition—and it is a competition—is a great idea. Of course, the heavy issues that we discuss daily are important—they are critically important to County Down—but it is also important that we celebrate our local towns and all that they do for communities across the United Kingdom.

The hon. Member for Halesowen is right that the largest town is the core of a constituency. I often talk about my constituency in the House. I always try to relate the issues we discuss to the situation back home, because those issues matter to people across the whole of the United Kingdom, although sometimes their scope is restricted by area. I am grateful that we all have the opportunity to showcase culture and I will focus on the wonderful town of Newtownards, which is the biggest town in the constituency and where my advice centre is. There are other notable towns such as Comber, Ballynahinch and Crossgar. I am not sure if hon. Members knows where those places are, but they are all in my constituency, and I make sure that Strangford is mentioned in nearly every intervention that I make and in every debate in which I participate.

I can let you all have four minutes.

In Cornwall, we do not have big urban centres; we have towns with populations of about 20,000. That is why the UK town of culture competition is one that a large rural area such as Cornwall can get involved in. I am taking it as a good example of the Government’s commitment to, and awareness of, the rural parts of the country.

I am really lucky to come from a place with a distinctive narrative. We have our own language, which is now recognised again, and in Truro and Falmouth we have a beautiful peninsula town and a great little city, each with their own character and a strong sense of Cornish identity. Falmouth has a very distinct story. It is a vibrant place that has always turned its face outwards towards the sea. The packet ships took trade and parcels around the world from the late 1600s, and we have the two castles of Pendennis and St Mawes, built by Henry VIII, to protect Falmouth.

Now, Falmouth has an incredible arts and science university, stemming out of a 100-year-old art school, along with a thriving music scene and an active and young town council in lockstep with a strong business improvement district. The council runs an art gallery for all, a library, the peninsula headland, a newly built community radio station, and a theatre and venue. The team are award-winning and know how to run a world-class event, from international shanty festivals to the tall ships. Falmouth is inclusive and welcoming, from yacht to gig racing and from shanties and metal to Ukrainian soul. It hosts everything from the Lady of Shalott by Waterhouse to graduate shows of prosthetic props at Falmouth University in Penryn, where the Methodist chapel was recently converted into artist spaces.

Then there is Truro, Cornwall’s capital and one of the smallest cities in the UK. Lying upriver from Falmouth, it has been shaped by its proximity to the coast, as almost everywhere in Cornwall has been. There is evidence that the Phoenicians and the Romans traded with Truro, and by the 14th century it had become a significant port and stannary town, exporting locally mined tin and copper. We hope that can now happen again thanks to our critical minerals strategy.

It is a pleasure to listen to these wonderful encomia for our towns, and I am going to add my voice on behalf of Wiltshire, and particularly Amesbury. I would be delighted if Marlborough, the other big town in my constituency, were to win the competition, but I want to speak particularly for Amesbury.

I was struck by the hon. Member for Halesowen (Alex Ballinger), who made a very good speech on behalf of his constituency, boasting about its important link with the history of heavy metal. Anyone who has seen the film “This Is Spinal Tap” will know that in fact it is Stonehenge that is the genuine heart of the history of heavy metal. On that ground, if nothing else, surely Amesbury should win, because it is the town of Stonehenge. I will return to that point in a moment.

The hon. Gentleman for Redditch (Chris Bloore) intervened to suggest that the award should be about the future. I disagree. Surely it should be about the history of our places. There is no place in these islands with a longer, and therefore greater, history than Amesbury, because it is the oldest continually inhabited settlement in the British Isles. People were living there a very, very long time ago, in 8820 BC. In fact, the grave of what we now call the Amesbury archer—a man buried with a bow and arrow and various other valuable artefacts—was discovered in Amesbury some time ago. DNA testing has demonstrated that he came to Amesbury from the Swiss alps many centuries ago, in the days when this country was still connected to Europe by a land bridge. Those who believe we should rejoin our continental neighbours under some sort of terrible political union might be inspired to think of Amesbury as a place where that was demonstrated millennia ago.

