In December, 1992, the Cork-born showband singer, Tony Stevens, sustained multiple injuries when the van in which he was travelling back home after a show in the West of Ireland was involved in a serious road collision. He spent the best part of a year recovering in hospital, endured many subsequent years when he was physically unable to perform and saw his career locked in the sidings and his considerable national profile all but lost. Five years later, the full details of the accident and the extent of it’s impact emerged during a High Court case in Cork, in which he settled an action for damages.
Stevens, whose real name is Tony Murphy, was a welder from Cork who, during the mid-1970s, went full-time onto Ireland’s lucrative cabaret circuit and quickly developed a decent domestic standing. Clean-cut and affable, he pitched himself as a young, middle-of-the-road crooner among an established cohort of old-school performers. Backed by his band, Western Union, he gigged early and often, playing inoffensive covers and making regular appearances on RTÉ’s light entertainment shows, plugging his numerous releases, of which a cover of ‘To All The Girls I Loved Before’ is easily his best known. As such, he’s an unlikely starting point for a story about U2 and that group’s long association with Cork city and it’s people.
During the summer of 1977, the main canteen on the U.C.D. campus at Belfield hosted what was billed as ‘Ireland’s first punk rock festival’. The line-up featured some of the country’s most exciting and freshest punk-pop and new-wave outfits, headed-up by The Radiators From Space, who’d released a debut single, ‘Television Screen’, months earlier. Among those on the undercard were an emerging Derry outfit, The Undertones and The Vipers, a local mod-fused power-pop band among whose number was Brian Foley. He later fetched up alongside Paul Cleary as a member of The Blades.
The UCD event was marred by the death of eighteen year old Patrick Coultry, from Cabra, who was stabbed after a row broke out in the crowd during the concert. John Fisher, who promoted the show and who went on to manage the career of the comedian, Dermot Morgan, recalls, in a piece for the excellent Hidden History of UCD blog how, at the time, ‘gigs in Ireland were pretty simple affairs’. ‘They were run by enthusiastic amateurs, with very little security. After Belfield it became more regulated, more professional and safe’.
Elvera Butler, from Thurles, County Tipperary was, by her own admission, one of those enthusiastic amateurs who, from humble beginnings and possibly more by default than design, went on to become – like John Fisher and a slew of others from that period – a key player in the domestic entertainment industry.
She was the recently-installed Entertainment Officer on the Student’s Union at University College, Cork, during that period when, in Britain, The Sex Pistols released ‘God Save The Queen’ and The Clash unleashed their vital, self-titled debut album. By so doing, they fundamentally democratised many of the long-established tenets that still under-pinned the entertainment industry. Punk rock was, in many respects, just doing it for itself and urging everyone else to do likewise.
As part of her brief, Butler staged regular live music shows – mostly low-key, often solo acoustic affairs – on the U.C.C. campus, primarily in The College Bar. But from time to time, she’d book bigger and more established acts like Sleepy Hollow and Stagalee to perform in The Kampus Kitchen, a large, low-ceilinged restaurant buried deep in what was then the college’s Science block. When, towards the end of 1977, an opportunity to move those shows into a bigger venue off-site presented itself, the College travelled the three mile distance downtown, to what was then known as The New Arcadia Ballroom on The Lower Road, opposite Kent Station.
The first ever live show advertised in the local press as a Downtown Kampus event, took place in it’s new home on Thursday, November 24th, 1977, when The Memories played live at that year’s ‘Cowpuncher’s Ball’: admission was one pound. The following night, down in the belly of the building, Tweed, a Kilkenny-based, pub-rock seven-piece headlined the night that formally christened The Downtown Kampus. ‘UCC Kampus Kitchen moves downtown to New Arcadia MacCurtain St’ [sic], ran the text that accompanied the small box advert in The Evening Echo.
On Saturday, November 26th, the Cobh-born Freddie White [and his band, Fake], and Dublin hard rocker, Jimi Slevin, played a two-handed headliner that book-ended the venue’s opening weekend. The Arc was up and running.
The Downtown Kampus rightly enjoys a mythical standing in the history of contemporary music in Cork, as much for the quality and spirit of the music it hosted as for what it represented in wider socio-cultural terms. Over the course of it’s three-and-a-half year life-span, it staged a series of often chaotic, widely diverse and fondly recalled live shows at a time when, in the after-glow of punk rock, Cork was a city light on glamour. During the late 1970s, Ireland’s second city, over-dependent on a cluster of traditional industries, could indeed be a grim and dank place. Albeit one with serious notions and a long-standing creative under-belly.
