Watching Simon Pegg stride through Great Northern ODEON on a Sunday afternoon is more than a little strange.
This is a place where people come to see the movie stars – but today it looks like a celebrity has stepped right off the big screen.
Fans flock to grab photos with Pegg as he weaves from the box office towards the theatre; filling the walkspace with the clamour of shouts and snapping cameras.
Bumping into the star of Spaced, Shaun of the Dead and Hot Fuzz on Deansgate would be arresting at the best of times, but it’s even more extraordinary when you consider the context.
Pegg is in Manchester for a premiere he couldn’t originally attend, for a film that almost didn’t get shot, starring in a role that’s unrecognisable to anything he’s done before.
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“It felt like something I needed to put right…”
One of the big features on the bill this weekend at Manchester International Film Festival is Lost Transmissions – an independent movie starring Pegg and Juno Temple about music, creativity and psychosis.
Pegg made the movie in between stints on Hollywood blockbusters Star Trek and Mission:Impossible, and whilst his busy schedule had cast doubt on any potential appearance at the premiere, a last-minute scheduling change means that Pegg makes it to town just in time.
Lost Transmissions is a smaller kind of production than the star is used to nowadays, but he’s as visibly passionate about the project as much as any other he’s been involved with.
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Grappling with complex mental health issues, Lost Transmissions presented Pegg with am unfamiliar and particularly challenging role – but it also allowed him to break new ground by working with a female filmmaker.
“I hadn’t done a movie that has been directed by a woman in twenty years of making films,” Pegg tells us, sounding a little surprised by his own answer.
“That felt like something I needed to put right.”
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Pegg has long been a loud advocate for female representation in cinema, and when the opportunity came to work with Katharine O’Brien for her directorial debut, he was hungry to take it.
“It was the script [that attracted me to the project] first and foremost… and the fact that Katharine had sent me a script that was straight drama.
“I tend to get pigeon-holed as a comedy actor, which is my own fault.”
“At one point, it looked like it was going to get dropped…”
After realising they were both on the same page, Pegg and O’Brien began to throw some momentum behind Lost Transmissions, with excitement growing around its potential. However, schedule clashes meant the film was, for several months, left dangling by a thread.
“I was attached to the project for a very long time,” Pegg tells us.
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“At one point it looked like it was going to get dropped or I was going to have to drop out because of Mission: Impossible.
“But Katharine waited for me, thank goodness, and we got to make the film.”
“Making it was a really fun experience. It was a 20-day shoot, which is not what I’m used to compared to the bigger films, but she was so sure of what she wanted in terms of performance and the look of the movie.
“It’s really nice when you work with a director who knows what they’re doing.”
Lost Transmissions dives into territory few films have dared to explore and even fewer have managed to understand: The world of schizophrenia.
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Speaking about his role Pegg explains: “I play a guy called Theo Ross whose a music producer working in Los Angeles, a British guy, who has developed schizophrenia due to some bad acid he took in the nineties.
“In the movie, he decides to come off his medication because he’s worried it’s stifling him creatively, but of course that leads to him drifting back into the realm of schizophrenic delusion.
“It comes down to Juno Temple’s character trying to save Theo as he drifts off further and further into mania.”
“It’s easy to approximate madness in film; mental health issues seem to be one of the last kind of things that it’s ok to be flippant about…”
Pegg went to great lengths to embody the character during production – with the role of Theo so different to his usual roles.
“I researched it thoroughly; it didn’t feel like a role I could just guess,” Pegg says.
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“Schizophrenia is a very real, very specific condition. It gets mistaken a lot of the time for split personality, but schizophrenia isn’t like that at all. [It’s] more about people’s perception getting confused, the brain starts to make certain patterns and create delusional narratives which the person responds to.
“So, I really had to learn about that and meet schizophrenics, read about it, watch documentaries, and go into the film knowing what I was talking about.
“It’s easy to approximate madness in film, mental health issues seem to be one of the last kind of things that it’s ok to be flippant about. Acting crazy, you know, anyone can do that – but it’s not at all the way to approach it.
“You have to approach these things faithfully and give a genuine, authentic portrayal.”
