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.’
ADVERTISEMENT
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.
ADVERTISEMENT
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.
ADVERTISEMENT
“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.
ADVERTISEMENT
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.
ADVERTISEMENT
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.
ADVERTISEMENT
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.
ADVERTISEMENT
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
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.