Crash of BEA flight 609 at Riem Airport, Munich / Image: Wikimedia Commons
Just after 3pm on 6 February 1958, pilots James Thain and Kenneth Raymentmade a third attempt to take the ‘Busby Babes’ back home.
English champions Manchester United were en route to the UK following a 3-3 draw with Red Star Belgrade – which had been enough to advance to the semi-finals of the European Cup.
Their British European Airways plane had temporarily landed in Germany for refuelling, but it was proving to be a problematic pitstop.
Snow had been coming down hard in Bavaria, creating challenging conditions and leaving thick trails of sludge along the Munich-Riem runway.
Two take-off attempts had already been abandoned due to engine faults, but at around 3.04pm, the pilots decided to have another go.
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The plane powered down the tarmac, but failed to gain altitude. By the time the crew realised the plane wouldn’t make it off the ground, it was already too late.
The Airspeed Ambassador careered off the runway, tore through a fence and wrapped around a nearby house, bursting into flames.
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23 of the 44 passengers on board were killed in what would forever be known as one of football’s greatest tragedies; a cold winter’s afternoon in Munich that shook the world – and changed Manchester forever.
Manchester United’s “Busby Babes”, pictured in 1958, before their last match / Image: Wikipedia
Manager Sir Matt Busby had turned Manchester United into an international force since taking the helm in 1945 – building a team of gifted players that had brought major silverware to Old Trafford after rising through the club’s youth ranks.
The squad was tipped to continue filling out the trophy cabinet in Stretford for years to come. But in the winter of ’58, everything changed.
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Eight members of the team died in the crash, and Manchester United instantly changed beyond recognition.
So too did the management team – with Chief Coach Bert Whalley, trainer Tom Curry and club secretary Walter Crickmer also passing away.
The eponymous leader of the Busy Babes, meanwhile, was rushed to hospital in critical condition.
With a generation of wonderful footballing talent wiped out and their leader gravely injured, the club was left rattled.
There were concerns that United could ultimately fold in the aftermath.
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Eight players had gone forever, two former internationals – Johnny Berry and Jackie Blanchflower – were too badly injured to ever play again, and those who survived were still scarred by the incident.
Commemorative plaque at Old Trafford / Image: Wikimedia Commons
The crash had left a permanent black mark on sport in Britain, taking too many young talents and coaches before their time.
But the footballing world stepped up.
Other clubs provided support wherever possible, with bitter rivals Liverpool even offering loan players so United could fulfil their remaining fixtures.
Real Madrid – the eventual winners of the 1958 European Cup – dedicated the win to the Busby Babes and even offered United the trophy (which was turned down), before selling memorial pennants and arranging friendlies to raise money for Manchester.
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Tributes have continued for more than 60 years since.
Each February, hundreds flock to the Munich memorial at Old Trafford to pay their respects, with a rendition of Flowers of Manchester – a folk song written about the tragedy – performed at the home game closest to this date.
The 2008 Manchester derby was contested on the 50th anniversary of the Munich Air Disaster – with both teams wearing blank kits as a mark of respect (City, too, had suffered loss in the tragedy; former Blues goalkeeper Frank Swift had been on the plane in a journalistic capacity after becoming a sports correspondent for the News of the World upon retirement).
Football is a different beast to what it was back in 1958. But the sport still invariably takes a moment every year to step back from its modern glitz and glamour, pause, and remember the game’s incredible figures who never got to see how huge United – and indeed UK football – eventually became.
The reverberations of the Munich Air Disaster were so powerful they went beyond the game of football itself – even changing the way the sport was covered in the press.
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11 of the north’s most prominent sports writers were aboard the flight that day – and just three made it out alive.
One of the three survivors, Frank Taylor of the News Chronicle, mentions in his book that he invited some of the other writers to join him at the front of the plane – where there were several seats still free. But the journalists, already settled, politely declined.
“They treated matches like they would any other event and began to ask experts, such as managers, for quotes to add to their pieces,” Domenghetti states – a new approach which ultimately changed the style of British sports journalism permanently.
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A clock at Old Trafford Stadium remaining permanently frozen at 3:04 p.m. on Feb. 6, 1958 / Image: Wikipedia
World coverage of the crash continued several weeks after the initial accident – with newspapers offering updates on the condition of players and combing through the final moments leading up to the accident; attempting to understand what happened.
A fresh outpouring of grief came two weeks later when it was confirmed that Duncan Edwards – one of the most exciting talents in England at the time – had succumbed to his injuries and passed away in hospital.
Busby’s condition raised deep concern at first, but he slowly improved and eventually left hospital to recuperate. He briefly contemplated leaving football altogether, but was urged by his wife to continue, as she claimed it’s what the lads “would have wanted.”
Busby spent the next few weeks watching his team from afar as Jimmy Murphy took temporary charge – before easing his way back into football management the following season.
The rest was history.
