When we take a look back at the past 18 months, it’s difficult to see another industry that’s taken a harder hit than the Night Time Economy.
As the reality of the COVID-19 crisis began to set in back in March 2020, nightclubs and culture venues were forced to close their doors and largely remain shuttered until merely a few weeks ago, and while theatres and live music venues were able to reopen for short periods of time to stage performances, this had been under strict restrictions around capacity, movement, mask wearing, and social distancing to keep people safe.
Those ongoing restrictions, combined with “insufficient sector specific financial support from government”, at one point meant that the sector and its supply chains were at real risk of collapse.
A dedicated group of cross-party MPs, peers, and leading industry figures even had to come together in December 2020 to establish an All-Party Parliamentary Group (APPG) to represent the best interests of the sector – which it said had been particularly under-represented politically, and undervalued both culturally and economically by government.
The group stated that the Night Time Economy had “borne the brunt of COVID restrictions”, and that it believed the crisis was an “existential threat” to the industry.
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“The sector has faced enormous challenges, and thousands of bars, nightclubs, and live events businesses are at risk of collapse,” Labour MP for Manchester Withington Jeff Smith said at the time the AAPG was formed.
To put it simply, it wasn’t looking good.
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It’s difficult to see another industry that’s taken a harder hit than the Night Time Economy over the past 18 months / Credit: Pixabay | pxhere
And for a region with a cultural footprint as significant as Greater Manchester’s, and a proud tradition of music, arts and entertainment – with music tourism alone having been said to generate £169 million for the local economy pre-pandemic – it truly could have been devastating.
But when the final stage of the government’s roadmap to lifting lockdown was confirmed to commence from 19 July, venues were finally given the long-awaited green light to reopen as normal, and the struggling industry could breathe a collective sigh of relief.
While reopening may have been the goal, the challenge was far from over though.
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Our venues arguably needed support from the community at this time more than ever, and so to make sure were doing our bit to help Greater Manchester get back on its feet, The Manc teamed up with multi award-winning streaming platform StreamGM last month to show some serious love and support to the region’s renowned theatres, nightclubs and live music hubs with the launch of SeeGM – a digital campaign to shine a bright spotlight on many of the amazing events, club nights, gigs and shows in our region.
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The aim of the #SeeGM campaign was to inspire residents to revisit their favourite haunts, buy tickets for future events, and safely experience more of the region’s vibrant culture and nightlife.
“Greater Manchester is the city of 24-hour party people,” our Brand Director Anna Gledson said on the launch of the SeeGM campaign last month.
“We hope with everyone’s support, our region’s venues will be thriving again very soon.”
We were keen to encourage people to take to social media to post both their happy memories of times spent at gigs, shows and events gone by, as well as share their first experiences of heading ‘out-out’ after 19 July, all while promoting being kind and respectful to staff, other audience members, and partygoers.
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We did this through a dedicated social and editorial content strategy that involved the views and suggestions of our audience of over one million loyal Mancunians across our social media platforms – touching on everything from the best nights out in Greater Manchester, to some of the best arts and culture events to visit this summer.
We also had the pleasure of speaking to some leading industry figures for the SeeGM video series to get their take on why Greater Manchester’s nightlife is so world-renowned.
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Speaking on the wealth of content created for the SeeGM campaign over the last month, Laura Graham – co-founder of StreamGM – said: “For the SeeGM video series, we interviewed different people who curate, promote, perform, or work in these places and ask them about reopening, what safety measures they have in place and why they think Manchester is the best for nightlife and culture.
“We got some real insight, charisma and heartfelt quotes from our interviewees, and this helped to raise awareness and remind people why Manchester is just a cut about the rest.
“Our grassroots venues, nightclubs and performance spaces are helping us heal emotionally from the pandemic through enjoying shared experiences and being able to socialise properly again.”
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Touching on the success of the campaign, Laura added: “It’s been ace getting positive feedback from local operators about SeeGM and so good to see people out in these places having a blast and dancing together again.
“A huge thank you to everyone who took part in the campaign for helping make SeeGM so much fun to create.”
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The #SeeGM campaign may be drawing to a close, but Greater Manchester is still thriving.
