It’s a bleak time for the music and events industry – what with limited capacities, the rule of six, mandatory masks, and not to mention the ludicrous 10pm curfew.
An entire culture is being crippled – with livelihoods at risk.
Hospitality and music venues argue they’re not the problem, yet these sectors have been shackled more than most. Now, with a second hospitality closure on the horizon, it’s difficult to see how much good could come from it all. But in what’s been extremely hard period for the music scene, there is still a light that will never go out (cue a poor The Smiths reference).
As we were locked down at home, music became our lifeline. Not a day went by where we didn’t shove a Spotify playlist on and reminisce over bygone festivals and Covid-cancelled gigs. It kept us sane. But for many producers and DJs, lockdown became a sanctuary where they could solely focus on their craft. The result? Heaps of new music born.
We spoke to some independent Manchester-based music label owners about their experiences of Covid-19. And it seems they’ve had something of a creative epiphany. Demo submissions are flooding in. Sales are up. Creativity is high. And consumption is even higher.
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Here’s what they had to say.
ANIMA
Jini Cowan. Image: Miriam Vaughan
DJ and producer Jini Cowan owns ANIMA, a Manchester house and minimal label which launched in 2016. Its releases have been featured in the likes of Mixmag and the Beatport Top 10. And it’s made a name for itself with a string of successful events around the UK.
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But with all three of the planned ANIMA events this year inevitably getting cancelled, Jini has experienced disappointment like most in the music scene. But given everything, this year has proven an interesting time for her and the label, especially in terms of productivity.
“My workflow over lockdown has increased significantly,” she told The Manc. “My [mastering] business had the busiest two months since I started trading and I’d say that’s because producers have had spare time to focus on making music, which is great.”
Jini believes producers are feeling inspired at the minute, and rightly so. Emotions are running high and anger is accumulating. So, people are finding comfort and expression in their music. In her own work, Jini has tried to vent her own feelings into her music.
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“I’ve tried channelling my anger and frustration into making music,” she said.
“I managed to get seven new tracks done over the lockdown period. If I can do it, then anyone can,”
So, like Jini, producers everywhere have been beavering away with all their extra spare time. This means plenty of tracks are getting dished out to prospective labels.
“I’ve had a lot of demo submissions. I’m looking forward to listening to these and scheduling some more releases.”
Jini teaching. Instagram/JC DJ Academy
Submissions have been coming in so thick and fast that Jini has taken on a new A&R (fellow DJ, Holly Why) to take care of them.
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As well as the label, Jini owns JC DJ Academy which offers DJing and production courses, studio space hire and livestream equipment.
The academy has recently moved from inside Kable Club to expand to its own purpose-built studio in the Northern Quarter, so it now has more space to grow and be itself. And with a fully-booked diary every week, it’s encouraging to learn that business behind the music is booming – even after Covid.
If that isn’t motivation, I don’t know what is.
Do As You Please
Joe Roche (aka Niall)
Elsewhere in Manchester, online record store and independent record label Do As You Please (DAYP), tells a similar story.
DAYP boss, Niall Roche (who DJs under the name Joe Roche), thinks the music industry has been left to rot by the government in recent months. Sadly, Niall’s experience has been a predictable one.
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“Due to Covid, I lost all of my DJ income, meaning all the money made from DAYP went onto my personal living costs and food rather than being reinvested back into the business,” he said.
“The knock-on effect of that really put the business in a difficult position. I couldn’t restock the record store, pay my freelance colleagues for their services, buy merchandise for the label releases and the list goes on.”
In the end, Niall had to take a DIY approach for DAYP to cut costs. He taught himself the technical skills needed in order to get his second release out. In particular, tasks he’d usually outsource to freelance creatives, like the graphics and visuals.
Now, he’s in a much better position. He has a solid group of people working with his brand, with some even offering their services for free. It’s inspiring to see how the music community is coming together to help one another.
