Tag Archives: live-music

Brighton, Green Door Store, Hope and Ruin, The Great Escape

The Great Escape by Alex Hill

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Down every street in the city, venues are alive with the sound of live music and hordes of people queue outside standing around talking and smoking. It was, of course, The Great Escape. Over 450 different acts taking the stage in all the best pubs and clubs over four days.

If the weather plays nicely, there’s nothing like a Great Escape weekend. You set out with an idea of going here to see that, but then you meet someone who says you really should go there to see something else and then… Well, who knows  what happens then.

A typical Great Escape night tends to include a lot of drifting around venues in search of a band you’ve never heard but you’ve heard of. And as you’re halfway there, maybe going to the Hope & Ruin, there’s an alert on the phone app. The venue’s full. There’s a queue. Maybe you’d like to go to The Green Door Store instead.

It truly is a cross-city festival, and you may just find yourself doing that; especially during the particularly busy times if you’re intent on finding new and exciting gigs like I was. If you don’t mind the strain on your legs, and if chancing upon interesting new sounds is something that grabs your fancy, then the festival is definitely for you. You’re bound to discover many great bands you were previously unaware of.

You’re not always guaranteed to find that gig you were hoping to see. Late one night, feeling dejected due to not having the required wristband for a gig near the seafront – something the festival app neglected to tell us – myself and a few friends ended up at the Fiddlers Elbow for a curiously busy gig. We found ourselves in the company of an obnoxiously loud garage rock gig which was awfully mixed by the sound engineer and with frankly poor song writing from the band (who were, I believe, from Canada). The band just weren’t that great, but weren’t helped by long and droning instrumental parts drowning out the vocalist and… It was all too loud. We escaped, checked our timetables only to discover to our own chagrin that there weren’t any more gigs on – onto the next day.

Organisation is key to having a great Escape. A friend had an Excel sheet – really, an Excel sheet. All times and places and descriptions. I didn’t have an Excel sheet. I had a friend who said we had to go to Jubilee Square to see hot local band Slag. We got there to find that hot local band Slag were playing Jubilee Square. Or rather, had played Jubilee Square. Yesterday. Instead, we saw Azamiah, a smooth, laid-back jazz funk band. Good, but not as nature intended. Next year, Excel.

The Hope and Ruin was religiously hosting gigs, in both the upstairs and downstairs bar and I saw a lot of good bands here I’d never heard of before. No complaint from me. That’s the other thing about The Great Escape. You get to see loads of bands and very possibly you were told who they were and very probably you really remembered who they were and… who were they?

The bands at the Hope where all punk and hardcore; screaming the house down and getting the audience fired up. With each band delivering half an hour sets, I think I saw four or five different bands here – Pleasure Inc.from Norwich played funky headbangers with a Rage Against the Machine type feel; Jools were an intense, dual vocalist modern hardcore band; Really Big Really Clever were a midwestern emo sounding four piece who made the crowd go wild. The Molotov’s were also playing, but they were stuck upstairs.

In Green Door, where the uneven cobbled flooring tends to make your night a bit more like you’ve had a drink when you’ve drank enough to make you unsteady, various great bands played as part of both the Alternative Escape and the main festival. With so many gigs on in such a short time frame, it’s quite hard to plan where to go; especially with so many overlapping time slots – navigating the festival effectively requires incredible foresight I seemed to lack as a first timer. Next year, Excel.

My feet were complaining, my head also a little, but had a fantastic time and saw loads of great bands I otherwise wouldn’t have had the chance to see. It’s probably been said before, but if the weather plays nicely, there’s nothing like a Great Escape weekend.  

Caraline Brown, Mrs Wilson's Children, The Welly Club, Hull

Mrs Wilson’s Children: The Welly Club

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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