Nicki hasn’t exactly been punctual on the Pink Friday 2 tour so far, so don’t hold your breath that stage times will remain as publicised.
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Neither Co-op Live nor artist have released stage times just yet, but doors will open at 6.30pm.
Based on previous tour dates, the show should start with a DJ set at around 8pm, before Nicki takes to the stage around 9pm.
When the show was initially delayed last week, Co-op Live pushed its curfew back to 11.30pm, which will be the absolute latest it can end.
If and when exact stage times do get released, we’ll be sure to update this article.
Expected setlist for Nicki Minaj at Co-op Live
Setlists are always subject to change, but the below setlist gives us a good idea of what’s to come from Nicki’s Manchester shows.
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I’m the Best
Barbie Dangerous
FTCU
Hard White
Press Play
Win Again
Big Difference
Interlude
Pink Birthday
Feeling Myself
Favorite
Cowgirl
RNB
High School
Your Love
Needle
Ganja Burn
Chun-Li
Red Ruby Da Sleeze
Forward From Trini / Black Barbies
Barbie World
Roman’s Revenge
Monster
Are You Gone Already
Fallin 4 U
Right Thru Me
Save Me
Let Me Calm Down
Nicki Hendrix
Last Time I Saw You
Super Freaky Girl
Anaconda
I’m Gonna Be (500 Miles)
Super Bass
The Night Is Still Young
Moment 4 Life
Pound the Alarm
Starships
Everybody
How to get to Co-op Live and travel info
Tram
Now, as for how you’ll get to shows at Co-op Live, luckily it’s right next door to a rather famous big blue stadium and its integrated Metrolink stop.
Head along the light blue or orange lines directly to the Etihad Campus or Ashton-under-Lyne and you can get off the tram literally spitting distance from the arena. You can find the full map HERE.
Trams run frequently on the Ashton-Eccles line to the Etihad stop, with services leaving every six minutes from the city centre and until 1am Fridays and Saturdays.
Tram travel is free for Co-op Live ticket-holders until 30 June.
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Bus
If you want to take another new and improved arm of Manchester’s public transport system, not only is there a whole host of routes that drop you off close to the venue but there’ll also be a free shuttle bus from the city centre to and from events between 20 April-30 June 2024.
You can find the full list of bus routes HERE, with the one in closest proximity to the venue being the 53 bus which runs from Cheetham Hill through to Higher Crumpsall, Old Trafford and Pendleton, leaving just a two-minute walk to Co-op Live. You also get free Bee Network travel with any valid event ticket.
Getting there by car and parking
If you’re driving, there is limited parking available at the venue but this must be pre-booked ahead of time and there are designated drop-off areas.
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The postcode is M11 3DU and you can follow the signs towards the wider Etihad Campus as you get closer; directions to the adjacent drop-off points will also be signposted.
Keep in mind that congestion on the roads close to the stadium is expected to gather around two hours prior to any event, so if you are travelling on the road, these are the suggested times they provide come event day – though estimates will obviously vary:
Alan Turing Way (both directions): plan an additional 20 minutes into any journey by road.
Hyde Road (eastbound): expect an additional 15 minutes to be added to your journey.
Mancunian Way (westbound): plan for an extra 10 minutes of travel time.
There are also three park-and-ride facilities near Co-op Live but be advised that the Velopark and Holt Town stops will be closed post-event to help safely manage crowds:
Ashton West (Ashton line) – 184 spaces and 11 disabled spaces
Ladywell (Ashton-Eccles line) – 332 spaces and 22 disabled spaces
Walk/cycle
Lastly, Co-op Live is only a half-hour stroll from Manchester Piccadilly and they’ve developed a new City Link walking route lined with light installations to help you find your way.
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Greater Manchester now also offers the option to hire bikes through the Beryl, with riders able to locate, unlock, get to their destination and then safely lock up the boke all through an easy-to-use app. There are hire points just near the south-west corner of the Etihad Stadium on Ashton New Road.
For more information on all travel options, you can check out the enhanced journey planner.
A beautifully chaotic Thursday night – Rossi. at YES Pink Room for BRITs Week 2026 for War Child | Review
Harry Quick
There’s something beautifully chaotic about watching Rossi. take over a room the size of YES’s Pink Room on a midweek night in Manchester.
No towering LED walls. No Ibiza sunset backdrop. Just low ceilings, flashing pink strobes, and a crowd packed in tight enough to feel every kick drum in your ribcage.
For a DJ who has commanded renowned venues across the globe like Space Miami, Hï Ibiza, and Manchester’s very own Warehouse Project, it felt almost mischievous seeing him in a space this intimate on a Thursday night.
If you were lucky enough to grab a ticket to this instalment of the BRITs Week 2026 for War Child fringe events, you could tell early doors that whoever had one was more than ready to turn up for him. When Rossi. stepped behind the decks, taking over from the talented Olive F, who set the tone for the evening, and once the headphones were firmly sat on his curly locks, he eased us in with a rolling, groovy opener – not so subtly dripping in snippets of his biggest and best tracks. We’d have to wait for those.
His sound sits in that sweet spot between underground grit and polished punch. Tech-house, but with his own East End character. The drums feel tight and deliberate. The basslines don’t just thud, they glide.
To start us out, we were hit with a few dancey vocals filled with his hometown of London’s Grime influence, all the way to Frank Ocean’s ‘Lost’ at 125 bpm. Within minutes, the pink room was in full swing.
