Friday night’s gig at New Century Hall was one of those where you’re so stunned by the show that you’re left wishing the act in front of you was Manc so you could claim them as you’re own – but sadly Novo Amor is a Welshman and we had to give him back.
The stage name for the highly impressive multi-instrumentalist and producer, Ali John Meredith-Lacey, in truth seeing him for the first time here in Manchester proved that the Novo Amor really is the sum of many talented parts.
Much like Bon Iver in that sense and in style, sound and approach to making music, for without Justin Vernon and co. there would be no Novo, one of our first worries was that he would be unable to carry over the level of production and sound design heard on the albums to the stage performance.
That’s where his full band came in, who ensured not only that the whole thing sounded virtually studio-perfect but took a step beyond what we ever thought we’d get to hear at a Novo Amor gig. And it all started with Ed Tullet performing under his own stage name Lowswimer for the opening act.
Lowswimmer supporting Novo Amor in Manchester (Credit: The Manc Audio)
Anyone who listens to Novo will likely be aware of the little sub-group of artists that all swim in the same circle, from Ali himself to the likes Gia Margaret, Sean Carey (part of Bon Iver) and Yvette Young, to Hailaker – Tullet being one-half opposite Jemima Coulter – as well as Lowswimmer and several others.
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He might have only played a handful of songs with only a guitar, including a couple of beautiful Hailaker tracks, but it was more than enough to leave an impression of the very sincere artist who clearly has a massive influence on all of those around him.
Explaining that this would be his second to last show perform with Novo Amor due to health issues and the general toll of touring, having helped write, record, produce and play the bulk of music ever put out under that name since day dot, it was a fittingly sombre and intimate warm-up.
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However, even in delivering the more stripped-back set we were already half expecting from the headliner, we almost managed to get both sides of this little mini-music community: the quieter acoustic stuff where big vocals moments are left to shine, and they did, as well as the real deal.
There was even a moment when tiny embers began to flicker as if you were listening to the guitar around a campfire.
When Ali and the rest of his band finally walked out on stage, with Ed himself receding back into what looked to be the more comfortable position just outside of the spotlight, it suddenly dawned on us that it wouldn’t just be a few folky guitars and some nice piano playing.
After the Lowswimmer’s ironically low-lit stage had somehow managed to hide a quietly better-budget backdrop, the stage suddenly began to light up as Novo Amor wandered on to pick up their instruments and play and from here on out we were just as captivated by the lights and effects as we were the music.
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Be it thin but sharp white lines tracing the borders of light boxes like a weird game of snake; solid blocks of electric blues, warm yellows and moody reds appearing on perfectly-timed musical cues or dots delicately twinkling into a slow-moving constellation, each song felt like an experience.
Not sure we’ll ever get over seeing this track being introduced in such a stunning way and in a venue as eye-catching as New Century:
Novo Amor stuns Manchester with ‘Same Day, Same Face’, fresh from his new album Collapse List at New Century.
Similar to Ed when he was busy tuning his guitar, Ali let on that his talent lies in bringing these intricately built-up tracks to life not only in record form but in translating them for the live shows too, choosing to ask ChatGPT for some ‘on-stage banter in the style of Novo Amor’ to fill the gaps.
Truthfully, as much as both parties said they were ‘not good at this kind of stuff’, he did a good job at handling the short lulls between songs by letting people ask questions, daft or not, as well as making sure water got to those feeling faint in the hot room. Everyone was fine, don’t worry.
In fact, when one girl seemingly passed out nearer to the front of the crowd as he came towards the end of fan favourite Halloween (you have no idea how gorgeous that song sounds with a full room of people singing it back, by the way), he still managed to check on her whilst quietly playing the outro. A total pro.
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Those were the three key letters here in every sense the more we think about it; be it the effortless professionalism in recreating what you hear in your headphones down to the tee and then some live, or the production levels and simple but striking set design behind them, it was verging on surreal.
We might not have been anticipating such a put-together set and overall level of production both in terms of sound and the often mesmerising visuals but we don’t know why, because we absolutely should’ve.
This is what you get when you put a group of extremely talented musicians and multi-instrumentalists together in one place. They might make highly complex, heavily layered and often delicate sounds with electronics and technology playing a big role, but they also know how to ramp it up for an audience.
All we can pray is that the next time Novo is back in Manchester he brings at least one half of Hailaker along again and maybe a surprise showing from another corner of this collective.
A special shout-out has to go to Ed as well; we have no shame in admitting that watching Ali looking on at his long-term creative partner and mate with a smile as he signed off his time with the live band by belting out the final tune had us welling up.
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Novo Amor might not be from Manchester but we want him back soon.
