Skip to main content

Month: October 2017

Album Review: Liam Gallagher – As You Were

The first listen of Liam Gallagher’s album feels more like a highly anticipated cultural event than an album release. Social media has magnified speculation and excelled expectation, heightened by the Britpop star’s curious Twitter ramblings. There was much anticipation as to whether the album would be a half-arsed, rehashed Oasis or a replica of less successful Beady Eye material.

Good news: it’s neither.

People may have expected the ‘Rock’n’Roll Star’, larger-than-life Liam to dominate the record with brazen lyrics, and a hard-faced attitude. The 90’s lad-about-town persona does saturate the undertones of the album, though this record does more than cling onto the audacity of Definitely Maybe. Rather, it reflects upon this, demonstrating maturity and nostalgia, sometimes reminiscent of 90’s neo-psychedelia.

‘Wall of Glass’ and ‘Greedy Soul’ show off Liam’s raspy tones, a nod to his former self but a breath of fresh air on the album, in amongst ‘Champagne Supernova’ – esque apologies in the form of the beautifully sentimental ‘For What It’s Worth’. On first reflection it seems to be an expression of regret to Noel and their relationship, but when read deeper seems to address two decades of apologies for being Liam Gallagher.

“Look for the girl, the world is surreal” begins ‘Lucy In The Sky With Diamonds’ style track, ‘When I’m In Need’, as Liam himself strums away on the acoustic. It’s a sign of the latter half of the album which draws upon country, Rolling Stonesy blues elements, like the upbeat ‘You Better Run’ and ‘I Get By’, the originality of which compliment the brilliant Gallagher-ness of other tracks.

Lyrics are questionable at times, despite Liam seeking help for the record — we don’t blame you Liam — you never claimed to be the brains behind Wonderwall. ‘Chinatown’, though drawing us into Liam’s captivating world, borders on the ridiculous with rhymes including ‘Telephonic doses, eliminate neurosis’. There’s a few instances of reusing age-old Oasis metaphors usually relating to the sun and sky, but the music is spot on and the vocals cannot be faulted.

As a cohesive piece of listening it flows remarkably well, the tracks arranged in a form which undulates between mellow acoustic and rumbling electric, experimenting with genres and dabbling in unexplored forms. Credit to you Liam Gallagher — you’ve lived up to your ‘Bold’ roots, whilst appealing to more than niche Oasis fans with thought-provoking tracks.

We love you Liam. Don’t ever change.

 

8/10

Live: The Howl and The Hum at NBHD Festival

The Howl & The Hum are a York-based alt-rock quartet who opened Neighbourhood Festival 2017. They were the first performers at the Deaf Institute, and I genuinely could not have chosen a better band to begin the day myself.

I find it very difficult to compare the Hum to any other modern band that I have seen, as their live performances are second to none. Intense, compelling, and atmospheric are the three words that I would use to describe this potent quartet. Frontman Sam Griffith’s vocals ooze warmth and safety yet are underpinned by a curious element of insanity which comes to light in songs such as ‘Manea’ and ‘Murder’ coupled with his impulsive and impassioned body flinches.

Griffiths is accompanied by the musical efforts of his fellow band members, fusing together to create a spine-tingling and extremely emotive composition. Given the intimacy of the gig, this resounded off each wall to create a thick sweeping blanket of emotion, infusing the air with what I can only describe as electrifying nostalgia. T

he unfeigned lyrical style of The Howl and the Hum accompanied with the progressive structure of their songs is really where the treasures of this band can be found. The 4-piece utterly submerged themselves in the pure, raw and gritty ambience that radiated from their combined efforts and this could be seen in their perfectly synchronised movements which filled the stage. To quote a friend I met there, “I can’t tell whether the pounding in my chest is from the drums or if it’s my own heartbeat.”

This leads me onto their single ‘Godmanchester Chinese Bridge’, Which features on their newest EP (also named after the single). Honestly, I could have written my entire review on The Howl and the Hum’s performance of this song alone as it will always hold a special place in my heart.

I will never forget the day I stumbled across them and heard it for the first time, with lyrics that parallel a heart to heart exchanged between two old lovers. Sam guided the audience through an intensely profound journey of heartbreak and sentimentality before dropping an explosion of guitar laced with Sam’s eerie repetition of “and if you’re lost, I will be waiting.” ‘Godmanchester Chinese Bridge’ is an incredibly evocative, nostalgic and melancholic song that leaves you missing someone you’ve never even met.

Words can’t begin to convey just how special The Howl and the Hum are live, don’t miss out on the next big upcoming modern band.

 

9/10

Review: Impractical Jokers

Comedy group, The Tenderloins — more commonly known as the Impractical Jokers — have returned to Manchester to kick off their tour after mere months since their UK debut back in January. Sal, Murr, Joe and Q delighted the audience again and again with their own special brand of improvised humour.

The show was opened by comedian and actor, Steve Bryne. Aside from his previous accolades — such as opening for Kanye West — Byrne has also been friends with the Jokers for many years so it seemed the obvious choice that he should open for them on the UK leg of their tour.

It is fair to say that crowd wasn’t exactly with him at the start, with a few scattered titters from the audience. This may be because of the cultural differences and his Trump jokes not exactly causing stir, however he soon cottoned on and realised that audience participation was the way to our hearts and laughs. The picking of audience members to join him on stage as part of his ‘boy band’ was a delight to watch and his trademark to-the-point humour came into light here — as well as the 4 men giving a lady the best lap dance of her life!

The moments before we get to see the Jokers, a clip of all their best moments from the show is played and then we are welcomed a group who seem honoured to be welcomed by a standing ovation, before they’ve even said anything. Even if this is not your type of humour, you are sure to be amazed by the connection between the Jokers and their fans. Part of this definitely comes from the fact they come across as exactly the same as they do in their show, and therefore when you see the joy they bring their fans, you realise the connection is very rare.

The show as a whole is brilliantly concocted of a mixture of moments: from rehearsed anecdotes, improvised grilling’s of begrudging audience members and behind the scenes clips of the show. The video clips were a sure favourite of mine and everyone else, if anything it allowed us to see how the friendships of The Tenderloins has remained the same over the years only to be lovingly put under the spotlight by Comedy Central.

When they asked the audience how many of them had been to a show of theirs before, a lot of hands went up, much to the surprise of first-timers — like myself. They used this to segue into moments in previous live performances where people have seen them before and then began to tell elaborate and almost unbelievable tales about fans that became friends — however all of these were backed up with photo evidence, making the stories all the funnier.

The second of the two standing ovations that the Jokers received came nearer the end of the show, when they said that they were donating all proceeds made tonight back into our great city via the We Love Manchester Fund — set up following the Manchester Arena bombings to support the victims and the families.

