Neuron: The dream team of AV specialists born out of Manchester’s underground scene
Behind the curtain of every great gig, there’s a team of people found a way to set the stage perfectly so that the magic could happen. And there’s one of those remarkable groups operating in Manchester right now: Neuron.
Some live shows are truly special. Not just in the moment. But for weeks, months, years, and decades afterwards. They’re destined to play out on a loop forever.
Stone Roses at Spike Island. Sex Pistols at Lesser Free Trade Hall. Oasis at Knebworth. Hacienda House Party on United We Stream. These live performances are still talked about and always will be. Not just because of who was on stage. But because during these shows – everything came together at exactly the right moment.
Behind the curtain of every great gig, there’s a team of people who’ve found a way to set the stage perfectly so that the magic could happen. And there’s one of those remarkable groups operating in Manchester right now: Neuron.
Starting out as a passion project for half a dozen DJs and musicians who just wanted to make memorable shows by pooling their resources, Neuron has expanded into a dream team of sound, lighting and video techs providing services that range from event production (including sound, lighting, staging) and management (set design, streaming) to installations (digital signage, home cinemas, AV integration).
Neuron offera a wide range of AV services
Specialists across the board in show production, Neuron rose up from the local underground scene back in 2010 – and the collective has since morphed into one of the leading AV solutions providers in the entire North West.
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Every year, they’ve gotten bigger. And after 10 years serving the city, Neuron’s portfolio now reads like a Who’s Who of Manchester’s big-name venues.
The brand has kitted out bars/restaurants such as One Eight Six and The Jane Eyre; setting the stage for club nights at Hidden and Yes; and did a little bit of everything for new venue The Blues Kitchen.
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Neuron’s team have also provided sonic experiences for juggernaut festivals like Glastonbury, Outlook and Dimensions; as well as taking the lead on live streaming virtual occasions as big as Digital Diwali.
The company has provided the platform for conferences, education projects and corporate occasions, too – including the stunning grade-II listed Rosso restaurant.
Jonny Wharton – one of the founding members of Neuron and now head of Event Production – said that the brand’s success ultimately boils down to a strong bond and shared love for what they do.
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“Neuron grew organically as a family,” he explains.
“It’s always been something we all actually care about rather than just a job. We care about the music and we care about the events.
“It’s a blessing for us, really.”
Neuron has become a leader in the live streaming sector
The events sector has taken a real wallop in recent times – and Neuron felt the blow just like everyone else. Indeed, the brand was predicated to enjoy its biggest year yet in 2020, but lockdowns scuppered what was all set to be a record-breaking business period.
Nonetheless, the Neuron team has stuck together – and so has the wider AV industry. Neuron actually worked alongside its competitors throughout the pandemic – swapping equipment and collaborating whenever it was clear one company could help the other.
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Neuron also did its bit to support its friends with the ‘We Make Events’ campaign – marching through Manchester city centre over summer as part of a day of action demanding better treatment for the events world.
The company eagerly endorsed the ‘Light It In Red’ campaign (where culturally significant buildings lying dormant were illuminated to highlight their status) and also stepped up to provide solutions for socially-distanced gigs during COVID.
When events weren’t happening, Neuron also did whatever it could to provide care homes with the necessary equipment they might need.
“We’re not sit around and do nothing people. We had to do something,” Jonny explains.
“Of course it’s been tough. The events side of the business has seen a 90% drop. And we’re still fighting to recover that. But luckily we have the installation service where we service venues with AV kit.
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“We were also a lucky recipient of the Cultural Recovery Fund – which has been a huge help.”
Neuron has provided services for venues right across Manchester – including YES
As restrictions came and went, and the performance industry tried to find a way to adapt to everything being so different, Neuron decided to become leaders.
The team threw itself head-first into the world of live streaming – mastering the art so their clients could put on immense high-quality productions even during a pandemic.
Neuron’s Trafford warehouse space was cleared and the team invested in building a brand new stage. It gave Neuron a means to turbocharge streaming and produce digital shows that gave viewers an experience as close to a live show as possible.
“[Mastering live streaming] allowed us to stay current in the community and produce virtual events that kept entertainment going,” Jonny explained.
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“Also, when we were allowed, we opened our doors to artists and musicians, facilitating live music with a skeleton crew.”
Neuron took care of its own people, too, during the pandemic – putting aside a pot of money for staff to take training courses at home if they desired.
“So many event workers and freelancers were just sat at home not knowing what to do or when work was going to come back,” Jonny recalls.
“So, we thought we could help by paying for them to learn a new skill – which might be a positive thing to do.”
Neuron has played a role in putting on huge festivals – including Glastonbury
Whilst Neuron’s ‘best year yet’ has been put on ice, there’s intense optimism among the staff for the future of the business.
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The company has secured a 10-year lease on its current home in Trafford Park – and there’s lots of work on the horizon now that COVID restrictions are due to be removed.
Experts are predicting a new Roaring Twenties at the rear end of the pandemic – with a period of “intense social interaction” expected over the next few years. And a smart bet would be that Neuron will be there behind the scenes – enabling many of these massive events to go ahead.
