33-RPM Issue 001

04

EDITOR’S NOTE

06

HOW TWO MUSIC MADMEN ESTABLISHED ‘THE MANCHESTER SOUND’ INSIDE STRAWBERRY STUDIOS

12

ANALOGUE RECORDING: THE MISUNDERSTOOD BEAST OF AUDIO RECORDING

20

GIG REVIEW: INSPIRAL CARPETS AT STOCKPORT’S AMP

24

ALBUM REVIEW: LIAM GALLAGHER & JOHN SQUIRE

28

THE EVOLUTION OF DANCE AND ELECTRONIC MUSIC

IN CONVERSATION WITH THE CHAMELEONS FRONTMAN MARK

60

FROM THE BRINK OF CLOSURE TO ‘BEST IN THE BOROUGH’ - THE SNUG’S IMPORTANCE IN THE COMMUNITY

ALBUM REVIEW: BEHOLDER FROM THE BLINDERS

QUACK ON TRACK – RUBBER DUCKY RECORDS FLOATS AGAIN

44

MANCHESTER UNSPUN: A CITIES 40-YEAR TRANSFORMATION THROUGH THE LENS OF ANDY SPINOZA

LAB RECORDS IS RIDING THE WAVE OF THE RISE OF INDEPENDENT RECORD LABELS

GIG REVIEW: SEB LOWE AT MANCHESTER’S O2 RITZ)

GIG REVIEW: THE STRANGLERS AT MANCHESTER’S O2 APOLLO

33-RPM ARTISTS RADAR

COURTEENERS LIAM FRAY HOLDS AN INTIMATE ST. JUDE LISTENING PARTY AMID RISE IN SHARED MUSIC EXPERIENCES

33-RPM GIG RADAR

SALFORD LADS CLUB’S MUSICAL INFLUENCE IS MORE THAN JUST A PHOTO

EDITORS NOTE

Dear Readers,

Manchester has had a burgeoning music scene since the post-punk movement hit the city in 1976 after the Sex Pistols performed at the Lesser Free Trade Hall and inspired the likes of Peter Hook, Bernard Sumner, Morrissey and Kevin Cummins who were all in attendance, which kickstarted a DIY attitude in Manchester. Since then, the Northern city has undergone a pop-culture transformation to become the ‘Music Capital of the UK’. The region is home to some of the most highly regarded artists in the world, and we are constantly seeing the most exciting emerging musicians rising through the industry who are retaining that title.

33-RPM is a Manchester music magazine stemming from the recent vinyl revival, which has become the most popular form of physical entertainment in the UK and has outsold CDs for the first time in 35 years. With this information, there is a clear attraction to nostalgia in the music industry, which is why the magazine emphasises the leading

figures in the sector who made the music scene tick in the 1980s and ‘90s. The stories of those individuals who don’t necessarily take all the praise and the emerging artists who have a glistening career ahead of them are covered in this magazine. Those interested in the vinyl revival can enjoy the features with Strawberry Studios expert Peter Wadsworth on the pivotal role of music producers Chris Nagle and Martin Hannet, as well as Julie McLarnon who owns the only recording studio in the country, which solely records to analogue tape.

In 33-RPM’s first edition, we aim to capture the essence of Manchester’s musical landscape, celebrating its legendary icons and hotly-tipped newcomers. Whether that is the music creators or those in the background who keep this heart of the music capital beating, their stories are told in this magazine. Right Proper Music covers insightful feature pieces from many voices, exploring their significance in the music scene. This can be found through an in-depth conversation with music journalist and author Andy Spinoza, through the transformations Manchester has undergone in his career spanning four decades, and the owner of LAB Records, Mark Orr who facilitates incredible opportunities for the artists signed to the independent record label. Those emerging artists who are on our radar and deserve to be on the readers’ radar too, are created with the help of new music champion Sam Shiner.

So put on your favourite record, preferably on a record player, and immerse yourself in this edition of 33-RPM.

Finn Toal 33-RPM Editor

HOW

TWO MUSIC

MADMEN ESTABLISHED

‘THE

MANCHESTER SOUND’ INSIDE STRAWBERRY STUDIOS

Strawberry Studios in Stockport was one of the finest recording studios in the North of England, which created era-defining records, but the work of their record producers cemented the significance of the studio to Manchester’s rise in pop culture.

Manchester was heralded as one of the music capitals of the world. From the pop culture transformation in the 70s and 80s, other cities and regions looked to Manchester for their music offerings.

Whether that was consuming the musicians signed up to Factory Records from Post-Punk and New Wave or travelling down to the Hacienda for the hedonistic Acid House scene –Manchester led the way.

It stemmed from a group of creatives and assorted musicians who had a DIY philosophy that defined British Punk to resurrect their city, which was blighted by a post-industrial slump. Money that was made from the explosion of culture and music wasn’t pocketed but instead reinvested into the region to provide an alternative for musicians instead of moving to the capital.

In the ’70s and ’80s, London had it all: record labels, management, investment, concert halls and recording studios. But Strawberry Studios in Stockport was that alternative for northern musicians, which has since been etched in legendary status for the significance of Manchester’s music scene.

The region wasn’t short of recording studios during that period. Spirit Studios in Northern Quarter had The Smiths, The Stone Roses, and 808 State use their space, Indigo and Arrow Records were both owned by Greendown, with Buzzcocks and Joy Division recorded there and Suite 16, owned by Peter Hook and Chris Hewitt doubled down as an

Strawberry Studios welcomed many Mancunian Post-Punk bands such as Joy Division, Buzzcocks and The Fall.

equipment hiring space, which saw The Stone Roses, Happy Mondays, The Chameleons, The Charlatans come through their doors.

But nothing had a greater cultural significance than Strawberry. They attracted artists outside the region whilst working with some of the greatest sound engineers in the city. Residents of Stockport’s recording studios were Martin Hannett and his right-hand man Chris Nagle, who carved out the sound Manchester became synonymous with – atmospheric drum beats, bassheavy, spacious urban sound. Their significance to the music scene cannot be overstated.

Hannett is a legendary producer in his own right, as he embraced atmospheric sounds and electronics into his unorthodox recording techniques as he mixed drum sounds and synthesisers, which created a complex and distinctive output. These methods resulted in him being mooted as the creator of ‘The Manchester Sound’ whilst producing era-defining records.

He mainly operated in Strawberry Studios, which was initially opened in 1968 by Stockport Rock group 10cc. It operated as the band’s studio until Hannett became the resident producer in the late 70s until he died in 1991. During that time, he mixed songs by Orchestral Manoeuvres in the Dark, Happy Mondays and A Certain Ratio, making him one of the most soughtafter sound engineers away from the capital.

Strawberry became one of the finest professional recording studios outside of London and was used by the likes of The Smiths, The Stone Roses, and Paul McCartney, most notably creating Joy Division’s highly acclaimed debut album Unkown Pleasures, which assured Strawberry’s place in music history, which was awarded a blue plaque in 2007.

Hannett’s genius brain and madman attitude dominated the recording studio, as he had a tough battle with alcohol and heroin abuse until his death at 42. But his commitment to achieving a track reflective of the band’s heritage and style was paramount.

Bernard Sumner, guitarist for Joy Division and singer for New Order said:

“Martin didn’t give a fuck about making a pop record. All he wanted to do was experiment. His attitude was that you get a load of drugs, lock the door of the studio, and stay in there all night, and you see what you’ve got the next morning. And you keep doing that until it’s done.”

33-RPM spoke to Dr Peter Wadsworth, a Strawberry Studios historian who oversaw the rebuilding of the control room and the exhibition on the 50th anniversary of the opening. When speaking about the cultural significance of the studio, Wadsworth said: “ It was

Martin Hannett produced Joy Division’s highly acclaimed debut album Unknown Pleasures in Strawberry Studios

in Stockport, which made it unusual because when it opened, every major studio was in London. So the fact it was in the North West made it completely different, and it was a studio run by musicians for musicians.

“It was perfect for Factory and Tony Wilson, who was very vocal in saying how much Factory owed to having Strawberry, and Factory’s producer, Martin Hannett loved Strawberry.

He would spend as much time here as possible, so he thought it was great.”

Whilst unorthodox in his recording techniques, Hannett produced incredible results. He told Stephen Morris, drummer for New Order and Joy Division, to play each instrument of the kit individually, and he used the toilets and the goods lift to create different sounds.

Strawberry Studios has been etched in legendary status in the Manchester music scene which was confirmed by being issued a blue plaque in 2007.

Hannett worked with some of the regions best bands to carve out ‘The Manchester Sound’.

“He had an inventive ear, he was an audio alchemist, so he was looking for different sounds out of normal situations. So if he could use a lift shaft just to make it sound different, he would do so.

“Hannett and Chris Nagel was Strawberry’s history from the 80s onwards.”

With many other recording studios in the region, Strawberry was pivotal in ensuring Manchester had a strong musical heritage, something that the historian agreed with:

“Without Strawberry, Factory or the Punk bands, Manchester wouldn’t have had a major studio, which meant they would have had to go down south –unthinkable.”

“But the fact that 10cc had set up Strawberry in Stockport just gave all those bands that were very Mancunian a place to record, which shows the significance.”

As the Manchester sound evolved into the Psychedelic House, those recording techniques carried out by the unorthodox Hannett and Nagle’s creative genius at Strawberry Studios laid down the foundations for the Madchester era and why Manchester has carved out a strong music scene.

ANALOGUE RECORDING: THE MISUNDERSTOOD BEAST OF AUDIO RECORDING

Whilst digital recording may have become accepted within the modern recording studio, Julie McLarnon solely works with analogue tape, with her recording studio, Analogue Catalogue, which ensures that those distant techniques and signature analogue sounds are still championed.

It’s no secret that analogue recording declined in its usage when digital became the mainstay within recording studios in the late 90s and early 2000s.

Digital has streamlined the way tracks are recorded and mixed, so much so that now, almost anyone can use their laptop, microphone and audio interface to bolster their catalogue without needing to step foot within a recording studio. Whilst the accessibility to create songs from scratch has overwhelming benefits, the pool of songs has become incredibly crowded, with Spotify reportedly releasing 120,000 songs a day, which, if any statistic is going to amplify the accessibility of digital recording and a saturated market, it is that.

Digital production has enabled creativity and experimentation when creating tracks, whilst making production more

efficient with a more high-quality output. But what about analogue recording?

The technique uses tapes and manual recording equipment, as opposed to computer software that is burnt off to a memory stick or downloaded as an MP3 file.

The sound of analogue is incredibly distinctive, as the sounds tend to be warmer, easier on the ears and capture a more authentic representation of the output in the studio. Whereas digital can – at times – feel too ‘digital’ (obviously), the nature of the sound is somewhat cold, overly mixed and missing that spark and charm, which is achieved from analogue.

The renaissance of vinyl has again sparked this debate between digital and analogue, as analogue upholds that vintage feel that playing vinyl is

synonymous with. It’s also beneficial when releasing vinyl, as digital recordings have to be cut back to analogue to press onto the wax, which is well worth doing now, considering that the medium outsells CDs.

