When stars such as Katy Perry, Coldplay and Enter Shikari, along with the current Government and Brighton and Hove council rally to the same cause, we have to pay attention. After successful lobbying by the Music Venue Trust, they are all supporting grassroots music venues. This is a real issue across the country as venues are regularly under threat from developers, gentrification and the cost of living. Here, the iconic Prince Albert was not so long ago battling closure.

As Brighton-based author Caraline Brown says, “Music is life. It is the blood in our veins. It’s what made us and will keep us sane”. Her book, Mrs Wilson’s Children: Adventures at the Welly Club, Hull 1979-81, tells the story of why these venues are crucial to the social, cultural, and economic life of our cities. Think what Brighton would feel like without The Hope and Ruin, The Green Door Store, Chalk and so many others.  

Stuffed with rare, fascinating pictures, tickets and posters of the gigs, Brown’s book illustrates the enduring importance of these venues through the prism of the punk/ post-punk/ 2-Tone moment (1979-81) and tells us about life away from the bigger cities such as London, Manchester and Liverpool. The Welly – which could be the Concorde or, well, pick your own favourite venue – became the centre of a community, a place where fans, bands and promoters could meet and chat and drink and ferment ideas. These places provided a space to build a scene. As Welly regular Jon Nelson says: “We had to build our own revolution, one gig at a time”.  

“I owe my whole career to those early days at the Welly”, says Brown. Managed by the formidable Mrs Wilson, like a “stern ward matron”, the Welly opened as a working men’s club in 1913, and was still hosting darts matches when Brown was promoting gigs there. A proper sweaty venue with character and sticky floors. However, it didn’t appeal to everyone. Bauhaus were supposed to support Magazine, but their singer Pete Murphy took one look at the stage, pronounced the venue a “shithole” and refused to play. His loss.  

Another highlight was the reproduced pages from Brown’s contemporaneous notebooks with the phone numbers of music industry executives such as legendary Factory Records boss, Tony Wilson, as well as the costs for the gigs. Refreshingly, there’s no sign of a mobile phone or an Excel spreadsheet. Local musician, Vince Coulman says that, while the gigs might not have made much money, the real benefit “might lay, not in cash, but in the thrill of bringing an ace band to our favourite place in the city. In short, making stuff happen.” 

The nights that Brown had organised at the Welly were still being talked about reverently when I arrived in Hull in the mid-1980s, even though Brown and the Wilsons were long gone. 

Thankfully, The Welly is still going strong playing host to the new generation of alternative groups. Music is indeed life.

l ‘Mrs Wilson’s Children: Adventures at The Welly Club, Hull 1979-1981’ by Caraline Brown costs £14.99 plus postage and is available from http://www.karibrown.uk

Johnny Hopkins