Royal Blood’s 2023 has been defined by two things: releasing yet another brilliant record in their fourth studio album, Back to the Water Below, and p*ssing off an entire crowd at Radio 1’s Big Weekend, not to mention even more people watching back home with their viral antics.
With that in mind, we weren’t exactly sure how we were going to feel or what this audience was going to be like before we stepped foot inside the O2 Apollo, but we can confirm the whole storm in a teacup has now well and truly blown over and we didn’t care one bit once they started playing.
The second we heard Mike Kerr’s bass being ripped like both rhythm and lead guitar at the same time, and the pure ‘oomph’ of Ben Thatcher’s unmistakable drum-playing, we completely forgot that they slightly upset the music world just a few months ago and remembered one thing: they’re rockstars and we’ve seen plenty worse.
This was the story of Royal Blood’s return to Manchester and their gig at the legendary venue on Friday night as Storm Babet hit the region — and it was fitting really, given that their set featured ‘Typhoons’, ‘Trouble’s Coming’ and lyrics like “crashed down in a hurricane” in ‘Ten Tonne Skeleton’.
Royal Blood played the AO Arena in Manchester last year but looked at home in the Apollo (Credit: The Manc Group)
Even before we knew what we were in for, the surprisingly dramatic duo delivered a proper entrance, walking out to the iconic theme from The Good, The Bad and The Ugly, which was then followed up by an impressive light show that we’ll admit caught us by surprise and really did something epic to the atmosphere throughout.
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It didn’t take long for fans to get off their feet as they kicked the show off with recent single and album opener, ‘Mountains at Midnight’, before the pits started opening up as they got stuck into fan favourites such as ‘Boilermaker’, ‘Loose Change’, ‘How Did We Get So Dark?’, ‘Out of the Black’ and so on.
It’s been a while since we’ve been to a proper rager at the Apollo, so we’re glad that the place is still more than capable of whipping up frenzies like that. We were concerned that there wasn’t much movement during the support act but that’s always the gamble you make with the warm-ups.
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That’s not to say we didn’t enjoy them, by the way; Hot Wax were more than a pleasant surprise with arguably more overall energy on stage than the main event. Although it was clear the vast majority of the crowd were unaware of them prior to the gig, you’d be a fool to not go away and listen to more.
Once you were in the pit, there was no coming out.
With plenty of frenetic on-stage presence and more than enough confidence to remind you they’d be having just as much fun if the crowd wasn’t there, they felt plenty post-punk, a bit funk thanks to the basslines and modern enough thanks to some more intricate strum that made sure they didn’t feel like an old hat throwback.
In a word, they were great; we liked them a lot and it didn’t take long for us to realise why they were a good fit to support Royal Blood, boasting the same ability to go big with their sound using just three instruments as Mike and Ben do with just two.
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And that summed up the night as a whole, to be honest: a total of five musicians (six if you include the headliner’s session player who dipped in on a fair few songs) making a frankly ridiculous amount of noise between them — far more than a trio and just a pair of blokes should feasibly be able to make.
That’s the one thing that, regardless of whatever you think of them post-controversy, has always stunned us about Royal Blood. How do a frontman whose main instrument is a bass guitar and just one drummer make such explosive sounds between them and get people like thrashing like they were a full-fledged five-piece rock band?
We ended up being swept into various different parts of the crowd — always a good sign.
One thing’s for sure, they are well and truly in their ‘rockstar’ era right now, whether you like what comes with that or not. Mike might be four years sober now, with both he and Ben looking more svelte and stylish on stage — not only physically but in their overall presence — but they now look and feel like graduated performers who can command a crowd with a lot more authority than they did when they burst onto the scene with their debut in 2014.
And perhaps that’s why the Big Weekend moment went the way it did; these two are seasoned pros now and have earned a lot of plaudits in the genre over the past decade, so to find yourself playing to nearly 80,000 people who were mainly there to see pop acts probably felt like a loss of control and their frustration came out in the wrong way — even they’ve admitted that.
But that wasn’t the case at the Apollo. As the gig reached its crescendo with ‘Figure It Out’ and Ben stood atop a speaker and began conducting the crowd before jumping into it and preparing them for one last mosh as Mike kept the riff going, it was clear they were back in control and the audience in the palm of their hands.