Before Pegg heads off to host a Lost Transmissions Q&A alongside his director, he fills us in on his next chapter.
“I’ve got two Mission:Impossible films to make over the next two years,” he confirms.
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“And there’s something I’m developing at Stolen Picture – mine and Nick Frost’s production company.
Pegg’s features scrunch together as he searches his memory banks.
“It’s a show I’ve been developing for… eight years, I think. I’ve finally found a way to do it!”
Suddenly, a wide smile spreads across his face.
“But I can’t say anything about it yet… which is really frustrating.”
Now’s not the time for that, anyway. Today is all about the indie film that pulls Pegg from his self-confessed comedy “pigeon-hole”. And he’s proud of it.
Catch Lost Transmissions in cinemas during its wide release from 14 March. For more information on some of the fantastic films playing this week at MANIFF, head to their website.
Feature
Five Greater Manchester artists we’ve been listening to this past month | March 2026
Danny Jones
Don’t look at us like that… It was a bank holiday, and we had a lot of stuff to sort before the long weekend – and a good chunk of that was spent listening to loads of Manc music, new and old, so just shut your trap and get ready for another batch of fantastic artists.
Seriously, though, we’re sorry you had to wait a few extra days than usual to get your latest fix of local tunes, but good things always come to those who wait.
If you happen to be new to this regular series of ours in 2026, it’s pretty much what it says on the tin: every month, we round up the stuff from in and around the Greater Manchester region that we’ve been listening to of late.
Simple as that. Let’s crack on, shall we?
1. Freak Slug
Born in Italy and now based in Manchester after studying in London, Xenya Genovese – a.k.a. ‘Freak Slug’ – is mixing trippy, shoegazey, alt-pop and rock sounds to great effect, which is even more impressive when you find out she produces pretty much everything herself.
There are notes of everything from Slow Pulp and Mazzy Star, to bits of Hazel English and Soccer Mommy; if you were thinking NewDad, too, you’d be absolutely right. In fact, the rising star is currently on tour with them over in North America after having played some domestic and European shows.
If you’re just getting started, we’d recommend two of her biggest hits, ‘Radio’ and ‘Friday’, as you’ll get a good broad strokes idea of her style, but we do love the slightly more Northern attitude and almost Kate Nash-esque no-nonsense of recent single ‘Honest Man’. You can find a snippet of her latest down below.
In at number two is Manchester’s answer to the country music scene – specifically, the growing host of fantastic female artists who are becoming increasingly influential in the space. If you’re a fan of Lainey Wilson, Ella Langley, Ashley Cooke, Alana Springsteen and the like, she’s right up your alleyway.
One of our own, if you’re a fellow British country fan who often suffers from a dash of impostor syndrome, you’ll be glad to hear she does her best work when she leans more into that some of that self-awareness and self-deprecation, highlighting what makes her different rather than trying to blend in.
It’s a trap that plenty of UK artists can fall into when trying to tap into a sound, but instead, this is what sets it apart; there are no better examples than ‘Past Life Cowgirl’ and ‘Don’t Give Me Hope’, which still show a pop sensibility that could see her playing arenas. And if you don’t like it, as the girl says, you can ‘Kiss [Her] Accent’.
We spoke to her at our first taste of C2C music festival.
3. Ishango Bone
In at number three up is an up-and-coming band that technically has only one Spotify release as yet, along with a smattering of other raw recordings from gigs, etc. online, but they’re nonetheless one that has quickly caught our attention – and not least because of that moniker.
Taking on the same title as a 20,000-year-old ‘calculator’ found near the Nile River in the Democratic Republic of Congo (fall down the rabbit hole at your peril), choosing to name themselves after this gives you a little bit of insight into this curious, interesting, experimental and admittedly odd project.
Even their social media is pretty unique and eccentric, mirroring that somewhat detached, third-person voice used by the likes of Sleep Token, and talking about the project as if it were research into some new alien entity. Bit weird, but so are we, and we like it. New single ‘The Agency’ out on 24 April.