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Within years, he had created another incredible team – building a fresh squad around the remaining survivors such as Harry Gregg, Bill Foulkes, and Bobby Charlton.
Dr Guy Hodgson, a sports historian at Liverpool John Moores University, claimed that Munich played a role in Busby’s hunger to create another all-star side.
Dr Hodgson told Goal: “If it had not been for Munich, would he have bought players like Mike England and Alan Ball? Because if you look at the 1968 European Cup side, eight of them are home-grown players as he wanted to get the same home-grown thing again. Would he have changed his mind-set had he been building on success?
“Other things might have happened, like would Nobby Stiles have gone with his brother-in-law Johnny Giles to Leeds, because would he have got a game if Duncan Edwards and Eddie Colman had been around? He might never have got to play for United and might have had to go elsewhere for a position.”
Busby achieved his dream, bringing another four major honours to Manchester post-Munich – including two league titles, an FA Cup and European Cup.
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An extraordinary feat in any capacity. Utterly miraculous in the circumstances.
Sir Matt Busby’s Statue, Old Trafford / Image: Paul Thompson, Geograph
Many of those who lived to tell the tale of the Munich Air Disaster have passed away in the 63 years since the crash.
The goalkeeper was injured in the initial crash but regained consciousness whilst the airplane was going up in flames, managing to escape through a hole in the cabin.
Gregg has been described as a “hero” for returning to the wreckage and pulling out passengers – credited with saving several lives.
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His death last year left Charlton as the last remaining survivor of the Munich Air Disaster.
Despite the crash, midfielder Charlton developed into one the greatest players to ever don the red shirt, winning multiple championships at United and becoming the club’s all-time record goalscorer until his tally of 249 was surpassed by Wayne Rooney in 2017.
He was also a member of England’s famous 1966 World Cup-winning side.
Following his retirement, Charlton briefly went into management with Preston North End, before serving in a directorial capacity with Wigan.
He joined the Manchester United board of directors in 1984 and continues to occupy a seat 37 years later.
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Talking to the BBC about the crash back in 2017, Charlton said he was “just lucky and sitting in the right place.”
He added: “I wondered what would happen, I wondered how we would be able to recover but recover we had to do.
“We had to make the effort.”
Feature
Review | The Lion, The Witch and The Beaver* – sorry, Wardrobe
The Manc
What an enchanting evening at The Lowry as we were transported to Narnia to review the live stage adaptation of The Lion, The Witch and The Wardrobe in Media City as the production began its festive run in Greater Manchester.
As we entered the playing space, the atmosphere was set with a pianist on stage, slowly drowning out the noise of the outside world and settling the audience in for a night of magic.
Launching ‘Act One’ with a touching rendition of the British wartime classic, ‘We’ll Meet Again’ by Vera Lynne, we meet the large ensemble, multi-instrumentalist cast.
This talented ensemble pivots around multiple roles throughout the performance, creating a shape-shifting atmosphere with some impressive seamless transitions, allowing us to “open our minds” and be absorbed into the mythical world of Narnia alongside The Pevensies.
Sweetly played by Joanna Adaran, Jesse Dunbar, Kudzai Mangombe and Bunmi Osadolor, they excel in exploring sibling dynamics such as rivalry, trust, but most of all, loyalty and love.
The most mind-blowing element of this performance, however, was the production; it truly is the unsung hero of the entire show, so we’ll so the singing on their behalf.
Set and costume (designed by Tom Paris), lighting (done by Jack Knowles), puppetry design and direction (by Max Humphries and Toby Olie), sound design (credit to Tom Marshall) and hair, make-up and wig designer (Susanna Perez).
All this carefully curated talent helped create a world where we had no choice but to believe in magic.
For us as an audience, it made things so much easier to immerse and delight in the world of C.S. Lewis’ imagination, as it is so wonderfully presented in front of us.
This was elevated once again by levitation and disappearing acts – the scene was set on the boards and in the air.
Huge credit goes to Gwen Hales (aerial director) and Chris Fisher (magic and illusions); it felt as if anything was possible, and we needed no convincing that we were in the presence of pure enchantment.
However, arguably the most magnificent moment of the show was the reveal of Aslan himself. As this grand puppet prowled onto the stage, you could hear gasps echo throughout the theatre.
Manoeuvred by three puppeteers, this skilful spectacle was a credit to bringing the story to life in live theatre. The seamless, lifelike movements of breath and king-like presence were both majestic and a credit to the production.
Accompanied by Stanton Wright, we had no doubt that this was the true hero of Narnia.
If you want us to sum up our review of The Lion, The Witch and The Wardrobe at The Lowry, quite simply, this show is nothing short of a marvel.
Make sure to take home a cuddly lion toy, of course. (Credit: The Manc)
With constant playfulness and wit throughout – mainly brought to you from the broad Northern and oh-so lovable Mr Beaver (Ed Thorpe), and fellow believer in magic, ‘The Professor’ (Kraig Thornber).
