What would London's tube map sound like? One composer decided to find out

The double-bass part from “London, he felt fairly certain, had always been London". Image: Ewan Campbell.

I'm not saying CityMetric is obsessed with tube maps. I'm just saying that, if you did a Venn diagram of regular readers, and people who own a well-thumbed copy of Mark Ovenden's excellent “Metro Maps of The World,” there'd be more overlap than the Circle and District lines.

But here's a question that's not yet been answered by either that book or this site: what would the tube map sound like?

Composer Ewan Campbell decided to find out: teaming up with contemporary music ensemble The Hermes Experiment, he’s used the distinctive map as a way to create a piece of music based on Harry Beck's iconic diagram. “London, he felt fairly certain, had always been London” – yes, the title is a 1984 reference – had its world première at the Cockpit Theatre in Marylebone on Tuesday.

“Writing map scores is something I've been exploring for a little while,” composer Campbell tells me. His previous effort, “The Following,” took the players on a journey across an American grid-style city layout.

This one takes the audience on the tube – with some minor tweaks. “My version of Zone 1 doesn't have any dead ends,” he confesses, having joined up Vauxhall and Waterloo, to make the transitions from one musical snippet to the next easier.

The way it works is simple. Each musician has a tube map in front of them, with notes instead of the station names. Each station is a musical fragment of between two and 20 seconds, which should more or less work with all the other pieces. (Everything is in a slightly altered Phrygian mode of F, since you asked.)

The Hermes Experiment has a double bass, clarinet, harp and soprano, so the resulting music sounds weird but beautiful (much like taking the Metropolitan Line all the way to the end). Each performer goes on their own journey, listening to each other to make the piece work. They can only go to adjacent stations, and play what they find there. So, as Campbell explains, “the music is written, but the piece is improvised.”

 

An extract from the Soprano part. Image: Ewan Campbell.

The musicians decided to start at King's Cross for their performance, and followed Campbell's instruction to “race around as quickly as you can. The Piccadilly Line has a long, slow melody for the double bass; the harp has a series of wide chords along the Bakerloo Line; and the clarinet blasts out multiphonics on the Northern.

To make the whole thing even more of a London soup, the singer's stations consist of extracts from poems and songs about the capital. As well as getting recommendations from friends, the composer used Poetry Atlas to match extracts to places. (Anyone looking to be productive at work should avoid this website, which literally puts poetry on the map: by clicking on pins, you can see which poems mention your corner of London, or even the world beyond).


The final piece includes Wordsworth’s sunrise reverie on Westminster Bridge; D.H. Lawrence’s outcasts sleeping under a bridge; and several extracts from poems by Will Hatchett. In terms of prose, there's Charles Dickens at Charing Cross, bits of Virginia Woolf, and Samuel Pepys’ diary about the great fire in 1666.

Héloïse Werner, who sung her way round London Bridge, and mainly stayed south of the river on the night, said it had been great fun working on the piece. “In the first rehearsal, we started at Bank, and said we'd meet at Marylebone in ten minutes,” she recalls. “Now, when we walk around the city we hear pitch and noise everywhere.”

London, he felt fairly certain, had always been London,” wasn't the only transport-related piece in the programme. The audience also heard a work in progress about your correspondent's favourite high-speed rail link: “Eurostar, Velaro” by Stevie Wishart is based on the sounds of the train going between London and Brussels, complete with a soprano making “choo choo” noises, and a bass clarinet with paper attached with bulldog clips (bizarrely, it sounds just like the tremble of catenary wires). 

London fans also got to hear a piece by Jethro Cooke which involved the ensemble playing over ambient sound recordings of the city – including everything from the creaking lifting mechanism of Tower Bridge to the sound of dropping large objects in car parks and tunnels. I'll never hear the city the same way again.

 
 
 
 

Here are eight thoughts on TfL’s proposed cuts to London’s bus network

A number 12 bus crosses Westminster Bridge. Image: Getty.

In 2016, the urbanism blog City Observatory had a modest proposal for how American cities could sort out their transport systems: “Londonize”.

Its theory, the name of which referenced another popular urbanism blog, Copenhagenize, was that the key plank of Transport for London’s success was something that even transport nerds did not consider very sexy: its buses.

Though the Tube might get more glamorous press, London’s bus service really is impressively massive: It carries roughly 2.3bn passengers per year—much more than the Tube (1.3bn), close to the New York City subway (2.8bn), and nearly half as much as every bus service in America combined (5.1bn), while serving a population roughly 1/35 as large.

How has TfL done this? By making its bus network high frequency, reliable, relatively easy to understand and comprehensive. We rarely talk about this, because the tube map is far more fun – but the reason it’s so difficult to fall off the transport network in Greater London is because you’re never that far from a bus.

Given all that, we should probably talk about TfL’s plans to rethink – and in most cases, cut – as many as 36 different central London bus services over the next few months.

I’m not going to rehash details of the changes on which TfL is consulting from next month: there are just too many of them, and anyway it’s someone else’s scoop. The story was originally broken by Darryl Chamberlain over on 853 London; there’s also some fascinating analysis on Diamond Geezer’s blog. You should read both of those stories, though preferably not before you’ve finished reading this one.

