A darkened arena erupts into life as Yungblud storms the AO Arena main stage for his biggest Manchester show to date.
He flickers across the giant screens, projected against a curtain that stretches the full width of the AO Arena. Then that unmistakable Doncaster drawl cuts through the noise, urging the audience to make some noise (even more of it), and they oblige – gladly.
When the lights come up, a barrage of lights flickers, pyrotechnics explode, and chaos ensues. Manchester crowds are no strangers to Yungblud; he’s a livewire performer with seemingly endless energy, a proclivity for raw emotion, and a fiercely loyal fanbase: the self-proclaimed ‘Black Hearts Club’.
Dressed in a grungy pair of Chrome Hearts leather trousers, a leopard-print waistcoat and sunglasses so thick he could look directly at the sun with no issues, he tears straight into the opening track (Hello Heaven, Hello) with barely a second to breathe.
He then pauses – hands extended to the crowd, a cheeky grin – and bang: confetti fills the room.
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If previous Manchester shows hinted at his stamina, this one confirms it. The scale may be bigger, but the intensity hasn’t dipped. The floor quickly becomes a sea of movement, with mosh pits swelling and collapsing in waves, sending bodies ricocheting across the arena.
It’s the kind of gig where you’re never quite safe from getting drenched either – water cups are less for drinking and more for launching, with sprays arcing out over the front rows like some kind of punk rock baptism of fire. So many flames.
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The audience was on the ball; at one point, Yungblud’s comb was hurled into the crowd. Showgoers in the area tussled over the item for a minute before returning to the mayhem unfolding around them.
Part conductor, part chaos agent, part mic-wielding cowboy, he commands the room with ease. The mic stand, placed in front of him between each song by the production team, is repeatedly cast to the back of the stage, and he flails the mic above his head on more than one occasion – always catching it again before it can strike anyone else. It’s reckless, but never careless.
Because beneath the sweat and noise, there’s something more deliberate at play. His speeches on identity, equality, belonging and mental health feel less like interludes and more like the backbone of the entire night.
This isn’t just performance: it’s a space he’s actively shaping, one where thousands feel seen. Towards the back end of the set, he invites the whole crowd to look left and right and tell each other how much they f***ing love one another.
Tracks like ‘Loner’, ‘Lowlife’ and ‘Zombie’ land with particular weight, their messages amplified by a crowd that knows every word. At one point, the lights swing out over the audience, and for a moment the focus shifts – not just to the performer, but to the community he’s built.
With a touching tribute to the late, great Ozzy Osbourne, Yungblud is visibly emotional, with tears in his eyes for his dearly departed friend. And if the ringing in my ears is anything to go by, I’m pretty sure Ozzy heard it and was looking down with pride.
If you haven’t guessed by now, Yungblud knows how to command a room, but things definitely took a turn when he invited a member of the crowd on stage.
Holding a poster that read something along the lines of “I can play guitar”, she was brought up and proceeded to absolutely bring the house down, performing alongside him for a song. Daisy, hats off – you absolutely SMASHED it.
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Congratulations are in order as well to the happy couple who got engaged at the gig. We really hope your first dance is to a Yungblud track.
Even in a venue of this size, he moves like he’s trying to outpace it; sprinting, leaping, barely standing still long enough to catch a breath. It’s hard not to feel like this is still just a stepping stone. Because if he can command a room like this with such force, it’s not a stretch to imagine Yungblud scaling even bigger stages before long.
Loud, relentless and emotionally charged, this wasn’t just a gig, it was a statement – a place to escape the struggles of day-to-day life and bolster an ever-growing community built on all the right things: acceptance, harmony, and just a little bit of chaos. In short, he’s welcome back anytime.
How a cult classic game helped create the sound of Blossoms’ new album
Danny Jones
More specifically, their soundtracks, as in a recent chat with the Blossoms boys, we found out that their upcoming album was at least partly influenced by a beloved PlayStation 2 classic from 2006.
This is just more proof that you really can find inspiration in just about anything.
Yes, even if only in part, an old video game that many of you may have played back in the day is somehow connected to the latest and technically still yet to be announced release.
We’ve heard of groups such as The 1975 trying to make an album that sounds “as if John Hughes had directed a movie about our lives”, and Red Rum Club leaning further into the growing Western aesthetic with almost every outing, but we never thought we’d hear of a record born out of a love for Bully…
The lads actually touched on that whole ‘still TBC’ when we spoke to them at their studio in Stockport, joking not just about divorce but how they’re baffled by the whole ‘are they working on new music?’ speculation in the media. “Well, yeah, we’re a band – that’s what we do for a living”, as they put it.