This humbling moment from the group really touched everyone in the audience and you could tell that every word about how they loved our city, was true. This emphasised the clear value they have to preserving the joy of live entertainment and performance, and was a testament to their showmanship.

It was clear to see everyone enjoyed the night however if shows that don’t follow a particular structure, aren’t your cup of tea, this is not the one for you. What makes the Jokers special is the fact that their minds are racing towards several ideas at once and those moments are unique to each show.

The show as a whole was certainly one of pure energy and excitement; seeing their own brand of comedy, live and evolving in front of my eyes was a real treat, and the energy that they brought out was electric and instantly mirrored by the audience.

How to detox after a heavy weekend

As I’m sure is the case with many, I approach the weekend with a positive and productive attitude towards studying, only to wake up on the Monday still wallowing in the pits of a hangover having completed virtually nothing. Having reached my final year of university, I find that there is no way of avoiding those weekends. They are bound to happen being a student, being young, and being in Manchester — arguably, the best city for nightlife in the UK. And so, as much as you tell yourself you won’t do it again, the best solution is just to find a solution to those impending hangovers.

Realistically, when hungover, there is very little that you want to do and that you will do. Luckily, you don’t have to endure that head-pounding hangover more than once. To all those out there, like me, who want to feel better whilst making minimal effort, here are some tips for your road to recovery.

 

Keep the drinks flowing! And by drinks — I mean water. Seems simple but I am a victim to forgetting how important it is. All alcohol does is dehydrate you and so the easy answer is to go where you get the most hydration — H20!

Cleanse with herbal teas. Teas like camomile, fennel, mint will help when you feel your tummy is churning. For smokers out there who suffer that dry throat the next morning — lemon, ginger and manuka honey will get your voice back and that cough going.

Sweat, sweat, sweat! Whether this means going for a run or whatever it is people do in the gyms, getting your body going and your blood pumping means more circulation of oxygen to your brain. The more you sweat — the more you get rid of those toxins. Tip: my personal favourite is going to the steam room and just sweating it all out there.

Let your body rest. Whilst this seems like the last thing you should do when you have countless of things unfinished, it is vital. Even a short 20-minute nap can sort you out for the rest of the day and then make sure to get an early night later on.

Ice green tea. Although this is a personal remedy, it has never failed me. Two glasses of ice-cold green tea will make you feel reborn — green tea helps with nausea and headaches and the cold temperature wakes you up.

Do I have to pay council tax?

Renting a house for the first time is exciting, but there can be lots of different bills to deal with. One bill you might not have to pay is your council tax bill.

Council tax is a fee charged by local councils to help fund their services. However, not everyone is obliged to pay it. If you are a full-time student, then you do not have to pay council tax. This includes periods when you are on interruption, providing you intend to return to the course.

But just because you’re exempt, doesn’t mean you don’t need to tell the council. If you live in one of the following postcodes: M1, M4, M8, M9, M11, M12, M13, M14, M15, M16, M18, M19, M20, M21, M22, M23 and M40, then search for council tax on this website and complete the online form for students.

Some students will need to collect a paper exemption certificate from the university. If you live in a postcode that is not listed, you are an international student with dependents living with you, or if you are a postgraduate research student awaiting your visa, then visit the Student Services Centre (number 57 on the campus map) for an exemption certificate.

Unfortunately, part-time students and non-students do have to pay council tax. However, if you live with full-time students and are the only person in the house that is liable to pay council tax, then you will receive a 25% discount. The full-time students you live with do not have to contribute towards this cost.

If you are a part-time student on a low income or if you are entitled to government benefits, then you might be eligible for council tax support to help you pay for it. Contact the Students’ Union Advice Service for more information on this and any other housing issues.

Squatter hell for Salford students

A group of students in Salford have been forced to share their home with a squatter in a nightmare housing dilemma.

The close-knit group of friends had received confirmation that three tenants would be staying in their Mildred street property over the summer, however, plans were complicated when one male tenant refused to vacate the property.

The man, who has been described as “very defensive” was first noticed by students who were moving back into the property at the start of September.

The individual has declined to pay rent, yet remains in the house, seemingly indefinitely.

The ordeal has meant a second year International Business student has been unable to move in and is now resigned to living at home in Eccles.

Although the student’s rent has been waived, the group of friends are understandably frustrated at being split up.

One of the flatmates’ told The Tab,“I just think it’s disgusting. He knows full well that the five of us all found the house to live together as a five.”

Due to the current terms of the law, the man cannot be pressured to leave at any time, despite the possibility of a 6-month prison sentence.

There have been consistent calls to modify what many see as inconsistent and ineffective laws on squatting rights.

The group have reported the issue to their lettings agents, but in the meantime cannot hope to have any influence over the man himself, who remains in their home.

As reported in The Tab, the group of friends attempted to question him over his situation but said he began shouting and behaving in a defensive manner.

The risk of squatting is a worry for many students moving into housing for the first time, especially in Manchester, where the presence of three universities sees an annual rush for houses, usually beginning as early as November.

And finding alternative arrangements is increasingly difficult, with a scarcity of options available – especially as renting in a group is fundamental to finding affordable accommodation options.

Free speech needs to be protected at universities

Free speech has certainly proved to be a contentious issue over recent years and this is especially true on university campuses.

report by Spiked earlier this year highlighted the astonishing levels of censorship existing across universities all over the country. The study showed that at most universities, ideas and free speech have been actively censored on campuses.

Here at Manchester, we have had our own issues with prohibition of free expression, with the Charlie Hebdo magazine being banned from the Refreshers’ Fair in 2015. In the current climate, a satirical, albeit controversial publication should be heralded as fundamental for the liberal cause against growing extremism over the world, not cited as offensive.

This week, Balliol College at the University of Oxford banned Christian Union representatives from having a stall at its freshers’ fair, due to concerns over the harm it could inflict on freshers. This was a clear violation of religious freedom and freedom of expression and did nothing to dispel the myth that students cannot tolerate diversity of thought.

Linda Bellos, a lifelong equal rights campaigner and key figure during the 1980’s feminist movement, was last week uninvited from speaking at Cambridge university because of her views on transgender politics. If an equal rights campaigner, who for decades has fought for the defence of minority rights cannot discuss potentially contentious views, then we really have reached a troubling level of censorship.

The list is endless and is a disappointing indictment of the current culture of ‘safe-spaces’, no-platforming and banning-frenzies that appear to have taken hold at some of the top universities in the world. After all, if you can’t discuss controversial issues at an institution designed to foster the free exchange of ideas, then where can you?

Freedom of speech is of course not an excuse to allow hate speech, but a regrettable conflation of hate speech and offence has occurred. Offence is subjective, what one may find offensive, others may find enlightening, perhaps even amusing. The sooner we treat students as individuals who are capable of forming their own opinions and not as belonging to certain groups who take offence as a collective, the better.

