From the Scaffolding to the Studio: 10 Years of Blossoms

It has been a full decade since five unassuming lads from Greater Manchester stepped out of a scaffolding yard and into the pantheon of British indie royalty. When 'Blossoms' dropped in August 2016, it wasn’t just an album; it was a statement of intent. Today, we’re looking back at the record that turned a local buzz into a national phenomenon.

The Scaffold Yard

The origin story of Blossoms is the ultimate working-class boys' come-good. All five members were born in the same hospital and grew up a stone's throw from one another; unbeknownst to them, the entire lineup lived within a two-mile radius. This wasn't a band put together by an A&R scout; it was a cosmic coincidence of local talent.

The nucleus formed when Tom Ogden and Joe Donovan met at school and decided to build something of their own. At the time, they were all playing in different local outfits, but the gravitational pull of a new project started bringing the pieces together. Joe recruited Charlie Salt, who was already his bandmate on bass, and then reached out to a younger lad named Josh Dewhurst on Facebook for a "jam." The final piece of the puzzle was Myles Kellock, a mutual acquaintance who landed the keyboard gig after some classic house-party bravado, greatly exaggerating his playing credentials.

They eventually took their name from The Blossoms pub on the corner of Bramhall Lane and Buxton Road, a local landmark that both Tom and Charlie had independently earmarked as a "great name for a band."

With Charlie in the fold, the band gained their most valuable asset: access to his grandad’s scaffolding yard. This became their makeshift headquarters, a place where they could rehearse for hours on end without the ticking clock of a paid studio. It was in this industrial grit that the shimmering, polished sound of the debut was forged.

Blossoms would become incredibly well-rehearsed and a brilliant live band. 

Before they were a Number 1 act, Blossoms were the hardest-working band on the UK circuit. Long before the self-titled album was a reality, they were building a cult following with early releases like 'You Pulled A Gun On Me'. Even in those raw, early recordings, the DNA of the band was clear: massive, widescreen choruses paired with Tom’s distinctive, northern croon.

Those early live shows were a revelation. Whether they were playing to fifty people in a basement or supporting the likes of The Libertines and The Stone Roses, the band had an undeniable swagger. They dressed like they were already stars, all black turtlenecks, suede jackets, and long hair, bringing a touch of 60s mod-cool to the 2010s indie scene. These formative years on the road turned them into a tight-knit unit, ensuring that by the time they entered the studio for the debut album, they weren't just a group of mates anymore; they were a professional juggernaut ready to take over the world.

The Road to the Debut: Highs, Lows, and 'Waterfalls'

As 2016 began, the momentum was becoming unstoppable. The band kicked off the year by being named in the BBC Sound of 2016 list, finishing in fourth place.

On 5 January, they announced the 'At Most a Kiss' EP and headed into the Radio 1 Live Lounge to deliver a viral, genre-bending cover of WSTRN’s 'In2'. By 22 January, the band officially announced that recording for their debut album was complete. 

However, a couple of weeks later, the band's world was turned upside down when the support band on their tour. Viola Beach were tragically killed alongside their manager in a car crash on 13 February. In a moving tribute that showed the band’s deep integrity, Blossoms played a recorded set from a Royal Leamington Spa performance in the slot Viola Beach would have occupied for the remainder of the tour, ensuring their friends' music reached the audiences it deserved.

The ascent continued through the spring, taking them across the Atlantic to showcase their sound at SXSW in Texas. Back home, the anticipation reached a fever pitch on 12 April, when Annie Mac premiered 'Getaway' as the 'Hottest Record' on BBC Radio 1. 

The band’s rising status caught the ear of a true Manchester icon; Ian Brown became a vocal fan, leading to the career-defining announcement that Blossoms would support The Stone Roses at the Etihad Stadium on 15 June 2016. Walking onto that pitch wasn't just a gig; it was a pilgrimage, standing on the shoulders of the giants who had influenced them from the start.

By the time 'Blossoms' finally arrived on 5 August, the band had clocked up a staggering 41 festival appearances and landed the cover of NME. They celebrated the midnight release with a legendary, sold-out show at Stockport's Plaza Theatre, an intimate homecoming that saw fans queuing around the block to be the first to own a piece of Stockport history.

A Masterclass in Indie Pop

When it came time to record the debut, the band refused to be "just another guitar group." Produced by James Skelly (of The Coral) and Rich Turvey, 'Blossoms' embraced the "Pop" label with open arms. They weren't afraid to be catchy, blending The Doors' organ-heavy psych with the melodic precision of ABBA.

