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Year: 2018

Photo: greymatters @ Pixabay

Graduate unemployment at its ‘lowest for 39 years’

Written by Josh Sandiford on . Posted in News.

The graduate unemployment rate is at the lowest level in 39 years, according to Prospects, the UK’s biggest graduate careers website.

Prospects have released the latest edition of the ‘what do graduates do?’ report, compiled with responses from over 250,000 UK-based first degree graduates.

The report has found that only 5.1% of graduates were unemployed after six months of graduating in the 2016/17 academic year. This marks the lowest rate of graduate unemployment since the 1977/78 academic year.

The report notes that ‘skills shortages across many industries’ appear to have had a hand in boosting graduate job prospects.

74.3% of graduates were in employment six months after graduating, with 73.9% of these graduates in professional-level jobs. The average salary for graduates in full-time employment in the UK was £22,399.

21.5% of graduates went on to full- or part-time study, with the number of those studying for master’s degrees and PhDs rising sharply due to the introduction of postgraduate student loans.

Alistair Jarvis, the chief executive of Universities UK, has responded to the Prospects data, stating that it “shows that employer demand for graduates is growing. We know that employers value the broad skills graduates develop at university across a wide range of subjects and levels”.

He added that, “graduate salaries are, on average, almost £10,000 a year higher than for non-graduates, and graduates are significantly more likely to be in employment.

“Universities also provide graduates with skills that will be valuable throughout their lives. The ability to think critically and to analyse and present evidence are skills that enrich graduates’ lives, and last for life”.

According to the Higher Education Statistics Agency, 94% of graduates from the University of Manchester go into employment or further study.

The graduate unemployment rate chimes with the low unemployment figures seen across the country standing at 4%, the lowest for over 40 years.

Photo: Students For Sensible Drug Policy @Facebook

Why students should have access to drug testing kits

Written by leahmarlow1 on . Posted in Opinion.

The National Union of Students (NUS), whose vision is to “fight barriers to education, empower students to shape both a quality learning experience and the world around them, supporting influential, democratic, and well-resourced students’ unions”, are finding it harder and harder to ignore the growing prevalence of recreational drug use. The prominence of drug usage in university culture is undeniable, with a recent NUS report stating that over 50% of students have tried illegal drugs, and 2 in 5 students take drugs regularly.

These findings have prompted a significant number of universities to consider introducing drug testing kits, including the University of Manchester Students’ Union. Manchester has also welcomed organisations such as ‘The Loop’, a non-profit organisation who attend festivals and club nights across the UK, including The Warehouse Project, providing drug safety testing, welfare and harm reduction awareness. This is a major step forward — having access to drug testing kits will educate students on what they’re taking and how to take it safely.

The approach previously adopted by other universities has been more centred around stricter methods of prohibition and enforcement. Namely, Buckinghamshire University, which announced earlier this year that students would be required to sign a contract pledging to refrain from taking illegal substances whilst studying there.

With NUS research showing that many students use drugs as means of coping with mental health issues and stress, it is unlikely that enforcing rigid rules in order to create a ‘drug-free campus’ is going to solve these issues and benefit students. On the contrary, it is likely to exacerbate them. The introduction of a ‘drug-free’ pledge seems unrealistic – why would such a contract have any more salience to students than the government law against recreational drugs already in place?

With the NUS advocating harm reduction, students will be able to make informed choices regarding drug usage and if they decide, can consume substances safely. It is virtually impossible to ban drugs outright, but it is possible to ensure that young people can make educated decisions which will lower the risks of drug related casualties.

University of Manchester students can obtain drug testing kits for £2.50 from the Students’ Union Advice Service.

Photo: Natesh Ramasamy

Study finds that millennials are the loneliest generation

Written by Tom Allen on . Posted in Science & Tech.

Research undertaken by staff from the University of Manchester, Brunel University London, and the University of Exeter has found that millennials are the loneliest age demographic. According to the study, millennials experience loneliness more intensely than any other age group.

55,000 participants from across the country engaged with the BBC Loneliness Survey, part of BBC Radio 4’s weekly ‘All in the Mind’ radio program. The series covers various topics concerning mental health, such as psychology and psychiatry.

The study found that 40% of 18-24 year olds felt lonely ‘often or very often’, whereas the equivalent proportions for those aged between 65-74 and over 75 was 29% and 27% respectively.

Although there was a higher proportion of young people reporting feelings of isolation, older respondents noted that the time they felt most alone in their lives was during early adulthood. These formative years may be the first time that many people experience such emotions, perhaps suggesting that many establish coping techniques as they age.

This view was supported by Professor Christina Victor of Brunel University London, who further added that the loneliness felt by millennials was not a new phenomenon. Instead, the lack of research in the past 50 years on the topic may be the cause of surprise at the findings. “For all we know, the loneliness of the young could be a continuation of a pattern dating back to the 1950’s. It’s just we never bothered to ask,” Victor said.

The rise of social media and its widespread prevalence is perhaps one of the most significant divisions in the upbringing of millennials relative to older generations. With nearly 4 hours per day spent using mobile phones, young people today are arguably better connected than ever before. Despite this, those with the most Facebook friends were found to be lonelier than those with fewer.

Surprisingly, the notion that loneliness was largely a negative emotion was not widely found amongst participants. A staggering 83% stated that they liked being alone and appreciated their own company. A somewhat lower 41% felt that loneliness had the potential to be a positive experience.

Although a high proportion of participants noted positive aspects to spending time alone, many still acknowledged that there was an underlying stigma surrounding loneliness. Older participants reported feeling less shame than their younger counterparts, though claimed to be more inclined to hide their feelings rather than openly discuss how they felt.

Earlier this year, the Conservative party accepted a series of recommendations as outlined by the Jo Cox Loneliness Foundation to combat loneliness across the country. Tracey Crouch, Minister for Sport and Civil Society, was delegated to lead a cross-governmental team focusing on strategies to reduce feelings of isolation within the UK. A pool of money was also allocated to aid the government in introducing various community cohesion projects, an attempt to bring communities closer together and encourage the formation of friendships. The funding will also seek to increase the quality and accessibility of mental health provisions.

The results of the study are discussed in greater detail by BBC Radio 4’s Claudia Hammond, alongside philosopher Julian Baggini. This broadcast is accompanied by a series of podcasts entitled ‘How You Can Feel Less Lonely‘, each episode taking into consideration various practical lifestyle changes which may encourage mindfulness.

If you are struggling with your mental health, the SU has an advice service which is free to drop in on weekdays. More information can be found online.

Photo: celebrityabc @flickr

Review: Night School

Written by Adrian Kanyoli on . Posted in Film.

