English performance poetry

Those who know me will know my history in performance poetry. This emerged largely from my stage presence as a musician and front-man for several rock bands in the 80s and 90s. During that time I developed a performance style constructed on the spoken word, humour, ad-libbing and story telling. Out of fascination, I delved into the history of performance poetry in my own country and it is fascinating. Read on...

Modern English performance poetry emerged during the cultural revolution of the 1960s, transforming poetry from a predominantly printed literary form into a vibrant live art. Influenced by music, theatre, political activism, and the spoken traditions of earlier times, performance poets tried to engage audiences directly through their voices, rhythm, humour and storytelling. Today, it flourishes in festivals, theatres, schools, cafés and online, making poetry more accessible than at any time in recent history.

In my opinion, the most influential pioneers of performance poetry were the Liverpool Poets—Adrian Henri, Roger McGough and Brian Patten. Living and performing in a city that was also home to the Beatles, they captured the energy and optimism of the 1960s. Rather than writing solely for academic audiences, they produced poetry that could be heard as well as read. Their performances often included music, visual art, and humour, breaking down the barriers between poetry and popular entertainment.

I own a copy of their landmark anthology, The Mersey Sound (1967) and often dip into it for inspiration. It is one of the best-selling poetry collections in British publishing history. Adrian Henri combined surreal imagery with pop culture and jazz influences, while Roger McGough became renowned for his wit, wordplay and memorable public performances. Brian Patten's deeply personal poems about love, childhood and social injustice balanced accessibility with emotional depth. Together, they demonstrated that poetry could appeal to a broad audience without sacrificing artistic quality, inspiring countless poets to perform their work rather than simply publish it.

Parallel to the Liverpool Poets, Adrian Mitchell emerged as one of Britain's foremost political performance poets. A passionate campaigner against war, nuclear weapons and social inequality, Mitchell believed that poetry should speak directly to ordinary people. His energetic performances combined humour, satire and moral conviction, making him a regular presence at political rallies, literary festivals and public events.

The rise of punk during the late 1970s gave performance poetry a new voice through John Cooper Clarke. Often described as the Punk Poet (other poets were available), Clarke delivered quick-fire poems full of dark humour, sharp social observation, and working-class wit. Performing with rock bands, he introduced poetry to audiences who had little interest in traditional literature. His influence can still be seen in today's spoken-word performers and stand-up poets.

The 1980s and 1990s saw performance poetry become increasingly diverse. Benjamin Zephaniah combined reggae rhythms, Jamaican oral traditions, and political activism to create an unmistakable performance style while Linton Kwesi Johnson achieved something similar with dub-poetry. His poems addressed racism, inequality, environmental issues, and human rights with warmth, humour, and urgency. Zephaniah's refusal to separate poetry from everyday life helped establish spoken word as a respected literary form. Other notable performers, including John Hegley, blended comedy with thoughtful observations about family, education, and modern society, proving that performance poetry could be both entertaining and deeply moving.

In recent years, performance poetry has flourished through poetry slams, open-mic nights, festivals, podcasts and via social media. The internet has enabled poets to reach global audiences without relying solely on traditional publishers. Luke Wright has become one of England's leading live poets, combining political commentary with autobiographical storytelling and humour. Hollie McNish has attracted large audiences through performances addressing motherhood, feminism, class and everyday life with honesty and wit. Brian Bilston, often described as the 'Poet Laureate of Twitter' has demonstrated how social media can introduce poetry to new readers through clever, accessible verse that frequently translates successfully to live performance.

Among England's most respected contemporary poets, Simon Armitage, the current Poet Laureate, is a gifted performer whose conversational style makes his readings engaging. His work bridges the gap between page and stage, while poets such as Kae Tempest have taken it much further. Tempest has blurred the boundaries between poetry, theatre, music and spoken-word performance, attracting audiences far beyond traditional literary circles. Although his work incorporates rap and dramatic monologue, it sustains the performance tradition established by earlier generations. Another in this mould is Chris Turner who performs free-style comic rap, working with suggestions from live audiences to create spontaneous, real-time poetry.

Today, performance poetry holds an important place in English culture. Schools encourage spoken-word competitions, literary festivals regularly feature live performances, and poetry slams continue to attract new voices from every background. The tradition established by the Liverpool Poets has evolved into a diverse movement that embraces humour, politics, identity, music, and personal experience.

English performance poetry has transformed the way poetry is written, shared and enjoyed. From the pioneering performances of the Liverpool Poets to the political passion of Adrian Mitchell, the punk energy of John Cooper Clarke and contemporary voices such as Simon Armitage, Luke Wright, Hollie McNish, Brian Bilston and Kae Tempest, performance poetry in England has ensured that verse remains a living, dynamic and accessible art form in the twenty-first century. 

Steve Wheeler

British Poetry

Wheelsong books is based in Plymouth, in the United Kingdom. Founded by Steve Wheeler (a performance poet, musician and retired university professor) and his wife Dawn Kendal Wheeler (Teacher of English language and literature), Wheelsong was established as a not-for-profit company focused on a) raising the profile of new and unknown poets and b) raising fund for children in crisis. Wheelsong has a long partnership with Save the Children and all its profits go to this international relief organisation. 

