The Ghosts of Stadiums Past

 

I moved to Manchester in 2007. It was not long after Man City fled from the old Maine Road in Moss Side to the wastelands east of Piccadilly, to take up residence at what we used to call The City of Manchester Stadium, before oil struck the town.

Getting the 111 to uni in 2011, you could see where Maine Road used to be from the top deck. There was a big pile of dirt, a large empty space where I suppose you could still kick a ball without twisting an ankle, and in the distance lay the first sparkling new homes to be built on the site of the old stadium. It was only later I learned that it was there that the Wembley of the North used to stand.

Man City play Portsmouth at Maine Road in January 1936
The Wembley of the North: Man City v Portsmouth at Maine Road in January 1936. Source: Wikipedia

There seems a particular sadness riding around football these days as West Ham, once said to be David Cameron’s favourite club, say goodbye to the wild and rusty venue known by some as the Boleyn Ground, and by others as Upton Park. West Ham fans have been busy in the press sharing their memories. East end emigré Mark Joyce told the Guardian that “going to the football was part of a wider routine of visiting family and going to the area.” Fellow fan Billy Bowring also contributed to the newspaper’s remembrance, with fond recollections of the old place.

My favourite memory is a pervasive feeling of collective support, a fevered passion and atmosphere. It was invariably in the face of impending defeat, but an important principle of support was enacted in every game; regardless of the score you stay to hear the final whistle. When I picture that atmosphere, I see a night game under the lights with thousands of Hammers huddled against the cold but in loud voice.

It was a fitting send-off, broken bottles aside, as the Hammers came from behind to defeat a tardy Man United 3-2.

An old stadium harbours so much more than goalposts and fossilised pasties. The pitch holds the echoes of great moments, crafted by players that Hammers fans lauded and made shrines of them in their bedrooms, their names ironed into the backs of their shirts. The seats in the stand become your seats. Year after year, returning to the same spot, seeing the same old faces, sitting through rain, snow, wind and Stuart Downing. The ashes of loved ones, indebted to the club for the memories, the friendship and the camaraderie, are scattered on the field every year. The place where you release someone’s ashes, that is where they remain. You say hello every time you pass. It’s reasons like this that explain why when Moseley RUFC left their old Reddings Road haunts in Brum, the fans came down and queued so they could take a square of the old turf home with them. In the same spirit, Hammers fans are now buying up the old seats at the Boleyn, which I’m sure will fit right in with their other furniture.

Highbury-now
Highbury, now providing luxury homes to fans of Jeremy Corbyn

West Ham’s decision to up sticks puts Upton Park at the head of a long list of old grounds abandoned in recent years. There was the Dell, Southampton’s courageous old stadium that looked as if it had been designed without a ruler. Now, as Oliver Gara tells us, it’s “a large set of apartment blocks and in keeping with the old ground, space in many of the flats is extremely limited.” Then there was gloriously mismatched stands that overlooked Leicester’s Filbert Street, before everybody’s favourite champions relocated to the ferociously-named King Power Stadium. Wimbledon’s Plough Lane is now fittingly an allotment. Highbury was a bit different, nestled behind some Islington homes like some magical back garden. You went down somebody’s alleyway, and there was Thierry Henry. Best of all was Barnet’s Underhill stadium, surrounded by seven stands, and where if you were defending the north end, you had to beware as your backpasses might have trickled back toward you. The bees’ new ground, “The Hive,” is disappointingly flat.

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Filbert Street. The most striking stadium of all time. Source: Leicester Mercury

The ground formerly known as the Olympic Stadium will be West Ham’s new home, to the dismay of Leyton Orient. As an ever-present at the Paralympics, I have incredibly fond memories of the place – Jonny Peacock defeating Oscar Pistorious, the howl of the Weirwolf, and nearly being run down outside by Dame Tanni Grey, who was clearly very late for something. I tell you now in moments like that it can reach stranger-hugging levels of excitement in there – so I’m sure Hammers fans will he able to quickly fill the new place with echoes of a glorious past, especially if Dimitri Payet sticks around. But I think it will take more than that to recapture the soul of the Boleyn Ground.

