Linda Carver sits opposite me in a small café on Oldham Road. She speaks softly, sometimes pausing, and I can’t help leaning in as she tells me her story. It’s the tale of Ancoats Dispensary, the Grade II listed former hospital on Old Mill Street, and how it’s still standing, despite all the odds.
Linda grew up in Ancoats but moved away as an adult. Work drew her back to Manchester so she applied to the council and was rehoused in Victoria Square, mere streets away from where her father had worked as an apprentice plumber. Linda had always been heavily involved in the community, so joined the Ancoats Residents’ Forum as a way to reconnect with the local area.
One night, in June 2011, there was a meeting hosted by the developer Urban Splash. They presented the Forum with their plans to develop Ancoats.
At the time, Ancoats was certainly not the gentrified, colourful, small-dog owning place that it is today; it was a highly residential area, with lots of red brick and little else. The mock-ups were a predictor of how the area could change: Colourful barges, bistros and bakeries along the canal, and people sitting outside in the sun.
Linda found herself looking for Ancoats Dispensary within the mock-ups but couldn’t see it anywhere. She had seen the building, surrounded by scaffolding, but thought that the developers must have had a plan for it.
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Linda asked the question out loud: Where was the Dispensary in the developer’s plans?
“There was a hush in the room,” Linda told me in a soft voice. “Silence. And then somebody muttered under their breath: ‘I think it’s being demolished’.
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“And at that moment, you could say, it changed the direction of my life. Because in my heart, I thought, ‘I don’t bloody think so!’”
Linda’s voice becomes so quiet I struggled to hear her, but an underlying note of anger, ten years on, carried the words across the table to me, and I felt her shock as if it were my own.
Ancoats Dispensary today / Photo: Anna Willis
The Ancoats Dispensary on Old Mill Road was opened in 1874, the third iteration of the building first established in 1828. It was the only voluntary hospital in Manchester, providing lifesaving care to anyone who needed it.
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Over the following century and a half, thousands of Manchester’s residents used the hospital, treated for everything from accidents in the cotton mills to broken bones and cancer. In 1974, the building was designated a Grade II listed building, due to its architectural and historical importance. The Dispensary was closed in 1987, when all services were transferred to North Manchester General Hospital.
When Linda heard that Ancoats Dispensary was going to be demolished, she was furious. There had been no public consultation, and very few residents seemed to know about the decision. She called her local councillor, who invited her to a planning meeting the following week.
“I spoke about this Grade II Listed building, the level of medical advancements that had happened there,” Linda said.
“That there’s a great, almost national importance this building created. We should be lording it as a centrepiece for Manchester, for visitors to come and see!”
The building certainly carries a lot of history within its crumbling walls. It was the home to the country’s first fracture clinic, set up by Harry Platt (later knighted for his services to medicine), and Manchester’s first radiology department. Peter McEvedy, one of the most talented surgeons of his day, worked at the Dispensary for almost thirty years. After his death, the hospital decided to commemorate him by commissioning a painting by a then-unknown LS Lowry; ‘Ancoats Hospital Outpatients’ Hall’ is now one of his most famous works of art.
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It was this history and more that Linda saw was being threatened by demolishment.
“It would have meant that history had been obliterated,” she said soberly.
“And the council would have done it, because they’ve no imagination, they have no sense of history.”
When a building gets put forward for demolition, there is a multi-stage process to go through before the actual decision to demolish happens. So, Linda kept going to the planning meetings to talk about the history of the building and how important it was to her.
The decision to demolish kept getting deferred, again and again. But by this point, Linda realised that she needed to get other people involved. She roped in her sister, who had been a staff nurse at Ancoats Dispensary, and they decided to hold a public meeting. A notice was placed in the local paper, and the MP at the time, Tony Lloyd, was invited.
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Miraculously, 43 people turned up, including the MP.
“Now that might not sound like much, but it’s enormous for Ancoats,” Linda said. “And they all had their own experiences of Ancoats Hospital and were concerned about the decision to demolish it.”
Ancoats Dispensary in 2008 / Photo: Pete Birkinshaw
Many Mancunians have had interactions with the Dispensary over the years; themselves, family, friends have been treated there, or worked in the building. The Facebook group ‘We Grew Up in Manchester’ spills over with memories. There’s someone who did nurse training in the 80s (“everyone knew one another – such a friendly place to work”) and another who remembers that “the staff used to go round the wards at Christmas carols to the patients.” It was a busy working hospital, and one that many people depended on.