The brand is best-placed to serve the biggest chapter in recent history for promoters because it offers everything any venue could need.
Jonny states: “People are appreciative of one-stop shop in terms of events production. It’s not ideal to have to deal with three to four different suppliers. Dealing with one person makes things a lot easier
“Our original name had ‘pro audio’, but we dropped that as part of a rebrand to signify that we do offer a full range of services for events and venues. We wanted the brand to reflect growth and maturity.”
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Alex Morgan, Director of Venues & Installations at Neuron, added: “We can provide solutions for music venues, clubs, bars, restaurants, hotels, schools and unis – it’s all bespoke.
“We’re a solutions-oriented company. Most people using this AV equipment aren’t techies – so we’re focused on making it easy.
“We’re also really easy and fun to work with. What we say is if you’re looking for something, just come down and have a chat.
“At the very least, we’ll have some useful ideas for you.”
Neuron understands the events world – because that’s exactly where it came from. The team was brought together by Manchester’s underground culture – and now they’re trying to help the industry bounce back; bigger and better than ever.
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It’s been a dismal few months for live performances, there’s no doubt about it. But it does mean we’re sure to see some historic shows take place over the coming months: The comeback gigs that will be remembered forever as launching a new era.
And Neuron will be there. Setting the stage.
Neuron-av.com
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A legend in leopard print – Magic Miles Kane at Albert Hall, Manchester | Gig Review
Harry Quick
There’s something poetic about seeing Miles Kane perform in a venue like the Albert Hall.
Beneath the stained glass and towering arches, he felt less like a veteran gigger and more like the high priest of British indie showstoppers – sharp-suited and equipped with what appeared to be custom, heeled adidas three stripes with a fully leopard print set to match. Carpeted floor, drum kit and all.
You can tell from the outset that, city rivalries aside, the scouser is adored by his Mancunian fanbase. His opening track, ‘Electric Flower’ – taken from his latest album, Sunlight in the Shadows – made for the perfect start.
Kane emerged to a roar. The track’s shimmering melodic edge got the two-tiered crowd quickly accustomed to Kane’s newest style of sound, and things kicked on easily from there.
It was a confident opener (not a greatest hit in my humble opinion, but a statement) before snapping straight into ‘Rearrange’: more familiar territory for most, which sent the floor bouncing within minutes.
From there, the set unfolded like a guided tour of Kane’s career, past and present blending seamlessly.
‘Troubled Son’ and ‘The Wonder’ leaned into his grittier side, while ‘Without You’ felt inspired by a similar jangly riff of ‘Long Cool Woman’ by The Hollies, famously setting the rhythm to a particular Britpop classic. If you don’t know already, look it up!
By the time ‘Coming Down the Road’ and ‘Love Is Cruel’ rolled around, Albert Hall was fully warmed up — and personally won me over on the new album with the latter.
It carries a softness that you don’t tend to expect with a Miles Kane track, but maybe that comes with a creative maturity approaching your 40s (sorry, mate).
Regardless, Kane stalked the stage with trademark swagger, feeding off the crowd and grinning like a man who knows he’s exactly where he belongs and continues to do so.
Then came one of the night’s first real eruptions…
Ahead of the show,‘Inhaler’ was one of my most anticipated listens. It hits like a shot of adrenaline from the opening chord, and the crowd sing every word back at him as if it were 2011 all over again. If you’re a Miles Kane fan, my money is on ‘Inhaler’ being high up your list.
‘Blue Skies’ followed, which shone a spotlight on not only the vocals but the complete shredding from the rhythm guitarist in the final breakdown. Having stood in the top tier of the Albert Hall, I got a prime view of the audible freedom he had to play with!
Mid-set, Kane doubled down on newer material with ‘One Man Band’ and ‘I Pray’, both sounding huge live – proof that his recent output more than holds its own alongside the classics.
The emotional heart of the night arrived with my favourite, ‘Colour of the Trap’. This track has been etched onto my playlist for longer than I care to mention. You felt it coming. The room softened, phones lit up, and for a few minutes, Albert Hall felt like a shared memory rather than a venue.
It’s almost as if he didn’t want it to end himself, with an echoing chorus of la la la la going on for a good few minutes after the band’s final instrumental chime. ‘My Love’ and ‘Walk on the Ocean’ kept that reflective mood rolling before ‘Better Than That’ nudged the energy back upwards.
From there, it was full throttle. ‘Coup de Grace’ and ‘Never Taking Me Alive’ were delivered with venom and volume. Straight from his 2018 catalogue felt like one for the dads, or at least it resonated with the 50-year-old bloke pointing his fist in the air with one hand and holding a double pint in the other. Legend.
As the main set drew to a close, ‘Don’t Forget Who You Are’ fittingly carried us into the encore — defiant, anthemic, and shouted back word-for-word by a crowd that had been banging this tune out long before they heard it on FIFA 14 (like me).
It was exactly the type of tune that made me whip my phone out and record it for the boys, saying, ‘remember this one?!’, to a chorus of thumbs up in the group chat. And when I mention the encore, it didn’t mess about.
