ONE spot in the capital dubs itself ‘London’s quirkiest church’ because inside you’ll find a soft play – and a fully stocked bar for the parents.
Inside St James Church in West Hampstead, London, you will find the Sherriff Centre.
Sign up for the Travel newsletter
Thank you!
In West Hampstead, London, there is a church with a soft play insideCredit: Instagram/thesherriffcentreThe soft play even has late sessions where you can go in the eveningCredit: Instagram/thesherriffcentre
Rather unusually, the venue is a blend of different things including a post office, children’s soft play centre, cafe and even a stationery shop.
The soft play area – called Hullabaloo – spans one side of the church and features all you would expect of a soft play centre.
In the section for kids aged between two and 10-years-old, there are three levels featuring two slides, crawl tunnels and hidey holes.
The soft play also has separate sections for babies up to 23 months with a ball pit, puzzles and games and a sensory mirror.
One person commented on social media: “Wow what a unique soft play!”
Another added: “What a fun idea and a great way to start the weekend.”
There are also SEN sessions available, and the venue is available for private party hire.
The Sanctuary Cafe and Bar serves cake, coffee and even wine.
Even though the venue doesn’t serve more than snacks, it has teamed up with Pizza Bun London in Hampstead for an exclusive offer for visitors heading to the soft play.
The soft play is open each day between 9am and 5pm, with the last booking at 4pm.
But there are Play Late sessions too, where kids can play as parents enjoy a glass of wine at the bar.
The next Play Late session is March 20, followed by April 10 and May 22.
Tickets cost £5.50 for babies or £7.50 for juniors and adults go free.
The centre also runs weekly baby and toddler classes such as Petite Performers, with ballet and dancing.
Sometimes there are Sofar Sounds live music events on at the church too.
Memberships are available for the soft play, with a babies membership costing £15 per month for four sessions.
Parents can grab a drink, including wine, at the bar and cafe in the churchCredit: TripAdvisor
A Bronze membership then costs £10 a month for two soft play sessions, Silver costs £20 a month for three sessions, a 10 per cent discount at the cafe and early access to book event tickets.
Finally, a Gold membership costing £40 per month, gets you six soft play sessions, a 10 per cent discount at the café, two Sofar Sounds tickets and early access to book event tickets.
The soft play is just a couple of minutes’ walking from West Hampstead underground and train stations.
It isn’t the only church to have something unusual inside…
In Redbridge, London, a swimming pool described as “magical” can be found in an old hospital church.
It is a Virgin Active gym now with a 24-metre pool as well as showers, hot tub and steam room.
On a dreary February afternoon in Chinatown, Ben Lovett, pianist and keyboardist of the British folk-rock group Mumford & Sons, was hours away from releasing his band’s sixth album, “Prizefighter.” The LP — co-produced by Aaron Dessner with guests Hozier, Gracie Abrams and Chris Stapleton — rejuvenates a catalog that includes a Grammy for album of the year in 2013. He could have been celebrating, or at least resting up for his upcoming “Saturday Night Live” gig and fall arena tour.
Instead, Lovett was calf-deep in sludgy rain water flooding the streets from a sudden downpour, standing at the roll-gate of a ripped-apart warehouse. “You’ll need this,” Lovett told a Times reporter as he handed out hardhats, walking his construction team through the still-raw hallways, shouting over a cacophony of circular saws.
In a few weeks, this site will be Pacific Electric, a new 750-capacity music venue that Lovett and his venue-developer firm TVG Hospitality have been converting for six years. It’s a small but ambitious entry into a Los Angeles venue landscape that’s recovering from fire and economic woes, yet has also seen several jolts of life recently.
Pacific Electric is a new flagship for the team at TVG, which has become an independent-scene force in the U.S. and U.K. over the last decade. Beyond his band, this project plants Lovett’s flag as an L.A. live music entrepreneur too.
“I’ve never had such a significant moment around a venue launch,” Lovett said in the soon-to-be dressing room at Pacific Electric. “It’s the seventh venue we’ve done, but it has never coincided with such an important creative moment with the band. I have to be very disciplined right now.”
