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Month: July 2019

Edinburgh Fringe Preview: Sound Cistem

The idea for Sound Cistem came “from a conversation” in which performers Lizzie Morris and Ayden Brouwers described themselves as “inappropriately drunk”. They found themselves in a “passionate” discussion about trans theatre and the need “to make something that combatted cisnormativity”.

Sound Cistem is a dance show situated in a night club. Both performers “realised that some of the grossest things that have ever been said” to them happened on “nights out.” This production invites the audience to look and listen to the way Brouwers and Morris “view their bodies and the way others view their bodies.” Sound Cistem explores the “increased threat” trans people can experience in a night club, whilst also recognising that clubs “can be queer utopias”.

Watching the work in progress version of Sound Cistem (as part of the Offbeat Festival), it was clear how determined the team are to raise awareness of trans experiences. This is not just in relation to the personal experiences of the performers, but also highlights the intersectionality of experiences and the diversity of ignorance experienced.

Sound Cistem features soundbites from numerous diverse transgender individuals. This gave the performance a rawness and honesty, particularly when different experiences were portrayed by the performers movements. The show was captivating because the dance and movement was at times abstract and interpretative and at times a stark and direct representation of the words heard by the audience.

Brouwers and Morris started with around 20 hours of “fascinating conversations with young trans people” from all different backgrounds, the recordings were a lot more than they needed for the planned 40 minute verbatim show. Therefore, they focused on certain interviews to “put more emphasis” on trans voices such as people of colour and disabled trans individuals. Brouwers and Morris explained that “it would be remiss of us to not acknowledge the intersections of transness with racism, misogyny and disablism”.

Morris and Brouwers explained that it “was slightly unfortunate…that [they] had to cut out so many interesting and important insights for time”. To mitigate this, they “are planning to start The Sound Cistem Podcast, to keep recording and elevating young trans voices”.

Brouwers explained that the choice to make Sound Cistem a dance show is based on using a “medium” that has “always been a very gendered form”. Brouwers added that “a lot of modern and contemporary dance seeks to reduce the human to just a moving body” this allows the production to comment on “the dehumanastion of trans bodies into vessels of political discourse.”

Sound Cistem is unmistakably unique and enthralling. Brouwers and Morris have stated: “if we can make even one trans person feel a sense of catharsis, then…we’re putting some good out into the world.” Sound Cistem has already achieved so much with its candor and unapologetic portrayal of multiple trans experiences. It is a must-see at Edinburgh Fringe, to quote Brouwers and Morris: “we need as many people on our side as possible…we’re tired.”

Sound Cistem is a Plaster Cast Theatre production running 11th-26th August at Edinburgh Fringe, ZOO Playground.

Follow the rehearsal process on Instagram: @plastercasttheatre

The Howl & The Hum release new live video for ‘Hall of Fame’

“Tonight, Matthew, I’ll be an honest, raw and utterly compelling version of myself”

The Howl & The Hum have released a new stripped-back video for their latest single Hall of Fame. With an intimate and minimalistic setup, frontman Sam Griffiths takes centre focus, baring the very backbone of the pop single.

After spending the past few months on the road opening the likes of Barn on the Farm, hitting the ground running from SXSW in Austin, Texas and returning to the studio to continue recording a defining collection of songs, the waves have stilled and The Howl & The Hum release yet another spine-tingling live performance.

Live, or at least in a gig setting that is, ‘Hall of Fame’ is one of the band’s most fast-paced, catchy and dynamic tracks yet. Griffiths tells the tale of a protagonist who “thought of himself as a star”, a kind of “celebrity” but after he returns to his hometown “no one remembers him”, as if this grandiose perception of himself had just been “melted away”.

But, to take on this stripped-back portrayal felt “natural” for the band, as ‘Hall of Fame’ reveals its versatility in a new personality, one of longing and a story of a muse slipping away. A song that perhaps now sits akin to ‘Godmanchester Chinese Bridge’ and the live sensation that is ‘Sweet Fading Silver’ whereas the studio version appears to be more on the lines of an outburst of impulsive, youthful love.

Watch ‘Hall of Fame’ (Live) here:

Don’t miss the opportunity to hear ‘Hall of Fame’ in all its pop glory amongst thrilling album teasers on The Howl & The Hum’s upcoming autumn tour. 

Tickets for The Howl & The Hum’s upcoming tour available here with new dates added for Wed 13th Nov  Jimmy’s // Liverpool, Th 14th Nov // Workman’s Club, Dublin, Sun 17th Nov // The Adelphi, Hull.

Match Report: Salford overpower Catalans in play-off hunt

Salford made no mistake against Catalans Dragons in their quest for the Super League play-offs.

The result puts the Red Devils only two points behind the French side, who were 5th and occupying the final play-off spot going in to this afternoon’s match. Salford Head Coach Ian Watson had called this the first of three “massive games” for the Greater Manchester outfit, who took all of their chances this afternoon, with Kris Welham, Krishna Inu, Josh Johnson, Derell Olphert, Tui Lolohea, and Niall Evalds crossing for the home side at the AJ Bell stadium.

In contrast, Catalans only scored two tries but also crucially dropped the ball over the line on a further two occasions.

