Friday night’s gig at New Century Hall was one of those where you’re so stunned by the show that you’re left wishing the act in front of you was Manc so you could claim them as you’re own – but sadly Novo Amor is a Welshman and we had to give him back.
The stage name for the highly impressive multi-instrumentalist and producer, Ali John Meredith-Lacey, in truth seeing him for the first time here in Manchester proved that the Novo Amor really is the sum of many talented parts.
Much like Bon Iver in that sense and in style, sound and approach to making music, for without Justin Vernon and co. there would be no Novo, one of our first worries was that he would be unable to carry over the level of production and sound design heard on the albums to the stage performance.
That’s where his full band came in, who ensured not only that the whole thing sounded virtually studio-perfect but took a step beyond what we ever thought we’d get to hear at a Novo Amor gig. And it all started with Ed Tullet performing under his own stage name Lowswimer for the opening act.
Lowswimmer supporting Novo Amor in Manchester (Credit: The Manc Audio)
Anyone who listens to Novo will likely be aware of the little sub-group of artists that all swim in the same circle, from Ali himself to the likes Gia Margaret, Sean Carey (part of Bon Iver) and Yvette Young, to Hailaker – Tullet being one-half opposite Jemima Coulter – as well as Lowswimmer and several others.
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He might have only played a handful of songs with only a guitar, including a couple of beautiful Hailaker tracks, but it was more than enough to leave an impression of the very sincere artist who clearly has a massive influence on all of those around him.
Explaining that this would be his second to last show perform with Novo Amor due to health issues and the general toll of touring, having helped write, record, produce and play the bulk of music ever put out under that name since day dot, it was a fittingly sombre and intimate warm-up.
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However, even in delivering the more stripped-back set we were already half expecting from the headliner, we almost managed to get both sides of this little mini-music community: the quieter acoustic stuff where big vocals moments are left to shine, and they did, as well as the real deal.
There was even a moment when tiny embers began to flicker as if you were listening to the guitar around a campfire.
When Ali and the rest of his band finally walked out on stage, with Ed himself receding back into what looked to be the more comfortable position just outside of the spotlight, it suddenly dawned on us that it wouldn’t just be a few folky guitars and some nice piano playing.
After the Lowswimmer’s ironically low-lit stage had somehow managed to hide a quietly better-budget backdrop, the stage suddenly began to light up as Novo Amor wandered on to pick up their instruments and play and from here on out we were just as captivated by the lights and effects as we were the music.
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Be it thin but sharp white lines tracing the borders of light boxes like a weird game of snake; solid blocks of electric blues, warm yellows and moody reds appearing on perfectly-timed musical cues or dots delicately twinkling into a slow-moving constellation, each song felt like an experience.
Not sure we’ll ever get over seeing this track being introduced in such a stunning way and in a venue as eye-catching as New Century:
Novo Amor stuns Manchester with ‘Same Day, Same Face’, fresh from his new album Collapse List at New Century.
Similar to Ed when he was busy tuning his guitar, Ali let on that his talent lies in bringing these intricately built-up tracks to life not only in record form but in translating them for the live shows too, choosing to ask ChatGPT for some ‘on-stage banter in the style of Novo Amor’ to fill the gaps.
Truthfully, as much as both parties said they were ‘not good at this kind of stuff’, he did a good job at handling the short lulls between songs by letting people ask questions, daft or not, as well as making sure water got to those feeling faint in the hot room. Everyone was fine, don’t worry.
In fact, when one girl seemingly passed out nearer to the front of the crowd as he came towards the end of fan favourite Halloween (you have no idea how gorgeous that song sounds with a full room of people singing it back, by the way), he still managed to check on her whilst quietly playing the outro. A total pro.
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Those were the three key letters here in every sense the more we think about it; be it the effortless professionalism in recreating what you hear in your headphones down to the tee and then some live, or the production levels and simple but striking set design behind them, it was verging on surreal.
We might not have been anticipating such a put-together set and overall level of production both in terms of sound and the often mesmerising visuals but we don’t know why, because we absolutely should’ve.
This is what you get when you put a group of extremely talented musicians and multi-instrumentalists together in one place. They might make highly complex, heavily layered and often delicate sounds with electronics and technology playing a big role, but they also know how to ramp it up for an audience.
All we can pray is that the next time Novo is back in Manchester he brings at least one half of Hailaker along again and maybe a surprise showing from another corner of this collective.
A special shout-out has to go to Ed as well; we have no shame in admitting that watching Ali looking on at his long-term creative partner and mate with a smile as he signed off his time with the live band by belting out the final tune had us welling up.
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Novo Amor might not be from Manchester but we want him back soon.
Blossoms at O2 Ritz Manchester – five-night hometown residency is already a triumph
Daisy Jackson
Blossoms are a band who were born and forged here in Greater Manchester, and now they’re back retracing their steps with a five-night residency across the venues that launched them into the big leagues.
