Ruth Daniel
Photograph, 2018
RUTH DANIEL

“From my work in the jungle of DR Congo to the streets of Brazil to my own country of the UK, it is always, undoubtedly the young generation that give me hope and belief we can make change. I believe in fairness, equality and education for all regardless of gender, race, or sexuality. And I will fight for that until the end.”

Ruth’s parents bought her an electric guitar for her 10th birthday and her life changed for ever, on an unexpected path through the world of music – as a musician, as a record label founder, a festival producer and a global music activist. After playing in a band for over 10 years, even playing with The Fall on their greatest hits tour, Ruth became connected with the UK music infrastructure. She was founder and director of Fat Northerner Records (2003 – 2010) helping bands from the North of England achieve a greater platform to develop and worked with over 60 bands, touring bands around the world. She also co-founded Un-Convention, a series of grassroots music events that took place in around the globe. She is regular speaker at cultural festivals and events, including TEDX.

Ruth is an award winning cultural producer, activist and social entrepreneur. Ruth joined In Place of War during its inception and has been pivotal in the organisation’s development and vision. She is now CEO and Artistic Director there, building a global organisation that uses creativity in places of conflict as a tool for positive change. This enables grassroots change-makers in music, theatre and across the arts to transform a culture of violence and suffering into hope, opportunity and freedom. Ruth has pioneered the development of new creative hubs in, for example, Congolese refugee camp; a prison in the war affected area of Uganda; with indigenous hip-hop artists in Uganda; on an island inhabited by single mothers in Lake Victoria, and in Palestine. She has mobilised nearly 1,000 creative leaders across the world and was instrumental in creating In Place of War’s Creative and Social Entrepreneurial Programme, delivered in thirteen countries across Africa and the Middle East.
Ruth is the founder and Creative Director of GRRRL, an electronic music collaboration between independent, revolutionary women artists from around the world, coming together to tell their collective stories of life, conflict, inequality and change. GRRRL featured an eclectic mix of eight fierce influential artists from eight countries. After communicating and collaborating online for a month, the GRRRLs physically came together in the UK for 4 days to create a new body of work. GRRRL previewed to full capacity VIP audience at Ronnie Scott’s Jazz Club Bar and toured to many festivals including Shambala, where they won the title of the best band.

Ruth is also an Artistic Advisor on the Futures Venture: Radical Independent Arts Fund, which awards radical artists funding for new work. Ruth and the trustees have awarded eleven grants to a diverse range of radical artists based across the UK. She sits as a Trustee at Comma Press, a publishing house focussed on short stories contemporary narrative culture based in Manchester. She is also a Trustee at her local community radio station in Levenshulme, All FM. Ruth Daniels, from local to global.
The Fall, Brix Smith Start, Brix And The Extricated
Photograph, 2018
Brix Smith Start
PHOTO: Melanie Smith

Brix Smith Start is one of the few true female rock icons of the indie and alternative era, an inspiration for
generations of women, not just those who play music. Her best-selling 2016 autobiography, The Rise, The
Fall And The Rise, detailed a hugely eventful life including the years in which she was married to recently passed Fall singer Mark E. Smith and wrote songs and played guitar in the group. Her arrival in the 80s redefined the band’s sound and took it chartward (and brought a touch of LA glamour to the band’s Salford mean streets look).

During that time, Brix also formed the much-loved Adult Net who released one album in 1989, shortly
before her explosive departure from the Fall. What followed was a bravely documented breakdown. After
taking some time out to recuperate Brix rose like a phoenix from the ashes, stronger and more ambitious
than ever.

She married fashion entrepreneur Philip Start, and kicked off a successful fashion career by opening the
START fashion boutique in East London. The power couple were one of the first pioneers of Shoreditch
and were key in establishing it as a hub of cutting-edge fashion in London. At their prime they had 3 A-List
START boutiques and Vogue cited them ‘amongst the best stores in the world.’

Brix’s career expanded into TV when she was asked to co-present Channel 4’s late-noughties hit TV show
Gok’s Fashion Fix, which acted as a springboard into a broad spectrum of TV work where she became a
widely recognised face in Britain, appearing in shows across ITV, Sky 1, TLC, Channel 5 and included
cutting her comedy teeth with a role in Sky 1’s ‘Parents’. She is a well-respected journalist across music and lifestyle press and periodically hosts shows and guest DJ’s on BBC 6Music.

In 2014, as she was finishing her memoir, Brix finally picked up a guitar again, and, with a reborn musical
drive and passion, she formed Brix & The Extricated in 2015. The band - whose sound consists of
elements of vintage Fall, such as strange sonic textures and off-kilter found sounds, but also brings the
raw power of the Stooges, the pop sensibility of prime Blondie, walls of big glam rock guitars and dollops of
psychedelia - released their highly anticipated debut album Part 2 on 22nd September 2017 to critical acclaim.
Phoney, Lionrock, Sisters Of Transistors, Mandy Wigby, Architects Of Rosslyn, Danger Diabolik
Photograph, 2018
Mandy Wigby
PHOTO: Mat Norman

Mandy is a freelance composer, sound designer,
music producer and educator.

She has recently been nominated to appear in a new
exhibition by the Heritage Lottery-funded Manchester
Digital Music Archive project Rebel Music, which
celebrates women and members of the LGBT +
community and their musical achievements.

More recent projects have seen her develop the
‘Sensory Soundpit’ with Di Mainstone, Howard Jacobs
and a team of coders for the European City of Science
2016 and Bradford Science and Media Musuem’s
SuperSenses exhibition 2017 to rave reviews, the
head of the Arts Council England called the installation
‘Outstanding’.

She has also contributed sound design and original
music alongside Henrietta Smith Rolla to the sell out
play “Fallout” performed at the Anthony Burgess
Centre in Nov 2016.

In 2015 Mandy was commissioned by Delia
Derbyshire Day to create a piece she called “The
Waking Sleep” inspired by Delia Derbyshire’s archive.
The piece was performed live with Howard Jacobs as
The Architects Of Rosslyn with accompanying films by
Di Mainstone at Home Cinema in Manchester, Leeds
College of Music, Festival No 6 2016 and at Band On
The Wall and Blue Dot Festival in 2017.

She was also a founder member of The Sisters Of
Transistors with Graham Massey from 808 State. They
toured the UK for 5 years and recorded an album,
released in 2009 on Simian Mobile Disco’s label ‘This
is Music’.

From 2001-04 Mandy formed the electronic music duo
Danger Diabolik with Sibylle Veyre. They secured a
development deal with Sony Records, and performed
in Manchester & London. Their music was played in
clubs in London, Paris and New York.

