Manchester’s beleaguered Co-op Live arena has finally officially opened its doors after weeks of setbacks, cancellations and postponements.
The venue was initially due to fully open with two Peter Kay stand-up shows on 23 and 24 April, but these dates were pushed back when problems emerged at a test event headlined by Ricky Astley.
The Co-op Live’s new opening night was then due to be 1 May when US act A Boogie Wit Da Hoodie should have performed – but this was cancelled at the last minute as fans queued outside.
Image: The view inside the Co-op Live, as seen by Sky News reporter Shingi Maraike
In the fortnight since, numerous other acts have been forced to postpone or move their Co-op Live gigs but the doors have finally opened to fans, with Manchester band Elbow taking to the stage this evening.
The show reportedly got under way a little late, with London band The WAEVE as the support act, the first to take to the stage as the massive arena began to fill with people.
Elbow took to the stage shortly after 9pm, with singer Guy Garvey shouting “let’s open this venue properly”, according to What’s On Editor for the Manchester Evening News Jenna Campbell, writing on X.
Image: Co-op Live bosses said inspections have taken place ahead of tonight’s gig. Pic: PA
Image: More than two weeks after Co-op Live should have fully opened, concertgoers are finally inside. Pic: PA
Image: Elbow’s Guy Garvey. File pic: AP
A Boogie Wit Da Hoodie’s last-minute cancellation two weeks ago came after part of the venue’s ventilation and air conditioning system fell from the ceiling during a soundcheck.
More on Manchester
Related Topics:
The venue’s boss said today that the accident could have been “catastrophic” if it had happened just 15 minutes later.
The fact that the opening of Co-op Live has been beset by issues was not lost on Dermot and Diane as they stared up at the sleek black structure with a capacity of 23,500.
The couple, who had travelled from Lancaster, said they already had a Plan B to go to the Trafford Centre in Manchester for a meal if the concert failed to go ahead. As an Elbow fan, Diane saw the concert as an early treat for her 60th birthday.
Another group who travelled from Norwich for five hours also had their own backup plan if things didn’t go as they had intended.
Less than a month ago, the arena still looked like a building site, with workers in hard hats surrounding it.
This evening, there was not a crane in sight as the queue began to build. As scheduled, the gates opened at 6.30pm and hundreds of people slowly streamed in through the security gates, scanning their own tickets on the way into an atrium that had a huge LED screen taking up most of one wall, flashing with the names of the headliners.
Some people walking into the arena audibly gasped at its sheer size. From the self-scanning tills to the lights lining the escalators, the venue is as modern and sleek as advertised, but there were also signs that Co-op Live is still a work in progress.
Some security and hospitality staff seemed to be playing catch-up with the technology, while police officers in the venue were deep in conversation with both staff and Manchester City Council. Meanwhile, a woman hovered around the atrium with a notepad to check all the screens were working.
For this multi-million-pound venue and its financial backers, the first crowds through the doors and first notes finally being played must have come with a huge sigh of relief.
Image: Pic: PA
Tim Leiweke, chief executive of the arena’s operator Oak View Group, told BBC News: “They didn’t put the bolts in. It wasn’t visible to the eye and it fell out.
“So we [have since] got that double checked and triple checked. We’ve looked at thousands of bolts up in that ceiling now. We’ve looked at the life safety lines. And we were going to take our time to make sure we did this right.
“There was no way we were opening the doors until we checked every screw and every bolt and every one of those 95 shafts.”
Please use Chrome browser for a more accessible video player
1:53
Co-Op Live delays explained
Follow Sky News on WhatsApp
Keep up with all the latest news from the UK and around the world by following Sky News
A number of Elbow fans at the venue admitted they were feeling “apprehensive” ahead of the gig.
“When you go anywhere you want to know about the structural integrity of the place you’re going to,” said Samantha, 51, who did not want to share her surname.
“I know all venues have to start somewhere but as long as they say everything is fine, that’s as reassuring as it can be.”
With a capacity of 23,500, Co-op Live is the UK’s latest indoor arena and it cost £365m to build.
British star Lesley Manville and American actor John Lithgow have won the acting categories at this year’s Olivier Awards, which recognise excellence in London theatre.
Lithgow, 79, played Roald Dahl in Giant, which is about the children’s author wondering whether to make a public apology.
While accepting his award he appeared to reference the current controversy over Donald Trump’s second term as US president.
The Conclave star quipped: “It’s not always easy to welcome an American into your midst, and at this particular moment, it’s probably a little more complicated than usual.”
He also told the audience at the Royal Albert Hall that the “special relationship is still firmly intact”, despite Mr Trump imposing tariffs on British exports to the US.
His co-star, English actor Elliot Levey, took best actor in a supporting role.
Giant was also named best new play.
Image: Lesley Manville was best actress. Pic: PA
Manville, 69, was honoured for her performance in the Greek tragedy Oedipus at the Wyndham’s Theatre.
She said she felt “emotional” while accepting her statuette because it was a production she had “felt very strongly about being” in.
Manville, who played Princess Margaret in The Crown, added that she was taking an early flight to Dublin on Monday to do some filming, and would not be getting “much sleep tonight”.
Image: Romola Garai was best actress in a supporting role. Pic: PA
Best actress in a supporting role went to Romola Garai for her performance in The Years, based on a memoir by French writer Annie Ernaux.