Their star has risen all the way to arena level and headline shows at Wythenshawe Park at this point, especially here in their hometown, so the chance to see them back in these cosy-ish little venues is special, and a little bizarre.
For night two of their landmark sold-out gig series, it was the turn of the O2 Ritz, that sweaty spot off Oxford Road where the floor bounces downstairs and you stick to the carpets upstairs.
Poetically, the first time I ever saw Blossoms was in this very room in 2016, when they had the mid-afternoon slot at Neighbourhood festival and the queue to get in went all the way back to St Peter’s Square.
Since those days, Blossoms have come a long, long way, and their live show has evolved and matured from five lads thrashing on their instruments to this well-oiled, hip-swaying, flares-wearing, chart-topping machine.
There’s even choreography now – how fancy!
A stand-out moment from the show is actually a song from their new, fifth studio album Gary, which is still barely eight weeks old.
A spoof recording of legendary Manchester indie club 42s rings out, then all five band members abandon their stations, slinging keytars and marching drums around their necks so that they can dance together in front of neon signs.
Blossoms have just done their second of five shows in Manchester, this time at the O2 Ritz. Credit: The Manc GroupBlossoms on stage at the O2 Ritz in Manchester. Credit: The Manc Group
Blossoms promised more disco with this album and they bloody meant it. It’s not just the flares and the blow-dries and the moustaches (though those do help) – it’s in the funk and groove that’s gradually crept into their music exponentially with each album release.
This is still indie rock but it’s the most danceable of its genre. Good luck keeping your shoulders from wiggling and jiggling in here. Good luck keeping that grin off your face.
And Gary is one of the most unexpectedly fun albums to be released in the last year – the fact they called it Gary, named after a giant fibreglass garden centre Gorilla, should’ve been our clue. It could border on silly were it not such a masterpiece.
It seems like the only thing Blossoms are trying to prove is that you can be wildly successful without taking yourself too seriously. They just seem like a group who want to have a good time and it’s totally infectious.
Case in point – when each band member is introduced, keyboardist Myles Kellock plays the riff of Satisfaction by Benny Benassi and The Biz. Unexpected.
Blossoms also clearly give a sh*t about their live shows and graft at it – I’ve seen these guys an awful lot and it’s because their tour dates are plentiful and consistently worth the ticket price.
This is definitely the biggest era of their career so far, but have they peaked? Not even close.
The Warehouse Project reveals return to Rotterdam for second-ever overseas event
Danny Jones
The Warehouse Project has confirmed it will be returning to Rotterdam in 2025 for just its second-ever overseas event.
After debuting abroad in 2023 with an action-packed few days in the city of Rotterdam – whose art scene, music culture and even canal network bears lots of similarities to Manchester – Warehouse Project is coming back for more.
There’s just over a month left of the 2024 WHP calendar; you’d think they’d be getting ready to wind down and enjoy the Christmas breather, but not so: the organisers are already planning what is set to be one of their biggest and best long weekends to date.
Set to take place over the early May bank holiday, the Dutch port city will once again play host to one of Manchester’s legendary club nights.
The second biggest city in the Netherlands behind Amsterdam, the next edition of Warehouse’s international series is set to return to Rotterdam RDM – a warehouse space very reminiscent of both Depot Mayfield and their original home at Victoria Warehouse.
WHP x RDM II is already being billed as an “unforgettable weekend” and if any of this year’s mainline events here in Manchester are anything to go by, they’re bound to live up to that promise.
There’s also a full FAQ page for anyone looking to find out more information regarding Rotterdam, the venue itself, travel and more.
As well as revealing the dates (2-4 May 2025), the organisers have already teased a good chunk of the lineup, with the likes of Chris Stussy, Peach, Four Tet b2b with Sammy Virji, salute and many more already confirmed.
With a slew of incredible acts, multiple afterparties on boats and other local venues, as well as plenty of opportunity to see the rest of Holland’s ‘Manhattan on the Maas’, this is going to be SO good.
We were lucky enough to have been sent to sample their inaugural Rotterdam date back in April of 2023 and, we have to say, it was an absolute blast.
Take it from us, if you’re considering being a part of this next event you won’t regret and we’ll be putting together an extensive guide to help you feel prepared for raving overseas. Registration for early access is already live, so sign up fast if you want to give yourself the best chance of being there.
Limited presale and accommodation packages will be available to those who have applied at 9am on Monday, 2 December (UK customers only). General admission tickets will go live from 9am n Tuesday, 3 December sale for UK and Dutch customers starts Tuesday 3rd December at 9am GMT/10am CET.
Rotterdam 2025 will be here before you know it, so take a boots-on-the-ground at what an international Warehouse Project date looks like down below:
Danny Jones -
12th April 2024 
