Hot off the launch of their recent concert movie and album ‘L.I.V.E. In São Paolo’, a recording of their biggest-ever live show which they released in cinemas in March and as a live album last week, BMTH have never been as prolific as they are right now. Since fourth album ‘Sempiternal’ rewrote the template for the metalcore sub-genre, the group have developed into an innovative alternative metal juggernaut, with their most-recent ‘Post Human’ releases combining metal, hardcore punk, pop, and electronic elements in a uniquely accessible form.

But at the time ‘Count Your Blessings’ released in 2006, they were just a group of teenagers from South Yorkshire creating a savage, disorganised breed of early deathcore. Bring Me The Horizon formed in Sheffield in 2004 before releasing their first EP ‘This Is What The Edge Of Your Seat Was Made For’, which although marred by a harsh DIY mix, was a promising first attempt. Their chaotic live performances and the buzz from new label Visible Noise re-releasing the EP led to them gaining a significant underground following, with Kerrang recognising them as their Best British Newcomer at their 2006 award ceremony.

When the album did come out that year, it was largely to mixed reviews, and was never considered a landmark release by critics. Tracks like ‘Pray For Plagues’ and ‘(I Used To Make Out With) Medusa’ earned them a legion of fans, but the sound was never revisited on their sonic journey. After what was a disjointed, angsty teenage breakthrough, BMTH’s ferocity tempered following each release, with their immature early sound gradually replaced with an ultra-polished mix, more-typical song structure and clean vocals. In recent years however, the band’s most-veteran fans’ calls for a familiar, heavier release have only amplified – and the band have listened.

Last week, billboards went on display around Manchester with the message ‘PRAY FOR PLAGUES’, but social media detectives didn’t have to wait long for the answer to the mystery. Today, Bring Me The Horizon made two huge announcements – not only are they remaking and re-releasing ‘Count Your Blessings’ for its 20th anniversary, they will also be performing a special one-off rendition of it in partnership with Manchester’s premier hardcore gathering, Outbreak Fest. As for the reissue, which they have titled ‘Count Your Blessings | Repented’, it is due to be recorded from scratch, retuned to be as they put it “reborn, sharper, heavier and more vital than ever.”

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The Manchester show will be the first time the album has been played in its entirety, and the setlist will also include other songs from that stage of their careers. BMTH want the night to be “a defining moment for a generation of fans — both those who were there at the beginning and those discovering it now.” Their earliest LPs ‘Count Your Blessings’ and its hugely-popular follow-ups ‘Suicide Season’ and ‘There Is A Hell…’ have effectively been erased from the band’s live rotation for over a decade now, give or take the odd cameo where frontman Oli Sykes is still more than capable of his then-trademark screams and growls.

The reissue ‘Count Your Blessings | Repented’ releases on the 10th of July, with the live show taking place at Manchester’s B.E.C. Arena on the same day. Tickets for ‘Outbreak Festival Presents: Count Your Blessings | Repented’ go on general sale on Friday the 17th of April at 10AM, with a pre-sale live now accessible with any pre-order of the album before 3PM on the 14th. Also playing are Static Dress, Dying Wish, Heriot, Rolo Tomassi, Car Underwater and Still In Love.

The conference’s ambition, alongside music and art, will be making room for artists and musicians in the changing global culture economy, particularly significant at the current moment given the widespread boom in AI technology. Perhaps the foremost figure in the event is Greater Manchester Mayor and former Labour MP Andy Burnham. He has been announced to be hosting a special session on the uses and impacts of AI on the music world. Burnham said that the festival “is a vital opportunity for the sector to come together and address the challenges and opportunities facing music and content creation.”

The event has announced that it aims to “convene leading voices from music, media, technology and the wider creative industries for a programme designed to connect ideas, unlock collaboration and accelerate sector growth”.

