More Than You Know

By now I was in seventh heaven.

The phone rang again. ‘Sorry, Matt, I forgot to mention, we’ve added a Wembley Arena date too.’

I knew things would never be the same again.

Arriving for that first Wembley Arena performance and seeing the empty venue, just contemplating how many people would have to leave their homes to fill it, was a phenomenal feeling. Doing that show with my brother made it extra special. It was such a milestone, but the speed of Bros’s rise to major fame was so rapid that there were so many milestones. They came so thick and fast that it was hard to actually see them as landmark moments. Signing with Tom. Signing with Sony. The first Top Forty. Our first big show. Five Hammersmiths. That Wembley Arena. Our first Top of the Pops. Being on the front cover of NME. Our first TV interview, switching Radio 1 on to the FM frequency . . . it was endless.

Every time we played a gig or released a record, the hysteria we witnessed was more extreme than the last time, even though we’d thought it had peaked back then. It hadn’t. It was hard to believe, but we were in the process of becoming chart regulars. Eventually we would go on to notch up eleven Top Thirty singles and three Top Twenty albums.

The debut album Push was released in April of 1988. By mid-afternoon on the Monday of release, we were told the record was on target to sell 150,000 copies on that first day alone. That was gold in less than twenty-four hours, halfway to platinum. When the sales figures were tallied up on Saturday evening, we’d shifted over 300,000 copies, that’s platinum in less than a week. Only a new instalment of the mega-hit compilation album Now That’s What I Call Music managed to keep us from debuting at Number 1. Push went on to spend fifty-four weeks in the UK Top Forty – more than a year – and notched up over 5.5 million sales worldwide.

Calm is not a word you could use to describe the scenes on Oxford Street when we agreed to do a store signing to promote our hit single, ‘Drop The Boy’. For a start, 11,000 fans turned up. Central London was gridlocked and it made the evening news. They showed clips of snaking lines of police, two or three deep, arms locked, straining to hold back the massed ranks of Bros fans. It felt like a once-in-a-lifetime, insane moment, but Bros was already becoming a byword for generating such frenetic behaviour.

When we came to leave the shop, it was a security nightmare, so my press officer Jo put my by-now-famous red jacket on and a towel over her head, then plunged out into the hysteria, diving into the limo through a sea of grabbing hands. While the fans were distracted, we were bundled into a black police riot van which headed off the wrong way down Oxford Street at what felt like 80 mph. As we looked back at the swarming hordes, we saw four teenage girls who had rumbled our escape plot. They were wide-eyed and racing after the riot van, unable to run as fast as they obviously wanted to because they were carrying something large and black.

It was the door to our limo – they had ripped it clean off its hinges.

We were used to getting hefty bills for dents in limos, that went with the territory, but this was something else. You quickly learn to take certain precautions when you know fans will be somewhere on any given day. We would remove our jewellery or loose clothing, tuck everything away, otherwise it would just be shredded off us – after all, if these fans could rip a door off a car . . . so there was often a real sense of personal danger. Of course, I loved it, although I always found it frightening leaving a venue, not for myself but because I felt a genuine fear that kids might be knocked over by the car or the crowds.

Many times you’d feel a searing pain on your head just as you heard a girl screaming, ‘I’ve got it! I’ve got it! I’ve got his hair!’ and you’d be thinking, Yes, and half my bloody scalp as well! It was funny, Brosettes were like a bloody army, they were proper hardcore, a force to be reckoned with! When you had three or four thousand of them turn up . . . you were in trouble!

Did I find it oppressive or claustrophobic? Not one bit. What’s not to love about doing a job that is so different to what is considered ‘normal’? What’s not to love about your life being absolutely barmy?

Inevitably, a few fans crossed the line into rather more unsettling areas. We had our share of death threats. Plenty in fact – that’s not some perverse pop star bragging, just an observation that this sort of behaviour goes with the job. We had a few letters from jealous boyfriends and over-obsessive fans, every band I know gets that, but it can still be a bit freaky. However, one series of letters was particularly chilling. I received four death threats in four separate letters, each mailed from the four most extreme points of the compass in the UK. These letters told me how the writer was going to kill me and when they were going to do it. We’d had threats before but there was something about the way these letters had been written – and the elusive nature of the premeditated mailing from four distant postcodes – that made it all seem a little too thorough. I said to my dad, ‘Look, I wouldn’t normally bother you with this but . . .’ so he had a look at what had been going on. He became concerned when it transpired there were no fingerprints on any of the four letters – nothing.

There was an interval of about two months from the letters being sent to when they said I would be killed. It turned out that on this particular day we were due to fly out of Heathrow, not an ideal location in which to keep a low profile. We arrived at the airport encircled by ten bobbies, with a further inner cordon made up of ten of our own security. I knew it was serious when they insisted I wear a bullet-proof vest. That was a very uneasy experience. Until you put a bullet-proof vest on in genuine fearful circumstances, you don’t think of such things, but I can tell you that your arms immediately start to feel big and your head seems enormous (and your balls feel massive!). Everything is exaggerated, you are like some cumbersome, over-sized target. Then your mind starts to interfere, making you think, What about my throat? What about my eyes? But the considered approach is that you protect the ‘vital organs’ and hope they don’t put a bullet in the brain.