Taylor Town Kitsch, Ersatz Culture and the Art of Forgetting

Jon Egan

It may seem perverse to even pose this question, especially as Liverpool was only recently judged by Which? as the UK's best large city for a short break by virtue of its “fantastic cultural scene”. But ask it I must. Despite once proudly wearing the title of European Capital of Culture of 2008, is Liverpool really a cultural city? To paraphrase the BBC's celebrated Brains Trust stalwart, C.M Joad, I suppose it all depends on what you mean by culture?

My worry is that Liverpool appears to be operating under an increasingly narrow and debilitating definition of culture, or at least, offering to the world a version of its cultural self that seems weirdly stunted, shallow and ultimately synthetic - something the American art critic and essayist, Clement Greenberg might have characterised as ‘kitsch’. Writing in 1939, Greenberg's essay 'The Avant-Garde and Kitsch' defined the latter as embracing popular commercial culture including Hollywood movies, pulp fiction and Tin Pan Alley music. He saw kitsch as a product of rapid industrialisation and urbanisation, which created a new market for “ersatz culture destined for those who, insensible to the values of genuine culture, are hungry nevertheless for the diversion that only culture of some sort can provide.” These mass-produced consumer artifacts, by definition formulaic and for-profit, had driven out "folk art" and authentic popular culture replacing it with what were essentially commodities.

One does not have to be a Marxist (Greenberg was) or a cultural snob (he was possibly one of those as well) to be slightly worried that Liverpool's cultural brand is beginning to lean too heavily in the direction of the kitsch and the hyper-commercial. It was a concern, first articulated in the run-up to Liverpool's hosting of Eurovision last year by the Daily Telegraph’s Chris Moss, “Liverpool has chosen Eurovision kitsch over protecting its history and heritage”, and explored further in my Liverpolitan article, “Liverpool's Imperfect Pitch”. A feeling that has only been exacerbated by the recent Taylor Town phenomenon.

For the somehow blissfully unaware, Taylor Town was a “fun-filled” council-funded initiative to transform the city of Liverpool into a Taylor Swift “playground” designed to offer a “proper scouse welcome” to the American pop star and her legion of fans before three sell-out shows at the Anfield stadium. This included commissioning eleven art installations each symbolising one of the artist’s 11 albums – everything from a moss-covered grand piano to a snake and skull-clad golden throne – all designed to be instantly instagrammable.

A golden throne inspired by Swift's 'Reputation' era forms part of Liverpool's Taylor Town trail conveniently located for lunch options. Image: Visit Liverpool.

Sure, Liverpool wasn't the only port of call on Taylor Swift’s Eras Tour to dress-up  for the Swifties, but wasn't there something about the hype and hullabaloo that went beyond due recognition and celebration of a major musical event?

My queasiness about Liverpool's Taylor Town re-brand is more than mere snobbishness, or a patronising disdain for popular culture. Our willingness to conflate the city’s very identity with the persona of the American pop icon carries worrying echoes of Councillor Harry Doyle's “perfect fit” mantra between Liverpool and Eurovision. This is somehow more than just a smart bit of opportunistic marketing; it implies some deeper and integral affinity. Public pronouncements by Doyle and Claire McColgan, invoking the spirit of Eurovision, suggested Swift's visitation was seen as an epiphanic moment of self-realisation.  In a spirit of almost quasi-mystical reverie, Clare McColgan explained; “the world can be a very dark place and in Liverpool, it’s light.”

If Taylor Swift has somehow become the embodiment of our cultural identity and ambition, what exactly have we become? The American cultural writer and scholar, Louis Menand observed, “in the 1950s the United States exported a mass market commercial product to Europe [rock n roll]. In the 1960s, it got back a hip and smart popular art form.” He is, of course referencing The Beatles and sadly it seems that we are once again being sold short on this cultural transaction.

---

“Liverpool's cultural brand is beginning to lean too heavily in the direction of the kitsch and the hyper-commercial.”

---

Despite Doyle's claim that her arrival “was very much in the spirit of the city's musical history”, Taylor Swift is not The Beatles. In the words of the Canadian feminist writer and blogger, Meghan Murphy she “will be forgotten in 20 years, which cannot be said for Janis Joplin, Carly Simon, Etta James, Leslie Gore, Joni Mitchell, Carole King, Whitney Houston, Aretha Franklin, or Tina Turner... And none of those women made it on account of being beautiful or having a string of celebrity boyfriends. Certainly, they will not be remembered for their ability to command the hysterical attention of legions of young fans. They were just very good.”

Swift may be a global superstar, a role model and a performer with genuinely admirable philanthropic and compassionate sensibilities, but she is also according to Murphy, bland, manufactured and ephemeral - the literal embodiment of kitsch. Merely staging one of her concerts does not boost our cultural capital or say anything true or meaningful about who we are. For Harry Doyle, the sheer scale of global media coverage is its own justification. “So far, our city has been featured on just about every media outlet worldwide, including the Today Show in the US”, he excitedly claimed, as if a simple volumetric calculation was enough to establish cultural prestige.

Making “the city part of the show” to quote Claire McColgan, and building a civic and cultural brand by staging big events, was the thesis underpinning the city's post-Capital of Culture prospectus, The Liverpool Plan. Describing Liverpool itself as “The Great Stage” it prefigured a reality that those concerned about the condition and accessibility of our waterfront and parks are beginning to realise has troubling consequences. There may well be a perfectly credible argument for hosting large scale events and showcasing the city's architectural and heritage assets, but this is no substitute for what cities, once saw as their responsibility to promote and nurture culture in its widest sense.

So, do we need a different yardstick for what makes a cultural city? If Liverpool wasn't a cultural city, or had not been a cultural city, then I would in all probability not be here. When my father accepted a job in Liverpool it was intended as a stepping-stone to Dublin, the city where my parents had met and always aspired to settle down. It was the discovery that Liverpool possessed everything that Dublin promised, that persuaded them to put down roots in a place that satisfied all their cultural appetites. This was a time when both UK and international opera and ballet companies regularly visited our city, when cutting-edge theatrical productions had their pre-West End runs in the city's array of thriving theatres. It was also the time when Sam Wanamaker was transforming the late lamented New Shakespeare Theatre into what The Guardian described as “one of the first multi-strand art centres in Europe” - a venue that was open 12 hours a day, staged contemporary theatre as well as films, lectures, jazz concerts and art exhibitions and put on “free shows for workers every Wednesday afternoon.”

---

“Taylor Swift may be a global superstar with admirable philanthropic sensibilities, but she is also bland, manufactured and ephemeral - the literal embodiment of kitsch.”

---

Moss-covered piano inspired by Swift's 'Folklore' era, one of eleven exhibits that made up the Liverpool Taylor Town trail. Image: Visit Liverpool

From the 19th century onwards, culture was embedded in Liverpool's civic project, the city’s self-image being proudly cosmopolitan rather than prosaically provincial.  “High Art” might not be the exclusive criterion for what constitutes a cultural city, but it was, for a time at least, integral to Liverpool’s claim to that status. Now it would appear that culture has no intrinsic value other than as a means to an end. Taylor Town was, in Doyle's words, “much needed PR the city needs to attract investment and visitors.”

The irony is that a positioning or investment strategy focused on big events and blitz publicity is quite probably a less effective strategy than one focused on stimulating cultural quality and diversity of offer.  Events may deliver a short-term boost to the tourism and hospitality sector, but smart cities understand that the depth, quality and originality of their cultural offer is what draws investment and attracts and retains people. Once again, it might be instructive to look to our regional neighbour, Manchester for inspiration. The Manchester International Festival (MIF) not only reveals a city that, unlike the organisers of LIMF (Liverpool International Music Festival), understands the meaning of the word "international," but is also a masterclass in intelligent place marketing. MIFs inspired, left-field commissions and collaborations are deftly configured to spell out one simple message - “Hey, we're just like London.” In other words, we're the sort of city that's ready-made for banished BBC executives, relocating corporates, boho entrepreneurs or the English National Opera (ENO). Manchester benchmarks its cultural strategy against cities like Barcelona and Montreal, disruptor second cities harbouring global ambitions.

There was a sad inevitability about the ENO relocation to Manchester after Liverpool had failed to make it beyond the shortlist.  Liverpool's city leaders offered a flimsy defence of their laissez-faire approach to pitching - that this was a process-driven exercise where lobbying and advocacy were superfluous and potentially counterproductive. Yet as a well-placed Manchester source explained, “Yes, it was process-driven, but the timing worked for us, coming [so soon] after the Chanel Show which secured exactly the right kind of media coverage.” (Note - quality not quantity) “But the key was the availability of a versatile and conveniently available performance venue designed by Rem Koolhaas, that didn't really have a defined function or use-strategy.” The commissioning of The Factory / Aviva Studios was an audacious exercise in the ‘build it and they will come’ approach to urban regeneration, and proof that Manchester, like the Biblical wise virgins, is a city always primed with a trimmed wick and plentiful supply of oil.

Probably, a more significant consideration was the perception that Manchester had an audience for opera whilst Liverpool possibly did not. One of the most depressing episodes in my professional life came during a discussion with Liverpool's big cultural players whilst working on ResPublica's HS2 for Liverpool advocacy project. A prominent, though now departed, head of a prestigious cultural institution, lamented that they would love to deliver a more ambitious programme (as they had in 2008) if only they could “attract an audience from Manchester.” Yet as the success of Ralph Fiennes' Macbeth production at the Depot venue proved last year, this comment is as ill-informed as it is profoundly dispiriting.

---

“From the two fake Caverns and tat memorabilia of Matthew Street to the anodyne mediocrity of “The Beatles Story”, we are now celebrating what was once subversive popular art in the guise of the mass-produced ersatz culture to which it was once the antidote.”

---

The Beatles Story: A fake grave cast in authentic-looking granite to a fictitious character Paul McCartney claims he ‘made up’. Could this be any more ersatz or is it just ‘meta’?

Photo: Paul Bryan

For all its sophistication and legacy of transformed cultural assets, there is still a whiff of utilitarianism about Manchester's approach, and a view of culture as primarily an instrument of economic regeneration. Hence an emerging new strategy with a greater emphasis on what they term “cultural democracy” with a more equal and diverse distribution of cultural resources and opportunities.

Notwithstanding the undoubted quality of our visual arts assets and collections, Liverpool's performing arts offer is now sadly diminished and, the Royal Philharmonic Orchestra excepted, is hardly commensurate with what you’d expect of an aspiring cultural city.  If Liverpool is to entertain genuine claims to that title, then maybe we need another definition that isn't founded merely on physical assets or an eye-catching events programme?

For American essayist and poet, Wendell Berry “culture is what happens, when the same people, live in the same place for a long time.” For Berry “same people” doesn't entail ethnic homogeneity. His own Appalachian culture is a heady brew of English, Scots Irish, Cherokee and African influences that even a fledgling Taylor Swift, once wanted to get a piece of. His definition is closer to what Clement Greenberg saw as the antidote to kitsch - “folk art”.  This is culture with roots, with an organic and intimate connection to place, with a character, accent and disposition that are distinctive and inimitable. By this yardstick, cultural cities are not just places that stage culture or boast a wealth of cultural assets, they also cultivate and disseminate it. It is in this sense that Liverpool can perhaps advance its most convincing claim to be a cultural city.

Liverpool's culture is as much an ambience and attitude as it is an archive of expressions and artefacts. It emerges in creative convulsions that emanate from a deep geology, a substratum of shared stories and memories. In the 1960s, it was Merseybeat, the poetry of McGough, Patten and Henri, the forgotten genius of sculptor, Arthur Dooley, and the phantasmagorical humour of Ken Dodd. (Are the jam butty mines of Knotty Ash just charming whimsy or, like Williamson's Tunnels, secret portals into the arcane depths of Liverpool's collective unconscious?). The early noughties, as the city began to dream of becoming a European Capital of Culture, happily coincided with another creative spasm, as Fiona Banner was shortlisted for the Turner Prize, Paul Farley won the Whitbread Poetry Prize, Delta Sonic Records were trailblazing Liverpool's third musical wave, and Alex Cox was back in town collaborating with Frank Cottrell Boyce on their, as yet unrecognised masterpiece, Revenger's Tragedy.

---

“Memory is the alchemy that transmutes the base metal of the everyday into the life-enhancing elixir of an authentic culture. But we live in a time of forgetting, of uprootedness, fracture and disinheritance, and even a city famed, and often derided, for its obsessive nostalgia, is not immune from this pervasive fixation with the immediate, the superficial and the kitsch.”

---

It's not just the social realist triumvirate of Bleasdale, Russell and McGovern whose writings are moored in the anchorage of their home port city. For novelists like Beryl Bainbridge, Nicholas Monsarrat and Malcolm Lowry, Liverpool looms and lurks in the shadows of their fiction even as a point of departure or an unspoken absence. For two contemporary Liverpool writers, the city is an object of almost erotic communion. Musician Paul Simpson's gorgeously poetic memoir, Revolutionary Spirit, and Jeff Young's Ghost Town are immersions in secret treasuries of memory and miracle. Young is Liverpool's cartographer of the marvellous, tour guide to our fevered Dreamtime for whom Liverpool “is the haunted place of remembering.”

Memory is the alchemy that binds past and present, that invisibly entwines the living with the dead. It's what transmutes the base metal of the everyday into the life-enhancing elixir of an authentic culture. But we live in a time of forgetting, of uprootedness, fracture and disinheritance, and even a city famed, and often derided, for its obsessive nostalgia, is not immune from this pervasive fixation with the immediate, the superficial and the kitsch. In a blisteringly brilliant essay in The Post, Laurence Thompson poses the question, why is Liverpool unwilling or unable to recognise the creative achievement of filmmaker and “great visual poet of remembrance,” Terence Davies, and his seminal trilogy Distant Voices, Still Lives?  

“That such an impressive work of art came both from and was about Liverpool seems worthy of commemoration. Yet it’s impossible to imagine the Royal Court commissioning a major contemporary playwright to adapt a stage revival of Distant Voices, Still Lives... I’m not advocating Davies’s memory falling into the hands of the usual custodians of Liverpool’s heritage. What’s the point in putting up a blue plaque commemorating the original Eric’s when the current Eric’s is so unbelievably shite?  But the choice between amnesia and kitsch must be a false dichotomy.”

The French seem more inclined to remember the seminal films of Terence Davies, than Liverpool, the city of his own birth. A retrospective held at the Paris Pompidou Centre in March 2024.

Alas, it seems we are increasingly opting for kitsch, not just in terms of our desire to bask in the reflected aura of Eurovision and Taylor Swift, but also in how we package and commodify our own cultural legacy. From the two fake Caverns and tat memorabilia of Matthew Street to the anodyne mediocrity of “The Beatles Story”, we are now celebrating what was once subversive popular art in the guise of the mass-produced ersatz culture to which it was once the antidote. Kitsch's suffocating omnipresence is a soporific that dulls memory and transports us into its own featureless geography. “If we don't know where we are, we don't know who we are,” explains Wendell Berry. For Berry, culture, identity and place are a sacred trinity without which human society withers and sinks into the shallow abyss that G.K. Chesterton termed the “flat wilderness of standardisation.”  A time of forgetting is also a time of false belonging. Polarised politics, bitter culture wars and horrifying street violence are in different ways a thrashing around in search of connections to something enduring and meaningful in the bewildering Babel of post-modernity.

Consigning an artist of Terence Davies' stature to the margins of oblivion is sinful enough, but it is emblematic of a deeper estrangement and disconnection. A city that squanders its World Heritage Status, that's indifferent to its own cultural history and cheerfully embraces an architectural aesthetic of shabby and soulless mediocrity, is forsaking its very identity. In the spirit of Louis Aragon's Le Paysan de Paris, Jeff Young chronicles Liverpool’s neglectful disregard for the overlooked, the curious and the idiosyncratic, for the magnetically charged spaces and landmarks, like the sadly demolished Futurist cinema, that are the coordinates of our collective remembering. Ghost Town is an odyssey in search of a submerged city, drowning under the dead weight of the bland and the banal.  