Both sides grew into the game, with a high penalty count in the opening 20 minutes leading to a game lacking in quality. However, the game sprang into life around the 25-minute mark, with Salford stand-off Tui Lolohea reacting angrily to a Antoni Maria challenge. This seemed to invigorate the home team, with Josh Johnson grabbing the first try of the afternoon underneath the posts on his home debut, having signed from Barrow recently. Just six minutes later Sam Kasiano replied for the French side, who had scored an early penalty, meaning they led at the half-hour mark.

However, it was a short-lived lead and one Catalans wouldn’t regain as Derrell Olpherts slid in on the right-hand side after 36 minutes. Just before half-time, Kris Welham, who was making his 300th career appearance, won a battle of wills in the air to hand the Red Devils a 16-8 lead at the interval.

Catalans had defended well up until Olpherts’ score, but perplexingly fell apart just before the half time hooter. However, they began the second half well, with Wiliame racing through a static Salford defence just two minutes in. The game then hung in the balance for a period of ten minutes, before Kris Welham – who Watson called “outstanding” in his post-match press conference – combined with Tui Lolohea to produce another score for Salford.

After David Mead made a crucial handling error for the Dragons on the line, Salford delivered a double blow with full-back Niall Evalds collecting a Lolohea grubber kick, and Welham profiting from some patient passing after a Catalans handling error on the 40m line.

From there, Salford scored again Flanagan wrestling through two challenges after a powerful driving run from Krisnan Inu from kick-off, which took the final score to 40-14.

It was this second-half no-show that led to Catalans Head Coach Steve McNamara saying “some of our efforts… were disgusting” following the game.

The result leaves Catalans 6th in the table on 24 points – the same as Castleford, who beat 2nd-placed Warrington on the same afternoon, and Wigan. Salford remain in 7th place, being just two points behind the Wigan-Catalans-Cas pack in their hunt for the final two play off spots, with only six regular season games left before the play-offs begin in Autumn.

MIF19: David Lynch at HOME

Over the last 10 days, Manchester International Festival (MIF) has offered a brilliant feast of innovative theatre, music, and film for residents of the city to take a bite out of and chew on Manchester’s arty offerings. However, one slice of the festival has been especially damn fine, with the opening of HOME’s David Lynch takeover offering a bountiful selection of treats for the eyes and ears (and perhaps our other senses too).

The first event to kick-start the Lynch picnic was opening of art exhibition My Head is Disconnected – the first major UK collection of Lynch’s work that accumulates illustrations, large-scale mixed media paintings, and sculptures.

Separated into four chapters, the exhibit explores dystopian landscapes, the human mind, industry, and dreams. Most distinctive in the collection is Lynch’s use of thick texture, with substances oozing together to create creamy, oily sheens, as well as objects being carved into and jutting out of the canvas. In ‘Mister Redman’ (2002), Lynch coagulates a greasy yellow mixture that spews out of the painting; the chunky, stomach-curdling vomit-esque mound being littered with red and white dice. Bordered by spindly splats of red and a crumbling essence of a man named BOB, this canvas evokes the eruption of bodily fluids, and in turn, heightens the spectator’s awareness of the physical liquids inside our own stomachs, and the blood coursing through our veins.

Much like the recurring themes, BOB is a recurring figure in Lynch’s art, as is a woman called Sally, who features in two of the most disturbing and captivating pieces in this exhibit. Both from 2018, ‘Billy (and His Friends) Did Find Sally in the Tree’ and ‘Sally Floats Out’ encapsulate distressing but beautiful depictions of the duality of body and soul.

My Head is Disconnected is a wonderful display of Lynch’s artistic ability, and not only is it varied in size, colour and texture, it is also varied in emotion, heart, and feeling. The exhibit is less about analysing and deciphering images and words, and more about stirring raw and surprising emotion within. On until the 29th September, I urge everyone to visit and be submerged in the Lynchian wave.

My Head Is Disconnected 1994. Photo: Courtesy of the Artist, Private Collection

A side dish served alongside the opening of the art exhibition that day gave the opportunity to watch a live Skype Q&A with Lynch. Many who attended were not only there to visit the exhibit, but also lovers and devotees of his entire back catalogue of films, TV, and music, and you could feel the excitement in the air. Often Q&A sessions with your heroes can lead to nervousness and disappointment, but Lynch was heartwarming, earnest, friendly, engaging and so thankful to us who attended.

He talked about his happiness, the muted sunshine of L.A., his washing routine for his hair, love, and greeted each question with a smile. Lynch also touched on his use of transcendental meditation in life to further his creative endeavours, and shared many words of wisdom about striving for greatness within yourself and sticking by your creative guns.

Continuing a weekend of starters, Sunday night signalled the beginning of the Lynch film season at HOME with a showing of the hefty and once reviled Twin Peaks: Fire Walk With Me. With a really touching and heartfelt introduction from curator Bren O’Callaghan – in which he discussed his first experience of a lonely cinema screen, to going to L.A. and meeting the man himself, O’Callaghan’s words cemented the love and admiration that both the curators and the attendees of the events have for this talented man. Having the opportunity to watch David Lynch’s films on the big screen is an incredible opportunity for both sight and sound, and Fire Walk With Me was a brilliant chance to experience how immersive, and uneasy, Lynch’s work can be on the big screen and with even bigger speakers.

