The incredible history of Manchester Pride (and how far it’s come)
From police raiding the village bars for 'licentious dancing' in the 80s to the famous footloose policewoman filmed on the parade in 2015, Manchester Pride has come a long way indeed.
Manchester Pride is today one of the biggest LGBTQ+ events in the country, bringing thousands into the city every year to celebrate love in all its forms.
Over decades, the festival has grown into one of the longest-running Pride celebrations in the country – expanding massively over the years, whilst doing its bit to raise awareness, acceptance, and huge sums of money for important charitable causes.
But it wasn’t always like this. Rather, when it began life in 1985 as the Gay Pub and Club Olympics, organisers had to deal with a lot of hostility from both the police and the public simply to put on some fun events like .boat racing down the canal, tugs of war, and egg and spoon races judged by local drag queens.
At that time, there was still a lot of institutionalised homophobia in Greater Manchester. Back then, the village was a secretive area that people visited covertly and most of the bars had blacked out windows so you couldn’t see in.
The community struggled with a lot of prejudice, as well as police raids to stop what was at that time termed as ‘licentious dancing.’
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Albert Memorial rally, 1988. 20,000 people were in attendance / Image: Manchester City Council / Manchester Libraries
An except from Mancunian Gay magazine in 1984 titled ‘Not tonight, Anderton’ tells the story of how one night 20 plain clothes officers stormed into Napoleons and forced everyone in attendance to provide their personal information before being allowed to leave – an incident that was later branded as “an obvious case of police victimisation” in a press release issued by the Gay Centre.
In spite of this, the first Gay Pub and Club Olympics event still went ahead on the August Bank Holiday weekend of 1985. Notably, the event had the support of a new generation of Labour councillors elected in 1984 – who gave the gay community their support and appointed a Lesbian and Gay officer in a move reportedly inspired by Ken Livingstone.
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Inspired by Livingstone’s ‘s early days on the Greater London Council, in 1984 those new Labour councillors created an Equal Opportunities Committee and appointed Lesbian and Gay officers Maggie Turner and Paul Fairweather in what would prove to be a landmark move for gay rights in the north of England
1986 saw things gradually improve for the community, as councillors ‘put their arms around’ the gay community and gave it their support, welcoming a Northern Pride event in 1986 and contributing public funds towards the previous year’s celebrations.
The late Tony Wilson is pictured here alongside Coronation Street’s David Neilson (Roy Cropper) and Councillor Pat Karney. / Image: Manchester City Council / Manchester Libraries
Paul Fairweather, Manchester’s first Gay officer, covered the 1985 event for Manchester magazine Mancunian Gay: That year, the council had donated £1,700 towards the event which was focused around fundraising for AIDS.
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“Some of the bars got together to raise money for AIDS organisations in the city. There was a lot of support from the gay community and a lot more hostility from people in the city.
“At the time it was a very small event but people really, really put their heart into it. I think underlying it was beginning of the AIDS epidemic – people were concerned about the future.”
As the ’80s continued, Manchester’s fight for gay rights continued with the Section 28 march in 1988 acting as a huge turning point as the Thatcher government’s draconian legislation brought people out onto the streets to protest in their droves.
At the time, Manchester was almost alone in voicing its opposition and those involved came under huge pressure both politically and through the media. However, the marches were huge in that for one of the very first times locals who weren’t part of the gay community joined in solidarity and allyship.
Although the exact date of this image is unknown, it depicts a familiar scene that takes place very year at Sackville Gardens and is one of the most poignant moments of the festival / Image: Manchester Council / Manchester Libraries
Ultimately, though, that protest put paid to the restrictive legislation, which had been introduced to explicitly discriminate against gay people and prevent them from discussing their sexuality with, say, teachers or social workers at the time.
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The march also did its bit to bring together different elements of the disparate tribes within the LGBT community, and the next year was followed by another event called Love Rights ’89 – which was billed as a “celebration of Lesbian and Gay Sexuality”.
Still, it wasn’t until the early nineties that the Gay Village welcomed its first openly-gay bar and even then police raids in the area continued right up to 1994.
The battles against institutional homophobia were still being fought, clearly, and some continued to call the Canal Street area ‘Satan’s Square Mile’ – but the opening of new nightclubs like Nightclub Cruz 101 and seminal events Electric Chair and Poptastic saw the community pushing back.
