Boisdale Of Canary Wharf

Elevate programme supports UOSiL grads to help boost careers

The University Of Sunderland In London, based on the Isle Of Dogs near Canary Wharf has developed the initiative to help people get the jobs they want

Hermione Penny, placement and internship programme manager at the University Of Sunderland In London - image by Jon Massey / Wharf Life
Hermione Penny, placement and internship programme manager at the University Of Sunderland In London – image by Jon Massey / Wharf Life

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Hermione Penny is relishing her latest role.

Born in Archway and growing up in Watford, she’s always had a love for busy, urban environments and now really enjoys living and working in London, indulging her passion for playing football locally, having grown up watching the Hornets at Vicarage Road with her dad. 

But she’s not only a team player on the pitch, it’s a trait she’s carried into her career, most recently as the University Of Sunderland In London’s placement and internship programme manager.

“After graduating, I had that period of trying to work out who I was, what I cared about and what I was interested in,” she said.

“Initially I worked in clothing retail, but I realised that helping people was where I wanted to be.

“I stayed in the sector and found a role at the Fashion Retail Academy, having realised that I’m 100% a people person.

“The opportunity was in education and I was working to find placements for students across our courses. 

“I couldn’t do a job where I’m not communicating with other individuals every day – it was during lockdown that I found a group of women to kick a ball around with because it was all we were allowed to do with social distancing.”

supporting those seeking careers

Next came a spell at Blueprint For All in Deptford, formerly the Stephen Lawrence Charitable Trust, a charity with an ambition to create a fairer and more inclusive society.  

“My role there was to develop programmes and I worked across lots of different projects, which reinforced my love of supporting people,” said Hermione. 

“Following on from the Black Lives Matter movement we saw a lot of partnerships come through the door and we had a lot of success getting funding, so it was a really exciting busy time.

“I spent some time in fundraising, but I realised what I needed to do was programme management, so I moved to Future Of London, a not-for-profit organisation that helps people who want to start a career in the built environment, planning, regeneration and community engagement.

“Working in the world of diversity and inclusion we’d find people internships, support them and see them shine.”

delivering Elevate

All of these facets of her story are important because Hermione’s own career is one where broad experience over many years has equipped her for the role she’s now undertaking at the university from its base at Harbour Exchange on the Isle Of Dogs.

The programme she’s running – Elevate – is specifically designed to provide those who have finished courses with skills and opportunities to help boost their careers.

“This is something new for our campus,” said Hermione.

“We know some of our graduates struggle to gain graduate-level employment, especially those who don’t necessarily have the background of a traditional university student.

“In some cases, graduates may still be working in the same part-time roles they were doing while studying and we want to support them to secure graduate-level work.

“Our employability and enterprise hub already offers ongoing support for up to three years after students graduate.

“But we’ve developed Elevate specifically for graduates who are not in further education or jobs at the level they should be.

“It’s designed to provide them with some practical work experience via paid internships, as well as training and support to develop their abilities.

“It lasts three months and we’re working with businesses across the area to deliver these opportunities to thrive, learn new skills and gain a better understanding of working environments they might not be used to so they have leverage to make job applications and secure graduate-level employment.”

The University Of Sunderland in London is based at Harbour Exchange on the Isle Of Dogs - image by Jon Massey / Wharf Life
The University Of Sunderland in London is based at Harbour Exchange on the Isle Of Dogs – image by Jon Massey / Wharf Life

paid internships to boost job prospects

The first five students are about to complete the pilot programme at the university and Hermione said flexibility had allowed participants to access opportunities they might have otherwise struggled to find.

“It’s about helping people get to where they want to be,” she said.

“The internship is flexible, which means those with caring responsibilities or who are unable to work full-time can still take part. 

“Often, the reason people aren’t in graduate-level jobs is that there are so many barriers in the way – it’s all so competitive.

“Perhaps a person’s digital skills aren’t very broad in a professional setting, so we help with that and things like writing CVs, job applications and research skills, as well as AI competency.

“Elevate gives people the practical skills to have the right experience in a working environment and to feel confident while they’re there.

“Most employers expect people to arrive prepared to operate at a high level, which may not be realistic for all graduates.

“We offer one-to-one advice and guidance while they’re in the programme and regularly check in with them so they get that wrap-around support.” 

why the University Of Sunderland in London is seeking partners

The university is looking to expand the number and variety of businesses it works with through its Elevate programme.

“The internships need to be at a graduate level, but we’re open to a range of different employers,” said Hermione.

“The university offers courses in business, finance, healthcare, technology, hospitality and tourism.

“As part of the programme, we cover the salaries of the interns on the scheme so there’s minimal risk to employers.

“It’s about offering experience, time and resource to support people when they come into work and we make every effort to minimise the challenges.

“We work with businesses to understand their expectations – what’s included in the job description – and we weave that into the application.

“Before we send interns out to an employer, they attend a boot camp with us to ensure they have all the skills they need. 

“It’s about giving people a safe space to figure things out – it’s OK not to get things right first time.

“We’re keen to connect with employers who need extra pairs of hands over a three-month period to help people go on and be successful in their careers.”

key details: Elevate at the University Of Sunderland In London

You can find out more about studying at the University Of Sunderland In London on its website or via its open day on Saturday, September 12, 2026

Employers interested in participating in the Elevate programme can email Hermione with enquiries via hermione.penny@sunderland.ac.uk

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WheelPower offers wheelchair padel taster sessions at Padium

National charity will host an event at the Canary Wharf sports club to give adults and juniors the opportunity to try the sport

Paul Rushton, head of fundraising, data and communications at WheelPower - image by Jon Massey / Wharf Life
Paul Rushton, head of fundraising, data and communications at WheelPower – image by Jon Massey / Wharf Life

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“WheelPower is all about enabling people to enjoy sport and lead more active lives,” said Paul Rushton, head of fundraising, data and communications at the national charity for wheelchair sport. 

“Wheelchair padel isn’t a very big thing yet, but we would like it to be.

“As a sport, padel is very accessible and there are an increasing number of courts.”

WheelPower is set to host its first taster sessions at Padium for juniors and adults on September 15, 2026, in Canary Wharf

Paul said: “I was contacted by Simon Turner from Optinet – one of our sponsors over many years, which is based in One Canada Square – who had an idea that we hadn’t done a wheelchair padel event before and thought it would be good to have one in Canary Wharf to raise awareness of the sport and what the charity does.

“On the day, we’ll be hosting two sessions – one for juniors aged eight-17 from 11am and one for adults from 1.30pm. 

“We supply everything necessary, including lunch for participants, and both sessions are suitable for complete beginners.

“We put those taking part in sports wheelchairs, do some drills, show them how to move around and how to hold the bats.

“Coaches will then do some training in how to hit the ball.

“There will be some practice rallies before players take part in matches.

“It’s going to be a magnificent event, to get local disabled people playing sport.

“The benefits are enormous. Wheelchair users have a sedentary lifestyle, especially as they get older, so being active helps with daily tasks, like tackling kerbs and getting in and out of cars.

