What Happened at the Oasis Manchester Gig Wasnât Just Disrespectful â It Was Disgusting
It shouldâve been one of the most euphoric nights of the year. Oasis. Back together. Heaton Park. Manchester. Biblical scenes. But while Liam and Noel were belting out bangers like Donât Look Back in Anger, some fans were busy creating a nightmare â for the very people the gig was supposed to accommodate.
Imagine this: you arrive early, navigate the queues, and finally make it into the accessible viewing area. Youâre in a wheelchair, or maybe youâve got a hidden disability that means standing for long periods is painful or dangerous. Youâre positioned safely, ready to enjoy the show.
Then the band comes on, and suddenly⌠everyone around you stands up.
Crutches are dropped. Wheelchairs pushed back.
People start dancing like theyâre at the front of the pit.
And just like that â your view is gone. And with it, your experience.
âż âI Couldnât See a Thingâ â One Fanâs Heartbreaking Testimony
A disabled Oasis fan from Cheshire shared their experience with The Riff Report:
âI thought I was safe. I thought Iâd finally be able to enjoy a gig without stress. But as soon as the music started, people stood up everywhere. I couldnât see anything. It was humiliating. I left halfway through in tears.â
Itâs difficult to read that and not feel fury rising in your throat. Because this isnât an isolated incident â itâs happening at gigs and festivals across the UK.
And we need to talk about it.
đ¨ Not All Disabilities Are Visible â But Thatâs Not What This Was
Letâs be very clear: many disabilities are invisible. Some people might stand briefly and still need access support. But when dozens of people suddenly abandon their wheelchairs and chairs, stand for the entire show, and block everyone behind them?
Thatâs not âinvisible disability.â
Thatâs visible selfishness.
Thatâs blatant abuse of the system.
đ° Wait, It Gets Worse: Viagogo Selling Wheelchair Tickets for ÂŁ634?
Yep. In one of the most jaw-dropping examples of access exploitation, resale platforms like Viagogo have been caught selling designated ‘wheelchair and companion’ seats for a staggering ÂŁ634 for two people.
Letâs break this down:
- Companion tickets are meant to be free.
- These tickets are reserved for disabled people and their carers.
- And Viagogo is flogging them at profit â likely to buyers who donât even need access.
Itâs not just immoral. Itâs downright predatory.
These companies aren’t just scalping fans. Theyâre scalping the disabled community. The fact this is allowed to happen under the nose of venue partners and gig organisers is frankly shameful.
đŞ Festival Access: Itâs Broken and People Are Exploiting It
This Oasis incident is part of a wider access crisis in UK live music. Fans are reporting:
- Fake Nibus Card use (yep, there are Facebook groups sharing âtipsâ to get them).
- Abled fans claiming to be carers just to get closer views.
- Access wristbands being resold online.
- Standing-room parties on platforms meant for people who canât stand.
Access areas are meant to be safe zones. Instead, theyâre turning into battlegrounds where actual disabled fans are forced to fight for visibility at their own gig.
Let that sink in.
đŁ What Can Be Done? Hereâs What Needs to Change
We need change â and we need it fast. Here’s what festivals and venues should be doing:
- Stricter ID verification when issuing access wristbands.
- Stewards assigned to monitor access areas throughout the event.
- Clear signage and zero-tolerance policies for standing in accessible viewing areas.
- Educating fans that access abuse isnât just unfair â itâs deeply damaging.
- Empowering disabled fans to report violations without fear of backlash.
- Ban resale of accessible tickets and prosecute where appropriate.
And fans? Itâs on us too.
đ§ How to Be a Better Gig Buddy:
If youâre attending with someone using the accessible platform:
- â Sit if others are sitting.
- â Be aware of your surroundings.
- â Donât block someoneâs view â especially not in a wheelchair.
- â Use access only if you need it.
- â Tell your mates to stop taking the mick.
And above all â remember that gigs should be a joy for everyone, not just the loudest or most able-bodied in the room.
đ A Culture Shift Is Needed â Music Should Be for Everyone
We all love live music. It brings people together in ways nothing else can. But when disabled fans feel excluded, ignored or disrespected, it undermines everything these gigs stand for.
If music is meant to be unifying â if Oasis meant anything when they sang âweâre gonna live foreverâ â then we need to make sure everyone can live through these moments together.
Including those in wheelchairs.
Including those with invisible illnesses.
Including those who came for the same reason as the rest of us â to feel something.
â From The Riff Report:
Weâre not here to point fingers at individual fans. But we are here to shout loud about the need for respect, reform, and real action.
đď¸ If youâve experienced access abuse at a gig or festival â or if youâve seen people misusing access passes, we want to hear from you.
đŹ Drop us a message via https://theriffreport.co.uk/
đ¸ Send us your photos.
đŁď¸ Tell us your stories.
Together, letâs fix this mess.
â ď¸ Disclaimer from The Riff Report:
We understand that not all disabilities are visible, and many fans attending with chronic pain, fatigue, neurodivergence, or mobility conditions may use access areas while still standing occasionally. This article is not intended to shame anyone with legitimate needs â rather, it aims to highlight and call out the clear abuse of systems meant to protect disabled fans.
If in doubt, assume compassion â but also support accountability.
Access at gigs should work for everyone who truly needs it.
Michael is the founder, editor, and chief riff wrangler behind The Riff Report, an independent Welsh rock and metal publication built by fans, for fans. With a lifelong passion for loud guitars, unforgettable live shows, and the incredible community that surrounds rock and metal, he created The Riff Report to celebrate everything that makes the scene specialâfrom legendary headline acts and grassroots venues to rising bands that deserve to be heard.
A familiar face at festivals across the UK, Michael spends much of the year covering events including Download Festival, Bloodstock Open Air, Steelhouse Festival, Firevolt, Plumpton Revival, and many more. Whether heâs battling the Welsh weather on a mountainside, surviving a weekend in a muddy campsite, or squeezed against the front barrier with thousands of fellow fans, heâs always searching for the next great story to share.
As editor of The Riff Report, Michael writes festival guides, breaking news, album reviews, gig reviews, interviews, opinion pieces, nostalgia features, and behind-the-scenes stories from across the rock and metal world. His writing combines honest opinions, humour, and a genuine love for live music, bringing readers closer to the bands, festivals, venues, and people that keep the scene alive.
Michael is particularly passionate about supporting independent artists, local venues, charities, and the wider UK rock and metal community. He believes every band deserves a chance to be discovered and every festival has a story worth telling. Through The Riff Report, he aims to shine a spotlight on both the biggest names in rock and the future stars waiting to break through.
When heâs not writing or interviewing artists, youâll probably find him exploring festival campsites, photographing live shows, chatting with fellow fans over a pint, or planning the next road trip in search of more riffs, bigger crowds, and unforgettable moments.
Above all, Michael believes rock and metal are about more than musicâtheyâre about community, friendship, and creating memories that last a lifetime. Thatâs exactly what The Riff Report exists to celebrate.
Proudly Welsh. Proudly Loud. Always chasing the next great riff. đ¤
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