As students we should be objecting to such blatant denial of individuals’ right to freedom of expression. Whether we agree with a view or not, it is not down to the will of a small group to prevent a debate from being held. As a politics student I was in fact pleasantly surprised to see that a large portion of fellow students believe in uncensored free speech and the right to espouse even provocative views.

This suggests that the problem of censorship is not necessarily an issue of a monolithic ‘snowflake’ student bloc, rather, controlling and out of touch Students’ Unions.

It is not just Students’ Unions though that actively seek to undermine liberal values, it is also clear that universities themselves have engaged in active censorship of unpalatable ideas. It was here at Manchester that a Jewish Holocaust survivor had the title of her speech censored upon order by the Israeli embassy.

Facilitated by the University of Manchester, the speech entitled: ‘You’re doing to the Palestinians what the Nazis did to me’ was labelled “unduly provocative” and the speaker Marika Sherwood was forced to alter the title and tone of her address.

Problems of political correctness ultimately pose a threat to academia. Recently, Bath Spa University’s ethics committee prohibited James Caspian from writing a potentially significant thesis on transgender people who had undergone surgery and then regretted the decision, due to its potential to cause offence.

In circumstances like this it is not just free expression which is threatened, but also the welfare of the transgender community. No one knows as of yet whether this research could prove to be a vital step in preventing post-surgical suicide, but because of pressure within universities to avoid offence at all costs, it is unlikely any advances will be made.

Such a state of affairs in educational institutions is worrying. We come to university to debate, to be challenged and to expose ourselves to new ways of understanding society. We may even concede that our preconceptions about the world before we came to university were mistaken. The motivations behind safe spaces well may have been out of an admirable cause to protect students, however, when we ban, dis-invite or censor opinions out of fear of causing offence, what we are doing is not protecting student welfare, but sheltering adults from views that exist in wider society.

By preventing ideas from being discussed, we are not eradicating them from existence and from people’s consciousness. All we achieve is a stifling of their visible presence. Ideas cannot be removed through bans, no-platforms and the premise of being offended, they manifest whether being expressed or not.

We defeat ignorant ideas by challenging them and crucially, by winning the debate. I don’t recall the accusations of racism preventing Brexit, or the no-platforming of speakers sympathetic to Trump stopping him from becoming president.

As potentially the next generation of leaders in this country, we cannot ignore problems of intolerance and ill-liberalism forever. Why not confront them now and show wider society that students can be a positive and capable force for challenging ideas out in the open? It would certainly be a legacy that students of the 1960’s would be proud of.

We will win the war against intolerance through debate, not avoiding it.

Live Review: This Feeling Alive

This Feeling is a promotions company for new and upcoming bands, and have recently signed a deal with Radio X to boost the audience for their featured acts.

They also have a ringing endorsement from none other than Noel Gallagher, who says “what This Feeling is doing at the moment is vital”. That’s a pretty big deal for a small act tour, as is the £12 admission. I went down to Club Academy to see if the acts This Feeling had chosen were really worth the admission.

First up was BlackWaters, whose previous tour has taken them to Truck Festival and Kendal Calling — the Guildford four-piece certainly have a lot of momentum in their favour, and it shows. What begins as an alcohol-laden punk set soon grows into an exuberant, energetic, and frenetic experience. T-shirts are removed, drinks fly about, and the sweat drips off Max Tanner’s nose.

This is very reminiscent of an early LIFE performance, meaning BlackWaters made a lasting impression in my mind. If they continue performing like this and having singles produced by the likes of Carl Barat (as was So Far Out), then they’ll easily be making the jump from Club Academy to larger venues.

Our next act was Doncaster’s Bang Bang Romeo. Their lead singer, Anastasia Walker, is a powerful front woman. Her vocals boom through the mic whilst goading the audience into making the most of their presence, gathering the core audience around her and building tension to their final song.

As a set, Bang Bang Romeo is pretty likeable. However, Walker’s voice is soulful, and with reverb offers something different than a normal soul act — she also has a punk on-stage persona, which would be fine, if it wasn’t for the musical style of Bang Bang Romeo. It doesn’t quite fit into either category, with parts being dark and brooding and others being upbeat. I’m a big fan of genre-hoppers, but this time it just seems confused. The reverb vocals really suit Walker, as does her onstage persona. Unfortunately, it seems the music doesn’t quite fit.

Our headline act is The Shimmer Band. First impressions count. My first, and lasting, impression are that the band are wearing different versions of the same Liam Gallagher hairstyle. Lead singer Tom Newman comes in a cagoule, hood up, and wearing sunglasses that I last saw in the “D’you know what I mean?” video.

Their set is explosive, and it’s certainly wrong to say the Bristol band lack talent. However, it seems that not only are they wearing four versions of the same haircut but also that they’ve written four versions of the same song. It’s forgivable for a band just starting out, and The Shimmer Band certainly have a place in music – but some fresh ideas are needed to take them up a level.

This Feeling Alive have managed to find some genuine talent then — all the artists performed admirably and most punters went home happy. I do feel though that for a venue of that size, £12 per ticket is simply too pricey.

It shows; at best, Club Academy was two-thirds full. If This Feeling wants to really support new acts, then they’ll need to lower the admission prices to give more fans a chance to see what they’ve unearthed.

7/10.

England: same story, different competition

Another international break over but the same old headlines are plastered on the back pages of newspapers: “England seek out another unconvincing victory”. Supporters know this all too well, telling themselves this game will be different, this game we will thrash whatever lower tier Eastern European side we are up against.

Lithuania and Slovenia were the sides, 1-0 wins in each, both goals by Harry Kane. It is obvious from these games that when faced with a better team such as France or Germany, we will have enormous difficulty in breaking the defence down. England do have a good record in qualification though. In fact since the disastrous 2008 failure we have only lost one game. That sounds phenomenal, so why doesn’t it feel it?

Regardless of manager the style of play has always been so uninspiring, these last two games perhaps among the very worst of them. In the second game in Vilnius, Southgate played a 3-4-3 formation. One that he has since chosen for the World Cup, and therefore the problems we saw could be attributed to players learning the system. The typical 4-4-2 being scrapped in favour of a formation that will “help us play out the back”, but the problem I feel isn’t the formation, it’s the squad of players we have to choose from.

Gone are the days of Gerrard, Lampard, Beckham, Scholes, Owen and Rooney. We no longer have a large selection of world class players and most of the players in the current squad don’t even start for their clubs. Clubs in a league which frankly isn’t the best in the world anymore, who can’t reach the latter stages of the Champions League.

To perform on the world stage we need a creative spark, someone that drives England forward, risking those passes into small space. The only player who fits the bill is Adam Lallana who is currently in Qatar recovering from a thigh injury. I personally don’t think he is a good enough player to warrant the hopes of the country being pinned upon him but there are worryingly few alternatives.