“The magic is leaching from the city, the shadows and alleyways are emptying, and so we walk through wastelands where the magic used to be, we gather autumn leaves from gutters and dirt from the rubble of demolished sacred places.”

Identity and culture are rooted in the original, the distinctive and the unwonted, in things that should be reverenced, not wilfully expended.

At the conclusion of his Gerard Manley Hopkins Lecture at Hope University earlier this year, I asked Jeff, how do we breach the chasm that seems to separate those who love the city, from those who govern it? There isn't a simple answer, but it must surely involve some thoughtful consideration of what it means to be a cultural city. Culture in its authentic form, is salvific. Being connected to a place, its story and to each other is to fulfil one of our most basic human yearnings.

For now, at least, the circus has left town. Eurovision and Taylor Swift have moved on to the next “destination.” But if we want to get in touch with our culture, we need to see through the eyes of poets and artists like Jeff Young and Terence Davies, to look beyond the empty stage for something part-buried and only half remembered - the immeasurable richness of a cultural city.

---

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

---

Main Image: Paul Bryan

---

---

What next for the Wirral Waterfront?

Jon Egan

As a child I found Wirral, and Birkenhead in particular, to be a deeply mystifying place. I knew that Ireland, where we went on holiday, was across the water, but where exactly was this other place? It wasn’t Liverpool, but was it even England or maybe Wales, or some strange liminal place existing outside my primitive geographical understanding?

My earliest journeys across the Mersey did little to dispel Wirral's sense of disquieting otherness. The deep, dark descent into the underworld of the Mersey Tunnel only reinforced its obvious detachment from humdrum reality. This must be the other side of the looking  glass.

Years later during my counter-cultural phase, and in the spirit of Parisian Surrealist explorations, we’d take “the metro” to Birkenhead in search of the merveilleux. Birkenhead’s numinous aura was only magnified by the eerie absence of people, the monumental grandeur of Hamilton Square echoing the ominous emptiness and abandonment of Giorgio de Chirico’s metaphysical city scapes.

In later years my associations with Birkenhead became more prosaic and practical through involvement in a succession of aborted regeneration initiatives and "visionary" but unrealised masterplans. Spending days talking to frustrated residents and world-weary stakeholders I was struck by their sad fatalism, as if the town had been subject to some strange and enervating enchantment. As Liverpool’s cityscape was magically transformed before their very eyes, Birkenhead seemed frozen in a state of suspended animation akin to Narnia trapped in its perpetual winter. 

But of course there was nothing supernatural about the decline of Birkenhead. Once styled the City of The Future, Birkenhead has a proud and pioneering history. In addition to its global shipbuilding prowess, it’s the town that built the UK’s first public park, its first Municipal College of Art as well as Europe’s first tramway. Birkenhead’s curse is a toxic blend of economic decline and disastrous urban planning, making  Birkenhead a place that’s easier to pass through than get to. Whilst cars, people and investment pass Birkenhead by, it’s tempting (and partially true) to point the finger at poor leadership and botched planning. But is there another more fundamental reason for the town’s baleful situation? Is it rooted in Birkenhead and Wirral’s deeper crisis of identity? 

Regeneration has to be informed and framed by a sense of place - a clarity of purpose and identity. Without an existential paradigm regeneration is likely to be a series of disconnected and arbitrary interventions, very often aiming to undo the unforeseen consequences of a previously failed intervention. Birkenhead shopping centre is a palimpsest of flawed visions and ham-fisted initiatives. It is still just about possible to discern the archaeological remnants of what was, once upon a time, a high street (Grange Road), dissected, butchered and disfigured by ugly and already half-redundant modernist protuberances . This is town planning re-imagined as self-mutilation. 

In 2001 Wirral Council attempted to resolve the peninsula's ambiguous identity with a bold, but alas unsuccessful bid for City Status. This was always a difficult proposition to sell given the uneasy relationship between the borough's urban Mersey edge and its bucolic hinterland. If Wirral isn't a city, then what is it? A municipal construct? A geographical descriptor? A lifestyle aspiration? Is it one place or an amalgam of places with quite different characteristics, histories and identities? It is difficult to suppress the suspicion that the failure to arrest the decline of its distinct urban centres has something to do with their slow immersion and disappearance into an amorphous and confused abstraction. It's little wonder that a Council without a settled sense of identity (its fractious communities historically divided about whether they should have an L or a CH postcode), should struggle to formulate or deliver a coherent regeneration vision. To borrow a Marxist analogy, Wirral's debilitating dialectic needed a resolving synthesis - and happily they found one.

---

‘Downtown Birkenhead needs to re-orientate itself and define its future in relation to an already burgeoning Liverpool City Centre…’

---

The Wirral Local Plan (currently awaiting Government approval) ingeniously united the borough's disparate communities and political factions with a strategy to vigorously defend its greenbelt and direct all new housing development onto urban and brownfield sites. Implicit in the plan are two revelatory and foundational propositions.

1) Wirral is not a homogenous place - its Mersey edge is a connected urban strip that is qualitatively different from the pastoral commuter settlements west of the M53. (Income disparity between the borough's most deprived and affluent areas is greater than in any other UK local authority area.

2) The history, identity and future of the urban edge is umbilically connected to the place it stirs out at across the Mersey (but sometimes thinks exists in a different hemisphere) - it’s Liverpool’s Left Bank.

Wirral's Left Bank vision was a new regeneration narrative to reposition and re-imagine the Mersey shore, but is also the core strategy against predatory housebuilders’ determination to challenge the no passaran defence of the greenbelt. However, this defence would only be sustainable if Wirral could make the Left Bank a sufficiently attractive and commercially rewarding location for the scale of building necessary to meet the borough's new homes requirement. 

And herein lies the challenge. From New Ferry to New Brighton, the Left Bank littoral has, in recent decades - with one gloriously idiosyncratic exception (more later) - been a virtual regeneration exclusion zone. Turning what is often perceived as Liverpool's down at heel urban annexe into a thriving regeneration powerhouse is a challenge requiring exceptional presentational and practical capabilities.

The presentational brief has been curated by an impressive creative team, combining the branding and visualising expertise of designer, Miles Falkingham with the editorial acumen and eloquence of Birkenhead writer, David Lloyd,  The Left Bank mood board, flawlessly realised in the eponymous digital and print magazine, presents a richly fertile incipient oasis, pregnant with possibilities and welcoming to innovators, prospectors and the independently inclined.

Birkenhead Dock Branch Park, conceptual visualisation.

The Left Bank

As a destination for the discerning, Left Bank is a counterpoint to a Right Bank (Liverpool) whose identity and character is being lost under the stultifying uniformity of the standard regeneration model. 

But the Left Bank idea is more than a cleverly crafted re-branding exercise. It is also a set of values and sign posts to inform the delivery of what is potentially Wirral's most transformational regeneration windfall. Birkenhead 2040 outlines a radical vision for a re-imagined Birkenhead town centre underpinned by a series of successful Levelling Up and Town Deal funding awards totalling £80 million. 

In 2016, following on from my involvement in a consultation on yet another undelivered regeneration project, I was one of a small group who produced an unsolicited document sent to Wirral's then Regeneration Director, entitled Manifesto for Downtown Birkenhead. A call to arms, it's opening paragraph set out the key challenge and imperative:

"Downtown Birkenhead needs to re-orientate itself and define its future in relation to an already burgeoning Liverpool City Centre. Reaching out and strengthening its sense of proximity and connectedness will be vital in attracting the energy, activity and people that are currently absent from a once vibrant centre." 

The content was a series of ideas offered or identified during our conversations with stakeholders, or arising from immersive wanderings around a town rich with unique and under-utilised assets. The ideas included creating the region's best urban market, transforming the abandoned Dock Branch railway into Birkenhead's "low-line" and creating a venue for the town's burgeoning new music scene. In 2019 a Festival of Ideas, held as part of Wirral's Borough of Culture programme rehearsed these and other possibilities that would become the anchor ideas for the successful funding bids. 

But with both the ideas and funding to deliver transformational change, doubts are emerging as to whether Birkenhead may once again squander a golden opportunity. Following a flurry of key officer departures, including Alan Evans, the Regeneration Chief widely credited with delivering the successful funding bids, concerns are growing that the Council lacks the organisational capacity and technical skills to translate tantalising visions into tangible realities. 

---

‘…it’s something that people would be willing to get off a train for.’

---

More worrying still, it is now highly probable that pragmatic imperatives will lead to the abandonment of one of 2040's flagship projects. When visionary Dutch architect Jan Knikker was engaged in 2015 by Liverpool developers, ION, to feed into their Move Ahead, Birkenhead masterplan, the possibility of an urban market as unflinchingly radical as his Rotterdam masterpiece became a beguiling statement of ambition. After all, Birkenhead had been a market town, and a re-imagined, relocated modern urban market was the one thing Liverpool didn't have to offer. In the words of Birkenhead Councillor and Wirral Green Party Co-Leader, Pat Cleary, "it’s something that people would be willing to get off a train for."

Citing spiralling costs, the proposal for a new market on the site of the former House of Fraser store at the interface between the St Werburgh's Quarter and the proposed Hind Street residential quarter, would now appear to be dead in the water. A proposal to move the existing market traders into the former Argos store in the Grange Precinct, which is owned by the Council, is being presented as a smart value for money solution that turns a vacant liability into a source of much-needed revenue.

For Cleary, this would be more that the death knell of one of 2040's most transformational projects, it would signify, in his words the replacement of a genuine "regeneration perspective by an asset management mentality." For Cleary, the future of the market is emblematic. If one piece of a coherent jigsaw can be removed, where does that leave projects like Dock Branch Park that could just as easily begin to look expensive and expendable. His is not a lone voice, Birkenhead MP, Mick Whitley, called on the Council to reaffirm its commitment to the new market, warning that the revised option "would mean years of work up in smoke." Following a fraught Council meeting on December 6th, it appears these concerns are unlikely to be heeded.  Although officers were instructed to investigate two other options  including refurbishing the existing market hall, the House of Fraser site looks likely to remain a boarded up monument to failed ambition.

Others intimately involved in the evolution of the 2040 vision are also worried that the integrity and spirit of the 2040 vision could be lost in delivery.  Liam Kelly, whose Make CIC organisation is a key partner in the delivery of the proposed creative hub in Argyle Street, is willing to accept the need for pragmatism, but favoured a less costly iteration of the existing plan on the proposed site, explaining, "it doesn't have to be expensive to look great." For Kelly, the litmus test for 2040 overall will be the Council's willingness to sustain the coalition of stakeholders and co-creators who have worked with the Council in shaping the vision. As the various funding strands are blended and the overall delivery architecture is refined, Kelly believes, it's about "having the doers around the table and how difficult decisions are made" that will safeguard the integrity and deliverability of the 2040 blueprint.

---

‘Seeing the tragic and seemingly inevitable decline of the once vibrant Victoria Street, local entrepreneur, Dan Davies, embarked on a uniquely eccentric and joyous regeneration adventure.’

---

With a final decision on the market project now scheduled for February, the omens point increasingly in the direction of Argos. Both Cleary and Kelly stress the much bigger picture perspective that is somehow absent from the beancounting calculations underpinning the Argos proposition. Without a radically different and vibrant Birkenhead town centre, the viability and credibility of plans to build thousands of new homes on brownfield land at Hind Street and Wirral Waters becomes highly questionable.  With Leverhulme Estates already launching a legal challenge in support of their plans for 800 greenbelt homes, the pressure on the Local Plan, and the fragile political consensus underpinning the Left  Bank idea, may begin to exhibit destabilising cracks and fissures.     

Away from Birkenhead there is another equally worrying indicator that when push comes to shove, pragmatism and asset management logic may be taking precedence over a commitment to the Left Bank aesthetic. There is no known precedent or template for the extraordinary regeneration story of Rockpoint and New Brighton. Seeing the tragic and seemingly inevitable decline of the once vibrant Victoria Street, local entrepreneur, Dan Davies, embarked on a uniquely eccentric and joyous regeneration adventure. Buying up empty and semi-derelict shops, he commissioned internationally renowned street artists to execute a series of spectacular murals celebrating the history, culture and identity of the town memorably dubbed, The Last Resort, by photographer Martin Parr. 

This was not just about a lick of paint or a superficial facelift to cheer the spirits.  Davies's restless energy and obsessive Canute-style audacity has reversed the tide of decline by bringing new businesses, cafes, venues,  an art gallery, pub, recording studio and performance space to make Victoria Street possibly one of the most visually and creatively eclectic high streets in this part of England.

With an offer that caters for every demographic - from disadvantaged young people to socially isolated older residents - the breadth of Rockpoint's improvised and quirky inclusivity was perhaps most perfectly expressed in Hope - The Anti-Supermarket. Occupying the thrice-failed food store, Rockpoint transformed the unit into a multi-use space for artisan and independent retailers, social events, comedy, music and local am-dram performances. At a time when communities everywhere are witnessing a diminution of social capital and public space, Davies was delivering, under one roof, the kind of outcomes that 2040's proposed "creative" and "wellbeing hubs" can only promise.  In a baffling decision, Wirral Council chose not to extend Rockpoint's tenure of the building, opting instead for the revenue rewards of a hardware store. Hadn't they read the magazine?

The Left Bank idea is an astute piece of positioning, and with an intelligently targeted and resourced campaign, it’s a necessary component in differentiating Wirral's offer, and guiding its regeneration direction. But the Market and Anti-Supermarket case studies also highlight the fragility of mood board-based regeneration, especially when those ineffable and immeasurable subtleties don't convert easily into the hard currency of public sector fiduciary imperatives.

But perhaps there is another flaw in a strategy that fails to distinguish between necessary and sufficient causation. Paris's Left Bank is not simply the bohemian haunts of the Latin Quarter and St Germain-des-Pres and nor is London's South Bank just Borough Market and its trendier residential enclaves. To return to Pat Cleary's challenge, what will make enough people get off the train, or even decide to put down roots in the new urban neighbourhoods envisaged in Birkenhead and the Left Bank? To be more than the One-Eyed town, doesn't Birkenhead need (and deserve) its equivalent of The Musee D'Orsay or Tate Modern? At the conclusion of the Manifesto for Downtown Birkenhead, we posed a question - shouldn't the town that invented public parks and pioneered mass transit reclaim its capacity for innovation and ambition?     

---

“Important places are home to important institutions.... Far from being frightened of big ambitious ideas, we need to encourage them, test them and ultimately deliver them.”

---

Does 2040 lack the scale of ambition and impact necessary to deliver the catalytic stimulus that Birkenhead requires? Conceiving and delivering projects of that magnitude (including the discreetly mooted V&A of The North) and integrating and re-balancing the two banks of what a casual visitor might mistakenly believe to be one city, is a task that probably necessitated the invention of a City Region and a Metro Mayor. 

In fairness to Wirral, the authority has been especially ravaged by the impact of austerity, hollowing out its core capacities and stretching  services to breaking point. This is a difficult time to navigate the uncharted terrain of delivery, and the pressure and temptation to find pragmatic compromises may be difficult to resist. 

In difficult and demanding circumstances, Wirral has formulated a complex and highly integrated planning and regeneration prospectus, an edifice where big picture objectives are founded on detailed and precisely crafted plans and projects. When Councillors meet to make a final decision on the future of Birkenhead Market in February, they may need to consider whether this is the moment to play a particularly precarious game of jenga?

---

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

*Main image: Eszter Imrene Virt, Alamy

---

---

Mancpool: One Mayor, One Authority, One Vision?

Jon Egan

Manchester Bees Meet Liverpool Super Lambananas by mmcd studio

Is it time the city of Liverpool threw its lot in with Manchester and accepted one combined North West Metro Mayor to rule us all? Jon Egan thinks so. As you can imagine, the suggestion has caused some debate in Liverpolitan Towers and we are not all in agreement. But what do you think? Here Jon makes his case and hints at future initiatives to come…

---

So let me issue a warning now. This article contains material that many Liverpudlians will find deeply distressing and offensive. It’s an argument that I have tentatively proffered in the past, but after profound and serious reflection, have concluded, now needs to be set out in the most explicit and uncompromising of terms. You have been warned.

