Westside Cowboy Gorilla Review: A Night That Proved Manchester’s Music Scene Is Thriving

“This is so much better than London!” James Bradbury exclaimed when the sound of the crowd echoed back to the band during the heart-wrenching ‘Don’t Throw Rocks’. 

From the moment you stepped into the venue, it was evident that Westside Cowboy have made more than a name for themselves within the local music scene. This was so much more than a sold-out tour date — it was like a homecoming celebration, and yet still this is hardly the beginning for the band.

Gorilla was packed, front to back, with people from all walks of life — groups of students, couples, middle-aged men, loyal fans and even other upcoming local bands — bound by far more than just the touching of shoulders, but by a shared interest in the band. 

London may have the big stadiums and headline names, but there was a raw, unmatchable energy in the room that was far less fabricated — the kind you only truly feel up North. Whether it’s the graft to be seen as more than just a number, the unspoken sense of community, or a proud celebration of Mancunian culture, it made the atmosphere impossible to ignore. 

Not only does the four-piece stand out for rejecting today’s typical indie band mould, but arguably for having the amazing Aoife Anson O'Connor as a co-frontwoman — breaking barriers as part of (unfortunately) a niche but powerful growing minority in an upcoming scene still primarily dominated by male-led bands. 

Within the two years of being together, they’ve skyrocketed through the industry, creating opportunities for themselves that grassroots musicians dream of achieving. “I've Never Met Anyone I Thought I Could Really Love (Until I Met You)”, their first ever release, was well received, to say the least, leading to support slots for the likes of Black Country and Geese. Not to mention, they won Glastonbury’s 2025 Emerging Artist Competition! 

Kickstarting the night was Holyhead, a local band who delivered a set that was guaranteed to stick with the audience. Fuelled with a combination of passion and rage, their striking, politically engaged lyricism mirrors the post-punk era that the Manchester music scene became so famously known for. They ended their set with ‘No Country Is An Island’, released two days prior, addressing issues regarding anti-immigration and the violence marginalised communities are faced with, particularly within today’s climate in the UK. The band’s ability to confront controversial subjects demonstrates their commitment to authenticity; they aren't playing it safe to make it in the industry. 

Building up to the band’s appearance, a peaceful, melodic instrumental played whilst overhead glowing warm lights shone, creating an atmospheric, almost euphoric feeling that felt like a scene from your favourite movie or a dream you don't want to wake up from. But then the crowd broke the silence with “yeehaw”. 

They gave their own rendition of ‘Midnight Cowboy’ by Santon & Johnny, adding a twist that made the song feel as if it was straight off a Westside Cowboy playlist — the perfect build-up to the song (previously mentioned) that helped them land where they are today. The dynamic of the juxtaposition between Aoife O’Connell and Reuben Haycock’s vocals takes the song to a whole new level, sounding even better than the studio version. 

The carousel of vocals and instruments highlights their coined ‘Britainicana’ sound — the term referring to the band’s very own unique genre, combining multiple sounds, but in particular American folk and Britpop/punk. 

I’d been told that Westside Cowboy were good, but I think to say that they were good would be an understatement. From start to finish there wasn't a fault in their performance; whilst there was no particular moment that knocked me off my feet, they executed a phenomenal performance that was an ode to their talents. 

Edging closer to the end of the night, the band gathered around a single microphone, performing ‘In the Morning’, leaving the room astonished. 

The standout songs of the night definitely had to go to ‘Alright, Alright, Alright’, ‘Drunk Surfer’, ‘Shells’ and, of course, ‘I've Never Met Anyone I Thought I Could Really Love (Until I Met You)’ — because they sang it twice. 

As curfew approached, the audience remained still, chanting for another song (almost like a typical encore), prompting the band into something they had never done before. They re-entered with pride written all over their faces, joking about not having many songs, so a repeat it was. 

Within a scene so oversaturated, it’s easy to be pushed into a box. Westside Cowboy appear to be the exception to this. They call it Britainicana; you can call it whatever you like — but whatever it may be, it is certainly working!