Mumford & Sons led the 2010s folk revival that minted a generation of plaintive, earnest singer-songwriter acts atop the charts. While their genre peers’ fates have varied, Mumford & Sons remained perennial arena and festival headliners, with an ambitious midcareer streak in the studio. As pop culture’s tastes shifted, and his band moved around New York, L.A. and the U.K., Lovett returned to his show-producing roots in 2016 to build the 320-capacity nightclub Omeara in London.
Los Angeles, CA – February 19: Exterior view of the new music venue Pacific Electric, which is under construction in Chinatown and owned by Ben Lovett of the Grammy-winning folk band Mumford & Sons. (Allen J. Schaben / Los Angeles Times)
(Allen J. Schaben / Los Angeles Times)
“A lot of rooms in America are owned by the promoter, so unless you are working with that promoter, you can’t play that room. I don’t like that. I think there’s something fundamentally broken with that practice,” he said. “I wanted to prove out that idea, but I had to learn everything, like how you get a liquor license. It wasn’t perfect, but the intent was so pure.”
Two years and a couple U.K. venues later, TVG got an unexpected call from the city of Huntsville, Ala., to build the Orion Amphitheater, an 8,000-capacity anchor venue for the massive civic project Apollo Park. The futuristic Grecian agora, which opened in 2022, was beyond anything they’d built before — similar to Red Rocks in Colorado or Forest Hills Stadium in New York. Suddenly, Lovett and TVG were players in the U.S. too.
“When I’m off the road, I drop my kid at school and I go to work. I sit in an office from 9 a.m. to 6 p.m.,” Lovett said. “That’s not common, but there are people I really admire like Pharrell Williams who have a foot in entrepreneurship while also being a creator of songs. By doing a day’s work with TVG, sitting down at the piano can still feel like a hobby.”
Lovett, who lives in L.A., had long wanted something closer to home. The industrial northern pocket of Chinatown housing Pacific Electric is well-known to ravers and foodies — Insomniac’s Naud Street warehouse is close by, and the upscale cocktail bar Apotheke and pan-Asian restaurant Majordomo are around the corner. But besides festivals at Los Angeles State Historic Park, there hadn’t been much of a live music presence in the area (a plan to open an outpost of the NYC venue Baby’s All Right was thwarted by the pandemic).
Pacific Electric will be on the small side for a theater, a more intimate peer of downtown’s Regent or Bellwether. But Lovett’s plowed 20 years of notes from touring into the space — from the serene sandstone-hued dressing rooms with a piano and built-in laundry facilities, to a fully-separated horseshoe bar area to keep fan drink lines moving. There’s no bad sightline in the space, from either the ground floor or upper level balcony, which looks out over a stage wreathed in pink neon and wood cutouts evoking the industrial cityscape outside.
“Keeping the dirt under my fingernails with projects like this, and watching shows as often as I do, you realize how hard and how much creativity and magic there are around shows,” Lovett said. “It’s never a given to have an audience.”
To manage the venue, TVG brought on Stacey Levine, a veteran of the Palladium, Wiltern and Theatre at the Ace Hotel (now the United Theater on Broadway). While her management experience is in larger, historic venues, the chance to build something from scratch with an artist’s insight was enticing.
“People really want to get off their phones and back into independent venues, and this little pocket of downtown is about to pop off,” Levine said. “It’s very cool and close to different areas of L.A. But the venue is also really artist-focused. At 750 capacity, do you often have really nice dressing rooms? Probably not. But this is like welcoming artists into a nice hotel.”
Pacific Electric is independent in the sense that it’s not wholly exclusive for either promoter conglomerate (they plan to work with both Live Nation, AEG and others). Lovett, who cited the San Francisco concert impresario Bill Graham as a model for his company, said, “I love the opportunity to back an artist and be their advocate, and they should be able to work in any room they want to. I’ll die on that hill.”
The music won’t lean especially Mumford-ish. Its first show, with the synthwave group TimeCop1983, is slated for March 20, with a Robyn-themed club night, heavy rockers Militarie Gun and a big comedy slate from the Netflix Is a Joke festival up next.
L.A.’s nightlife — particularly in downtown — is still recovering from the pandemic-era culling of live venues and hospitality. After the malaise that’s ripped through L.A.’s entertainment economy of late, and a year of fires, ICE raids and other withering events in Los Angeles, Pacific Electric will have its work cut out to build its regular audience.