David Lloyd’s recent article for The Post lamenting the exodus of Liverpool’s “best and brightest” was as ever an enlightening and enjoyable read, notwithstanding its downbeat and dispiriting narrative of civic and economic decline. If I can add a generational postscript in support of David’s thesis, every member of our youngest daughter’s friendship group from Bluecoat School now lives and works outside Liverpool.

It was the nineteenth century philosopher, Friedrich Nietzche who argued that only as an “aesthetic phenomenon” does the tragedy of human existence find its eternal justification, and perhaps it’s only in the exquisite prose and imaginative virtuosity of David’s writing that Liverpool’s own tragic predicament becomes philosophically palatable. I admire David’s resolute determination to find some tiny component of hope, offered in the city’s joyously ephemeral hosting of Eurovision 2023. But does our capacity for celebration, hospitality and togetherness provide the alchemy for a viable economic renaissance? Does it, at best, illuminate Liverpool’s status as a half-city, stripped of its economic and productive assets, now reduced to the sheer potentiality of its human capital?

The idea of Liverpool as a stage set for cultural spectacles and entertainment extravaganzas (hyperbolically described by the city’s cultural supremo, Claire McColgan as “moments of absolute global significance”), is a beguiling substitute for an actual economy, and an ability to offer a livelihood for the generations who continue to depart for more attractive and seemingly successful cities. It’s a vision that also reminds me of another of Italo Calvino’s magical realist parables in his masterpiece novel, Invisible Cities. Sophronia, the half-city of roller-coasters, carousels, Ferris wheels and big tops, where it is the banks, factories, ministries and docks that are dismantled, loaded onto trailers and taken away to their next travelling destination.

---

“I fully grasp the deeply heretical nature of this proposition. A ‘One State’ solution for the Liverpool and Manchester City Regions is about as saleable as a one state solution for Israel and Palestine.”

---

Two hundred years ago, the realisation that we were a half-city inspired Liverpool’s city fathers to contemplate a project that would have world-changing implications - a genuine moment of “absolute global significance”. Prior to the construction of the world’s first inter-city railway, every human journey between major population centres would be dependent on the locomotive capabilities of the horse. Railways were the harbingers of modernity, compressing time and space, and in this instance, connecting one of the world’s great trading centres with its greatest manufacturing hub. Umbilically conjoined, the two half-cities (the place that trades and the place that makes), became the nexus for Britain’s industrial and imperial prowess for the next hundred years. 

If the railway brought Liverpool and Manchester closer together, recent decades  have been dominated by a football-terrace inspired antagonism aimed at driving us further apart. Liverpool’s antipathy to our more affluent neighbour would seem also to betray more than a slight hint of jealousy, as our rival has greedily accumulated the trappings and status of regional capital.

Rather than resenting Manchester’s success or investing in a strategy of do-or-die competition, is there a smarter and mutually beneficial alternative? Is it time to re-imagine a more symbiotic relationship, that realises that for every British provincial city, the real competition is located 200 miles to the south?

Of course, this is not an original proposition. In the early noughties, Liverpool Leader, Mike Storey and his Manchester counterpart, Richard Leese signed their much lauded Joint Concordat - an agreement only marginally less shocking than the Molotov-Ribbentrop ‘Non-Aggression’ Pact of 1939 between Nazi Germany and the Soviet Union. The benefits were equally short lived. The agreement was conceived in the golden age of regionalism when under the aegis of John Prescott’s mega-ministry - the Department for the Environment, Transport and the Regions - levelling-up and rebalancing were not mere meaningless mantras but core political imperatives.  For all its good works, the now defunct North West Development Agency, which once employed 500 people to drive the region’s growth, was more of a hindrance than an enabler for a serious rapprochement between the city’s two main economic players. Determined to uphold scrupulous neutrality between Liverpool and Manchester (it’s Warrington-base memorably described by broadcaster and musical impresario Tony Wilson as being located in the “perineum” of the North West), the agency was forged by a powerful Labour Lancashire mafia, with a brief to prevent and constrain the domineering tendencies of the two cities.  

The ill-fated 2001 Joint Concordat between Liverpool and Manchester was only marginally more palatable than the Molotov-Ribbentrop Pact of 1939 which saw the carve up of Poland. Bundesarchiv, Bild 183-H27337 / CC-BY-SA 3.0

---

“The idea of Liverpool as a stage set for cultural spectacles and entertainment extravaganzas is a beguiling substitute for an actual economy.”

---

The Storey-Leese pact conceded Manchester’s status as regional capital, a painful admission of subservience that probably explains the reluctance of subsequent Liverpool leaders to pursue similar overtures. The Liverpool City Region and Greater Manchester devolution deals, and the election of “great mates” Steve Rotheram and Andy Burnham has seen little practical collaboration, beyond occasional media stunts and chummy get-togethers to compare their favourite home-grown pop tunes. Those who expected more than a Northern Variety Hall double act have thus far been disappointed by devolution projects intent on protecting sub-regional domains and denying the compelling reality of geographic and economic interdependence. 

We’re two cities less than 30 miles apart, whose fuzzy edges and increasingly footloose populations are blind to civic boundaries that no longer delineate where or how people live, work and play. People are already beginning to see and experience the cities as a single urban place - we just need to dismantle some of the physical and administrative obstacles.

It is beyond farcical that train travel between the two city centres is only marginally quicker today than it was when Stephenson’s Rocket completed its maiden journey two centuries ago. At a pre-MIPIM real estate seminar a few years ago, a Liverpool property professional opined that the single biggest boost to Liverpool’s commercial office market would be a 20 minute train service to Manchester city centre. Who knows, it may even have been enough to persuade Liverpool-nurtured companies like the sports fashion-brand, Castore, to stay in a better connected city location instead of moving to our city neighbour (and taking 300 jobs with it). Questioning the benefits of a fully integrated single strategic transport authority to straddle the two city-regions, is equivalent to advocating the abolition of Transport for London and its replacement by two rival authorities with briefs never to talk to each other. 

---

“Rather than resenting Manchester’s success or investing in a strategy of do-or-die competition, is there a smarter and mutually beneficial alternative?”

---

For those who ask what’s in it for Manchester, the answer is the well attested and quantifiable benefits of economic agglomeration - cost efficiencies, labour pooling, expanded markets, knowledge spill-overs… Whilst working for the think tank, ResPublica on a project to build the economic case for Liverpool’s connection to HS2, I was staggered to hear Manchester’s economic strategist Mike Emmerich admit that his city envied aspects of Liverpool’s asset-base. The hard and soft criteria by which urban theorists like Saskia Sassen measure the credentials of aspiring global cities, seem evenly dispersed between the twin cities of the Mersey Valley. We can’t match Manchester’s international transport connections, its media and knowledge clusters, but neither can they compete with Liverpool’s global brand, our cultural prowess, architectural grandeur and liveability offer.

If transport is the no-brainer, the wider benefits of agglomeration need to be systematically mapped and identified. The amorphous promise of a Northern Powerhouse can only be realised in physical space, and the contiguity of our two city regions make this the most viable location for a re-balancing project. If the North is ever to grow an economic counter-weight to London, then connecting the two closest jigsaw pieces together seems like a sensible undertaking. Whether its land-use planning or plotting economic development, investment and skills strategies, it’s nonsensical for the two city regions to be pursuing their respective goals in blissful oblivion of what is happening on the other side of an arbitrarily contrived line on a map.

Notwithstanding, its invaluable enabling role in gap funding development and infrastructure projects, the North West Development Agency was a political creation without underpinning logic or legitimacy. Were there ever any connecting threads of economic interest between Salford and Penrith? Wilmslow and Barrow-in-Furness? The Agency’s opaque governance, and its tortuous high-wire balancing act, placating a multiplicity of sub-regional agendas and interest groups, inhibited its ability to optimise the potential of the region’s two great economic engines. 

So here comes the controversial bit. Pacts, concordats and convivial personal relationships are simply not sufficient to realise the potential of a new economic relationship between the two city regions - one that acknowledges that their respective asset-bases can be curated for mutual benefit. The only solution is a new governance structure - a devolution model with one Metro Mayor and one Combined Authority. I fully grasp the deeply heretical nature of this proposition, and the threat that it seems to pose to the identity and autonomy of a city that suspects it will be the junior player in any such arrangement. But are identities any more compromised in a ‘Twin City Region’ than they are within the current dispensation? St Helens, Sefton, Wirral, Wigan, Bolton amongst others would probably argue not. The integrity and jurisdiction of the respective city councils and other local authorities would not be compromised - we would only be pooling functions and responsibilities that are already acknowledged to be regional, and projecting them onto a bigger and less artificially contrived regional canvas.

---

“The only solution is a new governance structure - a devolution model with one Metro Mayor and one Combined Authority.”

---

Once upon a time, Liverpool and Manchester were authorities under the even more commodious administrative umbrella of Lancashire County Council, and as I‘ve mentioned, more recently, through the North West Development Agency, we were content to buy into the concept of a North West regional project conspicuously lacking any democratic accountability. 

In a Twitter / X exchange with Liverpolitan a few weeks ago, I was asked to defend this joint governance proposition by pointing to a successful or established similar model elsewhere in the world. In the US, the twin cities of Minneapolis and St Paul, and of Dallas and Fort Worth, and the urban centres of the San Francisco Bay Area have come together in different ways to pool planning, transportation and economic development responsibilities. Closer to home, the Ruhr Regional Association in Germany exercises both a statutory and enabling role in areas including planning, infrastructure, economic development and environmental protection for the cities of Dortmund, Duisburg, Essen and Bochum. But even if there is no precise template elsewhere, should this be an inhibitor to the cities that built the world’s first inter-city railway, and that pioneered many of the most progressive advances in civic governance in the 19th and early 20th centuries? 

In the absence of compelling practical arguments against the proposition, the most likely and persuasive objection will be that the mutual rivalry runs too deep, the antagonism is simply too intense and has festered too long. A ‘One State’ solution for the Liverpool and Manchester City Regions is about as saleable as a one state solution for Israel and Palestine. Maybe it’s an argument that requires a solution or a process rather than a rebuttal. In truth, antipathy is a quite recent addition to a history of rivalry that owes more than a little to the intensity of the competition between the country’s two most successful football teams. Exorcism perhaps requires a practical project, an enthusing collaboration that focuses on shared cultural attributes and ambitions. Somewhere not far away such an idea is maturing, but I will leave it to its progenitors to expand, perhaps on this platform, and maybe very soon.

Of course, there is another motive and spur for this idea which relates to the abject failure of governance within the city of Liverpool and the continuing inability of its dysfunctional political class to nurture or curate those incipient possibilities that so rarely reach fulfilment. The uprooting of Castore from Liverpool to Manchester is an instructive case study, but so too are the games companies, the biotech businesses, legal and insurance firms that have hatched in Liverpool and gone on to prosper elsewhere. Maybe we need governance less rooted in parochial politics and less constrained by cultural legacy. To borrow an analogy from Iain McGilchrist’s Divided Brain hypothesis, perhaps Manchester’s busy-bee utilitarianism and non-conformist pragmatism is the left hemisphere counterpoint to Liverpool’s wistful dreaminess (even our civic emblem is an imaginary being). Is it just possible that our divergent dispositions and outlooks are not actually a prescription for unending antagonism but the formula for a fruitful alchemy?

---

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

Share this article

---

What do you think? Let us know.

Write a letter for our Short Reads section, join the debate via Twitter or Facebook or just drop us a line at team@liverpolitan.co.uk

Pact! What Pact? An Insider’s View on the Lost Battle to Defeat Labour

Jon Egan

In the run-up to the 2023 Local Elections in Liverpool, three men working in the shadows, tried to corral the opposition parties into a pact capable of doing some serious damage to Labour at the polls. Described as an exercise in herding cats, the enterprise was ultimately doomed to failure, as factional intransigience, personality clashes and party ambitions took hold, before the electorate then delivered the killing blow. This is the inside story of that failed mission told by one of those men, political consultant, Jon Egan.

“Why are we doing this?” is a question that former BBC Radio Merseyside broadcaster, Liam Fogarty and I have been asking ourselves on and off for more than twenty years.

Even before our involvement in the now largely forgotten Liverpool Democracy Commission, we have been kept up at night wondering how to fix Liverpool's broken civic democracy. Years pumped into a losing battle, the odds very much against us. Have we been wasting our time?

The context for the latest phase of anguished introspection was this year’s local elections in Liverpool which, as you may have noticed, returned Labour to power with an increased majority on the City Council. Before explaining the efforts that Liam, myself and Stephen Yip, a former City Mayor candidate and founder of the charity, KIND, made to avert this seemingly predestined eventuality, it’s worth taking the time to fully comprehend and meditate upon the extraordinary fact of Labour’s victory.

There is no simple or rational explanation for Labour’s achievement, although the campaigning skills of my former Labour Party colleague and strategist, Sheila Murphy need to be duly recognised. The Labour campaign was a brilliantly executed masterclass in misdirection, diversion and manipulation worthy of the illusionist, Derren Brown - wiping the collective memory of the city’s voters and convincing them that their party bore absolutely no responsibility for the endemic chaos, waste, corruption and ineptitude of the last ten years. This election, apparently, had little to do with how a struggling city, effectively governed by colonial administrators, was going to put its house in order. No, it turns out the script was the old familiar one about sending a message to the city's historic arch-nemesis - The Tories.

The result, I suppose, proves precisely how difficult it is for people to overcome addictive and self-harmful habits like voting Labour in Liverpool. Maybe what the city needs is not so much new councillors, but counselling.

---

‘The Labour campaign was a brilliantly executed masterclass in misdirection, diversion and manipulation worthy of the illusionist, Derren Brown.’

---

In The Myth of Sisyphus, the writer Albert Camus defined the absurd as the irreconcilable gulf that separates human aspirations from the world’s predisposition to thwart them. The tragic image of Sisyphus struggling to roll his enormous boulder to the top of the hill, already sensing the futility of his labours against the forces of gravity, is an apt metaphor for the investment in time that Liam and myself have made in initiatives, campaigns and conversations undertaken over many years in the hope of making Liverpool’s politics function normally. So if the narrative of this election campaign carries the darkly comic resonances of dramatists, Beckett and Ionesco, and their Theatre of the Absurd, then this is not literary pastiche, but rather the perfect paradigm for Liverpool politics. And in that spirit, it seems appropriate to start not at the beginning, but at the end.

One of the most inexplicable aspects of the election result, was the way that the defeated parties far from despairing at the loss of an historic opportunity, were to varying degrees seemingly satisfied (or at worst only mildly disappointed) with their less than modest achievements. For the Liverpool Community Independents getting only three of their cohort re-elected was at least ‘a springboard’ from which to progress. For Green Party Leader, Tom Crone, “bitter disappointment” extended only as far as lamenting the loss of one target ward (Festival Gardens) by a single vote.

For Richard Kemp, the eminence grise of Liverpool Liberal Democracy, the pitiful addition of three councillors, would give his party “plenty of time for reflection on how the council should work, and where the city should be going.” One wonders how after four decades as a City Councillor, Richard was still trying to figure out these rather elementary conundrums, before he finally decided to fall on his sword and announce his long anticipated retirement as party leader.

So let’s rewind to the beginning, or at least the beginning of Act 2. Act 1 being the heroic, but ultimately doomed campaign by Stephen Yip, to be elected as City Mayor in 2021.

Running a surprisingly close and creditable second to Labour’s Joanne Anderson , Yip’s undoing was the stubborn refusal of Green Party Leader, Tom Crone and the ubiquitous Kemp to stand aside to allow for the possibility of deliverance from a disgraced and discredited Labour administration. The 2021 election seemed, at the time, to be a decisive “never again” moment, with penitential expressions of regret from Liberal Democrats and Greens and pledges to learn the lesson of fractured opposition.

Like trying to roll a rock up a hill. Now more than ever, Liverpool’s opposition parties needed to master the alien vernacular of co-operation.