Kane and the band picked up where they left us with a high intensity ending to ‘Don’t Forget Who You Are’ before the title track, ‘Sunlight in the Shadows’, gave the tour its emotional centrepiece: rich, expansive, and glimmering amongst camera flashes between bums on shoulders.
And then, the inevitable closer. By far his biggest song, if Spotify streaming numbers are anything to go by, ‘Come Closer’ sent Albert Hall into one final frenzy.
We saw bass guitarist Nathan get his special birthday moment when Miles and the band brought on a chocolate cake to celebrate, blowing out the candles – mid belter. Just ending the night on a euphoric high that left smiles plastered across sweaty faces.
Miles Kane at Albert Hall wasn’t just another date on the tour calendar. It was a reminder of just how deep his catalogue runs, how legendary in the indie rock game he is, and how effortlessly he can still command a Manchester crowd despite hailing from Merseyside. We don’t mind them, really!
Interview | Chatting with Tim Burgess before he chats to Mancunians on their doorstep
Danny Jones
In case you hadn’t heard, local music legend Tim Burgess is coming back to the AO Arena right here in Manchester this February for another intimate evening following the success of his last visit.
Set to include not only an interview but live stripped-back performances as well as Q&A, it’s your chance to see one of our region’s most famous musical sons up close and personal.
Returning for a candid and eye-opening sitdown with local DJ and radio host and Northern music champion, Chris Hawkins, it’s sure to be a special night.
Before posting up in The Mezz (which you can still grab tickets for), we had the honour of interviewing Salford’s very own Tim Burgess ourselves. Here’s what he had to say ahead of the event…
So you’ve returned to the AO again for another intimate gig. What do you love most about these smaller, conversational evenings compared to traditional gigs?
“Live events just have a connection with an audience that no remote link, AI or recording could ever match. From arriving and running through a soundcheck, meeting the arena team and catching up with Chris Hawkins, it all builds up to when the audience comes in.
“Chris and I don’t plan what he’s going to ask, so it’s all on the spot – nothing’s recorded, so you never know what might get said.
“Chris is a fantastic interviewer, and I get to meet everyone over the merch table at the end; I don’t get that at a Charlatans show – they are brilliant, and the tour we did in December was a brilliant experience for all of us.
“Maybe I prefer my bandmates being there when it comes to playing the songs, but it’s a chance for an audience to hear them in a way that they probably haven’t heard them before.
For anyone who hasn’t been to a Q&A-Sides show before, how would you describe the experience?
It’s a brilliantly informal night out – the chance to hear some of the stories behind the songs and 35 years’ worth of recording and touring adventures – plus a few songs with me and a guitar, and maybe a harmonica involved too.
“I’ve chatted to lots of people after the shows, and they always say it was a fantastic insight and that they loved the songs – then I realise they’re talking to me and they’d probably just say that anyway.”
Are there any particular songs that really shine in this stripped-back setting?
“You get to hear them as many of them were written. Particularly, the songs that Mark [Collins] and I came up with – it would usually just be me singing and him with an acoustic guitar, so it’s back to how they originally sounded.
“I’ve got quite a back catalogue of songs I’ve learned, so I’ll maybe keep them a bit secret. Suffice to say, there will be a few Charlatans’ classics, absolutely.”
When you look back on your career so far, are there any moments that feel especially meaningful to share in a setting like this?
“Our audience has grown up with us – lots were teenagers when we started, and I was in my early twenties. We’ve shared moments of grief, triumph, elation and tragedy – it’s just that ours were done in the cauldron of touring and recording with sometimes the eyes of the world on us.
“At times, it’s not been easy, but life will have been tough for our fans too. Chris is brilliant at making it seem like it’s just the two of us, and nothing is off limits – then you might say something funny and two hundred people laugh, and you snap back to realising it’s not the two of us talking in a pub.”
You’ve met and worked with so many iconic artists – are there any stories that always get a great reaction when you tell them live?
“I suppose there are some fairly iconic times – lots of people in the audience would have been at Knebworth when we played there with Oasis. Our situation was made all the more poignant as Rob Collins had died shortly before the show, and we weren’t even sure if we would play.
“It was a real existential moment for us – then there are funny stories of doing Top Of The Pops with a dressing room opposite The Smurfs. A lot has happened in those three and a half decades…
Being a Salford lad yourself, what do you think it is that makes a Manchester crowd so special?
I’m biased, but up until the band started, all my greatest moments happened in and around Manchester, and I was part of that crowd, whether watching [Man] United, seeing a band or losing yourself on the dancefloor of a club.
There’s a sense of feeling at home – there’s a BIG, beautiful world out there, and maybe we won’t tell the Midlands contingent in The Charlatans, but Manchester is always a homecoming for us.
Once again, if you fancy grabbing a last-minute ticket for ‘Tim Burgess – Live and In Conversation’ on Sunday, 8 February, there are still a few available.
The show starts from 7pm, and you can secure your seat right HERE.
The Manc -
13th July 2021 