The Salford kid is still very early in his career. It was only back in February 2023 that a then 12-year-old Denton won Marr’s eponymous award from the Salford Foundation Trust. However, since then, the young man has clearly got the right people around him as his sound is already coming across well-developed.
He doesn’t have tonnes out yet, so you might as well complete his discography. Thus far, you can hear influences of Britpop legend Richard Ashcroft, but also fellow Wiganers, the Stanleys, but it’s still too early to tell where he’ll go. All we know is it’s uplifting indie that’s perfect for a spring soundtrack.
5. The Cavs
Last but not least, we have The Cavs, who feel like they’ve been around forever because, well, it has been a good seven years or so since their very first song. We feel like we’ve caught them at festivals here and there, but never quite seen them have their one breakout moment. Could it be coming this year?…
The local lads are back after a little break, having last released music this time last year, but there feels like a fresh wave of momentum might be about to take them onto that next level, as we’re once again seeing them all over our algorithm. They’ve always had a big sound, but it deserves a bigger following.
We might still have a soft spot for the anthemic, 90s/early noughties feel of ‘Find A Way’, and we still maintain that ‘Headshot’ has one of the most addictive intros and recurring riffs we’ve any contemporary rock band could hope to write, but their new release ‘Hallowed Ground’ is well worth a listen to, as well.
So there you have it: another round-up to wrap up Q1 of this year’s journey through Manchester’s musical scene.
As always, we’re looking for new suggestions all the time, so let us know who you’re listening to at the minute – or rather who we should be – down in the comments.
Oh, and since you’re here, why not check out last month’s list?
Featured Images — Audio North/Press shots (supplied)
Feature
Review | Leon Thomas at Manchester Academy – ‘Mutts Don’t Heel’ but this gig healed me
Thomas Melia
American singer-songwriter Leon Thomas visited Manchester Academy last night, performing hits from his deluxe album to a sold-out crowd of more than 2,600.
One year after an exclusive London MUTT Live date, Mr Thomas returns to the UK with the ‘MUTTS DON’T HEEL’ Tour, venturing to five cities, including the music capital of the North: Manchester.
The night started off just how it should’ve done with ‘HEEL’, as the audience were welcomed by the drum-loop and a chill atmosphere from the start.
Now, it wouldn’t be a Leon Thomas gig without at least one Ty Dolla $ign collaboration making the setlist, and there’s plenty to choose from with a new one dropping just over a month ago, ‘miss u 2’.
Leon Thomas performing hits at Manchester Academy (Credit: Audio North)
The funk-influenced musician opted for ‘FAR FETCHED’, and the audience was in the palm of his hand. No matter which of the four link-ups he chose, it was always going to go down well – Manchester never disappoints.
Leon didn’t even have to ask the crowd to bring more energy; they already matched him. When he sings, “For someone who don’t ask for favours, I’ve done way too many favours”, on ‘PARTY FAVORS’, he really meant it.
Last year, Leon Thomas dropped PHOLKS, a project which saw him exploring old-school funk and soul sounds even further and ‘Just How You Are’ had even the shyest dancer pulling out a little two step.
This isn’t the only hit that sent the crowd into a frenzy; ‘Baccarat’ and its impressive psychedelic guitar solo had jaws literally falling to the floor at Manchester Academy.
His songs might not be dramatic or extravagant, but they don’t need to be. Leon’s artistry prevails when he’s softly singing, and you’re still able to detect each instrument.
Leon Thomas brought the MUTTS DON’T HEEL Tour to Manchester Academy (Credit: The Manc)
‘Breaking Point’ is an easy-listening soul track that had all 2,600 Leon Thomas fans in our feelings as we realised we were coming to the end of a phenomenal concert.
And of course, ‘Mutt’ – his biggest single to date: a bouncy and swag-filled number that sticks in your head for weeks on end – sounded even better when backed by a live band as I discovered last night.
There was some insane musicality, distinct bangers and impeccable live arrangements that elevated the original studio recordings. Maybe ‘Mutts Don’t Heel’, but Leon Thomas definitely healed me.
He wasn’t the only cool cat playing last night either:
Gareth Lloyd -
12th March 2020 
