A PROGRAMME of internationally renowned artists, ground-breaking physical theatre, and family shows that have been acclaimed as some of the best in the country — just three reasons why The Met, in Market Street is considered one of the best arts venues around.

The Met, housed in an impressive Victorian building, was recently named one of the top 100 music venues in the country — ranking higher than the Apollo in Manchester and the world-famous London Astoria.

But director David Agnew says that status hasn’t come easily for the small venue, and the team have had to take risks and find a speciality of their own in order to compete with the large-scale venues nearby.

“Because we’re a small scale venue based on the outskirts of Manchester we’ve had to find our own niche,” he says. “We’ve succeeded in doing that through folk music, through blues and though visual and physical theatre. That’s why when you look at the Guardian listings on a Saturday this little venue in Bury is in there.”

The Met was founded as “Bury Metro Arts” in 1975 by Dewi Lewis, who went on to set up the Cornerhouse in Manchester.

David became director in 2005, after joining The Met as marketing manager in 2001.

The centre is funded by the Arts Council and Bury Council to provide cultural activity in Bury and entice arts lovers to the town.

David says this means they can afford to choose shows that other venues may shy away from.

He says: “Because we’re independent we have the flexibility to try things and to take risks.

“Some things we do to make money, some things we do just to raise the profile of the theatre. Because we’re funded it means we can do things where we don’t have to think about the finances.”

A prime example is the Ramsbottom Rhythm and Blues festival which returns this year on September 25, 26 and 27 with a new sponsor, Ramsbottom Cricket Club, after a three-year hiatus.

The international line-up includes Otis Gibbs, the Matt Schofield band, the Ian Schofield band and the Ben Waters Big Band playing at the cricket club, and there will also be free bands at five pubs, The Rose and Crown, The Railway, The Lounge, First Chop and the Grant Arms.

David says: “That sort of festival is only possible because we exist to create cultural opportunities — we don’t do it to make profits, and if we did it probably wouldn’t be as good as it will be.”

Blues and folk are where The Met have really made a name for themselves, booking big names such as Eliza Carthy and Michael Messer. They also have a talent for spotting up and coming talent, having played host to Elbow, Joy Division and The Pixies before they hit the big time.

“Our staff really look after everyone who comes and performs here and that really benefits us because it means that when they go on to bigger and better things they remember us and come back,” says David.

“Artists can come and try new material in an intimate setting where they know the audience will be appreciative.

“Cara Dillon is playing twice in one evening. But she loves the Met and she wants to come and play the smaller venue because she understands our values.”

This season’s events include Proteus Theatre Company’s production of Dracula which uses circus skills and film, Radio 4 star Arthur Smith and former Squeeze frontman Glenn Tilbrook.

They are members of the Arts Council’s A Night Less Ordinary scheme which offers free theatre tickets to people under 26. And David believes that young people can find plenty of alternatives to a night in front of the telly in the new season’s programme.

“We have here exactly what people travel to the Edinburgh fringe festival for,” he says.

“There’s four things on a week and I defy anybody to look at what’s on in a month and not see something they fancy.”

And with the Arts Council heaping praise on their programme of children’s and family shows, there is plenty for younger people to enjoy, too.

“The Christmas production of Hansel and Gretel is really the best example of how magical and creative a small scale production can be,” says David.

With 28,000 tickets sold and 10,000 workshop places filled each year, The Met is going from strength to strength.

More than half of those tickets are sold to people who have never been to the venue before, which David believes is a result of brave artistic choices.

“As we have taken more risks and improved the programme, audiences have really responded,” he says.