In 2001 Mandy recorded with Homo Electric DJs Kath
Mcdermott & Philippa Jarman and Adam Piper under
the name Phoney. They released tracks on the London
label Nuphonic.

She has toured America, England and Europe as the
keyboard player with the band Lionrock, also writing
and recording material for the second album ‘City
Delirious” which included the No 19 hit ‘Rude Boy
Rock’ and led to a Top Of The Pops appearance.
Mandy also worked as a tape operator and assistant
engineer, and later as studio manager at the seminal
‘Out of The Blue Studio’ on projects including Inspiral
Carpets “Life” album, James “Gold Mother” and early
Oasis and Verve demos.

She has released albums and singles, toured with
bands, created music and sound design for various
multi-media projects including New Found Theatre,
Screen Play Education, Instant Dissidence Dance
Company, Woodwork Music, and the Manchester
International Festival on Damon Albarn’s ‘Monkey
Journey To The West’. She is a guest contributor to
Stuart Maconie’s Freakier Zone on BBC 6 music and
her music has been broadcast on films, BBC TV, and 6
music.

Mandy also worked part-time at Gorse Hill Studios in
Manchester for 12 years supporting, teaching, and
mentoring young music producers and musicians. She
is a fully trained arts award advisor and in addition to
this she also manages music projects and live events
for young people.
1
Melanie Mudkiss
The Ritz
Photograph, 2018
Melanie Smith
PHOTO: Andrew Twambley

My portrait shows me holding the first self-published annual ‘Mudkiss’ interview book. On the cover is a composite image of Lorraine Reeves and myself, collectively known as Mudkiss. We started a little creative venture back in the summer of 2008 and it was to become the start of my adventures into music photography.

John Robb described the book as “A mascara smeared collection of some of the most cutting edge individuals hacking away at the merciless coal face of pop, written with enthusiasm and sassy sharpness”

Me and Lorraine were cyber friends on myspace, the North and the South blondes. We had similar music tastes and wanted to do something interesting together and pretty soon we were in full swing. We began digging around for people who were part of the punk music scene when we were teenagers.

After a few months I wanted to expand the idea and designed a leopard print themed website called Mudkiss Fanzine - inspired by those old punk fanzines. Mudkiss didn’t just interview musicians; we sought out people who had stories to tell, photographers, poets, writers, characters on the music and art scene and more.

After 6 months Mudkiss had a select team and the site grew in popularity. We went from interviews to reviewing live shows, music books and new releases. We also started championing new band, local artists and we were inundated with press requests. I started to photograph at shows and did photo shoots at interviews, eventually getting more professional equipment and gaining access to the press pits. We soon got a steady stream of keen writers and we kept it going for five years. I also found time to self-published four non-profit interview books, 2008-2011. Lorraine put on a Mudkiss all dayer in Camden, and I organised a Mudkiss Showcase gig in Bolton, with four bands. We even had our own weekly spot on Stockport FM, which ended up as a once weekly Mudkiss show, being run by three of the writers and became quite successful.

As the site became more popular, it also became too big to manage for one person, so I decided to stop working on it and archived the site. I made the decision to concentrate on what I did best - music photography. We had some great adventures and made many like-minded music friends over the years and some of the team joined me when I moved to other sites.

John Robb kindly offered me a place on the Louder Than War team and I progressed to head of photography. John Clarkson at Penny Black Magazine also offered me a place on his long established team.

In 2015 I was invited to be a house photographer for O2 Ritz Manchester.

I particularly love promoting and photographing women in music and visually entertaining live acts.

My work has been featured in print magazines such as Mojo, Louder Than War, Daily Mail on Sunday, Big Issue, Viva Le Rock, Essex Echo, Guitar Bible and Viva! Life.

www.mudkiss.com is still available as a valuable archive.

www.mudkissphotography.co.uk is my photography site.

www.mudkiss.com
Happy Mondays, Rowetta, Peter Hook & The Light
Photograph, 2018
Rowetta Satchell
PHOTO: Angie Wynne

Rowetta is secret voice on the Black Eyed Peas worldwide hit. “Boom Boom Pow”.

She is the voice on the renowned 1989 track "Reach Out", which has been sampled by many, including Steve Angello, DJ Zinc and Todd Terry.
Steve Angello and Laidback Luke used her voice for the hit dance tune “Be” which David Guetta and Hardwell often use it to open their dj sets with and it is also used on the Steve Angello / Robin S hit “Show Me Love”.

Rowetta wrote the original with Sweet Mercy and it continues to be sampled and played globally. Cheryl Cole sampled it on her Brits performance of 'Fight For This Love".

Rowetta is the original female singer with the recently reformed Madchester band, Happy Mondays, singing on all their hits, and touring the world.

She played herself in the Michael Winterbottom film 24 Hour Party People and was Simon Cowell’s favourite and the last lady standing in the UK’s very first X Factor in 2004.

In 2009, The Black Eyed Peas sampled Rowetta on their global hit, Boom Boom Pow.

She has collaborated with many house producers including Lights Out feat Rowetta with Tom Stephan and Pete Gleadell on New York label, Nervous Records and No More Comin' Down with J Nitti on Dos or Die (Unlimited Sounds) with remixes by Darude.

Rowetta also sings with Peter Hook (Joy Division / New Order) and his new band The Light and was the lead singer on the EP 1102 / 2011.

Rowetta is a big hit at all the UK Gay Prides including London, Manchester and Brighton. She has headlined the infamous, G-A-Y night twice.

Rowetta toured with the Hacienda party including Graeme Park, Todd Terry, Marshall Jefferson, Mike Pickering and many more.

This included Japan, Thailand, Dubai as well as many parties in the UK.

New Years Eve 2013 at the Albert Hall, Manchester saw her share the stage and sing with the legendary Frankie Knuckles.

Recent collaborations will see releases with Eddie Le Funk, Mirror People & Shimi Sonic, as well as her own live funk band.

Recent releases include on Cr2 Records: Alex Gray & Rowetta “It’s All About House Music’; FSOE: Will Atkinson & Rowetta “Mesmerise”; Zulu Records: My Digital Enemy feat Rowetta “It Would Be”.

Rowetta is involved with and ambassador of many charities. Rowetta is passionate about Manchester.
Rowetta fronted the ‘End The Fear’ campaign with Greater Manchester Police and continues to work with domestic violence support groups.

Greco feat Rowetta: ‘BE' was named as one of Billboard's Top 20 House and Techno tracks of 2017.
Currently touring with Happy Mondays and Hacienda Classical as well as performing solo.

Days after the Manchester bomb, Rowetta was asked to perform on The Andrew Marr Show with a string quartet, as a tribute to the victims.

