A legendary music venue that once hosted the likes of Tina Turner and Jimi Hendrix is set to reopen this summer.
New Century Hall was a thriving dance hall and events venue in the 1960s and 1970s but has been standing silently for the best part of a decade.
The venue, which is part of the NOMA neighbourhood in the city centre, is now set to be restored and reawakened in a £10m project.
Once complete, the reopened New Century will be a three-floor social hub home to an 800+ capacity live music venue, a large food hall, and a creative college.
New Century in Manchester. Credit: Supplied
The Grade II-listed building’s incredible heritage, like its sprung dance floor, 1960s ‘disco ceiling’ and vintage wood panelled walls, will all be preserved.
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In its heyday, New Century Hall hosted acts including The Bee Gees, The Rolling Stones and Jimi Hendrix, as well as famous club nights in the 1980s.
It’s set to become a busy events venue again, hosting emerging talent and global touring artists, as well as comedy, performance and conferences.
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Credit: Supplied
The ground floor, meanwhile, will become the 300-cover New Century Kitchen, with five independent food operators working alongside a more permanent pizza and coffee offering.
A central bar will serve local beers, wines and cocktails, with an entertainment space in the plans.
New Century Kitchen will also operate in the outside space at Sadler’s Yard.
The basement, meanwhile, will be home to Access Creative College, which counts Ed Sheeran as one of its alumni and a patron.
This will be the college’s third site in Manchester and will help people to kick-start careers in the creative industry.
Taking inspiration from the trailblazing spirit of the 1960s when the building was developed, New Century will celebrate the past to inspire an exciting new chapter – an everyday place for unforgettable experiences.
New Century is expected to reopen this summer.
Featured image: Supplied
Gigs & Nightlife
‘Powerhouse’ Manchester named in top 10 global cities for music in 2026
Emily Sergeant
The top 10 cities across the globe for music in 2026 have been named, and Manchester has earned its place.
If there’s one thing Manchester is known and loved for over anything else, it’s music.
From Oasis and Joy Division, to Happy Mondays, The Smiths, The Stone Roses, The 1975, and even more modern-day acts, there’s no end to the amount of talented artists this city has produced or been home to over the years, all contributing to Manchester being one of the most prestigious music cities there is.
The city’s live music scene has always been thriving, and that continues right through to this very day, as you’ll see big-name musicians including Manchester as a destination in their UK tour schedules more often than not.
Manchester has been named in the top 10 global cities for music in 2026 / Credit: Mylo Kaye | Nathan Mullet (via Unsplash)
Last summer was a sensational celebration for Manchester, as an immersive art trail, Music for the Senses, took over the city, and the annual Manchester Day was music-themed too, marking one of the biggest years for Manchester music in a long time.
Oh, and there was also the small matter of Oasis reforming for a UK tour, including a run of gigs at Heaton Park in June… in case you don’t remember, somehow (*wink wink*).
These next two months are also set to be huge for Manchester too, given the fact it is hosting both the 2026 BRIT Awards and MOBO Awards, on 28 February and 26 March respectively, for the first time at Co-op Live.
So it would only seem right that our city has earned itself a place in SeatPick‘s top 10 list of global music cities for 2026 – slotting right in there at a respectable number four.
Overall, Manchester claimed a score of 7.90 out of 10, as the city apparently hosts a total of 1,204 concerts per year across 116 venues, and even supports 380 music artists and 72 music-related businesses in the process, as well as hosting 26 different music festivals annually too.
“From indie and electronic to arena-filling acts, Manchester continues to punch above its weight as a powerhouse of British music,” SeatPick said in its new rankings of global music cities.
Other UK cities that feature in the top 10 are London at number two, and Glasgow and Bristol and number eight and nine, while claiming the coveted top spot of the list of global music cities for 2026 is the German capital of Berlin.
“What really stands out in this data is that the best music cities aren’t always the ones with the most artists,” explained Gilad Zilberman, who is the CEO of SeatPick. “Rather, they’re the ones where live music is tightly woven into everyday life.
“Cities like Berlin and Manchester have fewer artists than London, but higher audience concentration per venue, which typically leads to stronger ticket demand and more consistent sell-outs.”
Featured Image – Vishnu R Nair (via Unsplash)
Gigs & Nightlife
A legend in leopard print – Magic Miles Kane at Albert Hall, Manchester | Gig Review
Harry Quick
There’s something poetic about seeing Miles Kane perform in a venue like the Albert Hall.
