Oh, hello there. Did you think we’d forgotten to do our Manchester artists round-up for March? Don’t be daft, it was just a joke – a silly little April Fool’s joke.
This is, without a doubt, one of our favourite times of the month because we get to look back at our music habits in more bite-sized pieces rather than feeling like we have to defend a whole year’s worth every time Spotify Wrapped rolls around.
If you don’t know the drill by now, for one, where have you been? Secondly, welcome to the listening party: it’s the period we set aside to spotlight the best up-and-coming, underrated and veteran musicians from Greater Manchester alike – so long as they’re good, we’re happy.
Let’s get into it then, yeah?
Manchester bands and artists we’ve been listening to this month
1. Lusaint
First up on our list for March is a very talented woman by the name of Lusaint – real name Lucy Hopkins, but trust us, this is a stage name set for stardom as far we’re concerned. Manc born and bred, she has the voice and vibe of an old soul with all the talent and style to go up against the biggest around today.
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She started gaining followers through her stunning covers of everyone from Kings of Leon and Whitney Houston to Fleetwood Mac, Jason Mraz and many more. That being said, her pop-forward original solo material is hitting our ‘Sweet Tooth’ and then some, so we tried to keep it cool when we met her recently.
If you’re looking for where to start, her latest single ‘Neon Lights’ has an almost laid-back, neo-soul vibe; ‘Sober’ has a bit of Winehouse and Bailey Rae to it, but the best way to sum her up is soulful R’n’B with plenty of jazz and contralto moments sprinkled in there. The piano version of ‘Dark Horse’… Oof.
You’re damn right we’re putting them back amongst our Manc artists of the month list because not only have we’ve been listening to their new album non-stop but, in case you hadn’t heard, it’s just gone to number one – their second to date!
Leigh’s very own Lottery Winners need no introduction at this point: they’re becoming an increasingly big name in the indie, pop and Northern scene in general, but they also might just be up there with the hardest working bands going right now.
We could recommend tonnes of songs to kick off with but we’d like to give a big shout to ‘Superpower’, a real bit of genre whiplash that really works, ‘You Again’ with Jon McClure of Reverend and the Makers because it’s just a banger and ‘Turn Around’ because same and it has the cutest music video ever.
Now, this next one pains us slightly because Push Baby, as eclectic and interesting as they are, are currently inactive as of 2022 following the release of their second full LP, Wow, That’s What I Call Push Baby!, which is a brilliant subversion of modern mainstream music.
Made up of lead vocalist Jake Roche, the son of British household names Coleen Nolan and Shane Richie, as well as multi-instrumentalist Charley Bagnall – both formerly of the boyband Rixton too – this alternative duo were pushing plenty of boundaries before they took a pause to pursue other projects.
Song wise, ‘WHAT YOU GONNA DO?’ is the closest thing to a new NSYNC track as you’ll find, ‘thenineteenseventyfive’ feels like it could just about fit on a 1975 album if you just swapped out the vocals, and you simply have to start with the first song we ever heard from them: ‘thor’
You get a much different level of production on the studio version than this equally beautiful live recording. We hope they come back.
4. Tim Burgess
Our penultimate pick for this month is a Manc music legend whose music we’ve been exposed to most of our lives, but it pains us to confess we were relative latecomers to his solo stuff. The Charlatans’ frontman had such a large body of work, but we’ve finally cracked into properly for the first time.
It won’t surprise you whatsoever to learn the Salfordian icon’s own singer-songwriter records are just brilliant asd everything else he’s done in his career and we’ll feel daft to have waited this long to dive deep. There’s plenty to get through, put it that way.
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Everyone’s heard ‘OH My Corazon’ (in fact, we’d wager you’ve heard even more Burgess than you realise), but we’d grown a particular soft spot for ‘Sure Enough – Eyedress Remix’, ‘White’ and ‘Empathy For The Devil’ where he voices go real Ian Brown-esque. We’ll keep digging and get back to you.
