Manchester, April 1990. The ‘Madchester’ movement is in full bloom.
Throbbing speakers pump high decibels through thick plumes of cannabis smoke. Crowds dressed in baggy t-shirts congregate to sip cans of lager.
Gangs of men strip off their clothes and throw shapes in their birthday suits to the tune of uproarious laughter.
And this was just at Strangeways Prison.
Madchester – the cultural scene that had put Mancunia on the world map – had consumed the city at the turn of the nineties. But it had also found a way inside the region’s maximum security facility.
When the spring of 1990 rolled around, inmates had grown sick of the Victorian conditions at Strangeways. On 1 April they launched a revolt; fighting off the guards and climbing onto the roof to stage a protest.
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Not for the first (or last) time, every eye in Britain was on Manchester.
And one man watching the city vibe permeating prison walls was David Nolan – a young journalist covering the story for Piccadilly Radio.
“Madchester was the perfect backdrop for the riots; if you were to get the footage of the guys on the roof, you could cut it to a Happy Mondays song,” David tells The Manc.
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“The whole thing had this psychedelic, surreal weirdness. It was quite rock and roll – and very much of its time.”
“It was weird how quickly you got used to the surrealness of it all; this carnival atmosphere.
“There were people selling weed, beer, even Strangeways t-shirts. Helicopters used to fly over and cast shining lights. Fire engines would be hosing down the rooftops.
“When the prisoners would shout messages they wanted to get to the outside world, the home office would try and stop them by playing music at a deafening level, and their favourite song of choice – this is the British government – was Mr Blue Sky by ELO.
“The prisoners were forever taking their clothes off and getting naked on the roof, too – you never saw on that on the tele, of course.
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“Can you imagine that as a mix: The drugs, the beer, the water jets, the light and the music?”
Image: Youtube
Image: Youtube
David was stationed at Strangeways morning, afternoon and night, but he and his fellow journalists were never alone.
This was the biggest show in town – and every man, woman and child seized each opportunity to come and take a peek.
“You’d have waves of people just coming down to watch,” David explains.
“Some would come before work, then bring their sandwiches and watch the rioters at lunchtime. At half past three kids would visit after school, then you’d have people visiting when the pubs kicked out at eleven o’clock.”
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Whilst the public came and went, journalists were compelled to stay put as long as the prisoners roamed freely on the rooftops – scrambling to make notes whenever movement occurred above.
“It was a bit like lockdown in a weird way,” David recalls.
“Occasionally we’d go to a press conference, but for the most part journalists were stuck there.
“We saw a lot. Some it quite funny. There were so many bizarre things happening in and out of that jail.
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“Sometimes they’d unfurl these daft banners – like one that said ‘Ken Dodd is innocent’.”
Image: Youtube
Image: Youtube
Dozens of prisoners set up camp atop of Strangeways throughout the month – but two quickly became the faces of the riot.
“Out of all the men on the roof, there were a couple that were most visually distinctive and easy to spot,” David tells us.
“Paul Taylor was seen as the ‘ringleader’, although he didn’t like that term. He was an extraordinary guy in some ways; very articulate with this flowery way of communicating.
“I remember him shouting from the roof: ‘This is my decision and I am steadfast in my decision.’ What a peculiar way of putting it.
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“He would scrawl out all these long messages and some were quite lyrical. He was almost Shakespearean sometimes.
“When I interviewed him years later he told me the riot happened because he’d ‘decided it was going to happen’. So this must have been in his mind for some time.”
Taylor has since repeated this claim when interviewed by the BBC, but admitted he was “regretful” the protest had turned into a full-scale riot.
“As well as Taylor, there was also Alan Lord,” David explains.
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“He was this big, muscular, good-looking guy who was serving a long sentence at the time.”
Lord was often caught on the cameras due to his sheer physique, and became well-known among the press after taking responsibility for carrying messages between the inmates and the Home Office.
The protest ran out of steam when Lord was captured en route to a negotiation on 23 April.
Two days later, the remaining protestors called it quits and descended the roof via cherry picker – bringing the curtain down on the 25-day “carnival.”
But of course, it wasn’t just three weeks of fun and games. The prisoners hadn’t battled their way to the summit of Strangeways just to put on a party for those below.
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“We use the word ‘rioters’, but we could reframe it and change it to ‘protestors’,” says David.
“Conditions were bad in there. The jail was horrifically overcrowded and they were still ‘slopping out’ (defecating in a bucket).”
There were several explosions of violence during the riots that resulted in almost 200 injuries and even one death. But despite the prospect of larger sentences the longer they protested, many inmates couldn’t face returning to the squalor that waited for them down below.
The prisoners were up on that roof because they had something to say – although the authorities were reluctant to let them articulate it to the press; proceeding to crank the music up to eleven whenever Taylor began to reel off one of his infamous speeches.
At times, David said the scene was extremely sinister.
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“One evening it was very loud. All these horrible noises were erupting in the middle of the night and as it started snowing I got quite upset.
“I was thinking: ‘‘What on earth is going on inside that jail?’ It doesn’t even bear thinking about.
“At times it was incredibly frightening.”
“Maybe it was coming. Twenty-four hours before Strangeways were the poll tax riots in London – which saw wooden polls being shoved through police car windows.
“Did that possibly tip it over the edge? I just think it’s a really interesting coincidence that it happened the day before.”
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Whilst David has retold his experience of Strangeways on multiple occasions during a long writing career, he also used the setting as inspiration for the backdrop of his Manc Noir novel ‘Black Moss’.
“I cannot remember doing any other story of any description during Strangeways. Everyone was looking at that one place,” he tell us.
“That was partly behind the idea for my book. A child murder happens during a riot, and with the media, police, public all over in one spot, something horrible happens elsewhere.
“I also heard a story about a murder taking place during 9/11. Someone saw an opportunity to do something when everyone was looking the other way.
“It’s about distraction. But all the Strangeways stuff in the book is all absolutely accurate.”
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On April 25, the Strangeways Riots ended. In the months and years that followed, Madchester, as a movement, fell into decline. Factory Records went bankrupt, and the scene gradually blurred into the ‘baggy’ vibe of the nineties, before the emergence of Britpop at the backend of the decade.
Manchester is a strikingly different place today, and whilst Strangeways has been home to more rooftop protests since, the sight of a lone figure scaling the prison wall in jogging bottoms in 2017 did not conjure up the same kind of circus atmosphere.
As David attests, the madness of the 1990 riots can be attributed to how it represented an uncanny little time capsule of a chaotic era in history.
“If the riot had happened in Gloucester or something, I just don’t think it would have had the same vibe or attention,” he says.
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That infamous pandemonium at Strangeways was Madchester in the sky.
Featured image – Youtube
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.