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Now that’s how you get people back on-side: by simply going out there, making a big old racket and leaving the gig-goers to do the rest. We all know there’s no place that guarantees that more than right here in Manchester.
Royal Blood polished off their return with a big finish.
Audio North’s favourite albums of 2025
Danny Jones
It’s that time of the year again: time to round up the best, or at least our favourite albums of 2026 here at Audio North.
We’re ready for your spiky opinions and intense judgement.
For those of you who haven’t been following over the past year or so, members of The Manc, The SheffandThe Hoot have banded together in our love of music to create the one-stop shop for all the best Northern tunage there is, going to as many gigs and chatting with as many artists as possible.
However, we’d never dare limit an audiophile’s listening to one region, so you can expect plenty of globe-trotting, genre-hopping and head-bopping excellence on this list. Without further ado, here is Audio North‘s round-up of the best records of the year for 2025.
Lux by Rosalía – Emily
5/5
I am not a trusted voice in music criticism, nor do I claim to be, so take what this verging-on-30-year-old white girl who only speaks English and has no relationship to religion whatsoever, says with a pinch of salt… but I think this might be one of the best albums of the decade, never mind this year.
When was the last time a genre-bending concept album about feminine spirituality and female saints sung in 14 DIFFERENT languages managed to wiggle its way into the cultural zeitgeist and onto the global charts? Yeah, never.
But that’s exactly what’s happened with Spanish singer Rosalía’s fourth studio album, Lux. It sees the hugely influential musician return to her roots by showcasing her classical training, with touches of flamenco mixed in with contemporary pop and orchestral sound – and to me, it’s exactly where she belongs.
Go on, give it a listen if you haven’t already.
We’re Never Getting Out by Deaf Havana – Danny
4.5/5
Since early adolescence onwards, Deaf Havana have been with me through every major milestone, significant moment and formative part of my life, good, bad, and everything in between, so it only feels fitting that I’d enter my third decade on this planet with one of their records to start me off right.
In fact, not only did they release this in my birthday month, but they also happened to play Manchester not long before the big day. I couldn’t have asked for a better 30th gift, but getting to hear this long-awaited batch of new tunes live and seeing frontman James Veck-Gilodi back at his best felt special.
They’ve been through many iterations over the years and I’ve loved them all in their own way; their previous two albums definitely felt like a return to form after perhaps somewhat of a blip (for various background reasons), but it still staggers me how Matty and James’ stuff never fails to connect with me more than any other artist, no matter the age, stage or style.
To be completely truthful, I’ll always lean towards their heavier guitar-driven stuff – and they’ll never abandon it – but I guess there’s a comfort in knowing just how challenging a period of life James has gone through, yet he still continues to be the most raw, introspective and eternally honest lyricist.
For my money, the best and most underrated songwriter of a generation. Help hail him if you want it, or don’t; even if not, it feels like he gets to stay mine, or at least for those of us initiated, OURS.
Thanks for everything up until now, and you know what? Sod it, I’ll take the liberty of speaking on behalf of all Deaf fans when I say we’re SO bloody happy you’re back with us, even if ‘The Present Is still feels like* a Foreign Land’.
Would I have called myself a Lily Allen fan six months ago? No. But I have always called myself a fan of a diss track and a good gossip, so when I learned of her divorce album, I consumed it HARD.
West End Girl is a solid pop album, but also a masterclass in knowing your worth, speaking your truth, and serving revenge ice-cold. And bringing the receipts, too.
It’s also a masterclass in music marketing – not only did it drop right before the release of her ex-husband’s biggest project of his career, but her tour posters were then placed directly opposite Stranger Things posters, so her face reflected back over his.
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He effectively vanished from his own press tour, and possibly the face of the planet? Has David Harbour gone into witness protection in ‘The Upside Down’? I would.
Love and light, Lily, and thank you for delivering the best.
Before you ask, yes, I have endured a breakup this year and, coincidentally, around the same time as Ms Dean released this absolute masterclass of a sophomore album.
The Art of Loving is a perfect analysis of love in all forms. Her heartfelt yet humoured lyricism explores its constant ups and downs, from delightfully romantic songs like ‘So Easy (To Fall In Love)’to more gut-wrenching, raw confessions like ‘Let Alone The One You Love’.