The public meeting revealed such a strength of feeling that Linda went back to the planning committee to tell them that they were going to start a group. They were going to fight to save the Dispensary.
But only days after the public meeting, Tony Lloyd rang Linda to say that time had run out. The Dispensary was due to be demolished in just a few weeks.
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Linda was practically speechless.
Nevertheless, she jumped straight into action and called an emergency meeting for everyone who had shown up at the public meeting days before.
“All we were concerned about was that it wasn’t going to be demolished,” Linda said. “A piece of working history just wiped out: we weren’t having it.”
The emergency meeting was very stirring, Linda remembered. They named themselves ‘Save Ancoats Dispensary’; someone stood up and gave a Shakespearean speech from Henry II. Most importantly, the group decided to mount a vigil outside the building. The vigil would become a cornerstone of the fight to save the Dispensary: every day, for six years, there were two or three people outside the building, in whatever weather Manchester threw at them.
In the beginning, it was all very primitive, Linda said. But the group were determined.
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“We had someone looking through the Manchester Evening News, scouring it for any kind of road closure, to make sure we knew when the bulldozers were coming. We had a telephone tree established, neighbours phoning neighbours so we would all find out if something was happening.”
The vigil itself began soon after the emergency meeting. Jackie Marston, who was at the emergency meeting, became the vigil’s organiser, doing the rotas, providing tea and biscuits for whoever was on a shift outside the building.
They started off by meeting in the middle of the road, between the two lanes on Old Mill Street. Cars driving past would stop and people would ask what was going on; the group had petitions for people to sign and would just chat to passers-by about the Dispensary.
On the vigil / Photo: Brian Stark
Jackie was heavily involved with the Save Ancoats Dispensary group, “but the best part was actually on the vigil,” she told me. “The camaraderie there was unbelievable. There were people that I would never have met other than through the vigil, and they’re still friends now.”
The set up was very basic: just some chairs, a little stove, a tent for when it rained. As the vigil progressed, the group built what Jackie called ‘our structure’: made out of old boards nailed together, which was mostly waterproof, and that they could open and lock up at the end of each day.
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I asked Linda what the vigil came to represent. “It became a symbol of resistance,” she said. “On that contested piece of land. Nobody moved us: the police didn’t move us, the council never moved us, we became known, everybody knew about it. And that’s what we wanted.”
Jackie in the ‘structure’ / Photo: Brian Stark
The Dispensary has been a symbol of resistance for years. In 1979, the first threats to close the Dispensary were raised, as the health authorities looked to centralise services into the North Manchester General Hospital three-and-a-half miles away. A local protest was organised by a porter at the Dispensary, and the hospital remained open. But almost ten years later, the decision to close the Dispensary was taken. Furious, a group of Ancoats residents managed to get inside the building on the day it closed, and occupied it. The health authorities eventually opened the Ancoats Community Clinic as a direct response to the protest.
Whilst the vigil continued, Save Ancoats Dispensary were also applying to Manchester City Council, under the Freedom of Information Act, for documents about the Dispensary and records about its condition. They discovered that reports had been made about different parts of the building becoming dangerous.
“We thought, this is what they want now,” Linda said. “They want to demolish it, bit by bit.” It hit home to Linda one afternoon as she arrived at the Dispensary and found that the building’s central tower had been imploded half an hour earlier.
The group were beginning to realise that simply calling for the building not to be demolished wasn’t going to be enough. They had to come up with an alternative proposal in order for the council to really listen to them.
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The group went door to door through Ancoats to find the level of support they had in trying to save the building, and what the local community might want it to be if restored.
Save Ancoats Dispensary started to imagine the building repurposed into a community space, something sorely lacking in Ancoats. “Our vision was for it to be for the community itself,” Linda said. “And for the new residents in Ancoats. It would have been for them.”
The group envisaged a multi-purpose space, perhaps a sustainably run café, offices, a place for artists to showcase their work. “We wanted to live the dream,” Linda said, somewhat ruefully.
