Lincoln’s music scene is a study in contrasts, rich in history, yet divided in its current state.
At the heart of this dynamic are Josh Hurt, the creative force behind Intrusive Events, and Lee Bryne, co-organiser of the rock-centric Badlands Festival. Together, their stories highlight the tension between unity and disconnection that shapes Lincoln’s music culture.
Badlands Festival, now in its third year, experienced a break due to the pandemic. For Lee, 27, co-founder and guitarist for the band Hell’s Ditch, the city’s music scene holds both promise and frustration.
“We really have a good music scene in Lincoln,” Lee says. “There’s been a legacy of venues here. Years ago, just around the corner, The Killers, Bring Me the Horizon, and The Kaiser Chiefs played their early shows. We have that heritage.”
However, Lee acknowledges the challenges the rock scene faces in Lincoln, particularly the absence of mid-sized venues that cater to up-and-coming artists. While The Engine Shed is a well-regarded venue, it mostly hosts larger touring acts, leaving a gap for DIY underground music.
This became particularly evident when Badlands Festival clashed with the BBC Introducing Festival at the refurbished Cornhill Quarter, resulting in two rock events taking place on the same day. Lee expresses his confusion: “It’s a bit of a strange situation. It’s like, how do we move forward when things are so split?”
The clash made it clear just how fragmented Lincoln’s music scene can be. It’s hard to build cohesion when events are competing for the same audience, Lee points out. However, despite these challenges, Lee stresses the importance of keeping ticket prices affordable, especially given the large student population of the city: “If we can keep the ticket prices cheap and affordable, especially for students, it helps ensure more people can attend and discover new bands.”
In contrast, Josh, 22, views Lincoln’s smaller, electronic scene through a more optimistic lens. He describes a collaborative spirit that binds the city’s promoters. “We all talk to each other and plan our events around each other,” Josh explains. “In most cities, there’s so much competition, but in Lincoln, it’s different. You can work together, and that leads to success.”
Josh credits gaming bar Akedo as a key player in this collaboration. “Akedo gives small events so many good opportunities,” he says. “Without it, there wouldn’t be much space for events in Lincoln. Venues are either too expensive or simply won’t accommodate certain genres like drum and bass.”
He believes that Akedo’s presence has been vital for Intrusive Events to thrive: “If it wasn’t for Akedo, Intrusive probably wouldn’t be a thing.”
But the sense of unity Josh describes is not universally shared across Lincoln’s music scene. Luke Smith, 21, founder of Empty Rooms, sees the need for more spaces to connect the different creative communities in the city.
“My vision for Empty Rooms is for it to be a place where creativity can thrive,” Luke says. “I want to showcase poetry, short films, music—anything that someone in Lincoln is working on.”
Luke’s frustration lies in the lack of venues that are accessible to smaller creative endeavours. “There’s nothing bridging the gap between places like Akedo and somewhere like The Drill,” he notes. “Venues should be more willing to give up the space for free for a night and just make money off drink sales. But because these venues are rare, they charge high prices. It’s hard.”
Luke is also finding it difficult to secure a space for his fourth event, planned for August. “I wasn’t expecting it to be this difficult to find a venue, but it’s been horrible,” he admits.
The lack of accessible spaces for emerging creatives has been a constant struggle for those trying to break through in Lincoln. Whether it’s electronic artists, indie bands, or experimental creatives, finding the right venue at the right price can feel impossible. The high cost of spaces, combined with the limited options available, can make the dream of hosting an event feel out of reach.
Despite these setbacks, the music scene in Lincoln persists, even if it’s fragmented. Lee’s work with Badlands Festival demonstrates his commitment to preserving Lincoln’s rich musical history. However, the conflict with the BBC Introducing Festival highlights the ongoing disconnection in the local scene.
Josh, on the other hand, is building a sense of collaboration within the electronic community, finding support from venues like Akedo. Meanwhile, Luke’s Empty Rooms seeks to connect these different creative pockets, but he is confronted with the challenges of securing a venue and fostering cohesion in a city where space for artistic expression is in short supply.
The struggle for cohesion within Lincoln’s music scene is real, but it’s also where the city’s heart lies. Whether it’s Lee’s hope for affordable rock shows, Josh’s collaboration in the electronic community, or Luke’s vision of a thriving creative collective, all three share a passion for the city’s musical future.
Despite the obstacles, Lincoln’s music scene is alive and slowly evolving, even if it’s still finding its rhythm.