Mullholland Drive. Photo: Courtesy of Park Circus Studio Canal

The following Friday saw the beginning of the three-course meal that was David Lynch Presents; a weekend showcase of artists chosen to perform and inspired by Lynch himself. Each evening included an introduction and set by Chrysta Bell, longtime artistic collaborator with Lynch, who has appeared as FBI Agent Tammy Preston in Twin Peaks: The Return, and has produced hauntingly beautiful albums.

As the lights dimmed in the theatre, Chrysta Bell walked out to a crowd already mesmerised into complete silence, in front of the appropriate deep red curtains. TV static projected over her, she sensually moved to a spoken word poem of Lynch’s. After this, she was illuminated and declared to the crowd that these three evenings are about achieving a state of transience, where we connect with people, worlds and spiritual realms through the medium of music.

First up was Dorset singer-songwriter Douglas Dare, who, darned with red lips and a single white light, began a piano-led solo set. Whilst Dare possesses obvious vocal talent, I found his set being first was a mis-step for the evening, as it lacked the required visceral energy and excitement. Dare’s voice soared throughout the theatre, but the energy plummeted.

Next up was Chrysta Bell, who commanded the entire stage with the first footstep she took. She has an incredible hypnotic quality to her, holding your attention at the same time as allowing you to get lost within her entire being. The track ‘Swing With Me’ was stand out, the stage transforming into the sweaty, whiskey-drenched dive bar in Texas she described inspiring the song through her sultry and coarse vocals, backed with a deep, seductive bass.

After the interval came Anna Calvi, an intimate solo show described by Chrysta Bell as containing a “guitar to a dark world, with her voice a bird of flames”. Lit from a single hanging bulb, Calvi absolutely shredded the stage, her impressive guitar work blowing the audience into bits. Calvi lacked the stage presence that Chrysta Bell attained, and therefore the atmosphere again seemed to sag.

These New Puritans take to the stage at MIF. Photo: Joel Fildes

Saturday night opened with psych-rock band Whyte Horses, who brought Twin Peaks to the HOME theatre stage with a set inspired by the atmosphere of the Roadhouse within the TV series. The three female vocalists vibed throughout the set, their co-ordinated dance moves and funky tunes getting the crowd going. The band had great stage presence, and their tracks were fun and a great start to the night. Despite this, between each track the band had interludes of two jesters dressed in Shakespearean clothing prancing about the stage and proclaiming a poem or two. This felt forced, and didn’t flow well with the show, highlighting a common misconception that anything slightly ‘weird’ can pass for Lynchian.

Next up was Chrysta Bell again, who managed to captivate the audience a second time around. Devil Inside Me blared throughout the venue, and a far more energised and raucous crowd moved about in seats, throwing their arms in the air and sensually swaying along.

Headlining the Saturday was These New Puritans, an English experimental group consisting of vocals, drums, guitars, metallophones, saxophones, cellos, and synths. Playing a mix of original tracks and re-imagined pieces from Lynch’s work, These New Puritans grasped the audience tightly with their loud and explosive start. However, this dipped in strength when lead singer took to the mic to sing David Bowie’s ‘Deranged’, a song appearing in Lynch’s 1997 Lost Highway. With paper in hand, it seemed that the singer was reading the lyrics from notes, and this really marked the lack of effort put into the performance.

From there on the entire set seemed slightly sloppy, granted the version of ‘In Heaven’ from Eraserhead was really great to hear live, but a half-hearted, half-completed ‘Sycamore Trees’ left a bitter taste in the mouth, and I was left hungry for something more.

Chrysta Bell in full flight. Photo: Chris Payne

The last evening of the Lynch feast was opened by astonishing Japanese vocalist Hatis Noit. Stepping out of the darkness, Hatis Noit opened her lungs and let out the most ethereal and beautiful sound. With a loop pedal to record and repeat certain refrains, Hatis Noit’s set transported the audience to another plane of existence, the sound reverberating through every bone and creating a rich and gorgeously layered atmosphere.

The middle set came from Chrysta Bell once more. There’s not much left to say other than to reiterate how stirring and captivating her performances are. She is a true performer, with an incredible voice that manages to effortlessly flow from fiery to fragile. Her rendition of Sycamore Trees was the perfect way to end her three evenings of music.

The last act of all three evenings was cellist Oliver Coates, known for his ability to join classical with experimental, and having worked with the likes of Radiohead and Mica Levi. Modest and quiet in stage presence, Coates’ music was a cut above the rest. They say save the best until last, and that is exactly what they did because Coates managed to play the most alluring and hypnotising set yet. The highlight of the evening was the track ‘Love’, his fast and repetitive arm movements with the cello becoming much a part of the performance as the sound. Coates’ set managed to plummet the audience into an endless rabbit hole of musical beauty, a trance in which linear time and space ceased to exist.

This last evening seemed to get to a point of transcendence that Chrysta Bell described at the start of the events, and really highlights the feeling that Lynch and “Lynch-inspired” work can stir within. MIF and all the producers have done an excellent job at curating such a brilliant selection of Lynch’s work, and the passion for creating and appreciating strange and wonderful art is zealously seeping out of the walls of HOME.