Directed by Malcolm D. Lee and co-written by Kevin Hart, Night School is the newest addition to the pantheon of the superstar comedian’s blockbusters, this time conspicuously without his frequent collaborator Dwayne ‘The Rock’ Johnson. Frankly, the fact it’s a Kevin Hart film is all you need to know. From that, you should be able to tell its narrative structure, its moral, and its distinct brand of humour — if you’ve seen one, you’ve seen them all. But if you need more, the plot is simple: a high school dropout trying to get a lucrative job so he can hold onto his beautiful, successful fiancée must go to night classes to get his GED (the equivalent of a high school diploma for those unfamiliar with American nomenclature).

What follows is a series of dynamic jokes and blue humour tied together by an easy-to-digest plot and spiced up by colourful supporting characters. As is often the case, Kevin Hart plays Kevin Hart just with the name Teddy Walker. The 111-minute run-time will give Hart’s apologists the chuckle-worthy comedy routine they’ve become accustomed to. All non-fans out there, don’t worry, Melissa McCarthy has a new film out very soon, just hold on until then. 

The rest of the cast (Taran Killam, Romany Malco, Ben Schwartz, Mary Lynn Rajskub, Anne Winters) play the usual suspects of comedy stock characters but they do so without enough vigour to make them anything worth mentioning — just enough to justify their pay cheques. They mostly stay out of Hart’s way as he ad-libs his way to another banal surefire box office success. 

The character who steals the show is Carrie, the night school teacher, played by Tiffany Haddish; she keeps up with Hart, which is quite the feat since the latter is one of three highest-paid comedians. Her natural charisma, acerbic wit, and comic timing elevates what would otherwise be a thinly-drawn, stereotypical character to something more.

Those of you looking for a film you can ignore while you suck face with your date, Night School was made for you. Those looking for genuine laughs will have better luck watching Kanye in the White House. 

Rating: 2/5

Photo: vagueonthehow @ Wikimedia Commons

Review: Goosebumps 2: Haunted Halloween

Written by madeleinepeden on . Posted in Film.

Where to begin? Even at a somewhat short running time of only one hour and forty minutes, this film was a struggle to get through. The sequel to a not too shabby first feature, this film failed to cash in on the nineties nostalgia that was gifted to it by the Goosebumps books and television series.

Initially, I was thrilled and terrified to see the return of Slappy the Ventriloquist dummy as he was the source of many genuine nightmares for me following his television debut back in 1999. This quickly disintegrated into boredom (and yet more boredom) once he did eventually make his first film appearance.

The premise of the film was weak; two middle schoolers, Sonny and Sam, along with Sonny’s sister Sarah, save the town in the wake of Slappy’s vengeful quest for a ‘Halloween family’ — the only actual reference to Halloween in the whole film. Weaker still were the particularly poor puns that were more frequent than actual plot points. Even the comedic styling of SNL’s Wendi McLendon-Covey as Sonny and Sarah’s mother struggled to overcome the terrible script and storyline.

The kids seemed relatively unphased by the ‘horrors’ of Slappy’s retribution unfolding around them. On the one hand, this could be an ode to the unphasable nature of generation Y who’ve had Wi-Fi access since they were in the womb. More likely, however, this lack of reaction was probably down to a sheer lack of acting ability. A similar struggle could be seen in the performances of potentially the least threatening schoolyard bullies of all time.

An awkward cameo from Jack Black reprising his role as R.L Stine did not help matters. His fleeting and unnecessary appearance exuded a strong sense that he was just there to fulfil a contractual obligation his lawyers were unable to get him out of.

Admittedly, this film is aimed at kids, but I can confidently assume that even the sugar high, following a week-long ‘trick or treating’ session, would fail to help them see past the shoddy script, senseless storyline, and relatively naff special effects.

1/5

Photo: Juliette Flach

Journeys Live: World Music

Written by julietteflach on . Posted in Arts.

On Saturday 13th October, a wonderful festival of art and culture from around the world took over Cathedral Gardens. The area was packed with people of all ages and nationalities, coming together to eat, drink, laugh, and listen together — it felt like a true celebration of rich diversity.

The news bombards us with constant updates of atrocities occurring around the world, often relating to societal division and hatred. This ‘Journeys Live’ event was a great opportunity to acknowledge the challenges that mankind is facing, and instead of letting them divide us, rather we can come together.

This was a joyous occasion, allowing people to unite through food, art, music, and dancing. People were brought together by the power of unity, to celebrate the diversity of cultures on display at the World Music event. The event gave a platform to a vast variety of genres and cultures, with groups such as the Amani Collective and the Manchester International Roots Orchestra (MIRO) bringing performances of African Jazz to ‘cultural fusion rap’ to an enthusiastic crowd.

This event provided a stark contrast to the discriminations, prejudices, and hate that can be found scattered across the globe. The messages of determination to maintain positivity and unity, despite the hardships of the world, were evident in the song lyrics of the musicians, the smiles of the chefs, the pencil marks of the artists, and the words of passion spoken by the charity volunteers.

I left having not only experienced an enjoyable day in the sun but also with a renewed determination that if we come together, we can make the world a better place!

Photo: Juliette Flach

Look up at art: Kate Daudy

Written by julietteflach on . Posted in Arts.

For ten days, Manchester has been one of the hosts of the ‘Journeys International’ art festival. There have been a wide array of events happening all over Greater Manchester; a participant who remained throughout the festival was Kate Daudy, whose art projects did not fail to impress.

Messages were scattered around the city from Fish and Chip shops to the side of Selfridges. Her artwork is based on the traditional Chinese practise of writing over objects as both an expression of the current owner, and the meaning they place upon it. However, this latest project was also connected with, and inspired by, the experience of refugees.

During the early stages of the development of her art, Daudy visited refugees, asking what they wanted her to convey. One of the key messages she found refugees wanted to express, was an appreciation of the life we are leading on a day-to-day basis. From this beginning came both the ‘Am I my brother’s keeper?’ and the ‘Look up’ projects.

Both projects consist of diffusing messages through the use of colourful felt. ‘Am I my brother’s keeper?’ is an art installation in the Manchester Art Gallery. Daudy has covered a ‘UN High Commission for Refugees’ desert tent (which a family lived in for several months) in colourful, yet harrowing words, alongside bright crochet made by internationally displaced women in refugee camps.

The ‘Look up’ project broadcasts these important messages into the pathways of ordinary people living their everyday lives, making people across Manchester stop and take note. Whilst they perhaps do not fully appreciate the meaning hidden behind the letters, the ‘Look up’ project allows viewers to interpret them as they wish.

This is not a new concept. Throughout time, humans have expressed thoughts and feelings through words and symbols depicted on walls and objects. Although the medium, message, and motivations may change, the desire to put across a thought through art remains.

I found Daudy’s installations to be particularly poignant as she unites the messages drawn from the experiences of refugees and uses them to interrupt the day-to-day lives of those living miles away. Daudy takes street art to a whole new level, spreading human experience across the seas through the medium of art.

