Night & Day Cafe will appear in court today in a bid to remove the Noise Abatement Notice issued by Manchester City Council last year.
The legendary gig venue was issued with the notice after a resident in a neighbouring apartment filed a noise complaint against it.
Night & Day has been part of Manchester’s music scene for more than 30 years and was one of the first cultural venues to open in the Northern Quarter all those years ago.
But its owners fear it could be facing closure if it’s forced to comply with the requirements of the abatement notice, which it says ‘would effectively ruin Night & Day’s business’.
Today, the institution will take Manchester City Council to court, with the support and backing of famous faces as well as a petition signed by almost 95,000 people at the time of writing.
ADVERTISEMENT
Matty Healy from The 1975 said: “This CANNOT happen. The council need to drop the case.”
Jeremy Pritchard from Everything Everything also poured his heart outon the significance of Night & Day, saying it has been ‘vital to new and established talent’.
ADVERTISEMENT
The bassist, who also tours with Foals, added: “If Manchester cannot protect the Night & Day it isn’t a Music City.”
The venue’s owner says the fault ‘lies squarely with Manchester City Council’, adding that planning permission was granted for the flats where the noise complainant lives despite the planning department ‘knowing about the potential for noise disturbance’.
Night & Day has also claimed that an acoustic report was not provided and acoustic works not completed when the neighbouring building was turned into apartments – a claim that the Council ‘completely rejects’.
ADVERTISEMENT
The tangled drama all began last November, when a person who lived beside the venue complained about the noise.
Night & Day. Credit: Supplied
They had moved in during lockdown, when music venues were shuttered and silent, and filed a noise complaint when Night & Day resumed its normal activities.
Manchester City Council has repeatedly stressed that a noise abatement notice does not have the power to shut down a venue, and said it ‘remains supportive of the music scene in Manchester which Night and Day has championed’.
For three decades, the venue has hosted the likes of Ed Sheeran, Arctic Monkeys, Wet Leg, James Bay and Elbow – and Elbow’s frontman Guy Garvey is one of the voices who has spoken out about Night & Day’s noise abatement notice.
He described it as a ‘shameful disgrace’ and said: “That this corner stone of our city’s culture is under attack again is bewildering.”
He later added: “The message to the council is drop this and focus on making it the last time it happens to any music venue in our city.
“To everyone else concerned I cannot stress enough that anger directed at the complainants is misdirected. This is the council’s problem.
“Please pour your energy into supporting the campaign to save Night & Day and in due course the national legislation to prevent this happening to any historic venue that has been nick-named Jan’s Law.”
Owner Jennifer Smithson, daughter of the late founder and Manchester icon Jan Oldenburg, said: “We were one of the founding businesses in the development of the Northern Quarter, people wanted to move here because of vibrant, interesting places like Night & Day which is great and it’s really enhanced the area.
Manchester City Council (MCC) refuse to remove the Noise Abatement Notice they served on us last November.
Night & Day have appealed the notice. We have and continue to operate in the exact same manner as we have done previously and for the past 30 years. pic.twitter.com/cc6u7TI6ZT
“What is particularly galling is that the planning department knew about the potential for noise disturbance from Night & Day when it issued the planning consent to turn the warehouse next door into residential flats.
ADVERTISEMENT
“A separate acoustic report was required to establish what could be done to prevent noise from Night & Day impacting residents of the building. However, no separate acoustic report was ever prepared by the developer and the planning department allowed the building to be occupied without suitable acoustic insulation works.
“We now have to either accept the noise abatement notice, which will put us at risk of immediate prosecution in the event of noise complaints, or go to court at significant expense to appeal it. This could mean the end of Night & Day forever. It’s a nightmare.”
“It’s just so unfair,” she continued. “We believe that the fault lies squarely with Manchester City Council. They could cancel the noise abatement notice and rectify the problem that they originally caused, rather than close down a business that’s been the beating heart of the Manchester music scene for decades.”
