The legacy of Night & Day Cafe as it turns 30 years old
We explore the history behind the iconic burgundy venue on Oldham Street that bubbled up from the depths of deep fat fryers to become a Manchester institution: Night & Day Cafe.
On a cloudy afternoon in 2017, Michael C. Hall steps out onto Oldham Street, puffs out his cheeks and stares up at the sky.
Cameras are subtly shooting the Dexter star as he paces the pavement, a pained expression etched into his features.
There’s very little commotion in the area at first. The Northern Quarter is something of a playground for creatives, and people often find themselves weaving around film crews in this part of the city. But when passers-by see which actor is in shot, they do a double-take, halt their stride, and begin prodding one another with excitable nudges of realisation.
A crowd begins to build, and before long all eyes are on Hall – with the exception of the frowning cluster of commuters near Back Piccadilly who remain stoically huddled together at the bus stop like always.
Incredibly, though, a TV serial killer strolling around the Northern Quarter in the middle of the afternoon is still only the second most surprising sight of the day.
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Even more jarring is the fact that one of Manchester’s most famous gig venues has completely vanished.
For the purposes of the shoot, Night & Day Cafe has been redecorated – with its iconic lettering hidden beneath unfamiliar blue lights spelling out a new name: ‘Heaven’.
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The venue’s disappearance deepens the starstruck state of people on the street, as they gawp ahead at what appears to be a fever dream version of Manchester.
For a brief moment, during the production of Netflix show Safe, we got a hint of what it might be like to lose Night & Day for a little while.
Then, in 2020, it happened for real.
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Michael C. Hall in Manchester / Image: Netflix
This legendary gig space was one of thousands of grassroots venues that had to lock its doors, for months on end, during the UK’s many lockdowns.
And now, this stalwart of Manchester’s music scene is about to celebrate a very special milestone indeed.
Over the space of three decades, staff have experienced more ups and downs than a mixing console during a sound check.
Occasionally, the good and the bad have come at the same time; with some gigs proving so rip-roaringly entertaining they triggered complaints from disgruntled, sleep-starved neighbours.
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But according to Night & Day’s in-house promoter Jay Taylor, this past year has ‘categorically’ been the toughest of all.
“Culturally, Manchester is completely lost without these businesses,” Jay admits, thanking the hard work of Mayor Andy Burnham (a major player behind the United We Stream virtual shows, which raised £583,000 for the sector), and the Music Venue Trust, for supporting them through to reopening this spring.
He says that Manchester has got a ‘robust, brilliant’ music scene with a ‘good future’.
Night & Day’s Pearl Anniversary has been marked with a week’s worth of events, culminating this weekend with performances from The Orielles and Hotel Lux.
It’s a fitting, marathon-style celebration for a venue that hasn’t just been part of the music scene’s furniture, but the seat on which all arts personnel feel most at home.
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In the years before Night & Day was welcoming punters with joyous roars and sweaty hugs, however, it was inviting them indoors with dulcet tones and a delicate squeeze of the shoulder.
The building actually began life as a funeral-wear and mourning shop – selling high-end clothing for people attending burials, cremations and wakes.
It then turned into a delicatessen, before eventually being relaunched as a chippy called Pisces.
The cafe was perfectly positioned for people-watching – and peering out from its window in the early nineties told you everything you needed to about Manchester at that time: It was the city of music.
A few doors down, the pioneering electronic group 808 State had formed at Eastern Bloc Records, and the labyrinthian vinyl store Piccadilly Records was just around the corner.
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The Hacienda was still open, and the vibe of Madchester was swaggering around the city; its residents revelling in the city’s renaissance as the nerve centre for nightlife.
So, when Jan Oldenburg purchased the city centre chippy in 1991, he knew what he wanted to do. He was going to plug into the electric atmosphere that was crackling through the city.
Slowly but surely, Night & Day began morphing from a humble cafe into a dual venue that doubled as a boisterous live music club.
Before long, it was the meeting place for all the city’s creatives.
“It was genius foresight,” Jay marvels.