Women In Media Conference raises £2k for MASH

The team behind the Women in Media Conference (WIM) has made a substantial donation to MASH following a hugely successful 2019 event.

The conference was established in 2016 by a small group of student media volunteers from the University of Manchester Students’ Union and has supported MASH (Manchester Action on Street Health) as its official charity partner since its creation, this year donating an incredible £2,176.

From small beginnings, the WIM Conference now takes place annually over two days at the People’s History Museum in Manchester City Centre. The conference aims to inspire women to pursue a career in the media by celebrating and learning from successful women in print journalism, radio, PR, and more.

Speakers at this year’s event included Rachel Burden from BBC Radio 5 Live, Danielle Robinson from The Daily Telegraph, BAFTA-nominated TV producer Caroline Leddy, and former Newsround presenter, Nelufar Hedayat.

MASH is a small Manchester charity which works with female sex workers to empower them and promote health, well-being, and personal safety.

Janelle Hardacre, fundraising and marketing officer at MASH, said: “We are hugely grateful for the loyal support of the Women in Media conference and this donation amount could enable us to keep our mobile drop-in vehicle stocked and on the road for ten weeks so we can reach women who may have nowhere else to turn to. It really makes a huge difference to a small but vital charity like MASH.

“This year’s conference was a brilliant event which inspired and empowered women to pursue their goals, chiming very closely with our aims at MASH to support and empower women.”

Ethan Davies, Editor-in-Chief of The Mancunion and member of the WIM 2019 organising committee, added: “WIM is an incredible movement from students at the University of Manchester, and we’re immensely proud of the work we’ve done this year to not only support MASH but also empower female voices within the industry and help the next generation of journalists into the media world.

“Of course, we are a long way from achieving gender equality in journalism but with movements like WIM, change is coming – and it’s coming from an organic, inclusive, and diverse place.

“MASH also are a brilliant organisation that do so much for so many people – we’ve been delighted to partner with them in 2019, and we’ll be delighted to keep working with them into the next decade”.

The 2020 event will be led by The Mancunion’s incoming Editor-in-Chief Anja Samy.

UoM warns students to stay “vigilant” after phishing scam

The University of Manchester has warned international students to stay vigilant after they have become the target of an email phishing scam.

It’s thought that the scam has been specially aimed at pre-sessional language students who arrive at University early in order to go on an intensive English language course before their classes start in September.

A University of Manchester spokesperson said: “The University has been made aware of an email phishing scam that is targeting incoming international students. A small number of students have received a fake invoice via email requesting they pay for mandatory services for their arrival in Manchester.

“The emails offer services such as airport transfers, campus and city tours, accommodation advice, and access to safety services. We offer all these services to students for free and would never ask students for any payments of this kind via email. These emails can look genuine as the invoices include our logos and come from copycat [email] addresses such as @university-of-manchester.ac.uk, or @student-support.co.uk.

“But we advise students to be extremely vigilant when checking correspondence with the University and if they receive a suspicious email, do not click on any links or reply and make the University aware immediately. Students can find out more online on our Welcome pages under the ‘international’ tab.

“The safety and well-being of our current and prospective students, both on and offline, is of utmost importance to us and they can be assured the University is working diligently with all relevant parties to ensure we get to the bottom of this scam as quickly as possible”.

This is a developing story, with more to follow.

MIF19: RE:CREATING EUROPE

“What is Europe? Is it a continent or a culture, a bygone dream or a thriving reality – or all of the above?”

This is the question RE:CREATING EUROPE set out to answer, and over the course of 90 minutes, it provided many answers. Directed by Belgian theatre director Ivo van Hove, the piece was part-play, part-lecture. It was van Hove’s decision to piece his work in-between those two that made it both different and interesting. We weren’t just being yelled at about why Brexit is bad, nor were we watching a play that forced us to put pieces together. We were spoken to, not preached at or patronised, a rarity when it comes to discussions about Brexit…

The piece opened with English author Sir Michael Morpurgo, OBE, most famous for writing War Horse, reading a new piece he had written exclusively for the show. He gave countless examples of why he is both British and European, and proud to be both. I found his use of the extended metaphor of a family to describe the European Union to be intelligent and evocative.

He spoke with enough passion and zeal to grip even the most apolitical and apathetic audience-member. His use of light humour made his deep, emotional, political monologue easier to listen to. For instance, when referring to the UK as ‘sulking’, he impersonated Margaret Thatcher’s infamous ‘no no no’ to Europe.

It’s also worth mentioning how great the set was: It was an office setting, with chairs at the upstage-left, where the actors all sat when they weren’t speaking, and stools and a lamp at other parts of the stage.

Continuing the office setting, the stage-right had a wall with rectangular windows, where the tech people were sat. I found this great attention-to-detail, in which the tech people became background actors in the ‘office,’ to be worthy of a mention. The EU flag was plastered downstage; this piece was unashamedly European from the get-go right until the end.

The piece featured a trio of acting veterans. Olivier winner Juliet Stevenson CBE treated us to a reading of Shakespeare’s Richard III.

