WFH WTF

Readers of the London Evening Standard will have been presented this week with what appears to be the newspaper’s single-handed attempt to get Londoners back into the office.

“Remote working is killing London. Get back to the office”, the paper thundered with an editorial by Dylan Jones, the editor. In it he recounted now-familiar stories of parts of the city apparently deserted on Mondays and Fridays, of company bosses complaining of empty (and expensive premises), and everyone from restaurants to dry cleaners noting that trade was still down as a result.

“Come Friday, it’s like a bomb has dropped, with deserted streets around Moorgate, empty shops in Broadgate, the surrounding restaurants all starved of trade. And it has got to stop,” Jones opined. “Remote working is killing London. It’s killing trade, killing commerce, and killing the city’s ability to properly get back to work.”

“Speak to any shopkeeper, retailer, or news-seller, or anyone in the hospitality industry, and they will tell you the same,” he continued. “London feels like it is on its way back: commuter patterns are up, West End footfall is up, and tourists are beginning to feel as ubiquitous as they were pre-Covid. But there is still a bewildering lack of urgency among employers regarding full time in-office working. Many companies still only expect their staff to come to work three days a week - usually Tuesday, Wednesday and Thursday - making a mockery of the working week.”

We are, of course, talking about the post-pandemic reality (although, with Covid-19 very much on the march again, it’s debatable just how ‘post-‘ things really are). But there is also the view that if there was one good thing to come out of the disease it’s the adoption of more flexible working arrangements for those who can make use of them. It is, though, somewhat arrogantly London-centric to assume that everyone works in an office. But equally, it’s hard to fully get an objective picture of just how our cities are performing in these changed times. 

For the last four months I’ve been working on a fixed-term contract for an industry association whose headquarters is located in the City of London. I’ve been absolutely loving going into the office as often as makes sense. That, though, is the key: ‘as often as makes sense’. Go back 35 years to when I joined Sky TV, then based in the West End, and I was in the office Monday to Friday, and wearing a suit and tie every day. Indeed less than ten years ago I was going into the Paris HQ of the telecoms company I was working for every single day without giving much thought to it (largely as I was living just a handful of Métro stops away and could even walk there if the mood took me).

The Internet age changed everything. The first time I had both my own work-supplied mobile phone and laptop was in the mid-1990s, where remote connectivity was more useful for business trips with the PR agency I was working for at the time. Dial-up access, at home or in a hotel room, was a faff and frankly more novelty than necessity. But over the next couple of decades remote working progressed from something you could do if necessary (for example instead of taking a sick day, or when you needed to be at home for a plumber) to the mandated instruction it was during lockdown. 

I started at my last company a month into the first lockdown in the UK and didn’t see the inside of its headquarters until August the following year. Even the ‘Great Return’ of 2021 seemed tentative. It took months before the so-called ‘TWAT’ syndrome became a thing (people only coming into the office on Tuesdays, Wednesdays and Thursdays). Those who went in on Mondays or Fridays were either contrarians trying to make a point, or the socially awkward, preferring the peace and quiet.

If the Standard’s campaign this week is to be believed, TWATs are still a thing. There’s no doubt that my place of work is quieter on Mondays and quieter still on Fridays , which calls into question the financial logic of renting large commercial office spaces in central London on days like that. But on Tuesdays, increasing through Wednesdays until Thursdays when it is packed, the place is genuinely buzzing with bodies. Desks need to be booked in advance and heaven help anyone needing a meeting room without reserving one first.

Along with the Victorian Pencil, Jacob Rees-Mogg, and his absurd pass-agg campaign to get civil servants back into Whitehall post-Covid (when he held the hilariously oxymoronic post of Minister for Brexit Opportunities and Government Efficiency), the most vocal proponents of returning to five-days-a-week in-office working have been the CEOs of large commercial banks. On my own evidence, working in the City, the pubs and bars I walk past appear to be well populated by laddish banker bros quaffing pints at various times of their stressed out days. “Coming together fosters better collaboration and teamwork, enabling us to better serve our clients,” Andrea Rossi, CEO of the City fund M&G told the Evening Standard. Banks have been the most belligerent on this issue, but in-person attendance in other sectors has suffered. “Of course I would prefer to see people, have them in the office,” top advertising industry executive Sir Martin Sorrell, CEO of S4 Capital said this week. “It helps in terms of one-to-one creativity”.