Rowetta and Peter Hook led a minute’s silence at the opening of Glastonbury, before performing with Hacienda Classical and also performed a tribute at The Royal Albert Hall.
Ruby Ann Patterson
Photograph, 2018
Ruby Ann Patterson
PHOTO: @majpics

Ruby-Ann Patterson is a 25 year-old, barrier-breaking, multi-disciplinary vocalist, writer and creative activist hailing from Manchester. Ruby-Ann has a voice that embodies the indescribable; powerfully soft, delicate, instinctively rhythmic and lyrically charged.
Her writings project timelessness, fusing both traditional and imminent styles effortlessly.

Whether it is painted, written, sung or spoken, her work encompasses all of her spirit.

As a panellist, it is her ability to offer uncompromisingly direct, profound and life affirming commentary on gender, race and social politics that makes her a sought after voice for many discussions.

Driven by an innate urge to give a voice to those unheard, Patterson is the founder of support group, Mancnubian; whose work involves curating arts workshops, meet ups and running an online community dedicated to celebrating the everyday lives of BAME women in Manchester.

Amongst other notable achievements Ruby-Ann’s musical career has seen her supporting
Jazz and Soul favourites Gregory Porter, Candi Staton, Charles Bradley and Hot 8 Brass Band.

As a Creative Practitioner, she has also facilitated projects and workshops for Young musicians throughout the city Including Contact’s Level Up, Media Drop and Levi’s Music Project.

Ruby-Ann’s testimonies come in the whispers that seems to float somewhere in the surrounds of her being, coming into light through the stories of the lives she has impacted.

Her work echoes the sounds of her city as well as the roots of her origin. Her strong imprint so far is a clear marker for the successes she has yet discovered. Ruby-Ann is set to be a long standing addition to the dynamic and colourful arts community in Manchester and beyond.

INSTAGRAM: @iamrubyann
Elbow, Ian Brown, I Am Kloot, Shari Denson
Photograph, 2018
Shari Denson
PHOTO: Stuart Hadfield

Shari Denson has been producing images of bands from Manchester and much further afield since 2002. Probably best known for her grainy, often stark and high contrast black and white images her work has been used by Ian Brown, Elbow and I am Kloot to name but a few Northern bands she has worked with.
Her photography is full of energy, movement, emotion and contrast, making her style unique and recognisable.

Shari started attending gigs aged 10 when her older brother would take her to see bands such as The Teardrop Explodes and Echo and the Bunnymen at Manchester Apollo. Growing up this was to be a regular haunt for her – somewhere she felt excitement and awe.

“As a child, I used to look at old, contrasty black and white photographs of my dad with his guitar, as the frontman of the covers band he was in in the 60’s. I was completely awe-struck, I would gaze at these photos for ages, so amazed at my dad. To me, he was the coolest rock star. His influence went further than that, though. He was a keen photographer too, and used to describe to me how as a teenager he’d used the under-stairs cupboard as a darkroom. The process he described sounded magical to me. Little did I know that I would go on do exactly the same as I got older, processing my negatives under my stairs. There’s something utter enchanting about doing that, having to wait and see your images in negative form as you stretch the roll out and hold it up to the light at the end of a relatively long process….the excitement and then the pure joy when you see that the shot has come out exactly how you wanted it to. Magical.”

Shari did a degree in Film Studies in Sheffield at the long-gone Psalter Lane campus and was set to major in film production but, after taking a year out to have her first child, she decided to major in still photography. This would offer her the flexibility she needed as a single parent. This was when Shari’s previous flirtation with taking photos (with small compact cameras) as purely personal momentos became a viable project for her degree. She started to request photopasses and borrowed the equipment she needed from uni, and used their darkroom to hone her skills. She experimented with different black and white films and different ways of processing and printing until she found that push-processing Fuji Neopan 1600 film, and printing in stronger, warmer chemicals would give her the rich blacks she loved to see. Printing with some contrast finished off the look she became well known for.

After starting to contribute to The Fly Magazine in 2003, under live editor Andy Inglis, Shari’s opportunities flourished and she was soon photographing the bands she loved, and they seemed to love her style.

Her image of I am Kloot, taken in Vienna for The Fly Magazine, was used widely by the band, and on The Mercury Awards 2010. Elbow asked Shari to photograph them at Blueprint Studios in 2007 upon finishing recording ‘The Seldom Seen Kid’. An image from that shoot has been used everywhere from Radio Station websites, to lesser-known blogs, to youtube videos, Amazon.com and Later with Joolz Holland.
Ian Brown licensed Shari’s image of him, taken during his gig at The Eden Project in 2005. It was used on the artwork for Brown’s 2007 album ‘The World is Yours’. This is the image that Shari cites as being a game-changer for her. “I was approached by Ian Brown’s management and told that Ian wanted to use it on the album. We agreed a figure for them to licence the image for a one-off use, a contract was signed and I was paid fairly. Not only that but Ian graciously signed some prints of the image which we auctioned for charity and he was more than happy to do this. The prints did well and raised £1000 to help children in Sri-Lanka who were affected by the tsunami. This spurred me on after several disappointing experiences, where I struggled to be treated in the way I had hoped to be by some in the music industry. This experience gave me a lot of confidence, and the belief that I could become established and recognised as a band photographer.”

Over the years Shari has continued to photograph and support lesser known, independent bands and since 2014 has returned to her love of the moving image, directing and producing music videos for Manchester bands such as Blaney, The Winachi Tribe, The Northstand, The Tapestry, The Backhanders, and The New Southern Electrikk.

On being a woman in the music industry, Shari says “It can have its challenges and its benefits, like anything in life. I love what I do and I’ve worked with some amazing people. I’m very proud of what I’ve achieved – that I managed to establish myself as a photographer and be recognised as such by men and women alike.”
1
Sue Langford
The Boardwalk
Photograph, 2018
Sue Langford
PHOTO: Elspeth Mary Moore

I started by working part time behind the bar at this newly opened venue. I lived nearby in Hulme; my bedroom window overlooked the Mancunian Way, and I'd been to The Boardwalk before it opened as I sang in a band who'd rehearsed on the old stage there a couple of times. I was then rehearsing in the basement rehearsal studios and pulling pints in the evenings. If the rest of the band were late (if!!) I'd sit in the office with Maria, who worked for Don and Colin Sinclair originally. When she decided to leave, I was the obvious choice for her replacement, and all thoughts of applying to study advertising at Manchester Poly were pushed aside: I was offered the job and that was the start of it.

I'd be managing the gig nights at night, or spending the days booking bands, sending out the monthly listings (I used to do the leaflet artwork by hand!), jibbing around town to our ticket / leaflet outlets, and liaising with agents. Then - as the Manchester scene began to hot up a little towards the end of the decade, I'd also deal with the A&R reps who'd call me to ask of any 'decent or hopefuls' we had coming through on our local band nights. There was a BIG box of cassette demos.

