Mon 3 September – Saturday 22 September 2018
MONDAYS TO SATURDAYS
Niamos (former Nia Centre)
The Northern Carnival against the Nazis, a rally and concert held on 15 July 1978 in Moss Side, Manchester, was a defining moment in establishing anti-racism in the city and beyond.
Dubbed ‘the day it became cool to be anti-racist’, the Carnival galvanised North West communities against racist groups, including the National Front. A rally of 15,000 people marched all the way from Strangeways prison to Alexandra Park joining a further 25,000 for an afternoon of music, dancing and unity.
Co-organised by Geoff Brown of the Anti-Nazi League (ANL) and Bernie Wilcox of Rock Against Racism (RAR), the Carnival featured incendiary live performances by pop-punk superstars Buzzcocks and Steel Pulse, the UK’s leading reggae band of the period. Support came from Moss Side reggae band Exodus (later X-O-Dus) and China Street from Lancaster, who had released a single on EMI called ‘Rock Against Racism’.
We Are Dynamite! – an exhibition of unseen photos and ephemera curated by Abigail Ward – aims to highlight the passion and excitement of the day whilst inspiring visitors to reflect upon a new era of challenge for people opposing messages of racism and division across the world.
The exhibition will run from: Mon Sep 3rd-Sat Sep 22nd (Mondays to Saturdays) 10am-7pm and is FREE.
Please note: this is a community project in a volunteer-run venue.
We Are Dynamite exhibition launch. Photos: Aidan O’Rourke
Our project volunteers would like to speak to anyone who attended the march or Carnival. We are looking to capture memories, images and footage for our permanent digital exhibition. If you can help, get in touch: firstname.lastname@example.org
Thanks to National Lottery players, Heritage Lottery Fund invests money to help people across the UK explore, enjoy and protect the heritage they care about – from the archaeology under our feet to the historic parks and buildings we love, from precious memories and collections to rare wildlife.
My latest radio show for NTS is now available on playback.
The Fall – Lost in Music Sisters of Transistors – The Don
Wynder K. Frog – Mercy
Soundcarriers – Last Broadcast
LEVELZ – Jazzface
X-O-Dus – See Them-A-Come
Bryan Ferry – The Right Stuff (Dub Mix)
Quando Quango – Atom Rock (Mark Kamins New York Mix)
Only Child feat. Veba – Addicted
John Ellis – Unidentical Twins
The Weather Station – Transmission
James & Brian Eno – Wah Wah
Lonelady – Little Fugue
Sub Sub – Lost in Watts
[EXCERPT: ORDSALL] Tim Burgess – Oh No I Love You
Graham Nash – Chicago
John Kongos – He’s Gonna Step On You
LeonXLeon – Acid Disco
Charles B – Lack of Love
Denis Jones – 3333
Ludus – Breaking The Rules
Ill – Hysteria
The Montgolfier Brothers – The World is Flat
The Durutti Column – Sketch For Summer
Jon Kennedy – Boom Clack (Martin Brew Remix)
Primal Scream – Screamadelica
Lapsed Clubber Audio Map , powered by Manchester Digital Music Archive
Manchester Digital Music Archive has teamed up with Manchester Metropolitan University to develop an online audio heritage map that will tell the story of the rave scene in Manchester in the words of clubbers, DJs, promoters, venue staff, producers and more.
The Lapsed Clubber Audio Map is a place for members of Greater Manchester’s original rave community to preserve and share their spoken word memories of clubbing and its culture during the ‘first decade’ of rave, 1985-1995.
Our interface allows you to record your voice directly into your desktop computer or laptop and pin 60-second sound clips onto a map of Greater Manchester at the exact spots where the events you are recalling originally happened.
You can also listen back to the memories of others.
Popular culture has referenced rave culture in Greater Manchester in print, in major films, on TV and in theatre, but almost always from the perspective of the well-known ‘expert insider’. Focusing on the raving landscape between 1985 and 1995, we are creating the Lapsed Clubber Audio Map with community input, giving the community the opportunity to write its own rave history.
Can you help?
If you went raving in Manchester between 1985 and 1995, we’d like to hear from you. We are looking for people who’d like to share some stories to help us test our map. We will send you a secret log in, allowing you to view and contribute to the map before it is launched. We’ll then ask you to feedback on your experience.
The memories are left anonymously with no username attached to them.