But the advancements of technology can make digital have the trademark features of analogue with the right amount of work post-production.

It is just that trademark sound that Julie McLarnon, the founder of recording studio, Analogue Catalogue Studio in Northern Ireland, champions. Julie is renowned for being one of only a handful of people in the country who still

solely record to analogue. She records on a vintage Trident Series 80B mixing console and Otari MTR90 24-track 2″ tape machine, which has seen her produce and engineer albums by artists including The Vaselines, Jeffrey Lewis and Barbarossa.

By completely making her recording practices analogue, Julie can seamlessly create exciting records with the hallmarks of analogue records all so apparent in her output. Despite the blinding positives to the listener’s ears, analogue is still a misunderstood beast, which has been overshadowed by the new wave of technology.

Julie McLarnon mixing on her Trident Series 80B mixing console

Speaking to Julie about the reason she continues to work analogue after digital has become the accepted norm, she said: “It’s related to the way that my brain is wired.

“Having studied the neuroscience around it, I realised that everybody has their brains wired with different emphasis, with me, I store information through the medium of audio.

as you know where everything is.

“For me, music was really easy and made an awful lot of sense, thinking of the sounds as both musical pitches and hertz came easily.

“I do think that back in the age of analogue before digital, people had very acute listening skills because you couldn’t get by without it as there was no undo.

“So then when the technology flips to very visually based, I’m looking at the screen thinking ‘I don’t have the capacity to make sense of my job’ – I just don’t enjoy that aspect, and it doesn’t make sense to me anymore.”

“I was obsessed with breaking down those frequencies and how those sounds were being made, but nothing in Pro Tools appealed to me.

“Without a tape machine and without that process of the science of the signal coming through the desk, as you watch the gain structure go to tape, I had no interest in doing it. It’s that science that I’m interested in. With analogue, you can do it blind, you can operate an analogue recording studio blind as a bat as long

“If you got it wrong, or if you punched it in the wrong place, there was no safety net to help you out of that hole. So you didn’t last in the industry if you didn’t have some kind of talent or skills in that area.”

Julie has been working with analogue since 1989 and has garnered an impressive career since, after initially starting at Strawberry Studios in Greater Manchester, which saw her closely work with Martin Hannett and Chris Nagle after being taught her craft by legendary record producer, Bill Leader.

She moved onto Suite 16, and those early years in her career saw her work with industry heavyweights such as Happy Mondays, 808 State, New Order and A Guy Called Gerald.

Speaking about those years of experience and working with pivotal players in the industry, Julie said: “I went

straight from school to a George Martin course, to Strawberry, I’ve never waited a table or pulled a pint or anything, so I’ve been ridiculously lucky in that respect.

“When I now look at what I’ve learned about the way we store information, I think that the people that I grew up working alongside were also audio thinkers.

“I can remember the way Chris Nagle and Graham Massey would operate, everything would be stored with their audio memory. There aren’t studios like Strawberry anymore, where you’ve got old fellas passing down information to the next generation and telling you how to do it right as they were back then.

“Sadly, that’s what is missing. But emotionally, I would not want to set foot back in Strawberry or in Suite 16, which also has a blue plaque, it’s a shame that they couldn’t keep them open as studios.”

Nowadays, the narrative has switched in the sense of how analogue and digital can combine their positives to create the best output possible, where a song will be recorded in analogue to achieve a unique sound, as well as mastered and mixed digitally for ease.

After moving her studio from Manchester to Northern Ireland piece by piece in 2015, she has continued to record albums with timeless flair.

Analogue Catalogue Studio has since begun to move into creating a hybrid studio with the introduction of digital, whilst still preserving the authentic sound of analogue, Julie added: “I have a Pro Tools studio here, I don’t operate in it, but the other engineer now has eight screens in that room.

“But for me, there’s eight things to look at, and I’m thinking, ‘if you’re looking at eight screens, how can you listen?’ You just can’t be listening if you’ve got that much visual stuff going on.

“So I’m trying to build a happy medium here for the current day and there are bands that come in here and either work completely to Pro Tools, or they have me record analogue and then pushed into Pro Tools in the normal way. “I think that’s the safety net that most musicians have become accustomed to.

“The fun thing of the last six months, since the Pro Tools room has been set up, is I get to go in and shout frequencies at the engineers, which they’ll listen to, change it and work out that it now sounds an awful lot clearer.

“But they haven’t trained their ears to know that, they just looking at the screen, and whatever the screen says it must be right. Just like I haven’t trained my eyes to look at any of that, I don’t know what is going on the screen, it’s just pretty colours, I just hear what I can hear, and I’m able to shout instructions.

“The way that your brain processes sound, it struggles to handle loads of high-end frequencies.

“The training of recording to analogue would have you talking about signal-tonoise ratio, which the main part of the job is maintaining the gain structure to keep the signal-to-noise ratio as good as

it can be, it’s something you don’t have to learn in Pro Tools.

“This means that for any of those high reflective harmonics, a tape engineer will just lose them, and they have to get rid of them as it gives you a much cleaner top end.

“So you get this sparkle, but you also don’t get your ears exhausted by a load of reflection that the engineer hasn’t realised shouldn’t be there at the top end.

“With the high frequencies, you immediately don’t want to listen again and again, because if it’s got too many

After being taught her craft by Bill Leader, Julie McLarnon worked with this mixing deck in Strawberry Studios.

“I think there’s almost a propaganda around analogue, it’s like you’ve got to be amazing and get it the first time if you don’t get it the first time, then it’s not worth doing.

“It’s a frightening propaganda –it’s not true.”

abrasive frequencies it makes you want to pull back as it’s lacking those warm frequencies.

“You want to connect with the record, but you can’t because your ear is wanting to pull away for self-protection.

“So everything is now set up against you being able to connect with an artist or a record, because 120,000 songs are being released a day, and most of those songs are so abrasive, that listening to them two or three times gives you a headache.

“I’m not saying there are not any good records out there, but there are 120,000 records released a day, and what is the percentage of them that have a standard that is well crafted and has a beautiful standard of recording?

Whilst the current landscape of a recording studio is now significantly tailored more towards digital, analogue recording shouldn’t be that misunderstood beast that is now perceived when comparing the two techniques.

This should be even more apparent as recording studios now are using both forms to significantly increase the sound on their track, as well as the listenability of the record that is being produced.

GIG REVIEW: INSPIRAL CARPETS AT STOCKPORT’S AMP

As part of Stockport being awarded Greater Manchester’s Town of Culture, it was an opportunity to prove that their culture is going beyond a title when Manchester legends Inspiral Carpets took to the stage for an intimate gig at AMP.

‘Stockport isn’t shit’. That’s the tagline circulating amongst the SK postcodes who have seen a rapid transformation in the town, which earned them £50,000 in funding to improve their arts and creative offering.

A part of that was the heroic Madchester outfit Inspiral Carpets, who performed an intimate gig at AMP in front of an audience of 300, who were in the midst of supporting Happy Mondays on their nationwide tour.

Whilst tickets weren’t cheap at £40, the audience was raucous, and the atmosphere was electric, as walking up to the underbank past the closed venues on a Monday night, the only noise was coming from AMP.

With a can of Red Stripe in my hand and chants bellowing out of ‘Boon Army’, Inspiral Carpets took to the stage, which has undergone many lineup changes. Following the death of original drummer Craig Gill, Kev Clark was behind the kit with big shoes to fill, the band’s first vocalist, Stephen Holt, retook his place on the microphone, original guitarist Graham Lambert and cult favourite Clint Boon on keys with his son Oscar Boon on the Bass. But as soon as the opening chords for the rampant Joe rang throughout the venue, AMP were well aware that they were in for a spectacle, and the Stockport crowd

were firmly under the spell of the Inspirals.

It was evident that the intimate performance was just as enjoyable for the band, who took the rare opportunity of playing in a small venue to entertain the crowd beyond the music with their banter with the crowd. Whether it was provoking fun of those living in Brinnington or mocking the size of their ‘dressing room’, it made the moment all the more special.

Regardless of the many iterations the lineup has undergone, the chemistry between the new band members was undeniable as Clint regularly gave looks of assurance to his son, who didn’t need it as his lack of experience was instantly distinguished by his incredible musicianship.

It was a chance for the band to play some of their back catalogue, which they wouldn’t be able to when supporting the Mondays, as they carried that momentum forward from the first track to perform Generations, Weakness and Butterflies. It stamped down their authority of why they were a band so synonymous with the Madchester movement, that accelerated the city’s pop culture..

As mentioned before, Clark had big shoes to fill in the form of their late

drummer Gill, but effortlessly showed he was well up to the task and immediately captured the hearts of the Stockport crowd with the introduction for She Comes in the Fall, which only continued when those in attendance euphorically sang the chorus back to the group.

Straight after, we were plunged into “new material that we have been working on recently.” Only for This is How it Feels to play – their most popular track. We knew we had been righteously embarrassed when Boon’s infamous opening hook rang through the venue, but that feeling was fleeting with a rampant showing. Whilst we wanted new tracks, nobody could kick up a fuss with the performance we had just witnessed.

There was an eclectic mix of people in AMP – those who lived through the Madchester era and those who can retrospectively listen on streaming platforms. But regardless of the background, we were unified by the heartfelt track Two Worlds Collide, which created a magic moment between the generations.

On a wet and miserable day in Stockport, there are very few bands in the region which would get people out in their numbers, and the Inspirals were one of them. The repayment? A sweaty gig which only got hotter following a flourish of bangers, which belted out of

the speakers. It was loud, really loud, and fast, the two essentials of a perfect gig.

One of the highlights of the band in a successful career was creating Let You Down with legendary Mancunian poet and comedian John Cooper Clarke. When they attempted to play the number, the reverb on Clarke’s words fell a little flat. In a normal setting, a band would roll with the punches, but this was an intimate setting, so they restarted the track to allow a proper performance and left the crowd desiring little.

Manchester cult legend Clint Boon on the keys who constantly received ‘Boon Army’ chants from the crowd

Dragging Me Down preceded the encore when the band briefly ‘took a piss in the backstage bucket’ before coming back to close the show with the anthemic tunes Commercial Reign, 96 Tears and, of course, the stratospheric track, Saturn 5.

The band and crowd gave every inch of energy they had left to revel in the colossal song. “That was fucking quality Stockport” closed off Boon, as chants of

“Stockport isn’t shit” echoed back from the crowd as the legendary five-piece walked off stage, knowing they had just delivered a masterclass.

ALBUM REVIEW: LIAM GALLAGHER & JOHN SQUIRE

As far as supergroups groups go, Liam Gallagher and John Squire are some of the most star-studded. Bernard Sumner and Johnny Marr forming Electornic, Alex Turner and Miles Kane in The Last Shadow Puppets, don’t come close to the Oasis frontman and The Stone Roses guitarist. But in terms of sound, the Mancunian icons delivered their best release in decades.

