Britain: The land of Tin Pan Alley, where the idea of more colourful pop music was born, the same country where The Beatles created a mania the likes of which had never been seen before.
Where America had Elvis doing his hip swinging, we had people singing about how money ‘can’t buy me love’ and began an influence that crossed over (Look at one of the biggest shows on US today… a UK music mogul finding the next big thing!). But this feature focuses on one small UK town in particular, one that the majority of people tend to overlook. This is Stoke-On-Trent.
It’s a town mostly known for three things: awesome pottery, the oatcake, and a fat dancer that used to be in one of the biggest bands in the UK.
But Stoke-on-Trent however has more of a cultural/musical history than most people have realised, and it’s rise to cultural prominence began in the late sixties/early seventies, with the advent of light entertainment and Northern Soul. Venues like Jollies and The Place brought in the stars of the era, such as Hot Chocolate, for a cheap price until the late eighties. By then, cities like Manchester were on the rise, as as the market heated up, the stars demanded more money the venues could afford.
By the early nineties, Stoke had become a carbon copy of Manchester, with The Place putting on Golden nights featuring DJ’s such as Judge Jules along with Reckless. However, a dynamic shift was beginning to start. During the mid nineties, the Sugarmill venue opened, promising to showcase the best in the alternative rock scene, at the time getting bands such as Muse. By the turn of the millennium Sugarmill became the the town’s premier venue as the dance specific scene began to wind down.
Along with this dynamic shift came the rise of more local established bands wanting to make a name for themselves, carrying on some of the punk tradition that Discharge had started back in the 80’s but yet following the indie trend with other bands such as Agent Blue. On it’s face, this should be great news. Stoke’s a sleepy town, and the number of venues in the area have grown steadily. But the trends lead to a frustrated message sent to me by a member of one band in the area.
“What the hell happened? Who plays in bands anymore? Did everyone just grow up and lose interest with music?
I remember a few years ago the scene was great, there were tons of great bands of every genre and kids used to come to shows and support their local bands. Am I missing something?
Maybe I’m just not around so much myself that I’m missing this great underground thing that’s happening?
I doubt it though. I really miss the good old days, I want to see some new exciting bands, and I want kids to queue round the block to see there friends bands.”
Looking at it, I could see where this person was coming from: the venues seemed to be showcasing the same type of music (words being growled under a heavy wall of noise) in order to keep the loyalists coming back. But as promoters worked harder to keep that dwindling audience, they pushed more people away, which made them work harder to keep the growlers, and on and on.
The problem is, it looked like he wasn’t focusing on the big picture. Just as many people saw Stoke as the land of pottery, oatcakes and Robbie Williams, this was just one genre. Whether it’s the English countryside, Los Angeles, or the digital universe, there’s always good music around if you’re willing to work to find it.
One act in particular in Jo-ee-T (http://www.myspace.com/joeetstoke) is going on as the next generation of electro/rave locally who along with DJ Fresh brings the nineties atmosphere to a 2009 landscape, going as far to get a slot in this year’s Love Music Hate Racism event despite not winning the initial heat for an act to play.
Progressive rock with a blues edge also exists in the area: The People Involved (http://www.myspace.com/thepeopleinvolved) and Final Conflict (http://www.myspace.com/finalconflictmusic) keeping the spirit of Pink Floyd alive with the modern sensibilities of Mars Volta. Even bands that have been on the British ‘soap’ Hollyoaks exist from the area, the case in point being Friends of Ken (http://www.myspace.com/friendsofkenband), after nearly ten years the cult following has broken into more of a mainstream sense with slots at festivals such as V.
In the same message I was sent by the friend though he made one very important point which also may have led to the dilution in genres:
“If you get the chance to buy the new green day album or see your friends band in some grotty pub, go and watch your friends.
They will get nowhere without you and they need your support.
To see a local band costs about £4.
That’s all really to ask, and without it venues will stop putting bands on.”
It seems possible that the economy may be the main reason why but it seems to be that people are showing apathy to the town (lack of venues leading to lack of gigs), so the message must be made clear. In order for more bands like the ones mentioned the proverb ‘never judge a book by it’s cover’ must be adhered to, otherwise Stoke will only be remembered for pottery, oatcakes and a guy from Take That – I don’t think that’s the image the town’s trying to create!
It’s a small amount of effort, but without it, Stoke could come full circle from the 80’s – another footnote between Birmingham and Manchester.