Around the same time, by the end of 2012, the group realised that a proper survey of the building needed to be done. The Dispensary was in a very bad state. Tom Bloxham, chairman of Urban Splash, had bought the building in 2001 with plans to restore and regenerate the Dispensary. He had received a significant amount of money from the Northwest Development Agency to conserve it.
However, no safeguarding happened. The roof was taken off, and from then on, the deterioration of the building was rapid. Over the next ten years, the Dispensary became increasingly dangerous, but little was done to protect the Grade II listed building.
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So, Save Ancoats Dispensary, at the end of 2012, commissioned a surveyor to give them a full picture of the state of the Dispensary, but in order to do so, they had to raise several hundred pounds.
“We had a collection box at the vigil, and we pleaded with the community to give us the funds to find out if the building really was worth saving,” Linda told me. “And we raised the £600 we needed to pay him, believe it or not, just from donations from local people.”
The surveyor came down from Edinburgh, and when he’d finished, met Linda for a coffee. “He said: I can tell you now that this building hasn’t been dismantled as it should have been, as you do with listed buildings. It’s being demolished.”
***
As the survey of the Dispensary was being carried out, an architect got in touch with Linda offering his services as conservation architect for free. The group were delighted and welcomed him on board.
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In May 2013, the architect brokered a meeting between the stakeholders in the Dispensary: the Save Ancoats Dispensary group, the city council, English Heritage, and Tom Bloxham of Urban Splash.
Urban Splash still owned the building: after several attempts to try and sell it on, Bloxham had said that his only alternative was to move towards demolishing it. But at this meeting, he said he had heard of the new Heritage Lottery Fund Heritage and Enterprise Scheme, which would enable the building to be restored whilst also becoming sustainable for the future. And through this scheme, if the group could come up with the money that would be needed, Bloxham would waive the move towards demolition.
In July 2014, the group’s application to the Heritage Lottery Foundation was provisionally accepted, and Ancoats Dispensary Ltd, the group’s financial vehicle, received £770,000 from the Heritage Lottery Fund to help stabilise the building. In order to proceed however, the group had to match-fund the amount awarded for Stage One, which was £55,000.
The amount of money that the group needed to raise was seemingly impossible for a small, grassroots organisation. Through an intensive fundraising campaign, and large donations from residents and organisations alike, the group managed to raise almost half the funds required.
But as the deadline crept forward into May 2015, the group were still £28,000 short of the target.
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One day, an anonymous donor came up with the exact amount they needed. Ancoats Dispensary Trust took over the lease of Ancoats Dispensary from Urban Splash, and the building became safeguarded against further deterioration.
“These were ordinary people who had a dream, a vision,” Linda said. “All we could think about is that this is our heritage, and it’s going to be obliterated if we don’t do something. And we can do something.”
Outside the Dispensary / Photo: Brian Stark
This was an ecstatic moment for the group, who had repurposed themselves into a development collective: Ancoats Dispensary Trust. But the pressure was on immediately to match the funding required for Stage Two: the Trust had eighteen months to come up with £800,000.
“We just couldn’t do it,” Linda said. “We did appoint a couple of fundraisers, but they weren’t given enough time, it was hopeless.”
The Dispensary was handed back to the developer, who in turn moved it back to the city council. But Great Places Housing Association had become interested in the building. They’d donated generously to the crowdfunding for Stage One and were already involved in the development of Ancoats and New Islington, with a particular focus on providing affordable housing in the area.
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Great Places took the Dispensary on as a full-blown project around three years ago, according to Great Places’ Director of Development Helen Spencer.
“That was when we really started to get to grips with what it was. Because it’s in such disrepair, it’s been quite hard to really understand the condition of the building, and to understand exactly what’s required.”
Ancoats Dispensary from Lampwick Lane / Photo: Anna Willis
Great Places plan to turn the Dispensary into 39 affordable homes, whilst restoring and regenerating as much of the building as they can. The front of the building and the wall on Lampwick Lane will be restored, and the central tower will be rebuilt.
“It’s been a really interesting journey,” Helen told me.
“We’ve had technical and design challenges, the heritage challenges and the stakeholder challenges. It’s been a test of steel at times to really pull everything together, but everyone was just so focused on how we can do the best by this building and save what we can.”
