In a coup for the city’s clubbing scene, a huge venue in Manchester has been shortlisted as one of the best of its kind in the UK by this year’s DJ Mag awards.
Depot Mayfield, the home of Manchester’s infamous party series The Warehouse Project, is the only club in the north of England to make the shortlist – sitting alongside London venues Fabric, KOKO and Printworks, and Glasgow nightclub SWG3.
First opened in 2019, the 10,000 capacity venue has been home to some huge events – including MIF and Skepta’s mind-blowing futurist rave DYSTOPIA987 and Manchester Pride’s inaugural music event Pride Live, as well as innumerable shows for WHP over the past few years.
With three separate stages – Depot, Concourse and Archive – it has been home to an eclectic run of Warehouse Project shows, attracting ravers and gig-goers of all musical persuasions.
Now it has been recognised as one of the best large venues in the UK as part of the annual DJ Mag awards, widely considered to be one of (if not the) biggest authorities on the UK dance music scene.
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The award ceremony takes place this December 15 in London’s The Steel Yard, in what is the first IRL award show since the Covid-19 pandemic lockdowns of 2020 and 2021.
This year marks the 16th edition of the awards, an annual celebration of UK talent. Positioned as a counter-balance to the global Top 100 DJs poll, DJ Mag’s Best Of British awards are a chance to shine a spotlight on the homegrown talent that continues to place the UK scene at the forefront of electronic music.
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The 2022 nominations are split across 22 categories, and the awards show in December will also see the return of three editorial choice categories, Outstanding Contribution, Innovation & Excellence and Game Changer.
Also shortlisted in this year’s awards is Manchester’s ‘Baddest of them all’ producer and DJ Interplanetary Criminal, whose BOTA remix with Eliza Rose went viral this year and hit number one in the UK singles charts this September.
Interplanetary Criminal is up for two awards this year – Best Producer and Best Track – showing that Manchester is still at the forefront of the UK music scene, decades after its Hacienda heydays.
You can see the full list of DJ Mag’s 2022 awards and nominations below.
Best DJ
Anz Djrum Palms Trax Patrick Topping Tiffany Calver
Congo Natty Dance System Interplanetary Criminal Loraine James M1onthebeat
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Breakthrough Producer
Breaka CeeBeaats Meg Ward Nia Archives Soul Mass Transit System
Best MC/Vocalist
Bandokay MC Chickaboo Ivorian Doll Knucks Novelist
Breakthrough MC/Vocalist
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Bemz Chinx (OS) Iceboy Violet Jim Legxacy ShaSimone
Best Label
AD 93 ec2a Phantasy Sound Trick XL Recordings
Breakthrough Label
All Centre Over/Shadow Pretty Weird Sondela Recordings Time Is Now [Shall Not Fade]
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Best Album
DJ Q ‘Est. 2003’ [Local Action] Hagan ‘Textures’ [Python Syndicate] Hudson Mohawke ‘Cry Sugar’ [Warp] Kelly Lee Owens ‘LP.8’ [Smalltown Supersound] TSHA ‘Capricorn Sun’ [Ninja Tune]
Best Compilation
PinkPantheress ‘to hell with it (Remixes)’ [Parlophone] V/A ”Club Entry’ Vol. 1′ [Borne Fruits] V/A ‘Hospital Mixtape: Lens’ [Hospital Records] V/A ‘Luke Una Presents É Soul Cultura’ [Mr Bongo] V/A ‘Touching Bass presents: Soon Come’ [Touching Bass]
Best Track
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Eliza Rose & Interplanetary Criminal ‘B.O.T.A. (Baddest Of Them All)’ [Warner Records x One House] Hamdi ‘Skanka’ [DUPLOC] Joy O ‘pinky ring’ [XL Recordings] LF System ‘Afraid To Feel’ [Warner Music] Nia Archives ‘Baianá’ [HIJINXX / Island]
Best Remix/Edit
KH ‘Looking At Your Pager’ [Ministry of Sound/Three Six Zero] Michael Bibi ‘La Murga (Michael’s Midnight Mix)’ Nick León ‘Xtasis feat. DJ Babatr (Pearson Sound Remix)’ [TraTraTrax] Tessela ‘Hackney Parrot (Bailey’s Techno Tool)’ Tirzah ‘Tectonic (FAUZIA Remix)’ [Domino]
Best Rap Album/Mixtape
CB ‘A Drillers Perspective 2’ [mayowahd] FLOHIO ‘Out Of Heart’ [AWAL] Horrid1 x Sav’O ‘Violent Siblings’ [CGM Records] Jeshi ‘Universal Credit’ [Because Music] Loyle Carner ‘hugo’ [EMI]
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Best Rap Track
Darkoo ‘Always feat. Black Sherif’ (Prod. by Albert kweku Koranteng) [Atlantic Records UK] Giggs x Tiny Boost ‘The Family’ (Prod. by RichMadeRecords) [Self-released] Kojey Radical feat. Lex Amor ‘War Outside’ (Prod. by Swindle & Kztheproducer) [Asylum Records UK] LD x C1 ‘Hillside Demons’ (Prod. by JS OTP & Hilzz) [24 Hour Ent] Nemzzz ‘2MS’ (Prod. by Wydsonni) [Motown Records UK / EMI]
Best Radio Show
Emma Jean Thackray, Worldwide FM Ellie Prohan, KISS FM Felix Joy Breakfast Show, SWU Pure Spice with DJ Manara, BBC Asian Network Soup To Nuts, NTS
Best Large Club
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Depot Mayfield, Manchester fabric, London KOKO, London Printworks, London SWG3, Glasgow
Best Small Club
Colour Factory, London Night Tales, London Strange Brew, Bristol Sub Club, Glasgow Ulster Sports Club, Belfast
Best Club Event
Club Blanco Distant Planet PXSSY PALACE Teletech Small Talk
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Best Festival
Houghton Festival Naked City Festival Otherlands Music & Arts Festival Outlook Festival UK Queen’s Yard Summer Party
Best Boutique Festival
Field Maneuvers Freerotation KALLIDA Festival No Bounds Festival Watching Trees Festival
Underground Hero Recognising the champions of grassroots music communities
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Double O & Mantra Jeremy Sylvester Lo Shea Man Power Sarah McBriar
Feature image – WHP MCR
Audio
Neil Young U-turns on Glastonbury drop-out after being confirmed as festival headliner
Barely a beat or two after having seemingly dropped out of the festival, Neil Young has now U-turned on Glastonbury 2025 and now looks set to be headlining it.