When Gallagher returned to a sell-out Knebworth in 2022, Squire’s appearance to deliver a sensational rendition of Champagne Supernova showed the pair at the peak of their powers. It was

at that moment all music fans desired a collaborative album. But once those wishes became reality, the ceiling was incredibly high for the two Mancunian icons.

Gallagher has had a successful solo career since Oasis split in 2009, but it certainly hasn’t reached the heights of the Britpop group. When The Stone Roses reunited for their sell-out 2012 Heaton Park shows, it inevitably went down as one of the greatest gigs in Manchester’s history, which was followed three years later by some mediocre singles. It was the chance for arguably Manchester’s two most successful groups to join forces and reestablish themselves as music royalty, and it didn’t disappoint throughout the 39-minute album.

Whilst the lyrics fall short on some of the songs (Just Another Rainbow, I’m looking at you) the whole album is a musical masterpiece from Squire, whose sensational musicianship on the guitar is close to perfection. The title of the album, Liam Gallagher & John Squire, seems to have been given as much thought as the lyrics, but if anyone can make up for lacklustre lyrics, it’s Gallagher. However, there were glimpses of promise with the enthralling opening in Mars To Liverpool, ‘Jesus Christ, about last night, I can only apologise.’

When Just Another Rainbow was released, the general feeling fell a little bit flat, which left me reeling off the colours of the rainbow as if I were back in primary school. But Mars To Liverpool

saved all of that and truly captured the album. This feel-good anthem shows the creative freedom of the duo and puts the hype train for the release on 1st March back on track.

The album boasts some heavy-hitting tracks, but all in all, is navigated extremely well with breaks in the listings coming from Make It Up As You Go Along before being plunged into the standout track on the album for me, You’re Not The Only One, which gives glimpses of Jimmy Page and Led Zepplin.

The inspirations for the album are worn on the pair sleeves with Love You Forever showing glimpses of Jimi Hendrix, as well as the moody and Soulful, I’m So Bored giving a nod to The Beatles. But it goes beyond this as Squire capitalises on the tantalising guitar riffs he laid down on The Stone Roses’ second album, Second Coming, with greater execution across all of the tracks, rather than sporadic glimpses, just take the first 12-bars of, I’m A Wheel. It once again affirms Squire as one of the greatest guitarists of any generation.

The album fittingly concludes with Liam Gallagher’s favourite, coming in the form of Mother Nature’s Song, which is filled with emotion, heartfelt lyrics, and intricate fingerpicking.

Even before the release, when imagining what the pair could create together, it was this album to a tee. It has the hallmarks of Gallagher’s snarly lyrics and Squire’s melodic guitar lines that set this album apart and will certainly please fans of the former groups.

In my humble opinion, it is undoubtedly the best release since the break up of The Stone Roses, and since Gallagher embarked on his solo career, but cannot top what preceded it - that would take something pretty remarkable. However, it does perfectly fuse the best aspects of the Roses and Oasis, so what isn’t to love? Well, another album would do nicely.

THE EVOLUTION OF DANCE AND ELECTRONIC MUSIC

From the basements in Chicago to global dance floors, electronic and dance music has undergone numerous iterations, making it one of the most consumed genres across the world.

Electronic dance music is a cultural phenomenon that consistently pushes the limits of creativity and technology and allows endless possibilities on the mixing deck. The music spun by DJs is at the heart and soul of any festival, club or live event where the music has been mixed to enhance the party experience for those in attendance.

It’s a genre that continually reinvents itself with emerging technologies, which are opening up exciting new possibilities for music production and live performances. So much so, that it is the fourth most popular consumed globally, as per an International Federation of the Phonographic Industry report.

Electronic dance music initially started as a term coined for the new sound that was hitting the clubs. Now it is considered a blanket term for a whole array of subgenres that have since evolved following advancements in technology and different tastes in style.

Since the 1980s, genres such as House, Techo, Drum and Bass, Dubstep and Acid House have gained significant popularity whilst sharing similar features to Electronic Dance. Defining features of electronic dance music include repetitive and pulsating drum machine beats, synthesized sounds and a powerful bass-driven rhythm.

The music had a significant cultural impact that shaped fashion and social movements, one of which was the acid house scene, fuelled by ecstasy and took control over the youth in the late 1980s. Manchester’s legendary club, the Hacienda, exploded in popularity with the rise of acid house and rave culture.

Chad Jackson is a dance music pioneer and icon of the scene whose DJ mixing and production skills developed him as a revered maverick in electronic music. Chad established himself early into the Hip-Hop and House scene upon beginning his DJing tenure in the early 1980s as he was one of the first British DJs to start mixing and exploring turntablism. He has since garnered international recognition as one of the best mixers after being crowned the Technics/DMC World DJ Mixing Champion in 1987. Before this accomplishment, Jackson nailed down a residency at the Hacienda, which was the epicentre for the youth culture explosion of Acid House. His pioneering sounds introduced the Manchester nightclub to his house and hip-hop tracks.

About his inspirations for delivering this new wave of music to the masses, Chad told 33-RPM: “It wasn’t called house when it first appeared, and we didn’t know what we were playing, I was just a big fan of Jazz, Hip Hop, Electro

Funk, Proto-House, 80s New Wave and Electro Pop.

“I started because of my Northern Soul upbringing and I gravitated towards these new tracks coming out of America that were fast, and they were quite percussive, and I always like fast percussive music.

“I remember at that time, I was there when the first house records started to

Resident Hacienda

Image Credit: Chad Jackson

come out, and I was playing things like Jesse Saunders ‘On & On’ and another track that sticks in my mind was ‘Music Is The Key’ by J.M Silk. There was a really special version called ‘Basement Key’

on the B-side, which was a lot more percussive and dubby because we always used to gravitate towards the dub versions as the vocal versions for us were a little bit too poppy and commercial.

“But the dub versions were usually where the producers would just let fly and go crazy with all their effects.”

DJ (Niall) Joe Roche has become one of the most celebrated and exciting disc jockeys in Manchester, after appearing at the Warehouse Project, Parklife and the Singapore Grand Prix. This has seen him develop into a fully-fledged artistic force, who is capable of transcending the genre.

The artist is building on his already burgeoning reputation as one of the city’s most promising talents with his brilliantly distinctive progressive sound and innovative technical talent. Boasting a modern and unique style, his output spans a wide spectrum of house and techno sub-genres, inventively fused with an eclectic funk and worldmusic groove.

Niall told 33-RPM about the new and exciting sound he is carving out for himself, which is instantly recognisable in the clubbing circuit, he said: “I think some of the styles stems from environmental and some of it is more a

DJ, Chad Jackson, behind the decks for Hacienda’s 40th anniversary.

primitive choice of just what resonates with me.“Then I was into rock, heavy metal, stage classic rock, and it was a culmination of those two things.

“But the beats, the quirkiness, the drive, the fat anthems and then the classic rock stuff, the combination of those is where my house is at. It’s quite anthemic. It has funky baselines that also have character, I just like to add things that are a little bit of ear candy and stand out. Pretty much anything that has got a fat groove.”

Niall was introduced into the industry at a young age after his parents owned the nightclub, The Mix, in Harrogate, the

DJ shared how their influence and the sounds coming out at the time have impacted his work.

“My parents are my quality control. I’ll just send them sounds, and we just chat about it, just as you would have with a mate. Some of it my mums says is too ‘beepy’ now, which is just annoying because it doesn’t mean anything, but my dad is a bit more into it.

“I’ve got acid synth in my initial sound library selection, and I would use sounds like that because it works,

“Some

of the sounds from the 90s could easily have been made yesterday.”

A technique we are commercially seeing a lot more between DJs is sampling.

Classic tracks from the 80s and 90s are being remixed and injected a breath of modern fresh air into them. Recently, bangers like Eiffel 65’s ‘Blue’ was rereleased by David Guetta, and Nathan Dawe took Garage classic ‘Flowers’ by Sweet Female Attitude to reach Number 1 in the UK Dance chart.

Chad was responsible for dropping one of the biggest tracks of the 90s as ‘Hear The Drummer (Get Wicked)’ became an international smash hit. The song peaked at Number 3 on the UK Singles Chart, and in total, Chad’s standout track drew samples from 14 different songs, including the hook and riff sampled from ‘Unwind Yourself’ by Marva Whitney, vocals off ‘Welcome to the Terrordome’ by Public Enemy and the drums coming from ‘Chocolate Buttermilk’ by Kool & the Gang. But the cultural significance of the tune is unparalleled, which is amplified through being sampled by Deekline in “Party People”, rapper Skepta in the song “Skepta”, and in “Wicked” by EDM duo Firebeatz.

Chad currently holds a position as a lecturer at Point Blank Music School in Shoreditch, sharing his extensive knowledge of electronic music production, DJ skills, and composition. Speaking about the evolution Chad has observed within electric dance music, he said: “The kind of styles of music that that people are doing now has become more mainstream than it was before as then it was underground.

“To hear anything that we were listening to in the clubs in those days, online or an advert, is almost ruining it for me because that’s my special thing, and I’ve heard it a million times!

“But music today has taken influence from other sounds, and different subgenres appear, there is an evolution of sound as people get inspired by sounds that create new tracks.”

“It’s especially interesting because that’s kind of my speciality subject that I’m teaching at the moment, and it’s all about how creativity stems from people just listening to what other people are doing and then being inspired, but not being able to get it right but still coming up with something new.

“Not being able to do something right isn’t a problem. Whereas in other areas, for instance, if you’re a motor mechanic and you’ve learned how to change a tyre on a car, but you get it wrong, somebody’s going to die, but music is a lot more forgiving.”

Niall spoke about the direction he wishes to take his sound, he added: “My whole life has been taken up by so many things that production was always at the bottom of the list, and when I did get to do it, I couldn’t sit at a desk, I couldn’t be in the studio at home and sit there and make tracks it felt too much like work.

“There were times I made tunes where I was laid on the sofa, half asleep and pressing buttons, but those are some of the best tracks I’ve made on the sofa. “So I’ve started a sketches series after watching a John Michel Basquiat documentary and how he worked with art on canvases.

“I was thinking ‘Why am I not using music in the same way?’ Because it’s just very organic, and it’s so signature with specific details, but to him, it was effortless. I was making a big deal out of everything in my head all the time, so I’m starting to do sketches that are not going to be completely danceorientated, but they’re going to have more real instrumentation. The best

music that comes out is when you’re not thinking about you’re just putting stuff on a canvas.”

When asked to retrospectively look back over his career and how it has progressed, Chad added: “Still being here amazed me a lot, as we never expected things to carry on for this long. It has become a real cultural importance in the UK, as the music scene has always been strong.

“But with the DJing, we never expected to still be doing it now at this age, it’s a testament to the power of music and the spirituality of it that it speaks to us all, and it’s an important part of a lot of our lives.

“It’s people’s release, it’s their passion. For me it’s food, it’s as important as food, if I didn’t have it, I would wither and die because it just makes life worth living.”