The local band nights worked as a three-band billing, with all three asked to sell tickets. The band would then bring their takings to us, and they'd get to keep half of what they'd taken (after VAT) so it wasn't a pay-to-play arrangement (I fought against doing that quite vehemently), and the bands could actually take home a few quid from the proceeds instead of lobbing out for the privilege. They'd get the services of a sound engineer, a mostly decent PA and a proper stage to play on rather than the back room of a pub. I remember Northside's first gig; they sold the whole venue out - it was packed!

I was delighted when The Paris Angels opted to 'thank' us for our early support by playing two nights at The Boardwalk instead of accepting the offer they had of a gig at the (bigger capacity) International; this was when their (gorgeous) single 'Perfume' was at the top of the indie charts. That was a nice feeling.

Colin also managed bands. When I first joined the company as a full-timer at the very start of 1987 he was managing Wigan band The Railway Children, who were signed to Factory Records. I remember my Mum being really worried that I was driving a big car down to London at the age of 22 - my Dad pointed out that he'd been in charge of a fully crewed Lancaster at that age.

Later we also managed A Certain Ratio, Puressence and NewWaveOfNewWave representatives Blessed Ethel. I tour-managed all of these in between times when I'd work the venue / rehearsal rooms / the office etc, and spent much time on the road in the UK and once or twice in Europe too.

The rehearsal rooms were nearly always full, with bands covering a wide range of genres: Happy Mondays, James, ACR, The Fall, The Dooleys (!), Simply Red, The Inca Babies, ToT, The Jazz Defektors, Kalima, King of the Slums, The Bodines, Laugh, The Inspiral Carpets, Nico (her request to the 21 year old me if she could "borrow the telephon" in her amazing voice stays with me!) and Oasis. The wonderful thing about that time was that everyone got on, helped each other out, played pool together, went to each others gigs and collaborated on each other's recordings. I will have forgotten hundreds of bands in that list.

We also set up a little record label at The Boardwalk, called Too Damn Loud (I recall that the name was my idea but might be making that up) and I spent considerable time up and down from Orpington to meetings at Pinnacle Records, our distributor.

Meanwhile, The Boardwalk had by now become two storeys high and doubled in capacity, working weekends as a club venue as well as being a great spot for live music. When we cut out the ceiling to create a balcony upstairs, we relaunched the whole venue: I remember we invited agents and promoters to come to a big opening party, preceded by a guided tour of the new backstage facilities, the new PA and lights rig, the mixing desk and options for onstage monitors etc. I was still up a ladder painting the ironwork when the guests started arriving.

Simon Moran had started using the venue in the earliest of his days as a promoter, and as his business really took off he continued to book acts in. We had some great one-off events there too, such as the wedding reception for Chas and Shirley Banks (Chas was The Pixies' tour manager, so Frank Black and the Catholics played a set.) Plus there were sponsored events like the Irn Bru rock week, which was filmed for Channel 4. I remember Suede, and also Therapy played one night, with Hole as the support act. Later that night I was in the office when Courtney Love wanted to use the phone for a collect-call; it was quite noisy in the office, with people coming and going so she curled up on the floor at my feet, underneath my desk, to be out of the way while she chatted with Kurt. I spent a lovely night chatting with Richie from the Manic Street Preachers when they all wanted to go out after their gig, but he was a bit shy of the attention.

Other people always remember their highlight Boardwalk gigs better than I do. Mine are usually remembered for the wrong reasons - like having to miss half of a brilliant set because I didn't want to take someone off the bar to unblock the gents' urinal. Although I wouldn't have done that anyway; I never asked a member of my staff to do something that I wouldn't do myself.

Or when Spiritualized supported Mercury Rev (their first tour since the demise of Spacemen 3) and everyone at the front was sitting on the floor for their set. I went round 'Pot Collecting' and purposefully toeing punters in the legs: "Oh I'm so sorry - did I just kick you there?" because I felt they should stand up for a band that I was so excited to see for the first time.

Other colleagues came and went (or stayed!) - notably Lynn, Michael, Chris, and a tiny young girl whose name I have unforgivingly forgotten. A whole host of support staff made the place tick along; the Sound Engineers and Lighting Techs, the barstaff, the club night DJs and external promoters, the security staff: the legend that was Cass! The Walsh Family!

At the height of our busiest club nights, I'd be working front of house with the guest list. Cue big-shot blagger guy strolling to the front because was on the guest list. "Oh hi, your name? *smiles* Sorry no you're not on the list." The fun we had when the reply came from these types; "don't piss me about, love, I'm dead good mates with Sue - I spoke to her this afternoon and she PROMISED we'd get in no problem."

For ten years my name really was Sue Boardwalk. And to some people it still is, over 20 years since I finished working there. It was ten years of bloody hard work, bloody long days / nights / weeks, bloody good fun and some bloody fantastic people. If only I could remember more of what actually happened.
Dub Sex, Dumb, Rainkings, Calvin Party, The Floating Adults, Performing Ferret Band, King Biscuit Hour, Horseheads Of Hulme, Cathy Brooks
Photograph, 2018
Cathy Brooks
PHOTO: Cathy Brooks
Cathy Brooks, bass player

I took up bass guitar almost accidentally nearly 40 years ago. I’m still playing in bands now, because I enjoy it: playing the bass, with other musicians. My bass playing style is more about intuition than skill I think. The sound from those four strings can be huge.

I joined the Performing Ferret Band because they were friends – to start with I was backing vocalist and ‘additional’ instruments (including stylophone!) Then their bass player left so I bought a bass guitar and a ‘how to play bass guitar’ book, and 2 weeks later in April 1981 I was in Stockport’s Hologram Studios to record and ‘mix’ our album in 1 day. My lack of bass playing experience matched the band’s inept ethos perfectly. Music archivist Johan Kugelberg later described the Ferret’s album as ‘The most seminal LP to come out of (post-punk) DIY’. I lino-printed the ‘field of yellow flowers’ picture for the cover and stuck it on the album sleeves, at least 346 of them, it took me ages. (The others were away at university, I’d just left school and was having a year out).

The Performing Ferrets fell apart live on stage at a gig at the Cyprus Tavern. I played in a few other bands in the early 80s - The Floating Adults (the Ferrets attempting jazz), King Biscuit Hour (not sure if we actually wrote any songs), the Horseheads of Hulme. Mark Hoyle saw the Horseheads at The Venue, a small club next to the Hacienda. Maybe a year later we bumped into each other in the White Horse pub in Hulme – we didn’t know each other - and Mark asked if I would play bass in his new band, dub sex. Which became the band where I really developed my bass sound. Palpitating rumbling dub bass, exactly right for Mark’s intense vocals.