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“All it takes is for one or two people with vision to kickstart a neighbourhood.”
Oldham Street developed around Night & Day in the years that followed.
Piccadilly Records moved in across the road. Quirky cafes and shops flung their doors open nearby. New nightclubs launched just a stone’s throw away. After being neglected for so long, the Northern Quarter began to mould its own identity as an alternative cultural hotspot.
The Madchester movement came and went, but Night & Day continued to buzz long beyond the mid-nineties. It was the place that had its finger on the pulse of Mancunian music and moved smoothly with the times.
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Anyone who was anyone in the sector could often be found inside.
When local bands weren’t luring in rowdy crowds by night, the venue opened as a gallery space in the daytime – with free music magazines stocked inside.
If members of the music industry needed to hold a meeting, they’d head down to Night & Day.
The venue also developed a reputation for its uncanny ability to catapult careers into the spotlight.
For bands and artists, a slot on that stage was the first step on the path to success.
For music fans, every event potentially offered them front row seats at witnesses to the next big thing. There was a carrot permanently dangling from the doorway marked ‘I was there’.
On the long list of artists to have graced the Night & Day stage over the years include The Courteeners, Slow Readers Club, Elbow, Kasabian, Paulo Nutini, Arctic Monkeys, Manic Street Preachers, The Enemy, Blossoms and many, many more.
As well as being a fixture in Michael C. Hall’s aforementioned Safe, the venue was also directly referenced in award-winning drama Lost (by rockstar character Charlie Pace).
Night & Day is a Manchester institution. That’s undeniable. What’s less clear is how it became so popular in the first place.
“It’s the best venue on Earth,” according to Jay.
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Many in Manchester would be inclined agree. But there’s no single right answer as to why.
“It’s got personality and feels independent,” Jay points out, indicating to the no-frills attire and simple set-up of chairs, tables and a stage.
“But we’ve also got a very wide selection of drinks served at a beautiful long bar.
“The technical specs are good, too. The venue promises a really good experience for bands.
“There’s grafters in here. I think people can see the work that goes into it.”
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It’s that last part – graft – that perhaps comes closest to explaining the staying power of Night & Day.
Promoters have spent thirty years working tirelessly to bring a diverse range of acts to the stage, defying those who have pigeon-holed the venue as a ‘white indie’ spot.
“Our aim is to stand in that venue and watch different things happen,” says Jay.
“We look at the things [and new artists] that make us excited.
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“Lots of thought goes into it – from the gig bookings to the club nights.”
One of the warning signs that an older venue may be entering its twilight is when the crowd thins out – leaving only the regulars from yesteryear. But Night & Day continues to remain fresh in an ever-evolving, fast-moving world of modern music.
Younger fans have regularly piled in through the doors to see the next wave of talent coming through the ranks; including DJs, bands and solo singers.
“Everyone always asks me about my greatest memories over the years, but my favourite bit is when a show’s happening, usually around 9.30pm,” Jay muses.
“Everyone’s had a drink, the mood in the room is brilliant, and the main headline act is just starting.
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“It’s happened a few times when I’ve been stood watching from the back of the room – where everything all just comes together perfectly.
“There’s nothing better.
“At that moment… everything is as exactly as it’s supposed to be.”
Feature
Five Manchester artists we’ve been listening to this month | May 2025
Danny Jones
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Oh, hey, didn’t see you there. Come looking for more top Manc tunage, have we? You’re in luck, because Greater Manchester just keeps pumping out top bands and artists all the time, hence why we do this.
If you’re new around these parts, first of all, welcome and secondly, the whole thing is very simple: every month, we round up some of the best talents coming out of 0161 and talk about why we like them. I know, groundbreaking stuff, right?
They don’t have to be born and bred in Manchester, but they do need to have made this their music home – the first the correct career decision they made, the second being working their way into our ears.
So, now all the housekeeping is done and dusted, let’s dive into some delightful new Manchester music, shall we?