Photo: Michael Ashcroft

Preview: Michael Ashcroft’s ‘This is Manchester’

Written by isabeloldman on . Posted in Arts.

A former engineer turned professional artist, Michael Ashcroft’s career began after having treatment for a brain tumour. Since leaving his former job, Ashcroft has had his paintings displayed in 28 different exhibitions and is now returning to the Contemporary Six gallery this November for one of his own.

Named ‘This is Manchester’, the collection is focused solely on his vision of this city in particular. In an interview, Ashcroft said: “This exhibition is a culmination of three series that I have been working on over the last 18 months; I have never had a show based just on Manchester work so this is actually the first.”

Ashcroft grew up in a rural Lancastrian village and much of his work is an appreciation of life in the North of England, representing the familiar buildings and luscious northern countryside with affection. Ashcroft suggests that his work is rooted in his admiration for his home region: “I was always fascinated with Manchester as a child growing up,” he says, “the hustle and bustle and bright lights of the big city as it were and that’s what I’m trying to capture I guess, the same feelings I had and still do from being in the city.” This warmth is reflected in Ashcroft’s work through soft, blended brushstrokes and through the golden light that bounces from the city’s familiar pubs and buildings.

Yet Ashcroft’s relationship to the city has, in the past, been tumultuous, particularly in regards to the tumour he had been treated for at Manchester Royal Infirmary in 1998. “Thankfully the 12-hour operation went well although I lost my voice along with the left side hearing and swallowing paralysis. I spent two weeks in hospital, the longest time I had spent in Manchester.”

Rather than souring his relationship to the city, Ashcroft credits it with helping with his recovery, since it too was experiencing the aftermath of its own trauma — the IRA bomb that had hit two years earlier. “The city was going through a regeneration period and building itself back up and so was I. I thought I would have turned away from Manchester but I actually grew to love it more and more. I always visited the Whitworth or Manchester Art Gallery whenever I was there for a check-up so I always left the city with a good feeling. It was there that my passion for art grew stronger.”

In his paintings, Ashcroft seems to take the position of a care-free pedestrian, visiting and admiring many of the same landmarks that residents and visitors have always grown close to, including the Night and Day café and skylines of Deansgate. The feeling that Ashcroft attributes most readily to his work is honesty, and his desire to portray the Manchester he adores is clear in his paintings. “I paint what I love,” he says “There is no other reason than that.”

‘This is Manchester’ runs from the 1st to the 14th of November at Contemporary Six.

Photo: Gurnaik Johal

Review: Faber New Poets

Written by Gurnaik Johal on . Posted in Books.

I hadn’t previously heard of any of the Faber New Poets (Zaffar Kunail, Sophie Collins, Richard Scott, and Hannah Sullivan) performing at the Anthony Burgess Foundation as part of Manchester Literature Festival. But once the event was finished, I knew for sure that I’d be hearing (and reading) much more from them in years to come.

The poets were introduced by John McAuliffe (co-director of Manchester’s Centre for New Writing) who described 2018 as a “stand out year for debut poets”. Kunail, Scott and Sullivan (Sophie Williams sadly couldn’t make it) have all released their debut collections this year and are testament to the fact that the millennial poetry scene is thriving.

First up was Richard Scott, reading from his “wild and controlled” debut, Soho. He began with the opening sonnet in Soho, where the speaker writes in the margins of the poem they are reading. Seeing Scott talk about a past of scribbling in margins to taking centre stage and performing was a joy to watch. He was a natural performer and his carefully wrought poems sounded like music in his softly-spoken voice.

Scott talked a little about growing up under Section 28, and how it felt to be a queer reader in a time of censorship. When he was younger, he realised that you could in fact find “a queer subtext” in the work of poets like Gerard Manley Hopkins.

He described that in writing Soho, he was attempting to “unearth some kind of queer ancestry”. Finding a queer poetic lineage, was hard for Scott— he wasn’t just interested in a lineage of trauma. This need to find himself in words led to him looking to “Soho; a place of otherness, sexuality and queerness”.

Scott’s poems were as tender as they were erotic, as intellectual as they were heartfelt. His debut is the result of feeling a lack of queer representation in poetry but may well stand as a key touchstone to a future generation of poets.

Zaffar Kunail read next, from his collection, Us. Kunail is interested in how “language names us and shapes us”, he manages to compress “big subjects into small words”. With pin point precision, he draws out large conclusions from small subject matter. McAuliffe likened Kunail to Seamus Heaney and Paul Muldoon — high praise indeed, but well-earned.

Kunail told us about how he used to stutter as a child, and how constantly having to think a word or two ahead in a sentence has shaped his understanding of language. His poetry certainly reflects this, every word is chosen with the utmost precision, every line break has clearly been thought through and earned its place.

My favourite poem of Kunail’s was Spark Hill. Based on a childhood memory where Kunail was forced rather unwillingly into a fight, it was subtle but affecting when read aloud. For anyone interested in poetry where language itself is the subject, Zaffar Kunail’s Us is a must.

Hannah Sullivan was the last to read and for the first time ever, she read her 12 page poem, You, Very Young in New York. After Scott and Kunail’s shorter pieces, Sullivan’s reading was almost hypnotic. Her care for language was obvious from the almost musical reading; I even found myself tapping along to the beat of her speaking.

The poem follows a hedonistic, alcohol-fuelled journey through New York taking place both over the course of one day and a whole year. It’s experimental in its concept but the imagery is vivid enough that it was easy to follow along as she read.

Sullivan signposted the various quotes from Joan Didion, Theodor Adorno, Henry James, and F. Scott Fitzgerald that create an intertextual patchwork throughout the poem. Sullivan, who received a PhD from Harvard and currently teaches at Oxford is definitely a scholarly writer.

But this shouldn’t turn people away from her work — her poems will force you to think ‘yes’, but there is no intellectual barrier to stop you enjoying them. While I haven’t read a lot of the stuff she quoted, I certainly enjoyed her book, Three Poems. And where she is scholarly, Three Poems is similar in many ways to T. S. Eliot’s Four Quartets; she is new and refreshing.

From Richard Scott’s exploration of queer desire and Zaffar Kunail’s experiments with language to Hannah Sullivan’s reimagining of the coming of age narrative, it’s clear that this year’s Faber New Poets are worth watching. In a year full of brilliant debuts, they’ve set themselves apart as uniquely equipped to write about our current times.

Photo: Wikimedia Commons @Daniel Benavides.

Review: Two For Joy

Written by izzysharp on . Posted in Film.