Surrounded by luxury flats that sprung up in the ‘redevelopment’ of Newham, and a cavernous park dedicated to the Queen (as it was high time something was named after her), there is something dissociated about the Hammers’ new place. Old grounds sit in the heart of a community – while Upton Park rested between shops, pubs and houses, the new stadium has a gigantic Westfields in which you can soak up all the pre-game atmosphere you can buy. Nothing says Matchday like a Vanilla Latte and a morning of sock-shopping.

That is fuel enough for this week’s outburst of nostalgia (although that’s no excuse for bringing Marlon Harewood on the pitch last night). Mark Joyce believes “things will move on but for me and hundreds and thousands of others for whom West Ham is synonymous with Upton Park, something irreplaceable is being lost.”

For Hammers fans, the place that made them unique, their home, is being left behind and replaced by the heartless symmetry of yet another modern stadium. Unless they rename it Football McGroundface, it’s not going to be a place that easily harbours affection. But in many ways big clubs outgrow their old shells and need to move on. The old terrace-turned-all-seater can be a cramped, uncomfortable experience for today’s fan, and you can’t beat paying £40 to watch James Milner kick a ball from behind a load-bearing iron bar. The corporate boxes are not cavernous enough for today’s portly billionaire.

The Boleyn Pub
The Boleyn Pub, in front of the Boleyn Ground. Source: Mapio.net

But it’s more than that. Inner-city stadia can prop up a local community – matchdays can inject cash into the neighbourhood through Saturday afternoon trade provide an injection of cash, and put entire areas on the map. After City left Moss Side, many of the shops began to struggle, and the comfort of being spared the occasional old-fashioned football riot was little compensation. The pubs slowly boarded themselves up as the wasteland watched on. The demolition of Maine Road left a gaping hole in the community, and it took nearly a decade before any recovery came, brought with the opening of the first houses. Newham Council hope the new homes built in Upton Park will herald a new start for the area, but local traders are wary. Local publican Ron Bolwell said to BBC that “our rates are very high and our rents are high,” and the loss of matchday boozers marks trouble ahead. Osman Mustafa in Queen’s Fish Bar hopes the construction workers will prop things up, but said, with resilience and resignation, “after that, I don’t know. It will affect us terribly.”

There is optimism among the West Ham faithful, who feel the move into their grand new stadium could help foster good times ahead for the club. Bowring is hopeful, but hopes “that this move isn’t at the expense of the people and the history that have made this club something I’ve always been proud to support.”

I’m not one for sentimental nostalgia – I’m the first to throw a shady look at the ‘football was better in the old days’ crowd – but the closure of an old ground can be a loss of a community asset, replaced by something that offers far less to fans and neighbours of a club, and you get the impression that Sullivan, Gold and Brady would rather play the robber baron and cash in on the Boleyn’s assets than spend any worry on pondering that which will be left behind. It’s the corollary of the factory town whose factory has been boarded up, or the coal mining community who have no other option but to turn to the Sports Direct Depot for work. When a Hipster Burger Co. opens on your street, and your rent starts creeping upwards. When Herman Tillke designs a racing circuit. When anything moves to Milton Keynes. When a language dies. It’s the acceleration of things beyond your control, things you used to rely on, that are replaced with precarity and mediocrity. It’s the half-finished, snail-paced, shiny apartments built on the rubble of the Wembley of the North.

In a few years, some new students will sit the top deck of the 111 will look left at Claremont Road (before Crownchy Fried Chicken – the True Crowning Glory), and they might wonder why the houses look a bit different here, and why there’s a blue road here named after an American craft beer.

 

(Title Image – The Kippax Stand, Maine Road, being demolished, sourced from Urbanghostsmedia.com)

The Strange Death of King Coal

Big K

The first six years of my life were in South Wales. I am from Abergavenny – it’s down in the Vale of Usk, but it’s more of a tearoom and market castle town than a “Valley” valley, most famous for its incarceration of Rudolph Hess, and a brief time in the 14th Century when Abergavenny declared itself independent from the rest of you lot.  I’m not from a mining town.