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But perhaps the most prominent theme of love throughout is self-love; Olivia portrays herself as not a victim but a student, and we, as listeners, are reassured that we’re all in the same boat and that if we trust the process, the right sort of love will find us eventually.
It’s no surprise that Olivia Dean is one of the most exciting artists in the world right now, oozing class, charm and impeccable talent – we can’t wait to see her live again and to see what she does next.
A Complicated Woman by Self Esteem – Kris
5/5
Self Esteem has kicked the door off its hinges this year with her third studio album, A Complicated Woman, with standout critical acclaim. The album explores identity, womanhood and burnout against a backdrop of delicious pop-bops and powerfully honest lyrics with a theatricality that few other musicians can muster.
I only properly “discovered” Self Esteem this year, and she has absolutely knocked my musical socks off. I had the joy of watching her sensational performance at Glastonbury, shedding a number of tears at the likes of ‘I Do And I Don’t Care’, ‘In Plain Sight’ and ‘Focus Is Power’.
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Her lyrics and her music have a way of mining the depths of your emotions and dragging feelings out of you that you didn’t even know existed. ‘The Deep Blue Okay’ is the perfect closer, reminding us that self-preservation is acceptable and OK.
In a world where there is constant pressure, internally and externally, to be perfect, this whole album reminds us that sometimes being imperfect and trying is what matters. Every day we get to have is big.
Whilst Sheffield-born Self Esteem might be a complicated woman, there is nothing complicated about this album being an absolute knock-out.
I’m usually a pop-punk, obsessed with Oli Sykes kinda girl, but Addison Rae… You are my Queen.
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The soundtrack to my summer, Addison Rae brought us all classics like ‘Summer Forever’, ‘Diet Pepsi’, ‘Headphones on’, and the absolute fan favourite ‘Fame Is A Gun’ on the self-titled album, Addison.
She followed me to all my holidays, and the album itself takes you on a journey of what it’s like to be a woman; it’s empowering, showcasing what it’s like to be young, being in love, not wasting time and maybe a little bit of money – it’s a joyful masterpiece.
I fell short of seeing her live in Manchester earlier this year, but it didn’t stop me from scrolling through TikTok the next morning.
Addison, thank you for being the noise of one of my favourite summers – now put your ‘headphones on’ and enjoy.
People Watching by Sam Fender – Lonnie
4/5
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People Watching… WHAT an album. Where do I even start? Sam Fender really has knocked it out of the park on this one – Wythenshawe Park, specifically.
It’s raw, emotional, yet still full of energy. I was lucky enough to see Fender for that wonderful day fest in Wythy back in August, where he did this album the utmost justice.
The title track ‘People Watching’ is a full-on banger: high energy and massive sound. It also carries a message that will hit people from all walks of life. Knowing it’s about a late mentor and friend of Sam’s made it land even harder.
‘Rein Me In’ is another standout, touching on self-sabotage in love, which most of us can acknowledge we have done at one time or another. It’s honest, extremely relatable, and hits home without trying too hard; having Clem’s favourite Olivia Dean then hop on it was just the stuff of dreams.
Overall, the album feels incredibly human. Reflective without being boring, emotional without being over the top. It’s the sort of record you stick on and let play, and it’ll hit different ways depending on where your head is. A brilliant album and one of Sam Fender‘s strongest to date.
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Hopefully! by Loyle Carner – EmJ
4/5
Hopefully! has been one album I’ve listened to time and time again this year. Loyle Carner (real name Benjamin Coyle Larner) continues to prove why his music connects so deeply with so many people.
From the moment I pressed play on the record, I was met with an immediate sense of comfort. The opening track, ‘feel at home’, begins with a child-like sound of wind chimes before switching into a jungle/breakbeat rhythm – a more experimental direction for Loyle, but one that feels completely natural.
Sonically, the album is interesting. There are moments that lean into a murky, slightly off-kilter sound that will remind many listeners of King Krule and Mac DeMarco – more in mood and atmosphere than direct influence. It shows Ben pushing himself creatively without losing what makes his music feel so personal.
Throughout the album, you can hear the weight in Loyle Carner’s voice. Often sounding like there’s a lump in his throat, his thoughts feel raw, unpolished and imperfect, and that’s exactly what makes the record resonate with me.
