Preston Venue 12 – Polytechnic Part 1

The University of Central Lancashire (UCLAN) was founded in 1992 but derived from humbler beginnings. In 1828 the nattily titled Institution for the Diffusion of Useful Knowledge was established. Further iterations of Preston Polytechnic and Lancashire Polytechnic were in place prior to it becoming a fully-fledged university.

UCLAN has through a suite of unusual courses created a niche for itself and is now the 19th largest in the UK in in terms of numbers, many of them foreign students. In my lifetime the University has spread its tentacles far and wide across town in relation to outbuildings and student accommodation.

In the Preston/Lancashire Polytechnic era, a music venue was introduced. It was a decent venue with a capacity of perhaps about 600. Beyond the dancefloor were large wooden blocks for group seating in a similar style to the block layout at the rear of the Deaf Institute. Above that, there was a viewing balcony.

I attended one non-music event there when a friend who was employed by the Poly obtained complimentary tickets for a group of us for a hospitality comedy event. The main act on that night was a pre-famous Peter Kay.

My first gig was Teenage Fanclub on 14/01/92. This was the year after ‘Bandwagonesque’ was released and a couple of years before my fave album of theirs ‘Grand Prix’ saw the light of day.  There was a big group of us in attendance on a cold Tuesday night and after visiting the Lamb and Packet and the Variety we headed into the venue for a sold-out gig.

See the source image
Preston Poly looking somewhat dreary back in the day. Image Credit lep.co.uk

Dependant on which tome you perused at the time they had been touted as either the new Nirvana or the new Byrds. I would personally place them nearer the later categorisation with their West Coast sound and pleasing harmonies.

I watched the opening couple of tracks in the balcony before diving (not literally!) into the pit. The band did not seem fully engaged with them muttering after the first track ‘played a crap gig in Newcastle last night, hope we don’t do the same here’ which only served to dampen down expectations for the rest of the set!    

I have seen them several times since and enjoyed them but due to a couple of deliberate false starts and lukewarm set they were disappointing that first time.

In May 2000 I went to see Asian Dub Foundation who were a melting pot of crossover influences including rap, dub, ragga and rock. It was one of the most unenthusiastic crowds I have ever witnessed and despite the bands best efforts the gig failed to ignite.  

See the source image
Asian Dub Foundation. Image Credit Louder Than War.

In 1995, an upcoming band called Radiohead booked the venue. I think the tour was supporting the imminent release of their second album ‘The Bends’. They were supported by Marian.  

I didn’t know a lot of their stuff apart from the overplayed ‘Creep’ off their first album ‘Pablo Honey’. We watched the gig from the panoramic vantage of the balcony, and they were enjoyable, and Thom Yorke had a presence about him.

That said, I would not have predicted their stellar rise in the following couple of years and the fact that ‘The Bends’ and ‘OK Computer’ are periodically placed in pundits lists of Top 10 all-time albums!

Pandemic Paean of Praise to a Plethora of Music Palaces

Recently there was the initially sad news revealed that the Deaf Institute and Gorilla venues in Manchester will not reopen post-pandemic. I have attended both venues many times and will cover their reviews in future blogs. This news coincided with further reports of the closure of the Welly and Polar Bear venues in Hull.

See the source image
Hull Welly. Image Credit Pinterest

Even though the decision of the Manchester sites was subsequently miraculously reversed four days later via the partial intervention of a Pandemic hero Tim Burgess it only serves to illustrate the real and present threat to the future of all venues.

The are some rays of light in that there has been tireless work undertaken by the save our venues campaign resulting in significant crowdfunding to save 140 venues from ‘imminent danger’. Also, the Government has stumped up some funding for the Arts including music venues which will only help if the money is distributed speedily and equitably.

These events give me cause to muse on the fact that many of the conurbations in Britain will contain at least one small essential music venue. To name but a few, the Mad Ferret in Preston, the Leadmill in Sheffield and the Trades Club in Hebden Bridge.

The venues are the absolute creative lifeblood of the industry and of the local community, impacting on nearby retail outlets and the continued employment of associated roles, including bar and security staff, roadies, agents and publicists to name a few more. It even provides an opportunity for those pesky touts!

They also provide a priceless opportunity for the hungry local talent to initially learn and hone their craft. Everyone must start somewhere, like a nurse takes blood for the first time, so must a band enter and exit stage left.     

All bands who have gone on to bigger things will have tales to tell. Using Oasis as an example, their roster of very early gigs contains stellar venues such as Club 57 and the Hippodrome in Oldham and the legendary Krazyhouse in Liverpool, which I have visited once in its nightclub capacity.

See the source image
Liverpool Krazyhouse. Image Credit The Tab

As the pandemic has progressed, I do appreciate that alternative approaches have been understandably sought out by musicians to replace the missing gigs as that remains their primary source of income. Personally though, I have struggled to hook into the numerous twitter and streaming events because to me there is nothing to replace a live gig at a venue where you can see the whites of the eyes of the band. I would contend there is only very limited enjoyment to watching a festival from your own living room.  

This incorporates all facets of the experience. The expectation before a much-anticipated band, the gibberish discussions in the pub before and after (maybe that’s just me!), the shared acquaintance with like-minded souls all there for a communal experience, the sweaty mosh pits, the hairs on the back of your neck standing up when you see a great band, even better when it is unexpected. All in all, some of the best nights of my life have been at live gigs.  

Unfortunately, due to their very nature music venues will probably be last to be reintroduced so that makes it even more imperative they are supported right now.  

Another negative by product of the current situation is that I am not adding any new gigs or venues to my roster thus I am continuing to delve through my archives, and I am hoping I do not run out of material in the interim. It is doubly frustrating as I was hoping to pass my 1000th gig this year.  Who could have predicted when I launched my blog last November that a pandemic would strike 4 months later!

Please stay safe kids and we will eventually arrive at the other end of this dark tunnel and will soon be back in those mosh pits.