Good Evening, and welcome to The Mancunion‘s live blog of the University of Manchester Students’ Union Senate meeting for March 2019.
Policy proposals for this month’s Senate include Trans inclusion sport, the SU providing a changing space and whether or not the SU should continue to fund The Mancunion.
Earlier, we broke the news that The Mancunion‘s editorial independence could be threatened by an amendment tabled by SU Liberation and Access Officer Sara Khan alongside the Liberation and Access Committee.
Be sure to check back for live updates of all the night’s events!
A protest was held last week at the University of Manchester to raise awareness of Israeli Apartheid Week.
The week-long series of events is aimed at co-ordinating the activities of BDS (Boycott, Divestment, and Sanctions of Israel) societies across global universities.
In addition to the march, awareness of exactly how BDS works will be encouraged, in addition to a visit from Andrew Feinstein, a founding member of the African National Congress and anti-arms activist.
The protest centred on American machinery company, that has supplied the Israeli army with special equipment, designed to destroy Palestinian homes.
According to BDS, the University’s total investment currently stands at close to £482,400 – they also claim the University holds shares of over £2.3 million in Allianz, a drones supplier.
BDS have further claimed that the University has neglected its ‘Social Responsibility’ commitment, with research undertaken at the Graphene Institute reportedly linked to the arms industry.
The organisation has further highlighted that students may unaware of how their institution’s investments indirectly see the student body become complicit in ethically-questionable practices.
The University of Manchester’s BDS chair, Emilia Micunovic emphasised that students should understand exactly how their fees are used.
”As students, we do not want our tuition fees invested in war and apartheid, and we should have the right to a voice in our institutions’ investment and partnership policies.”
Ben Freeman, the President of Manchester Jewish Society, took a different angle on the week’s proceedings, arguing that an unhealthy discourse on Israeli policy could be encouraged.
“Israel Apartheid Week does nothing to promote healthy discussion on campus of the legitimate ways in which Israeli government policy can and should be criticised, but instead it perpetuates an echo chamber culture that breeds hateful and dogmatic prejudice against the worlds only Jewish state.”
A University of Manchester spokesperson said: “The investment manager reported back to the University that Caterpillar’s stance continues to be that it does not have the practical ability or the legal right to determine how its products are used after they are sold and that it does not have plans to boycott sales to any country that is not sanctioned by the international community.
“The investment manager discussed management’s approach to improving human rights, striving to be a leader in corporate responsibility and working towards the United Nations Sustainable Development Goals.”
A Senate amendment to a policy securing The Mancunion’s funding proposes to enforce a ‘sensitivity reader’ for its editorial team, as well as mandating a quota on the number of BAME editorial staff.
Without the policy, the SU trustees, a body which includes the Exec Officers, have the power to pull The Mancunion’s funding.
However, an amendment authored by SU Liberation and Access Officer Sara Khan alongside the Liberation and Access Committee proposes that The Mancunion should not get protected funding unless the paper appoints a ‘sensitivity reader’ and enforces a 45% BAME quota in the editorial team, as well as mandating ‘liberation issues’ and ‘accessible journalism’ training.
The amendment suggestion that the student newspaper accept a ‘sensitivity reader’ appointed by the Liberation and Access committee – to ensure no articles are published which can be perceived as insensitive towards individuals – has been met with opposition from the paper’s management.
The Mancunion’s management team have also branded the proposed quota ‘impossible to achieve’, given the editorial team is made up almost entirely of volunteers. They have also point out that 16% of applicants to the editorial team this year were BAME, and offers were made to 100% of these applicants.
The amendment alleges that The Mancunion engages in ‘unethical journalism’ because articles allegedly at times ‘result in psychological distress, and puts people at risk of being harassed, especially women, who are particularly targeted with death and rape threats through social media.’
The amendment also notes that ‘the make-up of The Mancunion staff should reflect the diversity of our student body in order to properly represent our interests through journalism.’
The Mancunion insists it is an accessible newspaper, accepting contributions and editorial applications from all members of the student body.
The editorial team also argues that it reports extensively on issues relating to diversity, liberation, and activism – pointing out that it curated a themed ‘Misogyny is Hate’ issue with 32 pages of articles discussing women’s issues and the local student-led campaign.
Sara Khan, the Liberation and Access Officer said: “The Liberation and Access committee submitted this amendment because we feel that there have been some articles published by the Mancunion in recent years that have handled information surrounding liberation and diversity poorly.
“We don’t believe that this is malicious or intentional, but that it stems from a lack of diversity in the team, and a lack of training and education surrounding liberation issues. We believe that the proposals outlined in this amendment will only enrich the professional experience and employability prospects of the Mancunion’s journalists, and that this will empower them to further hold the SU and University to account.”
University bosses are planning a controversial shake-up of ResLife which some staff fear could have a significant impact on student welfare.
The proposals, which would come into effect in September 2019, involve a major re-organisation of residential staff who support students in halls, with part-time staff shed and nine new full-time roles put in place.
Staff at the University of Manchester who are familiar with the proposed restructure have raised concerns about both student and staff well-being as a result of the plans. These would see ResLife staff living in with first years and potentially making them feel “uncomfortable” about their behaviour.
Similar proposals at the University of Bristol saw fierce student backlash, with students and staff also concerned about student well-being as a result of the plans.
Whilst critics say the changes have not been handled well, the University insists it has carried out a full consultation and that the reforms will make better use of resources.
Photo: University of Manchester
ResLife advisors, typically postgraduate students or university staff members, will be scrapped in their current form and split up into ‘response’ and ‘engagement’ teams.
The new ‘engagement’ team will be made up of both undergraduate and postgraduate students, living-in with first years. The ‘response’ team will be made up of staff and postgraduates, responsible for ‘reactive issues and on-call service’.
University staff are understood to be deeply concerned about the plans, as the new ‘engagement’ team would no longer be living with fellow ResLife advisors.
Some are predicting this will lead to ResLife staff feeling isolated, unable to seek help from peers and therefore unable to support student welfare as effectively.
Despite the plan including an additional 33 part-time ResLife advisory roles, staff also believe that the new structure will significantly increase the workload of ResLife advisors which, when factoring in their additional study and work, will affect the level of pastoral care they can give.
Photo: University of Manchester
It’s also believed that some staff have questioned the feasibility of the split. One staff member, who chose to stay anonymous, told The Mancunion that management implementing the plans are “repeatedly contradicting themselves” and “unable to define clear roles”.
They also accused ResLife bosses of “massive mismanagement”, both with the implementation of ResLife in 2016 and now with these new proposals. The Mancunion has seen emails sent by ResLife management, acknowledging that it is an “unsettling” time for current staff.
Another senior staff member told The Mancunion that whilst they appreciate ResLife management have adhered to strict HR regulations, they had not acted in a socially responsible way, calling it “terrible” that some staff will lose their jobs and their homes as a result of the restructure.
They added: “I love working in halls. I have a real passion and enthusiasm for it and give it my all. I am deeply saddened and hurt at the proposed changes, not just for me and colleagues, but for students [in halls] that may also be hit hard by these changes.”