Two For Joy as a film is a rare occurrence. It hovers over the middle ground between glory and failure, and is all the more frustrating for it. The film, directed by Tom Beard, follows a working-class family rocked by the death of the father. It comprises of struggling mother Aisha (Samantha Morton), tearaway young son Troy (Badger Skelton), and conscientious teenage daughter Violet (Emilia Jones). Violet convinces her mother to take them away to their seaside caravan, where they encounter the caretaker Lias (Daniel Mays), his sister Lillah (Billie Piper), and her daughter Miranda (Bella Ramsey). Tensions between the group build until the story concludes in a shocking denouement.

There is some impressive cinematography in the film. One of Tom Beard’s talents as a director is his ability to evoke the familiarity of British life: an empty ready meal; the blare of Saturday night TV; the shine of a corner-shop in the gloom — but he comes into his own in the later stages of the motion picture, during the transition from an oppressive domestic world to the coastal scenes. The crux of this transition, when the camera pans up from a dingy underpass to the blue-green light fading over the motorway, like a kid looking up into the sky from a car, is wonderfully striking.

The directing is at its best after this. Late evening hangs in deep purple over the coast like a Turner painting; mackerel glisten in a fish box; a seaside carnival glitters in a lonely fashion as Violet is tossed about on a ride; bruises decorate Miranda’s shoulder as if the sky has leached onto her skin. However, after an hour or so I felt that the pacing of the film slowed, and I was relieved when it eventually began to pick up again.

Often people forget to comment on costumes unless they are a superhuman endeavour, but in neglecting this aspect of film they are doing the field a disservice. Although the costume department in Two For Joy haven’t reinvented the wheel, there are some very clever moments. Miranda stomps around in pink trainers and a swimsuit that gleams like fish scales, some wonderful foreshadowing to the film’s ending. Her bratty apparel is heavily influenced by her mother Lillah (bleached hair, hoops), whereas Violet is barefaced and dressed neatly, unlike her mother Aisha, whose clothes appear unwashed and oversized.

The young talent in Two For Joy is standout. Bella Ramsey’s portrayal of Miranda as a stubborn, stroppy pre-teen girl who befriends Troy only to bully him, is wonderfully nuanced. Emilia Jones’ performance as Violet is subtle and measured. I did feel though – and this wasn’t entirely her fault – that it verged on the wrong side of underplayed. There is a trend at the moment for bare scripts — ones that rely on empty space and meaningful looks, and they work better in some films than others. What there was of the script was very well-written but a bit skinny.

Billie Piper and Samantha Morton, as a far more experienced actresses, can carry this type of script far better than a young actress. Piper’s Lillah tries being tough and matter-of-fact, but you get the sense that she is actually a far more lighthearted being. Piper also handled the implications that Lillah had just left a fraught relationship well — the material felt fresh. Morton, with her lethargic stare and fretful face, was genuinely frustrating. I wanted to shake her for Violet’s sake at times, and hold her hand at others.

Two For Joy is worth seeing. If only Beard had pushed the boat out just a little further, it would have been truly striking.

Rating: 3/5.

Philip Hammond. Photo: Chatham House @Flickr.

Students “neglected” in latest Budget

Written by Ethan Davies on . Posted in News.

Students at the University of Manchester have been left largely unimpressed by the latest Budget, announced last week.

And the head of the Students’ Union said young people had been “neglected” by the Chancellor Philip Hammond’s economic plans which were built on Brexit uncertainty.

The Budget brought in a surprise income tax cut, promised an extra £2 billion to improve mental health services and introduced a new nationwide 26-30 ‘millenial’ railcard, but failed to address issues most relevant to students.

One such issue was the government’s refusal to reinstate student maintenance grants. The £3,387 payment for students from poorer backgrounds was replaced by a loan in 2016.

However, it wasn’t included in Mr Hammond’s spending plans despite his remark that “austerity was coming to an end”. Labour’s Shadow Chancellor John McDonnell disputed this claim.

Dr Raffaele Rossi, a Senior Lecturer of Economics at the University of Manchester, says that “in terms of day-today spending, public spending is going to increase. But in per capita terms, i.e. how much the government is spending on each of us, then public spending is well behind the levels reached under the Labour governments of Mr Blair and Mr Brown.”

“What is clear is that this Budget will end of austerity for the NHS. What is unclear is what happens to other departments. For example, social security benefits, i.e. public pensions, will see further cuts in the next five to six years.”

Online, students reacted to the lack of student-focused announcements with a mixed response, with Mitchell Carey commenting: “They don’t care about students at all. My wife [an international student] paid for uni up front, boosting the economy and still had to leave the country, even though I make way more than enough. Unless you have £63,000 in savings not moving in your bank, you have to leave. It’s a joke.”

Charlie Chilton added: “The kids from wealthy backgrounds will keep going to university and kids from poor families will start to lose hope of getting a degree and it’ll be less likely that they’ll be able to change their situation.”

However, another student, Joshua, said, “of course students would back a maintenance grant. Free money.”

Dr Rossi believes that, “in this budget, the main issue… is the government deficit”.

He said: “Public debt means that the government is borrowing against future income. Students are the ones who will produce this future income, so [an increase] in government deficits implies movement in taxes of future workers. In this respect, the government announced a reduction in its borrowing in the medium terms, say 5-10 years. Reducing deficit means that students will pay lower taxes in the future. So this is good news.”

The University of Manchester Students’ Union (SU) General Secretary Fatima Abid had a less positive outlook.

“Once again students and young people have been neglected by a Budget which is built on a world of uncertainty. The unknown consequences of Brexit which we know will have deeper impacts on our generation than others need to be made clearer.

“The lack of focus on the housing crisis, low-paid and precarious working mean this is another Budget which isn’t for us. The government also keeps kicking the difficult decisions around university funding and the cost of living into the long grass. We are fed up of feeling in a constant state of flux in relation to our futures.”

Riddi Viswanathan, SU International Students’ Officer, added: “I am aware that the Budget has drawn expertise from various fields before making investment decisions in apprenticeship schemes, loans and research and development. However, what concerns is the fact that the student voice in these decisions is very minimal. Why are we making decisions that affect us without us?”

Other announcements in the budget included a new tax on plastic packaging which does not contain 30% recyclable material. Furthermore, a packet of 20 cigarettes is set to increase in cost by 33p after 6pm.

A new 50p coin to mark Brexit next year was also revealed, as well as a rise in wine duty by 8p per bottle in February next year.

Students remained similarly divided on the Budget as a whole, with Jesse Stoddard (also a member of Manchester Young Libertarians) say the Budget meant, “continued borrowing against our future instead of responsibly working to eliminate the deficit”.

Tom Bradley disagreed in satirical fashion: “I think it’s excellent news, the wealthiest in this country are clearly struggling to get by; it’s not enough to merely strip public assets and sell them at a steal to profit-making corporations.”