“Upper body strength is really important.

“We also find that sport is really good for people’s mental health. 

“There are many different reasons why someone may be in a wheelchair, including suffering catastrophic injuries.

“I have met people who are told they are paralysed and immediately start a new life.

“Most people aren’t like that and it can take them a long time to get used to the new normal.

“Through sport, they can meet other disabled people who have often had similar experiences and can talk about those with them because of that shared understanding of those lived experiences.”

The taster sessions will be held at Padium in Canary Wharf - image by Jon Massey / Wharf Life
The taster sessions will be held at Padium in Canary Wharf – image by Jon Massey / Wharf Life

getting people into wheelchair sports

Padel is the focus for this event, but WheelPower’s mission extends to a wealth of sports, competitions and activities from its base at Stoke Mandeville Hospital where the organisation has been running in one form or another since 1948.

“We just want to get people active and we don’t care how,” he said. 

“That might be helping people to find an accessible sports club, helping them with equipment or training teachers, coaches and physios, so they can make their sports sessions more accessible for disabled people.

“We’re involved in the wider Paralympic movement – the Paralympic Flame has been lit at the Stoke Mandeville Stadium since 2012 – and we’ve managed to help a lot of athletes succeed at the Games, but it’s more than that.

“Disabled people are likely to be half as active as their non-disabled peers.

“We’re trying to address that, whether it’s going down the Paralympic route with football, rugby and athletics or it’s something as simple as joining a gym, swimming at a local pool or going for a push every day.

“Even something as simple as that can really help to raise the heart rate a bit and make people fitter, so that later in life they’ll be healthier.

“We’ve got different sports for different people – everything from archery to hand cycling. We’re promoting about 38 different sports and the growth has been massive.

“The biggest thing I’ve seen over time is the increase in access to these sports locally, which has really improved. People’s attitude to disabled sport has also changed and improved massively, especially since 2012. 

“We mustn’t forget that not every disabled person is superhuman, and they all have their struggles, depending on their impairments. 

“Everybody with a disability is different, and it’s our job to support them to do what they want.”

supporting the charity

 WheelPower, which supports more than 77,000 people to access sports across the country, is funding the sessions at Padium, which are being run with the help of Optinet and Canary Wharf Contractors.

A range of sponsorship opportunities and volunteering places at the event are still available, should companies or organisations wish to get involved. 

Paul said: “Sport is so important for everyone and to give people around here the opportunity to participate in padel is going to be a magical thing.

“I’ve been lucky to have been involved as a fundraiser with WheelPower for 23 years now. It’s the best job in the world. 

“I speak to people who are so giving and generous, and then with people who have so many amazing stories about what they’ve done with that support.

“You can really see the impact that sport makes on people and we see it every day – it really is wonderful.

“There are astonishing stories of Paralympic medal success, which will never leave me and I’ve met so many incredible people like that. 

“But you also meet the parents of children, for example, who might not compete at that level, but whose lives are improved so much because they are able to play sport.

“That’s something really special.”

key details: Learn To Play Padel With WheelPower

Learn To Play Padel With WheelPower is set to take place on Tuesday, September 15, 2026, from 11am-3pm at Padium in Canary Wharf. 

The taster sessions are free to attend but must be booked in advance – there’s a £15 deposit that’s refunded after the event.

At the time of going to press, the adult session was fully booked with a waiting list in operation, however spaces remained for juniors aged eight-17.

Places at the event can be reserved on the charity’s website here

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The Dance Floor at Sadler’s Wells East set to offer free classes

Programme of lunchtime sessions builds on success of first year that saw more than 6,600 people participate at East Bank venue

Sadler's Wells East has unveiled a new programme of free, lunchtime classes on The Dance Floor - image by The Capsule
Sadler’s Wells East has unveiled a new programme of free, lunchtime classes on The Dance Floor – image by The Capsule

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A fresh programme of free dance classes is set to begin at Sadler’s Wells East in September.

Held on Mondays, Wednesdays and Fridays from September 14, 2026, the initiative takes place on The Dance Floor at the East Bank venue, a deliberately public-facing space on the ground floor that looks out over the Queen Elizabeth Olympic Park.

“In our first year we had more than 6,600 people participate in these classes,” said Natasha Anderson.

“And that’s just one of the ways we use the space.

“Creating The Dance Floor when Sadler’s Wells East opened was done with the vision that dancing in the foyer, on the stage and in the rehearsal rooms upstairs are all the bread and butter of what we do.

“It’s positioned by the window so there are lots of people passing by who see what’s going on and come in to take a look. 

“The floor feels like our most welcoming space, so we spend a lot of time thinking about the dance styles we want to showcase on it, the type of artists we’ll feature and what we’re going to teach people.”

Natasha Anderson of Sadler's Wells East - image by Jon Massey / Wharf Life
Natasha Anderson of Sadler’s Wells East – image by Jon Massey / Wharf Life

welcoming people in

As Sadler’s Wells head of community engagement, Natasha is tasked with reaching out beyond the organisations’ walls to connect with residents, organisations and visitors, with The Dance Floor central to those efforts in Stratford. 

“People might just stop by to visit the café or the toilets at Sadler’s Wells East,” she said. 

“No matter how you come into this building, we want you to feel welcome and that this space is for you.

“The Dance Floor is our shop window and it’s one we’re really proud of, whether that’s the classes we’re hosting or the performances we’ve programmed.”

From September 14, there will be free lunchtime classes three times a week, this season covering Afro-Caribbean Fusion, Funky Social Dance and Reggae + Soul Line Dance.

These are suitable for all ages, but under-18s must be accompanied by an adult.

A free class on The Dance Floor - image by Sylvie Belbouab
A free class on The Dance Floor – image by Sylvie Belbouab

a place where friendships start

“I tell people to expect the unexpected in terms of how they’re going to feel,” said Natasha. 

“People who are dancing for the first time often come with hesitation and trepidation, but they leave with such big smiles on their faces because they’ve had so much fun.

“It’s been a place where friendships have started – those interactions are so important for mental health, as well as the physical benefits of getting on the floor and dancing.

“There are so many joyful things that happen to your body when you move to music – serotonin levels rise and it makes you feel good.

“We work with a pool of really talented teachers who work in a variety of different styles. The important thing for us is to set a bar for positivity – that’s really important. 

“I encourage as many people as possible to take part in these classes, including our own staff.

“They can be a real jumping off point for people to discover what they like and then to find other places to dance too.

“New this term will be the Reggae + Soul Line Dancing – it’s something that’s really big in the States. We ran a trial session in June and it went down really well.

“People might know the steps to Candy from parties, but there so much more to explore.”

The space is used by a wide range of ages in a variety of ways - image by Sylvie Belbouab
The space is used by a wide range of ages in a variety of ways – image by Sylvie Belbouab

an extensive programme on The Dance Floor

That sentiment is one that also extends to The Dance Floor’s wider programme – for example, its key role as a stage for The Music Is Black Festival’s series of free live weekend performances that have been taking place this summer. 

Natasha said: “The community groups we work with use it as a performance space too and we’ve had some really lovely feedback. 

