I arrived at Sage Gateshead—now The Glasshouse—ten years ago. From London I had followed its creation with real admiration. I was amazed by the boldness of its vision and by the fact that a team of people had not only dreamed something so ambitious but had actually made it happen. Nothing like it had existed before, and it set a whole new standard—internationally.

At its heart, this was a vision that said music—and how people make and experience it—could be central to a place’s identity, well-being, economy, and community. It recognised something deep in the North East: that music courses through the region’s veins. It’s always been here, woven into the culture and spirit of the place.

That vision came to life through a music programme that’s open to everyone. All genres, all ages, all abilities. From a baby taking part in their first session to a world-class artist performing on stage—it’s all part of the same journey.

And all of this is based in a striking building on the banks of the Tyne—designed by Foster + Partners and known affectionately by a variety of nicknames, some unprintable. Now The Glasshouse, it’s a space that wears its ambition proudly. That matters—because everyone everywhere, not just in the biggest cities, deserves the very best.

Today, our identity is summed up in a simple phrase: Music lives and grows here.

At the centre of the building is what we call our “indoor town square”—a big open space where audiences, artists, staff, and participants naturally cross paths: there’s nowhere else to go. Back in 2015, I used to sit there and imagine what it could become in its second decade: a real home for musicians. Not just a place to pass through, but a place where they could settle in, make work, teach, collaborate, and connect with brilliant audiences.

We were already home to Royal Northern Sinfonia, but the potential for something bigger was obvious—especially because we’ve always supported all genres of music. That mix allows musicians from different worlds to learn from one another. So we’ve spent the last ten years building on that idea.

And now, there’s real momentum—not just within The Glasshouse but across the whole region.

We’ve built a growing family of Artistic Partners—musicians who have an ongoing relationship with us, using our space and support to develop new work. That includes Maria Włoszczowska, The Unthanks, Corinne Bailey Rae, John Wilson and Sinfonia of London, with more joining soon. We’ve supported 35 Artists in Residence, who’ve spent a year working and learning together in our building. Over 200 musicians have taken part in Summer Studios, a two-week creative bootcamp with mentoring, workshops, and a chance to showcase their work.

Royal Northern Sinfonia has also grown, under the leadership of Music Director Dinis Sousa, alongside artists like Nil Venditti, Ellie Slorach, RNS Moves (our inclusive ensemble), and 24 amazing women conductors who’ve developed through our long-term collaboration with the Royal Philharmonic Society.

You might ask: isn’t it enough to just be a great venue for concerts and classes? But for us, this idea of being a true home for musicians is part of the original dream. It’s only really come into its own in our second decade.

And we’re not alone. Across the North East, the movement is growing. Sunderland and NewcastleGateshead are now Music Cities. The Tees Valley Music Alliance is building momentum in the south. Together, we’re building an outward-looking, inclusive, living, musical region.

Our goal is clear: to make the North East a place where musicians want to live and work, not one they feel they have to leave. Where local and visiting audiences can enjoy world-class music. Where young people see creative careers as real options. Where culture is part of everyday life, and music plays a role in our identity, economy, and wellbeing.

And sometimes, you see the whole vision come alive in just a single moment.

Last week, I was in our town square when Becky Unthank, one of our Artistic Partners, popped out of the Foyle Music Centre for a quick break from recording. We started chatting and as we walked along met one of six students doing work experience. I introduced them—knowing the student was also a musician. When they realised they were talking to an Unthank, their face lit up. Off they went, deep in conversation, connection made.

It was a small thing. But it captured the bigger idea: that one connection can spark something special. Multiply that and you start to change lives—and a region.

Musicians see the world differently. They help us express what we can’t always say. Especially in complicated times, that’s more important than ever.

The Glasshouse isn’t perfect, and it’s no longer totally unique in the world – others internationally have followed our lead. But there’s something powerful building here. And that’s exciting.

This is a musical region for the 21st century. And at The Glasshouse, we’re proud to keep playing our part by supporting, celebrating, and standing alongside musicians.