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The backlash was swift, and it was brutal. The producers had announced it would be a tribute to those who died in the Hillsborough disaster; testimony to the enduring search for truth and justice.

Instead, ‘You’re Not Singing Anymore: The Hillsborough Tragedy in Song’ smacked of piss-taking and a distinct lack of respect. They tried to turn a still-fresh wound into a money-making vehicle. Numbers like ‘Crush’ and ‘3.06pm’ particularly caused offence.

Nobody was therefore surprised when the man bankrolling the charade was found with a slit throat in an alleyway, and the principle composer mysteriously vanished.

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