Lejla Softic, a Biomedical Sciences student who serves as Senior Student of Hulme Hall said: “I think it’s not only unrealistic and irresponsible to implement the [restructure] that they’re proposing, but I think it actually exacerbates the problems they’re trying to solve.
“It further alienates residents from Reslife and should it go forward, it would also alienate the ‘engagement’ Reslife [team] from their peers.
“They’re trying to sell a structure that only has the potential to benefit large halls such as Oak House, and apply it as a “one-size-fits-all”. It would completely break down all the stable and beneficial structures in place in smaller scale halls, and it would be quite detrimental.”
A University of Manchester spokesperson said: “The ResLife team is extremely important to students living in our Halls of Residences. It provides a vital service – helping students to access support services such as health and wellbeing, delivering events to develop a sense of community in each Hall, and responding to emergency situations outside of core office hours.
“The proposed changes are a result of extensive consultation with students and staff and would increase the full-time resource available to provide this important service, ensuring that our residents have the best possible experience.
“Recommendations include creating an additional nine dedicated full time residential positions to support student welfare in University Halls of Residence. This responds to pressures on current members of the team who fulfill a full time job at the University and are then required to spend evenings, weekends and night times providing student support.
“The need to address both the proactive and reactive elements of the service provided by ResLife Advisors is also recognised. These post-holders, who are undergraduates or postgraduates students, will be provided with full training for their roles supported by the new full time positions.”
An initial consultation with Campus Trade Unions and current ResLife post-holders about the restructure took place on the 11th of March, with a further consultation expected to take place sometime after the 8th of April.
Once the plans are finalised, the new ResLife Officer posts will then be advertised, with interviews for potential candidates commencing in late May.
Mercy opened her first Manchester gig (supported by Salute the Sun and Aaliyah Esprit) to the Northern Quarter’s most cosily decorated venue, Night and Day Café. Beneath the lanterns hanging from the venue’s ceiling, she and her band or ‘Cartel’ appeared on stage dressed all in white, heads lowered as her voice cut through the noise of the café.
Via a pre-recorded tape she opened up about her history with mental health, her immediate vulnerability drawing the audience towards her as the band moved into their first song. This raw honesty pervades Mercy’s work as a singer, songwriter, and producer, and the openness about past relationships and her struggles with her own mental health are themes she’s not afraid to express or talk about.
Originally from Essex, the now Bristol-based band were formed after Mercy dropped out of university in pursuit of her creative dreams, starting her own music agency and embarking on a journey of independent self-production, following in the footsteps of those such as Chance the Rapper. Whilst online her music oozes a beautiful charm, when performed live it takes on an entirely new life. Utterly soul-lifting, her voice is silkily angelic and completely entrancing.
Combining Nigerian Afrobeat influences, elements of R&B, funk, pop, and soul she creates an electric sound that makes you want to move. As a frontwoman, it’s not hard to imagine her headlining the Apollo and even the Arena one day; she’s down to earth, funny and honest. Inviting her band members to freestyle in the songs breaks’ reveals a talent and professionalism impressive and relatively uncommon for such a young group of musicians. The band itself is carefully curated and perfectly balanced; it’s obvious they love playing together, making them a joy to watch and, for those few moments at least, feel a part of.
The set list included a cover of Dua Lipa’s ‘New Rules’, electrified with the incorporation of Afroeats and Mercy’s own voice which lifted it up and away from the original. For original content, the up and coming band are already pretty prolific, with two singles, an album and, most recently, an EP to draw on. ‘Hot Jam’, the opener of her 2019 EP D.Y.E was, understandably one of the crowd favourites, with a romantic, meltingly soft opening falling away as the beat rolls in, building up before breaking into rap. ‘Jack’s Ride’, the second song off the same EP uses her ex as a muse – someone whose support helped her through a tough time, but, in her own words ‘shit happens’ and it’s a testament to Mercy that she can transform these experiences into life-affirming, and even catchy, gems of songs. The gig culminated in an encore of ‘Caution’ the perfect tune for a dance, ending on a real high.
Lyrically the music touches your soul, giving you that tingly feeling you can only hope to find in such a young band. Mercy’s spoken about drawing on icons such as Amy Winehouse and Whitney Houston and their beautifully tragic lives whilst recognising her own value in not wanting to end up like them. Her bold and real lyricism is something we crave, especially from popular music, meaning this is truly music for the club, the radio (debuting recently on BBC’s Introducing shows just how far this young woman has come already) and for you, lying on your bed, headphones in on one of those days you just need someone who gets what’s going on in your head.
Mercy doesn’t just use her incredible musicality to express her views, speaking out on social issues such as race, mental health and youth culture in the press and even being voted third in Bristol in The Barclays & The Tabs Future 100 Women to Watch in 2017. When introducing the third song off her latest album ‘Lime Time’, the name reflecting the ward to which she was admitted, she reflects on the importance of not staying quiet about her mental health issues, especially as a young Nigerian woman growing up in the UK. Family and her Nigerian heritage are obviously important influences within her music, dedicating her set to her family in the front row and calling on musical influences from her upbringing, the legacy of which has been passed through her family.
Her Doubt Your Existence tour continues, playing Camden on Monday 25th and then finishing back in Bristol on the 30th March, and if you’re around we highly recommend you check her out. With musical, entrepreneurial and writing talents like these, you don’t need us to tell you to watch this space; this young woman is going places, and fast.
Looking back on the context of a band which is definitely more pop than anything else (and lacking a significant number of members), Pretty. Odd. may leave listeners of the more recent Panic! At The Disco albums slightly confused. In fact, it left listeners of the band’s debut confused as well. Panic! At The Disco was set to be a key player in the so-called emo scene alongside bands such as Fall Out Boy and My Chemical Romance. This idea came crashing down as the opening track on the sophomore album, which turns 11 this year, rang out.
Indeed, this track, ‘We’re So Starving’, borders on amusing for this reason. The lyrics contain a suspiciously specific denial from the band that “you don’t have to worry ‘cause we’re still the same band” before proceeding with a folksy, Beatles-esque album. The strange lyrics and titles often cause fans to mention the involvement of drugs in the creation of Pretty. Odd.; key amongst these is the song ‘That Green Gentleman’, which tries to convince its stereotypically angsty listeners that “things have changed for me, and that’s okay” to a somewhat frosty reception, the title of which is often linked to marijuana.
The secret behind this album, however, is that it’s actually a solid display of what the band is capable of. Whilst its predecessor A Fever You Can’t Sweat Out is unique and verbose, and its successor Vices & Virtues is effective as what is essentially a reboot for the band following its split in 2009, Pretty. Odd. is quite a lovely thing to listen to, particularly for those preferring a more gentle sound. Even those who hated the new music at the time tended to admit a soft spot for the solemn seventh track, ‘Northern Downpour’, and it remains a solid fan favourite.