The United Kingdom of Great Britain (England, Wales and Scotland) and Northern Ireland has a rich tradition in poetry. It's one of the oldest and most influential literary traditions in the world. Spanning more than a thousand years, it reflects the history, culture, beliefs, and emotions of the British people. From the epic verses of the Anglo-Saxon era to the modern works of contemporary poets, British poetry has continually evolved while maintaining its power to inspire, entertain and provoke. To mark this long history, several prominent British poets are buried or commemorated in Westminster Abbey, at Poets' Corner (Pictured above).

The origins of British poetry can be traced back to the Anglo-Saxon era, when poems were passed down orally before being written. One of the most famous examples is Beowulf, an epic poem that celebrates courage, loyalty, and heroism. During the medieval period, poets such as Geoffrey Chaucer transformed English literature through works like The Canterbury Tales. Chaucer's use of the English language instead of Latin or French made poetry more accessible to ordinary people and laid a firm foundation for future English literature.

The Renaissance marked a golden age for British poetry. During this period, William Shakespeare (the Avon 'Bard') became renowned not only for his plays but also for his sonnets, which explored themes of love, beauty, time, and mortality. Another important British poet, John Milton, wrote Paradise Lost, a masterpiece that examines the biblical story of the fall of humanity. His powerful language and complex themes continue to influence writers today.

The Romantic movement of the late eighteenth and early nineteenth centuries brought a renewed focus on nature, imagination, and personal emotion. Poets such as William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, and Lord Byron celebrated the beauty of the natural world and the importance of personal experience. Wordsworth held that poetry should express the feelings of ordinary people in simple language, while Keats explored beauty and the ephemeral nature of life through rich imagery and emotional language.

The Victorian era introduced the poets Alfred, Lord Tennyson and Robert Browning, whose works reflected the social changes, scientific discoveries, and moral questions of the time. Their poetry often balanced personal emotion with broader concerns about society and progress. Later, during the twentieth century, British poetry became even more diverse. Famous British Great War poets such as Siegfried Sassoon and Wilfred Owen drew attention to the brutality of conflict. Later in the century, poets including W. H. Auden, Dylan Thomas, and Ted Hughes experimented with style and form and addressed themes including war, identity, and the human condition. 

British poetry continues to thrive in the modern era. Modern day UK poets write about themes such as multiculturalism, gender equality, environmental concerns, and mental health, demonstrating that poetry remains a relevant and powerful form of expression. Modern poets use both traditional forms and free verse, showing that the art continues to adapt to changing times while preserving its rich heritage.

British poets continue to make an enormous impact on world literature. Through its exploration of universal themes such as love, nature, faith, loss, and identity, British poetry has touched the lives of readers across multiple generations. The diversity of its voices and styles reflects the changing history of Britain itself. Contemporary poets such as Carol Ann Duffy, John Cooper Clarke, Roger McGough and the current UK Poet Laureate, Simon Armitage are prominent in British society. Whether through ancient epics, Romantic lyrics, or contemporary verse, or street poetry, British poetry continues to inspire readers with its beauty, depth, and timeless appeal.

Steve Wheeler

Image: Poets' Corner, Westminster Abbey used under a Creative Commons Licence

Seriously funny

A few remarks on my blog post from yesterday got me thinking. It seems that some poets believe they cannot be taken seriously if they write comedic material. Yes, there are those who specialise in dark and moody poetry. Many do it very well. Some though may feel rather depressed reading it, while others are uplifted by sorrowful poetry. Perhaps these are thinking, I'm glad that's not me! But generally, dark and mournful poetry tends to bring the mood down a little. 

So what about lighthearted poetry? Poetry that is comedic, absurd and even flippant? How does that make us feel, and are we still taking it seriously if we are laughing and giggling? 

Yes, very much so, otherwise, why would we be spending time reading it? Some poetry can be funny and serious at the same time. Poetry about a serious subject that has a comedic twist has impact.

Humorous poetry can be uplifting, improve our mood and perhaps it even inspire us to write our own comedy poems. I can think of many poets (some are even in my online groups) who write seriously funny poetry. One of course, is our own Graeme Stokes. His poetry is cheeky, often very droll, and sometimes contains sledgehammer wit, all wrapped up in incisive social commentary. Go and check out his Wheelsong Books collection Off the Top of My Head to appreciate what I'm saying.

Some of my favourite humorous poets include John Cooper Clarke, Roger McGough and Brian Bilston. I have collections by all three on my bookshelf, because although each is unique in his style, they all have the same effect on me - I laugh out loud, I shake my head at the brilliance of their wit and humour and I feel inspired to create something similar. Personally I like to bridge the gap and write poetry from a dark or dry humour perspective. 

Have you ever broken out of the mould of sorrowful and mournful poetry and tried to write humorous verse? Have a go and see if you can. You might be pleasantly surprised. That would be funny wouldn't it?

Steve Wheeler

Photo from Flicker used under a Creative Commons licence