Five Manc bands and artists we’ve been listening to recently
1. IST IST
This month we’re starting off with one of those Manchester bands that may not be new but still crop up for us at regular intervals to remind us of two things: first of all, that they’re brilliant and secondly, that they should have featured on our regular round-up of artists a long time ago.
We’re talking about IST IST, who returned with another live, multiple LP-spanning compilation (plus some extras) this past March, which we’ve had on plenty over the past month. It goes without saying that they sound brilliant live, and we feel bad for only just remembering how good and prolific they’ve been.
You always get plenty of New Order, but also White Lies and Editors; Future Islands, The National and lots of other baritone-driven bands that bring that element of melodrama to layer over the instruments themselves. ‘You’re Mine’ might be their biggest track, but ‘The Kiss’ and ‘Exist’ are also favourites.
2. Robbie Cavanagh
Now, we all know that country music is having a real moment right now and we, for one, couldn’t be happier about it, to be completely frank. Though arguably simplistic at times, it’s soulful, often impressively pared-back, and when something does impress you lyrically or technically, it sticks.
With that in mind, we recently realised that award-winning songwriter Robbie Cavanagh has been on somewhat of a comeback since 2023, and we hadn’t noticed until painfully recently. Returning after a six-year hiatus – bar some little ditties during lockdown – his latest project has some of his best work yet.
Fully tilting from folk into country and folk, the stunning vocalist belatedly blew us away with the bluesy single ‘Helpless’ and a gorgeous new collaboration with solo artist, Abby Gundersen (equally talented sister of Noah), but please still start with his 2016 Mahogany Session, where it arguably all began.
Named after Manchester city centre’s famously eclectic indie emporium, Afflecks Palace have never quite blown up in the way they way we thought they would when we first came across them years ago, but there’s still plenty of time and we’ll be damn it if they don’t deserve more regular listeners.
You’ll also be glad to know that, despite the name, they aren’t one of those trite, overly performative bands who wear a stereotypical Manc-ness on their sleeve that we sometimes come across; they’re just good and deserve a lot more recognition for their contribution to the neo-pysch genre.
As for where to start, we’ll admit we prefer their first album; ‘Forever Young’ is noodley and catchy, ‘Everything Is an Attempt to Be Human’ has those shoegazey guitars, but it just doesn’t get better than the incomparable ‘Pink Skies’, which still makes us feel some type of way – we just can’t quite describe.
We just love it. ‘Nu-Madchester’, or whatever you want to call it, its distinct sunniness never fails to tickle a part of our brains.
4. Findlay
Next up is Stockport singer-songwriter Findlay, who released more new music this past February, and has been making indie pop that ropes in plenty of other influences for more than a decade now.
That being said, she’s always experimenting with her sound, as her collabs with Blossoms, Miles Kane, Bill Ryder-Jones, Joris Delacroix have shown, and this latest iteration seems to have her tapping into everything from almost 50s and 60s female soul singers to slow electronic and more.
We love the smooth sexiness and sheer ambition of her latest single, ‘Stay Kinky’ and ‘Waste My Time’ always feels like a late-night chiller fit for music video set in a dingey bar, however, we still have a soft spot for her debut, ‘Your Sister’, with the riff that’s almost reminiscent of ‘Blockbuster’ by Sweet.
Last but not least, it’s the second time we’re featuring a returning artist and it comes in the form of young Alex Spencer, whose journey from busking around the streets of Greater Manchester to sold-out headlines shows and featuring on the likes EA Sports FC 25 (yes, FIFA) is a truly remarkable one.
The charming and still fresh-faced local lad from Droylsden is nothing short of proof that hard work and determination can pay off, and those ‘Bucket List’ dreams really are within reach. Obvious talent aside, this teenager has grafted his arse off and we couldn’t be more proudof how far he’s come already.
He last featured in this round-up back in April 2024 but even in the time between then, he’s released plenty and developed even further as musician, so much so that we’re not going to suggest which songs to try; instead, you can watch our most recent interview with him and relive his last year or so with us.
I’m Alex Spencer and This is my journey so far!