Before offering my own analysis of the proposed changes, though, I should offer a few examples. More than a dozen routes are facing a trim: the 59 from King’s Cross back to Euston, the 113 from Oxford Circle to Marble Arch, the 171 from Holborn all the way down to Elephant & Castle and so on. A couple – the 10, the 48, the C2, and at most times the special routemaster version of the 15 – are being withdrawn altogether.

On, and one new route is planned – the 311, from Fulham Broadway to Oxford Circus. This will help plug some of the cuts to the 11, 19 and 22.

So, what does all this mean? Some thoughts:

1) This might not quite be as awful as it initially sounds

TfL says that demand for buses has fallen by around 10 per cent in London in recent years. It predicts it’ll fall further when Crossrail opens, as passengers switch to the new line, or to the tube routes relieved by the new line. So: the idea of taking some unwanted capacity out of the system is not, in itself, terrible.

Striping out unnecessary buses should also improve air quality in some of London’s worst pollution hot spots, and improve traffic flow, hopefully speeding up journeys on those buses that remain. 

A map from the presentation in which TfL explained its plans, showing the reduction in bus numbers on key arteries. Hilariously, notes Darryl Chamberlain, “It no longer produces its own maps, so has had to use one prepared by a bus enthusiast”.

The plans might even free up buses and staff to increase frequencies in outer London where demand hasn’t fallen – though these plans won’t be unveiled until next year and, for reasons I’ll come to below, I’ll believe it when we see it.

2) For many bus users, a lot of these changes will pass almost unnoticed

By my count, I use nine of the affected routes with any regularity – but only three of the changes are things that I’m likely to be at all inconvenienced by. Most of the changes either affect a part of the route I don’t take, or one where there are easy, and pain free alternatives.

This is anecdotal, obviously – perhaps I’m just lucky. But my suspicion is that a lot of these changes will go unnoticed by most passengers. It’s only the sheer number of them happening at once that makes this look like a big deal.

3) The Hopper fare makes this easier...

Once upon a time, if you had to switch buses, you had to pay a second fare. This isn’t true of journeys on the tube or railways – and since bus passengers have, on average, less money than tube passengers, it amounted to a pretty unfair tax on poorer Londoners.

But in January, in what is probably his most notable policy achievement of his two years in office so far, London’s mayor Sadiq Khan changed the rules. Now you can take as many buses as you want within an hour, for a single fare: that means you can switch buses without paying a penalty.

That will have made it easier for TfL to cut routes back: replacing a direct bus journey with one that requires a change no longer means imposing a financial penalty on passengers.


4) ...but not that easy

That’s about where the good news stops, though – because there are reasons other than cost why people prefer direct bus routes. Needing to change buses will be difficult for anyone with any form of mobility impairment, for example. Even for those of us lucky enough not to fall into that category, it’ll be annoying: it’s just easier to stay in one seat for 40 minutes than to get turfed off and have to fight for a new one halfway through.

More than that, from the passengers’ point of view, excess capacity feels quite good a lot of the time: it means your bus may well be nice and empty. Reducing the number of buses along those key corridors will also make those that remain more crowded.

5) The motive is almost certainly financial

Another of Sadiq Khan’s big policy promises was to freeze fares. He made this promise at a time when central government is massively reducing the financial support it gives TfL (the work, Chamberlain notes, of Evening Standard editor George Osborne, back when he was chancellor). And the Hopper fare, while a great idea in many ways, means a further reduction in income.

So: TfL is scrambling for cash: this is why I remain cynical about those new outer London bus routes. I would be amazed if money wasn’t a motivation here, not least because...

6) TfL thinks no one will notice

Any attempt to reduce tube frequencies, let alone close a station, would result in uproar. Hashtag campaigners! Angry people pointing at things in local newspapers! Damning reports on the front of the Evening Standard from the bloke who made it happen!

Buses, though? Their routes change, slightly, all the time. And do you really notice whether your local route comes every 10 minutes or every 12? That’s not to mention the fact that bus passengers, as previously noted, tend to be poorer – and so, less vocal – than tube passengers.

So cuts, and the savings they bring, are much easier to sneak through. TfL probably would have gotten away with it, too, if it hadn’t been for those meddling bloggers.

Although...

7) Scrapping the C2 might be a mistake

The C2 runs from Parliament Hill, through Kentish Town and Camden to Oxford Circus. In other words, it links north London, where a lot of journalists live, to the offices of the BBC and Buzzfeed.

As occasional New Statesman writer James Ball notes, this is probably not the easiest route to quietly shelve.

8) None of this is set in stone

The consultation doesn’t even begin until next month and then will run for six weeks – so all these plans may yet be forgotten. We shall see.

Anyway – here’s Darryl Chamberlain’s original scoop, and here’s some detailed analysis on Diamond Geezer. Please support your local bloggers by reading them.

Jonn Elledge is the editor of CityMetric. He is on Twitter as @jonnelledge and on Facebook as JonnElledgeWrites.

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