By Matthew Smith

Noted for their quintessentially British attitude The Jam, Britain’s anti-establishment, politicised and pragmatic punk rock band were formed in 1972, smashing into the charts in 1977 with their debut album ‘In the City’.

Their entry into the mainstream was marked by a preoccupation with the revival of mod culture which preceded their early years. Building on influences like The Beatles, the initially fluid band eventually anchored their final line-up, which included Paul Weller, Bruce Foxton and Rick Buckler. Psychedelic rock and rhythm and blues stylistic influences were particularly prevalent in The Jam’s interpretation of the contemporary social and political climate and with their style that transcended fashion, the unique band became one of popular music’s most revered and iconic acts.

This summer Nicky Weller, sister of The Jam’s frontman Paul Weller, together with fellow curators Russell Reader and Den Davis, bring an extensive collection of the band’s history to Liverpool’s Cunard Building.

The exhibition features a collection so extensive that it’s only comparable to a large museum. Following the successful residence at Somerset House in 2015, the exhibition in Liverpool’s Cunard Building features both a wider range and a greater volume of pieces charting the meteoric rise of the band to national and international icons.

The exhibition’s entrance gives visitors the opportunity to retrace the band’s steps through a tunnel designed in the form of an old tube station. This experience will be enhanced through the use of special effects which will feature once the exhibition opens to the public today (1 July). Visitors are welcomed into the exhibition by the famous words of John Weller, former manager of The Jam and the subsequent solo career of his son Paul, used to introduce the band on each occasion.

Interestingly, the first exhibit is a recreation of the band’s last stage set on 11 December 1982 at Brighton Pier, and features the original equipment used in their final live performance. This may bring back fond memories of the band’s final concert. For those visitors who weren’t there, there is an opportunity to view the band’s various live performances throughout the exhibition on large screens.

Charting the band’s rise to stardom requires a brief history of where the band came from. The earlier collections, which include family photographs and artwork, provide visitors with the opportunity to observe the band’s evolution through the prism of their childhood years. In these documents one can clearly observe the young talent.

Old schoolbooks which are filled with sketches and poetry provide an indication of their early artistic ability, with the works of George Orwell serving to demonstrate the group’s intellectual prowess.

Interestingly, Weller’s notes show early signs of an affinity with Liverpool’s music culture, which continued throughout The Jam’s success, stemming from an early appreciation for The Merseybeats and Gerry and the Pacemakers. This area of the exhibition also features small sets showing the environment where the band grew up and where they practiced, and includes much of the original equipment used.

Throughout the exhibition, television sets also document the news headlines which were occurring at the time of the band’s formation and subsequent transitory phases. This puts the band’s music, lyrics and intense dialogue into context and provides an interesting educational tool to younger audiences on the social and political landscapes which manifest in many of the band’s songs, such as ‘Little Boy Soldiers’: “It’s funny how you never knew what my name was, our only contact was a form for the election”.

The large collection has been amassed through fans’ memorabilia as well as personal family archives and the collections of famous followers who have loaned various items. Paul Weller, himself, has loaned his customised Whaam paint job Rickenbacker 330 guitar.

Rare posters, books, cassettes and records occupy tables upon tables of memorabilia and huge collections of demos and records are available to see.

The centrepiece of this exhibition is based on the 1978 album, ‘All The Mod Cons’, which is a theme running through the veins of this exhibition. The pièce de résistance includes modified motorbikes influenced by the band, as well as mannequins baring the their unique blend of stylish suits and smart-casual wear. The Beatles-inspired tailored suits that adorn the cabinets are backed by an apt neon blue lighting and surrounded by the entire catalogue of the band’s works.

Guitars from the band’s first performance in Soho and their signature Epiphone and Rickenbacker instruments are also available to view.

Despite disbanding in 1982, the band has continued to remain influential across a wide genre of works. The exhibition captures the essence of the band and their importance in British pop-culture which resonates to this day.

With tickets priced at £9.50, and discounts available for off-peak times, the exhibition offers outstanding value for money, and a compelling and an authentic insight into the rebellious social and political impact the band had for over four decades with their innovative ‘Young Idea’. To accompany this exhibition the book titled ‘Growing Up With… The Jam’ accompanies the display which is a fitting tribute to the band.

The Jam: About The Young Idea is open at the Cunard Building from 1 July until Sunday 25 September 2016.

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