So to Act 2

Following the publication of the Caller Report in 2021 it was decreed that Liverpool should abandon the baroque and inscrutable election-by-thirds system, and instead adopt an all-out election on new boundaries with the majority of councillors to be elected from single member wards. Now more than ever, Liverpool’s opposition parties needed to master the alien vernacular of co-operation. Seemingly unable to conduct conversations between themselves, the task of scoping the opportunities for an electoral pact fell to myself, Stephen Yip and Liam Fogarty. Having manoeuvred the boulder to within inches (well maybe a couple of hundred metres) of the summit in 2021, we felt that one more effort was something we owed both to ourselves and the people of Liverpool. Far from delivering the new dispensation promised following her election, the era of Anderson 2.0 (Joanne) was notable mainly for its dismal continuity - a botched energy contract costing the city millions, hundreds of millions more written off in uncollected tax and rates, revelations concerning councillors dodging parking fines and extended roles for Government Commissioners taking responsibility for even more substandard and failing services.

The process of encouraging political and electoral co-operation between Liverpool’s opposition factions began with a discrete gathering at Richard Kemp’s house in the summer of last year. Treated to copious quantities of sausages and dips, a generally constructive exchange with Richard and his Lib Dem colleague, Kris Brown, concluded with a suggestion that Liam attend their upcoming policy conference to raise a few issues and provide an outsider perspective on the challenges of the upcoming election. Both from this gathering and the subsequent conference, we sensed a distinct lack of enthusiasm for the idea of any form of electoral pact. If this was to happen,  pressure rather than polite persuasion might need to be applied.

By the end of the year, we had started informal conversations with friends and contacts within the other three opposition groups - The Liberal Party (an eccentric relic from the pre-Alliance / Lib Dem era sustained in Liverpool through the hyperactive exertions of its charismatic talisman, Cllr Steve Radford), the Liverpool Community Independents (a party formed by dissenting former Labour councillors primarily disillusioned by cuts and corruption) and the Green Party. With the prospect of another squandered opportunity on the horizon, we resolved to take the decisive step of inviting the leaders to a more formal gathering hosted by Stephen Yip at the HQ of his charity, KIND. The tactical approach was to corral the three most willing participants into an agreement and then publicly challenge or shame the Liberal Democrats to come on board.

---

‘It began with a discrete gathering at Richard Kemp’s house in the summer of last year, where we were treated to copious quantities of sausages and dips.’

---

Eschewing sausages for club biscuits (salted caramel flavour), the more business-like ambience of the gathering cut straight to the quick. Without an agreement from opposition parties (all of whom occupied terrain to the left of the centre) we would be facing the prospect of another four years of Labour misrule. Apart from pointing out the mutual benefits of a pact, we offered to provide whatever practical, organisational and campaigning resources we could muster from the networks created during Stephen Yip’s mayoral campaign. Admittedly, these were no match for the Labour legions, but we believed they could help the disparate groups to sharpen core messages, target more efficiently and raise the quality and potency of communication collateral. These resources were conditional on the reality of a pact and a clear indication that its participants were putting city before party.

From the outset the Liberals and Community Independents were fully and unequivocally committed to the principle and practicalities of a pact. For Tom Crone and the Green Party, the proposition was clearly more problematic. Promising to take the idea away for "consideration", we were left with an uneasy sense that history was repeating itself.  It was unclear at the time, and indeed still is, by what means of mysterious convocation, the Liverpool Green Party reaches its decisions. With Tom intimating that the national party was instructing them to field the maximum possible number of candidates, the sad implication was that regime change in Liverpool was less of a priority than adhering to the diktat from on high. After several days of radio silence, I was tipped off that Tom would be attending a film event at St Michael's church, and it might be a useful opportunity to see how things were progressing. Our conversation, sadly, revealed that they weren't, and that even a three party pact was becoming an unlikely, if not entirely illusory, possibility.

Stephen Yip's description of our undertaking as an exercise in herding cats was suddenly complicated by the unexpected arrival of a much more exotic species defying all known zoological and political categorisations. The first in a series of audiences with hotelier and property developer, Lawrence Kenwright, took place in late December in the sepulchral gloom of the Alma de Cuba bar, formerly St Peter's church. The bar had been the venue for a series of revivalist-style rallies at which Kenwright had railed against council corruption, presenting himself as the figure-head for a new, popular movement called Liberate Liverpool, that would sweep aside the cliques and cabals that had brought the city to its current parlous state.

---

‘It was unclear at the time, and indeed still is, by what means of mysterious convocation, the Liverpool Green Party reaches its decisions.’

---

I was deputed to conduct the initial conversation, that provided a fascinating insight into Kenwright's character and motivation, the history of his relationship with the City Council and Mayor Joe Anderson, and the ambitions underpinning his political project. Kenwright's almost visceral determination to unseat Labour was evident; what was less clear was his precise role in the project, and the means and method by which it was to be achieved.

Whilst it was easy to understand the motivations behind Liberate Liverpool, and its attraction as an antidote to an out of touch and self-serving politics, it was difficult to believe that it offered any kind of remedy. Symptoms are not cures, and Liberate Liverpool’s attraction for cranks, conspiracists and far-right interlopers was perhaps an inevitable consequence of its febrile genesis and almost millenarian rhetoric. Some good and sincere people answered the call only to be sent into battle with the campaigning equivalent of peashooters and water pistols. At a subsequent meeting (accompanied this time by Liam Fogarty and ex-Labour Councillor Maria Toolan), we embarked on what we thought was a subtle policy of dissuasion, politely pointing out the inherent flaws of a campaign targeting "people who don't vote" and relying almost exclusively on social media, only to be accused by a Kenwright acolyte of "disrespecting Lawrence."

Our approaches were an attempt to scope the albeit remote possibility of identifying suitably vetted independent candidates who could be assumed into a broader-based Clean-Up Coalition. It is an indicator of our desperation that this hope was ever entertained.

---

‘We embarked on a subtle policy of dissuasion, politely pointing out the inherent flaws of a campaign targeting "people who don't vote" only to be accused by a Kenwright acolyte of "disrespecting Lawrence."'

---

As February rolled into March, our efforts became simultaneously more modest and more desperate. Following advice from a sympathetic insider, we were advised to bypass Kemp and re-pitch the idea of an electoral pact to the Lib Dems through the party's former leader and campaign supremo, Lord Mike Storey, who we later discovered was to stand as a candidate in Childwall. Alas Stephen Yip’s conversation with Storey was even more emphatically negative than the sausage-gate soiree with Kemp months earlier. 

It was clear we needed to explore more pragmatic alternatives. If not a city-wide pact, perhaps a nod and a wink understanding to avoid actively campaigning in each other's target seats? Maybe also an agreement around some core commitments to improve transparency and accountability, combat corruption and restore public confidence in the City Council? Initially, Richard Kemp sounded refreshingly and surprisingly up for it, but with the fatal complication that some of their target seats were also target seats for the Greens and the Liberals. Nods and winks would have to be restricted to the safest Labour seats in Liverpool where none of the opposition parties entertained serious hopes of winning. In other words, for show only. Meanwhile, Stephen Yip drafted four pledges on transparency and corruption, which were immediately endorsed by the Community Independents and the Liberal Party. The Lib Dems, however, would not sign up; the response published on the But What Does Richard Kemp Think? blog, a depressingly patronising and public epistle "explaining" that the proposals were either illegal, already in place (due largely to his efforts) or would be a waste of money. It seemed futile to point out to Kemp that the proposal for an Independently-chaired Standards Board was not only perfectly lawful, but had been initially drafted for Stephen's Yip’s 2021 manifesto by Howard Winik, who was now a Liberal Democrat candidate.

Unlike his predecessor, does the Lib Dem’s new leader, Carl Cashman have the imagination or inclination to detach his party from its comfortable civic niche in South Liverpool suburbia?

For me, this was perhaps the final and conclusive evidence that laid bare the true nature of Liverpool Liberal Democrats and their deep complicity in a council whose corrupting and dysfunctional culture long predates the shortcomings of the Joe Anderson era. They are not, in my view, an "Opposition Party" in any meaningful sense of the word, but are more akin to the tame collaborators in the sham democracies of the Soviet Bloc - the Liverpool equivalent of the Democratic Farmers Party of East Germany. They have no desire to fundamentally reform or reset a moribund civic culture, but are content to bide their time in the hope that circumstances will grant them an opportunity to preside over its decrepit edifice. In one sense, Liberate Liverpool were right; the Liberal Democrats are not part of a solution, but are an intrinsic and intractable part of the problem. Whether Kemp’s much younger successor, the neophyte Carl Cashman, has the imagination or inclination to detach his party from its comfortable civic niche and the bucolic pastures of South Liverpool suburbia, will largely determine whether Liverpool's local democracy remains a hollow charade, or becomes an empowering mechanism for change.

---

‘The Lib Dems are not an "Opposition Party" in any meaningful sense of the word, but are more akin to the tame collaborators in the sham democracies of the Soviet Bloc - the Liverpool equivalent of the Democratic Farmers Party of East Germany.’

---

Epilogue

It is the tragic-comic circularity of the narrative that makes Liverpool politics an absurdist drama. The interminable wait for Godot - an intervention, a new structure, a new political alignment, a salvific figure able to break the cycle of failure, corruption and chaos that has blighted our city for as long as anyone can remember.

On the day of polling, I was helping Maria Toolan with some last minute door knocking to encourage supporters to get out and vote in the City Centre North ward. She was already sensing with fatalist resignation, that her efforts to unseat two former Labour colleagues had failed. "The problem is," she lamented "people aren't bothered about waste and corruption, it's what they expect from the city council and they don't believe that it's ever going to change."

This is the suffocating dead weight of Liverpool politics, an oppressive inertia and sense of fatalism engendered by decades of broken promises, betrayed trust and shameful failure. It's the gravitational drag that immobilises progress and snuffs out any glimmer of a more honest and hopeful politics.

Labour's strategy understands and exploits this endemic cynicism. It doesn't really matter how badly we've governed Liverpool, this is a Labour city and elections cannot alter this brute existential reality. Sending a message to the Tories might actually seem like a more worthwhile place to put an ‘X’ than investing in a hope for something better, when you suspect that this isn't even a logical possibility. Little wonder that 8 out of 10 Liverpool voters decided to stay at home.

Would an electoral pact have unseated Labour? Would it have signalled to voters that there was a tangible possibility of an alternative administration? It's hard to say, but looking at the results and totting up the number of seats where competing opposition parties on the progressive wing of politics won more votes than the Labour majority, it cannot be completely discounted.

Labour mis-fire. By personalising the campaign against Gorst, they had also localised it. In Garston, the election was no longer a rehearsal for a General Election. It was about the honesty and integrity of individuals and their credentials to represent their community - weak territory for Labour to fight on. Photo from Twitter @Pablo8485

If there is cause for hope, it was in the response to what was one of the most deplorable manifestations of Liverpool Labour's darker instincts. The officially sanctioned Labour campaign, scripted from on-high and professionally disseminated under the supervision of Sheila Murphy and their Regional Office, was a vacuous mash-up of kick-the-Tories and Eurovision-phoria. But beneath the sanitised veneer another more vicious and toxic campaign was being waged against Community Independent candidates who had originally been elected under Labour colours. Fake social media accounts became platforms to abuse, ridicule and defame the Community Independents with particular venom aimed at Sam Gorst, a former Labour Councillor seeking re-election in Garston.

The ferocity of the campaign against Gorst reached its nadir with a shamefully deceptive leaflet masquerading as a community newsletter which raked up Gorst's old social media posts, and more seriously, falsely implied that he had used his position as a councillor to jump the social housing queue. Within an hour of the leaflet being issued, we launched our final, and perhaps only effective contribution to the election campaign. A round-robin email was despatched to secure the support of the city's four opposition leaders in a joint denunciation of Labour's malicious and dishonest leaflet. And to their credit, Kemp,  Radford, Crone and the Community Independent's Leader, Alan Gibbons all replied with personalised quotes for a media release within 30 minutes. The unprecedented show of unity secured positive media coverage, that was followed by The Echo's political correspondent, Liam Thorp exposing the tell-tale fingerprints of Labour on the scurrilous social media accounts.

An otherwise faultless Labour campaign had slipped up. By personalising the campaign against Gorst and his running mate Lucy Williams, they had also localised it. This election and the campaign against Alan Gibbons in Orrell Park, were no longer just dummy run rehearsals for a General Election or a vote of thanks for delivering Eurovision; they were about the honesty and integrity of individuals and their credentials to represent their community. Gorst, Williams and Gibbons' victories may or may not be a platform for the future growth of the Liverpool Community Independents Party, but they are perhaps a hopeful intimation that gravity doesn't always win.

---

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

Share this article

---

What do you think? Let us know.

Write a letter for our Short Reads section, join the debate via Twitter or Facebook or just drop us a line at team@liverpolitan.co.uk

Eurovision 2023: Liverpool’s Imperfect Pitch

Jon Egan

View fullsize

Amidst the near-universal jubilation at Liverpool’s successful bid to stage Eurovision, I struggled to suppress an almost inchoate feeling of dissident cynicism. Is the European Capital of Culture now pitching its future identity on an ambition to be the European Capital of Light Entertainment?

Liverpool is a perfect fit for Eurovision we are told by the bid’s architects and cheerleaders, though this natural synergy with an event that was until very recently derided as a festival of musical mediocrity is at the very least an arguable proposition. No disrespect to Sonia (creditable second) and Jemini (nul points), but they are rarely name-checked when the city intones the sacred litany of its popular music icons. As travel writer and destination expert, Chris Moss opined in his recent Daily Telegraph article; “From Echo and the Bunnymen to The Farm, from The Mighty Wah to The Lightning Seeds, pop and rock culture in Liverpool has always been anti-establishment, iconoclastic and often disdainful of national media-driven circuses."

I’m old enough to associate the Eurovision Song Contest (as it was called once upon a time) with Katie Boyle, a BBC stalwart and actress whose deft professionalism and elegant gentility made her a perfect fit as TV host for an earlier incarnation of the continent’s festival of song.

I’m not quite old enough, however, to remember, what is now my favourite ever Eurovision-winning performance, France Gall’s weirdly off-key rendition of Serge Gainsbourg’s ironic masterpiece, Poupee de Cire, Poupee de Son. Yes, there was irony at Eurovision long before Conchita Wurst or the knock-about stage-Irish buffoonery of the late Sir Terry Wogan.

Eurovision’s durability is doubtless its capacity to adapt to the changing mores of social convention and popular culture, not to mention the seismic disruptions to the boundaries and very identities of its competing nations. Which of course, takes us to 2023 and a Eurovision overshadowed by the tragedy of war in Ukraine. So it’s time for me to swallow my cynicism and recognise that this Eurovision is more than a celebration of blissful superficiality. Eurovision, which was conceived as an event to help bring a war-ravaged continent back together, has rediscovered a higher purpose and it’s up to us to deliver it.

There are already some encouraging signs. Claire McColgan and her team are planning an events programme that will celebrate Ukrainian culture in its many guises and remind the watching millions why this is happening here and not there. Liverpool’s Cabinet Member for Culture, Councillor Harry Doyle, told a gathering of stakeholders that he’s open to ideas about how the city can derive the maximum benefit and the most enduring legacy from next year’s Eurovision. So, if Harry wants my two penn’orth worth, here goes.

Whilst researching an article for the Daily Post sometime in the run-up to the European Capital of Culture, I asked David Chapple, a former Saatchi & Saatchi creative and regular visitor to the city, how he would market Liverpool. His answer was stark and challenging -“Stop telling people what they already know, surprise them!”  I’m not sure that we have ever managed to live up to David’s exhortation. As Chris Moss warns, there is a danger that by claiming a perfect fit with an event that “mistakes kitsch for cool” we may simply be reinforcing a narrow and trivialised perception of Liverpool’s cultural brand. Moss, born and bred in neighbouring St Helens, believes that a city that should be the UK's foremost cultural destination is committing another branding "blunder" (having tossed away its World Heritage Status) by claiming an almost umbilical affinity with what he provocatively dismisses as a "naff, brainless extravaganza."

