The watershed moment for women’s football appeared to have already happened by 2011.
Participation was on the rise. Matches were on television. Movies such as Bend It Like Beckham had put female footballers on the big screen. The top tier in England was even being revamped as the ‘Women’s Super League’ – marking an exciting new chapter for the domestic game. It felt like Britain was readily embracing women’s football again.
But then, in January 2011, Sky Sports presenters Richard Keys and Andy Gray were caught live on air scoffing at the very idea of a female comprehending the offside rule.
The leaked audio – in which Keys and Gray agreed the “game had gone mad” for including women as officials – was widely condemned, culminating in their departures. The pair protested that the comments had been taken out of context, but admitted it looked bad. If two of the most respected personnel in football punditry weren’t willing to take women’s opinions seriously, there was little hope for others.
Perhaps women’s football had a bit further to go after all.
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In the ten years since that infamous sexism row that rocked English football, more than a few things have changed. The number of female officials in English football has risen by 72%. Viewership is higher than ever before (with the latest women’s world cup enticing a global audience of 1 billion spectators in total according to FIFA). Women pundits occupy seats on mainstream analysis shows including Sky Sports – with female stars also enjoying better coverage from their own clubs and in the wider media.
More women have voices in football than they have in over a century. And part of the reason for that progress is down to the people fighting for change at grassroots level: Companies like the one based at Manchester’s old Granada Studios called Miss Kick.
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Grace Vella
Founded by a University of Manchester student who wanted to give the women’s game another nudge in the right direction, Miss Kick has evolved from just another sports logo into a badge of honour for all female footballers in Britain.
The company sells sports gear and accessories that are specially-designed for females – but is quickly morphing from a clothing store into a tight-knit women’s football community with thousands of members.
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Owner Grace Vella was balancing her psychology degree with her sports career when she set up Miss Kick in 2017; scribbling revision notes in the back of a car en route to business expos.
Between training and studying she barely had time to lace up her boots, never mind run a business. But Grace persevered – feeling like it was something she had to do.
Around this time, women’s football was spreading into more places and enjoying another resurgence. But it needed something to keep it connected – a place in which all female players and ambassadors could unite under a single umbrella and push the game into exciting new territory together.
That was the vision for Miss Kick.
Grace had grown up knowing her future lay in football – playing regularly with her brother and cousins as a kid before signing a dream deal at Liverpool aged just 13. She moved to Man City four years later and had a spell at Chorley, but despite her successes in football, Grace was left frustrated at the sight of boys being carried up the pyramid whilst she was forced to navigate all the hurdles herself.
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“I used to think – ‘If I was a boy I’d get all my allowances paid, my travel, my kit, and get football boot sponsorships,’” Grace tells us.
“Girls always have to pay for that stuff.”
“Growing up I was always given a boys’ kit to train in and felt like I had fewer opportunities just because I was a girl.
“I thought: ‘I want to change that. I want to change the way society sees womens’ sport.’”
In her third year at university, Grace got the brainwave for Miss Kick – the UK’s first all-female football brand – and immediately headed out to expos across the north to spread the word.
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The company has continued to grow ever since – with Grace’s old uni housemate Katie signing on in September and the latest recruit, Yasmin, recently joining as a Digital Executive.
Despite its relative youth, it’s clear Miss Kick has struck a chord.
“I’ve got quite a few professional players and friends in the game – and I knew there wasn’t really a brand out there for girls,” Grace tells us.
“So I thought: Why not give it a go?
“My dad organises one of the biggest girls’ football tournaments in the country, so I thought I’d turn up with my little tent and it went down really well!
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“Football has always been seen stereotypically, with boys put first with better treatment.
“I quickly realised that there were so many other girls in sport who felt the same way and have gone through the same experiences as me; whether that’s being bullied for liking football or picked last in the team.
“Our message – that anyone should be able to play football – has resonated with people.”
Women’s football is not so much a new trend as a rekindling of a long-dormant passion.
But the game quickly fell into disrepute in 1921 after the FA deemed football “quite unsuitable for females and ought not to be encouraged”. It took fifty years for the ban to be lifted. And another forty years passed before the official formation of the Women’s Super League. But throughout the century, women continued to play – even if it meant flying in the face of convention and ill-founded assumptions that females didn’t have the technical ability or knowhow.
Slowly but surely, women’s football has gained a new foothold. But there remains a strong element of stigma nonetheless – particularly when the men and women’s games crossover.
Jeff Stelling, another football figurehead at Sky Sports, has admitted it’s still tough for women to appear on his Gillette Soccer Saturday results show, calling the social media response ‘horrendous’ at times.
He told The Guardian: “There’s this blinkered idea – ‘It’s a woman, what can she know about football?’
“Twenty years ago I was also sceptical. But my view has changed and obviously we’ve had very good reporters like Michelle Owen, Bianca Westwood and Jacqui Oatley. They’re really experienced.
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“There’s no reason why women shouldn’t feature more.”