In 1991, the Village Charity was formed and the Manchester Mardi Gras, ‘The Festival of Fun’ was created – raising £15,000 that year alone.
A more recent image from one of the legendary parties held inside a car park in the village / Image: Gpphotography / Manchester Pride Festival / Down At The Social PR
That year, there was a ‘street market’ in Sackville park (instead of on the road outside the Rembrandt Hotel) soundtracked by DJ Mike Coppoc, and a ‘It’s a knockout’ competition that was characterised by the wearing of some very tight cycling shorts – by all accounts ‘the thing’ to wear at the time.
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A heartfelt speech by Paul Orton of The Village Charity closed that year’s event on the Monday night, followed by a fireworks display which ended with “Manchester Cares” spelt out in the night sky.
In the years that followed, the free-to-attend event grew and grew, with stages erected in the public park and on the car parks every year. Then, in 1999, for the first time ever the Gay Village area was fenced off and what was then known as a “pledgeband” was introduced, with a commitment that 50% of proceeds raised would go to charity.
The decision to cordon off the village and charge an entry fee was contentious at the time, and is still considered to be so by some today – with some campaigners arguing that the wristband system prevents some members of the community from taking part by imposing financial restrictions.
In part because of this, some bars and clubs in the village still don’t require a wristband to gain entry to this day and the campaign group Facts About Manchester Pride have done quite a lot of work to suggest that there isn’t a basis in law to charge people access to the village over the Bank Holiday weekend.
Image: Gpphotography / / Manchester Pride Festival / Down At The Social PR
Despite the contention, though, for many the party was only becoming more popular. By the early 00’s the event was attracting more than 100,000 people a year.
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Renamed from Mardi Gras to Gayfest in 2001, the celebrations still didn’t officially become Manchester Pride until 2003, when the event was renamed once more – this time by Marketing Manchester.
In the years that followed, millions of pounds have been raised through the festival – which now has numerous different parts to it such as the Superbia Weekend, the Gay Village Party, Manchester Pride Parade (which is not taking place this year), Youth Pride MCR and the Candlelit Vigil.
It’s also continued to push the boundaries and campaign for equality, too. Manchester’s parade was the first in the UK to include services like the police, NHS and army amongst its floats – showing just how far things have come within the space of 20 years.
Remember the dancing footloose policewoman filmed on the parade in 2015? We can’t imagine that having happened without the progress of the past 20 odd years.
A familiar sight, this is how Canal Street looks today when the village party takes over for the four-day knees-up / Image: Manchester Pride Festival / Down At The Social PR
From what was essentially a jumble sale in the 80s to a world-recognised event, no matter what criticisms you may have of Manchester Pride it’s still fair to say that it has done a lot for promoting equality within the wider community. It’s also one of our favourite times of year.
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Of course, the work’s not done – in 2019, the festival’s Chief Executive went on record to say that “the fight has only just begun.”
“Every year I am asked do we still need a Pride celebration and every year I say yes we do.,” said Mark Fletcher.
“We must support every single member of every single LGBTQ+ community and fight until they feel equal and free to be themselves.”
These comments feel even more pertinent in 2023 after ‘anti-woke’ GMP Chief Constable Stephen Watson told officers they cannot decorate their uniforms with rainbow badges and patches this year – leading some to wonder if we’re going backwards, not forwards.
Manchester Pride Festival 2024 will take place between 23 and 26 August – you can find out more here.
Feature image – Manchester City Council / Manchester Libraries.
Feature
Five Greater Manchester-based artists we’ve been listening to this month | January 2026
Danny Jones
Happy New Ye—ah, never mind, we’re well past that; however, we’re never past soaking up new music and song recommendations from the best music city in the world – we’re pretty sure that’s why they really call it Greater Manchester…
If 2026 does happen to be your first year with us, this feature is pretty self-explanatory: every month, we round up some of the best tunes and Manc-based artists you may not have heard before.
Or maybe you have, and you’ve just forgotten about them. You don’t have to be a big name or an up-and-comer here at Audio North; you make it on this list if you’re good. It really is as simple as that.
