Madchester

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Madchester denotes a musical and cultural phenomenon originating in Manchester, England, during the late 1980s. This scene is linked to the development of indie dance, a genre that merged indie rock with acid house, psychedelic elements, and 1960s pop.

The term itself, Madchester, achieved widespread recognition through the British music press in the early 1990s, after being popularized by Tony Wilson of Factory Records. The term's origin, however, is attributed to Factory Records video directors Philip Shotton and Keith Jobling, who conceived it during a script development session, which led to Tony Wilson's suggestion to the Happy Mondays to retitle their EP. Shaun Ryder, the Happy Mondays' lead vocalist, confirmed the Bailey Brothers' role in creating the term.

Key musical groups associated with the Madchester scene include the Stone Roses, Happy Mondays, Inspiral Carpets, the Charlatans, James, and 808 State.^[1] The prevalence of drug use, notably MDMA, significantly shaped the scene. The Haçienda nightclub, co-owned by members of New Order, acted as a central point for the movement and was integral to the Second Summer of Love.

History[]

Manchester's cultural scene in the late 1980s was a convergence of its industrial past, musical innovation, and fervent football culture. The repurposing of old textile factories and warehouses provided spaces for rehearsals and performances as the city transitioned away from its industrial roots. This period saw a shift from the somber tones of bands like Joy Division and The Smiths towards the more optimistic soundscape of Madchester. Young people in Lancashire embraced this new energy, often seen in clothing from emerging local brands such as Gio Goi and Joe Bloggs.

The music scene immediately preceding Madchester in Manchester was largely shaped by bands such as The Smiths, New Order, and The Fall, all of whom became influential to the emerging Madchester sound. The opening of The Haçienda nightclub in May 1982 by Factory Records was a pivotal event in the development of Manchester's popular culture. Initially, the club featured club-oriented pop music and hosted performances by bands like New Order, Cabaret Voltaire, Culture Club, Thompson Twins, and The Smiths. DJs such as Hewan Clarke and Greg Wilson helped establish the club's reputation.

The revival of flared jeans in Manchester began around 1982 and 1983, when former attendees of the Twisted Wheel Northern Soul club began sourcing deadstock for their clothing businesses. Flares quickly gained popularity, with early adopters including the nascent Happy Mondays.

Warehouse parties organized by Steve Adge also played a crucial role in the scene's development. The Stone Roses' warehouse parties, which began in 1985, were particularly significant. DJ Dave Booth often supported The Stone Roses' live performances at these events, including the notable "Warehouse 1, The Flower Show" on July 20, 1985, which helped build the band's following and the burgeoning music scene in Manchester. Booth himself was an influential figure in Manchester's music scene, co-creating the Playpen nights and the Blood Club, and serving as a resident DJ at several key venues that formed the network of Manchester's alternative club scene. Emerging bands, including The Stone Roses, frequented these clubs and drew inspiration from the diverse music played by DJs.

By 1986, The Haçienda shifted its focus from live performances to becoming primarily a dance club. The Festival of the Tenth Summer, organized by Factory Records in July 1986, further solidified Manchester's image as a center for alternative pop culture. The festival included film screenings, a music seminar, art exhibitions, and performances by prominent local bands, culminating in an all-day concert at Manchester G-Mex featuring A Certain Ratio, The Smiths, New Order, and The Fall. According to Dave Haslam, the festival highlighted how Manchester had become known for "larger-than-life characters playing cutting-edge music," fostering inspiration and energy within the city.

By 1985, the popularity of flares had waned, and a new style of "baggies" emerged, featuring a consistently loose fit down to the hem. The Happy Mondays were again among the first to wear this style, with John Squire of The Stone Roses also adopting it early on. However, a small group remained dedicated to flares.