During the summer of 1977, Fianna Fáil was returned to power following a landslide victory in that year’s general election and the party’s leader, Jack Lynch, in whose constituency in Cork North Central The Arcadia Ballroom was located, was elected Taoiseach with a huge majority. In early September, Martin O’Doherty of Glen Rovers, the fabled northside club of Christy Ring, Josie Hartnett, John Lyons and Jack Lynch himself, captained the Cork senior hurling team to their second All-Ireland hurling title in a row: they’d memorably complete a famous three-in-a-row the following year.
It isn’t unreasonable to suggest that those live shows at The Arcadia gave a young and clued-in sub-section of Cork society a real glimpse of something more arresting and moderately glamorous. A cracked window, perhaps, beyond which was another time and another place, far from the more traditional influences of establishment politics and Gaelic Games.
This is reflected in the full list of acts that performed there – local, national and international – that’s as varied as it’s long and that runs the line fully from the likes of John Otway to The Beat, The Specials to Nun Attax, XTC to Sleepy Hollow and that also includes The Only Ones, The Blades, UB40, The Undertones, The Cure, The Damned, Doctor Feelgood, The Virgin Prunes and hundreds of others. Practically all of them were enticed to perform at The Arcadia by Elvera Butler, who promoted most of those shows and, betimes, by Denis Desmond, then a fledgling agent working in the U.K., now one of the biggest and most powerful players on the international music circuit.
The U.C.C. Downtown Kampus at The Arcadia Ballroom is still best known, however, because of the many live shows played there between 1978 and 1980 by U2, the young Dublin band who, during this period, were in search of a beginning. Like every teenage band with ambition, they were still trying to locate a distinguishing voice in a crowded field while also building up flying-hours, putting money in the bank. In Paul McGuinness, they had a connected manager who was sussed in the dark arts of public relations and marketing and, unusually enough, they appeared to have a strategy. Part of which was to play as many shows as they could as often as they could and wherever they could while, in parallel, developing their song-writing.
Contrary to popular belief, U2’s first Cork show wasn’t in The Arcadia at all but, rather, in The Stardust, now The Grand Parade Hotel, on July 7th, 1978. On that night, they were supported by a young local outfit, Asylum, featuring Sam O’Sullivan on drums. He has long been part of U2’s core road crew working, to this day, as the band’s drum technician.
The band’s first appearance in The Arc took place later that same year when, on September 30th, they supported the Swindon new wave band, XTC, and were paid £80 for their troubles. Its not entirely clear how many shows U2 played at The Arcadia – its either nine or ten – but what is certain is that, by the time they took the stage there for the last time, in December, 1980, when they were supported by a young local band, Microdisney, they’d built up a decent and loyal following around Cork. As has long been documented, U2 also assembled the bulk of a road crew plucked from the scene there, many of whom would serve them for decades thereafter. Most prominent of whom is Joe O’Herlihy, who did their front-of-house sound in The Arc and who remains an integral component of U2’s operation, listed these days as the band’s ‘audio director’.
On Saturday, March 1st, 1980, U2’s set at The Arcadia was witnessed by the young British music writer, Paul Morley, who was assigned to write the band’s first major feature piece for the influential London-based music weekly, New Musical Express. On the morning after that show, he sat down with Bono in ‘the cheaply luxurious lounge of The Country Club hotel’ to gauge the extent of the band’s ambition just weeks before U2 signed a major recording deal with Island Records. According to the piece, which appeared in print on March 22nd, 1980, the band was then ‘at the rare-in-Eire point where they’re recognised in the streets, hounded for autographs at Gaelic Football matches’.
Thirty-seven years on, that two-pager, off-set by a series of terrific snaps by David Corio, then a young free-lancer who has since gone on to photograph some of the biggest names in the entertainment industry, makes for terrific, if sometimes bizarre reading. In part it’s a considered policy paper from Bono who, in outlining U2’s plans to take their shtick beyond Ireland, takes aim at a number of his peers. Its also an over-excited, fanzine-style sermon by Morley about the vagaries of the music business and the state of the Irish nation that concludes with the following quote from the singer :
‘We’ve been given Lego, and we’re learning to put things together in new ways. This is a stage that we’ve got to that I’m not ashamed of, but I believe we will get much stronger’.
Later that afternoon, a fleet of cars carrying the band, its small crew and Paul Morley, left Cork to play yet another live show, this time at The Garden Of Eden, a dance-hall in Tullamore, County Offaly, then a four-hour drive away. U2 were scheduled to play a ninety-minute set, supporting the night’s head-liner, Tony Stevens and his band.
Tullamore is referred to throughout Paul Morley’s NME piece as Tullermeny [Bono’s real-name is also mistakenly noted as ‘Paul Houston’], possibly because the writer is scathing of the town and it’s youth: ‘they rarely smile and there is a far away look in their eyes’, he writes. But he reserves his most savage lines for the showband culture and for Tony Stevens in particular, whom he frames, not unreasonably, as a cultural counter-point to post-punk and the very antithesis of what U2, at the time, were attempting to do. ‘Showbands are slick, soulless, plastic’, he writes. ‘The showbands are failed rock musicians, their faces shine with aftershave … their technique is improbably over-competent’. Even if, whenever the definitive, unfiltered history of Ireland’s showbands is eventually captured, the darker realities of that scene will be far removed from such casual stereotyping.