Beneath the stained glass and towering arches, he felt less like a veteran gigger and more like the high priest of British indie showstoppers – sharp-suited and equipped with what appeared to be custom, heeled adidas three stripes with a fully leopard print set to match. Carpeted floor, drum kit and all.
You can tell from the outset that, city rivalries aside, the scouser is adored by his Mancunian fanbase. His opening track, ‘Electric Flower’ – taken from his latest album, Sunlight in the Shadows – made for the perfect start.
Kane emerged to a roar. The track’s shimmering melodic edge got the two-tiered crowd quickly accustomed to Kane’s newest style of sound, and things kicked on easily from there.
It was a confident opener (not a greatest hit in my humble opinion, but a statement) before snapping straight into ‘Rearrange’: more familiar territory for most, which sent the floor bouncing within minutes.
From there, the set unfolded like a guided tour of Kane’s career, past and present blending seamlessly.
‘Troubled Son’ and ‘The Wonder’ leaned into his grittier side, while ‘Without You’ felt inspired by a similar jangly riff of ‘Long Cool Woman’ by The Hollies, famously setting the rhythm to a particular Britpop classic. If you don’t know already, look it up!
By the time ‘Coming Down the Road’ and ‘Love Is Cruel’ rolled around, Albert Hall was fully warmed up — and personally won me over on the new album with the latter.
It carries a softness that you don’t tend to expect with a Miles Kane track, but maybe that comes with a creative maturity approaching your 40s (sorry, mate).
Regardless, Kane stalked the stage with trademark swagger, feeding off the crowd and grinning like a man who knows he’s exactly where he belongs and continues to do so.
Then came one of the night’s first real eruptions…
Ahead of the show,‘Inhaler’ was one of my most anticipated listens. It hits like a shot of adrenaline from the opening chord, and the crowd sing every word back at him as if it were 2011 all over again. If you’re a Miles Kane fan, my money is on ‘Inhaler’ being high up your list.
‘Blue Skies’ followed, which shone a spotlight on not only the vocals but the complete shredding from the rhythm guitarist in the final breakdown. Having stood in the top tier of the Albert Hall, I got a prime view of the audible freedom he had to play with!
Mid-set, Kane doubled down on newer material with ‘One Man Band’ and ‘I Pray’, both sounding huge live – proof that his recent output more than holds its own alongside the classics.
The emotional heart of the night arrived with my favourite, ‘Colour of the Trap’. This track has been etched onto my playlist for longer than I care to mention. You felt it coming. The room softened, phones lit up, and for a few minutes, Albert Hall felt like a shared memory rather than a venue.
It’s almost as if he didn’t want it to end himself, with an echoing chorus of la la la la going on for a good few minutes after the band’s final instrumental chime. ‘My Love’ and ‘Walk on the Ocean’ kept that reflective mood rolling before ‘Better Than That’ nudged the energy back upwards.
From there, it was full throttle. ‘Coup de Grace’ and ‘Never Taking Me Alive’ were delivered with venom and volume. Straight from his 2018 catalogue felt like one for the dads, or at least it resonated with the 50-year-old bloke pointing his fist in the air with one hand and holding a double pint in the other. Legend.
As the main set drew to a close, ‘Don’t Forget Who You Are’ fittingly carried us into the encore — defiant, anthemic, and shouted back word-for-word by a crowd that had been banging this tune out long before they heard it on FIFA 14 (like me).
It was exactly the type of tune that made me whip my phone out and record it for the boys, saying, ‘remember this one?!’, to a chorus of thumbs up in the group chat. And when I mention the encore, it didn’t mess about.
Kane and the band picked up where they left us with a high intensity ending to ‘Don’t Forget Who You Are’ before the title track, ‘Sunlight in the Shadows’, gave the tour its emotional centrepiece: rich, expansive, and glimmering amongst camera flashes between bums on shoulders.
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And then, the inevitable closer. By far his biggest song, if Spotify streaming numbers are anything to go by, ‘Come Closer’ sent Albert Hall into one final frenzy.
We saw bass guitarist Nathan get his special birthday moment when Miles and the band brought on a chocolate cake to celebrate, blowing out the candles – mid belter. Just ending the night on a euphoric high that left smiles plastered across sweaty faces.
Miles Kane at Albert Hall wasn’t just another date on the tour calendar. It was a reminder of just how deep his catalogue runs, how legendary in the indie rock game he is, and how effortlessly he can still command a Manchester crowd despite hailing from Merseyside. We don’t mind them, really!
Daisy Jackson -
3rd February 2022 