While she impersonated Prime Ministers Margaret Thatcher and Theresa May with excellence, it was Doctor Who alumni Christopher Eccleston and Adjoa Andoh who offered the best impressions. Emmy Winner Eccleston, best known for playing the Ninth Doctor, brilliantly impersonated Nigel Farage’s speech to the European Parliament following the Brexit vote. Andoh, a veteran of the RSC and National Theatre, did a hilarious impression of Anne Widdecombe’s recent speech to the European Parliament. Having a black woman read that speech made the outrageousness of Widdecombe’s comments about slavery all the clearer.

Lemn Sissay MBE, the official poet of the 2012 London Olympics and the Chancellor of the University of Manchester, was the final ‘star’ of the piece. As well as featuring five famous ‘guest speakers,’ the piece also starred a cast of nine from International Theatre Amsterdam, all of whom are very successful in their home country, with Maarten Heijmans being another Emmy winner. They may not have been the ‘stars’ of this piece, but they certainly still shone… (Editor’s note: badum-tiss).

Sissay told me the actors and speakers had only begun rehearsing earlier that day. They may have had scripts in their hands, but they were so talented and professional that you soon forgot, let alone cared. As well as readings, impressions and extracts from plays, the piece used video projections, many of which were particularly funny. They helped break the piece up and keep the audience’s minds from exploding from all of the information, intelligence and Shakespeare we had being handed to us…

The show ended with the whole cast stood inside the EU’s stars whilst they recited Obama’s anti-Brexit speech. A diverse bunch – British and Dutch, black and white, old and young – this was a bold symbol of unity and a celebration of diversity. It wasn’t just anti-Brexit; it was pro-EU.

Review: Six by Nico’s ‘The Chippie’ tasting menu

New restaurant Six By Nico Manchester isn’t short on hype. Scottish-Italian Michelin chef Nico Simeone’s biggest branch yet has received 3,000 advance bookings in the week prior to the launch of its first themed tasting menu. Each tasting menu will run for six weeks before being replaced by a new theme ⁠— and its first one? The local British chip shop.

The Mancunion got to try out Nico’s ‘The Chippie’ six course menu, accompanied by pairing wines, ahead of its launch on Monday. Although tasting menus aren’t a standard pick for the Manchester student’s meal out, their nostalgic journey of familiar flavours — with a twist, of course — would come together to make a deliciously fun post-exam celebratory lunch or dinner. Whilst you shouldn’t enter Six By Nico expecting ‘Spoons-sized portions, their courses definitely go big on flavour.

The menu starts with Chips & Cheese (Parmesan espuma, curry oil, salt and vinegar potato croquette): A great introduction to ease the palette into the loud flavours we came to expect by the end. The cheesy tang of the espuma hit the vinegar comfortably, and made us thoroughly hungry for the next course.

Photo: The Mancunion

Soon came the Scampi-inspired dish (monkfish cheeks, pea emulsion, herb butter sauce, gribiche), wherein the vegetarian version replaced the monkfish with cauliflower. We happily tucked into the rich peas and expressive herb butter. The monkfish itself was excellent, although the cauliflower alternative could have been a bit softer, slightly missing the texture of scampi. Overall, it was a delightful dish, with a light-bodied Portuguese white wine cutting through the fish with a dash of citrus.

Next, we were served Steak Pie (beef shin, burnt onion ketchup, mushroom duxelle), which was definitely not a steak pie, although the flavours played off the chippie classic. The generous beef shin was melt-in-your-mouth tender, and was served with a gentle, jammy South African red. It was a helpful touch that all dishes and wines were served with an explanation to ruminate over whilst eating and drinking. The vegetarian version of this dish came with egg and a root vegetable pie, which was cooked to complementary meatiness to go with the burnt onion ketchup.

Photo: The Mancunion

The fourth course continued the crescendo in flavour with Fish Supper (cod, confit fennel, samphire, beer pickled mussels, brandade), a beautiful dish with many layers — in the acidic mussels, invigorating fennel, and salty cod — although it was a touch too salty for my taste. The halloumi alternative was cooked to perfection and complemented the rest of the dish well.

Our penultimate course was presented under glass jars, which once lifted revealed swirling cloud of smoke. The Smoked Sausage (pork belly, salt baked celeriac, caramelised apple, black pudding) was revealed after the meaty smoke dissipated. This dish contained the most varying flavours and textures, with crispy apple and chewy pork belly wraps, sweet caramel and salty celeriac, bouncing off each other delightfully. The veggie alternative was a feta and sweet potato wrap, which came together with the sauce and garnishes to make something that might not be chippie-flavoured but was intelligent in circumventing it.

Nico added an homage to his Scottish roots with the grand finale of the menu: the dessert, Deep-Fried Mars Bar (Caramelia chocolate mousse, orange sorbet, cocoa nib). It’s not for those who don’t like heavy desserts, but if you do, well – get ready. Your socks will be blown clean off. The chocolate mousse was light but flavoursome, and the orange was as perfect an accompaniment as the sweet, fruity Italian white wine.