Fans tend to look back to Pretty. Odd. now with a sense of nostalgia. It’s often cited as the favourite album of those considered the true die-hards, though this is frequently attributed to the involvement of Ryan Ross, the band’s then-guitarist, main songwriter, and occasional singer. Ross wrote the majority of both of Panic!’s first two albums, then departed from the band along with bassist Jon Walker, leading to yet another change in sound as Brendon Urie took over much of the writing. Admittedly, Ross’ singing wasn’t the best in terms of technical ability, but his vocals definitely added to the folksy effect of the songs on which they were prominent; indeed, the band he and Walker formed together following the split, The Young Veins, displays the direction in which Panic! At The Disco could easily have gone after the release of Pretty. Odd.
Now, however, although the album is more popular with the fans, it seems to be something of an energy drain (at least in terms of performance) for Brendon Urie, the only remaining original member of the band. The only song still played at live shows from Pretty. Odd. is ‘Nine In The Afternoon’, to which Urie attributes the slower nature of many of the other songs. Admittedly, as the Panic! discography grows, it makes sense to have fewer songs per album anyway; the band has nearing 100 songs, and to have a concert with all of them would last around 5 hours.
Either way, Pretty. Odd. remains an album which is in a strange limbo where it’s both loved and hated. But, for those seeking a Beetles-y vibe and psychedelic lyrics, it’s definitely worth a look.
Sections of Manchester’s Northern Quarter have been shut off from the public this week for the filming of Morbius, a new Spider-Man spin-off movie.
The film follows a biochemist who, upon attempting to cure himself of a rare blood disorder, accidentally infects himself with a form of vampirism. Set for a 2020 release, Morbius will star Jared Leto in the namesake role, Doctor Who’s Matt Smith and Puerto Rican actor Adria Arjona. David Bradley, who portrayed Argus Filch in the Harry Potter series, has also been spotted on set in Manchester.
The Marvel picture appears to be set in New York, with the city centre area being transformed to look like Spider-Man’s hometown. Northern Quarter streets remain laden with yellow American-style traffic lights, New York street signs, and fire hydrants.
Passers-by have so far been able to spy stunt performers elevated high in the air, yellow New York taxi-cabs, and graffiti art depicting characters from the Marvel world.
Huge blue screens used for special effects have been erected besides the sets.
Throughout the shooting, hundreds of Mancunians and film fans have gathered around the Port Street and Dale Street sets in an attempt to catch a glimpse of the action.
Smith will join the cast as Morbius’ best friend Loxias Crown, with Arjona playing his fiancée Martine Bancroft. Dr Michael Morbius first featured in the Marvel comic The Amazing Spider-Man in 1971 as Spider-Man’s rival, after the Comic Code Authority lifted a ban on the depiction of vampires. Morbius will see the title character adjust to his new-found superhuman abilities.
Morbius is the second film of Sony’s Marvel Universe, a new franchise adjunct to the Marvel Cinematic Universe of which 2018’s Spider-Man: Homecoming is a part. The first was Venom, released last year starring Tom Hardy.
A crew member could be seen spray-painting Venom’s face on a wall on Port Street on Tuesday. Whether Hardy will revive his character in Morbius remains unclear.
Mobius is not the first Marvel movie to be filmed in Manchester. In 2010, the Northern Quarter was transformed into 1940s Brooklyn for the shooting of Captain America: The First Avenger.
Across many of my experiences at gigs, I have really begun to note that there have been very distinctive shifts in the emergence of new indie rock. It appears that a taste for an alternative sound is emerging rapidly through the independent music scene, tracing its roots from beyond the classic idea of the ‘Manchester’ band and building with growing enthusiasm.
The dominant guitar heavy sounds that seemed to rule the airwaves throughout the 90s and 00s have begun to shift revealing a root growth from far before this time. This seemed to be a sentiment that was shared too by Kashmere frontman Joey Newey as we sat down for a chat about the latest from his four-piece, Manchester-born indie rock band.
He elaborated “I never really look directly to my favourite bands for inspiration…we tend to go quite a bit further back when we’re creating new material for singles and stuff” suggesting that there is a careful balance between Newey’s lyricism and exploration of archived chords. It’s interesting then that in the past singles such as ‘Codeine’ had almost been put aside due to their overall style. At the time of its release, the band had focused quite heavily on their indie inspired tracks such as ‘Hoxton’ so this perhaps made logistical sense at the time.
Fast forward to 2019 and currently their 2018 single is the top rated song for the band, having raked in a cool 200k listens on Spotify since its release. This song has often been a hot topic with other writers who have cited the unique, ethereal sounding synths at the beginning of the track as something rather special. It has readily been compared to the kind of sounds created during the high points of 80s synth pop but Newey is quick to point out that this is not the sound that they had originally intended.
Newey explained that the sound had been discovered through “experimentation with a 70s style in mind” for the synth within the track. This idea is continued into the music video which was shot amongst the bright lights of Manchester’s China Town, providing a bold “fever dream” setting for the track. However, despite the seemingly effortless edge that radiates from the video Newey recalls that filming had been a worthwhile challenge. He commented that “it was difficult at times to appear natural” within Manchester city’s centre driving around the same circuit for hours on busy Saturday evening (I could only imagine the chaos and abuse from revellers that they must have had to put up with!)
Continuing with this theme, we began to discuss the mammoth effort that had been put into filming the music video for their latest release ‘Gravity’, a ballad that centres on a metaphoric breakdown of a relationship. The video was shot in Anglesey across the planes of a quarry on a day that Newey described as “The windiest and wildest Mars scene you could imagine”. The silver space suits (a concoction of doctored fancy dress costumes) had apparently done little to prevent from the elements, as Newey candidly recalled that it was “throwing it down” and that the dye from their clothes had seeped through and clung to their costumes.
He added, “put it this way, if any of us had any ego prior to that shoot it was surely gone in that moment.” He assured that despite a moment or two, there was minimal “Primadonna” behaviour present on set. Newey also highlighted the incredible visual work of the music video’s director Shaolin Pete and the in house creative team at Scruff Of The Neck who he felt “really brought the concepts we had as a band to life.”
The journey to creating the track seems to really centre on an obsession that Newey has with sonic quality and flair. He explained that he has a rather expensive tendency of buying new instruments to create the latest tracks: “it’s weird I suppose the way I write but I wouldn’t have written ‘Gravity’ or ‘Codeine’ without that kind of investing in the track.” The band’s attention to detail with this soaring ballad is clear but I did note that side steps had been taken to create the track as it veers quite dramatically away from the previous discography that had begun to form.
In response to my comment, Newey explained the track was always intended to explore the band’s ability to reach beyond and into new and alternative sound within the indie music scene. He remarked, “we want to create the most unique sounds in Manchester right now, that’s exactly what we want to do.”
Kashmere are set to release another as yet untitled single in late spring with a release date for their upcoming album still to be confirmed.
The masters of psychedelic pop are back after a long wait with their brand new single ‘Patience’. Frontman Kevin Parker opens the track singing “Has it really been that long”, to which all Tame Impala fans would reply “Yes”… but with new music this good, Kevin you are totally forgiven for taking your time!
Questions have been circulating as to whether new material was coming ever since Tame Impala were confirmed as the Saturday headliner for Coachella festival, but with no words from Parker, it had seemed uncertain.