Yet more evidence that he deserves your attention and respect for what he’s done/doing for Manc music
5. Dirty Blonde
Last but certainly not least is another duo that, unlike Push Baby, aren’t just active but are absolutely ripping through the infancy of their alt rock story already and have all ferocity of a pair of Manc music pioneers that are going to go far – Spill The Sound seem to think so too.
Modern girl rock that kicks you in the face with punchy riffs, catchy hooks, great vocals and plenty of confidence and all-around swagger that makes you think they’re made for this business. You could probably draw all manner of comparisons to contemporaries, but put simply, they just sound sick.
There’s not absolute reams to get through yet as the two are ones for the future, but we’ve particular enjoyed ‘Rush’, ‘Run (When I Tell You)’ and you’d be a fool not to take a look at their new single ‘Adore Me’ which achieves exactly what the title says. Love ’em and we look forward to hearing more.
And we’re sorry to say that’s all she wrote for another month, and we apologise to any of you die-hard readers for being a day late to it this time around. We promise we won’t make a habit of it.
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In the meantime, you can always go back and listen to our Manc music favourite from February to keep your playlists feeling refreshed – and all the other lists prior, come to think of it.
Featured Images — Audio North/Wow, Big Legend (press shot)
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A beautifully chaotic Thursday night – Rossi. at YES Pink Room for BRITs Week 2026 for War Child | Review
Harry Quick
There’s something beautifully chaotic about watching Rossi. take over a room the size of YES’s Pink Room on a midweek night in Manchester.
No towering LED walls. No Ibiza sunset backdrop. Just low ceilings, flashing pink strobes, and a crowd packed in tight enough to feel every kick drum in your ribcage.
For a DJ who has commanded renowned venues across the globe like Space Miami, Hï Ibiza, and Manchester’s very own Warehouse Project, it felt almost mischievous seeing him in a space this intimate on a Thursday night.
If you were lucky enough to grab a ticket to this instalment of the BRITs Week 2026 for War Child fringe events, you could tell early doors that whoever had one was more than ready to turn up for him. When Rossi. stepped behind the decks, taking over from the talented Olive F, who set the tone for the evening, and once the headphones were firmly sat on his curly locks, he eased us in with a rolling, groovy opener – not so subtly dripping in snippets of his biggest and best tracks. We’d have to wait for those.
His sound sits in that sweet spot between underground grit and polished punch. Tech-house, but with his own East End character. The drums feel tight and deliberate. The basslines don’t just thud, they glide.
To start us out, we were hit with a few dancey vocals filled with his hometown of London’s Grime influence, all the way to Frank Ocean’s ‘Lost’ at 125 bpm. Within minutes, the pink room was in full swing.
From there, the set unfolded like a guided tour through the different shades of Rossi.’s catalogue. Underground favourites like ‘U WONT SEE ME’ slipped into the mix with a knowing reaction from the very keen lads at the front. ‘FREAK IN THE SHEETS’ followed later, cheeky and rhythmic, drawing that half-grin from dancers absolutely going for it at the front right.
It’s easy to forget how far he’s come. A decade ago, he was carving out space in the underground. Now he’s headlining globally recognised parties like Circoloco, Music On, Paradise, and Fuse, and launching a world tour that’s been tearing through the UK, Ireland, Europe, and the US. Yet here, there was no arena ego. Just a cheeky lad going back to his roots like he’s on his CDJs in the bedroom.
Mid-set, he began to lift the energy. Brighter synths edged in with the odd jangly finger floater for good measure (that’s what I’m calling that dance move anyway!). The percussion grew punchier. The room, already warm, never quite tipped into sweatbox territory. Strangers were dancing together. Drinks were abandoned on ledges. I had realised I’d bagged the perfect vantage spot overlooking things on the ledge, in prime view of a truly fortuitous occasion.
Rossi. at YES for BRITs Week 2026 for War Child / Credit: Holly Pimlott (Supplied)
Then came one of the night’s real eruptions. ‘High On Me’ – his breakout collaboration with Jazzy – landed like a spark in dry grass. The track, which stormed into the UK Top 20 and racked up over 20 million streams in a matter of weeks, felt enormous in a room this size.