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Ancoats Dispensary Trust have remained involved and kept updated on the plans put forward by Great Places. As the Trust’s vision for the Dispensary was much more communitarian, the group were wary at first of Great Places’ plans. Ultimately though, the two organisations are working towards the same fundamental goal: to save and preserve the building.
“I think we’re going to see the benefit of that building full of life again,” said Helen.
Ancoats Dispensary has so much history, at personal and community levels.
“It was the beating heart of Ancoats,” Jackie told me. It became the group’s core message, reflecting the importance it has to so many people.
That the Dispensary is still standing is a testament to years’ worth of fighting by Ancoats residents.
“I feel the campaign has been a monument to community action, of what community actually can do,” Linda said.
“Truth speaking to power. And not giving up.”
Photos: Anna Willis, Brian Stark, Pete Birkinshaw
Feature
10 fascinating photos that show how much Market Street has changed over the years
Thomas Melia
Whether it’s your default place to visit for shopping on your days off or just a necessary evil you dash down when nipping through town, Market Street is one of Manchester’s best-known streets.
And looking back on it over the years, Market Street has been one of Manchester city centre’smost popular streets even all the way back in the 1900’s.
Retailers have come and gone, trends flew by and consumables were snapped off the shelves, but the one thing that has kept this central street alive and beating is the people of Manchester.
The appeal of this high street really can’t be beaten and it seems its reputation has been following it around for over 100 years. If there’s one thing Market Street is never short of, it’s a crowd.
Have a look back over these photos of Market Street over the years – can you remember any of this?
Market Street – Over the years
Market Street, 1823
Credit: The Manchester Library / The Manc Group
Shops and people galore, it’s almost like we’re looking at our modern day Market Street from 200 years ago. Oh wait, we are!
In this photo from 1823, there are families, workers, friends and couples, just like the street attracts in this day and age, it’s lovely to see that this central point has seen many people and witnessed many special memories.
Considering Market Street is uphill and this picture is facing downhill, we tried our best to recreate this moment in the present day.
Market Street/ Cross Street, 1890
Credit: The Manchester Library / The Manc Group
Gone are the Tudor style buildings of the previous photograph and in are the Victorian gas lamps and shop awnings.
It’s hard to make out what sellers and makers are perched up in each shop unit, but I want to visit whichever place is selling those fancy black top hats.
It’s great to see Royal Exchange has kept its legacy in our city even with all the developments happening in and around the city.
Market Street, 1905
Credit: The Manchester LibraryCredit: The Manchester Library / The Manc Group
Alas, colour! There’s some lovely gold brand embellishing spelling out ‘Brothers’ and even a hanging sign to match.
You’ll definitely never lose track of time, especially when there’s clocks sequenced in between the street’s high risers.
After some significant research the ‘Hope Brothers’ building may no longer be with us but a shop filled with Canadian sweet treats and coffee is, Tim Hortons.
Market Street, 1924
Credit: The Manchester Library / The Manc Group
This image is taken from a shop window overlooking Market Street and although the picture may be black and white, it looks as though the sun is beaming down over Manchester, someone got lucky!
1920’s Manchester would certainly put a smile on Andy Burnham’s face, just look at how many trams are running in this photo.
The clocks are no more and it seems the tram wires may have stole the skyline instead, our picture was taken from the top floor of clothing retailer H&M.
Market Street, 1940
Credit: The Manchester Library / The Manc Group
There was a time when everyone’s favourite affordable clothing shop, also known as Primark, was a department store branded ‘Lewis’s’.
Known for its grand window displays and the infamous phrase “If something happened it happened at Lewis’s.”
On the left of this photo you can see an arch detailing ‘Lewis’s Arcade’, this is now where Cafe Nero and Costa stand proudly on one of Manchester’s finest retail streets.
This photo was taken during World War Two and you can see in the windows a message – ‘Are you supporting the national effort?’
Market Street/ Cross Street, 1974
Credit: The Manchester Library / The Manc Group
Cross Street neighbours our beloved Market Street and is also where you’ll find a host of shops occupying the impressive perimeter of the Royal Exchange.
One of the city centre’s newest retail arrivals to nestle in this grand building is Astrid and Miyu, luxury jewellery makers and designers.
Manchester Arndale has seen a major facelift since this photo was taken as it opts for a more glass-heavy fronting and futuristic style.