Picking Manchester was no accident. Given the region’s uniquely growing economy, much of which is concentrated around the cultural sector, the festival seems to think that the North West could have certain lessons for the musical world. “Beyond The Music”, they say, “seeks to expand Manchester’s resoundingly successful year of musical development into the wider region; bringing Salford and its centenary year celebrations together with central Manchester to solidify the region’s identity as a central destination for music, creativity and content; no longer a local market but the core of a major, global shift in the digital industries.” This also exists as a means to move the cultural conversation away from London, seeing how the capital usually dominates the music industry in Britain.

However, the festival is not just high-minded discussion of policies or strategy. The festival will feature musical acts across the grassroots music venues of Salford. The lineup is yet to be confirmed publicly, but no doubt it will feature a plethora of young, up-and-coming artists.

This is the third incarnation of the festival. In the past, it was held at Aviva Studios and was attended by several corporate, political and musical leaders. Manchester Council’s leader Bev Craig, Warner Music’s Tony Harlow and rapper Aitch, originally from the area, all attended the last conference in 2024.

The festival’s co-founder, Sarah Pearson, says that “the ethical and economic foundations of the music and content industries demand urgent attention and bold reform. We have some of the most pioneering and innovative minds in the world, so when we gather – united, in one place, at one time – we have the power to venture beyond the music and help redefine the future of the creative economy. It is our responsibility to protect creativity in order to ensure it doesn’t just survive but thrives. Things may feel difficult, but they are still possible.”

The MOBO Awards are Europe’s largest and most significant celebration of Black music and culture. And the MOBO Fringe events are designed to uplift and connect new talent with industry professionals. Events are held in the ceremony’s host city and span many different genres and disciplines. Today, 24 March, ten Manchester-based artists will perform at The Social, Aviva Studios. These performances serve as part of the MOBO x PPL Manchester Talent Development Programme which supports new talent through mentorships, performance opportunities and industry knowledge.

Also taking place today is the MOBO Summit in association with Amazon Music. The official website describes the summit as “[bringing] together artists, executives and emerging creatives for a day of panels, workshops and networking focused on the future of music, culture and creative careers.” Panels for the day include the MOBO30 Legacy Spotlight celebrating 30 years of MOBO’s cultural impact, Getting Seen and Heard a panel with voices from Amazon Music, Mixtape Madness and I Luv Live, and Independently Done a panel led by artists who have made careers outside of major labels. There will also be a specific Manchester focus to the event, with cultural discussions featuring Red Bull, the playmaker group and BBC Music Introducing, which will center on how cities like Manchester are leaders in fostering new opportunities in the UK industry.

MOBO Group Founder, Kanya King, said when the location for 2026’s events was announced, “For 30 years, MOBO has been more than an awards show – it has been a movement, shaping culture, championing creativity, and opening doors for generations of talent.” She went on to say that the MOBO Awards celebrating 30 years is “a reminder that when you celebrate culture, you don’t just preserve history – you shape the future. Three decades on, the MOBO Awards remain a powerful reminder of how music can inspire, unite, and transform lives.” Finally she added, “Manchester has always been a city of music and movement, and now, together with MOBO, we will write the next chapter of cultural history.”

The star-studded award ceremony will take place on Thursday 26 March. Hip-hop icon Eve and comedian Eddie Kadi are set to host this year. It will be the latter’s second year in a row hosting the event. Leading the nominees for the evening are Olivia Dean, Little Simz, kwn and Jim Legxacy with four nominations each. Dean and Little Simz are both up for Album of the Year and Best Female Act. While recent recipient of the BRIT Award for Best Producer, PinkPantheress as well as FLO, Central Cee and Skepta are all up for three awards each.

The 2026 MOBO Awards will be streamed live on Amazon Music’s Twitch, a link to that can be found here.

The show is being promoted by the Manchester-based promoter Now Wave, and is expected to attract a good number fans from across the North West. Known for their fusion of punk, funk and electronic influences, Warmduscher have built a strong reputation for chaotic, high-energy performances since forming in London in 2014.