But new venues like South Pasadena’s Sid the Cat Auditorium and Re:Frame in Atwater Village have taken similar big swings in recent months. Lovett sounded hopeful that L.A. has plenty of room for more.
“I operated five venues in the pandemic, and conversations abounded like ‘Is this the death of live experiences?’” Lovett said. “My take was different, which was the one thing that we couldn’t figure out how to fix, was how to spend time together. Our greatest void was human interaction. We’re always going to trend towards congregation. If I didn’t believe that, I wouldn’t do this.”
As tensions between Israel and Iran periodically escalate, Israel has developed one of the world’s most sophisticated multi-layered air defence networks to counter ballistic missiles, drones, rockets, and cruise missiles. The system is designed to intercept threats at different ranges and altitudes, creating overlapping layers of protection against attacks from state actors and non-state groups.
The architecture reflects decades of missile threats from regional adversaries and has been refined through repeated real-world use. It combines domestically developed systems with U.S.-supported technology and integrated radar, command, and interception capabilities.
Long-Range Interception: Arrow System
The Arrow-2 and Arrow-3 systems form Israel’s top defensive layer against long-range ballistic missiles. Arrow-2 intercepts incoming missiles in the upper atmosphere, while Arrow-3 is designed to destroy threats in space before re-entry.
Developed primarily by Israel Aerospace Industries with support from Boeing, the Arrow program is tailored to counter high-altitude missile threats and allows for the safe dispersal of potential non-conventional warheads away from populated areas.
Mid-Range Shield: David’s Sling
David’s Sling targets medium-range ballistic missiles and cruise missiles fired from roughly 100 to 200 km away. It also intercepts aircraft and drones.
The system was jointly developed by Rafael Advanced Defense Systems and RTX Corporation and fills the operational gap between long-range Arrow interceptors and the short-range Iron Dome.
Short-Range Defence: Iron Dome
The Iron Dome system is designed to intercept short-range rockets, mortars, and drones. Operational since 2011, it uses radar tracking to determine whether an incoming rocket threatens a populated area. If the projectile is projected to land harmlessly, the system conserves interceptors by not engaging.
Originally designed to counter rockets with ranges of 4–70 km, analysts say its effective coverage has expanded. A naval variant deployed in 2017 protects maritime assets.
Directed Energy Layer: Iron Beam
Declared fully operational in late 2025, Iron Beam is a ground-based high-energy laser system designed to neutralize small aerial threats such as UAVs and mortar rounds. Instead of firing interceptors, the laser superheats targets until they fail mid-air.
Because it uses directed energy rather than missiles, Iron Beam is expected to dramatically reduce interception costs and provide rapid response against swarms of low-cost threats.
U.S. Support: THAAD Deployment
The United States deployed the THAAD (Terminal High Altitude Area Defense) system to Israel in 2024 to strengthen protection against ballistic missiles during heightened regional tensions. THAAD intercepts missiles in their terminal phase of flight and is a key component of U.S. strategic missile defence.
U.S. naval assets and ground-based systems have also assisted in intercepting missiles during previous attacks, highlighting close defence coordination between the two allies.
Air-to-Air Interception Capability
Beyond ground systems, Israeli fighter jets and attack helicopters have used air-to-air missiles to destroy incoming drones before they enter Israeli airspace. This adds flexibility and an additional interception layer, particularly against slow-moving aerial threats.
Analysis: A Layered Shield for a Complex Threat Environment
Israel’s defence network is built on the principle of layered interception, ensuring that if one system fails or is overwhelmed, another layer can engage the threat. This redundancy is crucial given Iran’s missile arsenal and the increasing use of drones and precision-guided munitions by regional actors.
The integration of Arrow, David’s Sling, Iron Dome, Iron Beam, and U.S. systems creates a comprehensive defence umbrella capable of engaging threats from space to low altitude. The addition of directed-energy weapons reflects a shift toward countering mass drone attacks and reducing the financial burden of interceptor missiles.
However, even sophisticated systems face challenges. Large-scale salvos could strain interceptor inventories, while evolving missile technologies and swarm tactics may test response capacity. As regional tensions fluctuate, Israel’s layered defence remains both a technological achievement and a critical strategic necessity.