Before we’d done more than a handful of gigs, John Peel picked up on dub sex from a flexi-disc release in Dave Haslam’s Debris magazine in 1986. We were all driving back from a band rehearsal when we heard him playing ‘Tripwire’ on his radio show and saying he must get us in for a session. Three more John Peel sessions and a handful of TV slots followed. We released several EPs – Swerve was no 39 in Peel’s Festive 50 in 1989 - and a compilation album, ‘Splintered Faith’. We gigged with Inspiral Carpets, Wire, Happy Mondays and the Stone Roses. We were there at the beginning of Madchester but didn’t fit in to that scene. ‘Time of Life’ was our last release, with its Edward Barton-directed video of us being buried up to our necks in mud in a quarry in Glossop – the review in City Life magazine: “Where the Happy Mondays sound like they’re having a ball, this reeks of despondency”. It didn’t look like dub sex were going much further and I left the band in 1990 to tandem cycle back from Sydney on a ‘Ride for the Rainforests’.
2 years later, back in Manchester in 1993, dumb was formed, bringing me and Mark together again with a brilliant percussion section. We played over a hundred small gigs over 5 years, recorded another John Peel session, and released 2 albums including ‘King Tubby Meets Max Wall Uptown’ funded by an Arts Council grant. That’s the record release that I’m probably most proud of.

I’ve been involved in all sorts of projects since then. In the 2000s Mark and I played together again in ninebar, and I gigged and recorded 2 albums with Calvin Party. In the 2010s – I’ve played with a reformed Rainkings with Stephen Holt from the Inspiral Carpets, releasing the ‘Fiveways’ EP, and in the last few years, dub sex have got back together to play some shows.

Now in 2018, there’s a brand new project, involving me and Mark again, no name as yet.

My picture in the MDMA exhibition is of my bass guitar and its case. I used them both at gigs in 2017, and at my first Performing Ferret Band gig in 1981.
Simply Red, Yvonne Shelton, Cleopatra, Urban Voice
Photograph, 2018
Yvonne Shelton
PHOTO: Yvonne Shelton

For Yvonne Shelton there have been many singles, albums, and tours, in various capacities. This multi- talented artist and entrepreneur runs and directs choirs, groups, and has been involved in BBC productions for Music Live 1999 in Glasgow co- ordinating artists such as Chaka Khan, James Taylor quartet, and Ce Ce Winans Music Live (1996), Deniece William’s Show BBC Radio 2.

She's also done a stint as singer in American musical “I have a dream”, and local plays “Chaos By Design” and “The Windrush Series” for BBC Radio 4, the World Service and the Morning Service for the gospel.

Yvonne Shelton is a founder member Lead Singer and Director of Urban Voice along with Tyndale Thomas and Kadria Thomas, she has also been involved as an artist in community projects with renowned jazz club Band On The Wall, the BBC Philharmonic and Rawchestra projects, HALLE (operatic concerts society) in both of their educational outreach projects for marginalised and isolated inner city kids in Manchester; including The Royal Liverpool Philharmonic Educational Outreach project ‘The Sea People’ (Merseyside), which has had great success. She was also a director along with Owen Thomas for the Longsight Youth Arts Project. As A Lead And Backing Vocalist.

Has sang with the likes of Oleta Adams (Rhythm of Life re-mix), Sandra Crouch, The Beautiful South (tour, singles and album), Simply Red (tour), Gabriel (Wicked Women TV performance in Hyde Park), Cleopatra (singles and album), Loveland (singles and album), Living Joy, Joe Robert’, Melanie Williams, Distant Cousins, Inner City, TIEMPO, George Michael (TV performances), Evolution (tours and chart singles, supporting M People), Secret Society with Lemn Sissay Take That and Heather Small.

Praised Performances in front of Oprah Winfrey Show, delivering private performances for Richard Branson, Nelson Mandela and Maya Angelou. Yvonne is also a featured vocalist in Soulful Voices at Liverpool’s Alma de Cuba, and has taken one her choirs to perform on BBC TV Sports Personality of the Year 2008. Other interesting stuff includes Commonwealth Games in Manchester and Olympic Handover for London’s Successful 2012 bid. She has toured all over the world a singer, Most countries in Europe, North and South America, Canada, Africa, Asia (including China, India, Thailand and Dubai), Austrlalia and New Zealand with choirs such as Urban Voice, Merrybell gospel choir, London Community Gospel Choir, the Urban Kane Chorale

Has performed with the likes of Foreigner (I Wanna Know What Love Is), Patti Labelle, Faith Evans, Puff Daddy (MTV awards new gospel single Best Friend), The Spice Girls (1999 Xmas tour), Various TV programmes.

She has worked extensively in the music industry for over 20 years and has been in love with music all her life. Together with local artists she has been involved in TV and radio programmes promoting the gospel and inspirational music all over the country in groups like the Challengers the Merrybells and more recently UK Chorale, Urban Voice.
Karen Mcbride
Photograph, 2018
Karen McBride
PHOTO: Karen McBride

Feedback screams through shaking speakers. And from amongst the debris of crushed cans and smashed bottles, between dissipating tendrils of smoke and rising steam, emerges photographer Karen McBride, stalking the shadowy world of the unsigned band to capture iconic images that pulsate with raw energy and celebrate the wild heart of rock ‘n’ roll music. It is the performance that interests Karen as much as the music, and the gaze of her lens has befallen a wide diversity of artists from actors, ballet dancers and obscure unsigned bands, to more famous names like Oasis, Debbie Harry, Slash and Scotty Moore.
 
Unashamedly Mancunian, Karen was born and raised in Harpurhey. While other contemporaries headed South, she has always resisted the lure of the bright lights of London for the unmistakable and unique vibe of her hometown, with its leading-edge, creative body encasing an industrial beating heart. Success is earned through hard graft and determination, the desire to learn, to do better, through good times and bad and always with a dose of Northern humour and humility. This ethos is reflected in her work - Honesty. Integrity. Soul. It is present in every shot she takes.
 
It is the instinctive way in which Karen works that informs the apparent spontaneity of her photography; a skill perfected over a lifetime combined with a startling natural talent. Karen insists that she ‘hears’ when the camera settings are right, instinctively knows when the exposure is perfect and when to press the shutter, but it doesn’t come easy: “You’ve got to take risks to get the best shots. To see opportunities where others do not takes imagination, ambition, and then balls to push the boundaries – through the crowd, the mosh pit, the security, do whatever it takes to get to where you need to be”. Through the heat and chaos she claims her prize, that split-second where the stars align to create one moment of pure energy and emotion - an image that speaks, an image that quite literally tells a story. 
 