Arms shot up. Lyrics were shouted back. For a few minutes, YES felt like the epicentre of British dance music or maybe a flashback to a ruthless TikTok doom scroll session.
But what impressed me most was the pacing. Rossi. didn’t sprint through bangers. He let grooves breathe. He allowed tension to stretch before unleashing the drop on almost every occasion. Teasing in a little snippet of an upcoming track, a few minutes before we could revel in it in full. It’s the confidence of someone who’s sold out 2,500-capacity headline shows – even breaking ticketing systems with demand – yet still understands that the magic is in the build.
The talented Olive F supported and set the tone for the evening / Credit: Holly Pimlott (Supplied)
As the final stretch approached, he nudged the tempo upward… and he was about to drop some serious crowd pleasers.
LEDs dampened. Darkness fell. The murmurings of ‘Lady – Hear Me Tonight’ rose in unison with the crowd’s curiosity. It didn’t take long until the entire gaff was going mental. Just pure, euphoric house music.
And to finish, with his headphones resting against the decks and mixing all said and done, he pressed play on the swan song. As ‘These Sounds Fall Into My Mind’ echoed around the room, the speakers hardly needed to be playing anymore. When he finally eased out, it felt less like an ending and more like an enticing warning shot for the summer ahead… hello, is that Ibiza calling?
Rossi. at YES wasn’t just a warm-up for this Saturday’s big BRIT Awards, it was proof that no matter how big the stages get, he thrives in the arm-flaring closeness of a proper club room.
Global headline DJ. Underground heart.
Featured Image – Holly Pimlott (Supplied)
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Olivia Dean proves she deserves all her flowers with a captivating performance for BRITs Week 26 for War Child
Clementine Hall
BRITs Week 26 for War Child continued in Manchester last night, with Olivia Dean taking over a beautiful candle-lit Albert Hall… and it was a night we won’t forget.
I don’t need to tell you how utterly brilliant Olivia Dean is.
It’s something I’ve known for years (humble brag), but luckily it seems the entire world has caught on over the past few months.
I’ve been lucky enough to see Olivia five times now, and from watching her joyfully shake here banana-shaped maraca on a small stage at Glastonbury in 2023, to swishing her olive green satin gown at one of the country’s best venues last night – her indisputable talent remains.
Images: The Manc
The Art of Loving, her sophomore album, came out in September last year and features global hits ‘Man I Need’ and ‘Nice to Each Other’.
The record is a perfect analysis of love in all forms. Her heartfelt yet humoured lyricism explores its constant ups and downs, but perhaps the most prominent theme of love throughout is self-love.
And this is so clear as we watch Olivia beam from ear to ear as she makes her way through a setlist that is a celebration of her entire discography.
Of course, we heard all the fan favourites from the new album including ‘Lady Lady’ and ‘So Easy (To Fall In Love)’, but we were also treated to some of her older songs like ‘Echo’ and ‘UFO’ that initially brought her into the limelight.
A highlight for me was Ladies Bathroom which saw the gigantic disco ball hanging above us kick into gear, which as you can imagine at the gorgeous Albert Hall was a real sight to behold.
The entire evening underlined why smaller, grassroots venues are so bloody brilliant and deserving of our support now more than ever.
Image: Supplied
No pushing, no overcrowding, we were all there to revel in Olivia’s greatness and we all knew how lucky we were.
This was no doubt a very special show, a complete one-off in aid of BRITs Week 2026 to raise money for War Child, which Olivia joyfully announced that we had raised £270,000 for that night.
It’s no surprise that Olivia Dean is one of the most exciting artists in the world right now, oozing class, charm and impeccable talent.
We’ll be watching with our fingers crossed as she attends the BRIT Awards on Saturday evening with an impressive (and very well deserved) five nominations.
If you’re lucky enough to have tickets to her upcoming tour then just know how much fun you’ll have, but you’ll never have as much fun as Olivia does on that stage.
You can find out more about the remaining War Child performances here.
Danny Jones -
1st April 2025 