Garai, whose film credits include Scoop and Atonement, was nominated in the same category for Giant.
Image: Elliot Levey was best actor in a supporting role. Pic: PA
Dame Imelda Staunton won a fifth Olivier, for best actress in a musical for the London revival of classic musical Hello, Dolly!
The Curious Case Of Benjamin Button won best new musical, a best actor musical award for Lark Rise To Candleford actor John Dagleish, and the outstanding musical contribution award.
The annual event was co-hosted by British singer Beverley Knight and Pose star Billy Porter.
Despite The Who’s Quadrophenia being set over 60 years ago, Pete Townshend’s themes of identity, mental health, and modern masculinity are just as relevant today.
The album is having a renaissance as Pete Townshend’s Quadrophenia A Mod ballet is being brought to life via dance at Sadler’s Wells East, and Sky News has an exclusive first look.
As Townshend puts it, the album he wrote is “perfect” for the stage.
Image: Pete Townshend
“My wife Rachel did the orchestration for me, and as soon as I heard it I said to her it would make a fabulous ballet and we never really let that go,” he tells Sky News.
“Heavy percussion, concussive sequences. They’re explosive moments. They’re also romantic movement moments.”
If you identify with the demographics of Millennial, Gen Y or Gen Z, you might not be familiar with The Who and Mod culture.
But in post-war Britain the Mods were a cultural phenomenon characterised by fashion, music, and of course, scooters. The young rebels were seen as a counter-culture to the establishment and The Who, with Roger Daltry’s lead vocals and Pete Townshend’s writing, were the soundtrack.
More on The Who
Related Topics:
Quadrophenia the album is widely regarded as an essay on the British adolescent experience at the time, focusing on the life of fictional protagonist Jimmy – a young Mod struggling with his sanity, self-doubt, and alienation.
Townshend sets the rock opera in 1965 but thinks its themes of identity, mental health, and modern masculinity are just as relevant today.
He says: “The phobias and the restrictions and the unwritten laws about how young men should behave. The ground that they broke, that we broke because I was a part of it.
“Men were letting go of [the] wartime-related, uniform-related stance that if I wear this kind of outfit it makes me look like a man.”
Image: Paris Fitzpatrick and Pete Townshend. Pic: Johan Persson
This struggle of modern masculinity and identity appears to be echoing today as manosphere influencers like Andrew Tate, incel culture, and Netflix’s Adolescence make headlines.
For dancer Paris Fitzpatrick, who takes on the lead role of Jimmy, the story resonates.
Image: Paris Fitzpatrick, who takes on the lead role of Jimmy in the ballet
“I think there’s a connection massively and I think there may even be a little more revival in some way,” he tells Sky News.
“I love that myself. I love non-conforming to gender norms and typical masculinity; I think it’s great to challenge things.”
Despite the album being written before he was born, the dancer says he was familiar with the genre already.
“I actually did an art GCSE project about Mods and rockers and Quadrophenia,” he says.
“I think we’ll be able to bring it to new audiences and hopefully, maybe people will be inspired to to learn more about their music and the whole cultural movement of the early 60s.”
In 1979, the album was adapted into a film directed by Franc Roddam starring Ray Winstone and Sting but Townshend admits because the film missed key points he is “not a big fan”.
“What it turned out to be in the movie was a story about culture, about social scenario and less about really the specifics of mental illness and how that affects young people,” he adds, also complimenting Roddam’s writing for the film.
Perhaps a testament to Pete Townshend’s creativity, Quadrophenia started as an album, was successfully adapted to film and now it will hit the stage as a contemporary ballet.
It appears that over six decades later Mod culture is still cool and their issues still relatable.
Quadrophenia, a Mod Ballet will tour to Plymouth Theatre Royal from 28 May to 1 June 2025, Edinburgh Festival Theatre from 10 to 14 June 2025 and the Mayflower, Southampton from 18 to 21 June 2025 before having its official opening at Sadler’s Wells Theatre, London on 24 June running to 13 July 2025 and then visiting The Lowry, Salford from 15 to 19 July 2025.
Russell Brand has been charged with rape and two counts of sexual assault between 1999 and 2005.
The Metropolitan Police say the 50-year-old comedian, actor and author has also been charged with one count of oral rape and one count of indecent assault.
The charges relate to four women.
He is due to appear at Westminster Magistrates’ Court on Friday 2 May.
Police have said Brand is accused of raping a woman in the Bournemouth area in 1999 and indecently assaulting a woman in the Westminster area of London in 2001.
He is also accused of orally raping and sexually assaulting a woman in Westminster in 2004.
Please use Chrome browser for a more accessible video player
1:59
Ashna Hurynag discusses Russell Brand’s charges
The fourth charge alleges that a woman was sexually assaulted in Westminster between 2004 and 2005.
Police began investigating Brand, from Oxfordshire, in September 2023 after receiving a number of allegations.
The comedian has denied the accusations and said he has “never engaged in non-consensual activity”.
He added in a video on X: “Of course, I am now going to have the opportunity to defend these charges in court, and I’m incredibly grateful for that.”
Metropolitan Police Detective Superintendent Andy Furphy, who is leading the investigation, said: “The women who have made reports continue to receive support from specially trained officers.
“The Met’s investigation remains open and detectives ask anyone who has been affected by this case, or anyone who has any information, to come forward and speak with police.”