But back to the point at hand: lead guitarist Dewhurt’s affection for Bully, a cult favourite PS2 title released by Rockstar Games – the same people behind Grand Theft Auto (GTA) and Red Dead Redemption – and the score behind it, essentially served as a seed for the feel of their newest work.
As he explained above, before being expanded on by frontman and primary lyricist Tom Odgen, they were fortunate enough to be in possession of the details for one half of a duo they both admire: Young Gun Silver Fox, a.k.a. British artist Andy Platts and US multi-talented instrumentalist, Shawn Lee.
Lee also just so happens to be the composer of the original Bully video game soundtrack.
Ultimately, this all came about because Josh contacted him over email simply to praise the game’s music (sure, when he was a teenager, we promise), and only took them until the last year or so to put two and two together. Small world, eh?
Oh, the nostalgia.
It has since occurred to us that we’ve come across him before, too.
For us, it was when playing the first Tales From The Borderlands (a spin-off of the popular action role-playing looter-shooter series that has since been turned into a Hollywood movie), which features his song ‘Kiss The Sky’ and ALSO enjoyed in our late teens.
It still continues to baffle us how things can come full circle like this.
As it turns out, his music appears in various pieces of pop culture, and with Tom professing his love for the funky, bass-forward 80s vibes of Lee and his partner Platts’ stuff, he was then roped in as part of the production team on the hypotheticalBlossoms LP number six. Not that we know anything about that…
What has now come out of all this is the previously alluded to lead single entitled ‘Joke About Divorce’, the music video for which dropped last month.
‘Joke About Divorce’ our new single is out now! We love this record, we recorded it live to tape at Tilehouse Studios with Shawn Lee producing. The second we got the mix back it felt like an instant Blossoms classic (if we do say so ourselves)!
We’re still not sure whether or not this is just the first finished song from the project, the opener or indeed even a title track; all we know is it’s another catchy creation from the Stopfordians.
But yeah, in a roundabout way, somehow that ‘problematic’ game that our parents and teachers complained about when we were kids, either by sheer chance, serendipity or perhaps the divine will of the audio gods, appears to have served as a kind of sonic sapling for a fresh era of the local outfit.
Sadly, we have very little else to offer you in terms of information regarding the ‘as yet confirmed’ next studio release from the Blossoms, but we can tell you we’re very much looking forward to hearing what comes next – especially live.
In case you missed it, they’re headlining this year’s edition of NBHD Weekender music festival at the end of the month; you can see the rest of the lineup down below.
Featured Images — Rockstar Games/Audio North/Press shot (via Go! Entertainment)
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After All 2026 – the affordable grassroots music festival happening in Northern Quarter
Danny Jones
Grassroots music event After All Festival is returning to Manchester this weekend, with rising local artists and affordable tickets.
Now well over half a decade since it was founded, All All Fest takes place in the heart of the Northern Quarter, and this year they’re proving that their slow and steady approach to backing the best new up-and-coming bands at core intimate venues is more important than ever.
With plenty of previous acts having impressed in recent years, we’re looking forward to seeing how 2026 stacks up in comparison to its predecessors.
Increasingly prolific native group Dirty Laces are set to headline the whole thing, Manilla Times are locked in, and Bolton’s very own James Holt also stands out on the lineup, just to highlight a few.
As the festival continues to grow in size and popularity, they have obviously had to scale things up even further this year.
That being said, beloved live music spot and Manc institution, Band on the Wall, is among the chosen arts spaces for this latest iteration.
BoW will be offering up their 500-capacity main room to the organisers for the very first time, serving as the de facto main stage of After All Fest 2026.
Joining them will be the Rose and Monkey next door, as well as cult favourite pub, Gullivers on Oldham Street, who have a long history of supporting local musicians and the arts in general.
And would you look at that, now you’ve got all the stage splits and set times, too.
Labelled by Dead Records’ Rob Fiddaman as “one of the UK’s most exciting new music festivals”, homegrown DJing legend Dave Sweetmore has also described it as “unique in so many ways”, hailing it as a “brilliant event with a great atmosphere to discover new music.”
Having been ourselves on multiple occasions since its inception in 2019 – both as Audio North off-duty and as punters before then – we can’t recommend it highly enough.
The latest edition takes place at 12 noon onwards this Saturday until 2am on Sunday, 17 May, and while the cheapest early bird tickets (£16.50) are long gone, general admission tickets are still available, with prices starting from just £20. Grab yours HERE before they sell out.
It’s not the only live music event worth being a part of this month…
Lonnie Bowes -
26th April 2026 