In an Instagram post made at around 3 am UK time, Tame Impala gave fans their first indication that new music was due, using the caption “New track. 1 hour. Speakers/headphones ready people”. With so many mainstream musicians dropping teasers and hints for months in advance of a new release, it certainly is refreshing to have new music, with no messing around.
‘Patience’ combines the distinctive vocals which first featured in Innerspeaker with Lonerism‘s distorted sounds and the poppy feel of Currents, to create a track which is Impala’s most disco to date. The easy piano refrain, flourishes of guitar and light beats make you want to groove along. For keen fans, the retro nod to 70s disco will not come as a complete surprise. Parker recently gave a modern makeover to an 80s Nigerian disco track, ‘Only You’, releasing a cover of it with rapper and singer Theophilus London.
The ambiguous lyrics of ‘Patience’ see Parker contemplating the cycles of life, singing that he is “Growing up in stages / Living life in phases / Another season changes”. The easy delivery of the lyric “I’m running out of pages” perhaps notes that Parker has made peace with the transience of time, as well as potentially acting as a reference to the fact his bachelor days are over, since he got married in February.
Parker makes a nod to Tame Impala’s absence from the music scene since the release of the 2015 LP Currents, saying “People ask me all the time… What you doin’ with your life”. Undoubtedly a reasonable question from fans, since the album helped propel the band to festival headliner status, but no new music followed.
It would be easy to presume Parker had taken a break from music but he’s been busy behind the scenes, producing tracks for many of the biggest artists in hip-hop. Parker co-wrote and produced ‘Skeletons’ off Travis Scott’s critically acclaimed album Astroworld, and provided drums for Kanye West’s ‘Violent Crime’ and Lady Gaga’s ‘Perfect Illusion’. Fans have also spotted his signature sound in a remix of Miguel’s ‘Waves’, Chinese-American producer ZHU’s track ‘My Life’, and in A$AP Rocky’s song ‘Sundress’ which was built around a sample from the Tame Impala hit ‘Why Won’t You Make Up Your Mind?’.
With an appearance on the U.S. show ‘Saturday Night Live’ scheduled for March 30th, and twenty-two nights on the festival circuit confirmed (including Glastonbury), Parker certainly seems ready to step back out from the shadows.
Eager fans can only hope that the wait for a new album will be over soon too.
Manchester’s Albert Hall was buzzing: the crowd cheered loudly as Jake Goss took his seat behind the drums, Les Priest at his keyboard, waiting for lead singer Paul Klein to take his spot behind the mic. Wearing a neon yellow top, a white Manchester United football shirt with a guitar slung across his chest and a pink headband taming his wild hair, Klein looked like he had rolled off the LANY tour bus straight onto the Albert Hall stage.
LANY (an acronym for Los Angeles New York) are currently on an 88 date world tour, taking their emotional synth-pop global, following the release of their second album Malibu Nights. With over 3 million monthly listeners on Spotify and having supported pop artists like Halsey and John Mayer, the band are no strangers to pleasing their fans with a big show.
Lines of lights flashed at the front of the stage as Klein started the set, saying rather than singing the lyrics to their hit single ‘Thick and Thin’. As the crowd threw roses on stage, Klein asked “What are you thinking? You were happy last weekend… How’d you forget? I was your best friend”. Digital checkerboard pattern lit up the backdrop behind as he then launched into cheery renditions of ‘Good Girls’ and ‘4EVER!’. Catchy yet mournful, ‘Yea, Babe, No Way’ was the perfect lead-in track for ‘I Don’t Wanna Love You Anymore’, the second single off Malibu Nights. Sat at a clear piano playing his electric keyboard, Klein remained quiet while the crowd sang “Sometimes I just wanna talk for a minute / But I can’t bring myself to call / Because I know that your heart’s not really in it / And whatever we had is gone.”
The Malibu Nights album discusses the heartbreak Paul Klein experienced after his relationship with Grammy-winning singer Dua Lipa ended. Released only a year and a half after their self-titled debut album, these are certainly LANY’s most vulnerable tracks to date – a balanced blend of relatable lyrics which fans can find themselves in, and a polished up-tempo sound, courtesy of Mike Crossey – the producer behind many of The 1975’s biggest hits.
Like The 1975’s most recent tour setup, the digital backdrop changed again, turning to a blue screen displaying the lyrics karaoke-style for ‘Taking Me Back’ – another dreamy synth-pop banger – before changing again for ‘Made In Hollywood’. Klein jumped off the stage to get closer to his fans, set on crowd surfing whatever security said. Astonishingly, he seemed to maintain perfect vocals, much to the delight of his fans who were jostling him around, trying to keep him afloat. Klein then returned to the stage to sing ‘Hurts’ and ‘Run’, beaming as he treated the fans to some goofy dance moves.
Despite the happy sounding music, the lyrical topic of heartbreak continued as Klein slowed down to sing ‘Valentine’s Day’. The song about missing someone and wondering if they were the best you will ever get, led in well to the next track, ‘If You See Her’. LANY then performed some of their earlier tracks, beginning with ‘The Breakup’, from their self-titled debut album, before playing ‘Pink Skies’, from their 2016 EP Kinda. ‘Hericane’ followed, slowing down the pace as Klein lay on the stage, his melodic tone blending perfectly with the slower synth background.
Co-written with Ryan Tedder of OneRepublic, ‘Super Far’ was one of the standout songs of the night, with the crowd bouncing about to the chorus “If this is love, I don’t want it”, before turning quiet for ‘Malibu Nights’. The piano-driven ballad was beautiful in its simplicity – just Klein’s voice stripped back, none of the usual LANY layered vocals.
After taking a break from the stage, the band returned to finish their set with rousing renditions of fan favourites ‘Thru These Tears’ and ‘ILYSB’. As Klein crooned the final lyric, “I love you, so bad”, the three men of LANY came together onstage, putting their arms around each other before taking a bow, while the crowd whistled on, hollering their love back at the Albert Hall stage – a triumphant end to an electric set.
Sharon Van Etten’s performance was nothing short of stunning. Upon arrival on the stage, the folk-indie singer cut a dramatic figure, clad in black with a mess of dark hair. All eyes were immediately on the singer, and her following performance was as impactful as her appearance.
Opening with the tender ‘Jupiter 4’, her vocals filled Manchester’s Albert Hall with ease. Despite the tranquillity and ambience that is associated with her music, Van Etten kept the audience engaged with a thrumming selection of lights and an extraordinary live band. There was something deeply romantic about the performance, and once again I was shocked by her ability to make you nostalgic for relationships and love affairs you hadn’t experienced yet. Even though Albert Hall is not a small venue, Van Etten made the gig feel exceptionally intimate with her brilliant vocal power.
Songs such as ‘Comeback Kid’ and ‘Hands’ threw as much energy as was possible into the guitar riffs and upbeat moments, providing a rest from the sadness that Van Etten is perhaps known for. The set was widely picked from early 2019 release Remind Me Tomorrow, but still broad enough for old fans to feel delighted with what they received. An odd moment came in the form of the cover of Sinead O’Connor’s ‘Black Boys on Mopeds’. While still very beautiful, it somehow felt a bit lost within Van Etten’s own work and didn’t quite gel with the rest of the set.