All in all, our afternoon at Six By Nico was a delightful food journey, through old memories and new sensations. The new restaurant in Spring Gardens is tastefully decorated, with a large open kitchen counter where you can observe the chefs intricately putting together each course. It’s definitely priced as a treat, at £29 for the complete tasting menu, and an additional £26 for the wines – which we strongly recommend – but it’s sure to be a fun, sentimental, and thoughtful day out. And at the end of the year, don’t we all deserve that?

9/10.

Preview: Steve Backshall comes to Manchester

On Sunday you can join BAFTA winning naturalist, explorer, and travel writer, Steve Backshall at a one-off event in Manchester.

He will be discussing his latest challenge as he embarked on a treacherous 12-month trek to the furthest corners of the Earth as part of his new UK TV series, Expedition with Steve Backshall at the RNCM Theatre in Manchester.

Fans can hear exclusive behind the scenes stories from the man himself and watch previewed clips of the new television series. He’ll also tell all on his tales of death-defying experiences, from battling icy arctic climates, to searing sun-scorched deserts, and travelling to remote corners of the Earth to the places that most of us can only dream of.

Steve said: “It’s easy to assume that every inch of the Earth has been explored, but that’s simply not the case. Our planet is a treasure trove of hidden gems, with far-flung, forgotten corners that are yet to be discovered. In this show, that’s exactly where we end up, and we’re taking the viewers on the journey with us.”

He added: “I’ve had some mind-blowing experiences filming this new series – from tackling the first descent of a white-water river in the Himalayas and trekking through unexplored jungle in South America to climbing mountains in the deserts of the Middle East – and I can’t wait to share these adventures with everyone.”

The live show of Expedition with Steve Backshall at the RNCM Theatre starts at 7pm on Sunday, 14th July. Tickets start from £20 and are available online by calling 0161 907 5555. The UKTV series, Expedition with Steve Backshall, will air every Sunday at 8pm from July 21st on Dave.

Review: PLY’s Summer Cocktails

Northern Quarter’s PLY have long been established as a great pizza place, being the perfect student birthday occasion. Big group? They’ve got big tables. Vegans? They’ve got a vegan menu. Booze? They’ve got some great cocktails.

PLY also know that their location is an asset as well as a challenge – being in a ‘hip’ area not only brings people to you, but makes sure you’re always on your toes in terms of your menu – which is why they’ve got a brand new summer cocktail menu.

There are eleven different offerings on the summer cocktail menu, with one being unavailable for The Mancunion’s visit. The opening round of drinks saw a serving of Fletcher Moss alongside Melon Blush.

The latter’s refreshing and simple taste made it a perfect post-work/uni tipple, with the raspberry being a good balancing act to the white rum, which might have been an odd choice if not for the selection of raspberries alongside melon. 7/10.

Fletcher Moss was the real winner of round one, as despite the pond-water-like appearance, the lavender, jasmine, and vermouth set themselves up to be a battle of the senses. However the lemony freshness actually that triumphed over those two flavours – the lack of ice helped push the lemon zest to the forefront by keeping all of the flavours in together. It may look like a pond, but fairies would love to bathe in it. 9/10.

Photo: Kizzy Bray @ The Mancunion.
Photo: Kizzy Bray @ The Mancunion.

Round two saw a dip in our enjoyment levels of the beverages – Kid In A Sweet Shop teetered on the edge of being sublime and also being disgustingly, sickly sweet with every sip – as the name might suggest. 6/10. That being said, Pantone 311 was a marked improvement on Melon Blush – it was as if the first drink had come out of the cocoon and was now a beautiful mango butterfly, with its flavours not only feeling natural, but also noticeably stronger. The presentation was also good, but it loses marks for not being anything close to the Pantone 311 colour, as well as not going too smoothly. 8/10.

Photo: Ethan Davies @ The Mancunion
See! Nowhere near. Delicious, though. Photo: Ethan Davies @ The Mancunion

Our final round of drinks, which was interrupted by a pizza pit-stop, consisted of two which came highly recommended by PLY’s excellent staff: Return Of The… and Coffee and T.

Return Of The… was cut straight out of Mad Men, with a tumbler full of ice and strong liquor. At home in a bar full of cigar smoke and whiskey dripping off the tiles, Return Of The… really was Miranda Priestly of beverages. Whilst we’re on this topic, what is mack? Do I actually like it, or do I just like the idea of who it makes me feel like while I drink it? Who knows, but The Mancunion knows they enjoyed this. 8.5/10.

The final drink was Coffee and T. Essentially an espresso martini with oat milk and stout thrown in presumably a do-you-think-this-will-work-oh-my-God-it’s-delicious fashion, Coffee and T is superb night-ender. Slipping down your throat with consummate ease, the balance of flavours is so well done that it could easily be a desert in itself – it’s that tasty. You wouldn’t expect the offspring of vodka and stout to resemble anything close to palatable, but here we are. 10/10.

PLY then has continued its habit of knowing what it’s good at and being really good at it. In a climate of restaurants trying to be all things to all people (how many cafe-restaurants-bars also do poorly thought-out club nights?), it’s refreshing to see PLY are just concentrating on great pizzas and great cocktails.

Single Review: She Could Get Better by Bright Orange Spectacle

Although still fairly new to the indie pop scene, the “millennial glam” Brighton-born Bright Orange Spectacle (BOS) ooze confidence and a distinct charm with their debut single release ‘She Could Get Better’.

