Old‑School Marketing, Cave Paintings & a Possible UK Arts Shake‑Up: Pain in the Arts Goes Back to Basics
Some weeks on Pain in the Arts feel like a sprint through Wales’ creative landscape. This week feels more like a thoughtful wander — through new venues, ancient caves, and the future of the UK’s cultural sector. Broadcaster Chris J Birch and writer‑artist Jak Rhys Birch take listeners from Newport’s newest creative hub to the depths of prehistoric France, with a detour through political possibility and the realities of marketing art in 2026.
It’s reflective, curious, and quietly optimistic — a reminder that the arts are always evolving, even when the pace slows.
Art on the Edge: Newport’s New Creative Corner
This week began with the opening of Art on the Edge, a brand‑new arts space on George Street in Newport. The building — unfunded, community‑powered, and brimming with ambition — is the latest venture from Janet, a local arts champion who already runs two other creative spaces nearby: a converted chapel turned café‑gallery, and a former public toilet transformed into a micro‑venue.
The opening day was a celebration of Welsh creativity in all its forms:
Contemporary paintings
Bright, bold, modern works
A bagpiper
An opera singer
A packed room of locals
It was the kind of event that proves something important: Wales’ creative sector thrives when communities show up.
And Art on the Edge is exactly the kind of space that needs — and deserves — that support.
Physical Education at Swansea Grand: Going In Blind (On Purpose)
Later this week, Chris and Jak head to Swansea Grand for Physical Education, the latest production from Grand Ambition — a company that has consistently delivered some of Wales’ most exciting new work.
They’re deliberately avoiding spoilers. If My Mixed‑Up Tape taught them anything, it’s that going in blind often leads to the best surprises.
Expect a full review in next week’s episode.
Old‑School Marketing vs Social Media: What Actually Works?
One of this week’s listener questions asked whether artists should put their entire marketing budget into social media advertising.
The short answer? Absolutely not.
Jak and Chris break down why:
Social media is powerful — but limited.
Algorithms show you what they think you want to see. If your audience isn’t on Instagram, TikTok, or X, your ads won’t reach them.
Old‑school marketing still works.
Posters, billboards, leaflets, and print ads remain incredibly effective — especially for hyper‑local audiences.
People are leaving social media.
Many creatives now use only one or two platforms. If you advertise on the wrong one, they’ll never see you.
Analogue marketing stands out.
In a world of Canva templates and AI‑generated graphics, physical posters feel refreshing — and memorable.
The verdict? Mix and match. Use social media strategically, but don’t underestimate the power of print.
Andy Burnham & the Future of UK Arts: What Could Change?
Another listener asked what the UK arts sector might look like under an Andy Burnham‑led government.
Chris offers a careful, evidence‑based breakdown — with the important caveat that nothing is guaranteed, and political outcomes should always be confirmed through trusted sources.
Here’s what Burnham has publicly championed in Manchester:
Creativity as infrastructure
Burnham has argued that the creative industries should be treated like energy or transport — essential to national identity and economic growth.
Good growth
A model that keeps creative value inside the UK rather than letting global platforms extract it. For Wales, this could mean:
Welsh‑owned IP
Local co‑production rights
Long‑term financial returns from Welsh‑made content
A culture‑led government
If Burnham were ever to lead the UK, he would be one of the few former Culture Secretaries to do so — potentially signalling a shift in national priorities.
What it means for Wales
Wales is already ahead of the curve. With S4C, the Eisteddfod, the Urdd, bilingual media, and a thriving community arts ecosystem, Wales has long treated creativity as infrastructure.
A UK government aligned with that philosophy could amplify Wales’ cultural strengths — but again, nothing is certain.
Art History of the Week: Cave Paintings Were Masterpieces
This week’s art history segment takes listeners back — way back — to the earliest known artworks: cave paintings in Southern France.
These aren’t crude stick figures. They’re sophisticated, expressive, and astonishingly advanced.
17,000–36,000 years old
Some of the paintings predate written language by tens of thousands of years.
Technical skill
Prehistoric artists understood:
Anatomy
Movement
Shading
Perspective
Three‑dimensional form
They even used the natural curves of cave walls to create depth.
Why did they paint them?
No one knows. But theories include:
Hunting rituals
Sacred spaces
Teaching tools
Early storytelling
It’s a reminder that art has always been part of human identity — long before galleries, critics, or Instagram.
A Quiet Week That Says a Lot
This episode of Pain in the Arts is quieter than some — fewer press nights, fewer frantic schedules — but it’s rich with reflection.
It explores:
How artists reach audiences
How communities sustain creativity
How politics shapes culture
How ancient art still inspires us
How Wales continues to innovate
It’s thoughtful, curious, and deeply rooted in the belief that art — whether painted on a cave wall or printed on a billboard — is essential.
If you want to understand the creative heartbeat of Wales, this episode is essential listening.