Market Street, 1984
Credit: The Manchester Library / The Manc Group
Now in the 80’s and florescent lights and neon colours were all the rage, something which you can see in HMV’s logo shining brightly above its shop window.
The music catalog maestros may not be sitting pretty on Market Street anymore, but you will still find them in the Arndale Centre spotlighting loads of incredible new music, like they’ve always done.
You might not be able to pick up a copy of Madonna’s ‘True Blue’ or Pink Floyd’s ‘Dark Side of the Moon’, but you will get yourself a ‘Black Hoof’ from ‘Black Sheep Coffee’.
Market Street/ Mossley Street, 1985
Credit: The Manchester Library / The Manc Group
A shop called Pizzaland dedicated to all things pizza? Here’s another reason why the 80’s were one of the best decades.
This popular eatery chain shut down in the early 90’s and some of these sites went on to become Pizza Hut sites but ours became a Santander, now closed down to make room for Pop Mart.
If all this food talk has made you hungry, fear not, there’s a Burger King just next door, or explore all the various food options in Manchester via our foodie friend, The Manc Eats.
Inside Arndale Centre, 1978
Credit: The Manchester Library / The Manc Group
Manchester may be one of the most eccentric cities in the world with a constant array of new openings and arrivals but the trusty Arndale has been by our side since the very beginning, or at least the 70’s.
The same can’t be said for this lovely sculpture by Franta Belsky, which was installed in 1977 and removed in 1988 after refurbishments to the shopping centre.
This big open plan mezzanine might not be present anymore but it’s clear to see that one thing certainly hasn’t changed and that’s our love of shops.
The retailers might not be the same, but this shopping powerhouse is never short on some incredible and wonderful vendors.
Outside of Manchester Arndale,Market Street, 1990’s
Credit: The Manchester Library / The Manc Group
Manchester’s Arndale Centre sees 41 million visitors each year and has undergone some very big changes throughout its time.
We’re sure some of you looking at this picture will remember when the Arndale had its own deep blue awning and a few benches perched outside.
Whether its 1823 or 1990, one thing’s for sure, Market Street has always looked sharp!
Interview | Snow Patrol on being at ‘the best they’ve ever been’ and making music that matters
Danny Jones
2024 was the year that Snow Patrol not only returned with their first album in six years but reminded crowds all over the Europe in the 12 months leading up to that release why they’ve still got the following the day to this day.
First formed back in 1994 if you can believe that (yes, it’s been more than three decades since these lads first arrived on the scene) Snow Patrol remain one of the most recongnisable names in contemporary alternative, classic indie and ‘dad rock’ if we’re still throwing that term around.
We’re not using that as anything other than the foundational sound and sheer compliment it is by the way; we often feel it’s almost an unnaitainble kind of sound/vibe at this present moment but one than formed many of our first music memories and still influences our tastes to this day.
More importantly, you don’t get to have been around as long as these without having made an impact on people, so when we were offered the chance to chat with the band’s famous frontman, Gary Lightbody ahead of their Co-op Live debut, we were delighted and beyond grateful. Here’s how it went:
Before the interview, we caught Snow Patrol at their intimate album show back in September. (Credit: The Manc Group)
Gary Lightbody on making Snow Patrol’s ‘best record to date’
I heard you say somewhere recently that it might be the favourite thing that you’ve ever made. Does that still sound true to you?
[He nods with a modest smile] Yeah, yeah. I do tend to make my make sure my feelings are set on a record before it comes out, because I don’t want the reaction to you know to dictate how I feel about it.
But yeah, I think we felt that from pretty early on recording with Fraser [T. Smith], I mean, Johnny [McDaid] and Nathan [Connolly] and I had written songs for it and Johnny had made some extraordinary versions we were referring to as the original version of the song, and that’s what we went in the first time to record with a new producer.
Obviously, we’ve been working with Jacknife Lee for 20 years and wanted to try somebody new – not disrespect to him, he’s a f***ing legend – but it didn’t work out the first time, so then we took some time to figure out what we wanted to do and I’d already written ‘All’ with Fraser.
So we decided to go in with him and we could try each other out; he could see if he liked us and vice versa, and it was instant – it was just instant. Every day felt like an adventure and like we were going in the right direction each time.