John Robb

Every way I ever photographed comes from being inspired by American music. I grew up listening to Elvis and Johnny Cash, I would spend hours, days even looking at those old photographs wishing one day I could be part of something like that. 

The girls at school bullied me so I drew pictures of them and gave them as gifts, it helped we became friends. I realised then that imagery has a power to improve situations, sell a moment, heel a wound, and of course enhance the music we listen to.

Karen McBride
Francoise Le Moignan
Photograph, 2018
Francoise Le Moignan
PHOTO: Elspeth Mary Moore

I tour worldwide with bands and artists mixing front of house sound and monitors. I love working as a team and getting to see the world. Still very much enjoying my job and feel lucky to be in such a diverse industry.
Wendy Smith
Photograph, 2018
Wendy Smith
PHOTO: Elspeth Mary Moore

My involvement within The Manchester Music scene has been a relatively recent occurrence.

After a particularly turbulent couple of years personally, I was in a position where I had to rebuild my life completely. While this may sound daunting, actually on reflection, it was a real turning point and an absolute blessing. A fresh start!

I had the opportunity to try and pursue some kind career in music, finally!! Although I had no experience or formal training, I didn't have anything to lose either. Music has ALWAYS been a massive part of my life, and while this may sound like an utter cliché, I honestly couldn't live without it!

North Manchester F.M. recruited me as part of their "Women into Media" course and shortly after, I was given a radio show. That was the start. A lot of hard work, networking and on the job learning.

Also, a lot of challenges, especially as a lot of my work is freelance, so you are less protected.

Fortunately, I have encountered more genuinely helpful peers than not. That said, when I have encountered negativity, the female contingent within this industry have rallied around and shown tangible support. I'm genuinely proud and honoured to consider some of the women featured in this exhibition friends. Real, strong, fearless and talented.

The idea for The Manchester Creative Collective, of which I am the director, came as direct result of conversations I had with fellow delegates at the very 1st “Off The Record” music conference and music showcase in 2016.The following January saw the launch of our very 1st event and the room was full of a broad representation of our City's Musical creatives.

A strong vision was that MCC should be wholly accessible, both regarding cost and culture. MCC is “not for profit,” and where we are able, we ensure the door takings (after initial overheads) are donated to a different charity or cause each month. So far we have given around £I000 to various charities.

We are cultivating a real community that is aided by the support of a fantastic host venue, "Jimmy's" and our volunteer team who have given their time to pursue the shared ethos. I have just completed a volunteer restructure, so we now have a fresh team to assist in the production and delivery of our events. Our volunteers are learning, growing and gaining paid employment in industry as a result too!

We have welcomed some real heavyweight industry professionals and will continue to look to deliver events that support and mobilise the vast musical and creative talent our home City has to offer. Juggling full-time study, being a parent and all the MCC work is no mean feat, but it genuinely never feels like "work."

The people, the humour, the vibrancy of my home City can’t be rivalled, and I think it’s that potent combination that inspires so much of our creative culture. And me.
Zoe McVeigh (LIINES), LIINES
Photograph, 2018
Zoe McVeigh
PHOTO: Filmmakers Co-op

Praise for Zoe and her band, LIINES.

● FEATURED ON RADIO X, BBC 6 MUSIC AND BBC INTRODUCING
● “FIERCE MANCUNIAN TRIO DELIVER ALT POST-PUNK THROUGH SWOOPING VOCALS AND NODS TO NEW WAVE/GRUNGE SOUNDS.” THE SKINNY
● “BRILLIANT – DRIVING AND STRIDENT.” THE QUIETUS
● “ONE OF THE MOST REFRESHING SOUNDS TO EMERGE NOT JUST FROM MANCHESTER BUT FROM ANYWHERE.” GIGSLUTZ
● “POWERFUL POST-PUNK WITH TOUCHES OF GRUNGE AND NEW WAVE…A SOUND YOU NEED TO HEAR.” LOUDER THAN WAR
Ajah Uk, Jaheda Choudhury-potter, Alison Surtees
Photograph, 2018
Jaheda Choudhury-Potter
PHOTO: Alison Surtees

A 500 word bio they said “Awkward” I say…What do I write? The professional me or the personal me? But most of the time both the personal and professional merge. I am living a wonderful life full of interesting heartwarming moments, dark moments, as well as sad and happy times. I realised at a very young age I had to fight to defend my thoughts, my body and my emotions. Wherever I go in the world I will always have to compromise parts of my belief. Either my sexuality is compromised and I must hide that huge part of me. Or the colour of my skin places me in dangerous situations, that’s unchangeable or undisguisable. And finally my gender, even with this great 100 year achievement, I still have to consider rape, sexual harassment, domestic violence, cat calling, needing a male escort, is my skirt too short, how come I get paid so much less. Best stop there or that little list could take the full 500 word count.

I’m 1st generation born to Sylheti, Bengali muslim family. I grew up on council estates in Sheffield. My education was less than average so I excelled in the given exams. I’m a social worker by university standard education. I am fluent in English and Bangla and can get by in Hindi, Urdu and Punjabi. I have learnt to read the Koran but have no idea what I’m reciting, as understanding the word of Allah wasn’t part of my Koranic education. That came later as I grew and chose to make sense of it.

After trying my hand at a variety of jobs, from peeling onions for pickling, to selling double glazed windows, to frontline social work, I realised my calling was the arts. About 15 years ago I made a decision to only work within the arts. So now I work backstage in wardrobe for Palace Theatre & Opera House. I mentor young people who share an interest in the arts. I facilitate multi-lingual lyrical workshops and performance workshops. I’m co founder of Shit Lesbian Disco. I get asked to be on panels, posters and exhibitions during Black History Month, International Women’s Day and LGBTQ History Month.

I am 1 of 5 women who make up Manchester band Ajah UK. I spit bars in Bangla and English and try my hardest to stay in key for the little bits of singing that I do. I have 4 of my closest comrades to make and perform music with. I feel most strong and safe on a stage.

At 42 I have accomplished a life I am proud of and feel no shame about the human being I am. Thank you to the ancestors of my Herstory. It’s an honour to be playing a role in the next 100 years. I pray for less white washing.
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Ang Matthews
The Hacienda
Photograph, 2018
Ang Matthews
PHOTO: Lloyd Wakefield

I was born and raised in Rhyl, North Wales where, from an early age, I became obsessed with music - I just loved it. I was desperate to escape from Wales and had glimpsed another life during my regular nightime forays to 'Eric's' in Liverpool. I ran away to Manchester to do my degree and follow New Order, The Buzzcocks, Magazine and all the bands I'd been listening to and reading about in NME.

