The 30th anniversary of the Miners’ Strike has brought back many complex, conflicting memories to the coalfield communities of south Wales, with Tredegar’s concert forming part of an imaginative season of industrial remembrance put on by the resourceful management of the Miner’s Welfare Hall in Ystradgynlais.

Collective Labours

Entitled, ‘Our Collective Labours’, it has also included the screening of the acclaimed film ‘Pride’ (which Tredegar was a part of), as well as the theatre productions of ‘Pits and Perverts’ (which links back in part to the film’s inspiration)  and ‘We’re Not Going Back’ (which focused on the corrosive effects on a striking miner’s family)

The passing of three decades has not lessened the visceral sense of emotion that even now can be felt in the air when an image of Margaret Thatcher is projected onto a 25 foot wide film screen: The anniversary of her demise is not celebrated in these parts of the world for sure.

Compassion

This though was a night for fonder, almost rose tinted memories of compassion, conflict and community spirit; centered on an evocative musical collaboration, entitled, 'Miner's Pride' that linked a 12 minute montage of images, film and television extracts recording the history of local mining communities such as Ystradgynlais and Tredegar, to an engagingly realised soundtrack arranged by the band’s trombone player Michael Pilley. 

From the march ‘Old Comrades’ to the hymn ‘Gresford’, deep emotions were stirred once more: from the sinking of the first deep shafts to the final closing of colliery gates - and especially when the tragedy of Aberfan came into view; a reminder of a mining loss of a much, much greater kind.  

The accompaniment to final march back to work - a pyrrhic ‘victory’ in every sense - brought more than a few tears to the eyes.

Polished

With Tredegar now a very polished concert outfit under Ian Porthouse, the remainder of the evening was a showcase of well balanced ‘non political’ entertainment - rounded off, much to the delight of those in attendance, with the Salvationist seriousness of ‘Glorifico Aeternum’ and the Evangelical happy clappiness of ‘Nobody Can’t Do Me Like Jesus’.

Solos from Dewi Griffiths, Hannah Drage, Danny Winder and Matthew White were performed with sparkle and authority, whilst the neat contrasts of a Nordic scouts march to east coast American soft jazz were delivered in considerable style and ensemble precision: There was even a snippet or two from their forthcoming Brass in Concert programme. 

With the MD cleverly interacting with the audience, the careful balance between carefree entertainment and political conviction was expertly maintained throughout; the audience heading for home with 30 year memories rekindled and convictions reborn.

Iwan Fox