The standout moment of the show did come in the form of fan favourite ‘Every Time the Sun Comes Up’. Simply ethereal, the 2014 classic was harmonic and gorgeous. Stripped-back and raw, it was just as melancholic and tragic in person as recorded. One of my personal favourite tracks of Van Etten’s, it didn’t disappoint. Despite the track nearing five years old, it still felt as fresh as it did the first time I ever heard it. As she transitioned from ‘Every Time’ to ‘Stay’, the crowd was treated to a series of all-too haunting moments. ‘Stay’ tugged at the heartstrings in a similar fashion, and it was impossible not to feel yourself tearing up at points.
The encore began with ‘I Told You Everything’, the powerful ballad that so many people have been playing on repeat. Again, the melancholia stood out but it wasn’t necessarily boring or unengaging. It was just beautiful – a sort of sadness that filled the room without making everyone exceptionally miserable. Van Etten finished the set with ‘Love More’, a song from 2010 second album Epic. Long and set over humming strings, it felt like a particularly grand and sweeping way of ending. Spreading the messages Van Etten is so known for – love and welcome – it felt like a very suitable way of ending.
In the set, Van Etten really managed to prove that artists known for their soft sounds can still prove themselves, excellent live artists. While maybe never destined for arenas, she still filled a reasonably large venue with an audience desperately clinging on for every word. Dusted in something magical, Van Etten really could be listened to until the sun comes up.
Don’t miss Sharon Van Etten as she returns to this year’s Greenman Festival 15th-18th August, alongside some of the hottest alternative acts of the year!
On a cold evening, a strange cross-section of society descended upon the Manchester Arena. Their reason? To crumble before the musical genius of Hans Zimmer. The German-born film score titan has written for over 150 movies, including Dunkirk, Sherlock Holmes and Interstellar. Although not there on the night, his trusted conductor Gavin Greenaway breathed life into none other than the Symphony Orchestra of the Bolshoi Theatre of Belarus. Anyone that knows me will tell you I’m a sucker for symphonic celebrations of renowned composers, but this really was something else.
As the seats filled up almost to capacity, the anticipation grew, and when the orchestra filed onto the stage, it grew more still. When the lights went off, and the custom made stage started glowing, I didn’t think there could be any more anticipation, but then the screens behind the stage lit up, and there was. Finally, with the atmosphere more intense than a camping holiday, the music started playing. The theme from the Dark Night Rises provided us with a dramatic start, a brassy, drum-heavy number that really got people going.
After some fairly psychedelic visuals on the huge suspended screens behind the stage, the music stopped, and Hans greeted us. These pre-recorded messages were placed between each piece, and gave Zimmer a chance to tell us about their composition. He also sat and talked with various directors and musicians he has worked in.
One by one, we were treated to the scores of films, old and new. This reflected in the crowd, ranging from children to the silver-haired, all transfixed by the music. Looking around, I could see no-one talking, and barely any on their phones; everyone allowed themselves to float away from the real world for a few short hours. I hadn’t been to another orchestral concert in Manchester, but there certainly was something special about the dedication everyone had just to simply listening.
Gladiator, The Lion King, and The Da Vinci Code all came and went. Zimmer made it so all the pieces performed on the night were slight variations from the originals, so that we, the audience, were hearing something unique. The singers and some of the more permanent collaborator musicians really showed their passion. With the near permanent smiles on their faces, you could tell they either loved what they were doing, or were paid too much to care.
Finally, with the night coming to a close, we were joined by Hans for the last time, playing Time from Inception on his piano along with the orchestra. It was beautiful. The applause was raucous, loud enough even to draw the orchestra back on for an encore of Pirates of the Caribbean. It was not a night that is high on my list of things to forget.
Flume has made a comeback in style with his new release ‘Hi This is Flume’ on Friday 22nd March. The Australian record producer, DJ and musician has been quiet for 3 years since his last album ‘Skin’ in 2016, releasing only the EP ‘Hi. Flume.’ prior to the release of his latest creation. More of a mixtape than an album, ‘Hi This is Flume’ moves from the mainstream, electro-pop sounds of previous albums to a much more aggressive, experimental sound, taking listeners by surprise as it breaks the boundaries of expectation. Deep synth based with a lack of vocals, the album combines captivating beats with abstract, energetic sounds which create a sense of Flume experimenting and expressing himself.
The album starts with a voice recording of the artist saying ‘Hi, this is flume.’ This is then merged with many other similar recordings, creating a confusing and chaotic accumulation of voices. The disconcerting track then blends effortlessly into the next track ‘Ecdysis’, where the overwhelming sea of voices is replaced by smooth sounds and an appealing beat. This sets the tone for the whole experience of listening to the mixtape, as the rest of the tracks then follow just as smoothly, with each of the 17 songs blending into one another.
Although the mixtape is much less vocal based than previous albums, it does contain collaborations which introduce rapping vocals and in the case of the collaboration with artist SOPHIE, auto-tuned melodic vocals which are reminiscent of the earlier sounds of ‘Skin’. In ‘How To Build A Relationship’, featuring American rapper JPEGMAFIA, the impressive lyrics include sudden outbursts of shouting and swearing, which are intentionally jarring and shocking. This is fitting with the aggressive and unexpected tone of the mixtape as a whole.
There is no doubt that the album is work of art, with the beautiful and abstract designs on the cover complementing the aesthetic quality of the music itself. However, while the mixtape is impressive in its experimentalism, the absence of any mainstream tracks, in addition to tracks which at times can feel chaotic and messy, make it much less captivating and harder to listen to than other albums. Certain electronic sounds in some songs border on unbearable. Regardless, even if ‘Hi, This is Flume’ is not a fan favourite for Flume, this new sound promises a fun and exciting new direction for the artist.
In a tense fight with a spear-wielding samurai, I dash and jump left and right, observing the imposing foe’s moveset. When should I deflect his spear? When should I jump over it? After several failed attempts, I realise I can sneak behind him and remove half his health with a simple backstab. Then ensues the most satisfying moment I’ve had in the game so far: I deflect every swing he makes, tiring my opponent out, then counter his lethal thrust attacks by leaping towards his spear, only to stomp it into the ground, then plunge my sword into his exposed neck.
It’s safe to say Sekiro has the most exhilarating, kinetic swordplay of any game I’ve played. FromSoftware’s previous games, the notoriously difficult yet brilliant Soulsborne (Demon Souls, Dark Souls 1-3 and Bloodborne) franchise, can’t hold a candle to the lightning quick, responsive combat of Sekiro.
While Dark Souls relied more on shield blocking or well-timed dodges to succeed, in Sekiro it’s about parrying or “deflecting” enemy attacks with a quick tap of LB/L1. A successful deflection rewards the player with an incredibly satisfying clang of metal that I never got tired of hearing. This has two effects: you don’t take any damage from a deflected attack but more importantly, you degrade the enemy’s posture. Posture is a meter that builds up for you and enemy characters as you receive damage or block subsequent attacks and is central to combat. When posture is broken, it leaves you or enemies open to further attacks. Thus, beating tougher enemies is less about depleting their health to zero and more about managing your own posture gauge while chipping away at theirs. When their posture is depleted you can execute a “deathblow”, a killer animation resulting in instant death for regular enemies and serious damage to bosses.
