Listen, we here at The Manc and Audio North have been to a fair few gigs in our day, and heavy ones at that – we’re fortunate to have a fair few happy headbangers in our office – but we’re not sure many things encapsulate a proper rock show like seeing Frank Carter and the actual Sex Pistols.
You know, as you do…
When we first heard that the legendary punk band were not only back on tour over 16 years after their last handful of festival sets (and nearly in their 70s, by the way) but bringing the ex-Gallows and current Rattlesnakes frontman along for the ride, it felt like we’d be asked one of those dream lineup questions.
As the literal godfathers of the genre and entire movement that changed the face of music here in the UK and all over the world, there are very few people who could even attempt to fill the shoes of Johnny Rotten, but at times it genuinely felt like there’d never been anyone else other than Frank f***ing Carter.
Lots of legs wheeling into the air, lots of circle pits, lots of sweat. (Credit: The Manc Group)
Limited-run shows like these are obviously always going to be special and watching the last remaining Sex Pistols members play their iconic Never Mind The Bollocks album in full to what we can only describe as one of the most mixed crowds you’ll ever come across.
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Now, we’re fully aware that the Pistols pre-date us by some way and, of course, there were A LOT of dads and old punk-rockers with multi-coloured mohawks to be seen, but much like we’re hoping with those upcoming Oasis reunion gigs, there were a lot of young fans filling out the front rows.
But no matter what age group they belonged to, the Manchester crowd did us proud as it always does and even at some of the rowdiest metal gigs we’ve been to in the past, we have never seen so much crowd-surfing, circle pits and all-round chaos.
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It was nothing short of utterly delightful and, we have to say, a lot of the thanks has to go ‘Franky Boy’, as he was affectionately referred to throughout the show.
Once again, I don’t think we can overstate how hard it is to follow in the footsteps of arguably one of the greatest albeit controversial frontmen of all time, but somehow the 40-year-old made it look effortless.
Frank Carter is born to play the Rotten role and the Sex Pistols are better for it. (Credit: Audio North)
Actually, that’s a lie: if you’ve ever seen Frank Carter live you’ll know how much energy goes into those sets and we think of ‘blood, sweat and tears’ performances, he’s pretty much the epitome of it.
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Nevertheless, what we’re trying to say is that these now-legendary one-offs/revival/comeback shows, whatever you want to call them, simply couldn’t have happened without him – certainly not at this level, anyway. In fact, we’d go so far as to say he was born to play this role.
You could tell the boys know it too; not only have they put their faith in him but you can tell they’ve already struck a lifelong friendship, as they beckoned their lead singer back from the mosh multiple times by simply saying, “Frankie baby, we miss you.”
The man himself has made no secret of how much of a dream come true being chosen for this tour. He recently wrote to his followers: “In case anyone was wondering what it’s like to share the stage with these three legends… Pure joy.”
He went on to add, “It’s not lost on me how lucky I am to be up here and I cherish every moment of it… Every single show feels special and I am having the time of my f***ing life” – and so were we. Frank actually spent what felt like half of the gig in the crowd and you just don’t get over moments like that.
He can scream in our faces any day.Unreal energy from start to finish.We’re not sure where Manchester ranks on the current tour for Frank Carter and the Sex Pistols, but it’s bloody high on our best of 2024.
It has to be said too that Paul Cook, Steve Jones and Glen Matlock don’t seem like they’ve missed one single beat even after all this time.
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In terms of the tunes that went the hardest, we’re still not over the pure surrealness of hearing those opening notes of ‘Holidays in the Sun’, ‘No Feelings’ and ‘God Save the Queen’ were obvious favourites but it will surprise absolutely no one to hear that ‘Anarchy in the UK’ was the perfect closer.
We limped out of Manchester Academy with a couple of bruises to show for it and probably smelling like a bin fire, but if you’re asking us whether nearly losing a tooth whilst hugging a dozen random blokes in leather and/or denim was worth it, yes, it absolutely was.
In fact, rather than pretend this is much of an actual muso review (that doesn’t feel very Sex Pistols or particularly punk) we’ll go one further and declare that as possibly the most raucous gig we’ve ever been to – and it’s all Frank Carter’s wonderful f***ing fault.
Tame Impala at Co-op Live, Manchester – lasers, lights, and a bit of a hangover
Daisy Jackson
The coolest man in the southern hemisphere has finally made his way back up north, for his first Manchester gig in a decade.
That cool man in question is Tame Impala, the music project of what-the-hell-can’t-he-play multi-instrumentalist Kevin Parker.
