In what we know is already set to be another show to remember, UK artist Frank Carter is bringing members of the original Sex Pistols lineup back to Manchester to play their legendary debut album, Never Mind the Bollocks, in full and it’s happening sooner than you think.
The former Gallows member turned frontman for his self-titled outfit, Frank Carter and the Rattlesnakes, is at the forefront of the contemporary punk genre and is about as close to an old-school rockstar as you’ll find on the modern scene.
However, following the massive success of these shows, the band have now decided to book a few more gigs and now, with the help of Frank (minus his snakes), will be playing one of the most iconic records of all time from start to finish – well, sort of…
Credit: Supplied
With original bassist Glen Matlock – who was replaced by Sid Vicious and then returned after his death – drummer Paul Cook and guitarist Steve Jones all returning to the lineup, 40-year-old musician and tattooist isn’t just filling in, he’s helped get them back on tour and in the public consciousness.
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Up there with The Rolling Stones, Ramones, The Clash; Sonic Youth, The Velvet Underground, The Who and others who would be considered amongst the most influential rock bands in history, the significance of their return to Manchester, in particular, isn’t lost on us audiophiles and lovers of music history either.
In case you were unaware, Manchester was the site of the Sex Pistols‘ very first gig outside of London back in 1976, when the frenetic four-piece played what was then known as the Lesser Free Trade Hall on Peter Street right here in the city centre, now The Edwardian Hotel and Peter St Kitchen.
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Considered by many as ‘the gig that changed the world‘ and resulting in the famous claim and muso phrase ‘I was there’, a line that even went on to serve as the title of the book by David Nolan, it helped influence countless artists to come.
For example, other people who were in the crowd that night included Ian Curtis, Peter Hook and Bernard Summer of Joy Division and New Order, Morrissey of The Smiths; Manchester music and nightlife mogul Tony Wilson, Manc punk icon John the Postman, as well as members of The Buzzcocks and The Fall.
Despite there only being a rumoured 40 or so people in the room that night, the noise they made and the impact it had makes it one of the most important moments in music history, so how big a deal it is having them back out on stage isn’t lost on anyone – certainly not a lifelong fan like Frank Carter.
As for Rotten, 68, he has remained in a feud with the existing members for years, namely around the rights to the music, and is said to be “furious” over this latest reunion.
But that’s a big part of what punk was always about, isn’t it? Doing what you want and p*ssing a few people off along the way.
Speaking on the announcement, Jones said: “There was an overwhelming response on social media from fans asking to play different parts of the country. So guess what? It will be done. We will be tighter than a rat’s a*** by the time we get to Kentish Town.”
Frank Carter and the three Sex Pistols members are set to play Manchester Academy 1 on Tuesday, 24 September and while they won’t necessarily be doing NMTB in order, they will be playing it in full. What a time to be alive.
Tickets go on sale this Friday, 23 August at 9am and saying they’re going to absolutely fly is the understatement of the century. You can grab yours HERE. This is going to be a night to remember and then some.
Featured Images — Press Image/Dom Martin (supplied)
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Tame Impala at Co-op Live, Manchester – lasers, lights, and a bit of a hangover
Daisy Jackson
The coolest man in the southern hemisphere has finally made his way back up north, for his first Manchester gig in a decade.
That cool man in question is Tame Impala, the music project of what-the-hell-can’t-he-play multi-instrumentalist Kevin Parker.
Sure, last year’s single release ‘Dracula’, and then its remix re-release with K-pop megastar Jennie, may have propelled Tame Impala up towards the top of the UK singles chart for the first time, but he’s got almost two decades-worth of music to dig through beyond that too.
It’s a hefty discography and it leads to a setlist that seems to almost peak about six times.
‘How could it possibly get better than this?’ we seem to ask as he plays The Moment, Elephant, Dracula, and Let It Happen pretty early on – but better it does indeed get.