Image Accreditation: Chad Jackson

IN CONVERSATION WITH THE CHAMELEONS FRONTMAN MARK BURGESS

The Chameleons are the best unknown band to come out of the Manchester Music Scene. When pivotal bands such as The Fall, Buzzcocks and Joy Division were making ground, The Chameleons were building a loyal fanbase.

Whilst the band, fronted by Mark Burgess, were still popular within the region, their nationwide reach wasn’t as strong.

It was their punk attitude, atmospheric sound, introspective lyrics and melodic guitar lines, which made them a Mancunian favourite following a session with John Peel in 1981 that threw them into the limelight.

They continued to ammas a strong and loyal following, and upon their last release, Strange Times in 1986, they were tipped to hit the mainstream. However, 1987 would see the band break up, and the members go their respective ways.

Whilst reforming in 2000, it was shortlived after they split again three years later. With four studio albums now under their belt, Burgess and original drummer

John Lever continued to perform their songs under the new project ChameleonsVox until Lever later left and passed away in 2017. Burgess and Smithies later reformed the Vox group in 2021.

In a career spanning four decades, the band released six studio albums and an EP, along with many Peel sessions, live records and compilations, with the focal member being Burgess. Chameleons Vox has allowed their older fans to revel in their old tracks, as well as, captivate new fans as they perform their back catalogue yearly for their Christmas shindig.

33-RPM caught up with Mark before their two homecoming shows at Manchester 02 Ritz.

How does it feel to be back in Manchester with a doubleheader at the Ritz to a home crowd?

It’s always really good as it’s one of my favourite venues in Manchester. I love it there. The home crowd is great, it does tend to be a bit cosmopolitan when we do the Christmas shindig, as they tend to come from all over the place and converge. It’s more about the audience than the band. It’s like a tribal gathering. But to be quite honest, I do think that this might be the last of them though, because we have been doing it for so

long. Maybe the tenth next year will be the last one. John will be spinning in his grave if we don’t. He’ll be saying, ‘You can’t end it one nine!’”

Mark Burgess with the album What Does Anything Mean? Basically painted on his face.

What can we expect ahead of this year’s show?

It’s going to be a straight-out performance. On the first night, we’re

performing all the songs that were written between 81 and 83, and the night after, it’s songs written between 84 and 2001. It’s to tie it up because we’re going to start a new record in the new year. So I don’t want to say it’s a break from the past, but it’s tying a bow on it. It’s just going to be two great nights at the Ritz showing the history of The Chameleons.

What more can you tell us about the new music in the new year?

I can’t say much more because we’ve got basic sketches and ideas at the moment. We’re going to come into a studio in Manchester in the New Year, and we’re just going to start and see what we come out with.

Your sound in the 80s and 90s, even in your stage presence, is very punk. Is that something you’re looking to replicate in the new music?

I’ve always said when talking to people about punk, it’s about attitude. To me, it isn’t a particular sound, style, or the way you dress, it’s about attitude. And we’ve always had it, and we’ve still got it now.

I don’t think that attitude will ever really go, and I don’t think we’ll ever change in that respect.

you have him in your mind, and how good is it to have Smithies back in the Vox?

It’s ace to have one of our writers back, it’s put everything on a completely different level for me. To have Smithies back is great.

Of course, we think of John all the time, and that’s always been kind of problematic for me to play this stuff without him because he’s a fucking tough act to follow. He’s such a powerhouse of a drummer, and apart from his personality, he was so powerful on the drums driving that music. It’s been daunting for anybody else to come in and try to do it. At one point, I was saying:

‘I don’t want to do it unless John is drumming’. I was persuaded otherwise, but it’s a tough act to follow. He’s always going to be in our minds.

When recording the John Peel Sessions, how important was that for your career as a group and do we miss someone like John Peel in the modern music industry?

When you formed the Vox, it was with John Lever, who is sadly no longer with us. When you’re performing, do

I think we do miss someone like that, as he had a massive impact. When the broadcast went out, literally overnight, our lives changed completely forever, and nothing was ever the same after that. The impact was huge.

So it was down to John that we got our break. And you’re right, no one who has carried that baton. When you think back on it, he started with two bands a day. So that’s six unheard unsigned bands a week on national radio and the only national radio station. That’s huge. So to have that exposure on Radio 1, with six new unsigned bands a week, is just incredible.

I remember being in the office with him one time, where he pointed at a cardboard box, and the box was about four feet high. This big square box was filled to the top with cassettes. And he said to me: ‘I will listen to every single one of those.’ When he played it, you had

to grab his attention right away in the first 30 seconds or a minute. And he did find the time to listen to every single one of them, which is just amazing.

He was a music facilitator. He brought music that wouldn’t have got a sniff to national radio.

The Chameleons played the Hacienda in 1983, how was it playing at the legendary Manchester club?

The sound in there was fucking dreadful. I’d seen bands in there like The Smiths, and the sound was always bad. It was a bit elitist for me. I only used to go, as I didn’t have to pay to get in because I knew Peter Hook, so he’d get me in. But our audience wasn’t the Hacienda crowd. The first time we played there, it was a local band night, and there were like 900 in there, and I remember the Hacienda guys, were like what the fuck is this? They were used to 40, 50 people in there. But on this night, there were 900 people, and they couldn’t fucking weigh it up.

I remember when we drove the van right into the club, and you loaded from where the dance floor ended, and inside was all this kind of motorway chic everywhere, and I remember thinking how impressive it looked. But sound-wise, fucking hell, it was awful.

How was it being around Manchester in the 80s and the 90s with so many great bands coming out of the region?

Manchester and London were always a good place for us, but everywhere else we struggled. We struggled to keep the music going, and we struggled to get people to come and hear us, but in Europe and America, it was different. I remember on the Strange Times tour in Newcastle, we had about 60 people.

Now, it’s a lot better for us, especially the last couple of years, as we’re getting so many young people coming to the shows who weren’t even born when we wrote this stuff, but they’re so passionate about it, which certainly makes it more enjoyable. I also think that the band is better than we ever were, we’re on fire at the moment.

Feature Image Accreditation: Tanya Malden

the Manchester home crowd at O2 Ritz

The Chameleons, fronted by Mark Burgess and the return of original guitarist Reg Smithies playing to

ALBUM REVIEW: BEHOLDER FROM THE BLINDERS

One of Manchester’s hottest prospects, The Blinders, has released their most critically acclaimed album to date. Beholder feels as if the five-piece has stepped into their creative stride despite announcing they would be taking a step back from the band.

After bursting onto the scene as one of the hottest prospects in the region, the years that succeeded Columbia haven’t been the kindest to the group. Their follow-up release, Fantasies Of A Stay At Home Psychopath, highlighted the lads can evolve their sound from angsty Punk-Rock. But that album was scheduled to be released right before the COVID-19 pandemic, accompanied by the loss of the original drummer, Matty Neale, and all momentum the group had garnered seemed to extinguish.

Now the band has undergone a lineup change, is now signed to EMI, and their third studio album Beholder, feels like the third bite of the same apple.

Originally hailing from Doncaster, the group now resides in Manchester, and we firmly claim them as one of our own. They are a band similar to the Courteeners – sounding incredible live but couldn’t quite capture that essence on the track. But this time feels different, as listening back to the album, I could feel myself mosh pitting in my room with my headphones on. It’s powerful and emotive, which captures the sound that The Blinders have become synonymous with when touring. But their output is more reflective of Iggy Pop, Bob Dylan and Nick Cave.

They carry their Punk-Rock influences into this recent release, with politically driven lyrics and an ability to craft powerful and emotive songs, which hasn’t faded from a band active for a decade.

But this release will be the last fans can expect for a while, as before the release, the group announced they ‘would take a step back to pursue something else for a while.’ The emphasis on the album has since shifted to a celebration of the sound they have carved for themselves, as fans will now retrospectively listen back to their back catalogue. But what better way to close off on a high? Well, they’ve definitely achieved that with this recording.

The opening track of the album Ceremony perfectly sets the tone for the nine songs set to proceed. The atmospheric, enigmatic, and bold guitar chords coarse through the opening and fuel the remainder of the track. Opening with the chorus, “I’m not the man you think I am. You’re not the woman you think you are. I am the man I think I am,” shows the self-reflection and growth the band has undergone to bring this record to life.

Brakelights is the title single from Beholder. It is a raucous and rampant demonstration, which is full of raw energy and emotion. Within the first

two songs fans are engrossed in this incredibly composed album.

The tracklist navigates itself magnificently, which plays to the strengths of each band member. While I’m Still Young boasts hard-hitting guitar riffs, whilst At Any Hand But Hers features gloomy and intensely atmospheric drums.

The moody punk introduction to Always captures the emotion of the band, who may or may not know that they will be taking a hiatus following a release. While the whole album undergoes a more insightful focus and evocative lyricism from frontman Thomas Haywood, Always epitomises it. “Head is a mess and the moment is gone. Can’t even find the words to say it wrong. Feel like my body’s old and grown tired of the thrill.”

The maturity and experience the group has gained in the career after touring with The Charlatans, The View and Blossoms, including an appearance at Glastonbury and Kendal Calling, was on full display during Waterfalls Of Venice. The track displays incredible composure as it teases fans in with a drop in tempo from an otherwise energetic record. But the rampant bridge on this song, paired with the rhythmic drum patterns, allows the rest of the band to be at their creative best.

Concluding the album is All I Need, a fitting ending to what has been an incredible stint in terms of a grassroots band, but unfortunately never got to the heights of being majorly commercial. Regardless of their announcement, the lyrics elude to a hiatus from the group, “I’m going, I’m going, I’m going, I’m gone.”

Hopefully not for too long, as if this album is an insight into their future, whether that be near or distant, it looks incredibly promising of something great.

Feature Image Accreditation: The Blinders via EMI Records.

Manchester band, The Blinders have released their third studio album after announcing they would be taking a break from music.

Photo Credit: Sam Crowston.

MANCHESTER UNSPUN: A CITIES 40-YEAR TRANSFORMATION THROUGH THE LENS OF ANDY SPINOZA

There is nobody who has observed the transformation of Manchester more than Andy Spinoza, who has had a front-row seat in the rise in pop culture for the past four decades. From living through the post-punk movement since moving to Manchester in the late 1970s, his work in journalism and later PR ensured that his finger remained firmly on the pulse of the evolution of Manchester’s culture.

Spinoza has been on the right side of history with the city’s advancements in music, entertainment, arts and culture, and this burgeoning experience ensured he is the best person to provide a detailed and accurate report of this change, which is portrayed in the journalist’s book, Manchester Unspun: How a City Got High on Music. A chronological first-hand account of

Spinoza’s experiences and opinions, which aren’t shy of controversy. It is a highly informative and engaging read, which isn’t one of those trivial books endlessly pumping out information about Factory Records. Instead, it utilises both of Spinoza’s career paths, journalism and PR. It’s a meticulous observation of Manchester’s change outside of culture, with a specific emphasis on the infrastructure that has taken over modern Manchester.