From there, the set unfolded like a guided tour through the different shades of Rossi.’s catalogue. Underground favourites like ‘U WONT SEE ME’ slipped into the mix with a knowing reaction from the very keen lads at the front. ‘FREAK IN THE SHEETS’ followed later, cheeky and rhythmic, drawing that half-grin from dancers absolutely going for it at the front right.
It’s easy to forget how far he’s come. A decade ago, he was carving out space in the underground. Now he’s headlining globally recognised parties like Circoloco, Music On, Paradise, and Fuse, and launching a world tour that’s been tearing through the UK, Ireland, Europe, and the US. Yet here, there was no arena ego. Just a cheeky lad going back to his roots like he’s on his CDJs in the bedroom.
Mid-set, he began to lift the energy. Brighter synths edged in with the odd jangly finger floater for good measure (that’s what I’m calling that dance move anyway!). The percussion grew punchier. The room, already warm, never quite tipped into sweatbox territory. Strangers were dancing together. Drinks were abandoned on ledges. I had realised I’d bagged the perfect vantage spot overlooking things on the ledge, in prime view of a truly fortuitous occasion.
Rossi. at YES for BRITs Week 2026 for War Child / Credit: Holly Pimlott (Supplied)
Then came one of the night’s real eruptions. ‘High On Me’ – his breakout collaboration with Jazzy – landed like a spark in dry grass. The track, which stormed into the UK Top 20 and racked up over 20 million streams in a matter of weeks, felt enormous in a room this size.
Arms shot up. Lyrics were shouted back. For a few minutes, YES felt like the epicentre of British dance music or maybe a flashback to a ruthless TikTok doom scroll session.
But what impressed me most was the pacing. Rossi. didn’t sprint through bangers. He let grooves breathe. He allowed tension to stretch before unleashing the drop on almost every occasion. Teasing in a little snippet of an upcoming track, a few minutes before we could revel in it in full. It’s the confidence of someone who’s sold out 2,500-capacity headline shows – even breaking ticketing systems with demand – yet still understands that the magic is in the build.
The talented Olive F supported and set the tone for the evening / Credit: Holly Pimlott (Supplied)
As the final stretch approached, he nudged the tempo upward… and he was about to drop some serious crowd pleasers.
LEDs dampened. Darkness fell. The murmurings of ‘Lady – Hear Me Tonight’ rose in unison with the crowd’s curiosity. It didn’t take long until the entire gaff was going mental. Just pure, euphoric house music.
And to finish, with his headphones resting against the decks and mixing all said and done, he pressed play on the swan song. As ‘These Sounds Fall Into My Mind’ echoed around the room, the speakers hardly needed to be playing anymore. When he finally eased out, it felt less like an ending and more like an enticing warning shot for the summer ahead… hello, is that Ibiza calling?
Rossi. at YES wasn’t just a warm-up for this Saturday’s big BRIT Awards, it was proof that no matter how big the stages get, he thrives in the arm-flaring closeness of a proper club room.
Global headline DJ. Underground heart.
Featured Image – Holly Pimlott (Supplied)
Audio
Olivia Dean proves she deserves all her flowers with a captivating performance for BRITs Week 26 for War Child
Clementine Hall
BRITs Week 26 for War Child continued in Manchester last night, with Olivia Dean taking over a beautiful candle-lit Albert Hall… and it was a night we won’t forget.
I don’t need to tell you how utterly brilliant Olivia Dean is.
It’s something I’ve known for years (humble brag), but luckily it seems the entire world has caught on over the past few months.
I’ve been lucky enough to see Olivia five times now, and from watching her joyfully shake here banana-shaped maraca on a small stage at Glastonbury in 2023, to swishing her olive green satin gown at one of the country’s best venues last night – her indisputable talent remains.
Images: The Manc
The Art of Loving, her sophomore album, came out in September last year and features global hits ‘Man I Need’ and ‘Nice to Each Other’.
The record is a perfect analysis of love in all forms. Her heartfelt yet humoured lyricism explores its constant ups and downs, but perhaps the most prominent theme of love throughout is self-love.
And this is so clear as we watch Olivia beam from ear to ear as she makes her way through a setlist that is a celebration of her entire discography.
Of course, we heard all the fan favourites from the new album including ‘Lady Lady’ and ‘So Easy (To Fall In Love)’, but we were also treated to some of her older songs like ‘Echo’ and ‘UFO’ that initially brought her into the limelight.
A highlight for me was Ladies Bathroom which saw the gigantic disco ball hanging above us kick into gear, which as you can imagine at the gorgeous Albert Hall was a real sight to behold.
The entire evening underlined why smaller, grassroots venues are so bloody brilliant and deserving of our support now more than ever.
Image: Supplied
No pushing, no overcrowding, we were all there to revel in Olivia’s greatness and we all knew how lucky we were.
This was no doubt a very special show, a complete one-off in aid of BRITs Week 2026 to raise money for War Child, which Olivia joyfully announced that we had raised £270,000 for that night.
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’ll be watching with our fingers crossed as she attends the BRIT Awards on Saturday evening with an impressive (and very well deserved) five nominations.
If you’re lucky enough to have tickets to her upcoming tour then just know how much fun you’ll have, but you’ll never have as much fun as Olivia does on that stage.
You can find out more about the remaining War Child performances here.
Daisy Jackson -
30th May 2024 