“For a lot of the groups we work with, getting the support, the care, being heard, being seen and respected, has been really amazing.

“We’ve even had some dancers ending up on stage because they performed here on The Dance Floor and were seen by artists putting on shows here.

“We also use it in our work with schools across east London for our regular Creative Classroom sessions.

“We have set times when anyone can come and use the space called The Floor Is Yours – people just need to sign in and then they can get moving.”

Natasha, who worked for the Barbican before joining Sadler’s Wells, said she especially enjoyed watching young children dancing with their adults at the regular Family Freestyle sessions, which are also free but need to be booked in advance.

She said: “Early development is so important.

“These are for kids aged 2-4 but the sessions aren’t a drop-off.

“We want the parents, grandparents and carers to dance with their toddlers. 

“We teach them how to dance with their child. Especially the older generation love it.”

The Dance Floor at Sadler's Wells East in action - image by Nick Kane
The Dance Floor at Sadler’s Wells East in action – image by Nick Kane

key details: The Dance Floor

Free lunchtime classes run at The Dance Floor in Sadler’s Wells East on Mondays, Wednesdays and Fridays from 1pm-2pm, starting on September 14, 2026.

They are free to join, with participants simply registering on arrival at the venue’s Welcome Desk.

Class listings are available here.

Family Freestyle sessions take place on Thursdays, from September 14 and are also free but must be booked in advance, suitable for ages 2-4 accompanied by an adult. 

You can also find the full programme of events taking place on The Dance Floor via Sadler’s Wells’ website here.

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Circle Collective pivots to coffee training to support young people

The charity is now offering speciality brews from its Jubilee Place store in Canary Wharf, which also stocks fashion, gifts, cards, homeware and more

Gareth Bell, cafe manager and trainer at Circle Collective - image by Jon Massey / Wharf Life
Gareth Bell, cafe manager and trainer at Circle Collective – image by Jon Massey / Wharf Life

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As a nation, we’re soundly hooked on the black stuff.

According to the British Coffee Association, UK drinkers consume 98million cups a day – nearly one and a half for every person living in the country.

Judging by the number of outlets across Canary Wharf, it’s reasonable to suppose those working, living or visiting the estate, punch a little above average on that figure.

While there are many places to get your fix in the malls, one venue has a significant point of difference.

The coffee from Circle Collective, located at the bottom of the escalators to the western end of the main mall, comes with a secret ingredient – opportunity in every cup.

The London-based charity, founded in 2011 by CEO Turly Humphreys, was set up to support unemployed people aged 16-30 through training and experience working in its shops, with the aim of helping them find jobs.

Having originally opened its Canary Wharf store in 2023, with ongoing support from CWG, the charity has moved a couple of times, but location hasn’t been the only change.

“This is a new model for Circle Collective,” said Turly.

“We’ve moved away from predominantly fashion to more of a mix with gifts, cards and homewares, stocking sustainable local products for people to buy.

“Very excitingly, we’re also now serving coffee and one of the reasons we wanted to do that was because the young people coming on our programmes were telling us they couldn’t afford to buy a cup. 

“We wanted to both offer drinks at an affordable price and also expand our programme so our young people could train to become baristas in the hospitality sector.” 

Cups decorated by trainees at Circle Collective - image by Jon Massey / Wharf Life
Cups decorated by trainees at Circle Collective – image by Jon Massey / Wharf Life

more than just a drink

Branded “Coffee With Purpose”, from the consumer’s point of view, Circle’s operation features espresso for £2.50, while a flat white is £3.50. 

“There’s also a Coffee And Cookie deal for £5 – a saving of more than £2 – with the sweet treats sourced from Rinkoffs bakery in Whitechapel.  

The coffee itself comes from Cameroon via Amero, a company run by Canary Wharf resident and JP Morgan Chase & Co vice president of model risk governance and review, Daniel Kemdeng

The decaf is by Cruise Coffee – a company founded by Turly and her son George – which imports from Colombia and uses a by-product of the sugar cane industry to remove the caffeine before roasting takes place in small batches at Tate Britain. 

Served alongside a menu of fine teas plus hot chocolate from Ghana and Venezuela, it’s a compelling proposition for those seeking warm refreshment.

Presiding over this selection and heading up the operation is cafe manager and trainer Gareth Bell – a self-confessed jack of all trades, with a background that includes selling a photography retail tech startup to Jessops, extensive experience in the coffee sector and work for charities.


Circle Collective founder and CEO, Turly Humphreys - image by Jon Massey / Wharf Life
Circle Collective founder and CEO, Turly Humphreys – image by Jon Massey / Wharf Life

building skills and confidence

“At Circle Collective, we run a training programme for six weeks,” he said. 

“We work on a few different elements of the hospitality and cafe industry, with soft skills, confidence and mentoring, but also the technical skills of making coffee and the bigger story of the product itself, from farm to cup to customer.

“It’s all about appreciating the work that goes into making a hot beverage. 

“One of the things I try to do with trainees is to prepare them to be able to explain it all to customers who want to know more.

“If people who visit us go away with a little more knowledge then it’s mission accomplished. 

“If trainees can get to a point where they’re sharing that with customers, that they know what they’re talking about and can communicate it, then that gives them a platform to stand on.

“But we also want them to be themselves, to enjoy what they’re doing – we don’t want this to be a strict, corporate environment.

“What we want to do is build a business for Circle Collective based on people coming in and seeing there’s a purpose behind what we’re doing. 

“We have regulars coming in every day, word-of-mouth has been important and it’s a great opportunity for us to share what the charity does.”

Gareth works on latte art at Circle Collective - image by Jon Massey / Wharf Life
Gareth works on latte art at Circle Collective – image by Jon Massey / Wharf Life

from training to experience and employment

The first cohort of trainees has just completed the programme, with a week’s work experience at Hilton London Canary Wharf the final piece in the puzzle.

Turly, who generally orders a decaf latte, said: “What we would like is for more companies to come to us with internships, apprenticeships, work experience placements and jobs.

“One of our challenges is brand awareness and we want people to know that by shopping with us they are helping to give young people opportunities.”

Gareth, whose preference is for an oat flat white, added: “For me, change is a good word to think about – education and awareness are important.

“That’s why I write inspirational quotes on the coffee machine.

“Making the coffee is one thing, but the transferable skills gained from this programme, such as selling to customers, means those participating can go into anything.

“Coffee is a vehicle and you can drive it to go into anything. It’s about trainees seeing the bigger picture. 

“There are lots of opportunities – it’s also about identifying what our trainees’ values are.

“For example, I have one at the moment who loves fashion and design, so they are looking after the layout of the products.

“If they finish the programme and they walk our of here more educated than when they arrived then that’s a win for me.”  

  • From August 12-26, 2026, Wharfers visiting Circle Collective can use the code PURPOSE to get any coffee for £1, limited to one drink per customer, per day.  
Circle Collective is located in Jubilee Place at Canary Wharf – image by Jon Massey / Wharf Life

key details: Circle Collective

Circle Collective serves coffee from its Canary Wharf store in Jubilee Place from 7.30am-2.30pm.