The already excellent combat is further supported by shinobi prosthetics. Your character’s left arm is an artificial limb which you can attach various gadgets to, from a simple shuriken thrower to a deployable umbrella-style shield you can raise to block any attack. You can have three of these equipped at time, or pause and change them on the fly to suit the situation you are in. I love the shuriken in combination with an ability that allows me to rapidly close the distance on an enemy immediately after a throw, while the firecracker attachment allows me to release a short-range burst of fireworks to stun nearby opponents. Some of the attachments are a little underwhelming and I struggled to find a good use for them, but most are solid and augment how you play meaningfully.
The prosthetic attachment you’ll use most is the grappling hook. This incredibly fun gadget is unlocked almost immediately and helps you cross large gaps, gain a height advantage or get out of tricky situations, while some sections are almost like platformer/jumping puzzles where the grappling hook is mandatory. It can even be used as a weapon against some bosses. The best thing about it is just how cool and stylish the animation is when you use it. Never has pressing the left trigger been so fun.
Image: steamXO @ Flickr
To the disappointment of some, Sekiro does not allow further gear customisation like most traditional RPGs or the Dark Souls franchise. It is a shame you can’t change your outfit or weapons, but this is deliberately restricted to fit with the character. There is still a large amount of progression in terms of skills that unlock new abilities as well as a large upgrade tree for your various prosthetic tools.
The basic stealth elements of the game add a further layer of complexity. Stealth is especially useful for dispatching enemies surrounding a boss to allow for an easier one-on-one fight, or for the opportunity to immediately weaken the boss itself. This makes tackling the various areas and settlements of Sekiro slightly easier, as you can avoid some tough enemies or assassinate them.
Image: steamXO @ Flickr
The story is based on the Sengoku period in Japanese history, a near 200-year era of conflict between the 15th and 16th centuries. You play as the shinobi nicknamed Sekiro, meaning “the one-armed wolf” and are tasked with protecting the young lord Kuro. I won’t spoil the story, but it’s immediately more accessible than the story and lore of Dark Souls, which relied heavily on reading vague item descriptions or cryptic clues from NPCs. Sekiro himself is fully voiced and even has dialogue choices, some of which can have critical story impacts. At times the story felt contrived and occasionally a bit boring, but this does not detract from the phenomenal gameplay.
Prior to launch many Dark Souls fans feared Sekiro would be too “easy” or “casual”. Well, they were wrong. This game is brutal. You start with so little health and the steep learning curve from Dark Souls, and indeed other third-person action RPGs, is very much present. Regular enemies hit hard and will kill you in only a few hits if you’re not careful. Thankfully, they too are reasonably easy to kill for the most part. The bosses and mini-bosses are on a different level. I’m pretty sure all of them took me multiple attempts, and a few stumped me for hours. They are a true test of skill and encourage you to master the combat system.
Despite the difficulty, I never really felt the bosses were unfair or too strong. They hit like a ton of bricks and have a lot of health and posture, but with the right skills and reaction times, they are quite possible to beat. My only small complaint is that the final boss, who is naturally the hardest, had perhaps one too many phases to his fight, which meant managing my health was very difficult. Or perhaps I just need to get better.
Thankfully, Shadows Die Twice isn’t just an edgy title. It references the games rather unique revival mechanic. A couple of times per life, you can resurrect yourself upon death and carry on the fight, which is particularly useful during boss fights. You can then restore these resurrections by resting at a shrine (essentially checkpoints), or by accumulating several kills. However, you cannot resurrect yourself in rapid succession: you must perform a shinobi deathblow to unlock the second resurrection. This is also useful against groups of foes, as if you die you can wait for them to wander away from your corpse, then spring to life and re-engage or attempt a hasty retreat.
I enjoyed every minute of Sekiro: Shadows Die Twice. I got stuck, frustrated and swore, but nothing in gaming comes close to the tension, excitement and relief of finally beating a difficult boss in a FromSoftware game, and the intense, innovative swordplay sets a new standard in third-person action RPGs. Simply, a fantastic yet brutal experience.
Perhaps looking back on My Chemical Romance such a strange number of years after their split is a strange choice; after all, 6 years doesn’t exactly mark any particular milestones. The band split in a single paragraph posted online on March 22nd 2013, with four studio albums and several other accolades under their belt, including, of all things, a guest appearance on the children’s show Yo Gabba Gabba. However, this year is that of the alternative history in which the concept of the album Danger Days: The True Lives Of The Fabulous Killjoys takes place. Furthermore, last month saw the release of the Netflix show The Umbrella Academy, based on the comic books series of the same name by MCR frontman Gerard Way and Gabriel Bá, and the former members are all continuing to release music with their own projects.
Formed after Gerard Way witnessed the events of 9/11, My Chemical Romance was never known for conforming. From on-stage displays of physical affection with one another in order to upset homophobes to warnings against piracy based on the threat of having one’s blood sucked by the band’s lead singer, the band made some choices which were bizarre but definitely stood out. Their debut album I Brought You My Bullets, You Brought Me Your Love was released in 2002, cementing them in the genre which they were seen to dislike, emo. The loud sound, strong attitude, and dark clothes added to the aesthetic, which arguably grew increasingly less bleak through the band’s tenure.
The albums themselves continued to have concepts which were consistently intriguing and complex. This is presumably a result of Gerard Way’s comic book writing; the final album (Danger Days) is a direct prequel to a comic book series by the artist, and The Black Parade, which is probably the band’s most well-known work, is focused on a dying cancer patient. Possibly the most intricate plot, which is in fact the least explicitly fleshed out, is that of Three Cheers For Sweet Revenge, focused around a dead man gathering 1,000 evil souls in order to be reunited with his love. The consistent conceptual nature of the albums is not unique, but is certainly executed more successfully than it is by many other bands.
The members have remained close despite going their separate ways, but continue to undertake their own projects, both solo and otherwise. Gerard Way has done solo work, but in general, has focused on his comic book writing. On March 20th of this year (2019), Frank Iero, MCR’s rhythm guitarist, released the lead single from his new album with his band, newly renamed as Frank Iero and the Future Violents. Former bassist of the band Mikey Way has worked on his joint project Electric Century as well as playing bass for those such as the band Waterparks and Andy Black, whilst lead guitarist Ray Toro has also undertaken his own projects, including his own solo album which was released in 2016 and working on music for The Umbrella Academy with Gerard Way.
Between them, the band’s former members have been involved in a wide variety of projects and genres, which further highlights the varieties shown within the My Chemical Romance albums. Despite their final album Danger Days edging more towards pop than any of their earlier works had, the unique tone which the band provided was retained whilst creating an appeal which created a new audience.
Despite its typical association with angsty teens, My Chemical Romance has a timeless appeal to those desperate for a voice reassuring them, albeit somewhat angrily, that they are not alone.
“There are two types of people here tonight” guitarist Cory Wong told the adoring crowd over the sound of a throbbing baseline, “there are the guys that just want to have a good time… and then there are the music students. You know, you nerds that can’t stop admiring the synth.”
