The former Gluepot Tavern – or Ponsonby Club Hotel – is historically significant for its associations with the New Zealand music industry, particularly as a notable and nationally recognised venue for live music, supporting New Zealand performers in the 1960s-1990s. The late twentieth century was an important period in the evolution of New Zealand music, especially in the growth of alternative voices beyond the earlier mainstream. Situated in the inner Auckland suburb of Ponsonby, the Gluepot’s contemporary importance was strongly linked with its diverse local population and clientele, including working-class Māori, Pasifika and Pākehā peoples. Initially constructed in 1936-7 on the site of a popular 1875 establishment also known as the Ponsonby Club Hotel, it was expanded in 1961 and then converted into retail shops and apartments in the mid-1990s, despite public protest. Retaining its Inter-War Free Classical elevations, some internal floor levels and remnants of the earlier hotel such as a well and cellar (now infilled), it contributes strongly to Ponsonby’s wider cultural and historical landscape as a key corner building. It has been immortalised in images by notable photographer Robin Morrison (1944-1993) and in the extended lyrics of one of New Zealand’s most popular songs – DLT and Che Fu’s ‘Chains’ (1996).
The site lies on a ridge known as Te Rimutahi, traditionally used as a walking track, near Ko Takere Haere and Te Papaku a Whai (St Mary’s Bay beach). Extensive Māori activity beside the Waitematā harbour included settlements at Te Okā and Te Koraenga (Point Erin), Te Tō (Fisher Point) and Te Matua on offshore Te Kākāwhakaara (Watchman Island). After colonial Auckland was established, the site formed part of a large holding acquired by W. S. Grahame in 1844. In 1863, this was subdivided by then-owner David Sheehan as housing expanded from the initial urban centre towards Te Rimutahi or the Ponsonby ridge. In 1875, Lots 10, 11 and 18 – at the corner of a major intersection leading out of the city – were purchased by John Seccombe of brewers Seccombe and Son for construction of a major local landmark, the Ponsonby Club Hotel. An Italianate timber building with a prominent two-storey verandah, this was successively enlarged after additional land, Lot 12, was purchased in 1876. The complex formed a social hub for the local community over the next half-century as Ponsonby evolved as a densely-occupied working-class suburb, hosting meetings and inquests as well as accommodation and bars. At some stage, it became colloquially known as the Gluepot, possibly due to local patrons becoming ‘stuck’ inside until closing time.
In 1936-7, shortly after the Great Depression, the complex was replaced by a more contemporary concrete and brick building. Designed in an Inter-War Free Classical style by architect Frederick A. Browne, this two-storey structure contained a large public bar, private bar, ladies’ lounge and shop as well as dining and residential rooms. It also retained the earlier hotel’s well and cellar – the latter substantially enlarged. A three-light lamp on its front canopy referenced a historic lampstand of similar design that had stood at the adjoining intersection, which citizens had petitioned to reinstate. After purchase by Dominion Breweries, a southward extension with large rear bars was created in 1961. Three years later, the first national reunion of the Third Division, Second New Zealand Expeditionary Force was held in the hotel due to its large size.
After the end of national six o’clock closing for drinking establishments in 1967, the tavern began to employ musical acts as an attraction. The Radars, formed of sightless and near-sightless musicians, were the first resident band – other early performers being Prince Tui Teka, the Maori Volcanics and comedian Billy T. James, reflecting the post-war movement of rural Māori and Pasifika peoples to inner Auckland. Retaining a strongly working-class clientele, the Gluepot became an important centre for early local reggae acts, including the groundbreaking Herbs who pioneered the now widespread Pacific reggae sound. In 1977, a performance by Hello Sailor led to great popularity for the venue as a space for emerging alternative bands with rock, punk or post-punk leanings: Mi-Sex, Toy Love, The Chills and many others. Visiting international acts such as Midnight Oil, Violent Femmes, The Damned and Mick Jagger of the Rolling Stones added to its appeal. Performance there of other genres such as jazz, funk, soul and country was symptomatic of the highly diverse nature of both the Auckland music scene and its population. When Dominion Breweries decided to sell the property as part of gentrification of the area in the 1990s, public protests strongly opposed the move. A final musical event featured Dave Dobbyn and over 100 other acts.