I met Spinoza on a rugby field in Heaton Moor, where he now resides, for a dog walk. After briefly meeting him at his book launch, it was apparent that he found a lot of joy walking his lurcher Rudy. My dog, a greyhound called Ellie, was firmly briefed not to sprint off into the abyss and bribed with many dog treats to stay close to me. The moment loomed for my relatively aloof mut to co-exist with another sighthound for a walk whilst I chatted to Spinoza on the changes he has observed in the wake of his book.

‘How a City Got High on Music’ with every astronomical high comes a stinking come down, something Spinoza doesn’t believe has hit Manchester yet:

“I think economically we’re in the high. The number of people living in town and the number of towers projected to be built is 110 over 20 stories by 2030, and that is a sign of success. People

say Manchester is losing its soul, and a lot of it is based on not liking the aesthetics of the tall towers and the way they seem to celebrate the power of international finance over the heritage of Manchester. The high is continuing, there’s no stopping the towers, and Manchester is spilling out into all directions. So it’s a remarkable and quite extraordinary transformation, which I felt was worthy of a detailed blow-byblow account.

“There is a good captive audience who want to be entertained, and that growth in the city centre has made the live music scene very viable. We’ve got New Century Hall, Albert Hall, Gorilla, and

Andy Spinoza’s book, Manchester Unspun: How a city got high on music gives a first-hand account of Manchester’s transformation in pop culture.

Deaf Institute, but back then, to have a viable live music place was treasured because they generally didn’t last. Now we’re in a very favourable situation compared to then.”

Since moving into PR in the late 1990s with his company SKV Communications, Spinoza is in the fortunate position to provide a holistic view of the regentrification of Manchester. He has worked with Tony Wilson, Sir Alex Ferguson, Sir Richard Leese and Gary Neville, and in his journalistic work before this, he was truthfully bullish in his reporting of the northern city’s celebs when reporting for Manchester Evening News, The Face and NME.

When Spinoza arrived in Manchester in 1979 as a student from London at 18, he became enthralled and enchanted by the charm the city had, and since has not returned to London. Manchester was still in an industrial slump when the post-punk movement came around. A region which would become synonyms for bands such as Joy Division, The Fall and Buzzcocks was then creating textiles and machinery.

Culturally and socially, there wasn’t anything going for the city, and when Spinoza arrived, that wasn’t a concern for him, who instantly felt the natural charm of the northern city, which he has since become an honorary Manc.

“When you’re young and poor, you’re not bothered about comfort or wealth it’s more about the atmosphere of a place which Manchester did have. The empty, crumbling buildings were like a ruined empire.”

So aesthetically, it’s quite thrilling, and no one else wanted to be there apart from young people and artists. It was a very creative place, and it was creativity born out of DIY energy with no great money around but just people doing interesting things.”

That DIY energy which Manchester had in the 1970s and 80s was infectious. A group of creatives had a real attitude to making a living with their surroundings, and in turn, improve it. That DIY energy was encapsulated by Spinoza, rather than moving away from Manchester to London like many other residents in search of better opportunities, he remained within the city and carved out a new northern life, which initially saw him set up City Life magazine in 1983 after graduating, which never missed its fortnightly edition for five years, and in 1988 was absorbed into the Guardian Media Group until its closure in 2005.

“City Life was born out of a frustration of not seeing our tastes, our community and the Manchester we knew reflected in the Manchester news. We figured, quite arrogantly, that we could do something in that area with that DIY spirit,” Spinoza added.

Whether that spirit is missing in modern Manchester, Spinoza disagreed, as while it is difficult to replicate with the cost-of-living, “It’s thriving if anything because technology has changed everything. If I was musical, I could create some music and put it out on Spotify and Soundcloud, but the problem is that there is an absolute

explosion of it, and I wouldn’t know where to look.”

Like many other books similar to Spinoza’s, they credit Tony Wilson, Factory Records and the Hacienda as the catalyst for the cultural boom in the region. Retrospectively, it is easy to state they were responsible, but from someone who held a Hacienda card since 1983 and constantly integrated himself with Tony Wilson in his role as a diary columnist for the MEN, was that change felt at the time?

“You could feel it at the time that Factory Records, the Hacienda and Wilson were the catalyst for the pop culture

Andy Spinoza with Oasis guitarist, Noel Gallagher. Image accreditation: Eamonn Clarke

Nobody in Manchester has seen the transformation more than Spinzza through his work as a journalist for NME, The Face and the MEN, and as a PR.

revival in the city,” Spinoza affirmed. “You knew that what they were doing was important to the culture of the city. It was a battle for Wilson to be heard by the city council at first, but when Newsweek magazine in the US put the Madchester scene on the front cover in 1990, I think the council woke up to the fact that they had something other cities didn’t. This homegrown culture fascinated Americans, Japanese, and Germans.

“When the Hacienda was threatened with closure by the police, the council lobbied the MP, Bob Litherland, to write to the magistrates saying ‘this place is important, this is part of the new

economy of leisure and tourism, and we need to keep it open’. It was kept open in a very uneasy partnership with the police and the authorities. Still, they started to recognise that the city that once had manufactured cars, widgets and textiles, was now the culture for music and design.

“You’ve got a club which is so synonymous with gang warfare and drugs. A club like that should never exist in a city. But the fact it stayed open is a testament to how culturally significant that was.

“I do have this very high concept thread throughout the book that Factory

Records have made all this money from Joy Division’s royalties and rather than become tax exiles or go to the Isle of Man and shelter their money or go to London – the most horrific option of all – they put their money into this gift to Manchester, this ‘lab experiment in popular culture’, as Wilson called it.

“The money that was made in Manchester was reinvested in the city.

“They didn’t want to get rich and fuck off. They wanted to resurrect their city through music and culture.”

Manchester’s pop culture is still booming and needs people similar to Wilson and the rest of the Factory Records founders to carry that flame and ensure it remains booming. I threw out a few names to Spinoza in the likes of Andy Burnham and Sacha Lord, but the one individual he firmly believed was making the biggest impact was Simon Moran, managing director of SJM Concerts. “He is massively important. Not only is he probably the biggest promoter in the country, but he’s also got a piece of Co-op Live and has also got a management company that has taken over the management of New Order, Liam Gallagher and John Squire, the Courteeners and Blossoms.”

Regardless of the pivotal players in Manchester’s modern music scene to retain the title of ’Music Capital of the UK’, that admiration for Wilson still rang true 17 years after he passed away for Spinoza. “Some people now, I don’t think have the same cultural drive as Tony Wilson did. He was willfully wasteful for art’s sake. His philosophy blew the chance that Manchester had to have a Motown Records equivalent because he didn’t care about profit, and it was all about letting artists do crazy things”, concluded Spinoza.

The only formalities left were for Ellie and Rudy to part ways after they somewhat co-existed for the last hour.

GIG REVIEW: SEB LOWE AT MANCHESTER’S O2 RITZ

Manchester’s O2 Ritz welcomed some of the finest young Mancunian musical talents to warm up from Oldham’s wordsmith Seb Lowe, who delivered a masterful performance beyond his years to inspire socialist change. The billing was bursting with the hottest musical prospects to come out of Manchester, with Villanelle the first to take to the Ritz’s stage. Liam Gallagher’s son Gene is a part of the band that

boasted spectacular musicianship, reminiscent of Britpop and 90s grunge. The one question on everyone’s lips was, ‘When will they release music?’ When they do, it will cause a storm.

Support also came from teenage sensation Alex Spencer, whose stage presence was infectious, as if he had been regularly doing the touring circuits. I had to keep reminding myself that this talented singer-songwriter is only 17. On the night, he was the perfect support act who consistently engaged the crowd, but you could tell this starlet was enjoying the opportunity just as much as the crowd were witnessing it.

Standout tracks from his feel-good discography consisted of a heartfelt and energetic performance of Time For Change, along with a teaser of a new release, Fear Will Kill The Future, in which he encouraged everyone to turn their flashlights on to create a truly special moment for the young musician.

The suspense was ever-growing inside the venue, which was quickly extinguished when Seb Lowe and his band walked on to The Apprentice theme tune, all donned in inflatable crowns, which later got chucked into the audience. Accompanied by his fellow band members, Kate Couriel on violin, Sam Summer playing the bass, Ben Etches leading guitar, and Joel Goodwin behind the drums, who were all kitted head to toe in suits and shirts. It was almost as if they had stumbled out of The Midland onto the stage, but there was no mistake that they belonged there, as the performance they were

about to deliver verged on a masterpiece.

If you’re unfamiliar with Seb Lowe, then let me break it down quickly. Think of Eminem, mixed with Bowie and Sinead O’Connor, throw in some left-leaning political spoken word, and you’ve barely scratched the surface of how multifaceted this musician is.

Before coming into the Ritz, I was quietly concerned about how Seb Lowe would recreate what he produces on a record. His intonations, witty lyricisms and satirical stream of consciousness give his output personality, which is why he is one of the most closely watched artists in Manchester.

But I couldn’t have been further wrong, as the Oldham wordsmith laid all of his socialist emotions on the sleeve of his velvet red blazer.

The O2 Ritz’s notoriously bouncy floor was rocking right from the outset when fan favourite Kill Him (he’s a socialist) rang throughout the venue. From that moment on, those in attendance were fuelled by Seb Lowe’s political fury. Credit where credit is due to Kate Couriel on the violin – I don’t think I’ve ever seen a live violin as part of a band, but it deserves to be a permanent fixture. She was outstanding. The high energy continued when the

singalong anthems I Fell In Love With a Talking Head and Calvaryman followed. It’s these two songs in the 21-year-olds discography that amplify that he is not just a spoken rap artist but has a phenomenal voice to accompany it.

Those streams of consciousness came to fruition in the bridge for The Royal Family. The bridge in the song shows Seb Lowe at the peak of his powers with a comical voice and catchy intonations. His most loyal following was belting every single word back to the headline act whilst moshpits were forming all around the venue.

Teenage starlet Alex Spencer delivered a performance beyond his years in the second support act slot for Seb Lowe.

We were teased with a new song poised to be released a few weeks after this headline tour. Jump Scare was delivered with expertise as if it’s been within the setlist for years. It sounds incredible with the hallmarks of the artists and the underlying message of growing into adulthood.

The lyrical sensation’s raw passion and desperation for social change came through in Ode to Britannia, with that desperation panned down to the younger generation in the crowd after, “You dirty fucking communist” received the biggest roar in the whole set. We were plunged into a musical masterpiece of Killer For a Day, which received an extended play. After demonstrating composure and control in the opening, Seb Lowe’s vocal range and his band’s musical output let loose to deliver a rampant display, which was undoubtedly the best performance of the night.

Whilst there was little speaking between songs, the lyrics did plenty of speaking for Seb Lowe, who rallied his fans with his interwoven messages. The lack of an encore wasn’t surprising for someone who prides himself in not stepping in line.