Another part of Miss Kick’s mission is about retaining this mindset and sense of momentum in the women’s game that’s empowering the people who play. A love for football isn’t something that girls have to hide anymore; and Grace believes the Miss Kick brand acts like a “hero cape” they can proudly carry through life.
“The growth of the womens’ game has been incredible,” Grace says.
“They’ve professionalised the WSL now. When I was growing up you couldn’t be a pro. You had to juggle it with something else. Now you can go and make a living from it – which I think is huge.
“We’re doing much better – but I still feel there is stigma. You do still see trolls picking on people.”
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“The leagues below the WSL need more finance and support – and there’s a big gap from the top league to the bottom.
“There is a bit of reluctance for investment because women’s football won’t develop a return straight away. But there’s no reason [the game] can’t be like it is in America where it’s really popular.
“In general, I think the womens’ game needs more opportunities to grow – and more needs to be done to challenge perceptions.
“That’s what we’re trying to do.”
It’s been a thrilling period for Miss Kick, but COVID has caused its fair share of complications – which is unsurprising for a sports brand that primarily deals with people face-to-face. Nonetheless, instead of standing still, Miss Kick is using the opportunity to evolve its offering and expand its membership base online in the meantime.
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“We’re not just a clothing brand – we’re a community,” Grace emphasises.
“We want to become a place that shares womens’ content and news; moving into digital space and creating a movement rather than just being a logo on a t-shirt.
“We want to inspire across generations and inspire as many women and girls as possible – including the young stars coming through.”
“We’re in talks about partnering with clubs, too.”
The future for female footballers looks brighter than ever now. But the game will still need to evade some lunging challenges in the years ahead.
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Grace thinks female football is ready for it. Miss Kick definitely is.
“Growing up being a girl in football you do develop tough skin,” says Grace.
“That’s spilled out into my business career. People underestimate you in both worlds.
“You almost shock them sometimes when it’s clear you know what you’re talking about.
“I almost use it to my advantage to prove people wrong – in sport and in business.”
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“It’s hard work, don’t get me wrong.”
“But running Miss Kick, I feel like the luckiest person in the world sometimes.”Learn more about Miss Kickonline.
Feature
Review | The Lion, The Witch and The Beaver* – sorry, Wardrobe
The Manc
What an enchanting evening at The Lowry as we were transported to Narnia to review the live stage adaptation of The Lion, The Witch and The Wardrobe in Media City as the production began its festive run in Greater Manchester.
As we entered the playing space, the atmosphere was set with a pianist on stage, slowly drowning out the noise of the outside world and settling the audience in for a night of magic.
Launching ‘Act One’ with a touching rendition of the British wartime classic, ‘We’ll Meet Again’ by Vera Lynne, we meet the large ensemble, multi-instrumentalist cast.
This talented ensemble pivots around multiple roles throughout the performance, creating a shape-shifting atmosphere with some impressive seamless transitions, allowing us to “open our minds” and be absorbed into the mythical world of Narnia alongside The Pevensies.
Sweetly played by Joanna Adaran, Jesse Dunbar, Kudzai Mangombe and Bunmi Osadolor, they excel in exploring sibling dynamics such as rivalry, trust, but most of all, loyalty and love.
The most mind-blowing element of this performance, however, was the production; it truly is the unsung hero of the entire show, so we’ll so the singing on their behalf.
Set and costume (designed by Tom Paris), lighting (done by Jack Knowles), puppetry design and direction (by Max Humphries and Toby Olie), sound design (credit to Tom Marshall) and hair, make-up and wig designer (Susanna Perez).
All this carefully curated talent helped create a world where we had no choice but to believe in magic.
For us as an audience, it made things so much easier to immerse and delight in the world of C.S. Lewis’ imagination, as it is so wonderfully presented in front of us.
This was elevated once again by levitation and disappearing acts – the scene was set on the boards and in the air.
Huge credit goes to Gwen Hales (aerial director) and Chris Fisher (magic and illusions); it felt as if anything was possible, and we needed no convincing that we were in the presence of pure enchantment.
However, arguably the most magnificent moment of the show was the reveal of Aslan himself. As this grand puppet prowled onto the stage, you could hear gasps echo throughout the theatre.
Manoeuvred by three puppeteers, this skilful spectacle was a credit to bringing the story to life in live theatre. The seamless, lifelike movements of breath and king-like presence were both majestic and a credit to the production.
Accompanied by Stanton Wright, we had no doubt that this was the true hero of Narnia.
If you want us to sum up our review of The Lion, The Witch and The Wardrobe at The Lowry, quite simply, this show is nothing short of a marvel.
Make sure to take home a cuddly lion toy, of course. (Credit: The Manc)
With constant playfulness and wit throughout – mainly brought to you from the broad Northern and oh-so lovable Mr Beaver (Ed Thorpe), and fellow believer in magic, ‘The Professor’ (Kraig Thornber).