In 1987, The Haçienda began to feature acid house music, with DJs Mike Pickering, Graeme Park, and "Little" Martin Prendergast hosting "Nude Night" on Fridays. This shift in musical direction led to a significant increase in the club's popularity, transitioning it from financial losses to sold-out nights by early 1987. During that year, The Haçienda also hosted performances by American house music artists such as Frankie Knuckles and Adonis. Other clubs in the Manchester area also began to embrace house music. A significant factor in the rise of Madchester was the increased availability of the drug MDMA in the city, starting in 1987 and becoming more prevalent in the following year. According to Dave Haslam, the use of MDMA profoundly changed the club experience, transforming a night out at The Haçienda into an "intense, life-changing experience." By 1987 and 1988, the small group dedicated to flares, which included individuals like Cressa, gained attention, even being featured in i-D magazine. They were noted for wearing 25-inch flares, large outdoor jackets, and Reebok trainers.

In October 1988, The Stone Roses released the single "Elephant Stone." Around the same time, Happy Mondays released "Wrote for Luck," followed by their Martin Hannett-produced album Bummed. In November, A Guy Called Gerald released his first solo single, "Voodoo Ray." While only "Voodoo Ray" achieved commercial success initially, by December 1988, a sense began to develop within the British music press that something significant was emerging from Manchester. Sean O'Hagan, writing in the NME, noted a growing rumor that the water supply in certain Northern towns, particularly Manchester, might have been treated with small doses of mind-expanding chemicals, suggesting a connection to the behavior and music of bands like Happy Mondays and A Guy Called Gerald.

The Stone Roses' following expanded as they toured the country and released the single "Made of Stone" in February 1989. Although this single did not chart, enthusiasm for the band intensified in the music press following the release of their self-titled debut album in March, produced by John Leckie. Bob Stanley of Melody Maker hailed it as "simply the best debut LP I've heard in my record-buying lifetime," while NME reported that it was being discussed as potentially "the greatest album ever made." John Robb of Sounds gave the album a 9/10 rating, stating that The Stone Roses had "revolutionised British pop." The Stone Roses initially adopted flares later in the scene. Photos from their debut album in 1989 show band members wearing baggies or straight-leg jeans, although their drummer Reni was already known for his cricket hat.

The club scene in Manchester continued its growth throughout 1988 and 1989, with The Haçienda launching Ibiza-themed nights in the summer of 1988 and the "Hot" acid house night, hosted by Mike Pickering and Jon DaSilva, in November of the same year.

By mid-1989, media interest in the Manchester scene continued to escalate. In September, Happy Mondays released a Vince Clarke remix of "Wrote for Luck" as a single. In October 1989, The Charlatans released their debut single, "Indian Rope." In November 1989, four significant singles were released: "Move" by Inspiral Carpets, "Pacific State" by 808 State, the Happy Mondays EP Madchester Rave On, and "Fools Gold"/"What the World is Waiting For" by The Stone Roses. The Happy Mondays' EP, featuring the track "Hallelujah!", popularized the term "Madchester." This term was originally conceived by their video directors, the Bailey Brothers. Also in November 1989, The Stone Roses performed a gig at London's Alexandra Palace and appeared on BBC Two's Late Show. On November 23, 1989, The Stone Roses and Happy Mondays both appeared on the same episode of Top of the Pops. The single "Fools Gold" reached number 8 on the UK Singles Chart, becoming the highest-selling indie single of the year.

The Madchester aesthetic, known as the Baggy look, projected a strong Northern identity, drawing from earlier working-class styles prevalent among North West football supporters, including Scallies and Perry Boys, which were part of the broader Casual subculture. Key locations fostered the Madchester scene, including the Haçienda nightclub, and the International I and II venues, alongside record shops like Eastern Bloc and Piccadilly. Publications such as M62, City Life, and Debris magazines documented the movement, with The End fanzine from Liverpool connecting music, fashion, football, and politics. DJ Dave Booth played a significant role by providing a soundtrack of 1960s psychedelia, soul, and emerging indie bands like The Stone Roses at venues such as Playpen and Hangout. Similar to the acid house movement, Madchester gatherings at clubs and gigs brought together diverse groups of young people. The use of ecstasy contributed to a heightened sense of community.