But Abergavenny lies on the very edge of the South Wales Coalfield, that stretches 90 miles west of the town, through Blaenavon, Merthyr, the Rhondda and Neath right out to Pembrokeshire. So in those few years I learned about the mines, as you do in that part of the world.

anthracite
South Wales Coalfield. Source: Flikr|thereggy

I remember the slag heaps on the hill side and the day trips to the Rhondda Heritage Park.  I also recall heading over the top of the Blorenge, the mountain that looked over my garden, to Big Pit in Blaenavon, the mine-turned-museum. The tour underground was run back then by ex-Miners, a few of whom managed to stay in the industry as tour guides, and I think a few are still there. I never did that part of the tour. I had a chance, when I was young, but I was scared of a cave-in, probably because I’d just been taught about Victorian kids (younger than me) dying in mines.

It’s silly really, but that’s how my generation, those of us who aren’t from a mining family or old colliery town, were told about the mines. They were something past relics of the days when kids and pit-ponies and men with rickets were sent away from the daylight to work the pits. It’s what kept them alive (that, and the canaries). That’s not what mining is anymore. Coal is still being hauled out of the ground. Mechanised and safer than ever before, but still tough, until the end of today’s shift it’s still the lifeblood of those who work the last face at Kellingley Colliery.

Nowadays it’s all about the environmental factors too. Coal kills the planet, and clean coal isn’t a sufficient alternative. Coal is choking us, so apparently we’re moving onto gas until that chokes us too. They’re closing the coal-fired power stations next, and everybody important is happy about this. It makes us ever-so-slightly greener as a country. Shall we build another runway at Heathrow?

Those in charge don’t really care about the green stuff. The government has made that pretty damn clear. But in any case, British coal isn’t going to be part of this country’s future. As life beats past us, it brings with it in the backwash a whole host of nostalgic feeling; you may have noticed some of it in my first few paragraphs. People love a bit of nostalgia, and it takes on many forms. There’s the nationalistic stuff, and in the week where Benedict Anderson passed, you can find tales of how coal built a nation, or built an empire – which in Brit-nostalgia, is rose-tinted, ignoring its brutal past and economic endurance (just think about where the coal is coming from now).

“The country used to be called Great Britain, and coal is part of what put great into that name” said Chris Kitchen, General Secretary of the National Union of Mineworkers, last week. Britain is an imagined community built of coal and steam, and these images are frequently wrapped up in ideas of “Better Days.” This blog isn’t about that. Not today, at least. Kellingley’s closure isn’t about the death of John Bull or any of that Victoriaphilian nonsense.

There’s the other nostalgia. The moving stuff, the part that makes the Financial Times squirm  because other people are feeling emotions that they cannot comprehend. The centuries of stories of how entire communities went underground, mined the heart out of the place, looking after the town, their families, and each other. Because they were miners, and that’s just what they did. Many hands lighten the load, as the Haitians say. However outdated coal may be as an idea, Kellingley marks the end of a way of life, a popular culture complete with its own folklore, music, humour and so many histories. It is always sad when a way of life dies out, and deep mining dies today, not with a strike, but a whimper.

This isn’t Brassed Off, or Pride. The end doesn’t happen with a defiant march through the streets, with heads held high.

THAT’S NOT ENOUGH.

The resilience of downtrodden communities can be an inspiring thing to watch from the outside, and the capacity for human renewal in such places is symbolic of the most impressive qualities of our society. But all the obituaries of two centuries of life in the coalfields can be a distraction from the final act of the systematic destruction of mining life in this country. Nostalgia can be a dangerous thing.

