‘I Swear I Was There’: The myth of Manchester’s most famous gig
A Sex Pistols performance in 1976 has gone down in folklore as the “gig that changed the world”. Everyone claims to have been there. But the truth is more complicated than that...
One Saturday morning, during an ad break on his Radio Manchester chat show, Tony Wilson leaned over his microphone and whispered into his guest’s ear.
“You know what you said about me not being at that Sex Pistols gig? That was fucking snide!”
Wilson sneered the words and loomed for a moment, before sliding back into his chair and welcoming listeners with his velvety broadcasting voice like nothing had happened.
The studio guest that day was David Nolan – a local journalist who had investigated the illustrious Lesser Free Trade Hall gig on 4 June 1976 and concluded Wilson had probably not been in attendance.
This was a big problem for Wilson. It didn’t fit his legend.
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That Sex Pistols performance has gone down in folklore as the “gig that changed the world” – a tiny rock concert that proved to be compost for the Madchester movement. Members of the crowd were said to be so inspired by what happened on stage, they would go on to launch a revolutionary movement – becoming the headline artists, writers, and creatives of a sensational new scene. It’s the gig credited with creating The Smiths, Joy Division, Buzzcocks and The Fall. Why wouldn’t Wilson – the man who co-launched the city’s behemothic Factory Records and Hacienda nightclub – be there?
But after creating a documentary and penning a best-selling book on that famous punk rock performance, Nolan deduced – against the tide of popular opinion – that ‘Mr Manchester’ Tony Wilson was likely elsewhere on the night the city’s music scene was born.
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Naturally, Wilson didn’t like it. But 20 years since Nolan published I Swear I Was There (which has been lauded by fellow scene-setters Peter Hook and Paul Morley – two men who were at the gig) he’s yet to be proven wrong.
Tony Wilson was the face of Madchester… but he may not have been at ‘the gig that changed the world’ / Image: Loco Steve via Flickr
Regardless of whether Wilson was in the room that night or not, his influence at the dawn of Madchester remains undeniable. As Nolan points out, the presenter hosted another event a few weeks after the Pistols gig that might have played an even bigger role in launching the music scene that would reverberate around the world.
“Three things actually happened in Manchester that summer,” Nolan explains.
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“There was the first Sex Pistols gig in June, a second Sex Pistols gig in July, and then later in September [the band] appeared on So It Goes on television. That performance was organised by Tony Wilson. Hundreds of thousands of people will have watched it. It could have even been more influential [than the Lesser Free Trade Hall shows].”
Nonetheless, it’s that first Sex Pistols gig on June 4 that still serves as the setting for the fable. Everyone still wants to be part of it; Wilson wasn’t the only one.
Indeed, over the past 45 years, hundreds insist they paid their 50p and watched history in the making that night. They swear they were there.
Ticket sales show that about 40 people were actually in attendance – which suggests the past four decades have been full of fibbing. But Nolan says it’s more complicated than that.
“Remember, there were two Sex Pistols gigs that summer,” he explains.
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“When we did the original documentary programme, we devised a test and questionnaire for people to fill in.
“What we found out was that some people were at the second gig, but thought they were at the first. Some were at neither. But 99% of time people were genuinely convinced they had been there.
“Both the documentary and book are full of contradictory stories from people – that’s the notion of memory. People misremember things.
“Plus – it’s a flipping long time ago!”
A ticket for entry to the Sex Pistols gig in 1976. Entry cost 50p.
Originally published in 2001, Nolan’s book was the first real piece of research-led work into the Sex Pistols gig – with much of the previous literature being muddled, confused or lacking in clarity.
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“Music writers from that period weren’t necessarily massive fact-checkers,” Nolan states.
“It was all done in the pub. Stories were just passed on by word of mouth. So, I started [the book] as a brand new story and ignored what was written before.
“I was already a journalist who just ended up writing about music – I approached it a bit like a court case or crime scene. I was focused on getting every single detail right.”
Nolan spoke to everyone he could in an attempt to build the first truthful picture of the gig since it went through mythologisation. He interviewed everyone from gig organisers and performers to regular folks who’d just hopped on a bus from Denton after spotting an ad for the show in the Manchester Evening News.
He even achieved what no one else had done before and successfully tracked down the supporting band who played before the Pistols that evening – a Bolton group called Solstice.
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“That’s where the gold was; people who hadn’t told the story a thousand times before,” Nolan grins.
A promotional poster for the Sex Pistols show at Lesser Free Trade Hall in Manchester in 1976.
Nolan wasn’t at the Free Trade Hall in June ‘76 (he was 12 at the time) – but the famous gig still changed his life.
Working as a young journalist in Altrincham in the 1980s, Nolan had got chatting to fellow writer called Pete Oldham – who claimed to have been at both Sex Pistols gigs. The hyperbolic status of these shows was already set in stone even then – and Oldham had to show off his ticket stubs to convince Nolan he’d actually gone. But the whole conversation raised the idea of creating a documentary – a piece of television that would determine who was actually there, and who wasn’t.
Later at Granada Studios Nolan began working on that very concept – and was pulled away mid-production to produce a book to go alongside the TV programme.
He was given nine weeks to write it – a rollercoaster-like process involving lots of late nights in which “he almost went mad” – but got it over the line. Holding his copy aloft was a proud moment, and when he spotted a display dedicated to the book in Waterstones it almost made him “pass out”.
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David Nolan holding a copy of I Swear I Was There aloft in 2001 and again in 2021
The first edition of I Swear I Was There received a solitary review, calling it “tedious beyond belief”. In 2006 it was re-released with a new cover and five-star acclaim across the board – including a description by GQ as ”one of the greatest rock stories ever told”.
Nolan’s been a published author ever since – with 15 books under his belt (including the riveting Manc Noir thrillers Black Moss and The Mermaid’s Pool). But what makes I Swear I Was There quite so special is the fact that it’s still causing conversation today.
“This kind of thing just won’t happen again,” Nolan explains.
“The whole thing would be recorded on people’s phones and uploaded to social media.
“It’s like the fly in Jurassic Park – perfectly preserved in amber. That’s the beauty of it.”
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David Nolan’s book ‘I Swear I Was There’ / Image: Amazon
Every few years, some new information about that first Sex Pistols gig comes to light. A fresh anecdote. A forgotten image. A long-lost tiny relic. But still no definitive evidence that Wilson was in attendance.
“There were 40-odd people in the audience that night… and Tony was incredibly famous,” Nolan states.
“For people not to notice he was there… I’m not sure. Pete Shelley from Buzzcocks who took the money on the door doesn’t remember Tony being there. Howard Devoto who organised the gig doesn’t remember Tony being there.
“But who knows. In another five years I could have found a photograph of Tony Wilson stood next to the Sex Pistols at the gig and I’ll have to make an apology.
“Or we may never know. It’s all part of the fun. That’s the great thing about this story – new stuff is happening all the time. Even now.
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“You just never know what will happen next.”
‘I Swear I Was There’ is available online from Amazon.
David Nolan is hosting an official author evening titled ‘Murder, music and Manc Noir’ later this month live on Zoom. Tickets are free and can be booked online here.
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.