While they were influenced by the titans of Manchester, the jangly, poetic wit of The Smiths, the danceable "baggy" grooves of The Stone Roses, and the unapologetic stadium-sized ambition of Oasis, they refused to be a tribute act. Instead, they took that Manchester heritage and filtered it through a modern, synth-heavy lens, resulting in something entirely their own.

The album is anchored by 'Charlemagne', a track built on an infectious, church-organ synth riff that became the undisputed anthem of the summer of 2016. It was the song that proved indie music could still be unashamedly pop. This is not just a great Blossoms song; it's just a great song, with one of the most infectious hooks of recent memory, some quick-witted clever wordplay, and a massive chorus. In the decade since its release, the song has closed out every single Blossoms show, and it will continue to do so for the next decade.  

Following closely was 'Getaway', a driving, melancholic track that captures the band's more guitar-driven sound. Despite the heavier instrumentation, it features an absolutely massive chorus, a knack for melody that Tom Ogden mastered early in his songwriting journey. It’s a signature style he has carried throughout the band’s entire career, ensuring that even their moodier moments are designed for the big stages. 'Honey Sweet' follows as one of the finest indie love songs of recent memory; it is a perfect synth-pop track, shimmering with warmth and sincerity, about a relationship where everything isn't as "honey sweet" as it had once been. Kellock's synthesisers really shine through on this record. 

Beyond the radio-ready hits, the album offered a rich, layered tapestry of sounds that rewarded those who dug deeper into the tracklist. Tracks like 'Smashed Pianos' and 'Blow' serve as the heartbeat of the band's psychedelic roots. Featuring swirling, hypnotic organ lines and Josh Dewhurst’s intricate, delayed guitar work, they lean into a darker, more experimental sound.

This versatility continues with 'At Most A Kiss', a high-energy synth-rocker that hits like a physical force. With its frantic tempo and a chugging, driving bassline, it feels like a direct nod to the dance-rock legacy of New Order. It’s the sound of a band that knows exactly how to bridge the gap between a sweaty club floor and a festival main stage. In contrast, 'Blown Rose' has become a firm fan favourite by leaning heavily into the "jangly" Manchester tradition. With its poetic imagery of the "stately homes of England" and bright, echoing melodies, it feels like a modern descendant of The Smiths, proving Tom Ogden could write a love song with real bite and literary flair.

The album's depth is further cemented by 'Deep Grass', a moody, atmospheric track that showcases the band's ability to create tension. Its slow-burn energy and hypnotic rhythm proved they were just as comfortable with space and subtlety as they were with big choruses, providing a perfect, slightly psychedelic breather that adds immense character to the album's second half. This sits alongside the raw vulnerability of 'My Favourite Room', an acoustic-led heartbreaker that has since become a legendary live staple. Usually performed with just Tom and his guitar, it creates a moment of pure intimacy in a set full of bangers, often resulting in massive, tear-filled sing-alongs from the crowd.

Rounding out the record's sonic palette are 'Texia' and 'Cut Me, and I’ll Bleed'. The former often goes under-discussed but remains a powerhouse of the debut; it is a masterclass in building tension, featuring a groove that wouldn't feel out of place on a Stone Roses record, combined with a sharp, modern pop sensibility. 

Meanwhile, 'Cut Me and I’ll Bleed' stands as one of the earliest glimpses of their greatness, perfectly bridging their psych-rock origins with their pop future. It carries that signature driving rhythm that makes you want to move, but balances it with a lyricism that feels deeply personal and grounded.

The B-Sides

Like The Smiths and Oasis before them, Blossoms were very good at writing brilliant B-sides, essential pieces of the puzzle, that showcased the band's incredible songwriting range.

Smoke' & 'Polka Dot Bones': These tracks showed a grittier, heavier, and more "garage-rock" edge to their sound. They reminded listeners that underneath the synths and the sharp suits, there was a raw rock-and-roll band that could still kick up a fuss. 'Polka Dot Bones' in particular is a high-octane fan favourite that shows off the band's tighter-than-tight rhythm section.

'Across The Moor': This track captured a specific sense of northern atmospheric beauty. It’s cinematic and expansive, driven by a club-like synth line. 'For Evelyn': A beautiful, sentimental, and deeply melodic track. It’s a testament to their prolific output during this period that a song of this calibre, one that very easily could have made the record, was tucked away as a B-side.