Moss's rhetoric may be extravagant, but there is more than a kernel of truth in the proposition that we have consistently failed to articulate and market the breadth and quality of our cultural offer. Ensuring Eurovision simply doesn't serve to reinforce a constraining stereotype, has to be a guiding imperative.

---

“There is a danger that by claiming a perfect fit with an event that “mistakes kitsch for cool” we may simply be reinforcing a narrow and trivialised perception of Liverpool’s cultural brand.”

---

So rather than being the perfect fit, let’s set out to design an imperfect fit. Let’s confound expectations, stretch the envelope and deliver a gathering that offers more than the “glitter and sparkle” that Doyle describes as the essence of Eurovision, but also explores what he terms (somewhat vaguely) “the added layer of Europe.”

I’m certain that Harry, Claire and their team are sincerely committed to ensuring Liverpool’s Eurovision acknowledges the wider European and specific Ukrainian context, although the confectionary metaphor suggests an application of icing rather than an especially bespoke cake mix. Surely now more than ever the “added layer” is the essence.

Returning to David Chapple and his urgings to surprise, the challenge to Liverpool would be how do we stage and wrap Eurovision in a way that confounds stereotypical perceptions of the city, that expands and subverts expectations while revealing a facet of unsuspected seriousness and cultural depth? Given the unique circumstances of this gathering, it seems like an appropriate juxtaposition to pitch the exuberant excess of Eurovision with a broader conversation and cultural exploration of the event's unsettling backdrop.

Notwithstanding Joanne Anderson’s excusable hyperbole that “the eyes of the world will be on Liverpool,” Eurovision 2023 will attract enormous numbers of visitors and serious levels of media attention. Liverpool needs to embrace the opportunity, and the responsibility, to do more than simply host Europe’s ultimate carnival of camp.

Are there media partners with whom we could convene a Eurovision of Ideas - a virtual or even physical gathering of thinkers, policy-makers and artists from Ukraine, the UK and Europe to explore how the shattering reality of yet another European war can help us to forge a deeper and more durable sense of solidarity and a shared future?

Is there space to stage an expo for Ukrainian businesses including their burgeoning technology sector, to help them forge new contacts and explore new markets?

For Ukraine, Eurovision has become a symbolic staging post in a journey from isolation and the cultural suffocation of the Soviet era. This war is a painful and bloody episode within the struggle for a new cultural and economic relationship with its estranged continent. So, how do we ensure that the celebration of Ukrainian culture proposed by Claire McColgan is sufficiently resourced to be immersive and integral and not merely a quaint window dressing for the main event? Culture Liverpool is bidding for funds to deliver a European-themed cultural programme, but an email to cultural organisations inviting bids was hastily withdrawn in the absence of any definite funding commitment from Arts Council England. These are early days, but this is not a positive omen.

In a recent conversation with me, journalist and commentator, Liam Fogarty speculated that if Manchester or Glasgow were staging this Eurovision, the scale of ambition might be greater and the prospecting for partners, funders and co-creators more lateral and imaginative. He is perhaps not alone in that thought. For the first time in nearly two decades, we have been successful in a major bidding competition, but what happens when the circus leaves town? What's our pitch to ensure a positive legacy and how do we create this event in a way that shows a previously unsuspected vista of a more interesting and multi-faceted city?

This is a huge opportunity to redress the imbalance of cultural investment towards London (and even Manchester) by demanding the resources to give a platform to the diversity of a resurgent Ukrainian culture, emerging from what contemporary poet, Lyuba Yakimchuk has described as a “war of decolonisation.” At the end of the day, we’re standing in for the place that would, but for the obscene brutality of Putin’s invasion, be hosting this event. So, let’s stretch every sinew and apply every creative impulse to celebrate the identity of a nation that a deranged tyrant is seeking to wipe off the face of the map.    

And of course, we already have a connection and relationship with a Ukrainian city dating back to the early 1950s when Odesa was in the Soviet Union. In truth, Liverpool’s twinning relationship with the Black Sea port had become a largely hollow civic anachronism - a relationship long since packed away in the lumber room of municipal memorabilia. Until now, the cultural highlight of the twinning relationship was an impromptu concert by Gerry Marsden on the Potemkin Steps when the Merseybeat legend led an aid convoy after the Chernobyl nuclear disaster.

---

“For the first time in nearly two decades, we have been successful in a major bidding competition, but what happens when the circus leaves town?”

---

For Odesa, threatened with invasion and subject to merciless missile strikes, friendship and solidarity have acquired a new and vivid resonance. Steve Rotheram's ambition to make Eurovision Odesa’s “event as much as our own” is generous and laudable but it will only be honoured by a substantial financial and imaginative investment and genuinely collaborative curation.

Without prescribing what a co-created cultural programme might look like, there is massive scope for stunning and surprising collaborations. One of the many intriguing (and sadly unrealised) ideas championed by the much-maligned Robyn Archer, whose brief tenure as Creative Director for Capital of Culture 2008 marginally exceeded Liz Truss’s occupancy of 10 Downing Street, was to stage performances by the Dutch National Opera in the semi-dilapidated grandeur of Liverpool Olympia. Notwithstanding Liverpool’s uncharacteristic failure to extend our famed hospitality to the soon-to-be homeless English National Opera, we could perhaps invite Odesa’s renowned opera company to be part of our Eurovision cultural celebration in their sister city. Whether at the Empire, Olympia (or even my long cherished dream to stage opera in the epic setting of St Andrews Gardens aka the Bullring), we could at the very least promise them a performance that would not be interrupted by air raid sirens or the rumble of distant explosions.

Sharing the Eurovision limelight with Odesa must be the beginning of a longer-term commitment to work with a city still under daily Russian bombardment. Beyond cultural and humanitarian co-operation, there may be a myriad of ways in which we can assist with trade and reconstruction. Even before the damage inflicted by Russian missile and bombing strikes, Odesa's Soviet-era port infrastructure was in dire need of investment and modernisation. Through a concordat for economic co-operation between the two cities, Liverpool should be using the exposure of Eurovision to gather together and broker the expertise and potential investment partners to help Odesa recover from the trauma and devastation of the present conflict.

All this may seem too ambitious, unrealistic or even unnecessary. At the end of the day, all that’s expected of us is that we put on a show, manage the organisation with reasonable efficiency and make an appropriate gesture to recognise the special circumstances of this Eurovision.

Maximising the opportunity and legacy is an undertaking that would require a massive collaborative effort with support from the UK Government, broadcasters, and cultural institutions here and in Ukraine. But without an initiative and impulse from Liverpool it will simply not happen. The unprecedented context surrounding the hosting of Eurovision 2023 demands exceptional effort and imagination, and we will never have a more morally compelling case for partners to match rhetoric with tangible resources.

For Liverpool, to quote Liam Fogarty, we should view Eurovision as “the starting block, not the finishing line” in the process of repositioning the city, building our cultural brand and answering the fundamental question posed in Chris Moss’s Telegraph article - what does Liverpool want to be? 

Are we content to be the perfect fit, and use the Eurovision stage to repeat what the world already knows - that we’re a place that can deliver a great night out? Or will we use it to express the depth of our generosity and hospitality, the breadth of our imagination and the magnitude of our ambition?

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

Share this article

It’s Time to Get Interesting

Jon Egan

“Manchester, hub of the industrial north” was the opening line of a 1970s TV advertisement for the Manchester Evening News. With a voice-over by the no-nonsense, northern character actor, Frank Windsor, and what looked like shaky Super 8 aerial footage of an anonymous northern cityscape, the advert spoke to the city’s deep sense of itself as the very acme of gritty, grimy northernness.

This long-forgotten televisual gem was brought to mind by a recent tweet from Liverpolitan which observed, sagely, that when Manchester Metro Mayor, Andy Burnham talks about ‘The North’, he is essentially delineating the outer boundaries of his own city’s expanding psychogeography. Under Burnham’s monarchic reign, Manchester has become the fulcrum of an aspiring northern nation. Its status as capital of the north is beyond dispute. Michael McDonough’s visionary prospectus for Liverpool’s Assembly District as a home for pan-northern regional government (beautiful and inspiring though it is) is destined to remain another sadly lamented ‘what if’. Liverpool’s own claims to northern dominance are a boat that has long since sailed and, like a great deal of our city’s historic wealth and prestige, are now securely moored at the other end of the Manchester Ship Canal.

Sorry if this sounds fatalistic and defeatist, but it’s an unavoidable truth. Manchester as regional capital has already happened and I can’t help feeling it’s actually entirely apposite. Liverpool is not, never has been and never will be the capital of the north for a very simple reason - we’re not in ‘the North.’

Let me explain. Some years ago when pitching for the brief that became the It’s Liverpool city branding campaign, my agency team and I presented an extract from a speech by then Tory Minister for Transport, Phillip Hammond. In it, he had been extolling the benefits of HS2, which he prophesied would unleash the potential of “our great northern cities.” To emphasise the point, and presumably to educate his London-centric media audience, he decided to identify these hazy and distant provincial relics that would soon benefit from an umbilical connection to London’s life-giving energy and dynamism. Manchester, Leeds, Birmingham, Sheffield, Bradford and even Newcastle (which wasn’t in any way connected to the proposed HS2 network) all made it on to his list. Our pitch focussed on Liverpool’s conspicuous absence from Hammond’s litany. We weren’t (as I opined in an earlier offering to this publication) ‘on the map’. We deduced that the speech was one more piece of definitive evidence that Liverpool wasn’t considered sufficiently great to merit a mention - nor important enough to be connected to a flagship piece of national infrastructure. But on reflection, there may have been another reason for the city’s omission. Perhaps we weren’t sufficiently northern! As if the inclusion of the offending syllables liv-er-pool would have somehow derailed this Lowryesque invocation of smoke stacks, cloth caps and matchstalk cats and dogs.

Of course, we are not talking about The North as a geographic region, or even an amalgam of richly diverse sub-regions, but as a mythic construct. However, as the French philosopher and founder of semiotics, Roland Barthes, would argue, myths are always distortions, albeit with powerful propensities to overcome and subvert reality. In this sense, northernness is not merely a point on the compass - It’s a complex abstraction, a constituent part of the English psyche and self-image that has strong connecting predicates and excluding characteristics. Geography alone is not enough to discern where The North begins and which enclaves and exclaves are to be considered intrinsic to its essential terroir. Isn’t Cheshire really a displaced Home County tragically detached from its kith and kin by some ancient geological trauma?

Thus when Government Ministers or London-based media commentators pronounce on "The North" they are all too often referencing a cloudy and amorphous abstraction defined not by lines on maps, but by indistinguishable accents, bleak moorlands and monochrome gloomy townscapes, nostalgically referred to as ‘great cities’. From this perspective, northerners are seen as honest, hardworking souls, who used to make things (when things were an important source of wealth and national prestige). Though stoical and resilient, they have a tendency, every generation or so, to get a bit bolshy, at which point it becomes necessary to reassure them of their place in our national life by relocating part of a prestigious institution to a randomly selected northern location, or by staging a second-tier sporting event such as the Commonwealth Games or perhaps even placating them with some vague commitment to ‘re-balancing’.

---

“When Manchester Metro Mayor, Andy Burnham talks about ‘The North’, he is essentially delineating the outer boundaries of Manchester’s expanding psychogeography.”

---

Manchester has been brilliantly adept at securing for itself more than its just share of these charitably dispensed national goodies. Largely that’s through a typically northern resourcefulness and pragmatism, but also because the city has ingeniously positioned itself as a shorthand synonym for the very idea of northernness.

Peter Saville CBE, the graphic designer who art-directed Factory Records and designed their most iconic album sleeves, also created the acclaimed Original Modern branding for Manchester in 2006. A predictably beautiful piece of graphic creation, it wove a vivid palette of cotton loom colours to represent a new Manchester, that was proud of its pioneering past but wanted to take that innovative DNA to recreate itself in the 21st century. It was wildly popular, but as an exercise in “re-branding” it didn’t succeed in challenging or reframing Manchester’s perceived identity. Instead, it merely set out to transmute it into something more contemporary and serviceable. Saville's project was to dig deeper into the Manchester’s vernacular version of mythic northernness, reflecting no doubt his immersion in Factory's overtly industrial aesthetic. It’s a restatement of core northern traits and a celebration of the city’s long-established narrative - the hub of the industrial north. Manchester’s sense of modernity was less about today and more an evocation of the 19th century, when it was considered the workshop of the world. Its originality was brilliantly expressed by the historian, Asa Briggs, who described it as the “Shock City of the age” - an urban phenomenon without peer or precedent in Europe and only matched by Chicago in North America. Cut forward to the early years of the Noughties. The opening of the ill-fated Urbis project – a new ‘Museum of the City’, conceived by Justin O’Connor and designed by Ian Simpson, was a bold assertion in shining glass and steel of Manchester’s boast to have been the world's first industrial city and the birthplace of the modern age. Despite the powerful statement of brand identity, it was a hopelessly unsuccessful attraction, closing after only two years in 2004. Its director candidly admitted that this monument to the city’s inventive and industrious spirit simply “didn’t work.”

Peter Saville’s Original Modern. Despite the fresh lick of paint, Manchester’s new branding campaign was curiously backward-looking.

In my article, Vanished. The city that disappeared from the map, I suggested that one radical option for Liverpool was to stop trying to compete with its eastern twin. Instead, I argued, we could become a new kind of urban entity - a city with two poles, which pooled our joint assets and balanced the two hemispheres of human consciousness to forge a global metropolis that could re-balance Britain without needing to turn to the patronising benevolence of London. Two hundred years after the building of the world’s first inter-city railway between Liverpool and Manchester, it seemed like a plausible and timely possibility to explore. I was wrong. Not because this idea is manifestly an anathema and heresy to every patriotic Liverpolitan (except me, it seems), but because Manchester is definitively and inexorably set on its own northern trajectory (even to the point where its most creative and happening urban district is aptly branded the Northern Quarter). Unlike Liverpool, Manchester's identity is embedded in its geography, and its literal place in the world. Its compass has only one co-ordinate and it isn’t west.

So where does that leave Liverpool? If we’re not part of The North, where in the world are we? Exiled and dislocated from our northern hinterland, we are a place apart; liminal and strangely detached from mundane geography. The recent media frenzy occasioned by the booing of the national anthem by Liverpool FC fans reignited a predictably shallow rehash of the “Scouse not English" debate, with the now familiar allusions to Margaret Thatcher’s alleged but never conclusively proven project to euthanize the city, compounded by the tragic injustice of Hillsborough. But these events were not the beginning of Liverpool's estrangement from its northern and English identity and its gradual drift to the edge of otherness. When in the second half of the 19th century our “accent exceedingly rare” began to emerge as something radically different to the dialects of neighbouring Lancashire, it was disparaged as “Liverpool Irish” - a vernacular that was deemed to be both alien and inherently seditious. As late as 1958, in Basil Dearden’s film Violent Playground - a British-take on the then topical theme of “juvenile delinquency” - the Liverpool street gang, led by a youthful David McCallum, are portrayed with accents that one reviewer of the DVD release, observed, “curiously owe more to the Liffey (Dublin's river) than the Mersey.” We were quite literally being depicted as foreigners in our own country.

Struggling to find a place within the recognised cartography of northernness, with a figure and stature too grandiose for the peripheral space allotted to us, where in the world can we find a comfortable and fruitful niche? The city that disappeared from the map has only one option - find a new map!

---

“Liverpool’s cultural programme is undoubtedly worthy, but how many people outside the city can name a single event, festival or programme that happens here?”

---

Let’s call it the map of interesting cities - places with an ingenuity and energy that is not defined by their geography, and whose confidence and chutzpah aren’t predicated on being the capital of anywhere or anything. Cities whose identity isn’t camouflaged or submerged into anything as nebulous as a region or a point on the compass. So let’s concentrate on being seriously interesting.

It’s a mantel that fits our self-image but we need more than the costume. It’s a project that demands a script and some serious acting. I genuinely think that Liverpool is an interesting city, it’s just that for too long we have marketed ourselves on the basis of our most boring and predictable traits.