8 years of my music journey summed up in 1 minute 55😅 Thankyou to everyone who’s followed my journey so far, to anyone new or to anyone who doesn’t know my story, I made this video to show where it all started and how I got here❤️ pic.twitter.com/Hi3W7MHMxX
So, the next time you hear someone foolishly complaining that the Greater Manchester music scene ‘isn’t what it once was’, you can go right ahead of show them these bands and artists.
In fact, you could just point them in the direction of this very page and Audio North, in general, as we do this round-up every month and plenty more every week, meaning you’re headphones never dry up.
For instance, you can check out which Manchester bands and artists we were listening to back in April, both new, current and old, down below. We’ll see you again very soon.
Bruce Springsteen’s unforgettable final night at Co-op Live in Manchester – just wow…
Danny Jones
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It’s rare you get to see legends in real life, especially this up close and personal, but there’s still just one key word that keeps coming to mind when we think of seeing Bruce Springsteen in Manchester at the Co-op Live last night: surreal.
We still can’t quite believe that he was here in Manchester, in the flesh, for three separate nights, but we do intend to replay it in our heads over and over again until it fully sinks in.
Springsteen, ‘The Boss’, Brucey, whatever you want to call him, there really is something to be said for someone who’s been going this long and still exerts so much energy at 75.
That goes for his desperately loyal and dedicated crowds, too. The legions that marched down ‘Thunder Road’ and back down the CityLink walking route and the Ashton canal in supreme spirits after all was said and done gave as good as they got.
We can only assume Springsteen was as incredible on the first night at Co-op Live as he was on the last. (Credit: Audio North)
From singing back every chorus to the chants of “Bruuuuuuuce!” between every single song, it was more apparent than ever that being a Springsteen fan is quite literally a way of life for these people; they know every line, every call and response, every micro-dance move and regular on-stage ritual.
Each show is roughly three hours long, by the way – he does have an absolute treasure trove of discography to work through, in fairness.
Put simply, there’s no messing about, just non-stop rock and roll of the highest order. Well, there are some brief pauses, but for good reason…
As a passionate political and philanthropic person throughout a career which spans more than six decades, he took the time to talk about America and the turbulent times they are once again facing.
He spoke about the craven billionaire class, poverty, uniting through art and, just as he did on night one in Manchester, Springsteen railed against a particular tyrant who happens to have found himself in the seat of power yet again back over in the States. He made sure to do this every single night.
‘Born in the U.S.A.’ (which he did decide to play, along with a plethora of the other biggest hits) now feels more like a protest song than ever. The war may no longer be in Vietnam, but there is one raging back home, and he’s even more wary of it than before.
He thanked those in the pit and the stands for indulging him, as well as the “wonderful space” of the Co-op and its “beautiful sound” for hosting him, but we have a feeling the New Jersey poet could have said just about anything and he’d still have 23,500+ in the palm of his hands.
All that being said, it wasn’t like this was a pseudo-rally or anything like that, nor was anything of this being foisted upon the audience, but there was a real sense of a congregation gathering in the church of Bruce to take in his sermon.
His followers have often been referred to in this way, and despite only previously considering ourselves a very casual Springsteen enthusiast, having now been to a sell-out arena gig with one of the biggest Boss fans we know, we can understand why millions of people around the world idolise this absolute icon.
It goes without saying that a huge amount of applause must go to The E Street Band themselves, who are just as much a part of what makes Springsteen sets so special as he is.
From the ever-charismatic Steven Van Zandt (still hard not to see him as ‘Sil’ from The Sopranos) to Jake Clemons on sax – who has been part of the group since 2012 and shared a touching embrace with Bruce as tributes to his predecessor and uncle, Clarence, played behind them – these lot are a family.
Our only minor gripe is that we sorely missed hearing ‘Atlantic City’, but what the concert did confirm is that much like the effect the recent Bob Dylan biopic had on us, we’re now more committed than ever to working through the Springsteen back catalogue from start to finish and seeing how obsessed we get.
To end on one final thought and echo the words of the man himself: “peace, love and freedom.”