But he rallied his troops back up with the feel-good anthem iPhone, which left little to be desired from his fans. It was

followed with Terms and Conditions, which was a three-minute battle with words by provoking fun at political issues. The only person who believed the lyrics more than the audience was the lyrical genius behind them.

I felt it in the moment, and I feel it now, that this was one of those bragging gigs when you say I saw them here. It was a consistent stream of songs with little breaks in the middle, which showcased the breadth of his musical abilities and the poetic anger of his songs. This gig proved how bright Manchester’s future truly is. The only thing left to sign off on was, “fuck the people who these songs are about and never step in line!”

33-RPM ARTISTS RADAR

33-RPM is dedicated to highlighting the most promising talents and artists tipped for greatness coming out of Manchester. As the region continues to dominate the musical landscape, the emerging musicians help ensure that Manchester remains the music capital of the world. The radar is created with music aficionado Sam Shiner, whose unwavering commitment to championing emerging artists has built her a loyal following as the place to go to unearth new talent, as well as being one of the most important voices in the industry for new musicians.

ALEX SPENCER

SAM SHINER:

I’ve been following him since day one, and he works so hard. He’s just a little ray of sunshine. They’re doing brilliant things with him at Modern Sky behind the scenes. He is a little superstar, and he radiates happiness.

33-RPM:

What an incredible talent Alex Spencer is. Only being 16 makes his tunes all the more breathtaking. It seems that with every release, Alex’s sound is becoming more polished and is growing in popularity, so much so that he sold out the Deaf Institute, and that record deal with Modern Sky UK is doing him wonders.

THE FACADES

The Facades are carrying the torch to make Wigan one of the most exciting musical cities in the country currently. Their melodic guitars, hard-hitting drums and lead singer Alannah’s enchanting vocals have carved a trademark sound for the band. Their ever-growing discography is deservedly growing immense hype around The Facades.

ISSY SUTCLIFFE

Issy Sutcliffe is undoubtedly one of the most exciting talents coming out of Manchester. Her tracks and presence are the epitome of punk, which is incredibly welcomed. Vocally, she is an absolute powerhouse who is raw with emotion and sung behind moody guitar riffs.

PYNCHER

Pyncher capitalises on all four band members’ strengths, which creates a golden output. The pulsating bass, atmospheric lyrics, passionate drums and dark guitar lines are the hallmark sound of their moody and playful Post-Punk tracks. The band are no stranger to live performance, which oozes energy and strong musicianship.

THE PANAMAS

Whilst performing in Manchester for a few years now, The Panamas are still firmly one of the bands to keep on your radar. Their songwriting and sounds have evolved to new heights, to create an atmospheric guitar sound with anthemic lyrics. Catching them live is infinitely better than plugging your headphones in, as they’re blistering stage presence and confidence between the five friends radiates charisma.

THE CAVS

I’ve known The Cavs for four years now, and they’re just an amazing band, very indie and a fantastic live band. We put a gig on just after lockdown, and The Cavs played for us. They work incredibly hard, and Elliot, the lead singer, is great.

SEB LOWE

He is the new Shakespeare of the Indie world. I saw him supporting Louis Dunford a few years back, and he is just one of the most intelligent people in the upcoming scene at the moment. The thing with Seb is lyrically, he reminds me of Eminem. But when he started singing, he has such a powerful voice, along with the Shakespearian rap. He is such a talented guy.

SPANGLED

They’re some of my closest friends, they’re just in a league of their own, like out of this world. Spangled are some of my favourite people in the world. When we went to the Isle of Wight Festival in 2021, Ben, the lead singer’s dad was in the crowd with me and the guy who runs This Feeling. He had a heart attack and died at the Isle of Wight Festival. This Feeling has been behind Spangled ever since. They released their song ‘Good Life Better’, and the music video is all the footage from the festival, and Ben’s dad was there too. The Red Arrows were flying over that weekend, which was part of the video. It was just an amazing song.

MEGAN WYN

Megan is a rock queen. She was classically trained and taught how to sing opera, but she’s now gone into Indie Rock, so you can imagine this huge, powerful voice. I’ve known her for a few years, and she is as saucy as anything, which is great. I can’t believe she’s only 19, she’s like a little siren. That’s what makes her different because her voice goes hard - an amazing and stunning voice.

33-RPM GIG RADAR

PASTEL AT BAND ON THE WALL 4TH MAY

Pastel are the epitome of Manchester music and have given a breath of fresh air into the tracks we were listening to in the 80s and 90s. She Waits For Me was their knockout debut single, cementing them as one of the most exciting talents coming out of Manchester, so much so that they supported Liam Gallagher at Knebworth in 2022. But the lads haven’t rested on their laurels and have since released countless singles and EP, Isaiah. Supporting them is Villanelle, another band that is tipped for greatness in the region.

TOM A. SMITH AT THE DEAF INSTITUTE 7TH MAY

It’s hard to imagine that a little over a year ago, Tom A. Smith was just starting to build a fanbase after releasing Dragonfly. But after every new release, the Sunderland artist goes from strength to strength, gaining some incredible support along the way. His strong output is driven by his quality riffs and great vocals, but his presence when performing live is arguably just as impressive. After supporting Sam Fender, James and Courtneeners, as well as playing numerous festivals last year, it cements this show as a must-see. Just keep in mind this lad is still 19.

FOXGLOVE AT THE DEAF INSTITUTE 17TH MAY

There’s a reason they’re on 33-RPM’s radar, and they deserve to be on yours too. May 17th is the perfect opportunity to catch Foxglove live. They boast a unique euphoric sound with funky baselines, groovy synths and your classic indie-rock sound. Their show has come at the perfect time to perform their new releases and their feel-good back catalogue, which will sound as incredible and energetic as ever at The Deaf Institute.

A CERTAIN RATIO AT NEW CENTURY HALL 17TH MAY

What more can really be said about ACR other than they’re Manchester music legends. Tony Wilson saw their potential in the late 70s as they were one of the first bands signed to Factory Records, and they have certainly lived up to that potential.

This new show at the historic New Century Hall will mark their thirteenth studio album release, every release in between that has transcended musical genres as ACR continue to carve a new and fresh sound for themselves. The only thing constant in their 45-year history is the ability to deliver a stellar live performance.

AFFLECKS PALACE AT BAND ON THE WALL 17TH MAY

The psychedelic era of Madchester is living through Afflecks Palace. Donned as ‘Nu Manchester’, this DIY band has built an incredibly strong and loyal following in the city, making their gigs sweaty and energetic. Afflecks Palace is fronted by the charismatic J. Fender, who also runs the record label The Spirit of Spike Island and represents Pastel. But it is their anthemic guitar riffs and electrifying tracks that stand them above the emerging artists in Manchester.

FROM

THE BRINK OF

CLOSURE TO ‘BEST IN THE BOROUGH’ - THE SNUG’S IMPORTANCE IN THE COMMUNITY

Grassroots venues are imperative to the ecosystem of the music industry, with Sacha Lord recognising the importance of an Atherton by advertising their venue in the heart of the city centre.

The business was highlighted by the Night Time Economy Advisor for Greater Manchester, after calling upon Mancunians to nominate their favourite hospitality business across the region, as part of the “Best in the Borough” scheme. And it was the Mancunians who voted for The Snug for the borough of Wigan, even being located in Atherton.

His 2023 Christmas campaign saw publicity given to different independent businesses, which was advertised on Manchester’s biggest billboard, next to Manchester Central Convention Complex.

The aim is to once again provide support to Manchester venues during a testing winter with soaring energy costs and inflation.

The Snug doubles down as a laidback coffee shop during the day and transforms into an electric live music performing space in the evening, shining a spotlight on the emerging musicians coming out of Wigan.

Speaking about the support the venue received from Sacha Lord, the Event Manager at The Snug, Ben Morgan, said: “When he put the campaign out, I saw so many people offering The Snug’s name as a recommendation, and the support we received from people in our audience was massive.

“It was heartwarming to see how many people thought we should be given that status.”

Being such an influential name in the Greater Manchester scene, it was a big surprise, especially when he called us personally. It was amazing. To see the name in the lights in the centre of Manchester on such a big screen was special.

“We’ve

had so many things happen to us this year, so it’s just nice to have eyes on a different perspective on the business.”

Ben is referring to the unprecedented support received from the Music

Venues Trust (MVT). The Snug became the first grassroots venue to benefit from the Music Venue Trust’s “Own Our Venues” plan.

During a time when the future of the venue was in doubt, the scheme by MVT protects grassroots venues by purchasing their freehold and supporting the music community, which provides more long-term security and revolutionises cultural ownership.

Whilst having a blue plaque outside of the premises, the partnership has allowed The Snug to “Continue doing what we’re doing, and that was exactly what they set out for it to do. It was

The Snug, Atherton, being crowned the ‘Best in Borough’ on Manchester’s biggest billboard. Image Credit: Sacha Lord via Instagram

Morgan and owner Rachel Flaszczak

Image Credit: The Snug

never to change the way we do things, to change us as a business it was just to allow us to continue.

“They have been so open to us in continuing the work that we do because they were just happy with how the

business looked.”

Doubt was cast over The Snug’s future after the landlord was looking to sell the venue in May 2022. But MVT will act as the landlord of this community owned venue.

“It did give us security doubts, but now that we can plan for the future we are not just planning step by step, and

questioning whether this will go ahead and if our security is in doubt?” Ben told me.

“We can carry on doing what we’re doing without this grey cloud hanging over us, which has been a definite weight lifted off our shoulders.”

The 100-capacity venue is the perfect place to unearth new talent, as they have brought artists to their stage, such as Mark Morriss of The Bluetones and Tom Hingley from Inspiral Carpets, alongside up-and-coming acts like The Facades and Shrouded.

“We rely on the local bands to make up our event schedule and the audience we have they’re always really excited to see new live bands, and we have a lot of success putting those types of bands on,” Ben added.

“Once the locals found out we were at risk of some closure, everyone rallied around us and the support we got was amazing. We had so many people come down, not only from Atherton but regulars around Greater Manchester.” The partnership has come at a difficult period for grassroots music venues due to rising costs and inflation. MVT

Ben

next to the blue plaque displaying the venue has been saved by Music Venue Trust.

Wigan band, The Shrouded, performing in the 100 capacity venue. Image Credit: The Snug

space, a space to meet up and enjoy themselves.

“They didn’t just save the music venue, they saved a community space for the whole of Atherton to use.”

lockdown with support from the Cultural Recovery Fund that Arts Council put on, and that was pivotal in keeping us alive after the pandemic.

“They have always been someone we have looked up to, so to have them come down here was quite touching for us. Being there during the day, they saw how many people in the community use this space as a warm space, a safe

The Snug is a pivotal part of the Atherton area, whether to have a coffee or for the live music events in the evening. It is relied upon in the community and will continue to be one of the most culturally important spaces in the area after the continuing support they have received.

QUACK ON TRACK – RUBBER DUCKY RECORDS FLOATS AGAIN

Business is booming for the UK’s only floating record shop, with the canal boat now open and operating again following a difficult period without physical sales.