We could take our cue from Austin, Texas, a city that markets itself with the slogan “Keep Austin Weird”. It based its civic renewal project on a determination “not to be Houston.” Austin’s promotion of independent business and cutting-edge creativity made it an early poster-child for Richard Florida’s boho-city thesis that diverse, tolerant and culturally cool metropolitan regions will exhibit higher levels of economic development. But Austin’s claim to be an interesting city pre-dates the self-conscious cultivation of weirdness as a kitsch merchandising gimmick. Austin devised and delivered what is now one of the world’s most prestigious gatherings of music, film and interactive media creatives at the annual SXSW festival. It’s an object lesson on how to make space for a genuinely international and seriously ambitious cultural proposition and use it to re-position and redefine a city.

Have we really built on the exposure of 2008 to deliver an internationally recognised programme of cultural events? For all the self-congratulatory posturing, Liverpool’s cultural programme is undoubtedly worthy, definitely diverse but how many people outside the city can name a single event, festival or programme that happens here? For all the energy and inventiveness invested in our pell mell of festive gatherings, we somehow manage to deliver a cultural calendar that is considerably less than the sum of its manifold parts. Places that use cultural events as the pivot for their positioning strategy generally do so by delivering one event or festival of genuine international scale and quality, as Edinburgh, Venice, Austin, San Remo, Cannes and Hay on Wye amongst others will testify. Similarly, “cultural cities” or UNESCO cities of music will normally look to validate that title with a programme that is commensurate with their claim or status.

I’m not going to predict or prescribe the event or theme that Liverpool needs to devise because there are bigger and better informed brains than mine who will be needed for that task. However, I do believe this city can build and sustain an international profile compatible with its brand and reputation by aiming higher and deploying its resources accordingly. For Austin, SWSX was not a travelling circus; it was an integral part of the city’s emergence from the shadows of Houston and Dallas to find its own profile and authentic magnetism. (For more information on Austin’s struggle to maintain its cultural identity try Weird City by Joshua Long).

Being interesting is a vocation. It demands creativity as well as rigorous discipline and hard work. It inevitably requires a style and quality of leadership that is absent from our dismal and discredited local politics. It’s ironic that the one aspect of our civic life that is without question unique and interesting, is so for all the wrong reasons. Liverpool's politics never fails to entertain, shock, frustrate and confound - if only it could achieve and deliver. In the 19th century, Liverpool not only spearheaded ground-breaking projects in rail, building technology and maritime engineering, we were also a wellspring for innovations in public policy and governance. Through pioneering initiatives like the introduction of the district nursing service and public washhouses, and the appointment of the world's first medical officer of public health, Liverpool's civic leaders responded to unprecedented challenges with entirely original structures and solutions. At a time when so many of the established prescriptions and paradigms are breaking down, we need to be plugged into the people and places that are responding creatively to challenges like climate change, technology & the future of work, life-long learning, democratic engagement or the next global pandemic.

Being interesting has to be a behavioural norm that finds expression across every sector and constituency. Are our politics interesting or innovative? Is our media intelligent and stimulating? Are we nurturing our most inventive businesses? Are we doing anything original or brave to address our challenges in education, housing or transport? How do we hope to stem the migration of talent, potential and ingenuity as too many of our best and brightest conclude that this city simply doesn't offer them a future? How do we emulate cities like Austin and become a magnet for innovators and entrepreneurs rather than a departure lounge?

Being interesting is fundamentally about being interested and connected to the wider world! It’s about being aware of what’s happening outside the insular and constricting straight-jacket of scouse exceptionalism or parochial northernness. It’s being open to outside influences and ideas and forging connections and relationships with kindred cities. Maybe we could become the convenor of the interesting city network - a global family of midsize cities free from the gravitational drag of conformity and contingent geography? Cities like Portland, Rotterdam, Hamburg, Auckland and Vancouver whose commitments to liveability and sustainability has sparked inventiveness in transport, urban planning, smart technology and the cultural industries.

If there is a common trait or attitude that connects these cities it is that they are porous, with a capacity and willingness to absorb ideas, influences and people from outside and beyond. Their thinking and ambition is not stunted by a perspective that is either provincial or parochial. They have a place in the world defined more by attitude and outlook than their position on the map. More often than not, they are ports and portals for cultural and human exchange. Auckland and Vancouver have flourished as a direct consequence of immigration, welcoming industrious and ambitious migrants from South Asia and East Asia. Despite our boast to be the World in One City, Liverpool is one of the least demographically diverse cities in the UK. Having at last stemmed our population decline, we are still growing at a discernibly slower rate than comparable cities like Leeds and Manchester. So let's grow our population by becoming an overtly immigrant friendly city, and proactively targeting one potential migrant population with whom we already have an historic and cultural affinity. Doesn't it make sense for the home of Europe's oldest Chinatown to be promoting itself as a welcoming haven for Hong Kong residents fearful of mainland China's increasingly despotic designs on the former colony? "Hungry outsiders wanting to be insiders" was a phrase coined by West Berlin in the 1980s as a strategy to reverse demographic and economic stagnation. It's an approach that a city built for twice its current population could usefully emulate.

Our new narrative can be built on familiar and cherished aspects of (or at least claims about) Liverpool's core identity - open, welcoming and global. But it's time to live them rather than simply intoning them as glib marketing slogans and nostalgic musings. Brands are about behaviour; their truth and utility is measured by what you do, not by what you say, so let's be consistently and ambitiously global not provincial.

In the same way that we need to rethink and curate our cultural programme to be genuinely international in terms of reach and quality, we should be enlisting global talent and expertise to help us rethink and reshape our city. Rather than flogging off prime sites like Liverpool Waters and the Festival Garden to whichever developer or volume house builder is offering the biggest buck, let's hold an international design competition to deliver the most innovative and sustainable new waterfront communities. Twenty years ago, Liverpool Vision was able to excite architects of the calibre of Richard Rogers, Rem Koolhaas, Will Alsop and Norman Foster in opportunities at Mann Island and King's Waterfront. It's a tragic shame that none of their inspired visions came to fruition, but let's resolve to try harder and be clear and consistent about who we are and how we intend to renew and reposition our city.

It's tempting to imagine that being the Capital of the North will transform our destiny in a way that being European Capital of Culture failed to do. But it's not about titles. It’s about a fundamental change in disposition, attitude and culture - and finding a way to overcome the inertia and mediocrity that emanates from our moribund and discredited civic governance.

Above all, it’s about remembering that once upon a time we were the first world city - our compass is omni-directional.

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

Share this article

---

What do you think? Let us know.

Write a letter for our Short Reads section, join the debate via Twitter or Facebook or just drop us a line at team@liverpolitan.co.uk

Liverpool Waters: Peel’s recipe for anytown, anywhere

Jon Egan

The debates around the Waterloo Dock project in Liverpool Waters and the expansion of Liverpool Airport caused heated debate amongst Liverpolitan’s contributors leaving plenty of room for disagreement. But one thing we all agreed on was their totemic importance to the city, revealing a schism between competing visions of our future. It’s a discussion the people of Liverpool need to have. What kind of place do we want to be? In this article, Jon Egan self-identifies with those sometimes christened as ‘nimbys’ and puts forward his idea for a city built around the cultivation of difference, individuality and beauty.

In the months ahead, we’ll explore these issues from other perspectives as part of a new ‘Debating Our Future’ series. If you would like to contribute to the discussion with your own vision, contact team@liverpolitan.co.uk

---

It's rare we embark on journeys in pursuit of the familiar, the ordinary or the humdrum. Travel, they say, is about broadening the mind, experiencing new sights, sounds, flavour and ambiences. The places we cherish and remember are those most imbued with a capacity to charm and surprise. So for places and cities aspiring to become destinations, cultivating and conserving what makes them different and original seems like a rewarding strategy. For Liverpool, a city that loudly proclaims its originality and inimitability, this should be a simple and unchallenging task.

When travel is neither practical or affordable, we always have the consolation of reading about the places we yearn to visit, experiencing their enchantment vicariously, though often with the added patina of poetic imagination.

Italo Calvino’s 1972 novel, Invisible Cities, is predicated on a series of imaginary conversations between Marco Polo and Kublai Khan. The famed traveller regales the Mongol Emperor with tales of the many fabulous cities he has visited, but true to the spirit of Calvino’s magical realism, these are not actual cities, nor even possible cities. They are extraordinary and fantastical creations - parables and paradoxes that explore what the book describes as the “exceptions, exclusions, incongruities and contradictions” that characterise and differentiate cities. Towards the end of the book, Marco Polo describes a city that heralds a disturbing vision, an incipient possibility foreshadowing the endpoint of globalisation.

“If on arriving at Trude I had not read the city’s name written in big letters, I would have thought I was landing at the same airport from which I had taken off. The suburbs they drove me through were no different to the others with the same little greenish and yellowish houses. Why come to Trude? I asked myself, and I already wanted to leave. “You can resume your flight whenever you like”, they said to me, “but you will arrive at another Trude, absolutely the same detail by detail. The world is covered by a sole Trude which does not begin and does not end. Only the name of the airport is different.”

The Waterloo Dock project in Liverpool Waters has totemic significance. For modernists it stands for ambition, progress and status. For the conservation lobby it was loaded with deep symbolism representing the destruction and the desecration of heritage.

So what, you may ask, does this have to do with Liverpool and its future? The answer lurks somewhere in the subtext of a recent planning controversy that divided commentators and communities, polemicists and politicians.

The project was the proposed residential development on the partially infilled Waterloo Dock in Peel’s Liverpool Waters. For modernists and urbanist thought leaders the project had totemic significance, standing as a shorthand statement of ambition, progress and status. For the conservation/heritage lobby the project was similarly loaded with deep symbolism representing the destruction and the desecration of heritage. The fractious debates and the absence of a shared narrative or vocabulary suggest a city without a clear or shared sense of self, insecure about its past and uncertain about its future.

View fullsize

The Romal Capital proposals for Waterloo Dock in Liverpool Waters were unanimously rejected by the Liverpool City Council Planning Committee on 18th Jan 2022. The developers have appealed and the plans will now go before the government’s Planning Inspectorate

So which side am I on? Typically perhaps for a Libra, both and neither. I have lamented the city’s lack of ambition, absence of vision and its inability to answer, or even ask itself, the fundamental question - what is Liverpool for? But I have also questioned the assertion implied, or explicitly asserted by some, that development is nearly always an intrinsic good. Indeed, in the context of the Waterloo Dock debate, I found myself aligned with alleged nimbys, and in spirited disagreement with many allies including the Editor and Founders of this publication.

Maybe the partial infilling of the dock and construction of an inoffensively bland apartment building was not the greatest ever crime against Liverpool’s heritage, but neither was this drably functional box of micro-apartments the most aesthetically or socially desirable addition to our (formerly) World Heritage waterfront. The debate and passions were evidently focused on bigger agendas and deeper sensibilities.

Fly-through video panorama of Waterloo Dock, Liverpool filmed in January 2022

Looming almost literally over the Waterloo Dock debate is a bigger picture, a grander vision and a development proposition that has insinuated itself into being a substitute for an actual future vision for our city. Liverpool Waters is now so ingrained into the city’s discourse and psychogeography that you could be forgiven for thinking that it actually exists. Peel’s near messianic promise to deliver Manhattan or Shanghai on the Mersey was proclaimed with a prophetic urgency in 2007, imbuing its curiously cinematic CGI’s with a hyperreal potency. When choosing between the actuality of World Heritage Site designation and the ephemeral fool’s gold promise of Liverpool Waters, we opted for the phantasy.

Liverpool Waters has both framed and constrained the debate about what sort of city we want to be, and what kind and quality of development we should be encouraging and embracing. Tall buildings have an obvious glamour. UK cities in particular seemed to be in frenzied competition to erect the tallest buildings, as if this, above all else, was a shortcut to status and significance.

Peel’s phalanx of waterfront skyscrapers was Liverpool’s trump card ready to be played (at some ceaselessly rolling future 30-year date), catapulting us ahead of our provincial rivals and reasserting our true global status. But is this what we want for Liverpool - a derivative identity, a replicant city? Trude on the Mersey?

Without for one second surrendering to nimbyism, we can recognise that imitation and simulation should not be our template. Echoing Calvino’s prescient warnings about globalisation, Desmond Fennell, the essayist and philosophical writer, foresaw similar tendencies at work in the early days of Ireland’s embrace of cosmopolitan modernity. In a beautifully evocative passage, in his book, State of The Nation, Fennell laments the loss of Dublin’s once rich and distinctive urban culture and soul. He mourns the curious and idiosyncratic details and delights that once defined and differentiated places.

Liverpool Waters is now so ingrained in the city’s discourse and psychogeography that you could be forgiven for thinking that it actually exists.

“If he is a Dubliner, walking amongst the offensive tower blocks, one who can cast his mind back 20 years, he will remember the vast Theatre Royal with its troupe of dancing girls, The Capitol and the old Metropole with their tearooms, Jammet restaurant and the back-bar, the incomparable Russell, the Dolphin, Bewley's and the Bailey as they used to be, the elegant grocers shops staffed by professionals of the trade, the specialist tobacconists with their priest-like attendants... It would be an exaggeration to say that consumerism destroyed or reduced the quality of everything: it improved the quality of tape-recorders, computers and inter-continental missiles and many other things. But it destroyed many of the amenities and much of the pleasure of cities, and, in a sense, the city as such."

The steady erosion of difference, character and defining originality is in danger of creating a sense of alienation and disinheritance as places converge and identities become eerily homogenous. We lose our bearings as familiar places lose their landmarks and legibility.

All too often progressives and modernisers have a tendency to disparage ‘conservatives’ whether they are rabid xenophobes or harmless nimbys, as people living in the past, fearful of change, trapped by prejudice and insecurity. But sometimes those who question change do have a point, even if it escapes rational or tangible articulation. Loss is something that is easier to feel than it is to explain.

So am I proposing a future constrained by conservation and suffocated by the cult of heritage? The simple answer is no, and if I may be excused for recycling New Labour nomenclature, I believe there is a third way. It’s an approach that can be radical, imaginative and ambitious without being imitative or simulatory. In a recent Guardian Op Ed, Simon Jenkins added his voice to the argument for diverse and differentiated strategies for regeneration.

“The Leaders of Manchester, Liverpool, Birmingham and Bristol can think of no other way of competing with London than by erecting garish towers of luxury flats in their central areas. They ignore the evidence that modern creative clusters - in design, marketing, the arts and entertainment - are drawn to historic neighbourhoods and old converted buildings… Northern cities regard their Victorian heritage as a liability not an asset.”

For Liverpool this should not mean a moratorium on tall buildings or intelligent contemporary design, but it should be a challenge to rethink and re-prioritise. We know from our experience that innovation and regeneration are about more than large-scale physical development and shiny glass towers. It’s about what happens in the cracks and gaps, the higgledy-piggledy neighbourhoods and Wabi sabi spaces where innovators and pioneers just get on with it. So let’s learn the lesson from the Baltic and formulate a planning framework for the Fabric District before its character and urban ambience are swamped by more identikit apartment blocks.

The decline of our port economy has bequeathed us an enviable array of empty buildings and fallow dockland areas ripe for reseeding as creative clusters. But areas like Ten Streets need more than protective planning frameworks, they need assertive interventions and clever curation if they are to fulfill their potential. Where are the big catalytic ideas that would stimulate investment and clustering in an area that may otherwise remain a squandered asset? If we see Ten Streets as the incubator for a world-class digital cluster, should it also be the home for Liverpool’s equivalent of Paris’ Ecole 42 - the digital “university without teachers” whose model and approach is now being embraced by cities ambitious to expand their technology and creative sectors.

And what about Ten Street’s brash and status-obsessed neighbour? It’s time to radically reappraise Liverpool Waters. As a benchmark for ambition it’s looking increasingly hackneyed, irrelevant and unrealistic. Even its most impassioned advocates are now beginning to question whether Peel is seriously committed to actualising this Fata Morgana version of Liverpool's future.