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Vulnerability has always been at the heart of Loyle’s music, but it feels especially front and centre here. The album flows effortlessly, and it’s one of those records you end up listening to front-to-back without even realising.
Tyler, The Creator’s latest album, DON’T TAP THE GLASS, is another reminder of why his evolution has been so compelling to watch. I’ve been listening to his music since the Odd Future days, and what’s impressive is how he’s managed to grow without losing that edge.
The album is inspired by people’s fear of dancing in public due to social media; it’s an album about letting loose and expressing yourself. Production is layered and interesting, but never distracting, giving Tyler room to say exactly what he wants to say.
‘Sugar On My Tongue’ stands out immediately. It’s the kind of track that grows with every listen and sticks around long after the album ends.
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This isn’t Tyler trying to prove anything. It’s an artist fully comfortable in his sound, still pushing himself forward while staying true to where he started.
Hearts Sold Separately by Mariah the Scientist – Thomas
4.5/5
With this project featuring my top song, album and artist of the year, ‘Is It a Crime’ if I didn’t choose this to be my album of the year? Yes. Mariah has resorted to every artist’s favourite era of inspiration, calling back to the 80s for some echoey drums, chimes and synths which dominate this record’s soundscape.
This album’s magnum opus, ‘Burning Blue’, sees her letting down her guard as she finds true love with ‘Eternal Flame’ and ‘Like You Never’ continuing this theme. Fittingly, Ms Scientist uses this album to discuss her expertise in one specific chemical reaction, love.
Roll on January, when I’ll be belting out Hearts Sold Separately for its entire duration when she plays Manchester Academy.
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Getting Killed by Geese – Lilly
5/5
As an avid rock fan, I’ve been hungry for an album that flips the genre on its head and finally provides us with a fresh new perspective. Thankfully, Geese DELIVERED this year, and brought out their third wild and weirdly wonderful LP, Getting Killed, which has since gone platinum in my house.
Each song on the album feels like its own religious experience; it’s a perfectly crafted amalgamation of art-rock and post-punk with references to prime funk and soul, conveyed through groovy basslines and sonic shifts.
Cameron Winter’s uniquely brilliant vocal range shines through once again, accompanied by his absurdist lyricism and the band’s overall 70s flair; Getting Killed isn’t just a good rock album in my eyes, it’s a modern-day classic.
With a name like ‘Geese’… It’s hard to forget a band like these lot – and once you hear this album, they’ll be cemented in your brain forever.
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Go on, then – how did we do?…
Let us know your favourite albums of 2025 down below, and here’s to what we’re sure will be another brilliant year of music in ’26.
Featured Images — Audio North/Publicity pictures (various)
Audio
Lola Young shares first public statement since cancellations and stepping away from the spotlight
Danny Jones
UK pop star Lola Young has shared her first public statement since cancelling the remainder of her tour and stepping away from the spotlight.
Lola Young, 24, took a break from her still-burgeoning career after numerous concerning incidents on stage, including throwing up and even passing out in the middle of a performance.
The BRIT School graduate announced the unfortunate cancellation of her upcoming shows “for the foreseeable future”, including a gig here in Manchester, at the end of September.
Breaking her silence after the best part of three months, the London-born singer-songwriter took to social media in a fairly brief but heartwarming statement.
As you can see, the time away from the public eye certainly seems to have been beneficial, telling her followers that “it has helped more than you will ever know”.
In addition to embracing ADHD – even labelling her hit song ‘Messy’ as an “ADHD anthem” in multiple anthems – she was also diagnosed with schizoaffective disorder at just 17.
The latter can include symptoms such as psychosis, hallucinations, intense mood swings, bipolar mania, depression and more.
All that being said, we’re glad to hear that she’s on the mend; we saw her back in March, and you could tell from the crowd that she’s already got a very passionate cult following.
Both conditions and their associated obstacles have obviously affected her, but have equally helped influence her music and lyrical material, certainly, too.
Responding in the comments, fellow artist SZA wrote: “Love you, starfire angel. Your music is FULL of longevity and substance! We’re so grateful for you”.
Joining in support, ‘dark pop’ musician Carter James added, “Your wellbeing comes before anything. So excited for your next chapter whenever it arrives!”
We hope she’ll be doing better enough soon to get back on stage when she’s ready.
Danny Jones -
21st October 2023 