GEEK NOTE: This project is an experimental and evolving piece of work based on fusing third party protocols such as Google Maps and Web RTC. The latter, which is new open source software that allows you to record via browsers, is not currently FULLY compatible with iPhones, iPads and Safari. For the best experience, we recommend using a desktop or laptop computer running Chrome or Opera.
The Lapsed Clubber Project is a Heritage Lottery Funded Project based at Manchester Metropolitan University and run by Dr Beate Peter in partnership with Manchester Digital Music Archive (Abigail Ward), Go Bang Design (Ashley Kennerley) and Pin Studio (Paul Hemmingfield).
The exhibition, Manchester Academy Memories, documents the history of concerts and club life at the Students’ Union from 1963 to the present day and has been curated by Abigail Ward (MDMA) and Rod Connolly.
It features 435 digitised artefacts relating to artists such as Jimi Hendrix, David Bowie, The Slits, Daft Punk, Björk, Nirvana, The Kinks, Adele, Prince and Led Zeppelin. Many of these items, which include tickets, photos, press articles and videos, have been uploaded to the archive by the general public.
An introductory essay by Abigail Ward, written to accompany the digital exhibition, is reproduced below:
Manchester Academy Memories: Concerts & Club Life at the University of Manchester 1963-2016
“When entering for the first time a town like Manchester, a stranger, overwhelmed by the new and interesting spectacle presented to him, scarcely dares look this giant full in the face at once…” From “Ireland, Scotland and England” by J.G.Kohl, 1844.
‘You ask him.’
‘No, you ask him!’
This was how it would start.
For my sister and I, aged thirteen and fifteen respectively, the first hurdle to be cleared after seeing an enticing Manchester Academy gig advertised in Melody Maker was persuading our dad to give us a lift. We lived in Preston and were a bit young for the perils of the last train home. We’d been very focused on music since being toddlers, really, but in 1992 things moved up a gear after we experienced our first big gigs: Michael Jackson at Wembley and James at Alton Towers. By 1993 we were in full throttle, obsessed with live music and constantly hatching schemes to witness our heroes play, more often than not at the Academy or one of its smaller sister venues in Manchester University Students’ Union. All I wanted to do was move to Manchester – the music city. By ‘94 I’d managed to move out of my parents’ house and by ‘95 my sister and I had our own band. Three years later, I achieved my ultimate dream: a council flat in sunny Longsight, a mere skip and a jump from the Academy. I started working in a record shop. Listening, playing, watching, selling. I had landed.
During the nineties, I saw some unforgettable gigs at Academy venues, including Manic Street Preachers, Jeff Buckley, PJ Harvey, Tricky and Pulp. (It killed me that I couldn’t get into Bowie in ‘97.) These were potent moments in my young life – euphoric, boozy, full of mystery. I would scrutinise the mix, the drums, guitar pedals, mics, keen to learn how it all worked. Gigs were physically demanding at times (especially at the Academy), and not without the occasional pang of sadness. I can still see Richey Edwards at the Academy in ‘94, rail-thin and scabby, hanging over his microphone stand like James Dean in Giant, not even pretending to play guitar any more.
I saved all of my tickets, many of which feature in this digital exhibition, which has been an absolute joy to curate. Funded by the University of Manchester Students’ Union, the project was conceived as a way of celebrating the 25th anniversary of Academy 1, whilst exploring the cultural legacy of all of the University venues, from 1963 to the present day. And it’s not just about the big names that have passed through the venues, it’s about the social and political histories that are inextricably entwined with the music. These are particularly evident in the cuttings we’ve included from student newspapers The Manchester Independent and the Mancunion. We hope you enjoy these glimpses into student life across the decades.
Whilst I did spend a number of days seeking out material for this project in physical archives, many of the items included have been uploaded by the general public: crowd-sourced heritage in action! Thank you to everyone who has made a contribution.
Ticket: Jeff Buckley, Manchester University, 1995. Courtesy: Abigail Ward
Manchester Academy (now Academy 1) opened in 1990 on Oxford Road, following years of debate about an extension to the main Students’ Union building (erected 1957) a little further down the road. Gigs and club nights had been promoted by the Union since 1963 across a number of places:
The Main Debating Hall (now Academy 2) The Hop and Grape (formerly Solem Bar, now Academy 3) The Cellar (now Club Academy) UMIST (the Tech Union/Undergound/Barnes Wallis Building) Whitworth Hall (no longer used for gigs) The Squat (now demolished)
But it was time for a purpose-built venue with a bigger capacity.