Maybe the City of London, where I am currently based, is not reflective of the rest of the capital, or indeed the country. But I certainly haven’t noticed much of the reported deadening of commuter traffic into London on Mondays and Fridays. The Evening Standard kicked off its campaign this week by reporting new travel data which showed that the capital’s three main commuter railway networks – South Western, Southeastern and Thameslink – are carrying 22 million fewer passengers each month than four years ago. “We are not seeing the level of people commuting five days a week that we saw pre-Covid,” Angie Doll, chief executive at GoVia Thameslink Railway, said. “We are seeing people commute on a Tuesday, Wednesday and Thursday – and that pattern is absolutely set now. I can’t see that changing again.”

This doesn’t exactly stack up in my own experience: travelling at peak-time from south-west London, even on Mondays and Fridays you’re lucky to get a seat on the 0740 to Waterloo, and on every other day of the working week you’re packed in like sardines. Of course, train strikes make the decision on whether to work at home or not a lot more simpler for those who are able to use the option. 

South Western, one of the largest carriers of commuters from the outer suburbs and southern shires, noted to the Standard that its passenger demographic meant that more were likely to be in senior professional jobs where they could work from home should they choose to (and, I would hazard a guess, have the sort of salaries that put them further outside of London), are more likely to work in senior positions or belong to the managerial classes than other train companies. In other words, they are more likely to have the ability and authority to work from home.

“We have not given up on the weekly commute,” SWR’s customer and commercial director Peter Williams told the Standard. “But commuters are telling us that their travel patterns are fixed in the short term. But there are nuances. Younger people show more willingness to get into the office. It’s important for them to build their profile — and to socialise after work. There are also some employers who hope that at some point they’re able to coax their colleagues into the office more frequently. But with the cost of living pressures, they don’t feel that now is the right time to be insisting on that.”

Which brings us to the notion of ‘hybrid’ working. As someone who has been looking for a permanent job since March, I’ve noticed the amount of hybrid work being advertised. In fact, at one company I interviewed with, its Cambridge office was there largely for collaborative needs when required, and even those who lived locally worked from home on more days of the week than they came in.

Workplace flexibility is clearly here to stay. Many with children or caring responsibilities have found it a boon, as have those whose salaries haven’t kept up with the cost of commuting (not just the price of a return ticket, once you add in the coffees, Pret lunches and all the other ancillary costs that come from leaving the house each morning).

Personally, I love going into the office of my current employer. The work itself is so much more rewarding when you have colleagues to bounce ideas off. Waiting for an e-mail reply or a WhatsApp response is just not the same as walking across to someone’s desk and asking them something. According to research by the Office Group, some 83% of workers would prefer working from some form of company premises than working remotely full-time. 

For me, it’s partly the social interaction but also - oddly - the commute itself. For the lengthiest leg of my journey by Tube from Wimbledon into the City I get a seat for its duration with which to read or listen to podcasts. The overall travel time of an hour each way creates a buffer between home and work life. And even if parts of the commute involve dealing with other people, their headphone noise, phone conversations and sniffing, it’s still a marked improvement on not seeing anyone at all throughout the day during lockdown. 

During the pandemic I had commute envy. My wife, a teacher, was going out every day to teach the children of key workers, which made me deeply envious of her ability to get in the car and drive even just a couple of miles down the road, seeing things other than the hedge outside our living room that was my vista for 18 months. Now, I emerge from Cannon Street station to be confronted with early morning life - people heading in to their offices, going for breakfast, grabbing coffee, being out there.

I don’t have a home office or even a desk at home, so going into company premises provides me with somewhere proper to sit at, a large monitor, hot and cold running tea/coffee/WiFi/toilets and, most importantly, people, as opposed to an over-attentive cat. When lockdown first imposed WFH on the much of the workforce, there were younger members of my then-team perched on beds in flat shares or kitchen tables at their parents’ houses. I felt sorry for them, missing out on the shared office experience that I’d had from the very start of my career. 

While it is nice to go in on a Friday when the place is virtually deserted, being amongst and around busy people making whatever contribution they make to corporate life is without substitute. It’s something those younger workers have lost out on profoundly, and will continue to so if they’re still not going in regularly or even at all. Productivity is, let’s face facts, not what it is when you’re at home.

There are other disadvantages to working from home. Firstly, it’s making us fat. Or fatter. A survey conducted by the fitness app MyFitnessPal has found that Brits consume nearly 800 more calories and take 3,500 fewer steps when they work from home - a not surprising set of statistics, based on my own personal experience. 

Mental health has also taken a battering, especially for those who live alone or with vulnerabilities. In its 2022 New Future of Work Report, Microsoft revealed that, while working remotely can improve job satisfaction, it can also lead to social isolation, guilt and overcompensation. At first, there were countless articles about baking banana bread and going for a spin on the Peleton whenever the opportunity arose, but the reality was that many home workers found themselves working even longer hours. As many as 80% have reported their mental health suffering as a result of being tied to laptops all day long, with human interaction facilitated exclusively by home broadband. 