The fashion of the Madchester scene was characterized by loose-fitting clothing that accommodated the fluid movements of dancers. Comfort was a priority, with similar styles worn by both men and women. A defining element of the Baggy style was flared jeans, which replaced the black drainpipe trousers associated with the C86 and shoegaze scenes. These extra-wide flares echoed the styles of the Northern Soul scene and the 1967 Summer of Love. Later in 1989, Cressa influenced Ian Brown of The Stone Roses to wear flares. Brown mentioned that he wore 24-inch flares. The specific width of the flares held subcultural significance. Ian Brown's look featuring 21-inch green Wrangler cords and the "banknotes" t-shirt became particularly iconic. Baggy t-shirts, often unofficially produced, were a staple. The "AND ON THE SIXTH DAY GOD CREATED MANchester" t-shirt was widely popular. Kagoules became fashionable accessories. Madchester hairstyles included Shaun Ryder's center-parted "curtains" and Bez's short, cropped style. When The Stone Roses and Happy Mondays appeared on Top Of The Pops in November 1989, Ian Brown and Happy Mondays' drummer Gaz Whelan both wore the same Jean Paul Gaultier jacket. While designer clothes were often unaffordable, alternatives were available in shops like Stolen From Ivor and Joe Bloggs. Regional variations in fashion existed. The Madchester fashion scene saw the rise of cut-off denim, logo tees paired with baggy sweaters, edgy looks, loose clothing, and bucket hats.

From this point (late 1989), "Madchester" began to attract widespread attention. According to NME journalist Stuart Maconie, the British press had "gone bonkers over Manchester bands." James were among the early beneficiaries of this increased attention. The local success of their self-financed singles led to a record deal with Fontana. The Charlatans also rose to prominence. Their second single, "The Only One I Know," reached the UK top ten. A number of other Manchester bands gained attention during 1990. Bands associated with the Madchester scene predominantly released their music on independent record labels, with James being a notable exception, having signed with Fontana Records in 1989. The popularity of Madchester was growing beyond its local origins, with an article titled "Stark Raving Madchester" appearing in Newsweek magazine in 1990. The main Madchester bands dominated the UK Indie Charts in late 1989 and much of 1990.

In the summer of 1990, James achieved chart success. Happy Mondays' "Step On" and "Kinky Afro" both reached number 5 on the singles chart. On May 27, 1990, The Stone Roses performed at Spike Island in Widnes. A rapid succession of chart hits followed during the summer. The end of the year saw successful concerts by James and a double-bill featuring Happy Mondays and 808 State. The Stone Roses cancelled their June 1990 tour of America.

James achieved the biggest Madchester hit in 1991 with a re-recording of "Sit Down," reaching number 2. On the albums chart, Happy Mondays' Pills 'n' Thrills and Bellyaches peaked at number 4, and Inspiral Carpets' Life reached number 2. The Charlatans were the only Madchester band to reach the number 1 spot on the UK Albums Chart with Some Friendly in the autumn of 1990.

Outside the UK, the success of Madchester was more limited. Happy Mondays toured the U.S. in 1990 and charted on the Billboard Hot 100. They also reached No. 1 on the Modern Rock Tracks chart with "Kinky Afro" in 1990.

In 1992, Happy Mondays' next album, Yes Please!, was released in October. The only other Madchester artist to reach No. 1 on the Modern Rock Tracks chart was The Charlatans, whose single "Weirdo" held the top spot for the week of May 23, 1992.

The Stone Roses did not perform publicly again until the end of 1994. With the two bands considered most central to the scene largely inactive, media interest in Madchester began to decline. James, Inspiral Carpets, The Charlatans, and 808 State continued to record throughout the 1990s, but they were no longer perceived as part of a localized scene. Local bands that emerged towards the end of the Madchester era became part of a broader "baggy" movement. The UK music press shifted its focus to shoegaze bands and the U.S. grunge scene, which was eventually overtaken by Britpop acts like Manchester's own Oasis and London's Blur. The Britpop movement of the 1990s further influenced clothing styles. However, some individuals within the Madchester scene did not adhere to the prevailing trends.