When you watch the football that we played in these two games there were two different plans of attack going on. Firstly, they would try to pass through the centre but would not try any risky passes and so retreat back to the defence and try again. The second method was to pass it out wide to Rashford, who isn’t actually a wide player he’s a striker, or Sterling in the hopes that they could use their pace to beat defenders and create something that way. Both Slovenia and Lithuania are not good teams by any means yet even they very quickly found England out and put a stop to those wide attacks. What is left after that? Well nothing and that is the problem Gareth Southgate has to work out.

Henderson, as much of a solid, reliable footballer that he is, refuses to make those through balls or passes into smaller spaces for our forward players. The sheer amount of runs Rashford and Sterling made that, if they received the ball, would have led to 1-on-1 or 2-on-2 situations was incredible. They are talented footballers that can score goals given the service. As a result of this England will almost certainly either scrape through the group by the skin of their teeth and lose in the next round or not make it out at all. The failure to create chances will be the core reason for this.

Harry Winks did come into the side against Lithuania and was one of the better performers, showing he does have the intelligence to drive England further up the pitch with good passing, but he’s still very young and inexperienced. He’s the sort of player that, more so in the next competitions than this one, England should build their team around.

Imagination and creativity are traits that we desperately need to have any impact beyond qualifying and there is hope on the horizon. This summer the Under-19’s won the Euros and the Under-20’s won the World Cup. What is important is those players get nurtured, coached to make intelligent passes and not necessarily the easy passes. In the next 4-12 years I think we can reach the latter stages of a World Cup or Euros, just don’t expect anything in Russia.

Manchester International Festival enjoys record-breaking success

This year Manchester’s biennial International Festival enjoyed success as the 18-day event brought a record-breaking £40.2 million into the local economy, up from just under £39 million at its last outing in 2015.

The 2017 event was seen by bigger audiences than ever before with over 300,000 spectators attending the festival, which featured over 380 performances of 32 different commissions and special events.

This year was the sixth edition of MIF since it was first established in 2007, and the first under its new artistic director John McGrath. It included a more productions than ever before and an increased amount of free events, which is thought to have been a major contributor in drawing its largest ever crowds.

Perhaps most gratifying of all for the festival’s organisers was the unparalleled level of engagement from the local community, as Manchester’s residents pitched in to help cement the event’s status as fundamentally rooted in its Mancunian setting.

The festival opened with a celebration of Manchester, with over 100 residents invited to walk a huge catwalk in Piccadilly Gardens. Local engagement in MIF productions grew dramatically this year, with over 28,000 hours logged, a three-fold increase on 2015. Programmes such as Jerwood Fellows and Creative50 helped emerging Manchester artists stake a real claim in this year’s event.

Working with 68 different education partners, more than 4000 people also participated in the Festival’s Creative Learning programme, which was expanded significantly.

John McGrath, Artistic Director and CEO of MIF recognised the city’s central role in the event’s success: “Everyone has spoken of how special Manchester felt… This engagement with place and local stories was often cited by our international visitors most as one of the things they most appreciated about MIF17.”

Whilst the festival is firmly embedded in Manchester, it remains a truly international celebration. Artists came from a wide array of nations, from China to Iceland to Germany. At least 11 of the shows featured at MIF will go on tour to destinations as far-flung as Sydney, Vienna and Hong Kong.

The festival’s international reputation as an incubator for new, up and coming emerging talent continues to grow – part of this year’s success was the significantly stronger online imprint it made. Digital engagement with creative content from the MIF reached 1.5 million people around the world.

Sir Richard Leese, leader of Manchester City Council, was buoyed with the festival’s success. “Manchester takes centre-stage at the heart of a cultural revolution that will be unrivalled in the UK and beyond.”

“The maths alone confirms our belief that cities need culture, as much as culture needs cities like ours that continue to support, nurture, and positively embrace all that the arts have to offer.”

After a fantastic year in 2017, Mancunions can be very excited about the festival’s next outing, which takes place from 4 – 21 July 2019.

Review: Instructions For Border Crossing

“Does anyone want to come and play Jenga with me?” A thoroughly unorthodox beginning to Instructions for Border Crossing. As I sat across from Daniel Bye, playing a civilised game of Jenga and discussing fear and Harry Potter, I had a feeling this show would be unpredictable.

Written and performed by Bye and impressively directed by Alex Swift, the work of Edward Shorter is reimagined into a thought-provoking and interactive performance piece. Shorter is an internationally-recognized historian of psychiatry and the author of numerous books, including those that explore psychiatry and asylum. Bye explains how a simple game of Jenga can be so much more when played either side of a guarded border.

Intertwined with fascinating audience volunteers (almost as eloquent as Bye himself), we learn about a girl who is sneaking across a border after destroying her British passport. The story is cleverly portrayed with lighting changes and seamless voice and accent modulations. Each audience participant aided the next section of the story by exploring the properties of an electric fan with a microphone, or creatively lighting the Jenga tower with a torch. These seemingly random actions become the sounds of a train and a helicopter circling a block of flats. Bye surprised me with his care in listening to the words of each volunteer and remembering them by name and their comments throughout.

This performance was meticulous and well thought out, from the minimal set of a table and chairs to microphoned airport barriers enhancing the sound of borders being opened and closed as each new volunteer entered the space. The audience is taken on a journey through raucous laughter and quiet contemplation as we are asked to raise our hands if we agree that we are courageous, tenacious, willing to rebel (or not). The underlying question seems not only to ask how one might cross a country’s border, but how to cross borders of ‘the norm’ and rebel against conformity.

The climax of the performance built as we were engrossed in short sketches in which the audience played opposite Bye, following words on a projection. Sometimes the audience played the border guards and sometimes the ‘victim’. A strange kinship seemed to form in the audience with this powerful performer, as we conformed for the sake of a dramatic piece, seeming to dip in and out of reality.

Bye was both a piercing — to the point of intimidating — character, as well as surprisingly comforting, as we discovered the fears and courage we share in this self-selecting audience. What do you fear? Failure? Brexit? The sharp, well-executed transitions between dramatic sketches and conversation left you wondering if you felt at ease or deeply uncomfortable.

Bye illuminated numerous glitches in the fabric of society in a decidedly brave way, dependent on the audience’s participation. I was left questioning everyday conformity and in awe of Bye’s ability to relate to an audience made up of such different people, uniting us with his performance.

Review: The Believers Are But Brothers

Isis — it’s a huge and controversial topic to cover. Upon first reading the premise of Javaad Alipoor’s The Believers Are But Brothers, BBC’s recent miniseries The State sprang to mind. I was certainly anxious that a one-man show would struggle to match such a captivating portrayal of Islamic State but I soon realised these fears were completely unfounded.

