Category: Manchester

Manchester Venue 192 – Palace Theatre

As you stride down the hill from Oxford Road train station you reach the junction of Oxford Road and Whitworth Street where Manchester Palace Theatre is located, situated across the road from the Refuge Bar. The grand old building designed by architect Alfred Darbyshire at a princely cost of £40,500 first opened its doors in 1891, and at that stage was known locally as the ‘Grand Old Lady of Oxford Street’, and the sister theatre The Opera House across town on Quay Street are owned by the same company. 

Manchester Palace Theatre. Image Credit ticketsonsale.com

Their first ever production was a ballet version of Cleopatra where they had a seating capacity of 3,675 though that figure has reduced significantly over the years to its current number of 1955. The theatre struggled initially but garnered more success when they had more popular performers playing there. Luminaries such as Lillie Langtry, Charlie Chaplin, Judy Garland, Gracie Fields, Danny Kaye and Laurel and Hardy have graced that very stage.

It had an extensive refurbishment in 1913 and was reopened seven months later by Harry Houdini. It was unfortunately struck directly during the Manchester Blitz of 1940, but then had successful productions of Guys and Dolls, Hamlet and Look Back in Anger running during the 1950’s and 1960’s.

It had a fallow period in the 1970’s and was threatened with closure but the intervention of the Arts Council saved the day. As a result, some further renovations took place before reopening again in 1981 with a production of Jesus Christ Superstar. In 2009 as part of the Manchester International Festival a premiere of Rufus Wainwright’s Prima Donna opera was staged there.

Musicians to have performed there include the Platters, The Kinks, The Rolling Stones, The Who, Pink Floyd, The Smiths, Johnny Cash, Damon Albarn, and the indefatigable Sparks were astonishingly playing there back in October 1975!

Sparks. Image Credit pinterest.com

The current layout contains three tiers of seating in the Stalls, Circle and Grand Tier. On our first visit in the early 1990’s we were sat in the vertigo inducing cramped seats ‘in the Gods’ watching West Side Story where we had a literal vertical view of the stage, but lessons were learned and never again have I ventured back up there! There are a plethora of amenities including the appropriately named Stage Door Bar and the whole venue is available to hire if you had the urge to do so!

I have cogitated long and hard regarding what may constitute a gig and have surmised (at least in my own head!) that in the scenario where bands are essentially part of the story of the theatre production that criteria is fulfilled.  

Thus, in September 2022, Gill and I had an outstanding credit note from previous shows that were cancelled during the pandemic so we utilised that in purchasing tickets to go and see the longstanding production of Ben Elton’s We Will Rock You, which had originally opened in the West End in 2002.

For the uninitiated the show was about the band Queen, and it is apparently classified under the category of a Jukebox musical, for which the definition is that it contains an abundance of pre-existing well known popular tunes, instead of songs being written specifically for the musical. Despite all that, the show personally didn’t work for me, and I found it all rather disappointing.

On the converse side, the other musical School of Rock that we saw earlier in that year was on a completely different level. It was an adaption of the original Richard Linklater movie released in 2003, which is an excellent feel good movie with a starring role for the effervescent Jack Black. Jack himself is a talented musician and was one half of Tenacious D who had a big hit with ‘Tribute’ which featured a cameo from Dave Grohl playing Satan.

The movie is based around the premise of Dewey Finn (Jack Black) impersonating a substitute teacher and turning a class of talented kids into a rock band in order to perform at a Battle of Bands contest.

Some of the children have had interesting lives since the movie with Lucas Babin who played lead guitarist Spider going on to be a district attorney in Texas. Miranda Cosgrove who was the agent Summer Hathaway was at the age of 19 in 2012 the highest paid child actor and has also released a few records herself.

Letter to Brezhnev. Image Credit imdb.com

There was also Caitlin Hale and Angelo Massagli who played classmates Marta and Frankie who met years later and subsequently got married 22 years after the original movie. This also brings to mind the two main actors Alexander Pigg and Peter Firth in the 1985 flick Letter to Brezhnev, who married other people but then later wed each other in 2017. I have recently watched the film again and it certainly stands up to scrutiny and my abiding memory from its initial release was the phrase ‘Kirkby Girls’ being uttered by Margi Clarke in a deep scouse accent!

The theatre show was a faithful reproduction with extra gags included, and the child performers were absolutely superb making it a very fun night. It was topped off perfectly with the show finishing in synchronicity with us able to catch the last train home from the station opposite.     