He got me there. I may love Vulfpeck, the funk group that Wong often plays with, but I know absolutely nothing about what makes their songs so great. However, it quickly became clear that I didn’t need to be versed in musical theory to realise that I was receiving a masterclass in concert performance. Vulfpeck might just be the best independent band making music today. Their near-unparalleled mastery of funk and rhythm combined with their distinct internet presence has made them a musical force to be reckoned with. Every grainy video of theirs that I watch leads me closer to the conclusion that they could be deities of some kind, and that’s coming from a theology student.
Considering this, I’m sure you can imagine that getting to see their rhythm guitarist Cory Wong up-close and personal in Manchester of all places was a pretty surreal experience. I think it’s fair to say that when I arrived at Gorilla, the club-bar humbly positioned under Manchester’s railway tracks, the novelty had not worn off in the slightest.
British singer Phoebe Katis opened the show with songs from her upcoming debut album, Touches, which was produced by Wong himself. Katis had an unfairly tough task considering what she was introducing but surprisingly managed to resist being dwarfed by the shadow of her producer. Her music stands out as being less funky and more reflective than what one might expect from her previous collaborations with Wong, but never felt out of place, and has proven herself deserving of a spot in the Vulfpeck extended family.
The arrival of the headline act brought with it a sound that rippled through bodies in such a way that it quite literally produced “oohs” and “aahs” from the audience. I went into the concert knowing how talented the musicians were going to be, and yet I still found the apparent effortlessness of their playing striking. Though centred around a clear focus, the songs benefitted from a sense of liberation that let the performers work off each other – and sometimes even the chants of the audience – to create a bespoke atmosphere for the venue. This playfulness is very on-brand for both Wong and Vulfpeck, and seeing it up close made it clear that this is the real key to their success.
Just as they aren’t restricted to playing specific notes, Wong and co. refused to be restricted by the limited environment of a live concert either. It would have been easy to satisfy the audience by letting familiar songs – mostly instrumental combinations of funk, jazz and a dash of rock – wash over them in a traditional manner, but to Cory Wong, traditional clearly just doesn’t cut it. Determined to make the evening both an audio and visual spectacle, the show incorporated video technology to collaborate with other big Vulfpeck names and ensure a fully immersive experience. It never overshadowed the actual sound, only complimented it. There were times when I felt I was watching a Vulfpeck video come to life in front of my very eyes.
Ultimately Wong understands that concerts are at their best when they give listeners something they couldn’t experience at home, and this performance is a testament to that awareness. What other lead throws croutons at the audience? What other gig uses footage of Tony Hawk’s Pro Skater and Jurassic Park as background accompaniment for its songs? What other encore features the lead act faux-fainting from exhaustion only to regain his skills by punching, kicking and headbutting through slabs of wood and stealing talent from his fellow performers a la Space Jam? Not a single one, because Cory Wong and his team went above and beyond to ensure the audience got their money’s worth.
I might be out of my depth when it comes to musical performance, but Wong certainly isn’t. That man knows exactly what he’s doing, and he’s doing it exceedingly well.
Peter Bjorn and John are a band that have surprised me like no other. It is a gig I will certainly remember for the rest of my life, but perhaps not necessarily for the right reasons. Considering the fact these three musicians have been working together for over 20 years, I am at a loss as to why they came across unrehearsed at the beginning of the night.
The set started shaky: performing older songs that all seemed to have the same formula. I don’t think I would have minded as much if each band member didn’t also look so bored. Because of the complicated nature of their songs, backing tracks were needed for the songs to feel complete. Each of these beginning few songs felt stiff; they seemed to allow the backing track carry most of the music while the live instruments provided only the key parts and solos.
A few songs in and the frontman, Peter, finally started some audience interaction which was a bit awkward, to say the least. Some of his comments were funny but most missed the mark. Peter’s “the world is screwed” speech right before ‘Dark Ages’, (off the new album Darker Days), didn’t seem to resonate as much as he expected.
The performance finally began to pick up during the song ‘In this Town’ when, the bassist, Bjorn’s cable broke during the guitar solo. Surprisingly, this worked in their favour since Peter was forced to continue the solo for at least an extra minute and a half, improvising superbly with drummer John. After this, the band began to loosen up.
So much so that by the time ‘Second Chance’ came on, (largely made popular thanks to the TV show Two Broke Girls), the band finally seemed to perfecttheir indie rock edge. Their coordination with each other was better and their attention to the crowd had become much more apparent. It was clear that the newer songs, and the few popular old songs, were the ones they were really here to perform.
After leaving the stage, there was an awkward moment when the very sparse crowd didn’t seem bothered to cheer for an encore. However, when the band did return everyone was extremely shocked at how their aura had changed. Suddenly this new extroverted band had arrived for an encore that had to be the highlight of the gig despite it perhaps being a little too late.
Although only three songs were played, altogether it lasted at least 45 minutes long. Peter began running around the crowd and at one point even stopped to lie on the floor surrounded by everyone. ‘Young Folks’ was sandwiched in the middle of this second set and, for the first time, the entire crowd finally danced and looked to be enjoying themselves.
It is worth noting how good the support band Satyr-Play had been. They were excellent and knew how to infuse the audience with energy right from the very start. This stood in stark contrast to when Peter Bjorn and John took to the stage. They began slightly unprofessional. But eventually, they did end up delivering a more upbeat performance. Particularly the end stood out as they gave amazing harmonies, brilliant solos, fun audience shenanigans, and a world-famous whistle to make the night worth it.
Following the release of her sophomore album Us last October, Empress Of (stage name of Lorely Rodriguez) is preparing to begin her European tour.
“I don’t know how these songs will translate live because I made them in the studio, isolated… I waited a while to tour, and I really liked that because I saw that the audience had their own experiences with the songs. They knew the lyrics, and I could tell that everyone had their own song that they wanted to hear. That was the really cool part of performing.”
Rodriguez is very in tune with social media, and I asked about the reception she’d seen from fans.
“I feel like as an artist I make things pretty selfishly and anecdotally, and I feel really grateful that other people share the same sentiment and connect to it. Songs like ‘Woman is a Word’; that’s a really big one that’s impacted a lot of people. I’ve met people who have just discovered that song, men and women, and people are changing [the lyrics] like “I’m only a man if man is a word”, and I love that because, like, I want you to make these songs your own you know, it inspires me to keep making honest work and genuine songs.”
Rodriguez has had many notable collaborations in the last few years, such as MØ, Khalid, Tommy Genesis, and Dirty Projectors last year alone. The most prominent, however, is with Dev Hynes (Blood Orange).
“I didn’t wanna write just about an ex-boyfriend,” she laughs. “There’s more to me than that, and the people who support me are a huge part of my life. Writing a love song about friendship, and my experience in New York with Dev, that was really important to me – and when I wrote the other parts of the songs, I was like – Dev I wrote this song about you, you need to sing on it! You need to get right on it!”
Since her time in New York, Rodriguez has moved back to L.A. where she wrote most of Us.
