The Ross Bandstand: the thread about 170 years of squabbling over a public performance space

The much-debated Ross Bandstand found itself being discussed (yet again) today. But what is the Bandstand’s story? How did it come to be there and who was Ross? Let’s find out.

The Ross Bandstand in 2013. CC-by-SA 2.0 Daniel Hallen

The Ross Bandstand was opened on the evening of Friday 10th May 1935, when an inaugural concert of “music in the parks” was attended by a crowd of at least 10,000 spectators. It was largely financed by a £5,000 (c. £300k in 2023) gift from William H. (Willie) Ross, after whom it is named. Ross was the Chairman of the Distillers Company Limited (usually just known as DCL or the Distillers Company) a company he had worked for since starting as a boy clerk out of school. He had risen through the ranks from the very bottom to the very top, taken over from the founding families and guided it through industrial and economic crises to become a British corporate stalwart.

William H. Ross, chairman of the Distillers Company Limited. © Glasgow City Council Libraries, Mitchell Library, GC 052 BAI

As early as 1926, the old Victorian Bandstand in West Princes Street Gardens, while still a popular public attraction, was seen as out dated and in disrepair (sound familiar?). Inevitably, letters began appearing in The Scotsman suggesting its replacement. It would take 9 years to come to fruition – nothing concrete had happened for the 8 years until 1934 at which point Ross stepped in with his offer. He approached the Lord Provost Sir William Thomson in 1934 on his own initiative, after the previous attempts had failed due to squabbles over funding, location and a backdrop of economic troubles (sound familiar?!)

A concert at the old Bandstand, 1905. © Edinburgh City Libraries

The City had only acquired West Princes Street Gardens in 1876 when the lease of the West Princes Street Proprietors expired; before then it had been a gated private garden for those residents and tenants along that section of that street. However they had been trying to acquire it since at least the 1850s. One of the most prominent voices for bringing the West gardens into public control had been the social reformer Rev. Dr James Begg of the Free Church. He spoke out against what the press called the “committee of shopkeeper” who were the proprietors and their champion Henry Cockburn, who felt the public lacked interest in the gardens. Begg countered that “public involvement was dependent on public rights, and shutting them out from public parks and gardens [had] gone far to destroy their public spirit“. Begg and the Scottish Association for the Suppression of Drunkenness managed to gain access to the public for the Gardens on Christmas and New Years Days “with a view to keeping parties out the dram shops“. Occasional public concerts in the gardens had to be stopped in both 1853 and again in 1875 when conditions descended into a near riot on account of “all denominations” of the citizenry trying to force their way into the Gardens to hear military bands, with “skirmishes” ensuing. They were supported in this by the Liberal and Reformist Lord Provost Duncan Mclaren. These arguments of public vs. private rights of access to the Gardens all sound very familiar, don’t they?

The first bandstand was built in 1872. When the West Princes Street Gardens organisation was wound up in 1879 it was found that they had substantial excess funds left and so these were used to construct a new bandstand in 1880 to the designs of Peddie & Kinnear. It quickly acquired an amphitheatre of seating on all sides.

The old bandstand, 1900. © Edinburgh City Libraries

In 1897/98, in another one of Edinburgh’s interminable squabbles about the location and funding of concert halls, West Princes Street Gardens was mooted as a site for the potential Usher Hall. It was eventually built on Lothian Road, completed 16 years later.

The new bandstand was designed by the City Architect, Ebenezer James Macrae, “the man who shaped modern Edinburgh“. It has a performance stage for bands of up to fifty members. A 40 feet wide concrete canopy projects 11 feet ahead of this, not just to keep the weather off the performers beneath but also to help direct the sound downwards and forwards to the audience. For the same purpose, the rear of the stage was constructed in the manner of a “sound mirror” and the stage was hollow, to act as a passive amplifier. A paved dance floor area was laid out between the stage and the seating. The opening programme for 1935 was a very martial affair – the schedule dominated by the bands of the Scots Guards, Irish Guards, Border Regiment, Royal Scots Greys and Gordon Highlanders (amongst others). However, in a break from military music, Councillor Stevenson of the Parks Committee made it known that they were investigating the potential for staging Shakespeare on the stage.