Thelegendary musician called out the world-renowned music festival for being under “corporate” control at the whim of the BBC (its official media and broadcasting partner for nearly 30 years) and said he would no longer be playing his slot.
Young went so far as to call it a “corporate turn-off”, claiming the event is “not how I remember it” in a message on his website.
However, just a few days after posting the news, it now appears as though the Canadian singer-songwriter will still be playing Glastonbury – and not just as one of the multiple legends lined up for 2025 either, but as a headliner.
As you can see in the update shared on Friday, 3 January, the 79-year-old now claims there was an “error” in the information he received regarding his performance at the festival.
Having now cleared up whatever confusion occurred, he and his band the Chrome Hearts will in fact be playing the festival as planned, reiterating his long-lasting love for the festival.
Quite a far cry from the sentiment he seemed to be getting across in his previous post, but make of that what you will.
Furthermore, chief organiser Emily Eavis – whose parents Michael and Jean Eavis set up the first ever Glastonbury music festival back in 1970 – not only hopped on social media to confirm that ‘Shakey’ will be performing but that he will be headline the main Pyramid Stage.
“Neil Young is an artist who’s very close to our hearts at Glastonbury”, she wrote, adding: “He does things his own way and that’s why we love him.”
So has he been given a slot upgrade of sorts or what? It still remains a little unclear.
At present, Rod Stewart is set to play the iconic and outright ‘Legends’ slot during Sunday teatime this June. We likely won’t hear much else about the rest of the lineup until sometime in spring.
This, of course, isn’t the first time Neil Young has done a 180 following a well-publicised decision in protest against a big media company.
The music veteran famously removed all of his discography from Spotify for two years before it eventually reappeared back in March 2024.
As for whatever happened between him and the festival or whether this was some gamesmanship from the influential music icon, at the end of the day, he’s heading to Worthy Farm after all.
Music icon Neil Young has pulled out of Glastonbury Festival 2025 after claiming it has lost its identity and is now under “corporate” control.
The 79-year-old singer-songwriter, widely considered one of the greatest and most influential to have ever lived, was due to play the festival as one of the legends named on this year’s lineup.
However, despite lots of excitement around the veteran being given the nod over others from what has largely been seen as a pop-leaning pool (at least according to the detractors) in recent years, Young has now decided to drop out of the festival.
“The Chrome Hearts and I were looking forward to playing Glastonbury, one of my all-time favourite outdoor gigs”, it reads. “We were told that BBC was now a partner in Glastonbury and wanted us to do a lot of things in a way we were not interested in.”
For context, the BBC has been partnered with Glasto since way back in 1997 and Neil Young has already headlined the festival back in 2009, so this shouldn’t exactly come as a surprise.
“It seems Glastonbury is now under corporate control and is not the way I remember it being. Thanks for coming to us the last time!”, he continues. “We will not be playing Glastonbury on this tour because it is a corporate turn-off, and not for me like it used to be.”
The message concludes with him hoping to catch fans at other venues and a simple “LOVE Neil – Be well”, but the tenor of the somewhat abrupt update is that the ever-opinionated and long-celebrated protest song-writer clearly believes the BBC‘s influence over the festival has now grown too strong.
Known not only as ‘Shakey’ and the ‘Godfather of Grunge’ but as one of the pioneering anti-establishment figures of a generation, the Canadian was previously in the headlines for demanding Spotify remove his music after taking issue with Joe Rogan’s anti-vax messaging on his show.
All that to say, the solo artist co-founding member of supergroup, Buffalo Springfield, is no stranger to taking on big business and companies if he feels he has good reason. Meanwhile, Rod Stewart will be performing in the coveted ‘Legends’ headliner slot at teatime on Sunday, 29 June.
Neil Young and the Chrome Hearts are looking set for a European tour this summer but if he’s taking on corporations and concerts under umbrella control, it seems unlikely we’ll see him at too many festivals or the likes of Co-op Live.
The better question is: do you agree – has Glastonbury Festival become too corporate and sanitised, or do you think it still upholds the same core values it had when it first popped up on Worthy Farm in 1970?