So, without further ado, let’s get stuck into our very first collection of regional artists you need to try of the year…
Five Manchester artists we’ve been listening to recently
1. Spangled
First up for 2026 is a group we’re expecting big things from this year, and hopefully plenty of new music to back it up. They’re playing a huge Ritz headline show with some other Manc bands at the end of February, and it’s sure to be a party, especially when that new single ‘Barracuda Cadillac’ kicks in.
Spangled is a name you may have already come across, and they’ve certainly been working hard over the past half a decade, but we’ve got into a real groove with them of late. Post-punk, alt-rock, or straight-up Manc indie in moments; they’re given all sorts of labels – we just call it full-tilt rock and roll.
They’ve got a great swagger about them. Frontman Ben Johnson has a bit of Rob Damiani about him; the guitar work is excellent, they do a good music video, and they’ve even got a track that sounds like ‘The Only One I Know’ by The Charlatans. We’d say start with ‘Little Tom’, ‘Human’ and ‘Drift Away’.
Ok, off to a strong start, and while we’re hoping for those lads to finally release their first full album in the coming months, we’re hoping to see fellow rising rock project, PAVÉ, drop a proper lengthier sophomore LP sometime soon. If you fancy taking things up a notch in terms of heaviness, these are just the ticket.
Mixing plenty of distortion, electronics and wider effects to their overall sound, this four-piece (which was also formed in 2019) is great for anyone trying to keep their nu-metal and grunge-soaked younger selves alive, and they definitely know how to write a radio-friendly chorus.
Alanya Jade’s vocals soar over hard-hitting riffs and rapid drumming patterns, and the lyrics are appropriately brooding. We’d recommend their big single, ‘The Weight Of Letting Go’, another fan favourite, ‘Whatever The Cost’, and our personal favourite thus far, ‘aren’t YOU scAREd to be ALONE?’
Sticking with Manc rock but with plenty of US influences, we move on to Gallagher’s Green. Named after a cigarette brand and showing no shame in championing not only some post-Britpop, but unmistakable Americana and even country, this collective has roots in Oldham, the North West, Yorkshire and Ireland.
Their backstory and journey up to this point is as fascinating as it is moving, with founding duo Ian Gallagher and Jon Olphert first meeting whilst serving in Iraq back in 2008, before going to enjoy gigs together and eventually forming a band of musical brothers all their own.
They’ve maintained a clear mix of mainstream transatlantic sounds; it always sounds familiar, but there’s definitely more of a leaning towards the Stateside vibes. Put simply, your dad’ll LOVE these, and we mean that in the best way. ‘Just A Dream’, ‘Not My Day to Die’ and ‘Better Days’ are our standouts.
You’ll get a bit of Oasis, Shed Seven, Feeder, as well as bits of Foo Fighters, Incubus, and much more.
4. CQ Wrestling
Our penultimate pick is, quite frankly, a band that should have been named on our Greater Manchester artists of the month list AGES ago, but given they’ve had a bit of a sea change in the last couple of years or so, we held off to see what we’ve made of it.
We needn’t have worried – if anything, we’re more obsessed than ever. No longer Chappaqua but now simply CQ Wrestling, the local indie turned even grungier and more shoegaze than ever outfit definitely suits this particular writer’s general tastes, but it does help set them apart a bit more these days.
Personally, we will always have a very strong soft spot for older tunes like ‘Football’, though we do enjoy the growing aggression in 2023’s ‘Kulture’, but our favourite track at the moment is ‘Catherine Wheels’, which feels like the perfect advert for their relaunch as an even darker brand of modern alt-rock.
5. Oscar White
Finishing on a much softer note for this month, we head into February with the dulcet tones of Devon-born singer-songwriter, Oscar White, who has such a command of the acoustic guitar that we believe his intricate picking could genuinely lull a baby to sleep. Or, you know, a fully grown man…
This Manchester-based folk artist definitely enjoys dipping into the old Celtic and bardic traditions, so it feels quite quintessential for the genre, and best of all, we’re starting you off nice and easy, because he’s only got two tracks out on Spotify, but there is more to be found on his YouTube and other places online.
So, stick on ‘Debts and Dry Land’ and ‘Spencer The Rover’ – both of which show off that fingerstyle guitar, but also do a good job of showing two different ways he deploys his raspy voice – but do check out YouTube for his live version of ‘All Turned Out’ at The Whiskey Jar in NQ. Simply gorgeous.
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.
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!