The Summer of '16, NME Tour, and We Are Manchester 

The release of the record coincided with a legendary run on the festival circuit that turned the 'Blossoms' buzz into a deafening roar. At 'Glastonbury', they drew a massive crowd to the Other Stage, proving their songs could fill a field, and that a new generation was interested in guitar music again. 

It's worth remembering that Blossoms arrived around the time that Catfish & the Bottlemen were hitting a peak.

However, it was their performance at 'Reading & Leeds' that felt like a true coronation. Thousands of fans, many draped in the band’s signature merchandise, belted out every word to 'Charlemagne' in a moment of pure, communal euphoria. Yet, amidst the celebration, the band provided the most poignant moment of the entire weekend. In a beautiful gesture of solidarity and remembrance, they paused their set to pay tribute to Viola Beach.

It was a class act that proved Blossoms had a heart as big as their choruses, cementing their reputation not just as great musicians, but as the kind of band people truly wanted to root for.

That momentum only grew as they moved from the afternoon slots to the top of the bill, eventually graduating to headline status at iconic events like 'Y Not', 'Kendal Calling', and 'Neighbourhood Weekender'. Each of these slots felt like a victory lap for the Stockport lads, proving that their melodic, synth-heavy sound was the perfect soundtrack for thousands of people in a field.

By the time 2017 rolled around, the band wasn't just "rising", they had arrived. This was perfectly encapsulated when they were chosen to headline the prestigious 'NME Awards Tour 2017'. Stepping into the shoes of previous headliners like Arctic Monkeys and The Killers, the band led a line-up of northern talent including Cabbage and Rory Wynne.

This tour was a significant milestone; it saw them sell out the UK’s legendary O2 Academy circuit, culminating in a triumphant show at O2 Academy Brixton. The tour was a whirlwind of sweat, synths, and suede, proving that the Blossoms phenomenon had transcended the North. They weren't just a "Manchester band" anymore; they were the new leaders of the British guitar scene, and the energy in those rooms, fuelled by the #1 success of the debut, was nothing short of electric.

The emotional peak of this era came on 9 September 2017. The band stood alongside the city's most legendary figures to perform at the Manchester Arena for the 'We Are Manchester' event. This wasn't just another gig; it was a benefit concert to mark the reopening of the venue following the tragic terrorist attack three months prior.

Sharing the stage with fellow heavyweights like Courteeners and headliner Noel Gallagher, Blossoms helped the city find its voice again in a moment of profound resilience. Seeing five lads from Stockport hold their own next to Noel Gallagher and Liam Fray was a powerful "passing of the torch" moment. It proved they were no longer just the "new kids" but an essential part of the fabric of Manchester’s history. They played with a gravity and grace that showed they understood the weight of the moment, cementing their place as hometown heroes who would always stand by their city.

A Decade of Dominance 

When 'Blossoms' hit Number 1 and stayed there for two consecutive weeks, it changed the trajectory of the band forever. It gave them the "creative capital" to take massive risks and follow their instincts wherever they led, from the gospel-tinged, 'Talking Heads'-esque grooves of 'Foolish Loving Spaces' to the cinematic, conceptual storytelling of 'Ribbon Around The Bomb'. Most recently, it paved the way for the infectious, quirky energy of 'Gary', proving that their ability to write a hook is just as sharp in 2026 as it was in 2016.

In the years following that debut, they graduated from the "ones to watch" to genuine festival royalty. They became the reliable, big-stage headliners at iconic events like 'Y Not', 'Kendal Calling', and 'Neighbourhood Weekender', bringing a touch of Stockport swagger to every field they stepped into. But perhaps the greatest legacy of the debut is how it allowed them to return home as heroes. The success of this album was the direct catalyst for their historic, sold-out show at Edgeley Park—the home of Stockport County, and more recently, their massive, 30,000-capacity headline slot at Wythenshawe Park.

These weren't just gigs; they were cultural milestones for Greater Manchester. Seeing five mates who still live in their hometown headline stages that were once the exclusive domain of The Stone Roses or Oasis proved that the dream was still alive. It proved that five lads from Stockport could compete with the biggest names in the world while staying true to their identity, their humour, and their roots. Ten years later, 'Blossoms' doesn't just feel like a debut record; it feels like the foundation of a story that's still going.

It was the album that helped them set a stall in their kingdom, and ten years on, they still reign.

For Sean, Meg, Archie and Dylan

Jack