Subsequent conversion for retail and apartments retained the main building façades, and some floor levels and associated features including the earlier well and infilled cellars. As a corner building on a busy intersection, it remains an important feature of historic Ponsonby. Its iconic nature has been immortalised by images taken by renowned photographer Robin Morrison, a trove of musical and other ephemera, and one of New Zealand hip-hop’s defining songs, ‘Chains’, whose remixed opening lyrics composed by Niuean-Māori Che Fu, proclaim:
Well I grew up in Ponsonby,
They take the Gluepot now they coming for me,
But hell no, I won't go away,
Ponsonby, where I live, Ponsonby where I stay…
The site lies on a ridge known as Te Rimutahi, traditionally used as a walking track, near Ko Takere Haere and Te Papaku a Whai (St Mary’s Bay beach). Extensive Māori activity beside the Waitematā harbour included settlements at Te Okā and Te Koraenga (Point Erin), Te Tō (Fisher Point) and Te Matua on offshore Te Kākāwhakaara (Watchman Island). After colonial Auckland was established, the site formed part of a large holding acquired by W. S. Grahame in 1844. In 1863, this was subdivided by then-owner David Sheehan as housing expanded from the initial urban centre towards Te Rimutahi or the Ponsonby ridge. In 1875, Lots 10, 11 and 18 – at the corner of a major intersection leading out of the city – were purchased by John Seccombe of brewers Seccombe and Son for construction of a major local landmark, the Ponsonby Club Hotel. An Italianate timber building with a prominent two-storey verandah, this was successively enlarged after additional land, Lot 12, was purchased in 1876. The complex formed a social hub for the local community over the next half-century as Ponsonby evolved as a densely-occupied working-class suburb, hosting meetings and inquests as well as accommodation and bars. At some stage, it became colloquially known as the Gluepot, possibly due to local patrons becoming ‘stuck’ inside until closing time.
In 1936-7, shortly after the Great Depression, the complex was replaced by a more contemporary concrete and brick building. Designed in an Inter-War Free Classical style by architect Frederick A. Browne, this two-storey structure contained a large public bar, private bar, ladies’ lounge and shop as well as dining and residential rooms. It also retained the earlier hotel’s well and cellar – the latter substantially enlarged. A three-light lamp on its front canopy referenced a historic lampstand of similar design that had stood at the adjoining intersection, which citizens had petitioned to reinstate. After purchase by Dominion Breweries, a southward extension with large rear bars was created in 1961. Three years later, the first national reunion of the Third Division, Second New Zealand Expeditionary Force was held in the hotel due to its large size.
After the end of national six o’clock closing for drinking establishments in 1967, the tavern began to employ musical acts as an attraction. The Radars, formed of sightless and near-sightless musicians, were the first resident band – other early performers being Prince Tui Teka, the Maori Volcanics and comedian Billy T. James, reflecting the post-war movement of rural Māori and Pasifika peoples to inner Auckland. Retaining a strongly working-class clientele, the Gluepot became an important centre for early local reggae acts, including the groundbreaking Herbs who pioneered the now widespread Pacific reggae sound. In 1977, a performance by Hello Sailor led to great popularity for the venue as a space for emerging alternative bands with rock, punk or post-punk leanings: Mi-Sex, Toy Love, The Chills and many others. Visiting international acts such as Midnight Oil, Violent Femmes, The Damned and Mick Jagger of the Rolling Stones added to its appeal. Performance there of other genres such as jazz, funk, soul and country was symptomatic of the highly diverse nature of both the Auckland music scene and its population. When Dominion Breweries decided to sell the property as part of gentrification of the area in the 1990s, public protests strongly opposed the move. A final musical event featured Dave Dobbyn and over 100 other acts.
Subsequent conversion for retail and apartments retained the main building façades, and some floor levels and associated features including the earlier well and infilled cellars. As a corner building on a busy intersection, it remains an important feature of historic Ponsonby. Its iconic nature has been immortalised by images taken by renowned photographer Robin Morrison, a trove of musical and other ephemera, and one of New Zealand hip-hop’s defining songs, ‘Chains’, whose remixed opening lyrics composed by Niuean-Māori Che Fu, proclaim:
Well I grew up in Ponsonby,
They take the Gluepot now they coming for me,
But hell no, I won't go away,
Ponsonby, where I live, Ponsonby where I stay…