WFH has also dampened spontaneity. Research by the reservation app Ambi found that 30% of working age adults felt that the pandemic killed off having fun, and that spirit has yet to return. It said that 40% of home workers in the UK found that not being in the office all week has made them boring - either not agreeing to ad hoc drinks after work with colleagues or even getting too comfy to want to go out with their own friends.

The Teams meeting experience...

I would agree with both: on multi-window ‘virtual’ meetings, with an array of colleagues resembling the opening titles of The Brady Bunch, it’s a fair bet that some will be distracted by their mobile phones, or e-mail, social media, web browsing or some other form of partial disengagement. We’ve all done it. We all still do it.

I recognise that mine is a metropolitan view. I can’t speak for those in the regions who might be holding on to working from home for other reasons. But as a general statement, over the 37 years of my professional life, I’ve always only benefitted from being in an office. Perhaps I’ve been lucky: perhaps, working in busy, buzzy newsrooms and for the last couple of decades press offices in corporate headquarters, I’ve been able to enjoy the banter, the exchanges of ideas, the arguments and disagreements, occasional bollockings and even more occasional praise that come with face-to-face working. I couldn’t go back to being perched on my sofa, peering into a laptop camera, all the time. It was a novelty once, but it’s not and never will be where I do my best work. And that is largely down to the fact that my kind of work thrives in a social and sociable environment.

If you remember the '80s, you probably were there

Dylan Jones (centre) with the Cookie Crew’s Cookie Pryce and Susie Q
Picture: BBC/Sebastian Barfield/Plimsoll Productions

There is some dispute as to who first quipped “If you remember the ‘60s you weren’t there”, but the prevailing view is that it was American comedian Charlie Fleischer. It’s a line that stands out because the decade in which I was born is revered for its cultural earthquakes - peace, love, The Beatles and all that - which then led to another decade that embraced rock, disco, funk and punk.

The ’60s/’70s sequence is nice and neat, and comes to a full stop with the start of a decade that still seems to be treated like the uncool, oddball member of an otherwise respectable family. But were the 1980s really that bad? I became a teenager in the ’80s, which means that it, more than any other decade, should have had the greatest cultural influence on me. It’s when I really discovered music for myself, and when I passed through all the rights of passage you’d expect, starting the decade as a 13-year-old and ending it at the age of 23, in the process progressing through puberty, school and the start of my career in the media, initially writing about music. Throughout this entire time there was a lot to absorb, culturally. I’m not going to attempt to precis the 1980s in one single blog post (actually, I don’t think an an entire book could capture the decade faithfully), but music does provide a frame with which to consider the period.

It has become fashionable to rubbish the 1980s, but that may be something to with the fact that it brings back dystopian memories of the Cold War, the Reagan/Thatcher love-in, and the very real risk of someone dropping a nuclear bomb on your home. That all tempered the seemingly confected frivolity of the era’s pop music, a point not helped by those BBC Four Top Of The Pops re-runs from the time featuring  cheesy (and disinterested) Radio 1 DJs introducing badly lip-synced performances. 

This was a theme that I expanded on back in July when I interviewed the eminent force of music radio that is Gary Crowley on the occasion of his sumptuous second Lost ’80s box set coming out. “It was an exciting time,” he told me, adding that “half of those artists [in the early ’80s] were all punks, anyway.” However, as we now put a 40-year distance between now and the start of the ’80s, there is room to reconsider the decade, Crowley’s two four-CD box sets have demonstrated, though relative obscurities from some of the era’s biggest pop acts, like Wham!, Depeche Mode, Prefab Sprout, Spandau Ballet, Culture Club and Bananarama, just how much good music came out of a period that hindsight hasn’t always been too kind to. 

This forms the central thesis of a new four-part BBC2 series commencing tomorrow night - The 80s - Music’s Greatest Decade? fronted by Dylan Jones the former editor of GQ, The Face and iD magazines, and author of several acclaimed music biographies. “Interminable television programmes still suggest the whole episode was nothing but a calamitous mistake, a cultural cul-de-sac full of rotten records by shameful individuals with orange skin and espadrilles,” Jones says of the decade. “I’m here to tell you this couldn’t be further off the mark.” 

He believes that the ‘80s were far more inventive, musically, than the tropes about drum machines and over-produced records relentlessly suggest, and in the series calls upon figures such as Nile Rodgers, Madonna, Eurythmics, Public Enemy, Gary Kemp, Jazzie B, Trevor Horn, Bronski Beat, Bananarama’s Sara and Keren Woodward, Spandau Ballet’s Gary Kemp, Primal Scream’s Bobby Gillespie, UB40’s Ali Campbell and others to prove the point. 