Costing £1.2 million, the Academy originally housed a bank, a bar and a catering facility. It opened with a capacity of 1500, rising to 2000 soon after. It was run on a commercial basis; profits from band nights and club nights were funnelled back into the Students’ Union. Fittingly, the first musicians to grace the stage were Manchester punk icons Buzzcocks on October 7th 1990.
Taken from the Mancunion newspaper, written and edited by University of Manchester students.
Some months before the opening, the Union appointed a full-time Entertainments and Marketing Manager, Sean Morgan, who swiftly entered into a partnership with Manchester-based promoters SJM Concerts (founded by Simon Moran), allowing SJM first option on gig dates for local and visiting artists. Live music was flourishing nationwide; it was boom time for both parties.
In an interview for this project in September 2016, Morgan said, ‘I was ambitious. I was empire-building. I wanted to run the biggest venue complex in the country and put the most gigs on. At one point we put twenty-six bands on in one week.’
‘We worked really hard to see off the competition. Bands and their crews knew that if they came to the Academy, we’d look after them, y’know, take ‘em out on the lash afterwards. They could go to the International 2 [in Longsight] and be stuck out in the middle of nowhere, or they could come to us and get looked after.’
During Sean’s 21-year tenure he was responsible for booking some huge names across all four Academy venues, including Nirvana, Radiohead, Dizzee Rascal, Daft Punk, Patti Smith, Blur, Eminem, The Chemical Brothers and Amy Winehouse. He claims the best gig he ever saw at the Academy was David Bowie in 1997.
‘Bowie was doing a tour of 2000-capacity venues and approached the Academy to play. It was always going to be a “yes”. His sheer showmanship and presence were amazing.’
But Sean’s proudest moments were bringing over his beloved American country stars Townes Van Zandt in 1994 and Scotty Moore (Elvis’s guitarist ) ten years later.
Morgan also oversaw scores of successful club nights, citing rave night Solstice ’91, with resident DJ Dave Booth, as the best atmosphere he ever experienced at the Academy.
In 2011 Sean left the Union and now works for Academy Music Group (no relation). In September 2013, following further refurbishment, the capacity of Academy 1 was increased to 2,600. The venue celebrated its 25th anniversary with a string of significant gigs throughout 2015-16, including Buzzcocks, Garbage and Happy Mondays.
David Bowie ticket book, 1997. Courtesy of Sean Morgan.
But how did it all begin?
The Union’s early forays into concert promotion are documented, albeit sketchily, in student newspaper The Manchester Independent. Jazz bandleader Humphrey Lyttleton kicks things off in 1963. A mere two years later Socials Secretary Chris Wright (future co-founder of Chrysalis Records) is booking the likes of the Spencer Davis Group, The Who and The Yardbirds. A Kinks gig at the Rag Ball in March ‘65, however, ends in ‘confusion and brawls’ as the band is bottled off stage. Gig reviews from this period often hint at an element of chaos! Jimi Hendrix stops by in 1967. We’ve included a rarely seen interview with Jimi at the Union by Jill Nichols culled from the Independent.
An interesting story featured in this exhibition is that of the Corporation Act 1965 – a law that allowed venues to be closed on the spot by police if they suspected staff or punters were up to no good. In ‘65 there were around two hundred beat music clubs in Manchester (hard to imagine). They were mainly booze-free members only clubs where young people would drink coffee and dance all night to beat groups. But by the end of ‘66, following the introduction of the act, there were just three clubs remaining. The act was highly unusual in that it was passed by parliament, but applied only to one UK city: Manchester. The city’s music scene was decimated.
In an exclusive interview for this project (which you can listen to within the exhibition), cultural historian Dr. CP Lee says: ‘Against the background of the Corporation Act, it’s hard to overstate the importance of Manchester University for music fans at this time. It was a lifeline. It was our lifeblood. I virtually lived there, even though I wasn’t a student.’
Moving into the early seventies and one of the most intriguing episodes in the Union’s history begins: The Squat.
The Squat was originally the old College of Music. It was situated on Devas Street, between where Big Hands and the Contact Theatre are now. In October of 1973, after the University threatened to demolish the building in favour of a car park, it was occupied by a group of students who were protesting against three things: the student accommodation crisis, the lack of facilities provided by the University for community activities and the proposed demolition of the music college itself. The Squat was turned into a multi-purpose ‘art lab’, with spaces for theatre projects, gigs, band rehearsal and visual art.