Alipoor was clear from the beginning that this show wasn’t in fact trying to tackle Islamic State as a whole but was focusing strictly on young men today and the way in which they can be radicalised online: “It’s about men. It’s about politics. It’s about the internet.”

Alipoor split the show between direct audience address and pre-recorded projection on the screen where he told the stories of the four young men the play centred on, often interspersed with online videos. During these projections, Alipoor sat with his back towards the audience, leaving him as an anonymous figure; a clear and striking symbol for all the young men he spoke about.

In turn, when Alipoor spoke directly to us it was off the cuff and familiar. There was no illusion here of there being anything fictional about the play; he was simply relaying to us his experience online and the people he had discovered. By the end of the show the audience had certainly warmed to Alipoor, undoubtedly due to his candid and frank delivery about both very funny and very sombre topics.

It’s definitely worth mentioning too that the show featured a really innovative feature; we were all added to a WhatsApp group before the show which Alipoor communicated to us via throughout the show. One could easily dismiss this as an unnecessary gimmick but in practice it seemed entirely fitting that a play highlighting how easily young men can be sucked into radical settings, should do the exact same to us, constantly lighting up our faces with notifications of alt-right memes and death threats sent to feminists online. It was particularly when Alipoor then used the WhatsApp chat as a narrative force, speaking to us from the standpoint of someone radicalising us, that the method really came into its own.

The set was minimal but effective in creating an underlying feeling of threat throughout, as a man sat behind a projection screen throughout the entire show, staring at his computer screen, faintly lit by the red glow of his mouse.

Overall, the show never really broke out of its feeling of tension even though we were frequently able to laugh along with Alipoor. At the end, we read aloud messages on the group chat which left us with a feeling of doom.

Although Alipoor was careful to mention the obvious positives of the internet, the message was clear: ‘Now, we lose ourselves in the inky blackness of our screens’.

I’d suggest you lose yourself for an hour at HOME to experience this work in all its horror, relevance and ingenuity.

Live Review: JP Cooper

They say honesty is the best policy, so I’ll go by that saying. I answered a last-minute call to action a couple hours before the show. I’d heard of JP Cooper but I couldn’t name a single song of his off the top of my head. Instantly, I started my research and listened to his work. ‘September Song’ and ‘Perfect Strangers’ were instantly recognisable to me and I expected a pop show with dance beats, not my area of expertise. It was also the first show I photographed so I was also unprepared for that part of the night.

As JP Cooper stepped on the stage of the O2 Ritz, I stepped into the photography pit with two other photographers who were very kind and gave me space to work. Our man, JP’s vocals were instantly hypnotising, I knew I was in for a good show. While doing my thing with my camera JP was cool, calm and a bit cheeky, looking straight into the lens of my camera as I snapped away.

Once I got back into the crowd as a spectator, Cooper, of course, sang his hits ‘September Song’, ‘She’s On My Mind’ and ‘Perfect Strangers’ which he introduced by saying that many people, myself included, expected him to be a dance/pop artist but he was clearly an acoustic pop type of guy. The crowd at The Ritz were treated to the first live performances of his new songs from his recently released debut album ‘Raised Under Grey Skies’. Always on key and with an envious vocal range, the songs were well received by the audience who sang back the words and clapped in time to the beat when prompted.

Between songs, JP would address the crowd and repeatedly expressed his gratitude for everyone there. He also explained that he’d been sick and unable to speak for a couple days before the show but was soldiering on. To be honest, he may as well have been in perfect health because his vocals did not show his sub-optimal state. The good vibes were practically palpable in the air thanks to the chemistry between JP, his band, and the crowd. The latter was composed of people of all ages, proving that good music clearly transcends generations.

After the show, Cooper stood behind the counter to meet his fans. I decided to stay with my friend to shake his hand and thank him for the show and the photos. His handshake was firm and his look was warm and friendly. As he autographed my photo pass he said: “Here’s to many more, you’ll go far.” An absolutely charming man, to say the least.

JP Cooper deserves the praise he gets and much more. The man is a sublime showman, a fantastic singer with an astounding vocal range. He’s humble, charismatic and genuine, qualities that seem rare in the modern music scene dominated by egomaniacs. This show definitely goes down in my books as one of the most pleasant concerts I’ve had the pleasure of attending.

Review: The Reagan Show

A celebrity president who enjoys distracting journalists sits in the White House while the threat of an impending nuclear war looms… You may assume we’re talking about Donald J. Trump but, alas, the subject of The Reagan Show is, of course, Ronald Reagan.

This documentary, composed entirely of news reports and footage from the White House archives, is directed by Sierra Pettengill and Pacho Velez. It’s a 78 minute peek into the man, the persona, the character that was Ronald Reagan, rather than the seemingly steely-eyed 40th president of the United States of America.

The presentation is refreshing; the film maintains a 4:3 aspect ratio akin to that of cathode ray tube television sets, with clever editing that is accompanied by a great soundtrack. No, the music isn’t memorable, but that’s perfect for a documentary. Crescendos allude to a greater sense of drama or urgency in certain moments, while a playful melody will underline comedic moments scattered thoroughly throughout the film.

Due to Ronald Reagan’s background as a star on the silver screen, many saw him unfit for presidency. Unfazed, he stands his ground when queried about this in interviews, by declaring that being president is merely an act, a show if you will, hence the title of the documentary. The focus on the PR war waged between the USA and the USSR only goes on to further reinforce the idea of Reagan being the star of the world’s most watched reality television show.

The writers, Josh Alexander, Francisco Bello, and Pacho Velez, don’t shy away from depicting Reagan as a bit of a buffoon, and make it clear as to why many disapproved of his leadership. Reagan’s defensive Cold War policies essentially ended the period of detente between the USA and the USSR, pushing the Arms Race forward instead of slowing it down or bringing it to a halt.

The pacing of the film, as noted previously, is set by the great soundtrack and editing. However, these elements can’t save the serious dip at around 50 minutes into the runtime of the documentary. It’s almost as if the whole thing runs into some quicksand and struggles to get out before the credits roll.

Watching Ronald attempt to deliver a statement, looking down in frustration and repeating it multiple times while trying to pronounce a senator’s name to no avail, serves a greater purpose than being comedic relief; it’s a charming, humanising look at Ronald Reagan the man, not the president.

Nancy Reagan, of course, is omnipresent as the driving force behind the presidency. From her prompting whispers to her husband when he forgets his words in the middle of a speech to her stating “I thought I married an actor!” in an interview, she helps to reinforce the foolishness of her husband while simultaneously conveying the human aspects of the film.

Despite losing its footing two thirds into its runtime, The Reagan Show is an enjoyable documentary that offers a different insight into the lives of Ronald and Nancy Reagan during the former’s presidential term. However, if politics, particularly world or American politics, during the 70s and 80s aren’t your cup of tea, this documentary will provide nothing but boredom for you during its brief runtime.