With an ambitious, punchy, and catchy song structure, this stylish single could fit right into the opening credits of the next romcom film craze. Consisting of singer/songwriter Charlie Sinclair, guitarist Matthew Berry, bassist Rooney Durrant, drummer George Le Page, and percussionist Jack Fletcher, BOS are already on their way to soundtracking the remaining hot summer days.

Brimmed with a variety of instrumental dimensions whilst adding a refreshing twist on Brit indie-pop’s finest Scouting for Girls and Razorlight, Bright Orange Spectacle have also clearly indulged in a range of influences spanning a number of genres with glimmers of a Bowie-esque attitude and a tempo matching The Knack.

‘She Could Get Better’ is pop music in all its glory. But it’s more than just that, it’s multi-dimensional and it evokes nostalgia, even when you haven’t even experienced its storyline.

With an equally vibrant video to match directed by JGR Fletcher, Bright Orange Spectacle’s dazzling track will undoubtedly make a perfect lead for the band’s live performances. After touring the south of England with a number of sold-out shows, Bright Orange Spectacle are certainly a trendy outfit to keep on your radar.

‘She Could Get Better’ is available on 7” vinyl along with a new B Side ‘(I was Never) Right For You’ exclusive to Flying Vinyl.

Single Review: Popular Music by SHEAFS

Sheffield born rock ‘n’ roll band SHEAFS have released their latest single ‘Popular Music’ ahead of their performance at Mad Cool Festival in Madrid July 11th-13th.

Other upcoming performances include a date at The Fringe at Tramlines on 20th July as well as five headline shows this September and October. The tour begins with their biggest show yet in their hometown of Sheffield at The Foundry on 27th September before moving on to London, Manchester’s very own Night & Day Café, Nottingham and Newcastle all in October.

‘Popular Music’ is not unlike SHEAFS’ volatile discography, although it does stand out as a notable track for it’s unusual form.  The same contagious energy is immediately apparent from the first few guitar riffs – this band really do know how to hook you in right away and leave you wanting more.

The song itself is relatively simplistic in terms of chord progression and structure; the lyrics do not reveal much either as they’re delivered with lots of repetition and present fairly basic rhyming sentences… the irony however, is clear. “You’ve got to keep it simple, if you really want to please the people” and “I hate what you play, it sounds all the same” are the highlights of the irony of the structural and lyrical simplicity of the song combined with the simultaneous complaints about the nausea of boring pop music.

While the single may be intentionally uninspiring in some respects, the idea and larger protest against the monotony of modern pop music is encouraging.

SHEAFS play Night and Day Café on 5th October for an intimate performance – you won’t regret it.

The five best 2019 graduation deals in Manchester

July means no exams. July means the World Cup, beer gardens, and sweltering heat or forlorn fifteen-degree-cloud.

July also means graduation.

With it being such a once-in-a-lifetime moment, you’ll want to make the most of it with your friends and family – so here are the best deals for those of you leaving Uni this month in Manchester.

First up is Gaucho, which is offering a free bottle of Pommery champagne for every graduate – you need to book in advance and be a party of four to qualify, and show them a photo of your graduation to redeem it. Full terms and conditions can be found on their Facebook page.

If champagne’s not your thing – but drinking something imperceptibly similar is – then Canto in Ancoats is offering a free bottle of cava when you book ahead. It’s a minimum of four people per party, and they also do three selected tapas dishes for £15, available from Wednesday to Saturday until 7pm and Sunday all day.

Sticking with cava is El Gato Negro, who are offering a free glass of the stuff if you book in advance. They also have a roof terrace, which is perfect for that all-important, record-number-of-likes Instagram post.

Our next deal is another drink deal, at Caribbean favourite Turtle Bay. If you’re graduating, you can claim one rum cocktail  when you and the rest of your family spend £20 or more on food. If you’re with other graduates, you’ll all need to spend £20 on food each to get the deal. Don’t forget your NUS card, student ID, or graduation letter.

Our final deal is not on food, but fun! 7 Sins, a brand new bar in Northern Quarter, are offering 50% games of shuffleboard throughout July to celebrate their opening. Just don’t get too competitive.

UoM 13th best Russell Group uni in NSS

84% of University of Manchester (UoM) students have said they are satisfied with their course, the National Student Survey (NSS) has revealed.

The NSS measures student satisfaction, with the all-important question 27 asking students “if they are satisfied with the quality of their course”.

84% of respondents from UoM agreed with that statement – up 1% on 2018. That result puts UoM 13th among Russell Group universities, with York coming in top with 89%. Bottom of the pile were Edinburgh and the London School of Economics (LSE) – although LSE saw a 7% jump from 2018 to 2019.

The UK average for all universities and colleges was 84%, which like UoM was a 1% improvement on 2018’s results.

Indeed, Manchester was one of eleven Russell Group universities to improve on their 2018 score – with four seeing their scores drop: Leeds (88% to 86%), Birmingham (86% to 85%), Glasgow (88% to 86%), and Newcastle (86% to 85%).

Six Russell Group universities saw no change in their results.