Some of the songs you know were started by Johnny (the original versions), and then we’d add to those and every time we added, this time it felt like there was something that was expanding the universe of the song, whereas in the previous incarnations it felt like there was something sort of falling inwards like a flan collapsing in a cupboard or something.
Hard not to laugh at that analogy.*
It felt experimental and every time Johnny and Nathan were playing, it added something extraordinary and it was just a joy and an honour to watch them work, and it’s not a joy watching me play the guitar, but it wouldn’t have worked in the reverse.
They’re extraordinary players and so by the end of that time with Fraser, when we’d finished, there was a real strong feeling that the music was as good as we ever made, so that’s when it galvanized with me, that’s when it sort of coalesced with me that this was the strongest album that we’d made.
It hasn’t stopped – I haven’t stopped feeling like that.
After learning what we did in this interview, The Forest Is The Path might just be our favourite Snow Patrol album too.
Amazing, and yeah you certainly feel something’s changed there. How much do you think working with different people in the booth helped that?
Things are always going to change and there has been an evolution live as well. You know, I feel like that the festivals over the course over the summer – we’ve been playing some great shows and it’s been so fun, so I feel like we’re as we’re sharp as we’ve ever been.
You know, you’re from Manchester, I’m from Northern Ireland: we don’t give ourselves, compliments – you know what I mean, this is not what we do, so I’ll do my very best without never being allowed back in Northern Ireland again.
It just feels like we’re everything has got sharper and everything has expanded. I mean, even the small moments feel giant, like there’s a song on the record called ‘These Lies’ and there’s a piano and Nathan’s atmospheric guitar and my vocal and that’s it but pretty early on we were like this is the biggest song on the record.
So it sort of feels like something’s happening creatively that is exciting and I don’t want to overthink it too much because no thought process went into it; nothing ever is strategic about what we do. We start with a blank piece of paper and a couple of instruments, and we’ll always do that.
Yeah, you’ve always done those quiet moments so well, be it ‘Set Fire to the Third Bar’ or even those songs that sound upbeat but there’s a real sadness behind it.How do you find going from those almost Emerald Isle proasic moments to the bigger stuff when playing live?
From L-R, Johnny, Nathan and Gary (Credit: Press Shot via Chuff Media)
I mean, thank you for everything you said there – you’ve hit upon it there: it’s the live thing we think about more than that. You don’t set your sights on live when you’re in the studio but when you do hit upon something and you go, ‘Oh s***, yeah, this will go in the set, yeah’.
We don’t think about like what will go on the radie, like that’s the death I think of creativity when you’re trying to find a blueprint to and wonder what’s on the radio right now.
I mean, it wouldn’t work for us anyway, what’s happening in pop right now – because I’m a fan of a lot of all kinds of music is well-established, you know what I mean; I’m not an indie snob or anything like that I love pop music too, and dance and hip hop and everything – but it’s not something that we can control.
It would just always seem like pushing ourselves into a shape that we don’t quite feel comfortable in, or wearing kind of clothes that you know that’s anytime. You know, we’ve in the past where we’ve had to wear clothes for a photo shoot that are just being taken out of a packet or whatever, so now we just bring our own gear to the photo shoots and stuff, so it’s about sort of feeling kind of comfortable and confident in yourself.
It’s like in the studio itself: this is where where you get into the difficulties, that’s where you get into the heart, the hard places and try and make them more malleable but never think about ‘radio singles’…
People call this record introspective, but I think that the last one [Wildness] was way more introspective and it didn’t have any singles really. So yeah, it was true [that this is their favourite record to date] and when we finished it we were like a dog with a a bird at the door.
Brilliant. And you know, you touched on the live stuff there and festivals etc. It’s great to have you back on the circuit but how excited are you to be playing these new songs and seeing fans develop a new relationship with them and you?
I try not to look too much at comments because it can send you down a path, but I did see a comment recently: somebody said that they came to see it for the first time and didn’t realisee they knew ‘All’ and didn’t realise they knew so many of our songs.
It’s great that the songs have got into people because it also takes the pressure off us, because we don’t have to worry about walking down the street anywhere, but the songs have found their way into the public consciousness, which if you could design a way to have success, that would be it: anonymous and successful.