This debate could go on for some time, with Mr Hammond also indicating that the 2019 Spring Statement could be upgraded to a full emergency budget if Brexit requires him to do so. However, Dr Rossi also believes that this timeframe will be “far too early to appreciate any major negative consequences of Brexit”.

Photo: Alex Stagg

Live Review: Maisie Peters

Written by Alex Stagg on . Posted in Music.

Maisie Peters is a singer-songwriter who oozes style, charm and confidence.  She also supported Tom Walker at a sold-out O2 Ritz, as their thriving tour of Europe continued.

At the mere age of 18 it is quite remarkable the maturity Maisie bestows in both her performance and song-writing. She gets a lot of this inspiration from her “own life, friend’s lives and other people’s music”. An example of this was a song “about being pied off by your driving instructor” — somewhat humorous in topic but intrinsically a powerful musical interpretation of unrequited love that hits deeper than expected. This is typical of Maisie’s music in general — something possibly ‘cheesy’ instead becomes soothing emotional melodic lines and clever poetics. It goes way beyond that classic ‘teenage romance’ trope.

Sincerity laces Maisie’s songs. Upon asking her about the importance of it in a piece of music she responded: “the biggest songs and those which last the longest are those that sound sincere”. She continued to explain how during the compositional process she considers “if a song is necessary in the world”, and if so concludes that “someone’s going to need that; proving a mark of a good song”. It is this awareness and interaction with the real-world that consequently roots her charming honest sound. Therefore, if it’s those kinds of songs that truly last the longest then she is most certainly one to watch.

Performing to a sold-out venue of 1500 would surely be nerve-wracking for most young artists, but not for Maisie. Speaking about this, she described a technique of “not thinking about anything” — what I would call ‘getting in the zone’ to some extent — to overcome any potential jitters. Backed by the talented multi-instrumentalist Christina, this mentality did not shut her off during the performance. Maisie was utterly engaging with the music and audience. She had a comforting and stylish confidence throughout emotional renditions of ‘Worst of You’, ‘Best I’ll Ever Sing’, and others.

This same likeable personality was reflected off stage, as she spoke with intelligence and an easy sense of humour. This likability also translates onto the platform of YouTube, on which she harbours nearly 40,000 subscribers. This online fan base proved a catalyst for the start of her journey, “falling into more stuff from there”, carving a musical career pathway of which she now “wouldn’t wish to do anything else”. With millions of streams on Spotify, Maisie described the sensation as being “distantly impressed with yourself, but also kind of incredulous”, feeling “super grateful to everyone that listens”.

These streams look set to continue with the recent release of ‘In My Head’ (featured on Spotify’s New Music Friday playlist). The song has already racked-up over 500,000 listens. It stands as an introduction to her new 6-track EP Dressed Too Nice For a Jacket, dropping November 2nd this year.

Voice, personality and intelligence combine to make Maisie a unique and compelling singer-songwriter. She wears her heart on her sleeve, gifting listeners with honest, natural music that’s sure to stick in your mind. The future looks incredibly promising for the 18-year-old and I can’t wait to see what’s coming next.

8/10.

Photo: Scott Rylander

Review: Antic Disposition’s ‘Henry V’

Written by Anuli Changa on . Posted in Theatre.

Antic Disposition’s next stop on its ‘Henry V’  tour saw them at the stunning Manchester Cathedral. Manchester Cathedral was, coincidentally, given its charter by Henry V.

The stage was a narrow corridor with parallel seating along two sides. The uniqueness of the Antic Disposition’s take on ‘Henry V’ lies in the play-within-a-play element. The performance begins with two groups of World War One soldiers, one French, one British, taken away from the front due to injuries. A young British private’s only book is a copy of ‘Henry V’ and the soldiers decide to perform it.

Nathan Hamilton was commanding on stage as the title character. He portrayed the powerful, self-assured side of the young king alongside his vulnerability, doing both equally impressively. Having interviewed Hamilton, it was clear to see the work put in to create these layers, as well as the power difference of a low-ranking private playing a king. The highly anticipated ‘Once more unto the breach’ monologue did not disappoint. Dramatic lighting and amazing acoustics, as well as Hamilton being lifted onto the men’s shoulders, created an impressive moment.

Directors Ben Horslen and John Risebero reminded the audience of the play-within-a-play element in powerful ways that didn’t interfere with the integrity of the Shakespeare. The end of the first act saw the execution of Bardolph interrupted by the soldier playing the part experiencing an episode of ‘shell shock’ (or PTSD). This was artfully performed by James Murfitt, as the pain and fear of being shot transformed into his fear of the present dangers of the war.

Aude Le Pape, playing a French nurse in the World War One context, then became Princess Catherine in the context of ‘Henry V’. She had great chemistry with Hamilton, making their interaction where he asks for her hand in marriage highly entertaining.

The musical interludes with the beautiful words of AE Housman mostly replaced dialogue in the World War One scenes, it was a great addition to the performance. The vocals (accompanied by live instruments played by members of the cast) were not perfect but they were consistently genuine and this really added to the atmosphere of the performance. The most powerful song by far, was the Agincourt Carol (with music by Christopher Peake). Every note was powerful and rousing, a visceral atmosphere felt by the whole room.

Antic Disposition first performed their version of ‘Henry V’ in 2015. Horslen and Risebero have clearly worked tirelessly on all the touches on this iconic show. It is beautifully conceived, from the minimalist set and period props to the subtleties of the wedding bouquet being poppies. Just as the audience was immersed in the wedding of Henry and Catherine, the soldiers were called back to the front. This was a beautiful juxtaposition of fiction and reality within the performance. It was deeply emotional to see these men who had ‘forgotten’ the war in their acting returning to those horrors.

‘Henry V’ was beautifully performed with obvious skill in the direction. The ability to adapt this show to so many incredible cathedrals and make it relatable to changing audiences, is impeccable; everyone should see it.

‘Henry V’ is touring until Friday 16th November.

Photo: Pippa Rankin @ The Mancunion

Live Review: WHP Vs. Motion

Written by Sam Honey on . Posted in Music.

The seasonal return of The Warehouse Project for a three-month term brings with it an array of industry-leading names, stunning visuals, and the chance to experience one of Manchester’s truly great nights out.

Debuting in late September with Seth Troxler headlining the 12-hour opening event, the 2018 calendar promised a huge variety of show-stopping acts, from drum and bass pioneer Andy C to the high-energy, aggressive style of Manchester’s own, Bugzy Malone. The series organisers have also spread this year’s events over a range of locations, with the hallmark Store Street venue joined by the likes of Gorilla, Manchester Academy, and The Mayfield Depot.

WHP vs. Motion was the 13th show of the 2018 lineup, with sixteen main acts packed across an 8-hour time slot. Staged at the project’s traditional venue, Store Street, an underground labyrinth beneath Piccadilly station, the maze of passageways and arches added to the sense of anticipation and excitement for a night of techno royalty.