Once upon a pre-covid time, DJing was Niall’s main source of income. Without that, he’s experienced personal challenges. However, DAYP is cracking on resiliently. “I’ve been really pleased to see DAYP have a steady stream of demos coming in, from the UK and even some from abroad,” he said.
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“I’ve received a few from some younger artists which has been great to see. It’s been great to listen to what they’re up to and help, advise and feedback on their projects.
“The current signings on the label have been sending some really amazing stuff over, and we have some fantastic newcomers which I can’t wait to get releases sorted for. Overall, I’d say it’s been more positive than negative.”
Niall Roche
It’s determination that will ensure the industry gets through this dark time, though.
“I honestly think personal perseverance is going to be key for survival through this. Planning, networking and patience,” Niall said.
Last month, we reported that one-third of musicians are considering giving up their careers thanks to Covid-19’s impacts. And that may be so for indie and rock type music genres. But the underground music scene has flourished with creativity and resourcefulness. The influx of submissions coming into the DAYP inbox is a sure sign that nothing will stop this industry from dancing. And DJs and producers will not give up on their passions – despite what Rishi tells them.
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When we asked Niall if he had anything else to add, his reply was simple: Support creatives.
“Buy an art print, download a track, unapologetically share everything you can and big up your friends work regardless of how many followers they have,” he said.
“Limit your screen time, talk to each other and stop throwing shit in the river Irwell!”
Don’t forget to follow The Manc Audio on Instagram to stay up to date on all things music in Manchester.
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The legendary Hulme community pub The Old Abbey Taphouse has been reborn
Daisy Jackson
The closure of The Old Abbey Taphouse was a real blow for Hulme and the surrounding university district area; the community pub was a bit of a local institution thanks to its grassroots music and inclusive atmosphere.
But now it appears that the spirit of the venue lives on, under the new name of The Abbey.
Some of the city’s most experienced independent operators – who have been behind venues like YES and The Deaf Institute, and music promoters Now Wave – will be the new custodians of this beloved local landmark.
The pub, which closed early last year, has now been carefully and lovingly restored ahead of its big relaunch, which will start in true Manc vision with an exclusive opening night gig.
The Abbey is reborn. (Credit: The Manc Group)
The vision for its new chapter will be ‘Old Pub, New Music’, creating a new home for grassroots live music and emerging artists.
There’s also affordable, hearty pub grub, including Pieminister pies, and a huge range of beers from local breweries and beyond.
Bringing The Abbey back to life are a core team of four: Ruth Hemmingfield, Wesley Jones, Jonathan Wickstead and Gareth Butterworth.
Ruth, Jon and Wesley are co-owners of YES; Ruth previously launched and programmed landmark Manc venues including The Deaf Institute, Gorilla and Albert Hall; while Wesley and Jonathan, through Now Wave, promote hundreds of independent gigs and live events each year.
As for Gareth, he’s the founder of the multi-venue festival Manchester Psych Fest, meaning that all of them have plenty of hospitality, late-night, live music and events experience between them.
The team behind The Abbey pub. Credit: Piran Aston
The rear of the site of The Old Abbey Taphouse will be extended to create a new dedicated live music and events venue, while the cherished beer garden is given a facelift with new decking and its own bar.
The Abbey has stood in Hulme since the 1890s, playing an important role in the area’s heritage – this is where activist Len Johnson managed to overturn the shameful ‘colour bar’ policies of the 1940s.
Its restoration and relaunch are part of the flourishing Manchester Science Park development.
Matthew Pazos, Senior Retail Commercial Manager at Bruntwood SciTech, said: “Ruth, Wesley and Jonathan are the perfect custodians to breathe new life into The Abbey.
“Their reputation for running independent spaces in Manchester, alongside their live music expertise, will ensure this much-valued pub once again becomes a beating heart for Hulme and the wider neighbourhood.
“The reopening of The Abbey will create an inclusive new hub that welcomes everyone – from the Hulme locals who have looked after the pub over the years, to the Manchester Science Park community, university students, and the many residents and workers across the Oxford Road Corridor.
“We are delighted that such a culturally significant and important pub is set to open its doors once again.”