Thousands of years after the original settlement, Stonehenge was built, and it stands as the greatest monument to a now forgotten civilisation—the heart of England from which so much derived. The great world heritage site that is the central district of Wiltshire is to be found in Amesbury. It is the site of Romans, Saxons and the myths of King Arthur, whose wife Guinevere is apparently buried in Amesbury—who can tell? We do know that King Alfred left the manor of Amesbury to his son. A little later, in the pre-Norman era, the first church was built there, and its remains are still there. Subsequently, and significantly, the remains of the only monarch of England whose whereabouts are not precisely known are believed to be somewhere in Amesbury. Queen Eleanor of Provence, the wife of Henry III, died somewhere in the area in 1291. We are hopeful that in the coming years we will discover her actual burial place and have a fitting memorial.

It is a pleasure to serve under your chairship, Ms Furniss. I thank my hon. Friend the Member for Halesowen (Alex Ballinger) for securing this debate. I am delighted to speak today to shine a spotlight on Longton, a proud town in my constituency and a place where culture does not just sit in museums but runs through everyday life. Longton stands proud among Stoke-on-Trent’s six towns—five not six, Mr Arnold Bennett—all of which retain their own identity.

Longton’s culture is inseparable from its history. It made a significant contribution to the UK’s heritage and culture through our proud pottery industry, which to this day still ships British products all over the world. Duchess China provides its china to the House of Commons and the House of Lords, and Sarah Rose provides china to No. 10—we are everywhere. Longton was once at the beating heart of the industry, and visitors from all over the world now come to marvel at our pottery heritage at the beloved Gladstone Pottery Museum, home of “The Great Pottery Throw Down”. But Longton’s heritage is not just a relic of its past. The skills, creativity and pride forged through generations of pottery and craft continue to shape our future. The ceramics industry has faced real challenges, but there is an enormous opportunity to grow tourism and breathe new life into our many heritage buildings.

Local businesses are already capitalising on the opportunity to showcase our culture. The Kiln at Number 12 offers visitors pottery, painting and hands-on craft experiences. I am sure Members have seen those fish-shaped drinking jugs—they are from the Gluggle Jug factory, in my constituency. Roslyn works, a grade II listed pot bank, is now an entrepreneurial centre that showcases the work of brilliant local artisans and hosts the smallest pottery kiln in the country. Launch It, which operates in Longton town hall, is a local hub for young entrepreneurs, creatives, artists and makers to seek business and start-up support—supporting new arts, crafts and creative businesses to thrive.

I thank the hon. Member for Halesowen (Alex Ballinger) for his passionate pitch for his area.

I welcome the Government’s announcement of the competition for the town of culture 2028. The nature of a community is defined by three things: its landscape and architecture, its hospitality and retail sector, and—mostly—its culture. Dorset is the home of the Jurassic coast, but it is also home to some incredible culture: from the literature of Thomas Hardy and Enid Blyton to the Arts by the Sea festival in Bournemouth, Christchurch and Poole, and the Inside Out festival, which pops up in the smaller towns and villages—not to mention Purbeck film festival, which is the oldest rural film festival in the UK, so lovingly curated by volunteers.

I agree with the hon. Member for Redditch (Chris Bloore), who talked about the future as well as the past. I celebrate both. The three towns of Bournemouth, Christchurch and Poole, which are looking to bid together, offer a great story of togetherness. Christchurch has a history that dates back to AD 650, with its younger sibling Poole—with its fantastic links to Canada and fishing—receiving the first of its two charters in 1248.

Poole also draws on its local culture with the Folk on the Quay festival, which is the smaller sibling of the annual Wimborne minster folk festival. The harbour is also the setting for the amazing Poole harbour festival, which I am excited to confirm is being headlined this year by the Kaiser Chiefs, and will also feature my favourite band, Scouting for Girls, as well as many home-grown talents, such as Chris Payn, the Wonky Donkeys and the Mother Ukers.

Our incredible landscape also inspires visual arts. Our lord lieutenant even has an inspiring artist in residence, the lovely Dave Roberts, who pens everything that the lord lieutenant does throughout all the towns.

Does the hon. Member agree that economic regeneration through the arts and culture is a powerful way of showing the link between the past and the future in our national story? If so, would she agree that Folkestone is a prime example of that? Having been a port from which our troops went to the frontline in world war one, it became a commercial port, has been regenerated through the arts and is now the best place to live in south-east England.