 

Rating: 3/5

Burnham announces £1.8 million homelessness plan

The Greater Manchester Combined Authority (GMCA) has this week announced a £1.8 million investment to develop a wide range of measures to address the many people sleeping rough on the streets of Greater Manchester.

The £1.8 million investment, one of eight social impact bonds (SIBs) approved by the government, is planned to augment services helping people find and keep homes and deal with addiction and mental health.

In addition to these services, all 41 fire departments across Greater Manchester will work with the GMCA and the local community to provide food and sleeping assistance in the evenings, a welcome idea with winter fast approaching.

According to statistics from the charity Shelter, an estimated 189 people were sleeping rough in Greater Manchester between June and December of 2016, and an estimated 4428 people were homeless, a figure 30 percent higher than the previous year. Despite these challenging statistics, Mayor Andy Burnham remained determined in his goal to end rough sleeping in Greater Manchester by 2020.

“This new money will provide real solutions to help people to get off the streets and find warmth, safety and a better life with work,” Burnham explained in a public statement.

Alongside the development of services available to the homeless community in Greater Manchester, the Greater Manchester Reform Board joined in Mayor Andy Burnham’s calls to the government to halt the new Universal Credit benefits scheme.

“This is not a political point,” Burnham claimed, adding that “If [Universal Credit] goes ahead as planned we will see a much greater problem unfold in front of our eyes.”

Under the new Universal Credit benefit scheme, 18-21 year olds will no longer get housing benefits unless they can prove that they meet an exemption, an additional criticism to the minimum 42 day wait for the first payment to reach claimants. Students in the Fallowfield area expressed their concerns over the new benefit situation.

One student told The Mancunion, “Well with everything getting more expensive, rents are just going to become more and more impossible to afford, so the homelessness problems in Manchester are only going to get worse.”

The efforts to help the homeless was bolstered this week as the ‘Stop, Start, Go’ homeless hostel opened in Cheetham Hill. The hostel currently has 12 beds, which will soon rise to 15, providing medium-term accommodation alongside giving support to people trying to return to education and find somewhere more permanent to stay. Hostel resident Mohammed Abdulkarim said: “Since coming to SSG, I have started college and sorted out my health […] my future looks good now.”

Mayor Andy Burnham is still committing 15% of his salary to his Homelessness Fund. He said in a public statement that “there is still a huge challenge in front of us. There is good work already being done […] We always have to challenge ourselves to go further.”

The new service is expected to reach the streets of Greater Manchester by the end of October, helping people sleeping rough through the critical winter months.

Post-graduation blues need a place on the mental health agenda

The difficulties of students suffering from depression have been gradually eased into discussion at The University of Manchester, and the subject now makes regular appearance; just last week an entire day at the Students’ Union was dedicated to events aimed at improving the wellbeing and support networks of those who feel they might be struggling with their mental health.

This, categorically, is a good thing. With figures suggesting that one in four students in the UK are currently suffering from poor mental health, removing the stigma surrounding depression is an essential commitment that any university must make.

Why, then, if depression amongst students has become a topic of regular conversation, does post-graduate depression barely make its mark on the agenda?

Living alone for the first time, having to grow accustomed to new friends and a new city, and the pressure of managing financially on a student loan, paired with a crushing combination of exams, lectures and multiple deadlines makes for a student experience that could cause even the most stable of young people to experience a mental meltdown from time to time.

Nothing, however, can prepare graduates for the sheer lack of direction and structure they experience once they have left education. The entire maturing process achieved at university feels instantly reversed, with students forced to give up their social and financial independence by moving home.

Some find that their educational progression based on advice to ‘study what you love’ provides, at best, a shaky basis for eluding the well-known career market trap; need a job to gain experienced, too inexperienced to get a job. Those who go back to old retail or hospitality jobs understandably feel discouraged, especially when surrounded by those friends lucky enough to have found their dream job, or those who are not yet too crippled by student debt to deprive themselves of the opportunity to go and ‘find themselves’ travelling. In such circumstances, it is not all that surprising that graduates struggle with the ‘blues’, or in some instances more severe cases of mental health issues.

The fact is that universities are guilty of over-selling the power of a degree at a time where enrolment is at an all-time high. Regrettably, the market in degrees follows rules not all that different to those of economics; the more there are, the less they are worth.

This is not to say that studying a degree is of no value, but simply to suggest that students must be prepared for a period of — perhaps unemployed — transition once they graduate, and must not become disillusioned if the promises of fulfilling and prestigious career options do not instantly present themselves at graduation.

Mary Curnock Cook, the recently retired head of UCAS, commented that graduates should not worry about finding a job straight out of university, and advised that they spend time volunteering or travelling before making the first job application.

In theory, her argument is logical. Young people should take the necessary time to reflect upon their ambitions, perhaps make the most of the chance to live abroad or get a better sense of the opportunities available before rushing into the first job offered to them. Such breathing space might prevent a delayed case of the ‘graduate blues’, in which young professionals find themselves trapped a job that they took out of fear or panic.

In reality though, most graduates simply cannot afford to spend time out of paid employment, and Curnock Cook’s suggestions are decidedly too middle class to provide any substantial consolation to those students struggling financially.

Careers and counselling services within universities need to establish a means by which they can encourage students to start thinking about post-graduate life, whilst also reassuring students that it is perfectly normal to experience a ‘limbo’ phase, during which career paths or life ambitions might be hazy and overwhelming. Furthermore, counselling services should make clear that a helping hand can be extended to those students who have left the university, and that support is not abruptly cut off come the summer holidays.

Perhaps the simplest cure for those suffering from the ‘post-graduate blues’ could be the fundamental knowledge that, essentially, everybody else is going through the same thing.

Looking beyond the façade: Cornelia Parker’s ‘Verso’

Renowned for exploding garden sheds, dissecting Turner paintings, and steamrolling candlesticks: Cornelia Parker returns to the Whitworth Art Gallery, challenging perceptions through the medium of the mundane.

In her 2016 installation, ‘Verso’, which runs until the 5th of November 2017, Parker explores the backs of hand sewn button cards, which make up part of the Manchester Museum’s extensive collection. As an honorary Professor at the University of Manchester, Parker has utilised this role to gain access to objects which, otherwise, would lie behind glass screens, remaining static in their existence.

In 2015, Cornelia Parker opened the Whitworth Art Gallery with a major solo exhibition, containing both old work, such as the famous Cold Dark Matter: An Exploded View (1991), and newly commissioned installations, such as ‘War Room’; a powerful display made up of Remembrance Day poppy cut outs.