Helmed by Myles Greenwood, Rubber Ducky Records has relaunched after the canal boat sank last year whilst en route to Manchester. The captain of the narrowboat has since seen incredible support in his first three months from crate diggers.

The boat encountered a problem after the propeller was caught on a piece of fabric, breaking the stern gland, and ultimately sank Rubber Ducky Records. Myles could only salvage three boxes of records whilst losing nearly 1,000 vinyls, turntables and amplifiers to the water.

Subsequently, A GoFundMe page was created to ensure it would sail again. It raised £10,000 to fix the damages, replenish the stock and get his record shop back up and floating again.

Rubber Ducky Records has been operating again for three months after

the relaunch, which is now bigger and better than before, as they now house over 3,000 records. The stock is eclectic in music offerings and specialises in Electronic, Minimal, House, DnB and Techno tracks. With the publicity the floating shop acquired since sinking, Myles has seen an increase in bookings.

The canal barge is moored in Islington Marina in Ancoats, Manchester, after operating in Sowerby Bridge, West Yorkshire, since opening in October 2022.

Inside this yellow and blue haven is a treasure trove for anyone with a remote interest in electronic music. A brew is waiting for you on arrival before shoehorning your way in through the door. Instantly, you’re greeted with a cosy boat donned with anything rubber duck-related. Whilst getting accustomed to the rocking on the water, Myles was

The moment when Rubber Ducky Records sank in April 2023, where captain Myles Greenwood lost nearly 1,000 records, his turntables and amplifiers to the waters of Rochdale Canal.

quick to point out which box belonged to which genre and offered his opinion if needed.

Myles has worked internationally in Switzerland for most of his adult life, but working at Legram VG, a dance music specialising record store, inspired him to run his record store. Myles needed an exit strategy when the pandemic hit, and he packed up everything he had in a van and drove back to England. “I wanted to do what I loved in Switzerland back in the UK, where the music scene is bigger, has a deeper history, and is way more eclectic, which is more exciting,” Myles told 33-RPM.

Inside Rubber Ducky Records with the fire roaring and the listening stations ready to try the quakin’ tracks before you buy.

“I was trying to think of ways to run a business with low costs, like shop fronts in arcades, mobile shops and pop-ups. I went on a walk on a canal to clear my head after a night out, and I was walking past these boats thinking, ‘Why not on a boat’ that was the lightbulb moment.”

This creative thinking to avoid the steep rent costs has made the boat a cult favourite amongst crate sifters. One of the greatest assets of Rubber Ducky Records is the ability to be flexible in the mooring place and capture a large audience in each location it stays. But currently, Myles has no plans to leave Manchester in a hurry after what happened.

“I’m not running before I can walk. It’s doing well, and I’m having a nice, happy life with customers from all over.”

I’ve met so many incredible people since re-opening. It’s a super eclectic mix of people, and that’s the joy and beauty of being in a city like Manchester. It’s a very musical city with a very exciting scene, and it’s great to be a part of it.”

After taking 18 months to initially set up Rubber Ducky Records by completely renovating an old canal boat, Myles

started in his hometown near Hebden Bridge for half a year and looked to relocate to Manchester just before Record Store Day 2023, but ultimately couldn’t make it through Rochdale Canal.

Despite losing six boxes of records when the boat sank, the salvaged boxes were resold as ‘sunken treasure’. These sunken records have allowed the customers to purchase a part of Rubber Ducky Records’ history.

“The support I received when the boat sunk was quite overwhelming.

The canal barge painted in the synonymous duck colours. It’s hard to miss when walking down New Islington Marina.

“I got this donation of 2,000 records from this guy, whom I have never met before. That kindness from a stranger is incredible.”

“At the actual moment of crisis, I was quite calm. I was just thinking about getting the boat to safety. Two friends were sailing with me to get into Manchester as the stretch of the canal is infamously quite difficult. But when it did go down, I had a few friends turn up with cars and vans to get all the records off. I had some great people around me advising me of the next steps.

“I was fortunate because I had this huge sum of money, and anytime there was a large repair or a large collection to buy, because at that time I quit my job to do this full time, I was able to spend it on the boat and get everything relaunched.”

For the last ten weeks, I’ve felt like I was floating (I was literally), but it felt like I was walking on air. Running a shop on a boat has some challenges, but nothing went wrong apart from an odd parking ticket.” Myles added. Through his time as a DJ and being surrounded by the records in Switzerland, it’s clear that this is purely a passion project for the owner, and with that came immense knowledge for his stock. He was keen to start conversations about the music and use his expertise to steer you in the right direction for an LP.

“I can tailor my advice to each customer that comes in, and within an hour, I’m confident that people will be able to find some great music on the boat. If they find a record they like, I can advise them in a certain area. I try to gauge it as I can be quite full on as a person, but if people are happy to converse and get that feedback, then I can pull stuff out of boxes for them.”

Myles recently brought the shop on land after Rubber Ducky Records took over New Cross in Manchester for a pop-

up. Whilst it’s more challenging to give the same level of personal advice, the benefits have encouraged Myles to do more.

“I have previously done a few in London, which have all been really successful. It’s great because I can meet people in London who are into record collecting and aware of the brand and business but won’t necessarily travel to Manchester, which is understandable. But to do one in Manchester, it was so nice to invite friends, and so many people passed through. I don’t have that space to accommodate eight or nine people at once on the boat, so I think every couple of months I would love to do that.”

Feature Image Accreditation: 35mm Mary.

Photo

Myles Greenwood sailing down New Islington Marina following the relaunch.

Accreditation: 35mm Mary.

LAB RECORDS IS RIDING THE WAVE OF THE RISE OF INDEPENDENT

RECORD LABELS

Independent record labels have ignited an explosion in the music industry and have propelled the industry into a new era of creativity, diversity and passion, something LAB Records is all too familiar with.

Genres which were previously deemed to be too niche or unconventional are now celebrated, and independent artists have been given a wider platform to produce and release their music, which is significantly altering the landscape of the industry, with a kaleidoscope of sounds now a part of the mainstream market.

The companies are birthed from a passion for music and a relentless pursuit of artistic authenticity, which has enabled musicians to explore their creative depths without fear of compromising their personalities.

The role of streaming services such as Spotify and Apple Music accompanied with their ‘New Music’ mixes has completely altered how music moguls consume their tunes and discover emerging talent. This has worked alongside the exponential rise of social media, which marked a new level of music promotion where sharing your songs was only a click of a button away from far-reaching powers to hit a global audience.

It has therefore ensured that independent record labels have managed to grow alongside the digital trends to truly be seen as a lucrative alternative to major labels.

Whilst the concept of indie labels has been circulating for a while, it’s only been over the past few years that their significance in the industry is so prominent, giving the platform for unique sounds to be shared with the masses, which may have remained unheard of.

Data revealed from the British Phonographic Industry (BPI) revealed the incredible success seen by independent record labels, which grew for a fifth consecutive year and made up 28.6% of the UK music market, up from 26.9% and up almost a third in 2017 when independents claimed a 22.1% share. However, the album market share is where the independent sector saw significant steps as BPI highlighted they accounted for four in every ten sales during October 2022, up from 32.2% in the same month in 2021.

33-RPM spoke to Mark Orr, the founder and director of LAB Records, an independent record label in Manchester that prides itself on a strong ability to spot and develop young talent. Speaking about the reason he believes is the reason for the rise in indie labels, Orr said: “In terms of independent music, the narrative has changed about major labels as young artists understand far better the landscape now.

“When we were getting started, quite often I wasn’t sure artists knew the role of the label and the difference between an indie and a major, whereas now there are countless examples of people giving good industry analysis, so artists come in with much better knowledge, and I think they understand that whilst perhaps they need a partner to amplify and finance they also do not want to give up everything in exchange for a partner.

“But there are so many different options for recording music at this point, with indie, major, self-releases, boutique label and VC funding, I believe there is not one right answer.

“For every project, you have to find your soulmate and your perfect partner.”

However for some renowned artists signed to major labels it wasn’t the right fit, which has seen artists such as You Me At Six and RAYE opting to become independent artists. The latter secured her first UK number-one single with the track ‘Escapism’ back in January this year.

Upon achieving this huge accolade, the English singer-songwriter told Official Charts: “This is proof [you should] back

yourself, no matter what. Thank you, this is mad. These are happy tears.”

LAB Records have done incredible work to develop and progress the careers of music savants, with the likes of The Lathums, Dead Pony The K’s and Tommy Lefroy, which secured them a nomination for the Best New Label at the AIM Awards in 2017.

The label focuses on long-term growth, as well as the short-term impact of the artists’ music which pans down to building a strong and loyal fanbase through live performances.

Established in 2007, Orr spoke about the ethos of the label and added: “It’s always been about being a great partner for creative people, and although the business has changed, I don’t think our ethos has changed a great deal as it’s all about being a great partner to developing artists, and hopefully setting them up to have a career in music by giving them the tools and our experience.

“But if there’s ever occasions where we stray away from those ideals, we try and think back to what it was like to put on those shows or make those records like in 2007.”

About the benefits of the company being strictly independent, the founder said: “I think our deals are more artistfriendly, in terms of the split, but once you get used to being independent there are cons, don’t get me wrong, but being self-funded means we don’t really answer to the client as well as a company.

“We can make a decision straight away, which is awesome as we’re able to move quickly, and once we’ve made the decision and the offer, we can sign it today – that’s our biggest USP.”

“After you’ve worked with artists for a while and seen their progression, the dream for me is to see any of our artists headline their own show.

“Don’t get me wrong, support shows are lovely, and we’ve had support in Wembley Arena, and that feels great, but being a headline act and seeing their fan base singing every word, that’s the feeling of accomplishment. That is where you feel your proudest – people singing back the song you’ve worked so hard on is pretty rewarding.”

LAB Records continues to support and develop young talent while providing their unique perspectives to build the right fanbase for each artist signed to their books.

GIG REVIEW: THE STRANGLERS AT MANCHESTER’S

O2 APOLLO

Legendary rockers The Stranglers showed their timeless energy as they celebrated 50 years together by performing an unforgettable twoand-a-half-hour set to a sellout Manchester crowd.

Whilst the group has undergone many iterations and produced a variety of albums hitting different genres, the group were still as popular as ever by captivating three generations of fans in their 19-album catalogue.

Originating in Guildford, the band grew in popularity during the Post-Punk era of the 70s but have since transcended the boundaries of their genres, with their idiosyncratic approach meant they explored New Wave, Art Rock and Gothic Rock during their fivedecade tenure.

Their ability to dabble in numerous genres was notable through

keyboardist, Dave Greenfield, who passed away in 2020. Whether that be the melodic hook, moody organs or a captivating keys solo, his presence was undeniably massive within the group

But original bassist Jean-Jaques Burnel, along with Baz Warne, Jim Macaulay and Toby Hounsham, have successfully carried the flame for the band and controlled the stage of Ardwick’s art deco Apollo to 3500 adoring rockers with ease.

