Melanie Wallhead (formerly Woods, then Gilmour)

What year did you start racing?
I started racing in 1980.

Which teams did you ride for?
I rode for Torker.

What was it like riding for Torker?
Riding for Torker and being part of the Torker & Robinson family was an incredible experience—I was so proud. I remember one race where I was in second place when I heard someone shout, “Come on, Torker!” That gave me the extra push I needed to go on and win.

But the best part wasn’t just the racing—it was my teammates. It felt like having a bunch of older brothers who teased me but always had my back. They looked out for me, protected me, and encouraged me every step of the way.

Do you remember your very first race? How did it go?
I honestly don’t remember my first race. Bikes were always a part of my life—I did some motocross before transitioning to BMX, so I probably never had those first-race nerves. It was just a natural progression.

Being from the Woods family, with Alan Woods as my uncle and Arthur Woods as my grandad, meant that bikes were in my blood. Racing wasn’t just something I started—it was something I had always been around.

What was your local track or favorite spot when you first started?
My local track was Chorley, and later Wigan. Chorley was my favorite—I loved the massive start hill. I’d pedal as fast as I could down it, with a 50/50 chance of either pulling off a great run or completely wiping out at the bottom! It felt like I was going 100 mph, and I loved every second of it.

Who were your biggest inspirations or idols when you started racing?
For the girls’ class, I looked up to Alice Temple. When she started riding, it felt like the whole BMX scene had been turned on its head. I’m pretty sure she was the first girl to jump the doubles, and that inspired me in a way I hadn’t felt before. She was fearless—she was punk rock! Sometimes a rider comes out of nowhere with pure natural talent and blows everyone away—that was Alice.

For the boys, my biggest inspiration was Tony Holland. He rode for Robinson, was fast and stylish, but never big-headed. He was always supportive of me and just an all-around cool person to be around.

How many years were you actively racing?
I raced for about three or four years.

Can you recall your final race? How did it feel to wrap up your racing career?
My final race wasn’t exactly a high note—it was cold, wet, and windy at Whitehaven, which had become my local track. Hardly any girls were racing—maybe three or four, all different ages, grouped together.

I crossed the finish line, rode over to my mum, and simply told her, “I want to stop.” And that was it.

After that, I took on a new role as a “finish-line lady.” A group of us would record the number plates as riders crossed the line. These women became my new BMX family, teaching me how to fill in moto sheets and calculate results. I even worked the Slough Worlds in ’86, which was intense!

My mum, Lynn Gilmour, along with Maureen Wood, Sue Jarvis, Bridget Hayes, Carol Gosling, and many others, were the unsung heroes of BMX at the time.

Family had a massive influence on me. My grandad, Arthur Woods, and my uncle, Alan Woods, were both heavily involved in the sport and loved all things bikes. They had me on a little Italjet from the age of four and gave me so much support. My nan, Madge Woods, handled all the admin at the races and helped run the clubs. When my family moved to Whitehaven, my parents became involved in building the track there, which Alan designed, and in starting the club. It was 100% a family affair. I feel very lucky to have had BMX in my life the way I did.

What was the highlight of your time in BMX?
The biggest highlight of my BMX journey was placing sixth at the 1983 World Championships in Slagharen. It was my first time racing there, and for once, there were enough girls for a semi-final!

But for me, BMX wasn’t just about results. I never cared much about winning—I just loved riding and seeing my friends at the track. The best part of going to nationals was reuniting with people who treated you like family.

That sense of community is why I eventually left Torker—I didn’t want the pressure of having to perform. I was there for a good time.