So, what can you keep doing to help? Well, as the region continues to open up and adapt to the new normal over the next few months, the support of residents will still be as important as ever, so make sure you experience all the region has to offer as safely you possibly can, while respecting staff, surroundings, locals and fellow partygoers – and most of all, keep making Manchester proud.
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Don’t forget to check out all our content from the #SeeGM campaign over on Facebook, Twitter, and Instagram, as well as on themanc.com.
Take That at the Etihad Stadium – the Manchester boys are ‘back for good’ | Review
Clementine Hall
We’re not saying this was the ‘Greatest Day’ of our lives…but it was certainly up there.
Take That have been taking us all on a trip down memory lane over the past few weeks, bringing The Circus Live back to stadiums across the UK and recreating their record-breaking 2009 tour.
Last night they kicked off their four night run at the Etihad Stadium, and it’s safe to say the much-loved pop trio have absolutely still got it.
In fact, I’d go as far to say that this is the best Gary, Mark and Howard have ever looked, sang, and above all else, danced.
Maybe it’s because this is their first hometown gig in two years, or maybe it’s because I’m extremely biased having grown up listening to Take That in my mum’s car on the way to school.
Either way, I said what I said.
Now as the name suggests, The Circus Live isn’t your average show. There’s a gigantic hot air balloon, a huge mechanical elephant, clown face paint, acrobats, unicycles, fireworks, sparkly costumes, you name it – they’ve got it.
It’s an aggressive assault to the senses, a fantastic fever dream, overstimulation of the highest degree, and I lapped up every single moment.
It’s what I imagine taking a tab of acid feels like before a gig, and if that’s the case then I would recommend doing so.
Of course the boys open the show with ‘Greatest Day’, and from the get go Gary Barlow’s vocals are just as smooth as ever.
After a brief Barry Manilow cover they then showcase their exceptional synchronised choreography during the dance break of ‘Pray’, to which I could almost hear the audible gasps from hundreds of mums in the audience.
All of which, I assume, were transported in that moment back to 1993 when Take That debuted the moves on Top of the Pops.
After a brief pause, Mark Owen leads the lads in ‘Shine’ as they make their way to the second stage in the centre of the stadium. Top hat in hand, Gary on the keys, Howard there purely for vibes – it’s no wonder Morrison’s chose this banger for their advert.
From then on it is simply banger after banger, and it’s clear that they feel very grateful to still be filling out stadiums as Howard particularly gets teary eyed after ‘Never Forget’ is met with roars of applause.
Take That have three more shows left at the Etihad Stadium, and you can still grab some last minute tickets here.
However, if you fancy not moving from your sofa but still want to be a part of the fun – Saturday’s show will be livestreamed across the globe via Amazon Music, so no matter where you are in the world, you can still visit The Circus. Find out more here.
Audio North’s Artist of the Month – Aaron Dinning | June 2026
Thomas Melia
Aaron Dinning is an indie-pop act whose songs span the highs and lows of relationships, and now he’s Audio North’s latest Artist of the Month.
Born in County Durham, studied in Leeds, and now the curator of a live music events organisation based in Manchester, Dinning sure knows a thing about northern music.
With hits to his name already like ’24’, ‘Look Who’s Holding The Gun Now!’, this queer musician is gearing up to release a deluxe edition of his sophomore EP Boys Become Men.
If his name feels familiar to you, that’s because it probably is, as Aaron Dinning has performed at a multitude of venues across the north – including Feel Good Club, Popup Bikes, and The Proud Place.
Now, Dinning chats to Audio North about his upbringing and music journey, as he accepts the title of Artist of the Month for June.
An interview with Aaron Dinning – Audio North’s Artist of the Month | June 2026
Aaron Dinning is making his mark in the Manchester music scene with his indie-pop tracks / Credit: Press Shots via Emily Atherton (Supplied)
You were born in County Durham and now live in Manchester. How have those two places shaped you as an artist?
I think there’s such a contrast in the environment of those two places. Durham was so formative for me growing up, back then I didn’t have the autonomy to vocalise it but now I see Chester-Le-Street specifically as such a ‘small town mindset’ kind of place.
