Located squarely at the top end of Oldham Street you would find the distinctive green fronted Gullivers NQ, one of the stalwart venues of the Northern Quarter. It has a fair old history dating back to 1865 and has an interesting background, at one point existing as a jazz club and a transvestite bar.
It has had several names, once a Wilsons brewery house called the Albert Hotel, then latterly The Grenadier before the ever-reliable JW Lees brewery took ownership and renamed it Gullivers sometime in the 1970’s.
I have discovered that in Manchester there is a proliferation of small breweries, many around the back streets near Piccadilly station, however a lot of them, for example Cloudwater serve cloudy and citra beers. Though I would never turn one of these down if offered, because that would be downright foolish, I do prefer the more traditional ales and thus JW Lees served in Gullivers and a more local pub nearby me, the Parrswood hits that very spot.
It is an archetypal grass roots venue and alongside live music, has spoken word, theatre, film screenings and comedy events. The pub has a homely traditional bar leading you into a back room and downstairs venue. The pub sits squarely across the road from another principal and sister venue the Castle.
It has regularly been utilised as a hub point for picking up tickets for multi wrist band events such as Carefully Planned, Fair Play and Off the Record festivals, these festivals accounting for many of my attendances at gigs in this establishment.
It contains two venues, the first accessed down a thin corridor at the rear of the building is the Gullivers NQ Lounge, mainly for acoustic acts with a capacity of 40, though it feels highly populated when only half that number are in residence.
I have attended there four times, the first at Dot-to-Dot Festival in 2016 to see Lyon Apprentice, a folk duo originally from Melbourne who were residing in Manchester at this time and recording in their home studio.
Later that year, we uncovered a diamond by witnessing an early performance by Katherine Priddy, a folk musician from Birmingham. She was a captivating engaging presence with a distinctive guitar style, dark lyrics and hypnotic voice, a rare treat!
Her stock rose exponentially in the intervening years with her debut ep receiving considerable airplay on Radio 2 and 6Music with folk behemoth Richard Thompson naming it as his ‘best thing he has heard all year’ in MOJO magazine, being so singularly impressed he invited her out onto a support slot on his upcoming tour.
Her first appearance at Cambridge Folk Festival garnered her with the Christian Raphael Award, a prize awarded to one deserving developing artist from the festival each year. Her debut album ‘The Eternal Rocks Beneath’ received critical acclaim and she then backed that up with a sold-out national tour.
Eighteen months later I witnessed singer-songwriter Kate Anita, who around that time released a single called ‘Human’ accompanied by a documentary video which showcased her interpretation of the culture and community within her home city Manchester.
My final attendance there was to see local Manchester artist Lindsay Munroe, who produced some honest unflinching music with strong vocals epitomised by her debut single ‘Split’. I heard shades of Mazzy Star and Sharon Van Etten in there, the latter I later discovered is a big fan of her output.