Split across three separate rooms, the evening was headlined by Alan Fitzpatrick, former techno enthusiast and club-goer who became globally-recognised after releasing his debut album for Adam Beyer’s Drumcode label in 2010. A resident at Fabric, Fitzpatrick mixed high-energy beats with his own, distinct funky sound to create relentless and carefully-orchestrated buildups before sending the crowd crazy with his perfectly-timed drops.

Fitzpatrick’s set contrasted nicely with that of another industry-leading name in Chris Liebing. Originating out of Frankfurt’s vibrant techno scene in the 90s, the 49-year old has taken the stage at some of the world’s most renowned clubs, including Space in Ibiza. Liebing’s set emphasised his metallic style and minimalist interpretation of the genre, with his repetitive mixes bringing an increasingly-concentrated mood to a crowd that was electrified by Fitzpatrick’s rave-inspired tracks.

One of the earliest sets in room one, Pan-Pot also tapped into the rave tone, characteristically mixing vocals into an exuberant set, enhanced by stimulating visuals on the centrepiece LED screen. The duo have long been known for their appreciation of club culture and captured the underground dance-floor vibe with a melting pot of techno and house tunes, almost framing Store Street as an oversized house party.

The final act of the night, Sam Paganini, revitalised a tiring sea of party-goers with a range of emphatic beats and elements of his famed ‘dark techno’ style. The Italian DJ has cemented himself as a household name of the techno industry with some true classics, including ‘Rave’ and his 1997 release ‘Zoe’, that broke into the UK Top 50. Paganini closed out the evening with a performance not too dissimilar from Fitzpatrick’s, but distinguishable by the recognisability of his powerful grooves.

The setting of the Warehouse Project series itself ensures that it is an experience not to miss in the calendar of Manchester’s diverse club scene. The reductionist feel of an underground, former air-raid shelter particularly enhances the atmosphere of house and techno-themed nights, with WHP Vs. Motion delivering an atmosphere reminiscent of Berlin superclub Berghain. Continuing into November, this year’s calendar still features Chase and Status, Deadmau5, Denis Sulta, and AJ Tracey.

10/10

Photo: alt-J @ The Mancunion

Live Review: alt-J

Written by alexwain on . Posted in Music.

World famous indie rock band alt-J came to Manchester on Sunday night as part of their current tour supporting their newest album REDUXER and honestly, it was one of the best performances that I have ever been to in my entire life.

After arriving at the beautiful Bridgewater Hall  (one of Manchester’s most stunning venues) and taking our seats, mere minutes before alt-J were set to perform, the fire alarm went off, prompting an unexpected setback to the show. Nervously, we waited outside for the building to be assessed and to be let back in, but by the time we were back in our seats and the lights went down I knew this was going to be incredible regardless.

After apologising for the delay, the band confidently stepped on stage. The steady intro of ‘Something Good’ began and the hanging strips of LED lights placed evenly between the trio twinkled in time as they swept the whole of the audience into an entrancing set of live music. Believe me when I say that this was an absolutely beautiful piece of art and stage design, and the whole setlist flowed effortlessly between songs. The transitions allowed fans to anticipate some old favourites whilst seamlessly intertwining their new releases enabled alt-J to put on a show far more exciting than any time I have seen them live before.

‘Every Other Freckle’ was played in a sea of dark, pink smokey light, with flashing strobes emphasising the build-up and bathing the audience in a sea of colour. The band were positioned perfectly so that the lights surrounding them shone on to the crowd, leaving the guys on stage to appear like mysterious silhouettes amongst the smoke. ‘Hunger of the Pine’ was particularly beautiful, with red lighting looking like shooting fireworks set off in sync with the song. ‘Tessellate’ was gorgeous, complemented by dreamy blue and white beams of light. Although it might sound odd that I am discussing the colours of their performance so heavily, they were entirely integral to the show. Each track had a different aesthetic, one that I could only imagine as alt-J’s own visualisation of what their individual songs embodied — it was ridiculously immersive.

Despite the delay to start, the band still performed an encore, finally ending the set with one of their most well-known songs: ‘Breezeblocks’. For this, the whole audience was on their feet dancing and singing along to the words “Please don’t go, please don’t go- I love you so, I love you so” over and over as if that was the only thing in the world that mattered. In one final display of vibrancy, Bridgewater Hall was bathed in the colour yellow for their final song to match the mood of everyone in that venue: pure elation.

If there’s one thing I hope you take from reading this it is to go and see alt-J live as soon as you possibly can — they will blow your mind.

10/10

The Blinders Photo: Press Shot

In conversation with The Blinders

Written by Lily Martin on . Posted in Music.

Manchester-based trio The Blinders are leading the masses into a new era of protest music in the guise of their new album Columbia. It’s unsurprising that the dystopian political commentary themed album is lapping up praise from both fans and industry-toffs alike, and their latest tour matches this debut album in both confidence and skill.

Supported by Calva Louise and White Room, the sold-out show oozed anticipation for the headline-act, sadly detracting from these two bands with some serious potential. The release of Columbia and the coverage it has received in mainstream media both locally and nationally has developed a hype around The Blinders that leaves other bands in its wake. Calva Louise demonstrated strong noughties pop-rock tones but lacked the control I would have hoped for within their style. They were well-placed as an opening act, with whimsical tracks, poised harmonies and a distinctive sound. Unfortunately, their catchy riffs failed to capture the audience who bobbed along, non-plussed, and slightly confused as to what the trio were trying to achieve.

White Room managed to build on the energy in the room better. With strong lead vocals, lifted by excellent backing from the only female member of the band, they possessed the stage, delivering a performance that engaged even those at the back of the room. As a representation of the progression of the genre, they’re an excellent example of where psych-rock is headed; lead singer Jake enthrals with his Bowie-like tone, the unpolished but controlled nature of each track makes them distinctive. Moreover, the sultry sexiness and smooth rhythms hark back to the best of blues and the 80s rock revolution.

Two days previously, I managed to chat to Charlie, The Blinders’ bassist, about their debut album. This collection of tracks is laced with political and social commentary, filling a void in the musical expression of young people that I have noticed for a considerable time. It’s unsurprising that this form of commentary is becoming more prominent. We represent a generation of the increasingly frustrated, both politically, economically and socially. And this can be seen in their latest release, and in their demographic of fans. These are the people who have been “promised but failed”, seeking a future that “never materialised”, as Charlie put it. He has a point. There’s an increasing movement among those between the ages of 18 and 40 of political frustration, of being ignored and sidelined by the government for political gain. This is a generation lacking hope.

