Fame has been a cultural phenomenon since the 1980s.

“Life is too short not to be something you love,” Kiefer Sutherland declares on what is surely a midsummer night in a sweltering Albert Hall.

Mayor Andy Burnham has announced radical plans to strengthen Greater Manchester’s music scene.

It was an evening of unbridled emotion on the opening night of War Horse at The Lowry.

Back in August 2017, the internet went into meltdown as Taylor Swift wiped her social media slate clean. Eventually, after three long days of Blank Space, she posted a grainy, flickering video to Instagram of an ominous black snake.

After its nationally acclaimed debut in 2016, Cathy Marston’s ballet adaptation of Charlotte Brontë’s masterpiece, Jane Eyre, returned this week in an expanded form to The Lowry.

In Samuel Beckett’s Happy Days, a woman is buried up to her waist in a hole and then later up to her neck.

Watching interviews with Ruban Nielson, you’d be forgiven for expecting a chilled and pleasant live performance from a somewhat withdrawn artist that would simply be enjoyable to listen to.

A theatre production can only dream of a smooth sailing run – but it’s ultimately the public who will decide whether it sinks or swims when on the stage.

Kindertransport has returned to the stage in Manchester 25 years after writer Diane Samuels’ first showing – and it’s now presented to the world in a time where its themes of identity politics, immigration and anti-Semitism are perhaps more topical than ever.

It’s no surprise that the Kamaal Williams ensemble has been hailed as the most seismic jazz to come of out Britain in the past two decades.