Warmduscher was born out London’s alternative scene through a loose collective of musicians involved in several underground bands. Initially formed as a one-off collaboration for a New Year’s Eve performance, the project quickly developed into a permanent group with a distinctive sound.

The band released their debut album ‘Khaki Tears’ in 2015, introducing listeners to their raw, experimental approach. Subsequent releases expanded their musical range. Their 2018 album ‘Whale City’ incorporated funk grooves and more polished production, while ‘Tainted Lunch’ (2019) featured collaborations with established artists including Iggy Pop and Kool Keith, which lead to further collaborators such as Irvine Welsh on their 2024 album ‘Too Cold To Hold’.

While the band’s recorded output has come to much critical acclaim, Warmduscher are widely regarded as a group best experienced live. Their performances often feature extended improvisations, electronic elements and strong audience participation. The band’s shows have become known for their lively atmosphere.

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The choice of venue for the upcoming Manchester show is likely to appeal to fans familiar with the region’s underground music scene. The White Hotel, located on an industrial estate in Salford, opened as a performance venue in 2015. Originally a vehicle repair garage, the space has since become known for hosting experimental music, electronic club nights and alternative shows.

With a relatively small capacity, The White Hotel offers an intimate setting compared with larger venues in Manchester, like the O2 Ritz, where Warmduscher played back in later 2024. The venue’s warehouse-style interior, minimal lighting and powerful sound system make it a popular venue for artists seeking more of a rough-round-the-edges feel.

Door and curfew times for the May 21 show are yet to be announced and support acts are likely to be announced closer to the event. With the venue’s extended license, it could be expected that the band may run an extended show with support acts before and DJs after the band’s performance – similar to what they did at The Troxy in London a couple of years back. Tickets are anticipated to sell quickly given the band’s popularity in Manchester and the venue’s limited capacity.

Tickets are available here.

What began in 2013 as a three-day festival at the O2 Arena in London has grown into a sprawling multi-city event across the continent. This year’s festivities begin March 13 and run to March 15 at London’s O2 Arena, Glasgow’s Hydro and Belfast’s SSE Arena. And next year, Manchester will join the ranks.

It was announced across the festival’s official social accounts this morning that in 2027, events will also take place in Machester’s AO Arena and the New Century Hall. No dates are yet confirmed for next year’s Country to Country festival, but pre-sale will go on Wednesday 18 March with general sale commencing Friday 20 March. Details can be found in the post below.

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There’s no lineup yet announced for the 2027 festival, but 2026’s festivities will be headlined by Zach Top, Keith Urban and Brooks & Dunn. The festival’s official site asserts C2C as “the best in country music and programming” including performances from “the world’s best country stars as well as emerging talent from Nashville, UK and Europe.”

Country to Country’s landing in the North will be supported by Manchester Accommodation BID, which Manchester Evening News described as “a ground-breaking initiative led by the city’s hotel and serviced apartment providers to help bring new events to Manchester and Salford.” The goal of the Manchester Accommodation BID is to “deliver better visitor experiences and additional activity to drive more staying visitors,” as well as assuring Manchester can compete better in a global market.

The C2C expansion comes soon after the BRIT Awards took place at Manchester’s Co-op Live Arena. It was the esteemed award ceremony’s first time outside of London. Sacha Lord, the Greater Manchester Night Time Economy Adviser from 2018 to 2025, commented on X about the recent event buzz around Manchester. He says, “in terms of Events, nowhere in the UK is coming even close to Greater Manchester.” He went on to list recent landmark events, “MTV Europe, The Brits, The MOBO’s, and now Europes Biggest Country Music Festival” saying the choice to set these in Manchester “isn’t a coincidence.”

The so-called Capital of the North has a rich music history, with icons such as The Smiths, Oasis and The 1975 all calling Manchester their hometown. Country music stars such as Megan Moroney and Brandi Carlisle are both making trips to the UK on their tours this year, proving the hotly rising country music scene in the UK has strong roots in the North.