Manchester was brilliant, all I had dreamt it would be. During my second year at Manchester Met Uni I realised that I didn't want a 'proper' job as such, so I went to see Elliot Rashman, who, at the time, was 'Entertainments Officer' but also manager of an unknown band called Simply Red. I worked for Eliot part time whilst I finished my degree and learnt every aspect of running a nightclub and putting on gigs. It was an invaluable experience and an exciting time.
I become the Social Secretary at Manchester Met (which I did for a year) then I became the Ents Officer at Leicester University (strangely enough I was only the 3rd woman in the UK to hold the position of an Ents Officer in a student union). It was the most boring 10 months of my life. I resigned and with perfect timing, moved back to Manchester to work at The Boardwalk as duty manager and put on a few gigs around town.

I got a call asking if I was interested in a position at 'The Hacienda'. I thought maybe it was time to get a proper job, ha! I had no idea what I was letting myself in for (it was '89 dance music was big and Madchester was reigning in her full glory) - there was no interview, no budget, no job description but, hey, what did that matter - we were about to become the most famous club in the world and I was the first woman in the UK to run a venue and hold the license for such a large building. It was a very male dominated world of club promotion, dance music and DJ egos and I loved every hedonistic moment of it.

The rest will be in my book...
Claud Cunningham, Melanie Mudkiss
Photograph, 2018
Claud Cunningham
PHOTO: Melanie Smith

Black Angel was a trailblazing culturally diverse club night aimed predominantly at lesbians of colour. Our policy was to play RnB and Bhangra; to provide powerful and positive images of lesbians of colour and to provide a platform for women performers. We were the first club to do this outside of London. Women travelled from all over the country to attend our nights. We produced the first ever BME lesbian calendar and performed at London Pride, Leeds Pride, Manchester Pride and also held a regular night in Leeds.

It was started by me and Paula Lewis in 1999. The idea came to us over a pint (or two) in a bar. Both women of colour we mused over how hard it was growing up in a world without images of BME lesbians. How it had left us feeling isolated and making it harder to come out. Once we came out it was no better. The village was not diverse. And so, we gave birth to Black Angel. We wanted to see something that we could identify with, we wanted to see positive images of BME lesbians, hear RnB music and have a space that was welcoming. We wanted others to feel the same way on a night out. We wanted women to feel free to be…
World of Twist, The Fall, Julia Adamson, Blackout
Strawberry Recording Studios
Photograph, 2018
Julia Adamson
PHOTO: Melanie Smith

Julia Adamson

Born 1960 in Peterborough, Ontario, Canada. Her family moved to England in 1967.

In 1971 she sang in St Winifreds School Choir on the school's first album of modern hymns. “I remember loving choir practise, learning 4 part harmonies, dynamics and rhythm and performing at the church every Sunday at 10am mass.”

In 1977 Julia played guitar in punk group Blackout alongside James Fry, Tony Ogden and Gordon King, who went onto become World Of Twist. “Art college friends and not really serious at all, but we all fell in love with the anarchic art of punk and surprisingly, most of us stayed working in various projects in music to this day.”

She played synthesiser with electropop band Illustration in 1979-1981. They were included on the classic record Some Bizzare Album on Some Bizzare Records run by Stevo Pearce. The group toured with Blancmange (band) and Pink Military. “This was an exciting time as we worked with some fabulous people in the heyday of the music biz, I remember recording at Chris Blackwells studio in London, where Brian Eno had recorded Another Green World”.

Adamson worked as personal assistant to record producer Martin Hannett from 1981 until 1983. “Working with Martin was a truly great education. I learned about his creative techniques as well as his ethos and input into Factory Records as a Director.”

Julia was employed as a tape op and sound engineer at Yellow Two and Strawberry Studios in Stockport from 1984 to 1990. “Probably the greatest job I ever had. I worked with many different bands and musics. Helping with radio sessions for John Peel then The Manchester Camerata the next day. Learning the technology of the control room was a passion of mine at the time and I witnessed the transition from analogue to digital”.

Adamson was a member of The Fall between 1995 and 2001, playing keyboards, guitar, vocals and computers. She contributed to The Light User Syndrome, Levitate, The Marshall Suite and The Unutterable and toured extensively with the group. “What can I say about The Fall having witnessed Mark E Smith’s funeral only yesterday. What an incredible, unique talent. It was an honour to work with him and the great musicians of The Fall”.

In 2002, Julia launched Invisiblegirl Records and Invisible Girl Music Publishing, with over 30 releases to date. Invisible Girl Music includes an expanding publishing catalogue of original songs from the singer songwriters on her record label. “I always had wanted to run my own label and music publishing company and as I passed the age of 40, I decided to take up the challenge. It’s been a learning curve, I love the artists on the label and the agencies I deal with, but there are some (white male) rogues on the other side of the industry, who don’t play by the rules, especially when it comes to money. I am considering my options on how to manage them, I certainly don’t want to be like them, nor do I want my grandchildren to be like them. I’m a stayer and always have a plan hatching, so it’ll be interesting to see how this progresses”.
Lamb, Karen Boardman
The Hacienda
Photograph, 2018
Karen Boardman
PHOTO: Alison Surtees

Karen Boardman started her music career at the age of nineteen when she decided to make her constant attendance at The Hacienda official by
persuading the management to give her a job. Over the next couple of years she helped looked after a host of visiting bands inc Depeche Mode, Echo and The Bunnymen and Madonna at night whilst during the day was part of the fledgling team who set up City Life Magazine, now owned by the Manchester Evening News Group.

She eventually moved to London after landing a job at London Records working with bands such as Salt n Pepper, Voice Of The Beehive and Fine Young Cannibals. This day to day dealing with artists led her to set up Rage Management with her then business partner. Over a 10yr period Karen looked after a wide range of artists inc The Orb and Lamb. She is a member of The Music Managers Forum and was the Project Manager of Manchester City Music Network giving advice, training and funding to all Music Sector Businesses in Greater Manchester. Karen was also invited to sit on the original think tank group around themes of ‘Manchester Firsts’ for the MIF back in 2004.