The death of deep mining threatens the existence of the NUM, once the most powerful, government-felling union in the land. Thatcher mortally wounded the miners and the NUM during the strike of 1983-1984. Incarcerating without cause, the police beat the picketers, they beat their partners and their children too. The press burned them in daily written effigies. Over the latter half of the 20th Century, mines were increasingly underfunded and the jobs ebbed away. Successive governments did not care about the future of such places. In the 1990s, the Major government set up a few generous pension schemes as it closed dozens of mines, but work never returned, and nor was it encouraged. Mining towns were given an expiry date, nothing more.

march glasgow
March in Glasgow in support of the Miner’s Strike, 1983. Source: BBC News

A few places found an economy in mining heritage. A couple of ex-Miners could run the tours down Big Pit, now part of the Museum of Wales, but really it’s plugging the dam with a fingernail. Blaenavon has tried a few things to stay afloat, even attempting to mimic Hay-on-Wye as another Welsh “book town,” but to no avail. They haven’t given up yet.

Modern, mechanised mines like Kellingley, first sunk in 1960, were able to carry on for longer. Extracting over 2 million tonnes of coal a year, Kellingley is full of cutting-edge tech. The miners drop down the shaft, at over 40mph, to a depth of 800 metres below the surface, before boarding a train for a five mile ride to the coalface, which is finally reached in one final commute aboard a conveyor belt (that itself can be another two miles long).

At temperatures of nearly 40˚C, the coal is extracted from the face using the Shearer, which resembles a gigantic pizza-cutter. While that works its magic, the seam, itself over 300m long, is held open by a series of mechanised roof supports that press upwards to keep the face clear. As the Shearer surges onwards, the roof behind the supports is allowed to collapse. Each supporting post in the passages holds at least three sensors to forewarn of danger. (More info here at UK Coal website)

uk coal
A modern mine. Source: UK Coal

These days, miners wear more than just a hard-hat, but it’s still a tough, risky business down in the pit. Collapses still happen. Miners carry a device called a “self-rescuer” that provides emergency air in case of fire. Three miners, Don Cook, Ian Cameron and Gerry Gibson have died at Kellingley in the last decade. Shifts at “The Big K” are 12 hours long, of which 3 is spent just getting to-and-from the coalface.

Romanticised accounts on these aspects of mining alone do not really exist; the sentiment of the closing of the pits is attached to the death of a way of life so important to many people alive today. Those who mourn the end of mining do not want people risking their lives in cave-ins and explosions. We do wish for communities to not be left behind in the past as evaporating towns where kids with prospects throw a bag on their backs and never return, and everybody else ends up on the dole or in a Sports Direct depot as in Shirebrook.

Modern miner
Modern miner. Souce: UK Coal

It’s at that point where we shake off the intoxicating nostalgia of the pit town. The end of deep coal is an end of security. As the NUM declines to almost nothing, and as the trade union movement itself comes under increasing threat, the ex-miners in these towns find their friends are also ebbing away. The canteen in Kellingley now has a makeshift career service – there are jobs advertised for a nearby Wind Farm factory in Hull. 14 of them (at its peak, Kellingley employed 2000). There are plans to build a Waste-to-Energy facility on the site, but that comes with just 38 full-time positions.

The NUM is angry about all of this; Dave Kitchen explains that the skills of deep-mining are honed and unique, and the miners have also been damaged from years in the pit. In any case, the planned re-training and re-employment schemes offered are little more than lip-service.

“Now we have miners at various stages of that journey entering the job market. Employers will be interviewing men who know how to work hard but who aren’t as healthy as they should be because their back’s not right or they have a weak chest.

We haven’t been in this situation before because previously when a pit has closed there’s always been the option of transferring. The Kellingley miners have specialised skills but nowhere to take them because theirs is the last pit.”

Many who came to Kellingley, like Welshman Carwyn Donovan, followed the coal to Yorkshire after their old mines bit the bullet. The pension schemes provided by a £10m grant to UK Coal from the Government are a shadow of those given out in the ‘90s. One miner, laid off in August, was only told at the start of his last shift that at the end of the day, he would no longer have a job. Even the UK Coal website claims to this day that its mines closed this year would be open until 2019.

This is a disinterested assassination of a town and the final stage of a thirty-year dismantling of the lives of coal miners. This isn’t about the Paris Talks or climate change or worker safety or merely the passing of time. Britain hasn’t abandoned coal yet, just its miners. Coal from abroad comes in at £13-a-ton less than from below our feet. The buyers don’t care about the welfare of those who brought that coal to the surface either.