Key to this view is Jones’ belief that, unlike other eras, the 1980s weren’t anchored to one single genre, and the notorious tags that the music press, in particular, likes to label an artist. In fact, if you think about it, what is “’80s music”? Were Culture Club a reggae band because of Do You Really Want To Hurt Me? And what were Duran Duran, with their nodding references to Chic, Roxy Music and even the prog rock they were all fans of as teenagers? Gary Kemp - now touring as vocalist and lead guitarist with Pink Floyd founder Nick Mason's outfit Saucer Full Of Secrets readily admits to being a prog fan, and has said that even a band as symbolic of the '80s like Spandau Ballet pulled on references from previous decades. “We were influenced by Floyd,” he has said.

Dylan Jones believes that the 1980s were pop’s greatest decade, when pop became more adventurous than ever. He even thinks the decade gave the ’60s and ’70s a run for their money in terms of excitement. Pop culture, he argues, became even more inventive, “a kaleidoscopic display of musical experimentation,” he wrote in The Sun, “in which genres were born and evolved with dizzying rapidity. While music continues to fascinate to this day, it will never be as varied as it was back then.” I think he has a point.

But, then, every era has its good and its bad. “Whenever anyone tried to say the ‘70s was a period of great music - ­glam rock, disco, punk, soul etc - we had Bay City Rollers, Slik and David Cassidy thrown in our face,” Jones points out. The ’80s, by contrast, offered a “wild variety” of styles, from electro to the New Romantics, rap and hip-hop, and the early shoots of Acid House and Britpop. And that was on top of creating some of the biggest and most influential pop acts of all time, from Michael Jackson to Prince, George Michael to Madonna.

Jones’ BBC2 series explains that technology played a massive part in pop’s ’80s explosion. With the bare minimum of ability, bands could buy drum machines and synthesisers and, with the help of computers, make distinct sounds. At the same time, MTV gave a platform to pop’s third dimension: image. Image played, perhaps, an even bigger part - bigger than even during the glam rock era - with how bands identified themselves. “You’d hear something and think, ‘oh that’s Bananarama, that’s Culture Club, that’s Duran Duran’,” says Bananarama’s Keren Woodward. “Everyone looked their own way as well.”

‘Promos’, as they used to be called, had been pretty cheesy inserts for shows like Top Of The Pops and Nationwide when either the band couldn’t turn up or Pan’s People couldn’t come up with a dance routine in their place. But with MTV, record companies upped their promotional budgets, sending the likes of Duran Duran off to shoot their exotic yachting videos, and even turning Texan rockers ZZ Top turned into cable TV cowboys through slick promos that didn’t take themselves too seriously. And, then, right smack in the middle of the decade, pop reached its zenith with the “global jukebox” - Live Aid. 

Nile Rodgers, whose work on Bowie’s Let’s Dance made The Dame - and that album - one of the biggest things to happen in the 1980s - tells Jones in the series that the decade was, for many of his peers, the summit of a lot of work that had gone on before. “The ’80s was the pinnacle for a lot of us musicians who had come from the ’60s and the ’70s,” he says. “Reaching that place, you had this great explosion of artistry in the Eighties that ran the gamut.”

Jones says that one of the most surprising interviewees for the series was Iron Maiden’s Bruce Dickinson (who also doubles as a fully qualified airline pilot, when he’s not hanging out with the band’s gruesome zombie mascot Eddie). Asked how the headbanging band became so popular in the ’80s, Dickinson explains, simply: “We were very good at our job, the audience knew that we also had a sense of humour about what we did. We were proud of our music but we tried to keep our feet on the ground.” 

As with any era there were plenty who didn’t. As a journalist in the second half of the decade I encountered some of the more highfalutin’ aspects of ’80s pop stardom, which is why Smash Hits magazine did such a wonderful job in bursting any bubbles that became over-inflated (and do read my interview with “ver Hits”’ David Hepworth and Mark Ellen for their thoughts on this).

We are quick to jump on easy assumptions about anything, and the shorthand about the 1980s was that the decade was a bit naff. That, view, though is informed more by the frivolity, the shoulder pads, the lip gloss, the…er…drug taking (not me, but I can tell you a story or two…) the “gender-bending” and all the other cheap tropes that regularly get trotted out. More objectively, the decade should be regarded for its music. Gary Crowley’s characteristically effervescent curation of the decade has repeatedly underlined that there was plenty of truly great pop. Jones’s series, I hope, will expand on this further by reminding us that amid the puffball skirts and jackets with their sleeves pushed up to the elbows, there was a lot more breadth to the decade’s music than you and I faithfully remember.

The 80s – Music’s Greatest Decade? With Dylan Jones begins on BBC2 at 8.55pm on Saturday 23 October