The store is open to shoppers until 7pm on weekdays. 

Those interested in applying for the charity’s programmes can find full details online. 

Trainees learn about brewing coffee and other drinks during their time at the charity - image by Jon Massey / Wharf Life
Trainees learn about brewing coffee and other drinks during their time at the charity – image by Jon Massey / Wharf Life

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Frederick Kitchen begins new chapter as roof of the Boat House

The last vessel to be commissioned and built at the Thames Iron Works has come full circle back to the River Lea as part of Cody Dock’s heritage pavilion

The Boat House at Cody Dock featuring the fully restored Frederick Kitchen - image by Jon Massey / Wharf Life
The Boat House at Cody Dock featuring the fully restored Frederick Kitchen – image by Jon Massey / Wharf Life

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A visit to the Boat House at Cody Dock isn’t just a chance to experience what’s on show within.

The structure’s roof is itself an exhibit – the Frederick Kitchen is a former lifeboat that’s been extensively restored and flipped over to protect the heritage pavilion below from the elements.

It has an extraordinary story to tell.

The last boat to be commissioned at the Thames Ironworks, just down the River Lea from Cody Dock, it’s carried royalty, saved lives in Wales, been refitted for fishing, turned into a houseboat, sunk and has now returned to east London.

Thanks to research by Julia Briscoe and David Scott at Cody Dock, we can relay some of its journey here.

The interior of the Boat House showing the support structure and the finished vessel - image by Jon Massey / Wharf Life
The interior of the Boat House showing the support structure and the finished vessel – image by Jon Massey / Wharf Life

a generous gift

Frederick Kitchen, the man the boat was named for, played an important part in its story.

Born in Liverpool in 1852 – the son of a cabinet maker and joiner – he initially worked as a painter before going into business and becoming a corn merchant, eventually rising to the post of chairman of Pelling, Stanley And Company.

The firm was an importer of John West Salmon and one of the founding businesses of Unilever.

His success led him to accrue significant wealth in Liverpool before moving to the small village of Trefriw in 1901 on the river Crafnant, living there with two servants and becoming chairman of the parish council in 1904, before his death a year later.

A lifelong bachelor, his closest relative was his brother, Captain James Kitchen.

In his will, he left more than £2million in today’s money to various bodies including the RNLI, specifically to fund “the purchase of a motor-lifeboat to be placed on the west coast of England”.

The institution, having received £2,400 – the bulk of the cash – by 1908, duly commissioned the Thames Ironworks in east London to build a 43-foot Watson Lifeboat, fitted with a 60 horsepower petrol engine, capable of seven knots when motoring but also able to of use sails.

It was designed by Glaswegian George Lennox Watson, who was born in 1851 and was attracted to yachts as a boy during holidays on the Clyde. 

Apprenticed as a shipwright, he became interested in the role hydrodynamics played in their design and had established his own company by the age of 22, going on to design hundreds of successful racing vessels.

In 1887 he became the RNLI’s chief naval architect and, while he died in 1904, the lifeboats he designed continued to be used into the 1950s.   

The brass plaque indicating the boat’s origin on display – image by Jon Massey / Wharf Life

built on the Lea

Founded in 1837, the Thames Ironworks And Shipbuilding Company had its main yards at Leamouth and Canning Town, with operations on both sides of Bow Creek. 

It was a titan of Victorian industry, building warships and liners as well as marine engines, cranes, parts for massive engineering projects and even motor cars.

Notably, HMS Warrior was built by the company as the first armour-plated, iron-hulled warship, leading to a slew of orders from governments around the world.

In the 1890s, the firm came under the control of managing director Arnold Hills, a philanthropist, footballer, vegetarian and champion of eight-hour days at a time when industrial workers were more commonly expected to work 10 or 12-hour shifts.

He was also involved in establishing Thames Ironworks FC, which would later become West Ham United.

However all did not remain well. Orders from the Royal Navy dried up by 1911 and the business closed in 1912.

The Frederick Kitchen was the last vessel to be commissioned and built by the company in Canning Town.

Constructed primarily from mahogany, with a heavy cast iron keel for stability in stormy seas, its design and fabrication represented the absolute zenith of skilled wooden boat building on the Thames.

Its completion also marked the end of an era.


A composite press photo marking King George V’s visit to the vessel, as featured in The Weekly Dispatch - image by The Weekly Dispatch
A composite press photo marking King George V’s visit to the vessel, as featured in The Weekly Dispatch – image by The Weekly Dispatch

a Royal encounter

Following sea trials off Harwich with the RNLI, the Frederick Kitchen made an appearance at the 1913 Cowes Regatta.

Attendees included most of the Royal Family as well as Prince Henry of Prussia – brother of Kaiser Wilhelm II – one year before the outbreak of the First World War.

During the festival, the royal yacht Britannia beat Prince Henry in the Kaiser’s yacht.

King George V also took an interest in the Frederick Kitchen, which had stopped at Cowes on its way to Beaumaris in Wales to serve as the town’s lifeboat.

He, along with senior members of the RNLI, took a trip in the vessel “during which every detail of the boat’s construction was explained” including its celebrated Gardner No. 4 reverse gear, according to the November 1913 edition of The Lifeboat magazine.

Causing quite a stir, the same article lists a succession of dignitaries who then went on to visit the boat.

The Frederick Kitchen is launched at Beaumaris - image by the RNLI
The Frederick Kitchen is launched at Beaumaris – image by the RNLI

saving lives in Anglesey

The Frederick Kitchen travelled from Cowes to begin its intended role as the Beaumaris lifeboat, protecting mariners from the small town at the mouth of the Menai Strait on Anglesey.

The completion of a new lifeboat station in 1914 allowed the vessel to enter service and she was duly dedicated with prayers from the Bishop Of Bangor and the smashing of a bottle of wine by Mrs James Kitchen – wife of her namesake’s brother, who was also present to formally hand over the boat to the RNLI. 

Crewed by eight volunteer sailors, the vessel served from 1914 until 1945 and was then held in reserve until 1948.

During the First World War and into the 1920s, the RNLI only made brief information about its lifeboats’ activities public. 

However, we do know the Frederick Kitchen was launched 35 times on rescue missions – equating to about once per year – with five leading to lives and boats being saved.

Over 31 years of service, 46 people were rescued and two vessels were recovered.

  • One notable mission in 1920 was when the schooner Jane And Ann of Carnarvon, carrying a cargo of mining pit props, broke anchor at Llandudno and drifted. The Beaumaris lifeboat was launched and initially rescued the crew, although the captain (described in the log as “an old man”), refused to leave. 

He was later removed and the schooner anchored, but strong winds saw the ship break away a second time and drift across the Mersey estuary, eventually becoming a wreck.

  • A year later, the Frederick Kitchen was in action again, dispatched to answer distress signals from another schooner, the Pandora of Fraserburgh, loaded with coal. 

Caught in a heavy north-west gale off Anglesey, the ship had broken away from its anchor and was drifting towards the Dutchman Bank when the lifeboat caught up and rescued its crew of four before it too was wrecked.

