Geographers have neglected popular music, in spite of its key role in
cultural identity. Using the example of Manchester, we outline geograp
hy's role in forging a certain distinctiveness to the city's ''indepen
dent'' music. It is suggested that such musical fragments, which compl
ement and contrast with the global aspirations of mainstream popular m
usic, feed into the formation of postmodern ''neo-tribes''.