For a time, the occupation was financed by a weekly music night held on a Friday in collaboration with Music Force, the socialist music agency put together by, amongst others, renowned blues guitarist Victor Brox and jazz drummer Bruce Mitchell (Greasy Bear, Albertos, Durutti Column). Music Force was set up in part as a response to the effects of the Corporation Act, which had resulted in a paucity of work for Manchester’s once very busy musicians. The collective provided everything you might require to put a concert on: musicians, PA and equipment hire, flyposting, the full works. The Squat and Music Force both played vital roles in the Manchester punk and post-punk scenes. During its 8-year life the venue played host to New Order, The Fall, The Stranglers, Alberto Y Lost Trios Paranoias and several Rock Against Racism nights.
1981 was a great year for music, which filtered through to gigs at the Union. Bookings included U2, The Au Pairs, Aswad, The Cramps, Linton Kwesi Johnson and The Beat. Things seem to slow down a little gig-wise in the mid-80s, but the Cellar Disco (now Club Academy) packed the punters in. One exhibition contributor reminisces about doing a disastrous drunken somersault in there to the strains of Caberet Voltaire’s ‘Nag Nag Nag’!
1989 saw visits from indie royalty The Happy Mondays, My Bloody Valentine and Sonic Youth. Then in October 1990 the Academy opens and ticket sales go through the roof. The Charlatans, Northside and New Model Army do two sell-out nights apiece. The LA’s, Paul Weller and Devo also stop by.
Which brings us back to where we started. It’s 1993 and I’m getting the breath shoved out of my lungs at my first ever Academy show: Smashing Pumpkins and Verve. Dad is making a pint last four hours over the road at Jabez Clegg. My plan to move to the city is a tiny seed in my fourteen-year-old mind.
This digital exhibition is full of great stories from true music fans: in 1968 a young audience member is gifted a harmonica by Captain Beefheart in the Main Debating Hall. In 1992 the drummer from Pavement confuses everyone by handing out carrots to the audience. In 1995 a sixteen-year-old Julian Cope fan gets a full snog with tongues from her hero in the Academy. Around the same time a clubber at Megadog spends the entire night in a toilet cubicle and has the time of her life.
This project is dedicated to those fans – to everyone who has taken the time to share a memory; to Manchester District Music Archive’s team of volunteers; and also to my dad, who took me to the Academy in the first place all those years ago.
Advert for Captain Beefheart taken from The Manchester Independent, 1968. Courtesy of the University of Manchester Students’ Union
• If you would like to contribute an artefact or story, just upload it to Manchester District Music Archive and we will add it to the exhibition.
• Only bands/artists from Greater Manchester are searchable in our database.
• If we are unsure of the exact venue the artefact relates to, or if it relates to several Union venues, we have used the tag Manchester University.
• Dates added to press articles refer to the publication date rather than the gig date.
• Gig ladders are usually dated with the earliest date on the advert.
• Due to time and budget constraints many press articles have been photographed quickly, sometime in poor light, rather than scanned.
• We’ve done our best to credit photographers and journalists clearly. Please give us a shout if we’ve missed something: email@example.com
Commemorating the 20th anniversary of the ‘Manchester bomb’, widely recognised as the catalyst for Greater Manchester’s twenty-first-century regeneration, MMU is holding an academic symposium and public-engagement launch on June 15th to celebrate Manchester’s phenomenal redevelopment over the past twenty years.
Who is Greater Manchester?
This panel will look at Manchester identities as they relate to music, football and LGBT communities. To what extent do the Premier League, the Factory legacy and the Gay Village promote and complement the multitude of Manchester’s histories of success, and how can we make the most of the manifold futures signposted by the city’s rich history and diverse heritage?
[From the vaults: an interview with Dutch Uncles for The Chimp, 2011]
A whitewashed room containing little more than an unclothed mannequin in a distractingly come hither pose seems like a fitting place for to be meeting Marple’s arch pop aesthetes Dutch Uncles – a band whose reputation for visual flair and musical mischief precedes them.
Irresistible to A & R men from outset, Dutch Uncles were picked up in 2008 by German label Tapete for a one-album deal just three months after their first gig in Manchester. Since then, they’ve toured with The Futureheads , remixed Bombay Bicycle Club and scored a management deal with local label Love and Disaster, who put out ‘The Ink’ – a strikingly packaged seven inch reminiscent of classic XTC.
