Speaking about the early days of the Mill, Bill said: “The first few events were just personal parties like my birthday or New Year’s Eve for friends, but because I lived at the time with Jayne Compton who is an amazing DJ with a great record collection those parties rocked with the sounds of the early to mid-2000’s CCS, Gossip or The Organ being our favourites. Over the years, the mill has been transformed into a dynamic space that now houses over 100 resident artists and collectives. “We are creative artists and community-led and want to stay cheap and available, but we also have to show sustainability and professionalism. “It is really hard to say how much you need help, whilst also demonstrating that you are viable and reliable. “Meanwhile the public funding sector demands that you prove your worth against every other priority in the city. I had also been looking to find a partner or someone with money and skills, but they always want to do things in their money-making model, which usually involves making flats. “Raising the money was the biggest challenge. “Once you get into the realms of planning permissions and scaffolding and large contracts there becomes a point where you either have to do it all with lots of cash or not bother. “The building needed a massive cash injection of £ 100k Several hundreds of thousands to make a difference. “Money made was put back into doing more events and keeping rents cheap for artists. “But those that did come always had a special time. “We didn’t make any money on the events, because we paid artists and staff to run the events, our drinks were cheap, our hours were long, and often promoters would know that to do an event at the mill, maybe about 25% of the crowd who might go out if it was in the centre, would just not make it out to Salford, so some amazing nights only got a portion of the crowd they deserved. “The entire top floor had never been able to be used as it was full of buckets that we would have to run around and empty whenever there was a major storm. “And now they host an annual Sounds from The Other City every year.” Buying the Islington MillĪfter several years of trying every available avenue to borrow or raise money, In 2000 they reached a significant milestone.īy using high-interest and risky bridging finance, Bill was able to purchase the entire listed building, initiating a gradual renovation process, which would end up taking a long time to complete.Ī long time, in that it has only just been completed this year.īill said: “The biggest challenge was that the building needed a major overhaul, the roof leaked, windows were single-glazed and rotting, and there wasn’t a lift. “Morry and Mark inspired by the spaces we had used for exhibitions along Chapel Street reimagined this idea as a music festival. “It was when I met Morry who 18 years later would become my husband and his brother Mark that the worlds of art and music collided. “We would do an opening with a bit of cheap red wine and then all go down the pub. They said: “I first invited established artists and new graduates to make exhibitions and we did week-long festivals using all kinds of venues up and down the street to install 100 artist work in unusual or site-specific places. We sat down to talk with Bill, who talked us through the mill’s earnest beginnings. The story of the Islington Mill began in 1998 when Bill Campbell arrived at the mill, renting a studio space in the building that captured his imagination. However, the road to where they are has not been a smooth one. Islington Mill has become one of Salford‘s leading cultural institutions, hosting over 5000 artists from 35 countries and attracting more than 15,000 visitors annually. With a rich history and dedication to artistic empowerment, Islington Mill has become a shining staple community project that is driving innovation and artistic collaboration in the city. What was once a partially abandoned mill has been transformed into a thriving arts hub, providing a nurturing environment for Manchester’s artistic community to flourish.
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