By Bono’s own reckoning, U2 died miserably on-stage at The Garden Of Eden. Taking the carpeted floor shortly after 11PM, they were greeted by a half-hearted audience response. ‘Sat along the front of the stage’, Morley wrote in his NME piece, ‘bored looking girls can’t even be bothered to turn around and see what all the commotion is about’. The venue manager was just as bemused :- ‘Very good’, he quipped. ‘Much different from Horslips’.
‘I felt ashamed because we didn’t work’, Bono told Morley. ‘I actually saw it as a great challenge. It became like slow motion. We blew the challenge, and that’s bad’. But Tony Stevens and his band fared far better in Tullamore and, shortly after they opened their two-hour set, comprised in the main of contemporary chart hits, the dance floor began to fill.
The story of Tony Stevens’s fleeting dalliance with U2 one Sunday night in 1980, deep inside Ireland’s midlands, was one of a number that didn’t make the final cut of ‘U2 Agus An Arc’, Tony McCarthy’s film about that period that airs on RTÉ One television on July 20th next. In several respects, the commercial half-hour just isn’t enough to do justice to a story that, although rooted in music and the culture of youth, also extends way beyond that.
The last ever Downtown Kampus show at The Arcadia took place on May 30th, 1981 when four Cork bands: a nascent Belson [sic], a noisy, multi-part Microdisney, Sabre – who included a young John Spillane among their number – and Prague Over Here, featuring the future RTÉ radio reporter Fergal Keane on bass – brought the curtain down on what, in hindsight, is a wholly distinctive local history.
Months earlier, forty-eight people lost their lives when a fire broke out during the early hours of Valentine’s Day at a disco at The Stardust nightclub in Artane, on Dublin’s northside. That disaster, and the scale of the loss of life and the age profile of those who died, had a profound impact – politically, socially and legally – on the Irish state. Particularly so on those, like Elvera Butler, who were promoting big, live social events to the same age cohort in similarly-sized venues across the country. In an interview with the Irish Mail on Sunday in March, 2012, Butler told Danny McElhinney that ‘after the Stardust disaster, insurance premiums for gigs rocketed and we knew we couldn’t go on for long. Then the hunger strikes happened not long after that and a lot of bands were avoiding Ireland altogether’.
Not long afterwards, she decamped to London with her partner, Andy Foster, from where she initially ran a small independent imprint, Reekus Records, that issued quality wax by a series of excellent Irish bands, The Blades and the epic Big Self among them. The label continues to release new material, albeit on a more ad hoc basis and, now living back in Ireland, Elvera retains a direct involvement in the development of young, emerging Irish talent.
After many years off of the track, Tony Stevens made his way back very slowly onto the cabaret circuit and eventually resumed a career of sorts, albeit to nowhere like the same extent. He still performs live, at home and abroad, with his current band, The Rusty Roosters.
And U2 ? Within ten years of their last show in The Acradia, U2 were among the biggest and most influential rock bands on the planet and, for many years thereafter, the most compelling and distinctive live draw anywhere. And yet there are those around Cork who remember those magical nights on The Lower Road when many a noisy local rival or an international peer blitzed them off-stage, handed them their arses and sent them packing back out on the road to Dublin.
And they may well be right and they may well be wrong.
FÓGRA :- ‘U2 Agus An Arc’, directed by Tony McCarthy, airs on RTÉ One television on Thursday, July 20th, at 7PM.
FÓGRA EILE :- Cork librarian, Gerry Desmond, has compiled a definitive list of all of the Downtown Kampus shows and this typically thorough undertaking was of huge benefit to us in compiling this piece. And is, of course, a fine public service. Go raibh maith agat.
Another might piece , really looking forward to the programme
Just looking at a scrapbook I kept for 79
April 21 st
Eric Bell Band
Travelled from Limerick with buddies
D C Nien / U2 / Virgin Prunes / Z
Sat 24th Sept
Atrix and the Blades
Stranglers and Hot Guitars
John Otway / D C Nien
U 2 again in Nov
Also saw lots of other bands in Arcadia all the time driving to and from Limerick on the same night
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Thanks very much for that, John. I’m researching something else at present and your experience, driving over and back from Limerick, was mirrored all over the country. It was remarkable really how loyally folk like yourself supported an emerging scene. And it highlights too the role played by radio, which was a primary connection for most music fans – especially those from outside of Dublin – in introducing the country to new and different music. That is some body of work from 1979. All the best, Colm.
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