  • In March 1931 the Beaumaris lifeboat saved three young men and their yacht, the Bluebell, in fierce rain squalls and blinding snow after they lost their sails.

Led by 21-year-old JT Chitty, the son of a master at Eton College, there was much worry locally about the three inexperienced sailors with the Llandudno lifeboat also launched, although it’s help wasn’t needed as the crew of the Frederick Kitchen were able to rescue both the young men and their vessel. 

Incidentally, three months later Mr Chitty again had to be rescued from Bluebell after it broke free from its moorings and its motor failed on the River Mersea. He and a 16-year-old friend were pulled from the upturned yacht by police and harbour staff. 

  • In 1936, the Beaumaris lifeboat once more saw significant action when called to rescue the seven crew members of the schooner Flying Foam.

The 200-ton vessel had dragged her anchor having stopped to make repairs to a sail and was drifting when the Frederick Kitchen came alongside to take Captain Roy Jackson, Lorna his wife and their two cats to safety along with the rest of the people on board.

Abandoned, the Flying Foam ran aground on the west shore of Llandudno with much of its cargo of coal later salvaged via horse and cart.

It was the last sailing schooner to be wrecked in Conwy Bay, with its remains, visible for many years at low tide, becoming a tourist attraction. 

The Frederick Kitchen was launched 35 times on rescue missions - image by the RNLI
The Frederick Kitchen was launched 35 times on rescue missions – image by the RNLI

returning to London

According to National Historic Ships, the Frederick Kitchen continued to lead a colourful life after being sold to a succession of boating enthusiasts.

A cabin was added to the vessel, which was renamed the Lady Pat in 1950 and then later the Jackie Maxwell.

In 1997 the boat was restored in Blyth with the aim of using it for fishing under the new name Herring Queen. 

In 2004 it became the Ballyheo Dream with an extended cabin to allow it to act as a houseboat, but sank at its moorings before being rapidly raised and returned to Blyth.

A spell at the Fish And Duck Marina in Ely followed before the Frederick Kitchen was acquired in 2013 by the Thames Ironworks Heritage Trust, which returned the vessel to east London.

Ownership passed to Cody Dock, which embarked on an extensive restoration project to bring this piece of living maritime history back into public use.

Everyone visiting the newly created Boat House will be sheltered by timbers that were worked by some of London’s finest craftspeople, helped save lives off the coast of Wales, were trodden by King George V and will now be in service protecting and showcasing local history for many years to come.

key details: the Boat House at Cody Dock

The Boat House is located at Cody Dock on the River Lea and is free to visit.

You can find out more about the boat house and the programme for the structure via the ecological regeneration project’s website here.

Read more: Find out more about Common Threads, coming to Cody Dock in September

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Common Threads set to be exhibited at Cody Dock in September

Artist and walker, Remiiya Badru, has spent a year researching, making pieces and hosting workshops to explore the history of calico and Prussian Blue

Detail from work created as part of Remiiya Badru's Common Threads project - image by Jon Massey / Wharf Life
Detail from work created as part of Remiiya Badru’s Common Threads project – image by Jon Massey / Wharf Life

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The areas that line the banks of the Lea are rich in history, the silt of time that’s built up around the waterway.

Watch the river’s tides rise and fall and it’s easy to imagine the currents connecting to the Thames and from there the oceans beyond.

One’s head can easily start spinning from the complexity and variety of those links.  

Sometimes what’s needed is a way of fixing things, a scaffold to support the flow of ideas, themes and events.

To an extent, this is what artist and walker, Remiiya Badru’s, year-long collaboration with Cody Dock is all about. 

Common Threads has seen her take up the position of artist-in-residence at the ecological regeneration project, to research, investigate and respond to two interrelated commodities and their history in the area.

The first is the woven cotton cloth, calico, and the second the synthetic pigment Prussian Blue, once made at the site.

“I’m an artist, but I’m also a walker and an educator and both of those things inform my practice,” said Remiiya.

“I also have a connection with rivers and bodies of water as well as maps with the work I create.

Common Threads is about how we capture stories around the textile trade across the docks in east London.

“I see the threads as stories coming together, so I wanted to bring the community in and give people in this area the opportunity to share their tales.

“In this way these Common Threads are global narratives – they all come from somewhere and I wanted to look at how we could represent that visually in the context of the history.”

Artist and walker Remiiya Bardru has spent a year working at Cody Dock - image by Jon Massey / Wharf Life
Artist and walker Remiiya Bardru has spent a year working at Cody Dock – image by Jon Massey / Wharf Life

weaving stories together

When it comes to both the textile and the pigment, that past is a complex weave – different countries, creations and locations.

For Remiiya – an artist whose practice is characterised by curiosity and serendipity – it’s an irresistible jumping off point.

Having trained as an illustrator and then as a teacher – a useful skill that enabled her to take her art “out of the classroom and into museums and galleries” – she worked for a while in Bristol.

“That was at the Arnolfini Gallery with community groups and facilitating social engagement and I thought it was a very important part of my practice.

“That remains the case today, but I’m also very interested in the heritage of places. 

“I hated history at school but I found a way of seeing the subject as an archive of real people’s stories.

“Geography is also a love of mine – how people and place connect and how cities shift and shape themselves. I really love maps and what they represent.

“These things come together when I’m walking.

“My practice is often intuitive – if something jumps out at me, I’ll go and research it.

“I’ve done many walks along the Thames and the Lea – I’m a bit of a nomad.

“I would say the river is the aorta of the city – it pulls in all those tributaries and the stories flow into it.”

Remiiya's model boat, the Timehri on a beach on the Isle Of Dogs - image by Remiiya Badru
Remiiya’s model boat, the Timehri on a beach on the Isle Of Dogs – image by Remiiya Badru

In recent years, Remiiya has collaborated with the National Maritime Museum, making art and researching its collections to find women and people from diverse backgrounds.

She’s made a “living map” entitled Rhumblines, displayed at the Making Space in Aberfeldy Street.

She’s featured in Thames-focused documentary Time And Tide.

She’s led workshops, walks and meet-ups. 

But perhaps most revealingly she’s built a model boat, the Timehri, named for the “art and craft of man” which she’s taken for walks along the river as a conversation starter and because the journey forms part of the artwork. 

It’s been placed in Canary Wharf, on a beach on the Isle Of Dogs and on the plinth that once supported the statue of slaver, merchant and ship-owner Robert Milligan, who was the driving force behing the construction of West India Docks.

Such activities are indicative of Remiiya’s intuitive approach to the subjects she investigates – one that she’s carried over into Common Threads.

“Calico is a global cloth with a complicated narrative,” she said.

“It’s a strong cotton fabric that’s thicker than muslin, but not as thick as denim – today it’s often used to make tote bags.

“It was at the centre of an attempt to protect the British textile industry when importing it was banned. 

“The fabric was often printed and Bromley Hall (which sits just across the Lea from Cody Dock on the A12) – a building with multi-layered narratives that go back to Henry VIII and beyond – was a major producer, using copper plates to create intricate designs.”

