Our Manc of the Month series is back, but this time round, we wanted to do something a little bit different.
We all know that Manchester is home to plenty of special people, some born here and others drawn here, who have inspired and led us through tough times, so we decided to start a series that shines a light on those who should be celebrated.
Following on from our ‘The Mancs of the Year’ feature towards the end of 2020, Manc of the Month officially kicked off in July 2021 – with Marcus Rashford MBE, Manchester’s mural king Akse P-19, the local chef feeding the region’s vulnerable families Mary-Ellen McTague, and Manchester’s groundbreaking new Council leader Bev Craig among previous honourees.
In earlier editions, we had chosen to feature people who had an impact on our region in the recent weeks prior, but for this month, we want to cast our minds back and pay worthy tribute to an inspirational pair who are sadly no longer with us.
With International Women’s Day – a global holiday marked annually to commemorate the cultural, political, and socioeconomic achievements of women – coming up on Tuesday 8 March, and Manchester getting ready to celebrate the females who have made our city what it is today, we cannot think of a better time to remember the careers of a duo who not only changed the comedy landscape for women, but changed the game entirely.
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Victoria Wood and Caroline Aherne truly left their mark.
Victoria Wood: As Seen on TV and The Mrs Merton Show / Credit: BBC
Although born in London to Irish parents, BAFTA award-winning actress, comedian, and writer Caroline Aherne moved to Manchester at the age of two, was raised in Wythenshawe, went to school in West Didsbury, and kick-started her illustrious career on the city’s comedy circuit by performing as a collection of characters, before developing the iconic ‘Mrs Merton’.
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Aherne developed her Mrs Merton character with Frank Sidebottom for his show on Piccadilly Radio, where she worked as a receptionist.
She made a number of television appearances as the hilarious character, before rising to prominence in 1994 with the mock chat show The Mrs Merton Show, where she was known for asking celebrity guests a series of outrageous fake questions – the most-memorable example being to the wife of magician Paul Daniels, Debbie McGee, asking: “So, what first attracted you to the millionaire Paul Daniels?”.
Aside from the Mrs Merton character, Aherne was known for appearing on BBC comedy sketch programme, The Fast Show, and then cemented her place in the heart of us Mancunians when she co-wrote and starred as Denise in beloved Manchester-based sitcom, The Royle Family – which ran for three series from 1998 to 2000, and was a largely stereotypical portrayal of working-class family life at the turn of the millennium, with almost all of the episodes taking place in the Royles’ telly-centric living room and showing the hilarious conversations they’d have.
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The Royle Family could not be a more perfect lasting legacy for Aherne, as it’s often included in the conversation when it comes to Britain’s best sitcoms, and was named in BFI’s 100 greatest British television programmes of all time.
The Royle Family was co-written and starring Caroline Aherne / Credit: BBC
Known for having an instantly-recognisable voice, Aherne narrated the Channel 4 reality television series Gogglebox from its inception in 2013 up until her death in 2016.
She passed away from cancer on 2 July 2016 at her home in Timperley at the age of 52.
2016 was also the year that the world tragically lost the multi-talented Victoria Wood, who, just like Aherne, had a wealth of strings to her bow as a comedian, actress, lyricist, singer, composer, pianist, screenwriter, producer, and director.
Born in Prestwich, and raised and educated in the Greater Manchester borough of Bury, Victoria Wood was struggling with self-confidence, identity, and her place in the world when she discovered a love for performing after her father gifted her a piano for her 15th birthday and she joined the Rochdale Youth Theatre Workshop later that same year.
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Wood began her career in show business while she was undergraduate studying drama at The University of Birmingham in the 1970s.
Throughout her decorated and multi award-winning career that spanned over four decades, Wood wrote and starred in countless sketches, plays, musicals, films, and sitcoms, and she was particularly known for humour grounded in everyday life that included references to activities, attitudes, and products that are considered to be typically British, with eclectic live stand-up shows that were often interspersed with her own musical compositions that she performed at the piano.
Her very-own comedy variety sketch show, Victoria Wood: As Seen on TV, aired on the BBC from 1985 to 1987, undoubtedly making her a household name and paving the way for her to become a mainstay on our screens.
But if you ask Mancs what Wood’s career highlight is, most would point to the cult-classic sitcom, dinnerladies – which ran for two series from 1998 to 2000.
BBC sitcom dinnerladies ran for two series from 1998 to 2000 / Credit: BBC
Created, co-written, produced by, and starring Wood herself as Brenda “Bren” Furlong, dinnerladies is set entirely in the canteen of the fictional Manchester-based factory of HWD Components, features the caterers and regular customers as the show’s main characters, and was beloved for the fact that it depicted the lives, and social and romantic interactions of all of the staff.
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Victoria Wood also sadly died of cancer on 20 April 2016 at her London home, surrounded by her children and former husband.
Although we’ve done our best to take you through the lives of these two late local legends and give a worthy nod to everything they went onto achieve throughout their careers from humble beginnings, it’s almost impossible to truly sum-up the impact that Caroline Aherne and Victoria Wood had and quantify just what they mean to the people of our proud city.
Their talents will always live on, and Manchester will never forget our comedy heroines.
Featured Image – BBC
Feature
A masterclass in The Art of Loving: Olivia Dean brings two unforgettable nights to Co-op Live
Emily Johnson
Olivia Dean took over Co-op Live for not one, but two nights this weekend – and what she delivered felt like a full-circle celebration of The Art of Loving, her incredible sophomore album.
From the moment Olivia’s silhouette appeared behind the curtain on night two, opening with the album’s title track, it was clear this evening was going to be special.
With a sea of polka dots on arrival, it’s evident that the 27-year-old already has great influence when it comes to style with her fans, and you could spot anyone who was attending Olivia Dean around Manchester city centre immediately.
Despite performing to a crowd of over 20,000 people, the performance felt incredibly intimate, with interactions with the crowd through the evening, even pointing out a fan’s banner saying they had been a fan of Olivia since 2019, which she was humbly taken aback by.
Her voice carried effortlessly around the arena, somehow still managing to feel soft and personal, like she was singing directly to you.
No Dean show would be complete without her incredible outfits either, and last night we were truly spoilt, with two outfit changes throughout the evening, which split the night into three chapters.
Initially appearing in a black sequin number, before reappearing in the middle of the crowd in an all-white outfit, evocative of an angel – a moment that felt intimate even in a room that size.
Later, with disco balls lowered and the energy lifted, she returned in another glitzy look for the more upbeat tracks, including a crowd-pleasing cover of ‘Move On Up’. With her band behind her, the sound filled the arena beautifully.
Everyone was on their feet having a good time, but no one was having as much fun as the woman herself, Olivia Dean.
And that’s the thing with Miss Dean, no one at her gigs is having half as much fun as she is. She’s always smiling, always glowing.
Put simply, she’s a proper ray of sunshine on stage. Towards the end of the show, Olivia looked up at the crowd and stated, “It’s magic in here tonight, Manchester”, and we all believed her.
Looking around at the crowd, arms around each other, best friends, couples – it was hard not to feel the magic too.
Highlights included ‘UFO’ with a sea of lights, which in the moment gave the whole room goosebumps, and of course, the confetti cannon, which was the grand finale to an incredible evening.
Yungblud channels a bit of magic that’d make Ozzy proud on huge headline night in Manchester
Lonnie Bowes
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.
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.
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.
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.
Emily Sergeant -
25th February 2022 