It was her opening firework show, however, a ‘meteor shower’ named ‘Blakean Abstract’, that highlighted the stretch of her influence into the archives of Manchester. Collaborating with University of Manchester scientist and Nobel Prize Winner Kostya Novoselov — whose work on graphene with Andre Geim gained global recognition — Parker coordinated the abstraction of graphite from a piece held in the Whitworth collection by William Blake, to launch a meteor display of huge proportions, channelling the omnipotence of Blake’s ‘The Ancient of Days’.

Once again, Parker’s access to the Manchester Museum archives provides her with the subject of her photographs, which form ‘Verso’. Lined up with meticulous precision, one notes an intriguing juxtaposition between the loose trajectory of thread, and the militaristic order of the framing of the exhibit.

It is this insightful composition which adds to the power of Parker’s message. Beyond the outward facing and identical artifice of an object — in this case, mass produced buttons — is where one finds the honest disorganisation of creation, which Parker calls ‘found drawings’. Parker claims to be fascinated with the “logic, unconscious” process of their production, which represents “an imprint… something unique to the person” who created it.  Indeed, when looking closely at the individual photographs, one may find images reflective of human faces, or familiar shapes.

Parker’s fascination with the backs of objects originates in her 1998 show, where Parker displayed the backs of Turner Canvases which, she noted, “looked like Rothko paintings”. The exploration of an object’s behind continued in 2016, when she exhibited her expansive hand-stitched ‘Magna Carta (An Embroidery)’ at the Whitworth Art Gallery. She displayed the piece, which had been hand crafted by 200 participants ranging from Prisoners to Baronesses, above a mirror, so to reveal the underbelly of this seemingly polished celebration of the Magna Carta’s 800th Anniversary.  “Given that we spend a third of our life asleep,” Parker claims “it is fascinating to explore this unconscious” which makes up a significant aspect of the human experience.

However, this form of art is often the subject of vibrant debate, posing the question as to whether reclaiming found objects can truly represent art. Surely Parker’s thoughtful re-composition of these objects does lend them new, symbolic significance, which wasn’t immediately associated with the piece before her consideration and adaptation?

With the chance to speak to Parker herself, she commented that, despite the abstract appearance of the photographs, they are rather “an accurate representation of something that’s there,” that should be viewed “in the same way that one listens to a piece of music.” Her art is a route to “extending [one’s] visual vocabulary.”

According to the interim Director of the Whitworth, Dr Nick Merriman, the gallery “is again showing that it has the ambition to work with internationally regarded contemporary artists” by entering this debate through exhibiting Parker’s works.

While often criticised, some of the most renowned and respected artists utilised the everyday, found object to create their work. Picasso, often considered the most significant artist of the 20th Century, made use of found objects such as newspapers and matchboxes, incorporating them into his revolutionary cubist collages. In this way, Cornelia Parker’s exhibition, ‘Verso’, continues a deeply entrenched artistic tradition, used by the greats of both the past and the present.

Cornelia Parker’s ‘Verso’ is on from 16 June – 5 November 2017

Mixed emotions for the men’s and women’s varsity teams

Friday the 6th of October saw the two Manchester universities go head to head in the 2017 Varsity at the AJ Bell Stadium. The doubleheader was opened with the women’s game as they looked to continue their winning streak over their MMU rivals.

It was UoM who started the brightest, forcing MMU back into their own half, and with only eight minutes on the clock they secured the first try of the evening. Nyamedo Hannah showed a good turn of pace to get past the MMU defence and put her side ahead. Megan Grant-Harris converted and UoM found themselves with a seven-point advantage in the opening stages.

The MMU fans were certainly the louder of the two as they looked to pick up their team from the early setback. From the first UoM try onwards, it was all MMU as they looked for a way back into the game. UoM defended well though, and MMU did not have any clear sight of the try line.

The half an hour mark was approaching as MMU did manage to get points on the board. Number 13 of MMU pushed high up the field, which in turn allowed the number 3 to score the try. However, the conversion was not taken and UoM maintained their lead, which had now been cut down to two points.

Despite the uneven scoreline, the game had been a fair, balanced contest and the sides went in at the break with the 7-5 scoreline intact.

The second half was a different affair though, as UoM really pushed to gain dominance. Just ten minutes after the restart, Hannah scored her second try of the night and while Grant-Harris was this time unable to convert, UoM extended their lead to 12-5.

The game was drawing closer to the end, and there were some nervy moments as one try and a successful conversion would put MMU level. Any unrest was put to bed though as a scrum win gave Zoë Childs Ford the chance to power her way to the try line.

The conversion was missed but the 12 point lead of UoM looked unassailable for MMU. The game finished at 17-5 and the winning UoM team celebrated with their fans.

After a race between the two mascots, which MMU’s bird won easily, it was time for the men’s game. The 2016 encounter saw MMU defeat UoM 10-5 so UoM were hoping for a chance at redemption.

It was not long before MMU were ahead. Having been awarded a penalty, their number 10 made no mistake and put three points on the board for his side. In opposite fashion to the women’s game, it was MMU who started brightest; the opening penalty was being built on with some good rugby.

UoM, meanwhile, were struggling to get going and were forced to kick it long just to get the ball out of their own half. This relief was short lived though, as MMU regained possession and pushed UoM back into their own half.

The work of MMU allowed their number 5 to score the first try of the game and give the team an 8-0 lead.UoM continued to look for a way out and eventually they got their reward.

UoM continued to look for a way out and eventually they got their reward; Ross Bennett squeezed the ball over the try line and Charlie Reed converted to take the score to 7-8 in favour of MMU. Then four minutes later, UoM converted a penalty. Reed made no mistake to give UoM the lead for the first time.

After taking the lead, UoM were on top. A try was ruled out and a penalty kick was narrowly missed. With UoM in the ascendency, it was perhaps harsh that MMU were to go ahead again.

A penalty from a good distance was converted by the MMU number 10 making the score 10-11 in their favour. The penalty was the last kick of the first half and after a sluggish start, UoM fought their way back into it and can be considered unlucky to go in at halftime down.

In the same way the UoM women dominated the second half, the MMU men did so here. They started on the front foot, pushing UoM into their own half more and more. This eventually resulted in the number 5 getting his second try of the night, and number 10 proceeded to score the conversion.

Another penalty converted by MMU’s number 10 gave UoM a mountain to climb, which unfortunately they were unable to do. The game ended 21-10 to MMU, and their fans proceeded to storm the pitch, lifting their players aloft in the air.

Both games consisted of an even first half performance met with a strong second-period display. So the 2017 Varsity ended with victory for the UoM women, but defeat for the men.