Sure, last year’s single release ‘Dracula’, and then its remix re-release with K-pop megastar Jennie, may have propelled Tame Impala up towards the top of the UK singles chart for the first time, but he’s got almost two decades-worth of music to dig through beyond that too.
It’s a hefty discography and it leads to a setlist that seems to almost peak about six times.
‘How could it possibly get better than this?’ we seem to ask as he plays The Moment, Elephant, Dracula, and Let It Happen pretty early on – but better it does indeed get.
It doesn’t seem to matter whether he’s up on the main space-ship-esque stage surrounded by lasers and lights, or sat on the floor of the B Stage playing around with a keyboard, Tame Impala has an irresistible, enchanting charisma. A lot more charisma that you’d expect from a man called Kevin.
Early on, he confesses that he’s quite severely hungover from last night’s show, where he had Dua Lipa (he wrote and produced her Radical Optimism album) as a surprise guest.
But you can see the hangover clear from his eyes in real time as 23,500 Mancs scream in his face. Which might not sound like a likely hangover cure, but who am I to argue with the evidence in front of me?
Although Kevin writes, produces, and records his music solo, he’s got half a dozen musicians up on the main stage with him, which looks like a convoluted space ship that fires confetti out of its thrusters (FOUR TIMES!).
With revolving lights, dancing lasers, and a metal grid base spewing out dry ice, it’s really one hell of a production.
It’s a light show designed to give us all a glimpse of his synesthesia (meaning he sees colours when he hears music (Billie Eilish has it too)) – essentially, if you couldn’t hear a thing and could only see the stage, you can still tell exactly what song is playing.
Still, when he saunters straight through the crowd to his smaller stage to mix tracks solo – no lasers, just a few lamps – flopping down onto a tangle of wires like a mad magpie building himself a nest, it’s a chance to remember this guy’s composing prowess.
A lot of the songs performed tonight are almost orchestral in their complexity, so that the whole show merges into one thundering, bewitching night of dancing and being blasted in the face by confetti.
It’s genius.
So can you not leave it another decade before you come back, Kevin?
Kahiki Soundhouse – the new Mint Lounge site is living up to the old name and its live music legacy
Danny Jones
If you went out in town back in the day (pretty much any time from the late 90s to the 2010s), or indeed have sampled a Funkdemia over the past couple of decades, chances are you tried or at least heard of Mint Lounge – but did you know it’s been replaced by a new kid on the block, Kahiki?
Kahiki Soundhouse, to give it its full name, is the new live music venue bar that has opened up the old basement space on Oldham Street in the Northern Quarter.
In truth, it’s now more of a classic lounge than ever before.
The large open-plan floor, which used to be filled with people standing/two-stepping inside a fairly barebones club room with no air conditioning, has now been traded up for a stylish space lined with plush padded seats, classy low-lit tables perfect to share a glass or two over, and lots of new features.
Perhaps the biggest change is that the old soundbooth/stage area that used to be way at the back has now been swapped for a central 360° podium that changes up each night.
It really is the star of the all-week-round Kahiki show, if you ask us.
This also means that no matter where you are in the main venue (there are other rooms, but we’ll get to that), be it tucked in a booth to the side, at the bar, or even ‘behind’ whoever’s playing, you’ll have a virtually unobstructed view of what’s happening from noon until night.
Seriously, thanks to their already jam-packed schedule, the reviews aren’t just off to a great start only a few days in, but people have been turning up in the early evening and staying well into the early hours of the next day.
They’ve got duelling pianos, live bandaoke, acoustic nights and straightforward DJ sets for those who still fancy a taste of the previous vibe.
Kahiki’s maiden Manchester city centre venue definitely harks back to the good times had in the Mint Lounge days, but the team, who possess decades of experience between them, have combined a retro feel almost more akin to 1960s speakeasies, cocktails and evening venues.
It’s no secret that clubbing and the UK nightlife scene have changed quite a bit since the pandemic, but these guys look to have found that perfect blend of more relaxed seating, along with plenty of room to get up and boogie; there’s even a raised mini-stage/dance cage for your main character moments.
Better still, if you do want something a little bit away from the crowds of punters that are continuing to make this one of the liveliest new additions to NQ, they also have adjustable karaoke rooms where bi-folding doors can make room for up to 50 of you and your lot to party in privacy.
Let’s just say the spirit of the Lounge is alive and well in the Soundhouse.
Just one corner of KahikiYour podium awaitsOne of the smaller karaoke rooms
Danny Jones -
25th September 2024 