It doesn’t seem to matter whether he’s up on the main space-ship-esque stage surrounded by lasers and lights, or sat on the floor of the B Stage playing around with a keyboard, Tame Impala has an irresistible, enchanting charisma. A lot more charisma that you’d expect from a man called Kevin.
Early on, he confesses that he’s quite severely hungover from last night’s show, where he had Dua Lipa (he wrote and produced her Radical Optimism album) as a surprise guest.
But you can see the hangover clear from his eyes in real time as 23,500 Mancs scream in his face. Which might not sound like a likely hangover cure, but who am I to argue with the evidence in front of me?
Although Kevin writes, produces, and records his music solo, he’s got half a dozen musicians up on the main stage with him, which looks like a convoluted space ship that fires confetti out of its thrusters (FOUR TIMES!).
With revolving lights, dancing lasers, and a metal grid base spewing out dry ice, it’s really one hell of a production.
It’s a light show designed to give us all a glimpse of his synesthesia (meaning he sees colours when he hears music (Billie Eilish has it too)) – essentially, if you couldn’t hear a thing and could only see the stage, you can still tell exactly what song is playing.
Still, when he saunters straight through the crowd to his smaller stage to mix tracks solo – no lasers, just a few lamps – flopping down onto a tangle of wires like a mad magpie building himself a nest, it’s a chance to remember this guy’s composing prowess.
A lot of the songs performed tonight are almost orchestral in their complexity, so that the whole show merges into one thundering, bewitching night of dancing and being blasted in the face by confetti.
It’s genius.
So can you not leave it another decade before you come back, Kevin?
Kahiki Soundhouse – the new Mint Lounge site is living up to the old name and its live music legacy
Danny Jones
If you went out in town back in the day (pretty much any time from the late 90s to the 2010s), or indeed have sampled a Funkdemia over the past couple of decades, chances are you tried or at least heard of Mint Lounge – but did you know it’s been replaced by a new kid on the block, Kahiki?
Kahiki Soundhouse, to give it its full name, is the new live music venue bar that has opened up the old basement space on Oldham Street in the Northern Quarter.
In truth, it’s now more of a classic lounge than ever before.
The large open-plan floor, which used to be filled with people standing/two-stepping inside a fairly barebones club room with no air conditioning, has now been traded up for a stylish space lined with plush padded seats, classy low-lit tables perfect to share a glass or two over, and lots of new features.
Perhaps the biggest change is that the old soundbooth/stage area that used to be way at the back has now been swapped for a central 360° podium that changes up each night.
It really is the star of the all-week-round Kahiki show, if you ask us.
This also means that no matter where you are in the main venue (there are other rooms, but we’ll get to that), be it tucked in a booth to the side, at the bar, or even ‘behind’ whoever’s playing, you’ll have a virtually unobstructed view of what’s happening from noon until night.
Seriously, thanks to their already jam-packed schedule, the reviews aren’t just off to a great start only a few days in, but people have been turning up in the early evening and staying well into the early hours of the next day.
They’ve got duelling pianos, live bandaoke, acoustic nights and straightforward DJ sets for those who still fancy a taste of the previous vibe.
Kahiki’s maiden Manchester city centre venue definitely harks back to the good times had in the Mint Lounge days, but the team, who possess decades of experience between them, have combined a retro feel almost more akin to 1960s speakeasies, cocktails and evening venues.
It’s no secret that clubbing and the UK nightlife scene have changed quite a bit since the pandemic, but these guys look to have found that perfect blend of more relaxed seating, along with plenty of room to get up and boogie; there’s even a raised mini-stage/dance cage for your main character moments.
Better still, if you do want something a little bit away from the crowds of punters that are continuing to make this one of the liveliest new additions to NQ, they also have adjustable karaoke rooms where bi-folding doors can make room for up to 50 of you and your lot to party in privacy.
Let’s just say the spirit of the Lounge is alive and well in the Soundhouse.
Just one corner of KahikiYour podium awaitsOne of the smaller karaoke rooms
Danny Jones -
22nd August 2024 
