AB History
Cultural Organisation
AB is the first pop- and rocktemple to receive recognition as a “Grote Vlaamse Cultuurinstelling”. This means AB is now one of the key cultural organisations in Flanders, a position it shares with deSingel, the Flemish Opera and the MuHKA (Museum for Contemporary Art Antwerp).
AB received this recognition because – says the Flemish Minister of youth, sports, culture and Brussels – it carries out a local and international pilot function (AB stimulates and promotes ‘more Flanders in the world en more of the world in Flanders’) and because our programme reaches the high standards of international quality.
A great honour based on the performances of the past 29 years and at the same time an additional stimulus to do better the following years.
Back in time
The present-day Ancienne Belgique is located in a historic spot in the heart of Brussels. It used to be the house of the Merchants - overseas traders - of which the first traces go back to? the 11th century. The Merchants had a need for a secure bank vault, a nursing place for the sick, a meeting place, but also a place to party. The house was built in the rue des Pierres, the main traffic road that ran from Saint Gudula down to the Nedermerct (near the island of Saint Gorik) between the many arms of the Zenne. Three centuries later the complex had evolved into a real center with a socio-cultural function. The only visible evidence of that time is the inscription on the façade: "Meersliedenambacht 1781".
The Belle Epoque brought along new glory: from 1906 to 1913 the "Vieux Dusseldorf" was very popular with its interior in German style, 1500 seats and many enthusiastic couples on the dance floor. On 21 December 1913 a renovation (the first one in a row!) was started. This resulted in "Bruxelles-Kermesse", a same kind of brasserie but now with a variety of artists and theatre elements. In the 20s the basement is turned into the "Caveau Flamand" where young literary talent finds a way to the public.
The imperial age
In 1931 the entire building is bought by Mathonet, a man from Liège. This is the beginning of the Ancienne Belgique era. Liège, Ghent and Antwerp will have a similar venue but the Brussels one, our AB, will survive them all thanks to the life-work of Mathonet's son, Georges. He will turn the place into one of the most leading European music-halls. Driven by its success the building is bound to be? torn down. Well, the time has come to build a bigger venue, a building that nowadays is known as the Ancienne Belgique.
In the Second World War Mathonet is more vigorous than ever: he honourably participates in the Resistance. The liberation brings a true explosion in the world of amusement and Mathonet's AB is somehow the centre of all of this. The success formula at that time: a first part with magicians, acrobats, imitators, comics and the "vedette anglaise", a second part with the "vedette américaine", followed by a forty-minute main act. House orchestras are conducted by famous chefs as Emile Sullon and Jacky Myriam.
On the scene we have Annie Cordy, Charles Trenet, Gilbert Bécaud, Aznavour, Brassens, Piaf, Adamo, but also Louis Neefs, Ann Christy and Bobbejaan Schoepen. Brel was on the bill many times. A dozen performances per week is the average, half of these being matinees. The concept is financially within limits (with a minimum of charges for the artists) and technically simple to realise with often only two microphones, one piano and a modest décor. The atmosphere is relaxed and informal. Jacques Brel calls it an excellent school. It is a challenge to prove oneself as a singer in front of a consuming, chatting and distracted audience.
In 1955 Bruno Coquatrix turns an old Paris cinema into the most famous music-hall of the world: the Olympia. He and Georges Mathonet become partners. Ten grand years follow.
In the 60s, at the breakthrough of the yé yé, the management follows the trend by booking artists who appeal to a different and younger audience: Johnny Halliday, Jacques Dutronc, France Gall, Claude Francois.
After the fire at the Innovation (1967) Mathonet is forced to secure the building with concrete. This huge investment turns out to be fatal. The attempt to turn the Ancienne Belgique into a Paris Lido for the Eurocrats fails. A call for subsidies went unheard. In 1971 the Ancienne Belgique files for bankruptcy. Georges Mathonet dies shortly after.
Open house
The building falls into ruin. In 1977 it is bought by the Ministry of Finance. Finally some good news: together with the "Botanique" the Ancienne Belgique is presented to the Flemish and Walloon cultural departments. Two Secretaries of State for Brussels Affairs have to come to an agreement: Vic Anciaux (VU) and François Persoons (FDF).
The Flemish prefer the AB for its central location, its popular background and its wide range of entertainment possibilities. You could compare it to the Mallemunt spirit: providing the Dutch-speaking community with a friendly meeting place right in the centre of the capital, a creative spot, a place to be for the young. The original name is kept: Ancienne Belgique, but the abbreviation AB becomes more and more common.
Secretary of State Rika Steyaert opens the AB on 21 September 1979 with the famous words: "This is a house of hope". Director Ivo Goris and his young crew of volunteers and temporaries run this open house where there is room for a variety of initiatives. During the day there are educational activities, at night there is artistic pleasure and party time. There is not one day when nothing is happening.
The many qualities of the venue are tested and some defects come up: the building is crumbling and not soundproof at all. All this and too many young people in that quiet and sleeping street made the City Council close down the AB in 1981.
A new start
A major renovation is inevitable and starts in 1982. Architect Werner E. De Bondt renovates the Bar Américain and then stars building a new main hall. He opts for a robust and spectacular interior design in a high-tech dimension. Circles on two different levels guarantee the intimacy and the overall atmosphere of the hall is set in a warm, red colour.
The opening on 23 December 1984 is a memorable event in the history of the AB. However, the noise continues to be a problem and has a fatal effect on the bill. The young-oriented approach of the AB is mocked by policy-makers. Dark years follow, until a new dynamism emerges in the house. Partying through the night makes way for a strictly respected closing-time. The evenings are long enough to receive the power of Anglo-Saxon rock or the cream of the Dutch-speaking music scene for yet another première. The East and the South also stop by: India and Africa sends its finest sons to present their traditions. The tolerant North African culture is introduced by Chebs and Chabas.
Despite the power of the crew, with Jari Demeulemeester as artistic director (director-general as from 1988), fear reigns at the AB: police interventions, fines, threats from the biggest law firms constantly remind them of the danger of yet another close-down.
Prosperity
In 1986 Secretary of State Patrick Dewael orders a thorough investigation concerning the noise. The report is disastrous but hopeful at the same time and leads to a new architectural plan and a new architectural team. In 1991 Secretary of State Hugo Weckx agrees to finance a huge contemporary centre for popular quality culture. His successor, Luc Martens, safeguards the demanding but ambitious project. "The music house Ancienne Belgique, a project of the Flemish community in the capital" as it was called at the opening on 6 December 1996. The premises are enormously vast. Technologically we are speaking world-class. The main entrance is no longer in the rue des Pierres. There you now have the café and the ticket shop. Equipment can be loaded and unloaded at the laoding bay or via the Square Lollepot at the back of the building. The main entrance on the Boulevard Anspach gives onto an entrance hall (agora). Upstairs there is a second, smaller hall: the club. Another huge advantage: the AB has its own recording studio. From this studio we can go around the world, live, via satellite or through the internet. The AB team is mobile in every sense.
Vision
Over the years, through all the renovations, the AB profile has always been the same. Our goal is to present contemporary music, made by people of today and about the world they live in. We want a positive press advertising the newest repertoire, the newest act, to fans and music lovers. In short: presenting interesting artists to a broad public of people living and thinking today.
The belief in a passionate relationship between the artist and the public persists. And it does not look like the future is going to change this!
