In 2009, a group of young musicians transformed an old fruit and vegetable warehouse in Sneinton into an iconic DIY music venue and recording studio.
Platform’s Editor-in-Chief George Palmer-Soady went down to JT Soar to chat about the highs and lows in the venue’s history as they celebrate their fifteenth anniversary.
Music producer Phil Booth never knew a complaining neighbour would kickstart something brilliant.
It was during a recording session in his home studio in Sneinton in 2009 when the raucous sounds of live drumming ended in a disgruntled knock on the door.
After ceasing the session for the day, Phil and his band discussed moving into a spare room in JT Soar, a disused fruit and vegetable warehouse on Aberdeen Street.
After purchasing the recording studio, the space expanded into a (just about) sixty-capacity venue, taking advantage of the spare room downstairs.
JT Soar has now become a place of local legend – chart-topping Nottingham-based post-punk duo Sleaford Mods have recorded all their albums in the studio, while indie legends Desperate Journalist recorded a live LP of their gig at the venue to critical acclaim.
Bands flock from across the world to perform amidst the intimate atmosphere and cult following the space has become synonymous with.
Phil and the team are now celebrating the past decade and a half, following the ‘JT Soar Fest,’ which took place in November and championed the thousands of bands that have played the venue.
And for Phil, there’s a lot to celebrate. “So much has changed over the past fifteen years,” he said.
“We started in this room upstairs, which was sublet to us by a band. We now have a large control room, a live room, two rehearsal rooms, and a disabled access loo – we own the whole building.
“We’ve got a better team behind us and a much better reputation with bands and the public. Oh, and the roof doesn’t leak now.”
One thing that’s remained untouched since JT Soar’s opening is the ‘D.I.Y ethos’ behind the venue, which Phil says is fundamental to everything he does.
“To me, it’s all about spreading the cost of creativity out as much and as fairly as possible. Touring bands who play in small venues are never going to get the kind of money they need to cover the expenses involved with going on tour – or even being in a band.
“I make sure to feed the bands, put them up, provide equipment – anything they need. I charge £10 on the door, and the venue is completely BYOB (bring your own booze).
“After costs, I give the bands all the money we earn on the night, which I know still isn’t enough to cover all touring expenses, but it is better than most.
“As someone who toured a lot around Europe in their early twenties, I saw how well we were being looked after, either because of folks’ generosity or government subsidies and I tried to replicate that back here. In my opinion, we’re still miles behind mainland EU in terms of artist support”
While the positive treatment of bands and artists is fundamental to the venue’s reputation in the music world, it is also the attitude and mantra of JT Soar’s audience which creates the space’s vibe.
“[The venue is] an open, welcoming space. Inclusivity and positivity are the aim of the game, even though that sounds very hippyish.
“It’s a space where we’re all equal – bands are hanging out with punters, there’s no stage, there’s no bouncers, no bar, and no pretension. There are no barriers to entry, as we sell tickets but have a ‘nobody turned away for lack of funds’ policy.
“We have a varied schedule. I put on bands from all over the world spanning pretty much all genres – jazzy psych-pop from Brazil to post-punk from Australia. If it’s good music, I’ll book it.”
While thousands of legendary artists have graced both the venue and the recording studio throughout the past fifteen years, it is local hip-hop duo Sleaford Mods who are perhaps the most notable.
Their history with the venue is celebrated on the building’s gate, where a mural of the duo’s most recent album ‘UK Grim’ could be seen until it was recently changed to promote the festival.
“[The band] record all their albums and singles here,” Phil added.
“I’d love them to play the venue, but I’d never even put the pressure on and ask. They’re lovely lads and I’ve got so much time for those two.
“And the mural – I’m always happy for them to use the grill as a bit of a visual presence in the area. It’s much better than the shit graffiti folks would whack up there before.”
Looking back at the building’s history, Phil sees the survival of JT Soar amidst a climate where venues are constantly closing as something to be proud of.
“I look back and think of some of the silly things we did – so much overworking, so many years being a yes man, when I probably should have been a bit more selfish and aware of my own wellbeing.
“But if I hadn’t done all that, I wouldn’t be where I am now. The graft paid off, and I’m pleased to say things are now going well, in an industry that it’s becoming increasingly tough to be a part of.”
While sticking true to his guns regarding the venue’s ‘D.I.Y ethos,’ Phil admits this has made the running of the space difficult, however, he believes it’s all paid off.
“I do feel tired. It’s been a difficult slog for the most part to be honest. It is a lot of fun of course and having a space to do this kind of stuff is incredible, but it takes a lot of work and as with any self-employed endeavour it takes over your life.
“Pretty much since I was twenty-one, everything I’ve earned from either JT or elsewhere has been sunk back into the building and the business and there’s been so many times I’ve nearly thrown in the towel. Luckily, I didn’t, as I’ve now bought the building, and it’s been plain sailing.
“I do feel like it was all worth it, and now there’s so much stuff to look forward to, and that’s a real joy. I’ve got such a great team behind me now that I’m forever indebted to and thankful for.
“[Thinking about the future of the venue] hurts my brain. I’ve got a lot of plans, but they shouldn’t take as long as fifteen years.
“We’ll just keep on keeping on. At sixty capacity we do have limitations on the size of the bands we can book, but that doesn’t bother me.
“I do feel like I’m quite on the ball, so I can get most of the bands I want to see early on before they hit mega-stardom. I would love forty more capacity, but I have no idea how we’d do it.”
To find out more about upcoming gigs at JT Soar, go to their Facebook page, https://www.facebook.com/JTSoar, and follow their Instagram, @jtsoar.