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A woman looks at flowers in Albert Square in Manchester, northwest England on May 24, 2017, placed in tribute to the victims of the May 22 terror attack at the Manchester Arena.
BEN STANSALL/AFP via Getty ImagesLONDON — Security teams missed multiple chances to prevent a suicide bomb attack outside an Ariana Grande concert at Manchester Arena in 2017, a public inquiry has found.
The terror attack on May 22, 2017, caused 22 people to die and more than 800 to be injured, many of them children. It happened at the end of a sold-out Ariana Grande show at Manchester Arena (also now known as AO Arena) when bomber Salman Abedi detonated a home-made explosive device in the venue foyer as fans were exiting the building.
A 200-page report into the attack, published on Thursday (June 17), found that “there were a number of missed opportunities to alter the course of what happened that night” and "more should have been done" by police and security to prevent the bombing.
In particular, the report notes that police should have identified Manchester-born Abedi, who was of Libyan descent, as a potential threat on the night of the attack. Had that occurred, it is likely that Abdedi would still have detonated his device, “but the loss of life and injury is highly likely to have been less,” says John Saunders, who chaired the inquiry.
The report is the first of three that will be produced by the public inquiry, which began last September. It found that arena operators SMG, security company Showsec and the British Transport Police, who were responsible for policing the area where the bomb went off, were "principally responsible” for missed opportunities to prevent or minimize the “devastating impact of the attack.”
They included failing to detect “hostile reconnaissance” carried out by Abdedi on at least three separate occasions prior to May 22, as well as being more alert to the risk of a terrorist attack on the night of the concert.
Saunders says the most striking missed opportunity was the failure of a teenage security guard to take effective steps after a member of the public raised concerns to him about Abedi.
The inquiry found that another security guard, also a teenager, tried to use his radio to alert the security control room after concerns were raised about Abedi, but could not get through.
The report criticizes SMG’s “inadequate” CCTV system, which enabled to Abedi to hide for an hour in a blind spot, and the failure of Showsec staff to conduct an “adequate security patrol” in the 30 minutes leading to the attack.
“It is implicit in the findings that I have made that both SMG and Showsec failed to take steps to improve security at the Arena that they should have taken,” says Saunders.
Of the four British Transport Police officers on duty at the arena on May 22, none were in the foyer at the time of the attack. Two took a two-hour meal break, driving five miles away from the arena to pick up a kebab.
On the night of the bombing, the national terror threat level in the U.K. was severe, meaning an attack was highly likely.
The report makes a number of recommendations to improve security at concert venues, including the introduction of new "protect duty" law, which would place a legal obligation on venue operators to make sure they are prepared for the risk of terror attacks. The British government has initiated a consultation on the proposals.
SMG says since the attack it has improved security procedures at the Manchester Arena by extending the security perimeter around the venue and installing walk-through metal detectors and a new CCTV and access control system.
“However, out of respect for those who tragically lost their lives on the 22nd May 2017, and those whose lives changed forever," SMG says in a statement, "we can never be satisfied that we have done enough.”
LIVE REVIEWS
The closing hours of Reading 2026 have finally arrived. Florence + The Machine brought the rain during ‘Dog Days Are Over’ at The Grid, opening the heavens and leaving the festival site completely soaked. The weary fans who have stayed behind are wet, exhausted and clearly feeling the effects of the weekend. What they need now is one final enormous celebration to make the wait worthwhile.
The Gallery tent comes alive as the speakers blast ‘Favourite’ by Friday’s headliners and fellow countrymen Fontaines D.C., receiving the kind of reaction usually reserved for ‘Mr Brightside’ at a drunken wedding reception. Moments later, Kneecap display their familiar statement accusing Israel of carrying out genocide against the people of Palestine and Lebanon, with support from the UK government. It captures the Belfast rap trio perfectly, combining serious political messages with an unapologetic party atmosphere.
“We use our platform to talk about what we believe is right,” Mo Chara explains during the performance, before recognising those who “aren’t so fucking lucky” and whose voices have been suppressed. He soon encourages the audience to roar “fuck Netanyahu” and “free free Palestine”. Later, he starts a powerful chant of “Aaaaaa-ndy Buuurn-ham’s a waaaaaaan-ker” to the melody of ‘Seven Nation Army’, targeting our new Prime Minister over his claim that “a united Ireland is off the table”. Laughing, he asks: “The BBC won’t broadcast that, or will they?” As it turned out, they did not.
Away from the headlines and the controversy, there is no denying the connection Kneecap have built with their audience. Politics may shape the conversation, but the crowd also came to enjoy themselves, ready for a rave after the rally. The performance begins carefully with the heavy rumble of ‘Smugglers & Scholars’, before exploding during the Grian Chatten collaboration ‘Better Way To Live’ and the threatening energy of ‘Sick In The Head’. “Are ya ready for a mad one?” Mo Chara shouts. The response is already obvious.
The atmosphere becomes increasingly chaotic as the hip hop rhythm of ‘Cold At The Top’ and the hypnotic trance sounds of ‘An Ra’ send the entire tent into motion. The trio jokingly thank the UK for everything it has given Ireland, listing UKIP, fish and chips, a mental health crisis, Jimmy Saville, HP Sauce and Bloody Sunday. However, the show reaches another level once the second half begins. The explosive ‘Sayonara’ brings the ‘beef’ to ‘IBEEFA’, while ‘Get Your Brits Out’ and ‘Guilty Conscience’ give the crowd every reason to obey Móglaí Bap’s demand to “oooopen up the piiiiiit”.
Anyone watching closely may have questioned why the cameras continued to focus on Móglaí Bap and Mo Chara. The pair eventually reveal that they have spent recent weeks performing alongside a “provisional” DJ Próvai. Wearing the familiar tricolour balaclava, the temporary replacement handles his role as the crowd agitator with confidence while their bandmate enjoys some paternity leave. “Some things are more important than music, and that’s family,” they explain. How sweet. Móglaí Bap quickly destroys the tender moment by adding: “As you might know, the Brits took all our potatoes from Ireland; they took all our cocaine,” before declaring, “but we still have all our caaandy.” The group then charge directly into one of the biggest tracks ever written about extremely powerful ketamine.
‘Liar’s Tale’ sparks another huge reaction with its response to Keir Starmer, “genocide armer”, while the group warn that “you’re not getting away with doing nothing”. It is a politically charged message hidden inside an irresistible anthem from musicians who have experienced the “belly of the beast” through the legal system. Their latest album, ‘Fenian’, has helped Kneecap fully embrace the celebration that has always been part of their identity. Their live production now feels capable of filling arenas, blending the intimacy of a late night lock in with the rhythmic force and visual scale of The Chemical Brothers, the reckless electronic punk spirit of The Prodigy, and the fearless political honesty of Public Enemy. The spectacular visuals complete the experience.
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Closing with the powerful combination of ‘Fenian’, ‘H.O.O.D.’ and the enormous ‘The Recap’, Kneecap bring our final celebration at Reading to a thrilling conclusion while also finishing their last festival appearance of the summer. “It’s been a pleasure to spend it with you mad c**ts,” Mo Chara says before leaving the stage. The feeling is mutual.
Return to NME here for the newest reports, reviews, photographs, conversations and further coverage from Reading & Leeds 2026.