To register for pre-sale Country to Country 2027, sign up for the festival’s official mailing list, here. Pre-sale takes place on Wednesday 18 March, ahead of general sale on Friday 20 March.

Often praised for shining a light on the next generation of UK acts, Neighbourhood festival takes places across a range of iconic venues throughout Manchester. These include the O2 Ritz, Manchester Academy and Gorilla, the perfect set up for an incredible day of live performances.

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The headlining spot goes to London-based band Keo. The bands reputation has grown immensely in the past year thanks to their explosive live shows and loyal fanbase. The group are currently on a UK tour and set to play a sold out London show this Thursday March 12. The exciting band carefully knits together shoegaze and alternative rock, often noting their influences lie in the hands of Jeff Buckley, The Smashing pumpkins and Radiohead.

Joining Keo on the lineup is indie group Florence Road, an Irish rock band formed in Bray in 2019. Gaining traction on TikTok in 2025 following the release of their single ‘Heavy’.” After supporting Olivia Rodrigo on selected dates of her Guts World Tour, Florence Road is now set to embark on their own highly anticipated UK tour in May of 2026.

Further acts included in the initial drop included The Guest List, The North and Girl In Year Above. Alongside these exciting names there is a wide selection of new and emerging artists joining the bill from the UK and Ireland. Further up and coming acts announced includee Abbie Piper, Amiify, August, Florentenes, Jos Rivers, My First Time, Tooth and many more!

Since its origin in 2016, Neighbourhood Festival has maintained a reputation of elevating new artists and making for an all-round great day out for all of its attendees. The festivals previous years have seen early performances from non established names in the music scene including Sam Fender, YUNGBLUD, Declan Mckenna, Mabel and Holly Humberstone.

By spreading performances across multiple venues within walking distance, the event captures the feel of Manchesters grassroots scene whilst simultaneously giving attendees the opportunity to dance around and see a wide variety of acts in one day.

This year’s edition is set to continue the festivals tradition of nabbing up and coming talent before they dominate the UK music landscape. With Keo’s rapid rise and a lineup riddled with promising newcomers this is an event not to miss.

Tickets for Neighbourhood Festival 2026 are set to go on sale Friday March 13 with an additional lineup announcement on the horizon.

Grab your tickets here!

A photo of the new station signage can be seen in the post below:

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Not all passengers have been so excited by the change. Some travellers took to X the afternoon the signage was installed, voicing concerns and complaints. One user called the renaming ‘a project designed to confuse tourists and those who rely on these signs including PRM.’ Another user responded, echoing frustrations, saying renaming stations for holidays or other events ‘doesn’t really help non English speakers or those with disabilities.’ Northern responded to the original complaint saying ‘I am sorry for any confusion, this has been done to celebrate the BRIT Awards and the signs will change back after.’

Dean has racked up five nominations, making her one of the most nominated artists of the 2026 BRITs. Her nominations include Artist of the Year, Song of the Year for ‘Man I Need’ and Album of the Year for ‘The Art of Loving.’

As just her sophomore album, ‘The Art of Loving’ has continued Dean’s meteoric rise to worldwide popularity. Debuting at Number 1 on the UK Albums chart with 52, 366 album-equivalent units sold, it was Dean’s first number-one album and the biggest debut for a British female solo artist since Adele’s ’30.’ Following this success, the singer took home the Grammy Award for Best New Artist earlier this year.

Manchester Evening News reported that ahead of the BRITs, Dean will play Manchester’s Albert Hall, an intimate show apart of the official BRITs Week celebrations. This show comes as part of a two-night series of sets in partnership with charity War Child and The Warehouse Project. All proceeds from the sets will go to benefitting War Child’s work providing emergency aid, mental health support and campaigning for the rights of children affected by war worldwide.