The price is all that matters, and the overheads of a modern mine are high. It needs to be preparing the next face as the current one is worked to maintain profit. Starved of investment, UK Coal pulled the rug quickly from Kellingley and Thoresby (in Nottinghamshire) this year to cut losses. It’s cheaper for the buyers to buy no-questions-asked coal whilst the argument is spun that deep mining was an old nag who had to be put out of its misery.

The Kellingley miners are going to march tomorrow through Knottingley, the nearest village. Organised by two local women, the march will begin “one last pit party” for the town. But then the town will go into Christmas, short of 450 jobs and full of uncertainty. “We’re all off on gap years, aren’t we?” said one miner, wryly.

Pam Ross of the GMB Union, finds a flaw in the nostalgia.

We will lose skills, traditions and culture associated with coal mining, and obviously suffer the social deprivation from communities losing their source of employment. It’s ironic that there are so many coal mining museums in the UK – obviously the general public has a lot of empathy for miners and mining, pity the UK Government did not share that empathy.”

Ross would like to have seen mining continue until at least 2025. Maybe that wasn’t possible. But through better pension schemes, training and local investment the Government could have at least ensured a better future for ex-mining towns, so that mining need not be remembered as the better past.

The last tonne of coal pulled out of Kellingley is going to go on display at the National Coal Mining Museum next year. Like in the Rhondda and Big Pit, heritage is all we have left of the mining life. Perhaps in remembering the struggle and spirit of the mining past Knottingley, Blaenavon and other ex-mining towns can continue to endure the hard times and hope for a future that is more than a story of permanent decline. That is the culture of mining that doesn’t have to die.

Deep coal mining in Britain is over.

Kellingley-Colliery_0286
Dave King, Kellingley miner (left) and Keith Poulson of the NUM, at the Kellingley Miners Memorial. Source: Daily Mirror

PS I have read somewhere that the Memorial is being moved the National Mining Museum in Wakefield and Kellingley Miners are raising money toward this aim. If anyone has more info on this/how to give please let me know.

Source of header image: Julian Hamilton/Daily Mirror

“Houses as Ruins and Gardens as Weeds” – Manic Street Preachers reprise The Holy Bible, Wolverhampton, 1st June

 

holy bible

“The court has come. The court of the nations. And into the courtroom will come the martyrs of Majdanek and Oswiecim. From the ditch of Kersh the dead will rise, they will arise from the graves, they will arise from flames bringing with them the acrid smoke and the deathly odour of scorched and martyred Europe…”

..so speaks a documentary reporter from the Nuremburg Trials throughout the Wolverhampton Civic as the Manic Street Preachers start track 11 of their third album, The Holy Bible, an album they are currently performing in full, from start to finish, in recognition of its 20th birthday and the 20th anniversary of the disappearance of its prime lyricist, Richey Edwards.

Bands who have been around too long have recently gained a tendency to dig up full albums from their back catalogue. It’s usually a mixture of reliving old glories, either for the fans or the band, evoking the memory of days now gone when things were more exciting and their music actually meant something. (If the band stick an extra tenner on the ticket price, as they usually do, then they can finally buy that second kitchen they always wanted through the rehash.)

In that sense, it’s a work of history, and it’s the same type of history of those guys who were born in the 70’s but love to talk to you about D-Day or 1966. It’s history for nostalgia’s sake; it’s Village Green Preservation. And when you see it live, it feels the same as if you’re seeing a tribute act; it’s not quite the real thing, as a song used to mean something different when it was first released, to you as a fan, and to the band as performer.

With the Manics, and with The Holy Bible as source material, this would never be the case. The Observer’s Dorian Lynsky wrote of the December leg of the tour, that, “too thorny for mere nostalgia”, it felt “neither lazy nor exploitative but a serious, even necessary, reckoning with the past.” The Manics are not, nor have they ever been, a band who tour out of decadence; they aren’t a Rolling Stones or U2 who reform endlessly to furnish their luxury, but a band that follows in the tradition of The Clash or of Public Enemy. They are certainly nostalgic, but in the desire of not forgetting their musical or social origins. They are definitely not a band that likes to repeat themselves.

