‘Tidal wave of redundancies’ coming for ‘forgotten’ Manchester music industry, claims Nightlife Adviser
Rishi Sunak's latest support scheme will replace furlough from November 1, but according to members of the Manchester music sector, these new measures do not protect employees.
The Chancellor has been accused of ‘turning his back’ on music and nightlife in Britain – with key figures in Manchester responding in dismay to his new winter economy package.
Speaking in the House of Commons on Thursday (24 September), Rishi Sunak said his latest package – which involves subsidising wages of staff working fewer hours than normal – aimed to prevent mass redundancies in a challenging economic climate.
The new support scheme will replace furlough from November 1, but according to members of the Manchester music sector, these new measures do not do enough to protect employees.
The Chancellor admitted he “could not save every job”, and the music industry is concerned they will continue to be hit hardest.
According to nightlife representatives, the music sector has been left “forgotten”.
While these new financial aid measures are helpful, they do not go far enough to keep many businesses viable, and I predict a tidal wave of redundancies across the UK night time economy as we enter the end of the year.
Sacha Lord, the Nighttime Economy Adviser for Greater Manchester, responded in detail to the Chancellor’s statement on Twitter, predicting that the lack of support would result in “a tidal wave of redundancies” nationwide.
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“While these new financial aid measures are helpful, they do not go far enough to keep many businesses viable…” commented Lord.
“At the start of the crisis, the Chancellor assured us he would stick by all businesses, but today has turned his back on this commitment. Live Music Venues, Nightclubs, Musicians, Performers, Freelancers, Events. All forgotten.
“In hospitality alone, there are 900,000 workers still on furlough, and a further 1.3million people across the UK work within the nightclub industry. For many operators, it will be easier to remove these individuals from payrolls completely than go under.”
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The Parklife and Warehouse Project founder added: “We need reassurance that the workers who will inevitably be out of work will be able to claim benefits easily and quickly, that they can apply for retraining schemes, grants and initiatives where possible, and that their mental health will be supported throughout this time.
“Those caught in the midst of local outbreaks, including the hospitality operators in Bolton who have been forced to close, will undoubtedly suffer and the local lockdown support packages will not be enough to maintain their survival.”
The government also announced a Bounce Back Loan Scheme (BBLS) as part of the winter package – which “enables smaller businesses to access finance more quickly during the coronavirus outbreak.”
However, this has also gone down like a lead balloon with local performers.
Hacienda legend Graeme Park called the government response “absolutely disgraceful”.
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Speaking directly to the Chancellor, the DJ asked: “Why should I take out a ‘bounce back loan’ when my main source of income has completely disappeared? How do I pay it back when I receive zero financial support from the government and my sector remains closed?”
So, @RishiSunak why should I take out a “bounce back loan” when my main source of income has completely disappeared? How do I pay it back when I receive zero financial support from the government and my sector remains closed? Absolutely disgraceful. #ForgottenLtd#ExcludedUK
The Music Venue Trust has also denounced the government package, with CEO Mark Davyd claiming that “no part” of the sector is in a position to take advantage of the latest support.
“The new job support programme is built around the premise of returning to work, and employers returning to some level of income arising from that work to support those workers,” said Davyd.
“The government has made it clear that it does not believe that the time is right for the live music industry to return to work, and where limited events, under substantial restrictions, are permitted, the income generated is insufficient to meet any of the government targets for employer contributions.
“Bluntly, no part of the live music industry is in a position to pay 55% of its employees salaries in order to access the government support which is entirely conditional on doing that.”
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The K’s kick off Manchester’s BRITs Week celebrations early with jam-packed intimate gig
The Manc
If you were ‘Hoping Maybe’ to see The K’s at some point this year, this is your sign do it, as the rising indie band did not let the occasion of playing an intimate BRITs-backed gig get to them – they were buoyed by it.