Tame Impala at Co-op Live, Manchester – lasers, lights, and a bit of a hangover
Daisy Jackson
The coolest man in the southern hemisphere has finally made his way back up north, for his first Manchester gig in a decade.
That cool man in question is Tame Impala, the music project of what-the-hell-can’t-he-play multi-instrumentalist Kevin Parker.
Sure, last year’s single release ‘Dracula’, and then its remix re-release with K-pop megastar Jennie, may have propelled Tame Impala up towards the top of the UK singles chart for the first time, but he’s got almost two decades-worth of music to dig through beyond that too.
It’s a hefty discography and it leads to a setlist that seems to almost peak about six times.
‘How could it possibly get better than this?’ we seem to ask as he plays The Moment, Elephant, Dracula, and Let It Happen pretty early on – but better it does indeed get.
It doesn’t seem to matter whether he’s up on the main space-ship-esque stage surrounded by lasers and lights, or sat on the floor of the B Stage playing around with a keyboard, Tame Impala has an irresistible, enchanting charisma. A lot more charisma that you’d expect from a man called Kevin.
Early on, he confesses that he’s quite severely hungover from last night’s show, where he had Dua Lipa (he wrote and produced her Radical Optimism album) as a surprise guest.
But you can see the hangover clear from his eyes in real time as 23,500 Mancs scream in his face. Which might not sound like a likely hangover cure, but who am I to argue with the evidence in front of me?
Although Kevin writes, produces, and records his music solo, he’s got half a dozen musicians up on the main stage with him, which looks like a convoluted space ship that fires confetti out of its thrusters (FOUR TIMES!).
With revolving lights, dancing lasers, and a metal grid base spewing out dry ice, it’s really one hell of a production.
It’s a light show designed to give us all a glimpse of his synesthesia (meaning he sees colours when he hears music (Billie Eilish has it too)) – essentially, if you couldn’t hear a thing and could only see the stage, you can still tell exactly what song is playing.
Still, when he saunters straight through the crowd to his smaller stage to mix tracks solo – no lasers, just a few lamps – flopping down onto a tangle of wires like a mad magpie building himself a nest, it’s a chance to remember this guy’s composing prowess.
A lot of the songs performed tonight are almost orchestral in their complexity, so that the whole show merges into one thundering, bewitching night of dancing and being blasted in the face by confetti.
It’s genius.
So can you not leave it another decade before you come back, Kevin?
Kahiki Soundhouse – the new Mint Lounge site is living up to the old name and its live music legacy
Danny Jones
If you went out in town back in the day (pretty much any time from the late 90s to the 2010s), or indeed have sampled a Funkdemia over the past couple of decades, chances are you tried or at least heard of Mint Lounge – but did you know it’s been replaced by a new kid on the block, Kahiki?
Kahiki Soundhouse, to give it its full name, is the new live music venue bar that has opened up the old basement space on Oldham Street in the Northern Quarter.
In truth, it’s now more of a classic lounge than ever before.
The large open-plan floor, which used to be filled with people standing/two-stepping inside a fairly barebones club room with no air conditioning, has now been traded up for a stylish space lined with plush padded seats, classy low-lit tables perfect to share a glass or two over, and lots of new features.
Perhaps the biggest change is that the old soundbooth/stage area that used to be way at the back has now been swapped for a central 360° podium that changes up each night.
It really is the star of the all-week-round Kahiki show, if you ask us.
This also means that no matter where you are in the main venue (there are other rooms, but we’ll get to that), be it tucked in a booth to the side, at the bar, or even ‘behind’ whoever’s playing, you’ll have a virtually unobstructed view of what’s happening from noon until night.
Seriously, thanks to their already jam-packed schedule, the reviews aren’t just off to a great start only a few days in, but people have been turning up in the early evening and staying well into the early hours of the next day.
They’ve got duelling pianos, live bandaoke, acoustic nights and straightforward DJ sets for those who still fancy a taste of the previous vibe.
Kahiki’s maiden Manchester city centre venue definitely harks back to the good times had in the Mint Lounge days, but the team, who possess decades of experience between them, have combined a retro feel almost more akin to 1960s speakeasies, cocktails and evening venues.
It’s no secret that clubbing and the UK nightlife scene have changed quite a bit since the pandemic, but these guys look to have found that perfect blend of more relaxed seating, along with plenty of room to get up and boogie; there’s even a raised mini-stage/dance cage for your main character moments.
Better still, if you do want something a little bit away from the crowds of punters that are continuing to make this one of the liveliest new additions to NQ, they also have adjustable karaoke rooms where bi-folding doors can make room for up to 50 of you and your lot to party in privacy.
Let’s just say the spirit of the Lounge is alive and well in the Soundhouse.
Just one corner of KahikiYour podium awaitsOne of the smaller karaoke rooms
Danny Jones -
12th April 2024 