The biggest feeling of walking down Memory Lane was in the obvious absence of Richey, who disappeared on 1st February 1995, and is now presumed dead. They lined up, just the three of them, as they would have done 20 years ago, James Dean Bradfield in the middle, Nicky Wire on the right, and a big hole on the left, where Nicky pointed as he acknowledged his absence. (In New York, he said, “we know Richey is here”.)

The Holy Bible is Richey’s album, lyrically, a stark window into a troubled mind that was losing a battle. There are some deeply personal moments; everyone in the crowd knows that 4st. 7lb is rooted in Richey’s anorexia, and the fans are band historians too – James belts out “self-disgust is self-obsession honey” and we all know what it evokes. But this isn’t a ritual of denial, the band have moved on from 1995, as have many of the fans.

And on the whole, this is music that takes on society as a whole, and only rarely is autobiographical.  It is a scathing assessment of 20th Century European history and the political outlook of the 1990s that it bred. It presents a view of the European 20th Century as one of massive human cruelty and destruction.

The taught narrative in British schools is one of Euro-America rising up to defeat fascism, heroic figures of Churchill, Montgomery, de Gaulle et al vanquishing the evils of Mussolini and Hitler. These European heroes are removed from the historical canon of The Holy Bible, replaced by the serial killers Hindley, Brady and Sutcliffe, mixed with ex-FN leader Jean-Marie Le Pen and Slobodan Milosovic. With them, the fascists remain; in Of Walking Abortion Mussolini remains only “hanging from a butcher’s hook”, but Hitler has become “reprised, in the worm of your soul.” Churchill remains only to join the pantheon, as “no different” for his attitude towards the British working class.

Unfair? Maybe. Discomforting? Certainly. It’s all to argue that 20th Century Europe was, and remains, a cruel and unforgiving place. The Holocaust features strongly as source material, notably on the tracks The Intense Humming of Evil and Mausoleum; the former struggling to come to terms with the horror, whilst the latter rages against the silence that followed (“obliterates your meaning”). But much like Arendt, its significance lies in that the cruelty was mass-sponsored, and not the work of a few fanatical psychopaths.

“Everyone is guilty” screeches James in Of Walking Abortion. The thesis of Archives of Pain is that the capacity for cruelty lies in humanity and its institutions, written jarringly from the perspective of a torture and death-penalty advocate. “If hospitals cure, then prisons must bring their pain,” it opens. “If god makes death that makes man tear up the corpse with horses and chains.”

As the title suggests, in Archives and the entire album history is the evidence, to sit alongside the sickening triumphalism of the Euro-American 1990s. As Francis Fukuyama declared “the end of history”, Richey baulked. He saw no triumph anywhere. In response, and in clear desperation, he, following the words of J. G. Ballard (who speaks over Mauseleum) aimed to “rub the human race in its own vomit and force it to look in the mirror.” The songs are difficult and head-first descents into the agony of 1990s society, furious at sexual violence and exploitation (Yes), body-shaming and self-harm (4st 7lb, Faster), and what in Greece has recently been called “the extremism of the centre” (PCP).

But somehow it never descends into pure nihilism, hinted to in the rueful conclusion of Mauseleum, “life can be as important as death, but [it’s] so mediocre.” I would not go nearly as far as the Sunday Times in saying it’s “an album that celebrates life as much as it details despair”, but there is hope in tiny doses, although that is not the point of The Holy Bible. Instead, it aims to stand in stark contrast to the conservative celebration of the 1990s, of American and European exceptionalism, and to constantly remind us of its lies.

And therein lies the point of its reprisal. In 2015, those who still listen to the record can’t help but feel that parts of the album hit even harder than they used to. Revol is undeniably a ridiculous song, a weird upbeat track that decides that all of history’s autocrats were influenced by some simplistic Freudian nonsense. I think it’s Richey’s attempt at being light-hearted. But underneath is the resignation that history has the tendency to repeat itself, over and over, for the same reasons. These days, that is a feeling that is hard to escape.