The debate about the northern docks should not be a battleground between nimbys and tall building fetishists. It should be about what the city needs and how the immense potential of vacant dockland can be harnessed to make Liverpool a different and more attractive city for its people, its visitors and investors. In San Francisco the development brief for its historic piers (former docks) proposes a mid-rise human scale built form aimed at preserving the setting of the city’s downtown cluster - an important part of its visual signature - but also to safeguard the city's view of the bay and sense of connection to its port history. Far from fostering mediocrity, the city has encouraged architectural excellence and experimentation with brilliantly innovative contributions from Thomas Heatherwick amongst others. Ironically, this was the approach favoured by UNESCO as the basis for the future evolution of our World Heritage Site. It’s also an approach that would have facilitated a more seamless integration with Ten Streets and wider North Liverpool.

Sometimes those who question change do have a point, even if it escapes rational or tangible articulation. Loss is something that is easier to feel than it is to explain.

Of course, we need to recognise that regeneration of the city centre alone will never suffice; Liverpool’s individual identity resides as much in its suburbs and neighbourhood high streets, its stunning parks and rich Georgian and Victorian legacy as it does in the more showpiece locations. Prefiguring Calvino's parable, Marxist critic Guy Debord and his Situationist collaborators warned that the redevelopment of Paris in the late 1950s signified a ruthless process of rationalisation, commercialisation and homogenisation where the authentic social life of cities was being replaced by spectacle - "all that was directly lived has become mere representation." Like their Surrealist forbears, the Situationists saw the city as a playground or dramatic stage promising limitless encounters with the extraordinary and the unexpected (le merveilleux quotidien).

It seems strangely apposite for a city seduced by the film-set flimsiness of Peel's promise, that we cherish our architectural heritage less for its intrinsic quality - its lived experience - than its capacity to mimic more significant and glamorous places. Sure, we can take pride in being the UK’s most filmed city, but is that it? Is our identity founded on an aptitude for imitation and representation?

Peel's penchant for visionary masterplans extends beyond the stalled blueprint for Liverpool Waters. Equally "ambitious and aspirational" are its plans to transform our humble provincial airport into a global hub with direct links to long haul destinations on every continent. Irrespective of the merits, feasibility or environmental impact of the plan, it is another ingenious attempt to stroke the ego of a city short on self-belief and uncertain about its place in the world.

Proper cities have proper airports, and the fact that Manchester has one, is less a matter of convenience than cause for a deep seated inferiority complex. But as latter day Marco Polo, Bill Bryson’s descriptions of Manchester as “an airport with a city attached” and “a huddle of glassy modern buildings and executive flats in the middle of a vast urban nowhere,” reveal, mere status symbols are not enough to make a city significant or memorable. In contrast, Bryson observes that “in Liverpool, you know you are some place.”

We need a regeneration prospectus based on the cultivation of difference and individuality, that cherishes what’s unique, irreplaceable and above all beautiful, but also fosters experimentation and originality. We want Liverpool to be the conspicuous and refreshing antidote to the nightmare of endless and interchangeable Trudes.

Being “some place” is not a bad guiding principle for a city seeking to nurture difference, and be a place that people want to come to, and are in no hurry to leave.

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

Share this article

---

What do you think? Let us know.

Write a letter for our Short Reads section, join the debate via Twitter or Facebook or just drop us a line at team@liverpolitan.co.uk

The Beatles: Inspiration or dead weight?

Jon Egan

View fullsize

There was something profoundly true and desperately sad in University of Liverpool lecturer, Dr David Jeffery's acerbic observation that "Liverpool is a Beatles' shrine with a city attached."

It is the dispiriting obverse to music journalist, Paul Morley's rhapsodic description of Liverpool as "a provincial city plus hinterland with associated metaphysical space as defined by dramatic moments in history, emotional occasions and general restlessness."

Jeffery's comments on Twitter appear to have been inspired or provoked by the recent announcement that Liverpool would be using a £2 million grant from Government to advance the business case for yet another "world-class" and "cutting-edge" Beatles' attraction on our hallowed waterfront. Presumably, it will be sandwiched somewhere between the Beatles statue and The Beatles Experience and conveniently close to The Museum of Liverpool and The British Music Experience with their not inconsiderable collections of Beatles artifacts and memorabilia. The exact nature of this new cultural icon remains a little unclear, however, amidst wildly differing descriptions offered by our City and Metro Mayors.

What is deeply depressing about this announcement is that it suggests that Liverpool is incapable of imagining any kind of cultural proposition that is not predicated on the seemingly inexhaustible allure of the four boys who shook the world.

There is of course a readily available and seemingly plausible justification for the never-ending Beatles' fetish, and that is the claim that they are the anchor for our hugely important tourism economy. Notwithstanding the implication that David Jeffery is right to suspect that the city is consciously morphing into a Fab Four theme park, I suspect that this is not exactly the whole truth. For Liverpool, The Beatles are a crutch, a cherished emblem of identity and importance used to exorcise painful intimations of diminished relevance and prestige.

In the novel, Immortality, Czech writer Milan Kundera tells the story of the man who fell over in the street, who on his way home stumbles on an uneven pavement, falls to the ground and arises dazed, grazed and dishevelled, but after a few moments composes himself, and gets on with his life. But unbeknown to the man, a world famous photographer happens to witness the scene and quickly snaps an image of the bewildered and bloodied pedestrian. He subsequently decides to make this picture the cover image for his new book and the poster for his international exhibition. For the man, a momentary misfortune freeze-framed, replicated and disseminated across the world, becomes the image that will forever define who he is.

The more we conflate the Beatles brand with the city's identity, the less space we have to imagine anything original, contemporary or remarkable.

In a sense, Liverpool is the City that fell over on the street, our external image is in significant part, defined by a succession of misfortunes, afflictions and tragedies that befell the city over two decades at the end of the last century. These events forged images, preconceptions and stereotypes that still blight us today and have never been successfully exorcised or replaced.

The Beatles hark back to a time before this blight, when Liverpool was in Alan Ginsberg's celebrated phrase, "the centre of consciousness of the human universe." They are, I believe, a therapeutic distraction from the task of making a different story or discovering a new identity.

Culturally, our Beatles fixation is unhealthy, debilitating and regressive. In fact, I fear we are reaching a point where The Beatles will become the single biggest impediment to any form of civic progression, or any serious project to make Liverpool important, interesting or relevant in today's world. If we are going to have a civic conversation about what kind of "world class" Beatles attraction should be erected at The Pier Head, my immediate impulse would be to recommend a mausoleum.

But perhaps a more imaginative and original idea was the one offered by the late Tony Wilson. That supreme Mancophile, Factory Records producer, Granada TV reporter and founder of the Hacienda nightclub was never held in particularly high regard in this city, especially following some tongue in cheek words of encouragement he gave to Club Brugge on the eve of their European Cup semi-final with Liverpool in 1977. Scousers may resemble elephants with respect to their prodigious powers of memory, but our skins can sometimes be just a tiny bit thinner. Tragically, Wilson's Mancunian persona and his tendency to lapse into casual profanity whilst presenting his project to civic decision-makers proved the undoing of his brilliant and visionary proposition for POP - the International Museum of Popular Culture. Pitched as the big idea for the European Capital of Culture, and the solution that would provide content for Will Alsop's audacious but otherwise functionless Fourth Grace, POP was a talisman for instant reinvention - a Beatles-inspired attraction without any reference to The Beatles. Alas it never happened.

Wilson had first dreamt of POP as an adornment for his own native city and a fitting celebration of its notable contribution to the history of modern popular music, but he soon realised that it was the right idea for the wrong place. He would often express irritation that when travelling in the US he would frequently have to explain where Manchester was by reference to its proximity to Liverpool - a place that people had actually heard of. And there was also the grudging recognition that at a time when Liverpool was "the centre of the human universe" globalising popular culture - Manchester could only offer us Freddy and The Dreamers. Even the outrageous charisma of Manchester United football god, George Best was derivative as he was often dubbed the 5th Beatle.

POP would not simply have been about popular music, it would encompass every facet of popular culture, every expression of contemporary creativity in film, TV, advertising, games, cars, sport, fashion, digital technology and consumer culture. And it was proposed for Liverpool because this was the place that spawned a phenomenon that reached the four corners of the Earth. It was a moment when the world discovered a common currency and a cultural vernacular intelligible to every ear.

POPs content would be dynamic and ever-changing, a continuous exposition of the new, curated by global creatives, designers and technologists. It would be Liverpool recovering its world city perspective and its capacity to invent and innovate - the pool of life, the birth canal for the extraordinary and the unprecedented. Its ingenious paradox was its implicit assertion that The Beatles did not make Liverpool, but Liverpool made The Beatles.

They monopolise our self-image occluding facets of identity and history now only half-glimpsed in the penumbra of a shadowy scouse dreamtime.

All of which is a million miles from Steve Rotheram's "world-class immersive experience" which he promises us will be more spectacular than a glass cabinet containing John Lennon's underpants. We can hardly wait.

If all we can possibly imagine are The Beatles etherealised into holograms - almost literally spectres from beyond the grave - then David Jeffery is right and Liverpool's once rich and cosmopolitan culture has collapsed into a black hole of redundant clichés. The more we inflate our Beatles offer and conflate their brand with the city's very identity, the less space we have in which to imagine anything original, contemporary or remarkable. Along with football (which at least tells new stories) they have come to monopolise both our external brand and our officially curated self-image, occluding facets of our identity and history that are now forgotten and suppressed, only half-glimpsed in the penumbra of a shadowy scouse dreamtime.

The Beatles have come not only to represent our brand, but have also helped to define our personality, attitude and accent - cheeky, chippy, sassy and defiant. As emblems of the 60s social revolution, they helped to forge and reify the idea of Liverpool as a working class city - or more accurately an exclusively working class city. As rock journalist Paul duNoyer, notes in his book, Wondrous Place, this is both a false and profoundly disabling imposition. Not only, as Tony Wilson asserted, are we the city that globalised popular culture, but we are a city that has contributed massively to every facet of culture, ideas and invention over the last 200 years.

The world's first enclosed dock and inter-city railway, together with the completion of the Transatlantic telegraph cable, are not only stunning achievements in technological innovation, but bolster the credible claim that globalisation began here.

The extent to which we have been willing to squander or disown the breadth of our cultural heritage was brought home to me in the febrile final stages of the European Capital of Culture bidding competition. Having commissioned pop artist, Sir Peter Blake to create a homage to his iconic Sgt Pepper album cover to remind the world, or at least the judging panel, of Liverpool's cultural and intellectual prowess, the task of deciding who exactly was worthy of inclusion was both fraught and enormously revealing. Apart from a few contemporary, and at the time highly topical creatives including the poet Paul Farley, artist Fiona Banner and film-maker Alex Cox, the principal criterion for inclusion appeared to be the directness or intimacy of connection to The Beatles. A lop-sided bias towards musicians, popular entertainers and Sixties icons meant no room for the likes of painters George Stubbs and Augustus John, poets Nathaniel Hawthorne and Wilfred Owen, novelist Nicholas Monsarrat, playwright, Peter Shaffer or even poet and novelist, Malcolm Lowry the author of the celebrated, Under the Volcano. Incredibly, until Bluecoat Artistic Director, Bryan Biggs' finally succeeded in persuading Wirral Council to erect a blue plaque on New Brighton's sea wall, there was virtually no public recognition that one of the 20th century's greatest and most influential novelists had any association with the Liverpool City Region.

Without questioning or diminishing the impact of the Mersey Sound poets (McGough, Henri and Patten) in the 1960s, their literary status is no way comparable to another unsung and forgotten cultural luminary with a significant Liverpool connection - C.P. Cavafy. Now acknowledged as one of the last century's most important and original poetic voices, Cavafy spent much of his childhood at addresses in Toxteth and Fairfield. Greek and gay, his poetry will forever be associated with the city of Alexandria where his family settled after leaving Liverpool. We do not know to what extent his formative years in the city helped nurture Cavafy's creative animus, but transience, up-rootedness and departure are woven into our narrative. Our sense of self and place in the world as Liverpolitans, owe as much to those who moved on, or merely passed through, as they do to those who stayed or settled here.

We are not, and never have been a monochrome canvass or a one trick city. Our culture is dense, deep and multifarious, formed by a hotchpotch of races, creeds and classes. For those tasked with defining a place and communicating its uniqueness to the world, there is always the temptation to reduce and simplify.

Brands, including place brands, are often conceived like Platonic forms - a distilled essence, fixed and immutable. But cities like Liverpool are neither simple nor static, and are thus frustratingly un-brandable. Described by Wilson as a place with "an innate preference for the abstract and the chaotic," our essence is pre-Socratic - unresolved, unpredictable and disconcerting. We know that port cities like Liverpool, Naples, Barcelona and Marseilles have historically been melting pots for ideas, influences and cultures - places where things never quite settled.

But their edginess is not merely a function of a perturbed diversity, it is also literal. It's connected to Marshall McLuhan's philosophical idea of right hemisphere sensitivity and the expanded perspective of what he terms acoustic space. Ports face outwards, they are perched on the precipice of a vast and formless abyss. It's an omnipresent reminder that there are no limits.

For Paul Morley, Liverpool’s character and identity - its ability to charm, entertain, inspire and infuriate - proceed from an inchoate restlessness and fidgety creativity. It's a place "where something happens, most of the time, leading to something else." But it seems like that creative energy and inventiveness have deserted us - or at least our leaders. What was once an animating pulse has been reduced to a piece of hollow rhetoric - a brand attribute.

It's sad that a UNESCO City of Music should have forsaken polyphony, and that we are continually stuck in a repetitive groove, narrowing our identity and stifling our capacity to be original (again). For this reason the very last thing Liverpool needs is yet another Beatles' attraction, even an immersive one.

So, OK, The Beatles were important, are important. They changed the world, but did they change Liverpool? We're still, I hope, the city capable of creating something else.

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

Share this article

Life after Joe: Ditching the Mayor won’t fix our broken democracy

Jon Egan

View fullsize

When nearly all of Liverpool’s political parties agree on something, you can bet it’s on an issue of mutual self-interest rather than in defence of any cherished principle.

As things stand, Liverpool’s voters will be invited, most likely in 2022, to decide whether to keep or dispense with the office of directly elected city mayor. It promises to be a rather one-sided campaign with the city’s three largest political groups (Labour, Liberal Democrats and Greens) all arguing for abolishing the post and returning to what they collectively describe as the “more accountable” Leader with Cabinet structure.

Even our recently elected incumbent, Mayor Joanne Anderson, is pledging to vote for the abolition of her own job, which begs the question, why she was so anxious to run for office in the first place? But of course, she was not alone. In the 2021 mayoral election, only two candidates - the Independent, Stephen Yip, and the Liberal Party's Steve Radford - were actually standing on a pro-mayor ticket. Indeed, following the unprecedented intervention by Labour's ruling National Executive to disqualify all three of the senior councillors on the original selection shortlist, both the Labour and Liberal Democrat council groups attempted to cancel the election by abolishing the role without recourse to a public referendum, until they were stopped in their tracks by polite reminders from their own legal officers that such a move would be unlawful.

There is an acute danger that we will sleep walk into this referendum without either a campaign or a properly informed debate. Voters will be asked to reflect on the need to learn lessons from euphemistically labelled "recent events" and fed the seemingly plausible line that one mayor is better than two. After all, why do we need a city mayor now that we have a metro mayor?

Of course, there is a shadow hanging over this whole discussion – one powerful argument for the case against elected mayors – which comes in the shape of the now under investigation and widely discredited former mayor, Joe Anderson. For some, he has become a walking metaphor and deal-sealing symbol of the dangers of too much power in the hands of one larger than life individual. But this is too important a decision for knee-jerk reactions. Our democracy demands that the subject be properly examined and debated. It’s too easy for us to be seduced by over-simplified and questionable arguments. We should think hard before dispensing with a model, that I would contend, has never been properly embraced or tried by our local politicians.

There is an acute danger that we will sleep walk into this referendum without either a campaign or a properly informed debate.