A spokesperson for Manchester City Council said: “It must be made explicitly clear from the outset that the Council has never threatened to close down this venue, nor is there any legislation which would allow a Noise Abatement Notice to be used to close a premises.
Credit: Facebook, Night & Day Cafe
“It is important to reiterate throughout this process extensive discussions have taken place to try and address the statutory noise nuisance which was the sole reason a Noise Abatement Notice (NAN) was served.
ADVERTISEMENT
“The Council is, and remains, supportive of the music scene in Manchester which Night and Day has championed, but we have to comply with our duties in respect of statutory nuisance. It is also important to state that the source of complaints regarding this venue relate to very loud music played into the early hours of the morning and not live band performances.
“The Council’s planning records show that an acoustic report was provided during the development of surrounding units, and the Council completely rejects any suggestion that planning conditions were not met.
“The Council will continue to work towards an amicable resolution where the noise nuisance is fully addressed.”
Night & Day has started a petition to have the noise abatement notice removed – you can read more and sign it here.
Featured image: Facebook – Night & Day Cafe
Audio
A beautifully chaotic Thursday night – Rossi. at YES Pink Room for BRITs Week 2026 for War Child | Review
Harry Quick
There’s something beautifully chaotic about watching Rossi. take over a room the size of YES’s Pink Room on a midweek night in Manchester.
No towering LED walls. No Ibiza sunset backdrop. Just low ceilings, flashing pink strobes, and a crowd packed in tight enough to feel every kick drum in your ribcage.
For a DJ who has commanded renowned venues across the globe like Space Miami, Hï Ibiza, and Manchester’s very own Warehouse Project, it felt almost mischievous seeing him in a space this intimate on a Thursday night.
If you were lucky enough to grab a ticket to this instalment of the BRITs Week 2026 for War Child fringe events, you could tell early doors that whoever had one was more than ready to turn up for him. When Rossi. stepped behind the decks, taking over from the talented Olive F, who set the tone for the evening, and once the headphones were firmly sat on his curly locks, he eased us in with a rolling, groovy opener – not so subtly dripping in snippets of his biggest and best tracks. We’d have to wait for those.
His sound sits in that sweet spot between underground grit and polished punch. Tech-house, but with his own East End character. The drums feel tight and deliberate. The basslines don’t just thud, they glide.
To start us out, we were hit with a few dancey vocals filled with his hometown of London’s Grime influence, all the way to Frank Ocean’s ‘Lost’ at 125 bpm. Within minutes, the pink room was in full swing.
From there, the set unfolded like a guided tour through the different shades of Rossi.’s catalogue. Underground favourites like ‘U WONT SEE ME’ slipped into the mix with a knowing reaction from the very keen lads at the front. ‘FREAK IN THE SHEETS’ followed later, cheeky and rhythmic, drawing that half-grin from dancers absolutely going for it at the front right.
It’s easy to forget how far he’s come. A decade ago, he was carving out space in the underground. Now he’s headlining globally recognised parties like Circoloco, Music On, Paradise, and Fuse, and launching a world tour that’s been tearing through the UK, Ireland, Europe, and the US. Yet here, there was no arena ego. Just a cheeky lad going back to his roots like he’s on his CDJs in the bedroom.
Mid-set, he began to lift the energy. Brighter synths edged in with the odd jangly finger floater for good measure (that’s what I’m calling that dance move anyway!). The percussion grew punchier. The room, already warm, never quite tipped into sweatbox territory. Strangers were dancing together. Drinks were abandoned on ledges. I had realised I’d bagged the perfect vantage spot overlooking things on the ledge, in prime view of a truly fortuitous occasion.
Rossi. at YES for BRITs Week 2026 for War Child / Credit: Holly Pimlott (Supplied)
Then came one of the night’s real eruptions. ‘High On Me’ – his breakout collaboration with Jazzy – landed like a spark in dry grass. The track, which stormed into the UK Top 20 and racked up over 20 million streams in a matter of weeks, felt enormous in a room this size.