Ignored Histories: Empire in Education with Anindita Ghosh

Our education system woefully ignores our imperial history, leaving it noticeably absent from our lower school curriculum. This week, I spoke to Dr Anindita Ghosh, senior lecturer of Indian history at the University of Manchester, concerning the absence of central historical periods, such as the British empire, from our history classes. She said: “Ignoring the empire is like ignoring the Norman Conquests or the role of Romans in Britain. It is so very integral to British society and culture,” and she’s right. Yet we are not taught about it.

I’m sure I speak for many of us when I say my lower school history education was practically caked in World War history, smothered with Tudor England and an America-centric view of the Cold War was our dose of ‘diversity’. Our curriculums ignore the fact that we once occupied one of the largest empires in history. Why do we not learn about this pre-GCSE, before studying history becomes a choice? What effect is it having on our society as a whole?

My discussion with Ghosh began with a focus on existing movements that actually are campaigning for this issue. To name just one, ‘Liber8 My Curriculum’ is an organisation that tours students’ unions and universities across the UK raising awareness.

Is this really the best approach we can be taking? As Ghosh rightly states, “it’s a start, but debate by itself is not enough.” As with any societal and cultural issue, debate and discussion can only get you so far. “There have to be some proactive steps taken on the part of the government, on the part of institutions.”

One solution she presented was getting more hires in histories of colonialism and slavery, racism and migration in our higher education system. University is where we find our future teachers, members of parliament, people who can change our future for the better. If we get people interested in a more diverse curriculum at a university level, hopefully this will translate into a move from our predominantly White European perspective in education in the future.

Following this, we discussed the effects of our current shambles of a government on the education system. Tory cuts have led British education into a state of what innumerable news outlets have aptly described as a ‘crisis’. There are many problems facing teachers these days; should diversification of the curriculum still be a primary issue? To which Ghosh replied by saying “yes” about five times in a row. Cuts and hardships to educators are, let’s hope, things that will come and go. Lack of diversification has immeasurable impacts on our society as a whole.

A repeated theme throughout our discussion was how the empire, for all its many, many flaws, provided our culture and our people with a connection to other cultures and peoples that we otherwise would not have had. Ghosh referenced jazz culture and the ‘supermarket samosa’ as prime examples. These things are “so standardized that you don’t think twice about ‘how did this arrive here? What’s the history of it?’” If we expand our education beyond the whitewashed content we are fed now, maybe we will be able to “appreciate this addition of culture and not just gloss over it.”

Photo: Anindita Ghosh

I followed this up with a rather more hard-hitting question, blunt and to the point: what, in her opinion, is the reason that we don’t discuss these areas of history in education? To which she promptly replied, “collective guilt.”  But she went on to say, “I really don’t see why that should act as a block.” Aside from the occasional talk of reparations and compensation, as a whole “the world has moved on.”

Which led me to my next question: what was her response to the main argument for us keeping imperial education out of our schools: that we should ignore it because to discuss it would be of detriment to our national pride? She conceded, “it does bite, it does hurt” to face up to our imperial past, “but the historical truth is that modern Britain is a product of empire as much as it is a product of industrialisation. By owning up, Britain would be growing up and moving on.” And she rightly added, “by that same token, we should also deny the fact that women were not allowed to vote,” or that the Somme was such a disaster, but we don’t. We didn’t even mention the fact that Brexit has already had a suitably damning effect on our national pride, you only had to go to last Sunday’s march to see that.

We need to overcome what Anindita articulated as the “institutional reluctance” that is “dividing our histories into ‘ours’ and ‘theirs’ [thus] dividing people in our very midst.”

In Manchester alone, the Asian populace is up 14.4 per cent and continues to rise, with Black and Mixed Race residents up 8.6 and 4.7 per cent respectively. “By denying its past”, she says, “Britain continues to deny its present.”

Ghosh rightly addressed the sense of identity and ownership that comes along with historical education: “Everyone wants to own the histories they are taught, everyone wants to have a sense of belonging.” By excluding topics such as the British Empire and British (no, not American) slave trade from our lower school curriculum, we are perpetrating what Ghosh described as a sense of “alienation” amongst our growing minority populations.

To end on a slightly more positive note, Ghosh and I discussed the work that the University of Manchester is doing to tackle this issue. According to Ghosh, UoM has really “taken the lead” amongst the Russell Group community in encouraging diversification. One form this innovation has taken has been the Manchester Access Programme, which supports students from underprivileged and minority backgrounds through university.

My own degree path displays how Manchester is addressing the lack of diversity in education; since starting I have studied two modules about colonial history. But, as Ghosh says, we need to do more, and “the onus is as much on the majority community to promote integration and partnership as it is the minorities.”

Review: Nick Mulvey

The O2 Ritz, 4th November

Everything that Nick Mulvey does is calm and collected. Absolutely zero per cent of his aura is in any way rushed, uptight or rushed. His performance at the O2 Ritz was no different from this, and he exuded complete zen.

Mulvey, who studied Ethnomusicology whilst at university, has always used what he’s learned in his solo work. This is still true, and it has to be said his new album is no major leap from his previous work. However, his music fills a niche, and it works perfectly for him.

The evening kicked off with ‘Remembering, Unconditional’ and ‘Meet Me There’ gently tickling everyone’s eardrums with accurately delicate acoustic guitar melodies and gorgeous angelic harmonies from the supporting female singers (one of which is his partner!). Mulvey sang past favourites such as ‘Cucurucu’ and ‘Fever To The Form’, during which dedicated fans sang the lyrics back to him with love, prompting him to even start over with ‘Cucurucu’ as he enjoyed hearing it echoed back to him so much.

The mellow songs ebbed, flowed and poured into the each other, dipping from work from his previous 2014 album First Mind, combined with tracks from his new album Wake Up Now. There’s an almost flawless magic in the air, the way the audience is compelled to be calm. Like a beautiful dream, it’s relaxing and soothing listening to the smooth vocals and array of different sounds that Nick uses.

‘Never Apart’ possessed an underwater vibe. Whilst listening you felt like you were floating effortlessly in a completely still sea, in the dead of the night. The occasional echoed sonar sound which was used as the underlying beat was so clever and calming to listen to. “Knowing who we are, and our place in the stars and now we are never really apart, from the whole of it all.”

‘Imogen’ was another song which stood out. Mulvey spoke about the origins of the song, stating that there was a storm occurring at the same time as his baby was being born. He decided to write the song about all that was going on whilst storm Imogen was happening. He also told the crowd that his baby was originally named after the storm, but as he turned out to be a boy they swiftly called him Inka instead.

The performance was tied together with the final song ‘Mountain to Move’. In keeping with the rest of the set, it was a tantalising combination of slow drums, swallowing your entire being, and incredibly beautiful lyrics.

Nick Mulvey is a beautiful hurricane of emotions to listen to. His musical presence has the power to hold a tightly fixed grip on his audience to hang on to every word and every note. Mulvey’s talents are second to none, which is clearly obvious to see and hear.

8/10