Bongo’s Bingo is hands-down a cracking night out. Mix up some cocktail pitchers with a rave in a historical hall and you’ve got a recipe for success.
But it’s also more than your average Manchester event. Bongo’s Bingo is mad, unadulterated entertainment: A Year Six disco crossed with an office Christmas party. Only this time, boys and girls are not lingering in opposite corners and the teachers are stood on tables singing ‘Sweet Caroline’ – fuelled up on Woo-Woos and jaeger bombs whilst waving glow sticks.
With Rich Furness and his two hype-men dressed in drag headlining the show, Bongo’s cranks up the volume and turns Albert Hall into an absolute riot.
Rich Furness and his two hype men dressed in drag are experts in entertainment.
Bongo’s is always that night-out where ‘that crazy thing’ happened.
During the event we attended, a lad stopped the game and proposed – a gesture greeted by hoots from an auditorium of smashed strangers and awarded with a pat on the back from Rich.
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And that’s the best thing about Bongo’s – nothing is off-limits, and no one cares. Everyone is there for one thing and one thing only – to get smashed and have a cracking night out.
Oh, and to play Bingo, of course.
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Bongo’s version of bingo is on steroids – and so are the prizes.
Here’s a bit more about what’s involved…
It’s a game of chance, anyone could be walking out with a serious cash prize
The Game:
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Bongo’s version of bingo is split into five games with three rounds.
First round is won by crossing off just one horizontal row, the second is won by two rows and the third by getting a full house.
Huge numbers flash up on the screen and are read out seriously quickly, so you’ve got to be on the ball. But that also means the more tequila consumed by your competitors, the higher chance of winning the later prizes (just a tip from us).
Then, the steroids kick in. Bongo’s takes a pensioner’s hobby and makes it wild, verging on an X-rated Mad Hatter’s party.
One false call and the crowd shouts “D*ckhead!” repeatedly at you – public humiliation you won’t forget.
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Shout “Bingo!” at the same time as someone else, and you’re in for a dance off.
Coco Pops that were won were immediately sprayed over the crowd.
The Prizes:
Prizes at Bongo’s range from a box of Coco Pops (sprayed over the crowd) to a life-size cut out of Michael Bublé – that’s right, you could win the king of Christmas himself.
If you’re really lucky, you might even wheel home a new Henry Hoover or a huge set of Disney Princess Barbies. There’s even a karaoke machine up for grabs – if you’re willing to sing for it.
Lucky winners can take home £50, £200 and £1,000 – and all you have to do is get drunk and turn up.
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Everyone’s a winner at Bongo’s, though. Singing Take That whilst ordering in another round of shots… it’s a class night out.
The Strokes at Co-op Live, Manchester – actually very hard to explain
Daisy Jackson
Manchester has waited a long, long time for this – The Strokes back on stage in our city.
I’ve been a fan of the band for as long as I can remember, but have never managed to catch them live, partly because they’ve left it TWENTY YEARS between shows here.
But back they are, with an enormous gig at the Co-op Live on their Reality Awaits tour.
The Strokes are known as one of the most solid indie bands of the 2000s, going triple platinum with their debut album Is This It and releasing massive anthems like Last Nite, Reptilia, and Someday.
They’re also known as a bit of an unpredictable live act – some will say they’re one of the best on the circuit, others will say they’re disappointing, and it really can depend on the night.
What they’re not known for is their audience interaction, so when frontman Julian Casablancas tries to have a bit of a chat with the audience, we all sort of stare blankly back at him. He’s speaking to us? What do we do?
“Wow, tough crowd,” he says, which is the first time I’ve ever heard anyone describe a Manchester audience as tough.
Then he turns back to drummer Fabrizio Moretti and says: “This is f*cking hideous, let’s play some songs.”
The setlist seems to get a shake-up every couple of shows, which is a nice surprise for us – and apparently also Julian, who regularly pops over to ask his bandmates what’s up next.
It doesn’t really matter that he’s not done his homework, because the second that drum kicks in, along with the impeccable guitar work of Schiltz, Fraiture and Hammond Jr., he snaps into action.
It’s impressive that their songs still have such singalong quality when Casablancas enunciates like a man with a dislocated jaw. For certain songs he’s so incoherent that if you weren’t a fan you’d walk in this room and wonder what the f*ck was going on.
But then, that’s sort of why us The Strokes fans love them so much. There’s a calamitous beauty to the work they put out and it’s so fun to belt out some words, even if they’re not the right ones.
I was hoping that seeing it live would sell that divisive new album, Reality Awaits, to me, but it didn’t. It’s too autotuney, too languid, and too often the victim of everyone’s toilet breaks.
Their earlier tracks still land best in a live setting, especially Reptilia, an absolute juggernaut in their back catalogue.
Rollercoaster set and tricky crowd interactions aside, we all had a great time – I’m just not sure I could say the same about Julian Casablancas.
Hans Zimmer at Co-op Live, Manchester – movie magic brought to life
Lonnie Bowes
What do Batman, Kung Fu Panda, and Captain Jack Sparrow all have in common? Music by Hans Zimmer, of course.
I must admit it’s an odd sight seeing 20,000 people seated in the Co-op Live. Manchester is no stranger to a big night out, but this is a different beast entirely. No mosh pits, no flying pints, no one on anyone’s shoulders. Just a full orchestra, a choir, and a wall of screens.
At the centre of it all is conductor Matt Dunkley, steering the Odessa Orchestra & Friends through some of the most recognisable music ever put to film. Zimmer appears on the big screens between pieces to introduce the music and the stories behind it. I was disappointed that Hans didn’t make an appearance but let me tell you this performance was no less impressive.
And in no time at all the gloves came off. Batman is, quite simply, incredible. All menace and muscle, strings sawing away like something is about to go very wrong, brass and percussion hitting so hard you feel it in your ribcage before you hear it.
Gladiator pulls things the other way. Where Batman pins you to your seat, this one lifts you out of it in a big way. Lets face it, if you are some what of a self respecting movie head, you’ll have seen Gladiator and know first hand how ‘Now we are free’ can command your mood. Well imagine that in person.
If the orchestra is the engine, the Nairobi Chamber Chorus is the heart. When their voices rise for The Lion King, it stops being a concert and becomes something closer to gospel.
Hans Zimmer at Co-op Live. Credit: The Manc Group
Because beneath the scale and the spectacle, there’s something more intentional at play. These pieces of music are part of people’s lives. We are talking first trips to the cinema, films watched with parents, soundtracks that got someone through a rough year.
And then there’s Interstellar. ‘No Time for Caution’ creates it own suspense. The organ churns, the tempo tightens like a ticking clock, you genuinely find yourself gripping the armrest as if you’re the one trying to dock a spinning spacecraft.
Time, from Inception, is the other side of that coin when it comes to what it emotes during the performance. It’s slow, it’s patient and it’s moving. It builds from almost nothing, layer on layer.
After all that, there’s only one way to send people home. Pirates of the Caribbean closes the night at full tilt. You think everything is drawing to end, Matt Dunkley has already guided you to the apex of nights performance, but no. Hans Zimmer flashes on to the screen one more time and alluded that’s we aren’t at the finish line just yet. Strings galloping, the whole orchestra going hell for leather. Heads nodding, feet stamping, grins everywhere.
Epic, emotional and beautifully played. This wasn’t just a concert it was a reminder: that a piece of music can take you somewhere else entirely, and that you don’t need a single lyric to make thousands of strangers feel the exact same thing at the exact same time.
Hats off to every musician on that stage. You absolutely smashed it.
Dolly Busby -
10th December 2021 