Arms shot up. Lyrics were shouted back. For a few minutes, YES felt like the epicentre of British dance music or maybe a flashback to a ruthless TikTok doom scroll session.
But what impressed me most was the pacing. Rossi. didn’t sprint through bangers. He let grooves breathe. He allowed tension to stretch before unleashing the drop on almost every occasion. Teasing in a little snippet of an upcoming track, a few minutes before we could revel in it in full. It’s the confidence of someone who’s sold out 2,500-capacity headline shows – even breaking ticketing systems with demand – yet still understands that the magic is in the build.
The talented Olive F supported and set the tone for the evening / Credit: Holly Pimlott (Supplied)
As the final stretch approached, he nudged the tempo upward… and he was about to drop some serious crowd pleasers.
LEDs dampened. Darkness fell. The murmurings of ‘Lady – Hear Me Tonight’ rose in unison with the crowd’s curiosity. It didn’t take long until the entire gaff was going mental. Just pure, euphoric house music.
And to finish, with his headphones resting against the decks and mixing all said and done, he pressed play on the swan song. As ‘These Sounds Fall Into My Mind’ echoed around the room, the speakers hardly needed to be playing anymore. When he finally eased out, it felt less like an ending and more like an enticing warning shot for the summer ahead… hello, is that Ibiza calling?
Rossi. at YES wasn’t just a warm-up for this Saturday’s big BRIT Awards, it was proof that no matter how big the stages get, he thrives in the arm-flaring closeness of a proper club room.
Global headline DJ. Underground heart.
Featured Image – Holly Pimlott (Supplied)
Audio
Olivia Dean proves she deserves all her flowers with a captivating performance for BRITs Week 26 for War Child
Clementine Hall
BRITs Week 26 for War Child continued in Manchester last night, with Olivia Dean taking over a beautiful candle-lit Albert Hall… and it was a night we won’t forget.
I don’t need to tell you how utterly brilliant Olivia Dean is.
It’s something I’ve known for years (humble brag), but luckily it seems the entire world has caught on over the past few months.
I’ve been lucky enough to see Olivia five times now, and from watching her joyfully shake here banana-shaped maraca on a small stage at Glastonbury in 2023, to swishing her olive green satin gown at one of the country’s best venues last night – her indisputable talent remains.
Images: The Manc
The Art of Loving, her sophomore album, came out in September last year and features global hits ‘Man I Need’ and ‘Nice to Each Other’.
The record is a perfect analysis of love in all forms. Her heartfelt yet humoured lyricism explores its constant ups and downs, but perhaps the most prominent theme of love throughout is self-love.
And this is so clear as we watch Olivia beam from ear to ear as she makes her way through a setlist that is a celebration of her entire discography.
Of course, we heard all the fan favourites from the new album including ‘Lady Lady’ and ‘So Easy (To Fall In Love)’, but we were also treated to some of her older songs like ‘Echo’ and ‘UFO’ that initially brought her into the limelight.
A highlight for me was Ladies Bathroom which saw the gigantic disco ball hanging above us kick into gear, which as you can imagine at the gorgeous Albert Hall was a real sight to behold.
The entire evening underlined why smaller, grassroots venues are so bloody brilliant and deserving of our support now more than ever.
Image: Supplied
No pushing, no overcrowding, we were all there to revel in Olivia’s greatness and we all knew how lucky we were.
This was no doubt a very special show, a complete one-off in aid of BRITs Week 2026 to raise money for War Child, which Olivia joyfully announced that we had raised £270,000 for that night.
It’s no surprise that Olivia Dean is one of the most exciting artists in the world right now, oozing class, charm and impeccable talent.
We’ll be watching with our fingers crossed as she attends the BRIT Awards on Saturday evening with an impressive (and very well deserved) five nominations.
If you’re lucky enough to have tickets to her upcoming tour then just know how much fun you’ll have, but you’ll never have as much fun as Olivia does on that stage.
You can find out more about the remaining War Child performances here.
Daisy Jackson -
29th November 2022 