Ruth from the new Abbey team commented: “We love a good pub. With The Abbey, we’re excited about bringing a brilliant old pub back to life, protecting what people loved about it, and creating something special: a great local, alongside a vital grassroots music venue for the area.
“We’re honouring the pub’s history while building its future.”
Gig review | Lola Young’s Manchester comeback – A joyous return to stage at the O2 Apollo Manchester
Kristen MacGregor-Houlston
The excitement in the air is palpable in the O2 Apollo Manchester, the crowd is itching for her to make her way onto stage and is chanting her name – Manchester has missed you, Lola Young.
After an extended hiatus since she collapsed at the All Things Go festival in New York last September, Lola is back on a short tour to find her feet again. Whilst Manchester isn’t officially the first show, it is the headline performance for her comeback.
Lola’s break had come at a pivotal moment, with her third studio album, I’m Only F***ing Myself (2025), earning huge acclaim, performances across the globe, and endorsements from the likes of Elton John for her talent.
After cancelling all of her shows ‘for the foreseeable future’, Lola asked fans for their forgiveness, writing in an emotional statement: “I really hope you’ll give me a second chance once I’ve had some time to work on myself and come back stronger.”
Tough to handle for anyone, let alone a young rising artist.
It was clear to everyone that her hard work on herself had paid off, as this was a different Lola Young from the one I saw at Glastonbury last year: there was a calmness to her – she seemed more centred and more confident.
That calmness, however, did not mean a lacklustre performance: she is still a powerhouse; her stage presence is just magnetic, and it is clear to see how loved she is by her fans. The energy in the room didn’t falter the entire time she was on stage.
She kicked things off with ‘Sad Sob Story’, a song about moving on from a toxic relationship, which seemed fitting as she steps away from the drama and difficulties of last year into a fresh start. A wall-shaking opening number that set the scene for what was to follow with the rest of the show.
As part of her healing journey, Young stated that she has decided to write something special and specific for each show to tell herself if she’s worried or doubting her ability.
She shared her Manchester mantra with us: “When you are connected, when you express what you feel is true to you, when you open yourself up and share your very unique experience, remember you are electric… Those who want to listen will lean in, no matter your volume.”
Although she was clearly introspecting, she was also speaking to her audience, her fans, and expressing gratitude for them still being there. Shouts of support echoed out through the venue, her fans truly loving and supporting her as they have since day one, perhaps more so than ever.
Her performances of songs like ‘Big Brown Eyes’, ‘Not Like That Anymore’ and ‘Conceited’, showed just how much fun Lola was having on stage, being back and being surrounded by people who truly loved her.
At times, the crowd were singing along so loudly and passionately that she laughed and told the audience, “I can’t even hear myself in my own ears.” She had to occasionally take moments to step back and take it all in, seemingly overwhelmed with joy at the outpouring of love being reflected back to her.
Her band were also a stand-out, sharing in her energy and passion. It is clear that Young and her band could easily fill huge arenas with their talent and fervour, but this more intimate venue just seemed correct.
Lola continued to prove throughout the night why she was so deserving of her BRIT Award for ‘Breakthrough Artist of the Year’, and her Grammy nominations for ‘Best New Artist’ and ‘Best Pop Solo Performance’.
Her vocal talent, emotional depth and electric stage presence were showcased in songs like ‘why do i feel better when i hurt you?’, ‘Post Sex Clarity’ and the incredible ‘You Noticed’, showing an extremely vulnerable side to her that had many audience members tearing up.
We saw all sides of Young during this show, with her iconic songs ‘One Thing’, ‘d£aler’ and ‘Messy’ practically blasting the roof off of the O2 Apollo Manchester.
The fans could hardly contain themselves, screaming the lyrics back at her – it was truly a night to remember for everyone.
With another night in Manchester due to popular demand, Lola promised to be back soon. Could it be a bigger tour, bigger venues, new music?
Who knows, but for now we’re just glad to see her healthy and have her back in our lives again.
Hannah Starkie -
12th October 2020 