The band has been infamous for off-stage dramatics, including being thrown out of Sweden twice, brawls and gaffer-taping a journalist to the Eiffel Tower but, this performance showed they’ve matured from their early years and put their breadth of experience to good show.

The set consisted of 28 songs, and the quartet masterfully navigated through 14 of their albums, including Hallow To Their Men, performed for the first time since 1981.

Chants erupted around the venue as those in attendance were desperate for The Stranglers to take the stage. When they did, the group donned head to toe in black as they prepared for their first set. The only group worthy of supporting them is The Stranglers themselves.

Whilst there was little talking between each song, they do have to get through 28 songs, Burnel took the time to dedicate the third song of the set, The Raven, to former drummer Jet Black and Greenfield.

Even though this song was specifically dedicated to the former band members who are no longer with us, the whole evening felt that it was performed for those members, as without them, a fivedecade history wouldn’t have been achievable.

Their electrifying energy made performing this hefty show a breeze as they performed all of their timeless classics alongside their obscure back catalogue, which doesn’t often get heard.

Regardless if it was a current track or one somewhat 40 years ago, the consistency within the performance came from Burnel’s sensational bass playing, which coursed through all the tracks. The way he can manufacture the bass is pretty remarkable. It is no wonder he has been a highly-regarded musician for so long.

The commanding and powerful performance from the frontman was laid down through his sensational guitar solo throughout Princess of the

Streets, layered with his gravelly voice, which effortlessly carried throughout the venue.

But the crowd control during Breathe from their most recent album, which topped off the first set and firmly placed the Apollo under the spell of the quartet.

This was reaffirmed all the more apparent after moving into the fan favourite, Hanging Around, from their second release in 1977. This managed to recapture the crowd after playing more obscure hits, which garnered the biggest cheer from the audience.

After returning to the stage for a second time, they ensured we were not left desiring more, as it was a consistent stream of banger after banger.

There were euphoric chats of ‘God Forbid’, which were constant throughout Duchess and rang around the cavernous venue.

The rampant display continued when the band performed Skin Deep. The Mancunian crowd were barely given a moment to breathe as we were plunged straight into Always The Sun. The crowd, in unison, bellowed the chorus back to the legendary punk-rockers.

The crowd briefly braced themselves for what was guaranteed to be the best performance of the night, and to no surprise, it captured the excitement of everyone in the venue.

Whilst they may have mellowed and matured since their formation, their immature tendencies still rang true after the lead singer Warne provoked those standing in the Apollo by branding them ‘lazy bastards’ before pointing to those standing stating ‘These are where the real fans are’, which was swiftly followed with a mixture of boos and cheers.

In true Stranglers fashion, their set concluded with No More Heroes, and the feel-good anthem fitting concluded the show, with a band showing they haven’t lost that touch to enthral an audience after so many years.

A band which has stood the test of time allowed the Mancs to revel in their history with them with this mammoth setlist. But this wasn’t a band who had just survived, as they laid down a stamp of authority of why they’re one of the greatest bands from the Post-Punk era. They’ve aged like fine wine.

We were then teased with the distinct harpsichord melody to Golden Brown.

The only thing left to address was Warne closing off with, ‘See you in another 50 years.’ And those who experienced this masterclass hope that is the case.

COURTEENERS LIAM FRAY HOLDS AN INTIMATE ST. JUDE LISTENING

PARTY AMID RISE IN SHARED MUSIC EXPERIENCES

Listening parties have risen in popularity over the past few years, when the Courteeners frontman, Liam Fray, held a listening party for the 15th-anniversary release of St. Jude at Manchester’s Yes, it amplified how beneficial these experiences are.

Since the COVID-19 pandemic, listening parties have considerably risen in popularity and have become one of the favoured methods for musicians to promote new releases of their songs.

It has become incredibly well-received by fans who can connect with their favourite artists in a whole new manner. These gatherings have breathed a new life into the art of shared listening experiences, which traditionally have taken place on social media, where people would listen and share their thoughts on each track.

This refreshing alternative is traditionally narrated by a key player who has helped create the album, adding in-depth insights on the album’s creation with personal anecdotes attached.

But listening to albums in full now is a rarity, which is why the vinyl revival of vinyl is a welcomed return, as you don’t get a choice if you want to skip or not. With the age of digital streaming, most people now consume their music through the artist’s top tracks or a playlist. When listening to an album in its entirety, the track listing has been selected by the artist for a reason, and the rise of listening parties ensures those intentions are preserved.

Tim Burgess, the frontman of The Charlatans, spearheaded listening parties on his Twitter account during the pandemic. It was a fantastic idea which connected similar-minded fans to their favourite artists and built a strong community. During that time there were 1,366 albums played back, including Oasis, New Order, Blur and Paul McCartney, which took social media by storm as #TimsTwitterListeningParty was consistently trending.

The Courteeners frontman Liam Fray, ahead of his Q&A at Yes in Manchester to share details on thecreation of the band’s debut album

The playbacks may have stopped, but Burgess’ listening party has been taken to Absolute Radio and Latitude Festival twice and released a 62-track compilation album. It has become one of

the most favourable methods for artists to connect their fans to an album.

But the St. Jude listening party at Yes in Manchester went far beyond a social media session. It brought together a room of 60 Courtneers fans to listen to the 15th-anniversary release in an intimate setting.

The playlist has been made available on Apple Music, which utilises Dolby Atmos technology to enhance the listener’s experience by providing a realistic and immersive audio experience by amplifying spatial sound and specific aspects of the track.

This partnership between Apple Music and Dolby Atmos reinvents and enhances the concept of listening parties. The pink room in Yes was set up with ten speakers dotted across the room, giving a surround sound feel to the event.

As the album began to play out, there was an overwhelming sense of appreciation from those in attendance, as the fact the album is still heralded as one of the greatest Indie Rock releases to this day is a testament to the Middleton band.

After the playthrough of the debut album, The Courteeners frontman Fray took to the stage ahead of a Q&A

for fans to find more on the process 15 years on from the release date to provide more depth to the experience and a deeper understanding for those who have just listened to the album.

Fray is the mastermind behind the Courtneers songs, but for St. Jude, he spoke about the writing process for the album. He said: “I was writing many of the lyrics on account slips at Fred Perry on Police Street when I was working there. I was writing at the shop, on Palatine Road, where my girlfriend at the time lived, or Burnage Road where I was. I wrote Please Don’t in the dining room, which was the quickest one on the album.”

The album has become a cult favourite amongst their fans and an essential to an Indie Rock party, which features the standout tracks Cavouriting and Not Nineteen Forever. “Last year with the 15th anniversary and before that, I didn’t listen back to it for a long time.

“I don’t think I would change anything about the album because I meant it then, and I mean it now.”

Upon the release date in 2007, Manchester’s music legacy was still

incredibly strong, but newer bands coming out of the region were scarce.

Regarding the legacy that St. Jude had on the music scene, Fray said: “I would turn the page of the NME hoping that there wouldn’t be a Manchester band in there because that is where we wanted to be. I think everyone hated us.

Apple is continuing to release albums utilising Dolby Atmos, including The Last Dinner Party, RAYE and Doja Cat.

Image accreditation: Ewan Ogden

“There were a lot of people in the bands who didn’t like us. More people now are willing to help us out, but that fired us up because we didn’t need them.”

SALFORD LADS CLUB’S MUSICAL INFLUENCE IS MORE THAN JUST A PHOTO

Salford Lads Club is steeped in musical history following the iconic photo of The Smiths outside the venue, but this Manchester club is a music facilitator, not an old relic clinging onto its famous history.

A photo taken by Stephen Wright of four local lads outside the iconic entrance to the club would solidify Salford Lads Club’s status as a cultural landmark. That photo would later be included on the inner sleeve of The Queen Is Dead album to make it a symbol of music heritage and has forever immortalised the club’s exterior.

Since that moment, the club has become synonymous with the Mancunian Indie-Rock group, which attracts visitors from across the country to take their own The Queen Is Dead-inspired photos outside the venue.

A ‘Smiths Room’ was erected in 2004 in the former weightlifting room, which acts as a shrine to the band, which keeps growing every day as fans are encouraged to write their comments on The Smiths and share their photos to go on the walls. After Morrisey donated

£20,000 to help restore the club in 2007, it is no wonder this club still pays homage to them.

Alongside the posters highlighting their legacy, a mosaic previously set on the exterior of Afflecks Palace featuring lead singer Morrissey and other Manchester music legends has been donated to the room by Elaine Walsh, where it now lies.

But in its 120-year history, the club’s musical influence goes way beyond a photograph and is now a place to support grassroots musicians and welcomes old Manchester cult legends.

Saturday 20th April saw Corella perform a stripped-back set of their unreleased debut album, Once Upon a Weekend, in Salford Lads Club. It enabled fans of the talented Manc quartet to revel in their unreleased material in an intimate

setting whilst hearing about anecdotes and the composition of their debut album with BBC Radio Manchester presenter Joe McGrath.

A live album was also recorded during the performance, which is expected to be released. It highlights that Salford Lads Club is a music facilitator in Manchester and continues to pride itself in bringing new music to the city, along with celebrating the icons in the industry.

The young Salford musician John Denton, who was awarded the first Salford Johnny Marr music award in 2023, first played there two years prior when he was 11. He supported the singer-songwriter Vinny Peculiar, who has a longstanding association with the club where he has performed for visiting fans with Smiths bassist Andy Rourke.

The last surviving lads club building in the country has welcomed countless amounts of bands and artists to perform in their venue, including The Lathums, Dirty Laces, The Dogs and Liam Fray, in their concert hall. This special room is an incubator to develop the skills of grassroots musicians and allows those to play in one of the most iconic landmarks.

space as a rehearsal room, which marked the club’s close ties to the music world. Those close ties have recently expanded to entertainment, as the concert hall hosted Chanel at a dinner party in anticipation of the Metiers d’Art. Kristen Stewart, John Cooper Clarke and Jenna Coleman were all in attendance and were given a talk on Manchester’s music history, which Salford Lads Club has been so instrumental in.

This all started after the legendary pop-rock group The Hollies used the

The mosaic mural which was one outside of Afflecks Palace, has since been donated to Salford Lads Club for ‘The Smiths Room’.

‘The Smiths Room‘ has stood in the old gym since 2004 after the band including the club on the inside sleeve of ‘The Queen Is Dead.‘

But the club has hosted those legends in the industry that made Manchester synonymous with music. The concert hall has hosted conversations with Peter Hook and Mani, Shaun Ryder and John Robb, and Noel Gallagher, which allows those in attendance to gain insights into their contribution to pop culture.

Inside the red-bricked Edwardian walls is an incubator for musical geniuses to share their craft. What was one response to the challenges faced by young boys in an industrial era transformed into a symbol of music heritage. That musical heritage goes beyond the sign and front door, as the inside is steeped with music history and an incubator and music facilitator for grassroots musicians in the region.

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