Charlie argues that Columbia is “more of a documentary than a manifesto”, but their set doesn’t feel like that. Watching them perform on their latest tour, where they are introducing this new collection of work to both fans and newcomers alike, it feels like being in the middle of the start of a revolution. Watching the crowd’s reaction to them only solidifies that. It can’t be denied that there’s plenty for them to take inspiration from when producing new material. The “abundance of issues” seems to have fuelled the production to this album, but the question is: do the band feel as though they are aiding in improving the current status quo?

Charlie seems to hope so. He describes it as “shouting into a vacuum”. Again, he has a point. But then he explains that “music is integral to social change”, that we as a generation are failing to direct our anger and frustration, and it’s reducing the difference we make. There seems to be a hope that The Blinders are having an effect. From what I’ve seen, I think it’s very possible that they are becoming leaders in a musical movement which is dragging social and political dissent into the mainstream.

Centred around the alter-ego of lead singer Thomas Haywood, Johnny Dream, their performance onstage feels more like a post-apocalyptic political rally than any run-of-the-mill gig at Manchester’s Academy 2. It is undisputed that the threesome possesses a stage presence that pulls in an audience, but the atmosphere as they ascended the stage morphed into something which I would have reserved for Russia’s 1917 revolutions or rallies in Cuba during Castro’s seizure of power.

The stage is dressed for such an occasion. Banners adorning the name Columbia descend from the rafters to the floor, however what is most striking is the Ouroboros, the snake eating itself, which accompanies it. Probably unnoticed by most, but highly significant, this is a band which isn’t just interested in self-achievement or their musical production, but who understand that they may well be part of a larger movement.

Whether intentional or not, it is appropriate that their tour should start here, in Manchester. The adrenaline, the anger, the tension and waiting that consumed the room for their hour-long set was incredible; the revolutionary undertones of the whole performance seemed to demonstrate a manifesto more than they’d probably care to admit. But a conventional one, this is not.

The activist in me would hope that the rise of bands like The Blinders is a symptom of the rise of a movement of political and social change. Nevertheless, there’s no doubting that we’ve been waiting for these guys; they voice the frustration of millions.

Live Review: The Coral

Written by lucycluttonbrock on . Posted in Music.

Following the success of their tour supporting the Manic Street Preachers, Merseyside pop-rock band The Coral are back with their first live headline tour in two years. Sixteen years after the release of their debut album, both the sell-out of Albert Hall on the final night of their tour and the remarkably broad age range of the crowd is a testament to the band’s continuing success and dedicated following.

Opening with fast-paced, bass-driven, track ‘Sweet Release’ from their new album Move Through the Dawn, the Liverpool five-piece were met with roars of approval from the crowd. Taking the stage with the apparent ease that experienced musicianship brings, the band’s no-fuss, music-first attitude to performance made for a strong opening to the show. Despite being on the music scene since the 90s, the band members are still in their thirties, and with lyrics yearning for simplicity such as “Secret kiss reminding me of what I miss / Some kind of forgotten bliss”, their music has not yet lost that youthful feel.

Keyboardist Nick Power in his new book Into The Void says “we should aim for something a bit more song-based now”, citing The Beach Boys and The Ramones as influences, and there is certainly something Beach Boy-esque about the band’s new sound. Paying homage to The Yardbirds with a cover of ‘Heart Full of Soul’, a self-professed favourite of lead vocalist James Skelly’s, the set featured a nostalgic fusion of sixties-style psychedelia and more traditional pop beats.

Particular highlights from the show were upbeat, melodic ‘Pass It On’, and bassy, spaced out rock track ‘Holy Revelation’, culminating in an effortlessly executed guitar solo from lead guitarist Paul Molloy. His skilled and rapid picking combined with fluid riffs showed off his impressive musical flexibility. A comparison between Molloy and The Yardbird’s Jimmy Page seems fitting.

Despite the positive crowd reaction to new tracks, the crowd were eager for that nostalgic, folky sound of The Coral’s early tracks, and the band did not disappoint. The classics ‘Jaqueline’, ‘Pass It On’, and the iconic jangle-pop melody of ‘In the Morning’ had the crowd going wild. A trancy, mesmerising encore featuring 2002 single ‘Goodbye’ that not even Skelly’s guitar strap breaking could disrupt, followed by the well-anticipated funky baseline of ‘Dreaming of You’ closed the show on a real high.

It appears that the five-year long hiatus taken in 2012 has paid off for The Coral, their new music blending poppier sounds with heavier guitar beats, a contrast to the psychedelic music of their previous album, without straying too far from the sound that is so unique to them. The addition of a percussionist to their live performance has really balanced out the more heavy, driving rock sound of guitars, and is reminiscent of their earlier jangle-pop style.

While their days as frontrunners of noughties retro-rock revival may be behind them, The Coral have proven that they can still bang out that feel-good, energetic, solid performance that fans of all ages know and love.

Photo: Pascale Chalmers-Arnold @ The Mancunion

Live Review: Beach House

Written by PASCALE CHALMERS-ARNOLD on . Posted in Music.

Angelic synth sounds filled the Albert Hall as Beach House’s vocalist Victoria Legrand murmured “There’s a place I want to take you, where the unknown will surround you.” Like a siren luring sailors out into uncharted waters, obscured by the illuminated mist that hung eerily above the dark stage, Beach House captivated their audience from the first song.

Bursting onto the dream pop scene back in 2006, with their self-titled debut album, Beach House have long been a cult favourite. Seven albums later, the duo from Baltimore, USA have refined and perfected a mysterious sound for their latest album — 7 — which is both hauntingly beautiful and at times seriously sinister. Victoria Legrand oversees vocals and the keyboard while Alex Scally principally offers his skills on guitar and as a backup vocalist, with the addition of James Barone on drums and percussion throughout their tour.

After they began their set with ‘Levitation’, a popular track off of their previous album, ‘Depression Cherry’, it became clear this show wasn’t going to be an album-led affair. Instead, their set-list largely featured single releases from throughout their career and is perhaps a pleasant by-product of their sonically consistent discography.

If Bloom was about filling a large stage with loud sounds and live drums, catering to their crowd, and Depression Cherry was about a return to simplicity, with minimalist instruments and strong core melodies, then 7 is about removing all of their self-imposed limitations. There are songs with no guitar, with no keyboard, and tracks that feature so much production that their layers cannot be replicated live — 7 is about artistic expression.

Packed out to the rafters, the audience spanned young teens to professionals in their 30s; many people had travelled from far to see this sold-out show. Sat on the steps upstairs, watching down on the stage, you could feel every beat reverberating through your body, the lyrics indistinct, in and out of focus, but the experience, the sound, and the visuals were so immersive it didn’t matter. You didn’t need them to feel the mood that was being painted.