Manchester Venue 191 Gorilla – Part 2

Manchester Gorilla had a coup a few years ago when none other than Kylie Minogue requested to play two intimate European dates prior to her upcoming arena tour and she chose to play Berghain in Berlin alongside the Gorilla. I believe as a result the tickets went like hot cakes!

My next visit to describe was the exceedingly welcome reformation of Rocket from the Crypt (RFTC), who in my personal view were the best live band on the circuit for a couple of years in the late 1990’s and was the first time I had witnessed them in twelve years. They were still in fine fettle, and I enjoyed the show.

Manchester Gorilla. Image Credit Visit Manchester.

The driving force of RFTC is the lead singer John ‘Speedo’ Reis, who owns the Swami record label and has also been in several other bands over the years including Pitchfork, Drive Like Jehu, Sultans, Night Marchers, Swami and Hot Snakes. In January 2018 I saw the last named act who serve up a more stripped down sound than RFTC where John was more in the background and during the first track dampened down the ‘Speedo’ chants from the admittedly sparse audience. They produced an urgent, vibrant and thoroughly enjoyable performance.   

On a cold January night in 2015 we trogged over to see Neneh Cherry for the first time. She was born in Sweden under the name of Neneh Mariann Karlsson and her half-brother is musician Eagle Eyed Cherry. She has punk heritage as a 15 year old member of the Slits and around that time roomed with lead singer Ari Up in a squat in Battersea. In 1989, she had a huge hit with ‘Buffalo Stance’ and has also dabbled in DJing and broadcasting.

She cut a spiky intriguing presence and was a veritable bundle on energy on stage and we very much enjoyed the show however we unfortunately had to scamper off early to guarantee we could catch a train home.   

The Slits. Image Credit billboard.com

Next up was Parquet Courts, a four piece from New York who met whilst at university in Texas. They were touring to support their fifth album ‘Human Performance’, for which the art and packaging of that particular release garnered a Grammy Award nomination.

Later that year, I had my latest dose of the unique Lovely Eggs who were in fine form. It was Gill’s first exposure to them, and she was swiftly converted. They were supported on the night by the Hornblower Brothers, who have nobody named Hornblower or any brothers in the lineup! What I can tell you is that they had more than a passing resemblance to Half Man Half Biscuit. A couple of years later in 2018 we saw the Eggs again there and they marked a milestone as it was the first time I reached a century of gigs in a calendar year.   

The next one on the roster was a band that I had been chasing for a long time, but events always seemed to conspire against me when they announced tour dates. The act in question was Mono, an instrumental band from Tokyo. They formed in 1999 and have released eleven albums in total, and my favourite is the epic titled ‘Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined’. In 2005 they took the unusual route of releasing a split album with the aforementioned Pelican and restricted the recording to vinyl and only 4000 copies.

They have more of a lush classical sound then their post-rock compatriots. They are seated when they play live, but they are definitely not Westlife as they break into some noisy sonic guitar sounds when the muse takes them. The only remaining band of this ilk who I have still not seen is Built to Spill.

Mono were joint headliners with French post-rockers Alcest, who started originally as a black metal combo before moving into less abrasive territory, and their sound evoked comparisons with My Bloody Valentine.   

Mono on stage. Image Credit asiapacificarts.org

In April 2018 I witnessed the Madrid majesty of the Hinds. They were originally a two-piece called Deers but risked legal action from The Dears so changed the name to their current moniker, but to a degree retained the original as it can be translated in some languages to ‘female deers’. They then morphed into a four-piece and released 4 albums before resorting back to a duo in 2023.

They are firmly in the garage rock domain with lovely harmonies and were terrific fun and had a fine stage banter and presence. My most recent attendance at the venue was in 2025 to see the band again for a second time. In 2019 I had my second sighting of Fontaines DC who were very entertaining again and were supported by Cut the Mustard.

At the final ever Dot to Dot festival later that year I saw Crows who provided some thunderously loud abrasive post-punk. Their latest album ‘Reason Enough’ was recorded in a former Catholic church and convent in Stroud and their lead singer James recently fronted the band Humanist on their arena support slots for Depeche Mode. Finally in May 2024 I saw Maybeshewill, a post-rock band from Leicester who I enjoyed as much as the previous time I had seen them at the Ferret in Preston in 2011.

Now, for the very eagle-eyed (not Cherry!) among you, you will have noted that I have only documented seventeen gigs at the venue, the eighteenth I will document next time in its own specific article, and the reasons for this will then become apparent.