Before we head off to the ballot box (presuming we get the chance), there are some key questions we have to consider. Are mayors generally a good thing? Can they achieve results that old-style council leaders can't? Is there something specifically about Liverpool and the state of our local governance, our politics and our economic and social predicament that makes having a city mayor here particularly desirable or dangerous? And how are we to make sense of our experience of the mayoral model to date? Are the critics right that the concentration of power has been unhealthy or even corrupting?

But first… a little context. Let’s delve back into the city’s recent history to find out how we ended up in this mess. City mayors were an early prescription for what is now fashionably described as ‘levelling-up.’ The problem of a seriously unbalanced economy and underperforming urban centres was a matter of serious priority for the incoming New Labour government in 1997. The publication of Towards an Urban Renaissance - the report of Lord Rogers' Urban Task Force was a seminal moment in re-prioritising the importance of cities as vital engines for growth, innovation and national prosperity. 

We’ve been here before - Liverpool’s democratic deficit

Harnessing that growth, it was implied, would require a new kind of energised civic governance similar in form and style to the dynamic leadership that had successfully regenerated European and North American cities such as Barcelona and Boston. In contrast, the fragmented committee structure of local government, then dominant in the UK, was seen as a recipe for old-school inefficiency and a failure of imagination. A new Local Government Bill (2000) set out the options to reset civic democracy. There was no coercion; just three choices: Leader and Cabinet (close enough to stay as you are), and two flavours of the big bang option for directly-elected City Mayors. Towns and cities were free to decide for themselves and unsurprisingly, councils overwhelmingly chose the least change option with only a handful willing to embrace the more radical mayoral restructure.   

In Liverpool, however, the idea of a directly elected mayor aroused immediate interest, though admittedly not amongst our politicians. Instead, the city's three universities, its two largest media organisations (BBC Radio Merseyside and the Liverpool Echo) and a collection of faith leaders convened the ground-breaking Liverpool Democracy Commission in 1999. Under the chairmanship of Littlewood's supremo, James Ross, the independent commission brought together politicians, academics, and community and business leaders such as Lord David Alton, Professor of Urban Affairs, Michael Parkinson (now of the Heseltine Institute), radio presenter Roger Phillips, and Claire Dove, a key player in the local social enterprise movement. They took evidence from national and local experts and were shadowed by a Citizen's Jury to widen representation. In turn, the city council made a commitment to consider its recommendations and, if a mayoral model was advocated, to hold a public referendum. 

From its inception it was clear that the commission was not simply evaluating the general merits of the available models, but was considering their applicability to Liverpool’s very particular local circumstances. Those circumstances included a wretched turnout of just 6.3% when a tired and divided Labour administration lost its majority in the crucial Melrose ward council by-election in 1997, the lowest ever poll in British electoral history. A Peer Review of the troubled council at the time by the Independent and Improvement Agency had painted a picture of lethargy, cronyism, an insular town hall culture, and wretchedly poor service delivery. Liverpool was acutely aware that its civic governance required a radical reboot.

Leaders run councils, Mayors run cities

The more general case for a directly elected mayor centred on its ability to reinvigorate local democracy, transferring the focus of civic leadership from the inner minutiae and manoeuvrings of the town hall to the wider city – its communities, businesses and institutions. As local government academic Professor Gerry Stoker put it when giving evidence to the Democracy Commission, “Leaders run councils, mayors govern cities.”

Stoker was by no means alone in advocating this radical change. Evidence from witnesses, community meetings, public surveys and the Citizen’s Jury converged on the same transformational proposition. Mayors could be convenors, able to galvanise civic energy by bringing multiple parties together in partnership. They would change the destiny of places in ways that our stilted and bureaucratic town halls could never hope to emulate.

Against this backdrop, the idea of giving every citizen the opportunity to vote for the city's leader seemed refreshingly progressive. It also offered a tantalising possibility - a radical break with party politics. Theoretically, the elected mayor system provides a level playing field for independent candidates. No longer would political parties with the networks and infrastructure required to support candidates in all of the city's wards be able to monopolise the system. Politics could be open, unpredictable and much more interesting and the talent pool from which to select a city leader was immediately expanded. Clever and experienced people from business and civil society would step forward to offer themselves for election.

But above all, it was the radical simplicity of the democratic contract that commended the mayoral model. No longer would local democracy be transacted behind closed doors, shrouded by arcane traditions and enacted through the inscrutable election-by-thirds voting system that somehow allowed political parties to lose elections but miraculously stay in power. With a directly-elected mayor, there would be visible leadership, clear and simple accountability and a transparent means of returning them or removing them from office.

By blaming the mayoral model for the shameful abuses and failures identified by Caller, our councillors are indulging in a transparently hollow attempt at self-exoneration.

It was for that reason that elected mayors were pitched as the antidote to voter disaffection, not just in Liverpool but across the whole country. Turnouts for local elections were in decline everywhere resulting in a widely acknowledged crisis of legitimacy.

Legitimate or not, one year before the Democracy Commission was founded, Liverpool’s voters had their say, overcoming their most ingrained cultural instincts to throw out what they knew was rotten. Liverpool's Labour administration was swept from power by an almost entirely unpredicted Liberal Democrat landslide.

So it would be a Liberal Democrat administration that would decide whether to adopt the mayoral model and respond to the unequivocal recommendation of The Democracy Commission. But they fluffed their lines, embracing instead the less radical option offered by the New Labour government – a Leader with Cabinet. Not for the first time, our political leaders knew best. Rather than allowing voters to choose their preferred model via the referendum they had promised, the council opted for the one that suited their own ends best.

Paradoxically, Liberal Democrat Council Leader, Mike Storey’s style and swagger were almost mayoral. He set up the UKs first Urban Regeneration Company (Liverpool Vision) and boldly calibrated a vision of the city as a European Capital of Culture. These were heady days, and many will now look back nostalgically on Storey’s early tenure as a time of almost limitless promise. So what went wrong?

Storey was instinctively attracted to the idea of city mayors and thought he could be one without having to navigate this dangerously Blairite and centralising heresy through his notoriously individualistic and anarchic Liberal Democrat Party. But Storey was constrained both by the instincts, prejudices and personal ambitions of his own political group, but perhaps more importantly, by the absence of an independent democratic mandate. His leadership rested on the confidence and acquiescence of his unruly Lib Dem caucus, but also on the compliance and co-operation of his highly ambitious Chief Executive, Sir David Henshaw - a challenging job at the best of times. From the outset, some had feared being left out in the cold by this high profile vote winner and knives were sharpened. Without a personal mandate from the public, it was difficult for Storey to face them down. The image of a beleaguered leader imprisoned and frustrated by an obstructive town hall bureaucracy was painfully and comically exposed in the infamous "Evil Cabal" blog. This was local government reduced to camp farce.

The fact is, Storey’s leadership and authority waned precisely because he was not a mayor. He lacked the clear constitutional and democratic authority to deliver on his mandate and to prevail over vested interests and personal agendas. At the end of the day, he was too much a part of a system that was still instinctively protective and self-serving.

Where power really lies

This may appear to be a subtle and rather academic distinction, but the source of a council leader's authority is always municipal rather than civic. The democratic process is indirect and opaque, and real power rests with councillors, not voters. It is councillors who choose the leader, and it is councillors who can topple them, even outside of the local election cycle. Ultimately, council leaders know who they are answerable to and are inclined to act accordingly.

Eventually Storey was forced to resign and after his nemesis, Henshaw, had departed, the Liberal Democrat regime lapsed into a familiar pattern of failure and chaos, mimicking its Labour predecessor. Before long it was being tagged as the country’s worst performing council, and was dumped out of office by an unlikely Labour revival. The compromise option of The Leader with Cabinet model had not ushered in the promised golden age of civic renewal, but only dismal continuity and an all too familiar story of town hall intrigue and ineptitude.

For the incoming Labour administration, the mayoral option was perceived as a threat, not an opportunity. Liam Fogarty’s Mayor for Liverpool campaign was gathering steam, and its petition heading towards the tipping point where a public referendum would have to be negotiated. For Fogarty, the slow implosion of the previous Liberal Democrat administration was evidence that the problems were systemic. He believed that only a new model which transferred more power to voters could fix Liverpool's dysfunctional municipal culture, and that the authority of leaders must rest on a direct personal mandate from the public.

Fearful that a referendum campaign would be a platform for a powerful independent, and in an act of supreme cynicism, Joe Anderson invoked a hitherto unsuspected provision of the Local Government Act to transform himself into an “unelected” elected mayor. It’s worth remembering that Labour’s adoption of the model was motivated solely by a neurotic phobia of a Phil Redmond (creator of popular TV soap-opera, Brookside) candidacy, rather than any intrinsic attraction to this radical new way of running a city. In truth, Liverpool Labour never believed in elected mayors and the shambles and shame of Anderson’s last days provided it with a perfect opportunity to dispatch the idea once and for all. 

Boss politicians and the school of hard knocks

Anderson's sleight of hand once again deprived Liverpool voters of the opportunity of a referendum where the mayoral model could have been properly debated and explored. The fact that it was adopted without enthusiasm or any thorough consideration of its merits, is perhaps the explanation for what subsequently transpired. Anderson did not rule as a convening mayor - as envisaged by Stoker and advocated by the Democracy Commission - dispersing power, building coalitions, and using soft levers to nurture civic cohesion. He was an old-style Labour “City Boss” – in the style and tradition of Derek Hatton, Jack Braddock, Bill Sefton and a host of less memorable and notorious predecessors. Anderson’s approach was that of a fixer and deal-maker - a pugnacious “school of hard knocks” political operator who once threatened to punch a Tory Minister on the nose for claiming that austerity was over.

If Mike Storey was a council leader masquerading as a mayor, Joe Anderson was a mayor acting out the role of a traditional boss politician. What Storey lacked in terms of authority and mandate, Anderson lacked in terms of subtlety, collegiality and an overarching civic perspective.         

During a mayoral hustings event in 2012 at the Neptune Theatre, an audience member posed the challenge, what is Liverpool for? A tricky question and one that demanded a perspective beyond the familiar horizons of the council budget and Tory assaults on its finances. Anderson seemed utterly dumbfounded. Only Liam Fogarty was able to grasp that existential questions like these cannot even be perceived, let alone resolved, from the myopic vantage point of a town hall bunker. Our politicians were simply incapable of rising to the challenge of a political role that required a radically different set of skills and a civic, rather than a municipal, mindset.

Which brings us to today. In effect, we have had a mayoral model, but we have never had a mayor in the way it was envisaged… as a radical antidote to a broken town hall culture.

It is the supreme irony that the case against elected mayors is now being framed on the record and reputation of Joe Anderson - the very embodiment of old-style Liverpool municipalism with its narrow and insular perspective. The argument that Anderson proves the perils of placing too much power in one person’s hands is a dangerous and misleading sleight of hand; a fallacy designed to obscure both historic truth and the complex considerations that should be informing this hugely important debate about how our city is governed.

The fallacy was set out quite pointedly in the 2021 Max Caller report, with its forensic exposure of Liverpool Council’s systemic municipal failure. In describing the governance structure of the city council, Caller observed:

“although the mayor is an authority’s principal public spokesperson and provides the overall political direction for a council, an elected mayor has no additional local authority powers over and above those found in the leader and cabinet model, or the committee system.” 

Mayors are a dangerous idea. Independent candidate Stephen Yip threatened to end party political hegemony in Liverpool with only the meagrest resources. This is an eventuality that establishment politicians must join forces to thwart once and for all.

In effect, the "Leader with Cabinet" model now favoured by our local politicians, places exactly the same amount of power in precisely the same number of hands as the “discredited” mayoral model. In no way is it inherently more accountable or transparent. We are being sold a false prospectus, and one we know from our own recent history is no panacea. This is the classic ruse of the second-hand car salesman, and we need to look under the bonnet before it's too late.

By blaming the mayoral model for the shameful abuses and failures identified by Caller, our councillors are indulging in a transparently hollow attempt at self-exoneration. The “few rotten apples” alibi became the recurrent mantra to explain away the systemic dysfunctionalism exposed by the report. It was all down to the Mayor and a system that allowed a few powerful individuals to operate without adequate transparency or scrutiny. Or so the story goes. The solution is simple, get rid of the Mayor and all will be well. 

But there was nothing extraordinary or atypical in Anderson's style, nor anything that was especially mayoral about the municipal culture or the way power was exercised. Caller's report is depressingly redolent of the Peer Review into the previous failed Labour administration and the chaotic end days of the subsequent Liberal Democrat council. This is simply what Liverpool local government looks like.  

Multiple Mayors - other cities seem to manage it

We cannot make the mayoral system a scapegoat for a chronic and systemic failure of governance in our city. If, as its critics allege, mayors necessarily lead to an undesirable and dangerous concentration of power, then logically, wouldn’t we also need to seriously revisit our devolution deal and the post of Metro Mayor? Our politicians can’t have it both ways.

And neither should we be spooked by the “too many mayors confuse the voters” line. If it turns out that mayors are a good thing after all, then why should they be rationed? Mayors and Metro Mayors co-exist happily in London, Greater Manchester, South Yorkshire, the West of England, Tees Valley and North of Tyne. Cities in these areas including Bristol, Middlesbrough and Salford appear to be able to cope with the idea of different mayors exercising different powers over different geographic jurisdictions.

We shouldn't of course be surprised that our politicians are advocating for a return to the Leader with Cabinet system, when its most conspicuous difference to the “disgraced” mayoral model is that it would give them the exclusive power to decide who our City Leader should be. Rather than a direct popular mandate, Liverpool’s leader would be entirely beholden to councillors from within their own political group. Only in the looking-glass world of Liverpool politics can this be presented as more democratic and accountable. As the elected Mayor of Bristol, Marvin Rees recently argued in response to those advocating abolition of the post there. “It doesn't take much understanding of why the old system didn't work. Anonymous and unaccountable leadership, decisions made by faceless people in private rooms, and a total lack of leadership and action. The mayoral model makes the leader accountable - he/she is elected by the people of Bristol directly, not by 30 people in a room as in the old committee structure.”

If Liverpool votes to abolish its elected mayor and reverts to a system that has already proven unfit for purpose, we will weaken local democracy and diminish accountability.

But this is precisely the brave new system that we will be invited to endorse in next year's referendum and one that has already been tried and found wanting.

The lesson is that having an elected mayor is not a sufficient condition to deliver radical civic and political change, but it is a necessary one. The authority, legitimacy and wider perspective of the mayoral office is vitally important in making our municipal edifice work for the city rather than for itself.

Mayors are a good idea because they provide visible, directly accountable leadership. Their mandate enables them to speak up for their locality with authority and influence. We only need to look to London and Greater Manchester to see how mayors have been powerful and effective advocates for their cities and regions. But ultimately we need one who understands and actually believes in the role, which is why it is difficult to believe that Joanne Anderson's tenure is likely to fulfil the potential that the post could still offer to the people of Liverpool.

But as our councillors understand only too well, mayors are a dangerous idea. Independent candidate Stephen Yip threatened to end party political hegemony in Liverpool with only the meagrest resources and virtually no grassroots organisation. This is an eventuality that establishment politicians must join forces to thwart once and for all.

If Liverpool votes to abolish its elected mayor and reverts to a system that has already proven unfit for purpose, we will weaken local democracy and diminish accountability. And we’ll be doing it in the name of its opposite, bamboozled by the Humpty Dumpty logic of Liverpool politics where words mean whatever our politicians choose them to mean. We will also denying ourselves even the faintest possibility of breaking out from the cycle of dysfunctional party politics.

The elected mayoralty is the only chance we have to change the way our city is run. The tragedy is, we could lose this opportunity before ever having really given it a proper go. Someone needs to start a campaign, and soon. 

Jon Egan is a former electoral strategist for the Labour Party and has worked as a public affairs and policy consultant in Liverpool for over 30 years. He helped design the communication strategy for Liverpool’s Capital of Culture bid and advised the city on its post-2008 marketing strategy. He is an associate researcher with think tank, ResPublica.

Share this article