‘Oliva Deansgate’ Station and the War Child benefit concerts are all a part of a wide range of cultural events the city of Manchester is holding this week to celebrate the BRITs. The BRIT Awards official page detailing the culture events notes Manchester as a ‘vibrant creative community.’  Elsewhere on their site, the say the city has ‘deep and rich roots in music’ and the BRIT Awards will be ‘a welcome addition to its music legacy.’

The 2026 BRIT Awards with Mastercard will take place Saturday February 28 and will be broadcast in the UK on ITV1, ITVX, STV and STV Player. Performances from the ceremony will be shared on YouTube, for international audiences.

The event saw attendees like Dame Caroline Dinenage MP, Chair of the Culture, Media, and Sport Select Committee; Sophie Jones, Chief Strategy Officer at the BPI; Baroness Lucy Neville-Rolfe, former Minister for Intellectual Property; and Gary McClarnan, CEO of Sparklestreet Projects. The overwhelming goal was to examine the dual nature of the UK’s music scene, and the precarious situation the industry continues to find itself in whilst dealing with new challenges like AI, economic uncertainty, and weakened venue infrastructure.

The discussion opened with an emphasis on the continuing resilience of the creative sector, marked by Dame Caroline Dinenage. She emphasised the fact that in 2023, the UK music industry experienced a sixteen percent growth, pumping billions into the national economy. However, she was keen to highlight that with the exponential growth comes many subsidiary challenges; one in particular is the strain placed on grassroots venues.Smaller, independent venues and labels, caught in the wake of financial strain post-pandemic. Dinenage said, “We cannot afford complacency,” emphasising the government’s engagement remains completely vital if the UK is to hold its position at the front of cultural production, at the head of an increasingly competitive global market.

Sophie Jones, of the BPI, commented on the effects of digital saturation and how it continues to drastically alter the landscape.Every day on average, 120,000 new tracks are uploaded onto Spotify, placing UK artists in the most saturated, overly competitive music market to date.Jones also points out that the rapid advancements of AI technology continue to undermine artists’ rights and intellectual property.“It is vital we get the balance right between innovation and protection,” she commented, underscoring IP as the cornerstone of investment in the cultural economy.

Baroness Neville-Rolfe set a tone of a similar sentiment, talking about how intellectual property constitutes the “beating heart of the creative industries”. She reminded many attendees that behind every release is a team of hardworking professionals, spanning marketing teams to legal publishers, and each worker needs to have their rights reaffirmed as a means of ensuring the sustainability of that creative ecosystem.

The representative for working musicians, Gary McClarnan, acted as a spokesman for artists who form the foundation of the sector, yet are often the last to see the benefits of such. He called for the governing policies that seek to provide better support to emerging and mid-tier artists to be continued, things like targeted tax incentives, VAT reductions, and direct investment into the live music scene.

These questions prompt larger conversations on touring logistics, secondary ticketing, and venue closures. Dinenage reaffirmed that the Select Committee’s ongoing review that Select Committee’s ongoing review into VAT relief for grassroots venues, while McClarnan suggested that a similar approach to ticketing could channel revenue more fairly.

Closing the discussion, Tom Kiehl referenced UK Music’s Hometown Glory report, which highlights how local scenes fuel national growth. For attendees, the message was clear: while the UK’s music economy remains a world leader, sustained collaboration between government, industry, and artists will be essential to keep the stage lights on.

Recent huge shows in the city – including five sold-out Oasis gigs at Heaton Park, as well as performances from the likes of Charli XCX and Billie Eilish – have attracted roughly 1.3 million tourists, leading to a financial boost for the city’s creative scene.

Manchester Evening News has now reported specific details of where the newly available funds will be distributed. Part of the finances will be reinvested into the parkland which has been hosting these huge shows, with the remaining £250,000 going into a fund that will be available for small music venues.

The urgent need for support for grassroots venues has been an ongoing issue throughout the last year or so – including a recent Government Committee where industry leaders urged politicians to do more to save venues and protect new artists.

