The Manchester Herald: How the city’s first radical newspaper was silenced, shut down and smashed to pieces
The Manchester Herald was a publication so inflammatory that it was shut down and had its offices smashed up within a year of its first issue - with its editors fleeing into voluntary exile.
When The Manchester Observerfinally ceased publication in 1821, the ruling elite must have breathed a sigh of relief.
The local northern newspaper had been a thorn in the side of the authorities sinceits formation three years prior – its pages littered with incendiary pieces aimed at rousing the public into forcing political change.
But governing figures began to change their minds about the Observer in 1819. Initially, they’d considered the paper a nuisance. By summer, they’d revised that view: regarding it actively dangerous.
In August, Observer editor James Wroe invited the loquacious Henry Hunt to Manchester to speak at a mass rally at St Peter’s Fields – where a crowd had gathered to ask for political representation at a time when only wealthy landowners could vote.
The animated but peaceful protest was invaded by troops who took a shockingly violent approach to the occasion – killing 18 people and injuring hundreds more.
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The Observer exposed the murderous behaviour of the cavalry in grisly detail anddubbed the event ThePeterloo Massacre – a name which has stuck to this day.
The Peterloo Massacre / Image: Wikipedia
In the aftermath, anyone associated with the Observer was targeted, prosecuted or even imprisoned by officials, and the paper was eventually closed.
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But the lingering sense of public anger (and fear) meant there was still demand for press that dared to rail against the establishment; and more progressive newspapers were born throughout the course of the century – beginning with The Manchester Guardian (which remains in print 200 years later, now based in London).
TheObserver is often hailed as Manchester’s first radical newspaper – the publication that paved the way for more robust local press.
But around thirty years prior to Peterloo there was The Manchester Herald: A publication considered so inflammatory that it was shut down and smashed up within a year of its first issue – with its publishers fleeing into voluntary exile.
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One half of the Herald founding team – Thomas Walker / Image: Wikipedia
By the end of the 18th century, there was growing demand for parliamentary reform in England, with calls emerging for changes at national and local level.
Two of the most passionate reformers in Manchester were barrister Thomas Cooper and local cotton merchant Thomas Walker.
The pair launched the Manchester Constitutional Society in 1790 and asked the city’s local newspapers – The Manchester Mercury and The Manchester Chronicle – to print the group’s notices about meetings and petitions.
Over time, however, both papers became increasingly reluctant to publish material discussing the controversial topic of parliamentary reform, so Cooper and Walker decided to set up their own newspaper instead.
They called it The Manchester Herald – and convinced local stationer Matthew Falkner (and his business partner William Birch) to print it.
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The publication was the self-proclaimed ‘paper of the people’ and released its first edition on 31 March 1792.
Around 50 issues of the Herald were created overall – the last of which was published on 23 March 1793.
Despite its fleeting existence, the Herald was described as operating with “a degree of spirit and reputation that will not soon be forgotten in [the] neighbourhood”; packed with radical writing including abolitionist articles and “positive” pieces about the French Revolution.
The paper’s progressive stance made it some powerful enemies in the process.
In December 1792, an angry pack of Loyalists – described by writer John Bugg as a “drunken church-and-king mob” – raided the Herald’s offices on Market Place, before attempting to attack the paper’s founder Walker at his home.
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The editor scared them away by firing his gun above their heads.
The other half of the Herald founding team – Thomas Cooper / Image: Wikipedia
The Herald was repeatedly targeted in the subsequent months, and by spring the government initiated legal action to ensure the newspaper was shut down.
The publication’s critics revelled inits demise and quickly danced on its grave – smashing up the Herald premises and hurling printing equipment into the street.
The Herald’s printer’s – Falkner and Birch – fled to America, “preferring a voluntary exile to imprisonment”.
Falkner returned home several years later but never retrieved his stationery business, printing house or property, and passed away in Burnley in 1824.
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One of Falkner’s friends bemoaned the unfairness of the situation, claiming Falkner had been “seduced into political opposition” and was “deserted” by his former allies in the adversity surrounding the Herald‘s closure.
Falkner’s obituary read: “One of the kindest-hearted of mankind was driven from his country, and his fortunes, till then prosperous, entirely ruined.”
Herald co-founder Walker was placed on trial for treason in 1794 – accused of attempting to mobilise his own army (the incident in which he fired a gun at invaders was raised in court).
But the prosecution leaned heavily on a testimony from an informer who proved to be drunk and unreliable, and eventually Walker was acquitted.
He dabbled on and off in local politics in his later years, and died in 1817.
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Fellow Herald founder Cooper, meanwhile, moved to the States in 1794, developing a reputation as an academic leader who was, according to President Thomas Jefferson, “one of the ablest men in America”.
He passed away in Columbia in 1839.
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.