Karen Boardman is currently a Director of Crisis Management LLP, a Music/Entertainment Consultancy company based in Manchester who has been trading for 12 years. Whilst not actively involved in artist management today...property development is her thing...Crisis represented a number of artists/bands including Karima Francis (Vertigo Records), Rae Morris (Atlantic Records) and JP Cooper (Island Records) in addition to Soup Collective, a film/documentary production company who worked with Elbow, The Verve, Take That, Snow Patrol and Doves to name a few.
Kath McDermott
Paradise Factory, The Hacienda, Vinyl Exchange
Photograph, 2018
Kath McDermott
PHOTO: Mat Norman

Involved in the Manchester music scene for 30 years, Kath has DJ'ed at most venues in the city and was a resident at Flesh at the Hacienda, Paradise Factory and Homoelectric and has guested at some of the finest parties in town. She became a DJ accidentally after helping out at a World Aids Day benefit and still keeps her hand in 30 years later. After working for 15 years at Vinyl Exchange record shop, she went on to license music for television and advertising. She has been at the BBC for 5 years on Radio 2, 3, 4 and for the last year on 6 Music. Her documentary 'Queer as Punk' was recently transmitted as part of 6Music’s Loud and Proud season. Kath regularly participates in panel events and was been involved in the curation of the Queer Noise exhibition at the People’s History Museum.
Kyla Brox, Victor Brox, Annette
Photograph, 2018
Kyla Brox
PHOTO: Phil Melia

Kyla's voice remains a stunning example of the soul singer's art: turning up the heat by degrees, lulling and charming before unleashing emotional catharsis, and blurring the distinction between pleasure and pain like the soul greats of old. Currently nominated for Female Vocalist and English Blues Band of the Year in the UK Blues Awards 2018, whether fronting the mighty Kyla Brox Band, or harnessing undiluted soul power in a duo with musical and life partner Danny Blomeley, Kyla Brox is without doubt the most authentic UK blues and soul singer of her generation.

Born in Lancashire, she was the late product of the marriage between blues man, Victor Brox, and opera singer, Annette Reis Dunne. Kyla couldn’t wait to join the family business. She began singing with Victor onstage at Band On The Wall at the age of 12, and performing with his regular touring group shortly afterwards, for many years and some epic tours. 

In 2001, Kyla and Danny formed a duo, occasionally augmented by old members of her father’s band: the Kyla Brox Band was born! They plied their trade in Victor's old stomping grounds in North West pubs and clubs, before a career-making performance at Colne Blues Festival in 2002 sealed Kyla's reputation as the first lady of the British blues.

Kyla has always proudly been a completely independent artist. In demand at festivals all over the UK and Europe, her career continues to blossom, with support and airplay from many radio stations, including BBC Radio 2, and multiple awards, and nominations over the years, in the British Blues and European Blues awards. 

The line of development can be traced through Kyla's albums. From the 2003 debut Window, where the tone is summery and romantic, to the acoustic Grey Sky Blue (2009), where hopes and longings are freighted with deeper emotions, via the blues/soul calling card Beware (2003), the band triumph Coming Home (2004) and the more introspective Gone (2007). With a break from the studio to concentrate on her two children, the much anticipated newest release, Throw Away Your Blues, takes up the story seven years on. It teaches valuable lessons about the demands of the busy workday, the lack of time in the modern world, the pull of home vs the call of the road, and how to keep it real with good humour and lots of heart. 

With all the songs generated by Brox, Blomeley and Farr, Throw Away Your Blues is soul-stirring and affirmative and explores Kyla’s multiple roles as temptress, diva, tear provoker and, as the new songs reveal (because her songs always reflect her life), mother. It also incontrovertibly proves that Kyla Brox is the greatest British female blues singer of her generation.

In an age of conveyer belt pop stars and emote-by-rote singers, Kyla Brox is the real deal.
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Joy Division, New Order, Lesley Gilbert
Photograph, 2018
Lesley Gilbert
PHOTO: Alison Surtees

“I don’t tell people that I used to run Factory … ”

Lesley Gilbert was born in Crumpsall Hospital on 6th September 1953 and grew up in Failsworth, North Manchester. She started working for Factory in June/July 1980 where she already knew the people involved because her partner, Rob Gretton, was Joy Division’s Manager. Lesley was the Production and Office Manager at Factory from mid-1980 to September 1985.

Lesley has generally stayed away from the ongoing, iconic adoration of Factory and all that this entailed. Lesley was not greatly surprised when Factory ended but was saddened by its demise. She had previously left to have her and Rob’s son and focus on motherhood, but Factory was obviously still very close to her. Lesley is rightly proud of what she achieved alongside Rob but says that she “didn’t see it as important”. However, when she was approached to be part of the Suffragette City exhibition she was immediately drawn to the approach of the historical and contemporary parts played by women in the Manchester music scene. Lesley thinks it is a brilliant idea to make these women more visible because “unless you’re involved you wouldn’t be aware of them” and that “people will be very surprised at how many there are and always have been”. In this way Lesley epitomises the spirit of the exhibition in terms of making women who are or have been behind key parts of the music culture in Manchester known to the wider public.

And what could be more emblematic than Lesley’s work with Rob at Factory and the work with Joy Division and New Order? Lesley has previously worked over the years with the Manchester Digital Music Archive, most famously publishing the book ‘1 Top Class Manager’, in which she shared Rob’s work notebooks from his days of managing Joy Division, giving an insight into Rob’s methodical approach and pure hard graft during that time. Lesley says that she “really wanted to do that for our children who are really proud” of their parents’ work and history. Whilst Lesley is, of course, familiar with the various portrayals of Rob in films etc she says “they’re still stories”. And they are also part of an overwhelmingly male cultural representation.

Lesley is hugely supportive of the idea of young women engaging with the exhibition and for them to take something really positive from it. Whilst Lesley acknowledges that there has been some improvement on a generational level, she is conscious that the part women are seen to play is still balanced in favour of men. She is happy to see the gradual change and often reflects on how women used to “trivialise ourselves and anything we did of any importance”. Putting herself in the spotlight is not Lesley’s usual thing and says “this is very different, this is about me” and she is happy to be in such good company with the other women involved.

Reflecting on the heady days at Factory, Lesley also says that it was a long time to realise “we’re making history”. She says she just didn’t know at the time and highlights the role of social media now, where fame and reputation can be shared so easily whereas “things weren’t as instant then”. And particularly as a woman she thought “It’s just my job”.
Nicola Simcox
The Met (Bury)
Photograph, 2018
Nicola Simcox
PHOTO: Elspeth Mary Moore

I decided to leave my job in finance 8 years ago and haven't looked back since!

At the grand young age of 30, I went back to University to study Music and Creative Industries Business (something that I'd always wanted to do). I graduated in 2014 with First Class Honours. I now work at The Met in Bury, am the Programme Coordinator for Head for the Hills Festival (previously known as Ramsbottom Festival) and the company owner at Good Ears, where I book emerging artists for live events. Most of the time I can be found in and around Manchester scoping out emerging artists and drinking gin :). Other than that, I will be at home, scoping out emerging artists online and drinking gin :)