Hi-vis calico jackets created from the September exhibition - image by Jon Massey / Wharf Life
Hi-vis calico jackets created from the September exhibition – image by Jon Massey / Wharf Life

doing the research

These stories, coupled with extensive research in partnership with the V&A have all fed into a project that will be fully realised in September.

That includes making use of Prussian Blue, which was once manufactured on site at Cody Dock and was shipped worldwide from there by the Imperial Chemical Company.

“When people come to see Common Threads on September 19, I want them to appreciate all the elements of the history of this area,” said Remiiya. 

“I’ve worked with different community groups and schools to get them to think about what’s important to them and we’ve created a series of cloths.

“We’ve also made jackets in calico based on the high-vis ones worn at Cody Dock – again based on people’s personal connections to this area.

“We’re now working on a plan to display all this material across the site.

“I want people to discover Cody Dock – it’s off the beaten track, but it’s an oasis and there’s something here for everyone.

“I really like that the people here love and care for the spaces and that it’s a place where artists can hold up a mirror to history. 

“Over the months I’ve been here, I’ve felt such freedom and autonomy to work on this project and there’s been so much support.

“It’s growing and expanding and that’s really exciting – let’s see where the threads take us.”


Common Threads will be the first exhibition to make use of Cody Dock's newly opened Boat House heritage pavilion - image by Jon Massey / Wharf Life
Common Threads will be the first exhibition to make use of Cody Dock’s newly opened Boat House heritage pavilion – image by Jon Massey / Wharf Life

key details: Common Threads

Common Threads will be unveiled at Cody Dock on September 19, 2026, at the ecological regeneration project’s Lighting Up The Lea event – part of the Totally Thames Festival.

The open day, runs from 11am-6pm, and includes a mix of workshops, live performances, walks, talks and a chance to see the work produced for the project. Entry is free.

Find out more about Cody Dock here

Read more: Discover the extraordinary maps and prints at Frontispiece

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Feels Like June unveils Lois O’Hara mural at Tribe London

Artist in residence at Tribe London Canary Wharf has created wall art at the Water Street venue via latest project to enhance communal areas

Artist Lois O’Hara in front of her work at Feels Like June – image by Jon Massey / Wharf Life

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Tribe London Canary Wharf is rapidly becoming a feast for the senses.

Earlier this year, the hotel launched its Vinyl Club – a listening station for guests and visitors to enjoy the bump of needle in groove via a curated selection of records and even a specially released album entitled New Grounds.

Now its California-themed ground floor restaurant and bar – Feels Like June – is delivering on sight, unveiling a mural by artist in residence Lois O’Hara alongside specially designed drinks coasters.

“What we want to do is to show our hotels are not just a place to sleep,” said Filipe Avillez, general manager at Tribe London Canary Wharf.

“We want people who are staying with us or visiting to come down and use our social spaces.

“To encourage guests to do that, we try and activate these areas in different ways.

“That’s why I’ve always wanted to work with an artist in residence. 

“Lois worked with us on the launch of Vinyl Club and then we invited her to come and create this piece.

“She stayed with us for a week and painted this mural and it looks fabulous. I love the finished piece.

“We’d seen some of her other works and I’m really proud that we now have one on our wall.

“We’re really happy with it and it deserves to stay in its place forever.”

The Vinyl Club at Tribe London Canary Wharf - image by Jon Massey / Wharf Life
The Vinyl Club at Tribe London Canary Wharf – image by Jon Massey / Wharf Life

realising the work

Lois’ work at the Water Street venue is about five metres high and acts as a backdrop to Feels Like June’s bar area. 

She said: “It was quite challenging to get the crisp lines right because you’re painting on an uneven surface.

“It was physically demanding and I was working on a cherry picker to get to the higher areas.

“It took me a few months to design the piece because although I wanted to bring joy to the hotel and the restaurant area, I also wanted it to fit in with the existing interior.

“It’s a piece in my typical style, which is fluid, organic and joyful. 

“I’ve used some of the colours, from Feels Like June’s interior here, but I also wanted the mural to feel like an explosion of drinks over the wall coming together in a really beautiful way. 

“There are colours that I really like and often use in my pieces – pink, for example. But this is also a collaboration.

“I really hope people who are looking at this piece feel joyful – for me that’s represented in the orange circles, which are a perfect expression of joy.

“The whole work is intended as a journey towards that.

“But it’s also important that guests here feel comfortable.

“There are lots of pieces out there that make use of colour but they can be a bit too much, a little off-putting.”

Lois O'Hara's mural at Feels Like June - image supplied by Tribe London Canary Wharf
Lois O’Hara’s mural at Feels Like June – image supplied by Tribe London Canary Wharf

from illustration to public art

Lois is based in Brighton and studied illustration before embarking on a career in art.

She said: “It’s really been in me since I was little – drawing and painting. It’s always something I wanted to do.

“But going to uni only pushed me further because I didn’t get much support there.

“The people running the course I did didn’t really understand how I could make money painting walls.

“But I thought there was definitely a way – I had an idea.

“I decided to give it a go and started doing small walls in local cafés and places like that. 

“I’ve always been quite rebellious, I guess and I’m the kind of person who wants to get things done.

“If someone tells me I can’t do something, it just makes me want to do it more.”

It’s an approach that’s led to significant success with her work gracing the likes of W London, Wembley Park, Grand Designs Live and Magazine London.

Her work is also available to buy via her website.

Cocktails and coasters created at Feels Like June in celebration of the mural's launch - image supplied by Tribe London Canary Wharf
Cocktails and coasters created at Feels Like June in celebration of the mural’s launch – image supplied by Tribe London Canary Wharf

key details: Lois O’Hara at Feels Like June

Lois O’Hara’s mural can be seen at Feels Like June on the ground floor of Tribe London Canary Wharf.

The restaurant and bar is open daily from 7am to 10pm.

You can find out more about the venue here

Read more: Discover the extraordinary maps and prints at Frontispiece

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The Tallyman set to open as Canary Wharf welcomes new pub

Our Yummy Collection will launch venue at Chancellor Passage beside Eden Dock in September 2026, championing food and drink

An artist's impression of how The Tallyman will look when work is completed - image by Our Yummy Collection
An artist’s impression of how The Tallyman will look when work is completed – image by Our Yummy Collection

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“It’s going to be called The Tallyman,” said Anthony Pender, founder of Our Yummy Collection, as the business prepares to open a pub in Canary Wharf.

“Before the towers this was all docks, loading and unloading cargo.

“At the heart of that operation there was a person whose job it was to keep track of the stock going onto and coming off the boats.

“It’s a role that goes back hundreds of years.

“The captains of the ships, the customs officers and the workers all trusted the tallyman.

“The dockers got paid by how much they’d loaded or unloaded so it was his job to make sure they received fair wages.

“His role was to be an honest person in a noisy world.

“Although that job no longer exits here, it felt like an appropriate name for a proper pub, which should have that kind of honesty and authenticity about it.”

