This was Ravyn Lenae’s first rodeo at Gorilla and it’s safe to say she had the Manchester crowd hooked on her live set like ‘Candy’ (sorry).
Only two lines in and three puns deep but Ravyn’s performance was nothing to joke about, especially with her to-die-for vocals and killer live accompaniment.
Her most recent album and tour are both branded, Birds Eye, and while Gorilla may not be the most panoramic place in our beautiful city to overlook the Manchester skyline, the bubbly and engaging crowd sure painted a pretty well-rounded picture of the Mancunian hospitality.
The introduction to ‘Bad Idea’ feels like a spaceship descending to earth and it couldn’t be more fitting because let’s face it, an artist this good simply can’t be living on the same planet as us she’s simply out-of-this-world.
Similarly, the follow-up ‘1 of 1’ has an identical space-tech vibe with a static-filled opening and instrumental making it a perfect predecessor. These two tunes have impressive soundscapes with the live drums even more so helping to excite a sold-out venue.
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Ravyn Lenae wasn’t shy on stage, commanding the Gorilla stage.Lenae appreciating the roars of the Manchester crowd.Credit: Audio North/The Manc Group
Seven tracks into the setlist, Lenae knows how to keep Gorilla at her fingertips performing hits ‘M.I.A’, ‘The Night Song’ and ‘Candy’ back-to-back-to-back – easily the holy trinity of track runs on this tour.
Taken from her debut outing Hypnos, the afrobeats and lo-fi inspired ‘M.I.A’ doubles as a dancefloor filler and an instant crowd pleaser, ironically we were lost in the music.
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The middle of this three-track-run ‘The Night Song’ keeps spirits high and boosts our confidence as the 25-year-old has us singing, “Hair down, feeling alright/ Got my edges on tight, It’s a party tonight”.
Her sweet-named album track ‘Candy’ jet sets us to a tropical paradise with its reggae-fused rhythms, and after a full ten minutes of side-stepping and attempting to dance, the cold temperature outside didn’t even cross the crowd’s mind.
Besides being some of her best numbers, these three upbeat tunes take us through a small piece of her past three projects with each of the singles featuring on a different respective release from 2018 all the way up to present day.
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Nothing but love from Ravyn Lenae and her crew for the Mancs.Lost in music, Lenae and band at Gorilla, Manchester.Credit: The Manc Group
Steve Lacy produced ‘Sticky’ was another standout, her rocker chic-esque vocal style flaunts all over the live band’s arrangement as she flaunts, ‘What did you do?/ Got me confused’.
‘One Wish’ was ethereal; I may have an unfair bias with this single being my personal favourite in the American star’s discography, but the vocal delivery and Lenae’s characterisation elevated this to new heights – even better than its original studio recording, maybe.
Manchester never misses the chance for an encore, especially not when it’s the plucky guitar bop ‘Love Me Not’. Up there with one of her best.
The crowd erupted as Lenae asked, “You want one more?”, before whistling, “See right now I need you, I’ll meet you somewhere now”, it was obvious concertgoers wanted this show wasn’t done.
The Manchester date marks the final show of the whole tour and Lenae was feeling very reflective during song breaks, telling the buzzy crowd, “I’m so grateful that I still get to tour this part of the world and I appreciate you all braving the cold for me”.
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When you’re getting to witness someone as remarkable as Chicago-born singer Ravyn Lenae, a little bit of nippy Manchester weather is nothing!
The K’s kick off Manchester’s BRITs Week celebrations early with jam-packed intimate gig
The Manc
If you were ‘Hoping Maybe’ to see The K’s at some point this year, this is your sign do it, as the rising indie band did not let the occasion of playing an intimate BRITs-backed gig get to them – they were buoyed by it.
Beloved city centre venue Gorilla was overflowing for The K’s last night, hosting an unreal small-cap set as part of Brits Week ‘26 for a very important cause: War Child.
Perfectly teed up by fellow nearby band, Florentenes from Bolton, The K’s took to a familiar stage many years on from their debut, and instantly had the crowd ready and raring for an hour of pure tunes and some very, very sweaty brows.
Earlestown’s finest certainly carried that Northern charm and energy throughout the whole night; their indie and almost nostalgic lyrical storytelling has you moshing one minute, whilst grasping your mate and ascending into live music heaven the next. There really aren’t many feelings like it.
Sobbing and swaying in the vast ocean of shoulders whilst screaming the lyrics to ‘Helen. Oh I’, I questioned how any compliment will ever compare to launching “thousand ships every time” from a kiss.
The K’s were yearning before Wuthering Heights made it vogue (again).
Musically, the band were seamless and a well-oiled machine, and so were the audience as they wholeheartedly echoed every lyric back at the lads and bounced it off the walls.
The K’s have come a long way since their first visit to Gorilla (Credit: Lucy Wagstaffe)
Every primary school assembly proudly led us to this moment, and it did not disappoint, displaying their increasingly seasoned and successful career, which I can only imagine is going to go from strength to strength this year.
I don’t think we even one more fan could have squeezed one more passionate fan into Gorilla on the night; it was heaving with people and pride; the sweat dripping down the walls indicated things are big for these local lads, and we couldn’t be prouder.
They are another prime example of shining a deserving light on Northern artists! And having the 2026 BRIT Awards up here with us is a testament to that.
Featured Images — Lucy Wagstaffe (supplied via War Child UK)
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Florence + The Machine at the Co-op Live, Manchester – the star has never been better
Clementine Hall
Florence + The Machine make a triumphant return to the stage in a thrilling exploration of female rage.
When you think of Florence Welch, you can’t help but picture her barefoot complete with flower crown and bouncy skirts racing around the stage in a fairy-like fashion.
And yes whilst she still is this, the band’s new era is suddenly a lot darker and haunting with their new album Everybody Scream exploring topics of loss and grief.
Florence and her coven-like quartet of dancers did not leave the stage once throughout the 21-track setlist, but not once did it feel tired.
Image: The Manc
The album’s title track kicked off the show before transitioning into fan-favourite anthem Shake It Out.
Florence’s voice is just as recognisable as ever, as is her long auburn hair that she swishes with her as she strides up and down the stage alongside her flowing sleeves.
Beneath the powerful vocals, the haunting atmosphere grew stronger as Seven Dials and Which Witch saw the dancers, coined as ‘the witch choir’, crawling up and down the stage in a Michael Jackson Thriller-style fashion.
Daffodils saw Florence interact with the crowd – embracing a woman pressed to the front of the barrier sporting a bright yellow flower crown.
It’s clear to see how much their music means to so many, and being at a Florence gig you feel as though you’re really part of something special.
A highlight came half way through the two-hour spectacle, as Florence dedicated Never Let Me Go to her sister in the crowd who she stated was “clever enough to marry a man from Manchester”.
Image: The Manc
We couldn’t agree more Florence.
Spectrum (Say My Name) really ignited a fire in the crowd, the entire arena was up and moving to the iconic track.
Her most vulnerable moment of the night comes as she returns for the encore, when she sings You Can Have It All which is written about her near-fatal ectopic pregnancy she experienced in 2013.
It’s raw and haunting, and we feel every note as she summons the strength to perform a song so revealing.
Of course, as the first two notes of Dog Days Are Over the crowd erupts into chaos.
Florence asks us to put our phones down, “you won’t get a good video and if you’re holding your phone, you can’t move” she states, and so we did what we were told.
It’s proof of the power that Florence holds over her audience, and from then on we were left to dance with complete abandon as the show ended in a feeling of pure joy and euphoria.
Thomas Melia -
20th November 2024 