It’s the lattermost that left us with a lasting thought, as he warmly reminds the audience that even when times feel dark, “the sun is always up there, we just have to look.”
The Lion, The Witch and The Wardrobe is running from The Lowry in Salford Quays all the way up until Sunday, 11 January 2026. Don’t miss the magic and grab your tickets HERE.
If you’re interested in finding out what else we’ve enjoyed at the theatre in Manchester recently, then look no further…
Featured Images — The Manc Group/Press shots (Brinkhoff/Moegenburg supplied via The Lowry)
Feature
Hazlett at Manchester Academy 3 – some of the best ‘sad and depressing songs’ you could ever ask for
Danny Jones
On Thursday evening, we finally got to see Hazlett in a small, tightly-packed room here in Manchester and have maybe never heard so many people sing so expertly quietly so as not to even remotely dullen the stunning voice of this rising solo artist.
For anyone who isn’t aware of Hazlett, he’s an Australian singer-songwriter who has been gradually growing in popularity over the last couple of years, but his journey to where he is dates back much further than that.
Noticing a few familiar faces in the crowd from his last visit to the city for a performance at The Deaf Institute just over a year ago – one we sadly missed and have been kicking ourselves ever since – he acknowledged that many may already know his story, but it’s nevertheless worth sharing with the class.
After self-deprecating (how oh-so British) about gigging in pubs when he was younger, and being told to stick to covers rather than try any of his own material, he moved to Sweden in 2019 and fell in love with not only a much more seasonal European but winter, specifically. No wonder he looked at home here.
Here’s our review of Hazlett at Manchester Academy 3, 4/12/2025. (Credit: Audio North)
Kicking off with one of his best-known tracks, ‘Please Don’t Be’, it immediately struck us how full and mournful it all felt in the flesh – arguably even more so than the studio version we’ve been playing in our headphones since 2023.
The atmospheric but not over-produced engineering is an aspect we’ve always admired about Hazlett‘s discography, and we were so relieved it came across on the night, with the Brisbane-born ex-pat crediting his talented live band with helping bring that same sound to life on stage.
It’s a regular trapping, we’ve found, when it comes to acoustic-led music; that instinct, perhaps, for an artist and/or a producer to use seemingly as many of the tools at their disposal as possible just because they’re available to them.
Sadly, this easy pitfall often ends up taking away from what makes those tunes so beautiful to begin with – but not in this case.
The rising solo star seemed to have an expert command not only of his vocals, but the second mic that added those subtle and yet stirring layers, and built those moving, almost ethereal effects on top of the words themselves.
Honestly, we were literally in awe of him just whistling…
Admittedly, it’s hard to put a finger on what exactly made this such a special show, but we think it is THAT same appreciation and embrace of colder months and how it’s inspired his music.
Just bear with us for a minute, it’ll make sense soon.
He actually said it was one of the things he loves the most about people in this country, and this specific part of the world, as well as other parts of Europe, such as his now beloved Sweden, where he says he found his creative spark.
It’s that feeling of the weather and the mood it brings so intensely that he says it helped him write ‘Bones Shake’, which was fittingly chilling as he played it to the spellbound, would-be choir, and could hear the soft sibilance of people gently repeating those S-sounds back to him.
There’s a genuine sense of being able to chart the slight sorrow in the passing of time through the seasons, and while some may not be afforded that same feeling from the sun-soaked shores of his homeland, it’s a concept he’s really run with – especially on his most recent LP.
Simply titled, last night you said you missed me, it’s almost something he kind of tried to resist, confessing that he wrote and finished the album in the space of about a month, fearing that it couldn’t be good enough/ready purely because it came together so quickly.
Given that two specific tracks from this record made a lady standing with us well up and eventually shed several tears (you know who you are), we’d say he absolutely nailed it.
Our only minor gripe was not getting to hear ‘Tell Me What You Dream About’. (Credit: The Manc)
He did joke that his set is filled with nothing but “a bunch of sad and depressing songs” and had a laugh at the idea of people being “dragged along” without any real idea of who he is or the kind of stuff he makes, but having now witnessed him play live, we can assure you it’s much more than that.
Bloom Mountain was an emotional, magical debut that found us in a particular place and time in our lives that we’ll always appreciate, but hearing him knit it together with his newest material confirmed to us that his music has to be more than listened to – it has to be felt.
Like the changing of the seasons. Like the winter. Like the cold.
We unfortunately didn’t manage to make it in time to watch the support act, Hans Williams, but judging by the reaction from the audience who did get in there early enough, the authentic but inventive stylings of the Americana, folk and soul-infused indie-pop artist, he definitely won over plenty of new fans.
As Mitchell Hazlett Lewis, to use his full name, he’s had our hearts since the very start and will continue to do so for however long he keeps bringing his relatable lyricism, delicate but impressive guitar-picking and gentle charm to Manchester.
Please check out his tour dates and see him the next time he’s in town. You can guarantee you’ll find
Please enjoy the song from his latest album that he says his mum likes best.