Our Yummy Collection founder Anthony Pender - image by Jon Massey / Wharf Life
Our Yummy Collection founder Anthony Pender – image by Jon Massey / Wharf Life

something ‘a bit more daring’

Set to open on September 10, 2026, The Tallyman is currently being fitted out to serve customers. 

Located in Chancellor Passage it will fill the spaces left by the relocation of the Post Office and the closure of Grateful Kitchen – transforming the long low structure beneath the DLR with its southern tip overlooking Eden Dock.

Canary Wharf hasn’t been without pubs over the years – The Henry Addington just around the corner from the new venue continues to do a brisk trade, as does The Gun, a little way off the estate to the west.

However, traditional venues have closed locally without being replaced – notably The Cat And Canary and it’s craft beer-focused successor The Merchant.

A little further south on the Isle Of Dogs, The North Pole and The City Pride were also lost to property development, although the former may well make a comeback. 

None of this, however, has deterred Anthony.

After a spell working for Carlsberg, he went into business with two friends and spent 15 years running pubs as they successfully strived to establish food-led venues in the wake of the smoking ban.

After taking sole charge, Anthony turned Yummy’s focus to London and currently operates The Somers Town Coffee House near Euston, The Victoria near Mile End and a seafood restaurant called Faber in Hammersmith.

“We wanted to go for it a bit more, to be daring,” he said.

“We thought there were areas of London that needed pubs again. 

“The costs are challenging, but there’s demand – our venues are busy and each one is fiercely independent. 

“We’re not a chain, just a collection of autonomous people working together.

“We don’t have a mission statement or anything like that – our one mantra is to be authentic in what we’re doing.

“I started working in hospitality while I was at university – pot washing, bar tending, it was a real mixture.

“Then I started organising events in some of the nightclubs in Bristol and absolutely loved it.

“I saw the opportunity to offer good food in pubs and that’s what led us to open that first venue near Lingfield Racecourse.

“The reason we’re here is that Canary Wharf Group approached us as they were looking to introduce another pub on the estate. I saw the space next to the dock and loved it.

“CWG has been phenomenally supportive.

“If I come here and see a really eclectic mix of people in here then we’ll have done our job.

“This should be a place for local residents, students, teachers, people working in the offices and visitors to the area.

“I’d love it to be a diverse crowd all getting on with each other – for us it’s about longevity, not being a flash in the pan.”

The Tallyman's menu will be driven by classic dishes - image by Our Yummy Collection
The Tallyman’s menu will be driven by classic dishes – image by Our Yummy Collection

a traditional aesthetic

Visitors to The Tallyman will find themselves in an environment that whole-heartedly embraces a classic pub aesthetic, albeit with all the modern touches you’d expect.

There will be much wooden panelling, low cast lighting, a grand fireplace and even a piano. 

“Firstly, we’re a pub, so there won’t be a concierge desk,” said Anthony.

“People will go to the bar, buy their drinks and then choose their seats. 

“Of course, if you want to be served at the table then we’ll look after you all night, but we also want people standing at the bar and meeting each other.

“It should be a little oasis, somewhere you can come to forget about politics, the world and work and just relax.

“There won’t be clocks on the walls to remind you that you should be back at work.

“We’ll have a fantastic outside area that’s a sun trap during the day.

“That will, like all good east London pubs, have a seafood shack, although we’ll be serving lobster rolls, oysters and affordable caviar rather than crab sticks and jellied eels.

“We’ll have a dining room in the back of the venue where we’ll serve an a la carte menu with classics such as burgers, pies, fish and chips and game.

“We’re even toying with the idea of pork scratchings topped with caviar – it really works.

“We’ll have specials and snacks in the bar too, always aiming to serve constantly evolving British fare.”

Oysters will be available next to Eden Dock - image supplied by Our Yummy Collection
Oysters will be available next to Eden Dock – image supplied by Our Yummy Collection

quiz nights and live music

The Tallyman won’t have screens, as Anthony said Yummy’s pubs were primarily “about conversation and having a good time”.

There will, however be occasional live music as well as quiz nights when things are fully up and running.

“All of our pubs have their own identities and the people running them have the power to make their own decisions,” said Anthony.

“For example, we do stock some drinks in all locations but others are particular to the local market. 

“One of the things I think is ready to make a come-back is cask ale.

“Everyone’s talking about Guinness at the moment, which is a great product, but interest will probably wane and ale will be there to take its place.

“I saw recently that they’re bringing Boddington’s back, but only on cask and we’re going to give that a go.

“The reason some of these brands have survived 300 years is because they’re really good products but in recent years the beer hasn’t been stored or distributed well so we’ll really be focusing on that.

“You have to look after those casks every day.”

The Tallyman will have a strong focus on seafood - image supplied by Our Yummy Collection
The Tallyman will have a strong focus on seafood – image supplied by Our Yummy Collection

key details: The Tallyman

The Tallyman is set to open to the public on September 10, 2026, at Chancellor Passage in Canary Wharf.

A ballot is currently in operation here for tickets to the launch event.

Find out more about the pub here

Read more: Discover the extraordinary maps and prints at Frontispiece

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Kitchen Jam on how to play the riff to David Bowie’s Rebel Rebel

Music school offering guitar and bass lessons in Canary Wharf and Stratford on the classic track’s east London links and how to handle the hook


Sit down with that six-string and get strumming - image by Jon Massey / Wharf Life
Sit down with that six-string and get strumming – image by Jon Massey / Wharf Life

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In the first of a series of regular collaborations with Canary Wharf’s guitar school, Kitchen Jam, we take a look at the history of a track with a local link and deliver some tips on how to play it


All the chords you'll need to play Rebel Rebel by David Bowie - image by Wharf Life
All the chords you’ll need to play Rebel Rebel by David Bowie – image by Wharf Life

looking back on the history of the track and its link to Docklands

BY ZAINAB HASSAN

Picture this – it’s early 1990, and David Bowie has just announced the Sound+Vision tour, a series of gigs where he’d play his biggest hits live for the very last time. 

Rather than choose the setlist himself, he handed the decision to his global fanbase through telephone voting.

Dial 1-900-2-BOWIE-90 on your landline, and you were taking your chances at getting your favourite track onto the bill. 

As calls flooded in from every corner of the globe, Bowie built the setlist from a mix of UK votes, American votes, and requests from everywhere else in between.

It was a truly global selection, curated to reflect what the world wanted to hear.

echoing on the island

For three nights that March, the tour landed in the capital at the London Arena, an indoor venue on the Isle Of Dogs that held up to 15,000 fans. 

Demolished in 2006, the landscape is markedly different to when Bowie’s genre-shifting hits were last played, but the echoes of his riffs still resound in the hands of guitarists to this day.

glam rock swagger

The Sound+Vision tour setlist was shaped with deep cuts standing shoulder to shoulder with Bowie’s biggest hits. 

One such song, Rebel Rebel, came early in the setlist. Salvaged from a scrapped Ziggy Stardust musical, it was the lead single for 1974 album Diamond Dogs and was the last of Bowie’s singles to swagger with true glam rock bravado. 