It’s the lattermost that left us with a lasting thought, as he warmly reminds the audience that even when times feel dark, “the sun is always up there, we just have to look.”
The Lion, The Witch and The Wardrobe is running from The Lowry in Salford Quays all the way up until Sunday, 11 January 2026. Don’t miss the magic and grab your tickets HERE.
If you’re interested in finding out what else we’ve enjoyed at the theatre in Manchester recently, then look no further…
Featured Images — The Manc Group/Press shots (Brinkhoff/Moegenburg supplied via The Lowry)
Feature
Hazlett at Manchester Academy 3 – some of the best ‘sad and depressing songs’ you could ever ask for
Danny Jones
On Thursday evening, we finally got to see Hazlett in a small, tightly-packed room here in Manchester and have maybe never heard so many people sing so expertly quietly so as not to even remotely dullen the stunning voice of this rising solo artist.
For anyone who isn’t aware of Hazlett, he’s an Australian singer-songwriter who has been gradually growing in popularity over the last couple of years, but his journey to where he is dates back much further than that.
Noticing a few familiar faces in the crowd from his last visit to the city for a performance at The Deaf Institute just over a year ago – one we sadly missed and have been kicking ourselves ever since – he acknowledged that many may already know his story, but it’s nevertheless worth sharing with the class.
After self-deprecating (how oh-so British) about gigging in pubs when he was younger, and being told to stick to covers rather than try any of his own material, he moved to Sweden in 2019 and fell in love with not only a much more seasonal European but winter, specifically. No wonder he looked at home here.
Here’s our review of Hazlett at Manchester Academy 3, 4/12/2025. (Credit: Audio North)
Kicking off with one of his best-known tracks, ‘Please Don’t Be’, it immediately struck us how full and mournful it all felt in the flesh – arguably even more so than the studio version we’ve been playing in our headphones since 2023.
The atmospheric but not over-produced engineering is an aspect we’ve always admired about Hazlett‘s discography, and we were so relieved it came across on the night, with the Brisbane-born ex-pat crediting his talented live band with helping bring that same sound to life on stage.
It’s a regular trapping, we’ve found, when it comes to acoustic-led music; that instinct, perhaps, for an artist and/or a producer to use seemingly as many of the tools at their disposal as possible just because they’re available to them.
Sadly, this easy pitfall often ends up taking away from what makes those tunes so beautiful to begin with – but not in this case.
The rising solo star seemed to have an expert command not only of his vocals, but the second mic that added those subtle and yet stirring layers, and built those moving, almost ethereal effects on top of the words themselves.
Honestly, we were literally in awe of him just whistling…
Admittedly, it’s hard to put a finger on what exactly made this such a special show, but we think it is THAT same appreciation and embrace of colder months and how it’s inspired his music.
Just bear with us for a minute, it’ll make sense soon.
He actually said it was one of the things he loves the most about people in this country, and this specific part of the world, as well as other parts of Europe, such as his now beloved Sweden, where he says he found his creative spark.
It’s that feeling of the weather and the mood it brings so intensely that he says it helped him write ‘Bones Shake’, which was fittingly chilling as he played it to the spellbound, would-be choir, and could hear the soft sibilance of people gently repeating those S-sounds back to him.
There’s a genuine sense of being able to chart the slight sorrow in the passing of time through the seasons, and while some may not be afforded that same feeling from the sun-soaked shores of his homeland, it’s a concept he’s really run with – especially on his most recent LP.
Simply titled, last night you said you missed me, it’s almost something he kind of tried to resist, confessing that he wrote and finished the album in the space of about a month, fearing that it couldn’t be good enough/ready purely because it came together so quickly.
Given that two specific tracks from this record made a lady standing with us well up and eventually shed several tears (you know who you are), we’d say he absolutely nailed it.
Our only minor gripe was not getting to hear ‘Tell Me What You Dream About’. (Credit: The Manc)
He did joke that his set is filled with nothing but “a bunch of sad and depressing songs” and had a laugh at the idea of people being “dragged along” without any real idea of who he is or the kind of stuff he makes, but having now witnessed him play live, we can assure you it’s much more than that.
Bloom Mountain was an emotional, magical debut that found us in a particular place and time in our lives that we’ll always appreciate, but hearing him knit it together with his newest material confirmed to us that his music has to be more than listened to – it has to be felt.
Like the changing of the seasons. Like the winter. Like the cold.
We unfortunately didn’t manage to make it in time to watch the support act, Hans Williams, but judging by the reaction from the audience who did get in there early enough, the authentic but inventive stylings of the Americana, folk and soul-infused indie-pop artist, he definitely won over plenty of new fans.
As Mitchell Hazlett Lewis, to use his full name, he’s had our hearts since the very start and will continue to do so for however long he keeps bringing his relatable lyricism, delicate but impressive guitar-picking and gentle charm to Manchester.
Please check out his tour dates and see him the next time he’s in town. You can guarantee you’ll find
Please enjoy the song from his latest album that he says his mum likes best.