Take Ifwhiteamericatoldthetruthforonedayitsworldwillfallapart, the Manics’ razor-sharp takedown of ‘90s triumphalism, dismantling American hypocrisy under the guise of a pseudo-positive punk-pop. The first verse deals with foreign affairs.

“Images of perfection, suntan and napalm, Grenada, Haiti, Poland Nicaragua”

Slip Iraq and Afghanistan into that. Haiti twice more. Colombia and the War on Drugs, Cuba and Guantanamo Bay…

The second verse moved to the domestic, following decades of urban decline, the LAPD assault of Rodney King in 1991 and the subsequent outrage.

“Vital stats: how white was his skin? Unimportant just another inner-city drive-by thing”

Living through the police murders of Mike Brown, Tamir Rice, and the violence inflicted on many black people in the US and elsewhere, the anger only grows. In this album, the history justifies the assessment of the present, and it still feels pertinent. This is a record that must be played in full.

Live, James and Nicky were almost apologetic at subjecting the fans to The Holy Bible in its entirety. They felt it necessary to perform, simultaneously to honour Richey’s memory and resurrect the power of its music. But this is music that isn’t for everybody, and they were aware that it can be difficult.  Sometimes, like in Archives of Pain, it goes too far, and the metaphor becomes so lost it reads as a hawkish revenge fantasy. Some of it, like PCP is politically all over the shop; it comes across (part-intentionally, perhaps) as a series of mad ramblings.

James and Sean gave Richey’s work a backing track to suit the music; strange changes from minor to major, screeching guitar solos on top of simple bass, adrenaline-fueled tempo mixed with slow moments where some fans felt so confused they tried to wave their arms, before realising that this was 4st 7lb, not Coldplay. It is visceral, immediate stuff, and as such only gains power live. You could hear every note and twang of James’ guitar, nothing sounds like the studio.

The fans, of course, knew exactly what they were in for. Some were misery tourists; I could not quite work out how one girl found the urge to groove to The Intense Humming of Evil when most of the crowd were stunned in silence. But it was “enjoyable”. In this left-leaning audience there was a catharsis in belting out the lyrics to ifwhiteamerica after feeling so helpless for so long. To collectively chant “so damn easy to cave in, man kills everything” at the end of Faster was to articulate and release so much frustration.

It didn’t end there – the second half of the set, the “party songs” as James put it, is not devoid of this feeling. Nicky, taking over lyric duty, writes in a more diluted way (and can be occasionally dreadful) but the message remains. James first sung The Everlasting (that song of strange pronunciation), that begins with “the gap that grows between our lives, the gap our parents never had.” Depression remains a topic; the cheerful-on-the-surface number You Stole the Sun from my Heart concludes with “I have got to stop smiling, if gives the wrong impression…” The set concludes with the searing 1996 eulogy to a dead welfare state, A Design for Life, as moving as ever nearly twenty years on as the Chancellor of the Exchequer sells off the public sector.

David Nicholls (this one) once wrote that each generation needs to write its own histories. Twenty years later, The Holy Bible resurrected live is something new in itself; part-tribute, part-protest, with a bit of group therapy thrown in. There are newer radical artists about, with new things to say, but none can claim the following of this Gwent rock trio. It’s a tougher musical landscape nowadays, this band’s first No. 1 was the Spanish Civil War track If You Tolerate This Then Your Children Will Be Next, and it’s hard to imagine something so with the line “if I can shoot rabbits, then I can shoot fascists” topping the charts today.

The Manics are not trying to be the voice of 2015 with material from 1994. Nor are they stuck in the past. Instead, like the album itself, they are using history to make an impassioned comment on the present. Twenty years later, European and American society is still masquerading under the guise of a post-racist, post-sexist “end of history” triumphalism, whilst social inequality grows, and racial and sexual violence persists.

Or, to show “houses as ruins and gardens as weeds” (quoting This is Yesterday) is to push for greater awareness of the past, and greater urgency in changing the present.