Deceptively simple, yet roaring with a Rolling Stones-esque ferocity, the main riff loops around three chords – D, A and E – and an unrelenting descending melody that’s as instantly singable as it is impossible to shake.

the end of two eras

As a swan song to glam rock, Rebel Rebel was the end of an era for Bowie. 

The Sound+Vision tour was the end of another, as he retired the hits from his live sets for good. 

Two farewells, made decades apart, overlapped for three nights at the London Arena. 

But all these memories remain in music. Just listen to that rebellious opening riff – it all comes flooding back.

  • For those who’d like to know more, east London is also now home to the David Bowie Centre in Stratford. 

Based at the V&A East Storehouse, the collection includes more than 90,000 items from the artist’s archive and is free to visit.

key details: Kitchen Jam


Kitchen Jam offers guitar lessons rooted in musical connection and community from its studios in Canary Wharf and Stratford.

Follow this link to find out how to book a free trial session 

Read more: Discover the extraordinary maps and prints at Frontispiece

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Greenwich + Docklands International Festival returns with We Move

Annual free outdoor arts showcase presents its 31st edition on Greenwich, Woolwich, Romford, Thamesmead, East Ham and Stratford


Efectos Especiales (Special Effects) is set to be performed on Greenwich Peninsula on August 29 and 30, 2026 as part of the Greenwich + Docklands International Festival - Image by Matheus Jose Maria
Efectos Especiales (Special Effects) is set to be performed on Greenwich Peninsula on August 29 and 30, 2026 as part of the Greenwich + Docklands International Festival – Image by Matheus Jose Maria

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“I feel it’s needed more than ever,” said Bradley Hemmings, artistic director and founder of the Greenwich + Docklands International Festival.

Set to return to east and south-east London and beyond, this year’s programme of free outdoor performances will run from August 21 until September 6, 2026.

Having given nearly a third of a century to curating and producing the annual event, Bradley’s enthusiasm is undimmed as he and his Greenwich Peninsula-based team prepare for its 31st edition.

“The theme this year is ‘We Move’ – we wanted to respond to what the festival does best, which is to give everyone a bit of a lift,” he said.

“Those wondrous moments in public spaces that are created as part of our programme are exactly that and it’s important that they are free and accessible to everyone.

“For the theme, we took inspiration from a common expression used by young Londoners to indicate when they’ve put an issue to one side so they can get on with their lives.

“We want to embody that spirit of resilience you see in this city – the way people make things happen and get on in difficult times.

“All our events are open to everyone, but we’re especially thinking about how we engage with young Londoners in 2026.”

360 will open the festival in Woolwich - Image by Duy Laurent
360 will open the festival in Woolwich – Image by Duy Laurent

opening in Woolwich

This year’s programme kicks off, as is traditional, in Woolwich’s General Gordon Square with a 55-minute performance of 360 at 7pm on August, 21.

“It’s an amazing dance theatre spectacle, that’s getting its London première,” said Bradley.

“The performance takes place on a multi-tiered stage with energising music and a real sense of connection with the challenges that young people face – but it’s also full of hope and possibility.

“The audience will get drawn in until the line between who’s watching and who’s performing is blurred.

“It’s been created by an incredible French choreographer called Mehdi Kerkouche of CCN De Créteil Et Du Val-De-Marne and we’re really excited to be bringing it here.”

Next up, running over August 22-23, is Greenwich Fair.

Returning to Greenwich Park it boasts an extensive schedule of events.

“This is another festival institution and the new location was hugely successful last year,” said Bradley.

“It’s a setting that audiences really appreciate – it’s relaxed and the tree cover is quite useful at this time of year.

“There are incredible views and the programme we’ve put together is great.

“There will be children’s games, dance performances and installations.

Do Birds Dream Of Flying? by Fabla Collective from Slovenia will be one of the highlights and I’m also really looking forward to Inertie by the French company Underclouds CIE, who perform using a circular frame that’s very reminiscent of a sundial.

“In the context of the Royal Observatory Greenwich, it will be a nice thing to see alongside. 

“Then there’s ElevateHer by Daughters Of The Wire, which has a feminist perspective and a joyous soundtrack that celebrates the heritage of women as circus performers.

“Regular visitors to our events may remember that one of the directors of the company performed on the high wire back in 2018 at the Old Royal Naval College in a piece created to mark the anniversary of women’s suffrage.”

The UK première of Benched will be part of Dancing City - Image by R+Solholm
The UK première of Benched will be part of Dancing City – Image by R+Solholm

branching out to Romford

Romford Market will be the setting for a pop-up son et lumière show on August 28 and 29 as the festival reaches out to Essex with Meet Me By The Fountain.

Variable Matter’s presentation takes inspiration from a lost water feature, using video projections and sound to span nearly 800 years of history and take audiences through into an imagined future.

Similarly transformational, Efectos Especiales (Special Effects) is an Argentinian show by Luciana Acuña and Alejo Moguillansky that casts the audience as part of a live film shoot as they follow a dancer past a truck with blaring music before the elements erupt, thunder rolls and snow falls.

“This will be staged over August 29 and 30 on Greenwich Peninsula, which is another of the festival’s long-standing destinations,” said Bradley.

“We’ve worked there since 2017 and we try to do new things each year.

“Our offices are based there and we’re very much a part of the creative district.

“I saw the show in Paris and it’s beautifully staged – a very beautiful piece with wind, rain, smoke and fire.

“It’s one of the pieces we’re able to bring to the festival through support from Without Walls, which works with events nationwide and allows productions to tour across the country.”

I Have No Name forms part of Nature Speaks in Thamesmead - image by  Vidy Lausanne
I Have No Name forms part of Nature Speaks in Thamesmead – image by  Vidy Lausanne

dates for the diary

Other diary dates for readers to note are September 3 and 4 in Queen’s Market Square in Green Street for Chair! and Kismat Walla and September 4 and 5 for Nature Speaks in Thamesmead.

The latter is a two-part immersive storytelling experience in the Tump53 Nature Reserve featuring imagery, music, sound and voice.

The penultimate major pop-up event in GDIF’s programme is then set to take place on September 5 when Dancing City returns to Stratford.

Bradley said: “We’ve packed the schedule with shows, having established a really strong relationship with Sadler’s Wells East and the Queen Elizabeth Olympic Park.

“This includes the UK première of Benched by a Danish company called Uppercut Dance Theatre. It’s a very high energy piece featuring five dancers. 

“There’s also a specially commissioned production from Fuse Theatre called Man Down, which explores issues around toxic masculinity.”

GDIF is set to conclude back in Woolwich’s General Gordon Square with a performance of (In)visible Dancing on September 6.

Bradley said: “This is by the fabulous Protein, a phenomenal company based in Woolwich, and audiences are in for a real treat as the choreography builds throughout the town.”

key details: Greenwich + Docklands International Festival

The Greenwich + Docklands International Festival is set to run from August 21 until September 6, 2026, across a variety of locations.

Performances are free, outdoors and accessible.

Full listings and timings are available via the official website

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