The Ross Bandstand in 2012 © Edinburgh City Libraries

On Sunday 13th May, 1945, Winston Churchill’s VE Day Broadcast over the BBC was relayed to the Ross Bandstand, followed by a concert and Victory Dance performed by the band of the King’s Own Scottish Borderers. What would become the Edinburgh Military Tattoo started out at the Ross Bandstand in 1949, when 15,000 people attended a display of military drill and music from the band of the Highland Light Infantry under the direction of Colonel George Malcolm. The Royal Scots Greys provided a trumpet fanfare, the Royal Scots the pipes and drums, there was sword dancing, rifle drill, PT displays, a “Sixteen-some Reel” danced by the men of the Royal Scots and women of the Women’s Royal Army Corps and a general parade of service personnel.

VE dance in May 1945. Evening News photo, from “Living Memories” by Jennifer Veitch

In the 1950s, the Council organised a programme of entertainments at the bandstand throughout the season. In 1954 you could see dancing, displays of fly fishing, ballet, a parade of animals from Edinburgh Zoo and of course military bands (the Cameronians were in residence). From 1946, as part of a postwar “Holidays At Home” scheme, on Saturdays throughout the summer there was a “Children’s Hour” performed each Saturday at 1030AM. Music, sing-alongs, Punch & Judy, competitions, team quizzes and dancing all took place. These ran until 1961

The final Children’s Hour at the Ross Bandstand, 9th September 1961. Evening News photo.

The bandstand began to fall out of favour in the 1960s, attendances dropped as public expectations changed. There were repeated letters to The Scotsman demanding the seating have a roof put over it “as a matter of desperation”. £10,000 was earmarked for this, but never spent. A temporary roof was eventually procured by Edinburgh District Council for the Bandstand’s seating area in 1986 at a cost of £180,000 for festival events. The 14 ton crane hired to erect it promptly cracked the concrete of the seating area and got stuck. When it came to re-erect the roof in 1987, the Conservative group on the council attempted to stop it at the Policy & Resources Committee. They wanted the whole bandstand gone on account of “the noise and cost to ratepayers”. It was “a scar on the landscape” said Cllr David Guestv

The crane stuck in the Ross Bandstand. The temporary roof tent and supporting structure can be seen behind it. Evening News Photo.

The SNP precipitated local controversy in 1971 when they tried to book the Bandstand to host a public debate on party policy on the European Common Market. The very conservative Finance Committee came down hard on the line that it was strictly to be used only for “entertainment purposes”.

Headline – Lord Provost of Edinburgh Asked to Aid SNP Case

Alongside use as a semi-covered Festival venue, the institution that was the end-of-festival Fireworks concert helped to save the bandstand, as each year the Royal Scottish National Orchestra would play a concert choreographed to fireworks launched from the castle. However, because there is never anything new under the sun in Edinburgh local politics even in 1989 the District Council was accused of “fervour” for “low art” by trying to make it more accessible the public by staging popular events and the letters pages of The Scotsman once again overflowed with debates on the pros and cons of the festivals.

The most recent attempt at redevelopment started way back in 2016 when the City of Edinburgh Council consulted on the future of the bandstand, with US architects appointed in 2017 to design new proposals which came to be dubbed “The Hobbit House” on account of the curving, grassed canopy. This was part of an overall public / private “partnership” scheme called (for reasons opaque ) The Quaich Project. It eventually foundered in 2021 due to a combination of political squabbling, disagreements over the design, substantial dissatisfaction over the potential restriction of access to what is seen as a public space and the main funder pulling out. The interminable debates around the Ross Bandstand continues to go on to this day, as it has done for the last 170 years.

The 2017 “Hobbit House” design proposal. From Rossbandstand.org

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