1. With The List turning 40 this year, what do you think has been its most significant contribution to Scotland’s arts and cultural landscape over the decades?
We’ve been Scotland’s loudest independent supporter of arts, culture and integrity-led journalism since 1985. So many artists have received their first review, preview, feature and front cover from us, and so many writers their first break in print and online. We have a long-list of award winning writers who can credit The List for their start in the business, and plenty of them return to the fold from time to time. I always describe us as a bit like Hotel California – people check in, but they never really check out.
2. You mention that after facing closure in 2020, The List relaunched in 2022 under List Publishing Ltd. What were the biggest challenges and opportunities during that transformation, and how did it shape your leadership approach?
Having the confidence to rebuild after a global pandemic that saw events across the world grind to a halt. We went from a team of 25 to fewer than 10 employees, and that means everyone involved with the new company has skin in the game. We all believe in what we are doing and are committed to working together to make it a success.
3. What did you learn from the inaugural year of The List Festival Awards and how are you building on that momentum for the 2025 return? Any new categories or learnings?
Recognition is important, but a cash prize alongside that recognition is even better. It’s increasingly difficult to produce art in a cost of living crisis; the expense of taking a show on the road and the time it takes to develop a show is exorbitant, so being able to lessen that burden is nice. Plans for year two are coming along nicely. We’ve created new categories to showcase the length and breadth of the Fringe category and introduced a new LBGTQ+IA award.
4. How do you view the magazine’s responsibility in amplifying the diversity and creativity of Edinburgh’s cultural scene today? How do you ensure emerging/underrepresented voices are platformed within The List’s editorial and events coverage?
We’re really passionate about representing emerging and underrepresented voices. This responsibility extends beyond simply writing about what’s on and involves actively shaping a platform that reflects the full spectrum of voices, perspectives, and experiences that make our local scene so vibrant. Our role is not solely to reflect Scotland’s culture; we want to help shape it into an inclusive space that’s forward-looking and representative of the people who live and create here.
5. How do you balance honouring The List’s 40-year legacy with innovating to remain relevant in today’s fast-evolving media and entertainment landscape?
Especially in a post-pandemic world, people want something tangible to pick up with an editorial integrity that doesn’t pander to clickbait. We’ve always kept our editorial and advertising very separate; you can’t buy a feature or a good review, and we only form media partnerships with those events/brands that we would already support. We believe in working together with the arts and culture community and supporting the fragile eco-system that keeps us all going.
6. The success of The List’s expansion to Australia with the Adelaide Festival Guides suggests an international appetite for your model. How and why was Adelaide chosen and are there plans to replicate this in other cities?
Edinburgh and Adelaide have a long, deep rooted relationship because of the Fringe; Edinburgh’s Fringe started in 1947 and Adelaide’s Fringe began in 1960 and so, for decades, the two have supported each other. In 2019, we were invited to Adelaide to discuss the idea of creating a white label list.co.uk, but the idea was scuppered because of successive lockdowns.
Once we relaunched, it was suggested that Adelaide would benefit from a Festivals Guide (like we do in Edinburgh), so we bit the bullet and created The Adelaide Summer Festivals Guide and went on to win the PPA Award for Best Brand Extension in 2023. Following on from the success of that, we launched The Adelaide Winter Festivals Guide. We’re currently considering our next steps in this venture: watch this space.
7. How have your audiences changed over the years and how is The List adapting its content and tone to meet new expectations?
Our audience has evolved, but what hasn’t changed is people’s desire to go out and discover what their city has to offer. In terms of content, we stay ahead of the curve by celebrating and supporting arts and culture on every level. We’re as likely to put an emerging band on the front cover as much as a Hollywood film star.
8. In a time when many print titles are disappearing, what’s The List doing to ensure its sustainability for the next 40 years?
If one thing is certain, it’s that we have an incredibly loyal audience. We launched a Crowdfunder in December 2021 and within three weeks we raised almost £30,000. The response and support was validating and the comments so overwhelmingly positive that we knew we were doing the right thing. We’re always looking ahead, but our priority is delivering independent credible journalism and making sure our support of arts and culture remains at the forefront of everything we do.
9. On a personal note, what does leading a publication like The List at such a pivotal milestone mean to you, especially heading into the biggest cultural moment of Scotland’s Year?
Working here has always been more than a job for me and every day that I get to call this my job is a privilege. Robin Hodge, the original publisher who founded the magazine in 1985, is the greatest teacher and mentor there is. To carry on his life’s work is a huge honour. I hope I’m doing it justice.
10. What advice would you give to young journalists or cultural entrepreneurs hoping to follow in The List’s footsteps in a crowded digital world?
The last couple of years have been tough for the arts and culture communities; it needs young journalists and cultural entrepreneurs to keep having ideas and to keep supporting the arts. There’s no denying we are living in a digital world but print has an important role to play and needs to be protected. We need the next generation of writers to carry the baton for the next 40 years.