We’ll finally get to stretch our legs a wee bit with the album. Don’t want to hit too many new songs just quite yet for anybody but it’s been really fun over the course of the summer to see the reaction. It’s been confidence boosting because it means, I think, that we can just sort of relax a wee bit and just allow the new songs to be part of the set without worrying too much.
We’re really conscious as well that people buy a ticket to a show: we want them to have a really fun night out, and that there shouldn’t be a sort of exam that comes along with with a show – you shouldn’t have to, like, do research before you go and if you know the new song’s great, and if you don’t, that’s okay, there’s not going to be tonnes of them, but there’ll be enough to satisfy us.
Do you or the rest of the band have a favourite that you’re really looking forward to playing?
I never really tire of those songs that have sort of a slow build and that kind of go bananas at the end but I think there are [plenty of] songs that would be great to play like ‘Hold Me In the Fire’ and ‘Years That Fall’ that are kind of built for live shows.
We’ll maybe play the three or singles and then one extra each night and rotate that extra one, you know; if people to come to multiple shows – which sometimes they do – then at least they hear you know something new each night as well.
Nice, and do you guys feel there was a particular vibe that you tried to nail for this album?
Erm, no – it’s a good question but no, not really. I think the vibe was the vibe that was created between the four of us rather than on on any particular song, because I think the songs we just let them be.
That’s the thing: you start with that blank page and then you let the song be whatever it wants to be because any song written on a guitar or piano and has a melody, it can be anything we could make turn into a country song or whatever, you know, I think it’s just allowing the song to be what it feels like it wants to be, so getting out of the way sometimes is good.
But yeah, I don’t think there was a vibe that sort of is pervasive on the record as a whole but maybe lyrically, the vagaries of time is kind of the theme through the record as a whole: time’s not linear. We think it is because we’re told it is, but you just realise that every individual person has their own time.
Depending on how fast your heart is beating, how happy you are, how sad you are; how much grief or joy you are in your life, time will speed up and slow down and almost feel like it’s stopping sometimes, and that kind of is what has sort of been the kind of theme through the whole record coming out the back of my father’s death. I don’t really specifically talk about that in the record, but it’s um, it’s sort of something. I guess that became kind of a um a theme amazing.
Maybe that’s why I love this record so much because I’m obsessed with time. One last question, I saw you say ‘We’ve never been cool, so who gives a s***?’, and I think there’s something unique about a fan’s relationship with those underdog bands – what makes it special do you think?
That wasn’t exactly how I answered that, but they made me sound a lot cooler than I was. I think I was a bit more equivocal than that rather than but yeah, I mean it’s incredible.
People do say to me pretty often like this, whatever song it was – you know you mentioned, ‘Set Fire’ or ‘Open Your Eyes’, ‘Run’, or one of the quieter moments – they’ll say that this song means this to me because this happened and it was the soundtrack to that happening in my life, you know what I mean?
It could be something joyful, or it could be something extraordinarily painful and sad, and to feel like you were there for a person, you know what I mean? It’s something that you made in solitude, or together as a band – it wasn’t made for a specific person or a specific thing but that person has found it in their life.
So maybe it held them in a moment that was difficult for them or the opposite, or was like the best day of their life was made better by it – either way that makes me very, very happy but yeah, we’re delighted to be ‘that’ band and we’re delighted that anybody still comes to see us play live.
Especially the amount of people that have bought tickets for this tour is absolutely extraordinary. It’s kind of blowing our minds because even with Wildness we didn’t sell anything out, so it blows our mind to still be able to play arenas and mean so much to people. We don’t take it for granted, that’s for sure.
If there was one thing we took away from this interview it’s that we’re just so glad to have such a long-lasting, influential and meaningful band back in our lives and, more importantly, back where they belong: delighting the smallest of rooms to the biggest of arenas – Snow Patrol have always been built for both.
The lads are playing the Co-op Live for the first time ever this Saturday, 22 February and we’re sure it’s going to be an unbelievable show that follows not even a return to form in our eyes but a reminder of just how brilliant a bunch of musicians these lot are.
There are still a handful of tickets left for massive Manchester gig – you can grab yours HERE.
This Saturday, Snow Patrol take to the stage @TheCoopLive
Post-event: – There will be trams back to the city centre from Etihad Campus – Holt Town and Velopark stops will be closed in both directions for approx. 1 hour.