The main proposal of a compulsory £1 ticket levy on arena level and above gigs has dominated the talk within the industry, with many claiming that the current voluntary-style levy will not trickle down to grassroots venues before it’s too late.

Mark Davyd, Music Venue Trust (MVT) CEO, warned a Government committee back in May that it could be another decade before a full levy is in place, saying: “Of nearly 6 million tickets that have been released since the December 18 ministerial meeting when we all agreed that it was going to be on every ticket, 92 per cent of those tickets don’t have it.”

This announcement of a new £250,000 fund in Manchester has received praise from the music world, as industry leaders are urging other councils to follow in their footsteps.

Jay Taylor of Music Venue Trust spoke of this new fund, saying: “It’s inspiring to see Manchester recognise its place as one of the world’s leading music cities, and acknowledge that the fantastic grassroots music venue network in the city is an essential cornerstone of the amazing music being produced by Manchester artists.

“Manchester City Council has taken the lead with this bold and innovative action, and we hope many more cities and towns across the country can join their efforts to secure the future of the UK’s grassroots music venue network.”

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Music Venue Trust, which “acts to protect, secure and improve UK grassroots music venues”, published a report in 2024 where they found that a “disaster” had hit independent venues – with an average of 10 nightclubs closing down every week in 2024.

Manchester City Council leader, Bev Craig, echoed this sentiment as he announced the new fund, saying: “We know that across the country grassroots venues are struggling. That’s why we want to ensure that our grassroots venues can share some of the benefits from the success of those big events.”

Although more clearly needs to be done – in terms of legislation and true change – the news of a £250,000 fund for smaller venues comes as a beacon of hope for the music industry. Keep up to date with this ongoing issue here at mxdwn.co.uk.

Per a partnership with Sony Music, the BRIT Awards are to be hosted at Co-op Live, Manchester, a venue that’s been open for just over a year, ending the award show’s 15-year tenure at The O2 Arena. The Co-op Live is the largest arena in the UK by capacity, with room for 23,500 people standing, situated in the Etihad Campus. For 2026 and 2027, Manchester will be the new home for the ceremony, but plans for 2028 have not yet been revealed.

A date has been confirmed for 2026’s show: 28 February, and the awards will be broadcast exclusively on ITV1, ITVX, STV and STV Player.

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Chairman and CEO of Sony Music UK & Ireland, Jason Iley MBE, shared in a statement to the press: “This is a very exciting time for The BRIT Awards. Moving to Manchester, the home of some of the most iconic and defining artists of our lifetime, will invigorate the show and build on the BRITs legacy of celebrating and reinvesting in world-class music. Hosting the show in Manchester, with its vibrant cultural history, perfectly captures the spirit and energy of the BRIT Awards. I can’t wait to see the show at the amazing state-of-the art Co-op Live venue.”

Andy Burnham, Mayor of Greater Manchester, shared his excitement over the new prospects for the city. “For the BRIT Awards to move out of London is a massive coup for Greater Manchester. After 47 years, it is great that this prestigious global event is about to arrive in the UK capital of music and culture.

“Greater Manchester has an unparalleled music heritage known around the world, and this summer will play host to some of the biggest gigs on the planet. That was only made possible by our strong commitment to new talent and giving emerging artists the opportunities to make their name.

“We thank our friends at the BPI for choosing Manchester and we will pull out all the stops to show they made the right decision. Celebrating the BRIT Awards right here in the home of 24 hour party people is the next chapter in its story and you can be sure that we will help them do it in style.”

Since their inception, the BRIT Awards have raised significant funds for the BRIT Trust, which is committed to supporting the arts and music education for young people. Beneficiaries include the BRIT School in Croydon, Nordoff and Robbins Music Therapy, and more. Long-time partner Mastercard has proudly sponsored the ceremony for 28 years. The new arrangement will continue to uphold these commitments without change.

For MXDWN coverage on the 2025 BRIT Awards, click here.