Beloved city centre venue Gorilla was overflowing for The K’s last night, hosting an unreal small-cap set as part of Brits Week ‘26 for a very important cause: War Child.
Perfectly teed up by fellow nearby band, Florentenes from Bolton, The K’s took to a familiar stage many years on from their debut, and instantly had the crowd ready and raring for an hour of pure tunes and some very, very sweaty brows.
Earlestown’s finest certainly carried that Northern charm and energy throughout the whole night; their indie and almost nostalgic lyrical storytelling has you moshing one minute, whilst grasping your mate and ascending into live music heaven the next. There really aren’t many feelings like it.
Sobbing and swaying in the vast ocean of shoulders whilst screaming the lyrics to ‘Helen. Oh I’, I questioned how any compliment will ever compare to launching “thousand ships every time” from a kiss.
The K’s were yearning before Wuthering Heights made it vogue (again).
Musically, the band were seamless and a well-oiled machine, and so were the audience as they wholeheartedly echoed every lyric back at the lads and bounced it off the walls.
The K’s have come a long way since their first visit to Gorilla (Credit: Lucy Wagstaffe)
Every primary school assembly proudly led us to this moment, and it did not disappoint, displaying their increasingly seasoned and successful career, which I can only imagine is going to go from strength to strength this year.
I don’t think we even one more fan could have squeezed one more passionate fan into Gorilla on the night; it was heaving with people and pride; the sweat dripping down the walls indicated things are big for these local lads, and we couldn’t be prouder.
They are another prime example of shining a deserving light on Northern artists! And having the 2026 BRIT Awards up here with us is a testament to that.
Featured Images — Lucy Wagstaffe (supplied via War Child UK)
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Florence + The Machine at the Co-op Live, Manchester – the star has never been better
Clementine Hall
Florence + The Machine make a triumphant return to the stage in a thrilling exploration of female rage.
When you think of Florence Welch, you can’t help but picture her barefoot complete with flower crown and bouncy skirts racing around the stage in a fairy-like fashion.
And yes whilst she still is this, the band’s new era is suddenly a lot darker and haunting with their new album Everybody Scream exploring topics of loss and grief.
Florence and her coven-like quartet of dancers did not leave the stage once throughout the 21-track setlist, but not once did it feel tired.
Image: The Manc
The album’s title track kicked off the show before transitioning into fan-favourite anthem Shake It Out.
Florence’s voice is just as recognisable as ever, as is her long auburn hair that she swishes with her as she strides up and down the stage alongside her flowing sleeves.
Beneath the powerful vocals, the haunting atmosphere grew stronger as Seven Dials and Which Witch saw the dancers, coined as ‘the witch choir’, crawling up and down the stage in a Michael Jackson Thriller-style fashion.
Daffodils saw Florence interact with the crowd – embracing a woman pressed to the front of the barrier sporting a bright yellow flower crown.
It’s clear to see how much their music means to so many, and being at a Florence gig you feel as though you’re really part of something special.
A highlight came half way through the two-hour spectacle, as Florence dedicated Never Let Me Go to her sister in the crowd who she stated was “clever enough to marry a man from Manchester”.
Image: The Manc
We couldn’t agree more Florence.
Spectrum (Say My Name) really ignited a fire in the crowd, the entire arena was up and moving to the iconic track.
Her most vulnerable moment of the night comes as she returns for the encore, when she sings You Can Have It All which is written about her near-fatal ectopic pregnancy she experienced in 2013.
It’s raw and haunting, and we feel every note as she summons the strength to perform a song so revealing.
Of course, as the first two notes of Dog Days Are Over the crowd erupts into chaos.
Florence asks us to put our phones down, “you won’t get a good video and if you’re holding your phone, you can’t move” she states, and so we did what we were told.
It’s proof of the power that Florence holds over her audience, and from then on we were left to dance with complete abandon as the show ended in a feeling of pure joy and euphoria.
The Manc -
24th September 2020 