Fashion[]

The Madchester scene had a distinctive fashion that reflected the era's music and cultural influences. The style conveyed a confident Northern identity, drawing on earlier working-class street styles such as Scallies and Perry Boys, which were prevalent among North West football crowds and part of the Casual subculture.^[2]

Baggy clothing was a key feature, facilitating the loose-limbed movements of dancers. Comfort was prioritized, with both girls and boys often wearing similar clothing, creating a seemingly egalitarian and almost non-gendered look. The cut of the clothes defined the look, sound, attitude, and lifestyle. The most distinguishing feature of the "baggy" style was flared jeans. The black drainpipes of C86/shoegaze gave way to extra-wide flares, reminiscent of the Northern Soul scene and the 1967 Summer of Love.

The Manchester flare revival began in 1982/83 when former patrons of the Northern Soul club, the Twisted Wheel, sourced deadstock for their clothing businesses. Flares became popular, with early wearers including the nascent Happy Mondays. By 1985, flare fashion had declined, and "baggies" – baggy all the way down to the hems – emerged. The Happy Mondays were again early adopters, with John Squire of the Stone Roses also embracing the style. However, a small group remained dedicated to flares. In 1987 and 1988, they gained attention from i-D, described as a "surreal youth cult roaming the Hacienda," wearing 25-inch flares, outdoor jackets, and Reebok trainers.

The Stone Roses initially came late to flares, with early photos showing members in baggies or straight-leg jeans. However, by 1989, flares gained wider acceptance, with Ian Brown of the Stone Roses wearing them "for that slight swish" and to provoke a reaction. The width of the flares varied, with 18, 21, 24, and 25-inch bottoms holding subcultural cachet at different times. Ian Brown in 21-inch green Wrangler cords and the 'banknotes' t-shirt became an iconic look.

Baggy t-shirts, often bootlegged, were essential, featuring designs on the front, back, and sleeves. The "AND ON THE SIXTH DAY GOD CREATED MANchester" t-shirt was popular, even worn by Madonna and Jean-Paul Gaultier. Other regionally focused designs were also produced. Kagoules, practical in Manchester's climate, became fashion accessories. Madchester hairstyles included Shaun Ryder's centre-parted "curtains" and Bez's short crop.

When the Stone Roses and Happy Mondays appeared on Top Of The Pops in November 1989, Ian Brown and Happy Mondays' drummer Gaz Whelan wore the same Jean Paul Gaultier jacket. While such designer clothes were often unaffordable for fans, they could improvise, obtaining gear from shops like Stolen From Ivor and Joe Bloggs, whose affordability provided an alternative to designer brands. Regional variations existed in London, Liverpool, and Brighton, where football tops were popular, but flares were less common. The Farm, for example, favored Paul Smith gear and saw themselves as "neo-mods," with a more understated style.

The Madchester fashion scene saw the rise of cut-off denim, logo tees with baggy sweaters, edgy looks, loose clothes, and bucket hats. The Britpop influence of the 90s, led by Oasis, further influenced clothing, styles, and trends, with polo shirts, khaki jackets, and sportswear becoming associated with the Madchester movement. The baggy outfits with bucket hats remain a recognizable aesthetic.^[3]

The Madchester brand itself has seen a modern resurgence, with the MDCR label being worn by Manchester City players and staff, including Pep Guardiola. This has created renewed interest in the Madchester aesthetic.^[4] The core of the look remained loose fitting clothing, allowing for movement on the dance floor, and a sense of artful, imaginative expression.^[5] Some individuals, however, did not follow the main trend, and instead preferred glam metal and grunge fashions.^[6]