So much of the beauty of the set could be seen in the staging: the moments when the guitar kicked in and the stage went red, or when a spotlight shone down, like the beam of a UFO into the dark, switching between musician on each staccato keyboard note. In the colours, the lights, the patterns swirling over the crowd, and in the moments when Legrand hid herself by bending down low behind the keyboard, allowing the starry skies projected behind her to steal the crowd’s attention.

‘Dark Spring’, the opening track for 7, sounded so much stronger live, with its guitar intro proving monumental. Styled like a Tame Impala instrumental track, it exploded from the outset, beautiful yet jarring at times, fading to a siren as it finished.

‘PPC’ with its 80s feel movie soundtrack vibe, was a big crowd pleaser, and after that, each track played was received with raucous applause.  Orange lights illuminated the stage, pulsing in time with the lyrics for ‘Pay No Mind’, the bass growling and a double track of Legrand’s lyrics running, singing out a typically ambiguous Beach House chorus: “Baby at night when I look at you/ Nothing in this world keeps me confused/ All it takes/ Look in your eyes.”

This melancholic love was explored further in the ‘Teen Dream’ track ‘10 Mile Stereo’ with the ethereal echoing of “They say we will go far, but they don’t know how far we’ll go” / “It can’t be gone, we’re still right here” / “Love’s like a pantheon, it carries on forever”, sung out as white lights went totally crazy, overpowering the stage and the audience.

To bring their comprehensive set to a close, Beach House chose two of their most streamed songs from ‘7’. ‘Drunk In LA’, arguably the album’s centrepiece, told a tale of fading youth, as Legrand sung “I remember I am loving losing life”, melancholic in both sound and sentiment. But it seemed the band weren’t quite done, as they were soon lured back out to encore for two last songs. ‘Norway’ was proclaimed to be a “blast from the past” by Legrand, but nothing could rouse the crowd quite like the running drumbeat of ‘Dive’ — this really got them moving.

Sonically beautiful, artistically brilliant — what a performance! You’ll be hard-pressed to find a ticket that’s better value for money, since Beach House really delivered on all fronts. Such a strong show from the well-practised duo, who commanded the stage with great presence, and yet no ego, throughout. We’ll be back for album 8, that much is for sure.

10/10

Live Review: Goat Girl

Written by Bella Fleming on . Posted in Music.

One of South London’s biggest emerging bands, Goat Girl, played Manchester’s legendary Gorilla on the 23rd October.

Consisting of four girls, the band have drawn attention to themselves with their interesting music on topics ranging from the UK’s political climate to creepy men looking at them on the train. As well as this, the band also have ambiguously amusing alter egos which they are known by: singer/guitarist Lottie ‘Clottie’ Cream, guitarist LED, bassist Naima Jelly, and drummer Rosy Bones.

The supporting acts for Goat Girl were rather more weird than wonderful, with American-based hip-hop/rap artist Sneaks providing the crowd with some incredibly wacky tunes along with some great dancing and amazing stage presence. Despite playing completely the opposite of the type of music you would hear from Goat Girl, she still managed to get the crowd very excited and geared up for the main event.

After the jagged prelude of ‘Salty Sounds’, Goat Girl came on stage in their true grungey fashion playing their murky and politically sparked song ‘Burn the Stake’. The setlist continued in an order almost identical to that on their acclaimed debut. Although they could have been slightly more courageous with their setlist, they do have an incredible flow of songs on their album so it’s hard to fault them for sticking with this order.

It did seem to take a couple of songs for the quartet to really get into the gig. Lead singer Lottie ‘Clottie’ Cream carried the band, however, and guided the crowd as the set progressed. Cream definitely seemed to enjoy the gig ever so slightly more than her fellow Goat Girls with the rest looking, admittedly, fatigued on stage.

However, the quality and sharpness of Goat Girl cannot be faulted for a second, especially due to their music being so finely tuned with never a note wrong or timing off. This makes their songs such as ‘The Man with No Heart or Brain’ even more impressive to hear live considering the time changes and complicated guitar riffs throughout. Seeing them play live makes it even more evident just how musically gifted this young group of girls are.

One standout song at the gig had to be ‘I Don’t Care Pt.1’; this song stands out if only due to the amazingly harmonious vocals from Lottie ‘Clottie’ Cream and lead guitarist LED. Other standouts include ‘Mighty Despair’ and ‘Country Sleaze’, which brought the gig to a riotous ending and left the crowd begging and cheering for an encore. Sadly, the crowd did not get what they wanted. Perhaps it would have made for a better ending to play their cover of ‘Tomorrow’ by Bugsy Malone, and then an encore of ‘Country Sleaze’.

All in all, Goat Girl are an incredibly talented and somewhat understated girl band who perfectly reflect this in their live performances. Seeing them play at Gorilla was an absolute privilege.

8/10

Live Review : The Orielles

Written by Georgina Davidson on . Posted in Music.

The second night of Manchester’s Words and Music Festival was bigger and better than ever with a lively, excitable atmosphere at the legendary Night and Day café. It seemed that despite the sad passing of Night and Day owner, Jan Oldenburg, nothing would stop them. As the room began to teem with people, it was announced that Jan’s wishes had always been to put on quality performances to sold-out shows — I don’t think he would have been disappointed.

We were eased gently into the gig with the dreamy tones of Laetitia Sadier as her slow, relaxed sound washed over the crowd. Whilst the dream-like qualities paired wonderfully with her quiet vocals this sound was a little at odds with the lively atmosphere. Her set featured a melodic looping of sounds that was admittedly pleasant but in no way groundbreaking. It was enjoyable to hear without a doubt but an interesting choice compared with the energised four pieces that were to follow.

The entire building seemed to buzz with a tangible enthusiasm and anticipation for what was to come. The Orielles took to the stage with an effortless whirl of energetic, audio static filling the room as they launched furiously into their opening track. The magic continually flowed as the temperature in this heavily decorated wonderland continued to rise and reached a sharp climatic fever as they broke into “Let Your Dogtooth Grow”. A song which sent the crowd into a flash out frenzy, my cup of water thrown from my hand as the surge of bodies burst forward.

The Orielles seem to be blessed with a unique mix of vibrant musical flare and pure, untamed energy that melts through their performance. Their new keyboard player, Alex Stephens is a welcome addition to their line up, providing something very different and brightly electronic compared with their old school, guitar-based sound.

With a cheeky exchange of dialogue, their bassist Henry launched his paper plate fan into the crowd. Following this, the band moved with renewed energy into “Sunflower Seeds” a psychedelically flickered track that evokes a festival imagery within the mind’s eye. For me, it was very reminiscent of their incredibly fun set in the Leadmill tent at Tramlines Festival 2018. Finishing on a high with “Sugar Tastes Like Salt” they sent the room ablaze, leaving the crowd with little more than a blur of the vibrancy they had just experienced.

A very satisfying gig that delivered and thrived on punchy psychedelic style and missed the mark slightly with the supporting acts.

6/10