If I stayed at home, I would never be the artist I am today. That’s not to say that growing up somewhere like that isn’t just as important as the place which makes you feel accepted. You can’t have such a strong desire for one without a disdain for the other.
What does being a northern musician mean to you?
I think being northern, to me, just means breaking the mould and showing that if I can do it, anybody can. It means building my career on my own terms, it’s taught me to unapologetically be myself, on and off stage.
I always say that I want to write the songs I needed when I grew up because there was nobody like me from the North. Sometimes it still feels like I’m the only one too.
To me, if I can write a song, or put on a performance that resonates with a 15-year-old kid who’s still figuring out who they are or who they love, that’s the most fulfilling thing that can come from sharing my art.
This Northern talent is from Country Durham, studied in Leeds and is now based in Manchester / Credit: Press Shots via Jack Garrod (Supplied)
The music industry can feel very London-centric at times. Have you found being based in the North to be an advantage or a challenge?
It’s a bit of both really. Yes, London is where the majority of the big names in music are, but in my mind, I always compare it to that scene in Baby Reindeer when the guy says ‘You find yourself a background artist in a cast of millions’ (niche).
I like that the industry isn’t as saturated as London up here, but I can see that changing in years to come. The North has always been where it’s at and truly where all these major labels should be looking for who’s up next because you might just find a gem like me waiting to be found.
Is there a northern artist who made you think, “If they can do it, so can I”?
Definitely Sam Fender. I know it’s a bit of a cliche nowadays, but I absolutely love him and he’s what I think of when it comes to a classic northern success story.
I’ve seen him six times and the last time at St James’ Park was a completely different calibre of show to when I saw him at Boiler Room in 2019 and paid fifteen quid for the ticket.
Me and him are completely different, but I imagine we had a similar sort of upbringing in the terms of characters we knew growing up in rougher areas. I feel like he cracked the mainstream so well with his first album and he’s only gotten better since. I’d want my first album to have the same kind of critical acclaim as his.
Dinning fuses his sexuality throughout his music, being an openly queer pop musician / Credit: Press Shots via Tom Hargreaves (Supplied)
What made Manchester feel like the right place for the next chapter of your career?
I recorded my entire EP here whilst I was still living in Leeds with Toby Ollis Brownstone from the beginning of 2024. That year and a half which I spent travelling back and forth in Manchester made me love the city and loathe commuting.
I knew I wanted to move to Manchester when I got invited to play the Queer as F*ck open mic on Valentine’s Day in 2025. That was the first show I played accompanying myself on the guitar, I agreed to play three hours before doors and completely fumbled my way through the set.
The feeling of the room was like nothing I’d experienced before, to come to a show in another city I had never played in and feel so welcomed, at home and accepted by a room full of likeminded people, felt like a feeling I could only replicate in Manchester.
Has living in Manchester changed your songwriting at all?
Generally speaking, I’ve been playing guitar a lot more since moving here. I feel like there’s a naive fresh start that comes along with moving to new places and feeling like your life’s going to drastically change.
Becoming the Producer of SoFar Manchester helped me feel integrated and I’ve met so many cool people doing that job while spotlight my friends who are artists and bring them to the city that I fell in love with – It’s all very full circle.
I’ve brought Romy Taylor, Caitlin Doran, Sophie Green, and GRACEY over to play SoFar events and they’re all equally amazing creatives who are based in Leeds, like I once was.
The ’24’ singer has played gigs in unusual Manchester city centre locations like Popup Bikes in Ancoats / Credit: Credit: Press Shots via Emily Atherton (Supplied)
What do you think Manchester does better than anywhere else when it comes to music?
I think Manchester is such a hot pot of different styles and genres. I think the thing it does best is spotlight LGBTQ+ artists. Not just in music, but drag is somewhere I look to when I think of performance, and the queens in the village are truly a sign of resilience and individuality.
I’ve had more shows just for being queer in Manchester than anywhere else I’ve lived, there’s so many freelance creatives, charities and gig promoters who are looking out for LGBTQ+ artists to celebrate, even making entire lineups out of us.
The Manc -
17th August 2021 