“Each city is amazing in its own way, but it’s definitely different energy. There’s a lot more space here, and it’s a lot less stressful than living in New York is, because New York is punk you know? It’s this aggressive energy. L.A., for all the obvious reasons, is different, but it’s different for me because my family lives very close, so that’s my support net. And being so close to all the things I grew up around, all the food I grew up around the music… I think that has influenced me in a really special way.”
Rodriguez also highlighted the importance of tempo to the overall composition of her albums.
“Some things I do unintentionally, but it’s like my brain knows that I’m gonna have to perform these songs… When I performed, it became obvious to me that I was thinking about this when I was making the music. I wanted some songs around 100 [bpm], which is a totally different way to move your body than if you write songs at 120 [bpm]. You’ll see in my live set I kind of weave all the songs into each other – doing songs at different tempos so that I am able to pace my interaction with the crowd differently is just important to me.”
Rodriguez is a first generation Honduran-American, and on many songs, as she sings in Spanish, notably on “Trust Me Baby” from Us.
“Writing in Spanish for me is like using a different part of my brain, rhythmically and lyrically, because of the nature of the language. There are a lot more syllables for what you want to say, and I think writing just has different rhythmic qualities when I’m writing melodies. I use it as an additional way of expressing myself. If I feel limited by just writing in English, I’m like ‘OK, how does this sound in Spanish?’”
Rodriguez had remarked previously how she’d grown up listening to The Zombies and The Pet Shop Boys at home, yet I was curious as to what recent acts had moved her creatively.
“Right now what I really love, is that there are a lot of young, inspiring, female artists breaking out – I really love Clairo, and I love Japanese Breakfast. She’s [Japanese Breakfast] like a really good friend of mine now, and I’m really inspired by her and her story.” Rodriguez continues, “I’m like How? How do you direct your own music videos, make an album, write a book, score a video game… I’m tired just saying this list, you know? I think it’s an exciting time for women in music, and it’s long overdue for women to get the spotlight that they are starting to get.”
As time is running out on our call, I try to be brief and ask perhaps the most cliched question: What’s next?
“I just wanna keep telling my story, cause I know that there are other people that have the same story, or are inspired by me and my story, because they see it in themselves.
“And wherever that takes me, I’m gonna go. I hope that I reach out to people. That’s very, very precious to me.”
Empress Of will be performing at Manchester’s YES on the 27th March.
David Bintley’s mesmerizing adaptation of Beauty and the Beast was everything I hoped it would be. From the wonderful music to the incredible sets, it was hard not to feel spellbound.
This modern take on the classic fairy tale tells the story of Belle (Delia Mathews), who is taken away from her humble father and malicious sisters to live with the Beast (Tyrone Singleton). Their relationship grows yet she refuses his marriage proposals every day until she is whisked away by the conniving sisters, unable to return to the castle, leaving the Beast to weaken and die from a broken heart. Finally, she escapes and is able to return and reveal her deep affection for her captor upon which he transforms into a handsome prince.
The final number in which the now human Beast and Belle dance together was particularly moving, I was amazed by how affected I was despite the lack of dialogue. The music and dancing combined with the chemistry between Mathews and Singleton made this final dance particularly memorable.
The theme of magic was ever-present. Most of the characters wore gothic, animal masks to portray the spell that they and the Beast were under. For instance, his henchmen took on the appearance of rats with long tails and rodent-like masks. When Belle was magically taken to the Beast’s castle, she was escorted by a flock of crows wearing beaked-masks and heavily feathered bodices. And Singleton himself was transformed by incredible prosthetics to bear the appearance of a ferocious creature. This element made the ensemble dances even more spectacular.
I was awed by the grace of the dancers and the precision in which the choreography was carried out; elegant and perfectly in time. My favourite company dance was the ball scene which came directly after the intermission. The luxurious costumes, the triumphant music and the lively dancing made this scene quite a spectacle. The dancers’ lifts were especially beautiful and fit perfectly with the atmosphere of the ball. This scene was beautifully contrasted by a group dance involving the rich and greedy characters outside of the castle.
Another magical element was the transforming sets. The Beast’s home was composed of different layers that opened up to uncover a deeper level of the castle. The outside of the castle, intimidating and looming, parted like a giant gate to reveal the front door. Behind this, the final layer, the inside of the castle, was dark and oppressive but marvellously became bright and illuminated once the spell was lifted.
This may have been a modern adaptation but the moral of the story stayed the same; don’t judge a book by its cover. The shadowy and ominous castle atmosphere was vastly contradicted by the animated dancing of its people. The Beast surprised the audience with his intimate and elegant dancing despite his fierce appearance.
Overall, attending this performance was a pleasure. If you have not been to the ballet I urge you to go and surprise yourself. I for one will be waiting on the edge of my seat for the next ballet to come to the Lowry, or anywhere else in Manchester.
Full of humility and humour, Chloe Weare’s Do Not Disturb was a play about love, confinement and pot noodles. In the intimate setting of their Travelodge home, the lives of Margot, James and son Henry were presented under a microscope as the ins and outs of their daily lives unfolded in front of the audience.
We witnessed the characters shower, dress and undress, eat and sleep in front of us. The mundane and menial routines of daily life infused with Weare’s sharp and witty dialogue made for a gritty representation of frustration with life, love and circumstance.
All the cast gave stellar performances. Orla Quilligan played the frustrated and misled Margot who sends herself down a path of self-destruction in a misguided attempt to escape the disappointment and boredom of her life. Margot is equally likeable and disdainful, as Quilligan played the contrasts in the character perfectly, from loving mother, to cheating spouse, to phone sex worker at the drop of a hat (or the slam of a hotel door).
Playing the Ukrainian hotel cleaner Domino, who also happens to be Margot’s secret lover, was Kate Gabriel. She played the transition from meek and mild cleaner to headstrong and feisty lover beautifully. Rory Greenwood balanced comedic timing and naturalism to a T as the endearing and seemingly oblivious husband, James.
A stand out moment for me was the tender interactions between Margot and James’ teenage son Henry played by Adam Tutt and his love interest Lily, played by Ruby Hines. The pair both gave an incredibly convincing portrayal of the nerves of first love and a first kiss. Their scenes were playful and funny, whilst remaining incredibly natural and endearing. This provided much welcome relief from the downhill spiral of the relationship between Margot and James. Hines characterisation of the bubbly, youthful Lily was impressive. In a moment where James confronts his mother, Tutt gave an emotionally charged and incredibly powerful performance as a teenager going through puberty.
Undeniably bold, the direction (by Ellen Kaye and Grace Johnstone) was unafraid to play with silence. Many moments were dramatically static and uneventful which brilliantly captured the monotony of life whilst building the tension, which was palpable.
The set was particularly effective as various domestic paraphernalia lay haphazardly around the two beds. This gave the effect of a hotel room, barren of anything precious or sentimental, yet cluttered with the day to day items of life on the bare minimum. This one room set was claustrophobic, entrapping characters and audience alike in a life with no visible way out.
Do Not Disturb was a powerful representation of human nature, our ability to fall in and out of love and, the delicate and breakable nature of our lives. Weare leaves her audience questioning what can be picked from the ruins when it feels as if everything has crumbled around you.
