I’ve just been in a two-hour workshop session at Manchester Museum. It was set up by Creative Concern to debate ‘Manchester: the brand’ and the concept of ‘original modern’, as the saying goes.

To be honest, I’m not entirely sure why I was invited. I was sitting next to MEN editor Paul Horrocks, opposite design guru Peter Saville and surrounded by people whose titles all included either ‘director’ or ‘editor’. Strangely a few had heard of Mancubist; some even said they were fans.

The intimate debate centred around the aspirations and future of Manchester and its people: its strengths and weaknesses; how it compared to other cities; what areas it should specialise in; whether it needs a slogan/nickname (‘the rainy city’, surely); and how to retain the talented individuals who see Manchester as little more than a stepping stone to the cultural hub of London.

I didn’t contribute much myself – just personal experience that tells me that music, for all the cockiness and history, isn’t supported in Manchester as much as it should be. We need guides, resources, experts, schemes, encouragement, financing… very little of which currently exists. This must be one of the most risky cities in the country to promote a gig in, with crowd sizes consistently below both expectation and potential.

I can’t remember the last time I listened to an Oasis/Stone Roses/Happy Mondays/Joy Division record either – because I’m much more interested in today’s music. Much of the city – and the city’s media – is still stuck in the boring past, however. Today Manchester’s music scene is full of interesting little cliques and niches but it feels incredibly factured because no one is unifying them.

… which led indirectly onto my ‘knuckle rap’: that the city has had no comprehensive listings guide since CityLife’s demise. By luck of the draw, Paul Horrocks was charged with raising this particular issue after the workshop. Let’s see if anything comes of it…

Back in January I wrote that no funding for the Salford Film Festival spells the end. Organisers had pulled the plug, you may recall, after a no one was found to plug a £20,000 funding hole.

Thankfully, Ciara Leeming in yesterday’s MEN reported that Salford Council had, begrudgingly, agreed to stump up the money and that the festival is now back on track:

Salford council leader John Merry said he would be sitting on the management board to ensure this year’s festival was a successful one.

He said: “We can’t win. If we hadn’t have given the money we would be accused of not listening to people. Because we have, we’re being told we’ve been shamed into it. That’s simply not true.

“We were quite satisfied once we examined the business plan that this was an event we would be happy to support. Encouraging learning and creativity is one of the council’s key pledges and the Salford Film Festival certainly fits with that.”

Elsewhere, however, the future of Afflecks Palace still hangs in the balance.

Over 5,500 people have now signed an online petition to keep it open and, as the MEN reported last month, the two sides are currently engaged in talks. Interestingly, someone claiming to be Manchester councillor Pat Karney has been posting comments on that MEN story.

With just five weeks left before the lease expires on June 14, much of Manchester awaits further news with bated breath.

Someone else’s words, posted on Myspace:

Subject: Manchester is officially the worst music city ever

Body: I went to see the Jai-Alai Savant last night at the Night and Day. They have just released on Gold Standard Labs, which is run by Omar Rodruiguez of Mars Volta/At The Drive in fame.

Despite this, the band played to 3 paying customers, one guest and door staff. The gig was booked by SJM who didn’t put any other bands on and The Jai Alai Sevant played a 40 minite set to 7 or 8 people.

I spoke to the tour manager who lives in Berlin and does tour management for the Gossip as well as hundreds of other bands over the years. He’s been all around the world and everyone has mentioned that Manchester is the shittest city to play.

Did SJM drop a bollock, was it somthing to do with the Sunshine Underground gig or the football being on? It doesnt matter – what the answer is, I’m going to move to Berlin and set fire to Manchester as I leave this godforsaken music-hating city.

I’ll not be too judgemental here, because promoters SJM are about 100 more professional than anything I could ever do. But about the wider point: is Manchester in 2007, despite all the hype and rhetoric, a bad city for music?

Following last winter’s Boddington’s Brewery nights, the Warehouse Project is returning to Manchester in May – and once again they’ve found an exciting home:

Over the second May Bank Holiday Weekend, The Warehouse Project take over another landmark location in Manchester to host a special three day party underneath the city. The space that has been chosen was originally used as an air raid shelter during the second world war. It’s located beneath Manchester’s Piccadilly Train station, and it feels very, very naughty…

The events – on May 25, 26 and 27 – have strictly limited capacities of 2,000 and are headlined by Pete Tong, Soulwax Niteversions and Pendulum respectively. For full lineups check Manchester AD or call 0161 835 3500. Tickets are a fairly reasonable £15 or £20 from Ticketline.

The site in question is on Store Street, which was Piccadilly Station’s original name when it first opened in 1842. And Aidan O’Rourke, on his forum, talks about the street covering a ‘lost river’. Of course, this’ll matter little to pilled-up ravers at 5am, but it’s interesting nonetheless.

Elsewhere, Manchester International Festival is about to unveil details of its own club night, Industrial Resolution, at Manchester Central (aka G-Mex) on July 7. It’ll feature the world’s biggest indoor screen and clubbers are already predicting Sasha as one of the main acts.