In summer of last year, the band recorded a World Cup song – a multi-layered a cappella in which the individual names of the England squad are repeated in time signatures dictated by their shirt numbers. To further boggle the mind, each player’s name is panned to a stereo position within the track that corresponds to his actual position on the playing field. The song, entitled Fabio Capello (whose name does not feature), made it onto NME radio within ten minutes of being mastered, and sounds like Laurie Anderson presenting Match of the Day.
It’s perhaps no surprise, then, that a band as musically obdurate and inventive as this would eventually be courted by Memphis Industries, one of the hottest indie labels in the land, and home to fellow math-poppers Field Music, with whom the band feel a close musical kinship.
Singer Duncan and bassist Robin explain how they came to mint this deal: “It started out as a friendly email sent after we put out The Ink, Duncan says. “It just read, ‘Like the new track. Keep up the good work’. Then we sent them an album sampler, which they liked.”
Robin: “Then they came up to the studio in Salford where we were recording and bought us pizza, and we played them unfinished MIDI tracks.”
Duncan: “Anyway, they were into it and we instantly knew we wanted to go that way. We’re big fans of Field Music and they’ve always been an influence on our writing style, so I think the fact that they had them and the Go! Team meant that we knew this was a label that holds onto bands and develops them, unlike most major labels.”
Listening to the new album, Cadenza, which evokes the sonic playfulness and ambition of band like Sparks and King Crimson, it’s obvious that the band are keen to fly in the face of the traditional meat-and-potato Manchester lad-rock sound. In fact, bending avant-garde disciplines into fun pop shapes could be described as their raison d’etre. On the track X-O the band have replayed movements from minimalist composer Steve Reich’s Electric Counterpoint. A daring cover, if ever there was one.
Duncan explains, “We saw that as a challenge. It was something we spoke about very drunk one night. We just thought: this track is amazing…” Robin interjects: “Let’s turn it into a pop song!” Duncan again: “I hated every day of trying to write the lyrics. I just thought, ‘I’m murdering a classic instrumental here, it shouldn’t really have lyrics at all, who do I think I am?’ But it’s worked out really well. It adds a character to the album that we would never have been able to pull off completely on our own.”
Duncan also spent time developing a lyrical aesthetic to complement the complex instrumentation and shifting time signatures of Cadenza: “I’ve always admired the way David Byrne writes, how he’s almost in a trance when he’s singing. You almost feel like his eyes are rolling back in his head. He’s removing himself from the situation and just analysing what he’s doing. I’ve tried to develop a style of removing myself from my own emotions.”
Having just come back from a tour with joyful noise mongers Young British Artists, and boasting firm friendships with the likes of Everything Everything and Delphic, do Dutch Uncles think that a new Manchester scene, unfettered by the past, is emerging?
Robin: “There’ll always be those people who want to go and see Beady Eye at the Apollo – a load of knobheads, really. The Fac 251 club is still just digging up the past – we’d never play there. Peter Hook’s a wanker for bringing all that stuff down. But we don’t feel suffocated by it. There is a present, and it’s great.”
Duncan adds: “Everything Everything made one of the best albums of last year – they’ve given us a few breaks along the way. Egyptian Hip-Hop are also great. They’re probably our best ‘band’ friends. That whole Marple connection is pretty strong!”
This spirit of collaboration and co-operation has undoubtedly played a part in Dutch Uncles’ rapid evolution. Robin describes the Love and Disaster label as “like extended family”. The band are also keen to big up local graphic design collective Dr. Me, who have given the Cadenza album its unique physical identity.
“Artwork is very important to us”, says Duncan. “We’ve used a lot of bold, simple colour with our previous releases so we wanted to do something different for this one. We’ve gone for more of a collage this time. Dr. Me are the best friends I’ve had since I moved to town. It’s kind of extending the Love and Disaster family again. We’re so lucky. It’s incredible the way the best people for the job were also the closest people.”
So how keen are the band to crossover into the pop mainstream? Would they, for example, play Top of the Pops, should its rumoured return come into fruition?
“Well, I’d rather play The Old Grey Whistle Test!” Duncan admits. “I think any band that’s going to survive over time needs to have a breakthrough song, even if it’s just the one. Every band needs a ‘Making Plans For Nigel’. At this point he grows serious. “But in terms of overall ambition, I just want to make this my life.”
As the rest of the band arrive for the photo shoot and begin grabbing Ms Mannequin in inappropriate places, talk turns to their most treasured albums. Duncan eventually chooses Television’s Adventure whilst Robin goes for Discipline by King Crimson. Adventure and Discipline. Seems appropriate. The Dutch Uncles manifesto.
Originally written under the pseudonym Harper Hay.