Some of the world’s greatest music has come from Greater Manchester.
Indie. Electronic. Hip-hop. Whichever genre you explore, you’re sure to find Mancunian fingerprints in there somewhere.
Even in a category as niche as early mobile music.
Case in point: The Kersal Massive.
This infamous trio of MCs recorded a rap video in a Salford shed back in 2006 and cemented their place in history as some of the first ever viral video stars.
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Sure, their music was great for a very different – and unintentional – reason. But it was still great nonetheless.
Even today, the very mention of Kersal can prompt an impression of: “Get on the bus with me daysavahhh, smoke da reefa in the cornahhh”.
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In the mid-noughties, The Kersal Massive were as big as their name suggested – with their freestyle being bluetoothed between more mobiles than Akon’s “Smack That”.
The group – which consisted of Clio-driving leader C-Mac, helium-voiced bus enthusiast Lil’ Kev, and hypeman Ginger Joe (essentially Kersal Massive’s very own Flava Flav) – only ever shot one music video.
But whilst most media from the blurry-looking, scruffy-sounding world of mobile videos – which was largely populated by happy slapping and donk music – has died out, Kersal’s track lives on.
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With fingers in the air and frowns on their faces, the wannabe rappers managed to squeeze lyrics about drugs, money, cars, women, public transport and a hatred for Levenshulme into their 45-second freestyle.
Kevin Powder – a presenter known for his zany schtick – actually ventured up to meet the gang on their own stomping ground several months after the video appeared, asking Kersal to perform a second rendition of the song that became synonymous with the Sony Ericsson.
The gang – by this point a little older with broken voices – generously obliged, reciting the lyrics word-for-word.
Powder is then flagged out of the estate, the video ends, and poof, Salford’s young Gs disappeared.
The popularity of their video, though, was a sign of things to come.
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Little did they know it, but Kersal were the first faces of the original viral content boom – which suddenly began turning obscure figures in Britain into overnight celebrities via the magic of the internet.
One of the most successful examples was market trader Muhammad Shahid Nazir (AKA One Pound Fish Man), who earned a recording contract after being captured on camera singing about the price of seafood at Upton Park.
Still, despite the increasingly congested arena of viral stars, The Kersal Massive continued to resurface on social media from time to time. And, whenever they did, people would always ask the question: Whatever happened to those guys?
It’s been thirteen years since the gang were seen on camera together, and all signs seem to suggest their lives have taken very different paths.
The Tab claimed they’d tracked down frontman C-Mac in 2016, who didn’t appear to look back on his five minutes of fame with too much nostalgia.
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He apparently told the website: “The video still does the rounds now and then, but that’s about it. I don’t get noticed about it anymore so it’s done and gone for me.
“I am not in touch with the other two lads anymore.”
C-Mac’s sidekick Kev made his own headlines in 2017. But not for the right reasons.
GMP
Local police posted an image, whom the Reddit community believed to be Lil’ Kev, online in the summer of that year, appealing for information on his whereabouts after he was suspected of gun offences.
The enigmatic Ginger Joe, fittingly, has yet to resurface.
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But we like to think he’s still out there somewhere. Over in the corner. Being the main man he always was…
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)
Audio
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.
The Manc Audio -
22nd December 2020 