No data was submitted from Oxford, Cambridge, or Durham – all three of these universities have ongoing boycotts of the survey in place. Data cannot be published about a particular institution if fewer than 70% of their students fill in the NSS, due to the small sample size.

In comparison to local universities, UoM posted a middling performance, as Manchester Metropolitan University also scored 84%, RNCM 83%, Bolton were on top in Greater Manchester with 87%, and Salford brought up the rear with 80%.

The NSS has caused controversy at UoM in recent years, following the Students’ Union (SU) officially supporting a boycott of the survey in 2017 and 2018.

This year, the SU was branded “unhelpful” by the Save Our Staff campaign for failing to support the boycott for a third successive year – despite being mandated to do so by student Senate. Instead, the SU took a neutral stance.

The controversy stems from the fact the NSS feeds into a university’s TEF (Teaching Excellence Framework) rating. Institutions are given ‘bronze’, ‘silver’, or ‘gold’ status – with those receiving gold being allowed to charge an extra £250 in tuition fees annually for undergrads.

Responding to the results NUS Vice President (Higher Education), Claire Sosienski Smith, said: “As in previous years, today’s NSS results show scores for feedback are low in comparison to other areas. Improving student satisfaction with feedback is not as straightforward as providing more opportunities for feedback.

“An over-saturation of surveys and feedback can lead towards students giving a lot of feedback and seeing no improvements. NUS emphasises the importance of the role students’ unions can play in supporting the provision of high quality and meaningful feedback on the student experience.”

A University of Manchester spokesperson said: “This year’s increase in overall satisfaction level is welcome and we would like to pay tribute to all of our colleagues who have helped to ensure this improvement.

“The overall score shows that our students are responding positively to the significant investment the University has put into in the campus, student wellbeing and programmes like UCIL and Stellify which set us apart from other institutions.

“We also understand there is always room for improvement and it’s therefore important that we continue to listen to our students, invest where necessary and ensure that our staff are supported in delivering the best possible student experience.”

MIF19: Janelle Monae at Castlefield Bowl

From the moment Janelle Monae walked on stage in what can only be described as a Formula-1-cum-the-Nutcracker outfit, complete with a giant golden throne, I knew that this was a night to rival any David Lynch exhibition at the Manchester International Festival. 

There were many highlights of the MIF’s opening act, one of my favourites being an extreme close up of Monae writhing around on the floor of the stage completely immersed in her own electric eccentricity.

Or maybe it was Janelle and all her dancers squirting water guns into the crowd chanting “I’m dirty and I’m proud!” during ‘Electric Lady’ – with the masses shouting the words right back – that really made this performance extraordinarily memorable.

Actually, no, it was the vagina trousers.

The enormous vagina trousers – imagine them how you will – during ‘PYNK’ brought tongue-in-cheek humour and eradicated any possible queries, not that there were any, on what the song could be about. It was definitely refreshing to hear a song about lesbian relationships so blatantly being what is was, no apologies, no queer-baiting, no ambiguity. 

Photo: Priti Shikotra
Photo: Priti Shikotra

Much of the performance felt so utterly bizarre that whatever Monae said between songs seemed completely ordinary, where out of context her announcements of wanting the memories of this gig to be passed down from “generation to generation” may have come across far more self-congratulatory than most British crowds can stand.

But Monae can get away with it all. Why? Possibly because having a queer black woman wearing vagina trousers introducing the Manchester International Festival by demanding we impeach Trump is something we can all get behind in these depressingly bleak political, social, and ecological times. 

Bringing audience members on stage to dance during ‘Juice’ provided a beautifully serendipitous Englishness to the performance, with Monae asking “Have you got the Juice?!” to the stunned reply of “Umm… I’ve got a bit of juice??” 

The entire night reminded me that though Pride month had finished a few days before, that there should never, ever be a time restriction on celebrating who you are, who you love and what you do with your body. 

Photo: Priti Shikotra
Photo: Priti Shikotra

Monae’s performance had the crowd at Castlefield Bowl hypnotised. Her demands from the audience were met with generous conformity and entertained bemusement. Having ordered the crowd to be quiet and crouch down during the encore act, Monae made her way through the masses in the same manner: Squatted. crab-like, and purposeful. The excitement of murmurs of fans itching to catch a glimpse of Monae in the crowd did not break the spell of the singers orders. Everyone stayed down, whilst also desperately peering around, waiting for whatever it was that Janelle had in store. 

Monae had the crowd at Castlefield Bowl eating out of her hands. Being swept up with her creative stage performance it may be easy to forget just how powerful her singing is, but the tenderness of her voice brought softness and strength to a performance with so much satire.

MIF19: Tree

For months, Idris Elba and Kwame Kwei-Armah’s new play, Tree has been one of the most hotly-anticipated productions of 2019. Then, two days before its opening night as part of the Manchester International Fesitval (MIF), when the theatre would be filled with critics and special guests, it became one of the most controversial.

Writers Tori Allen-Martin and Sarah Henley wrote a lengthy article alleging that they worked on the production for years, before being dismissed and silenced. Elba, Kwei-Armah, MIF, and The Young Vic, whilst acknowledging the writers had worked on the project, have all strenuously denied their allegations.

Controversy aside, Tree was an exhilarating production. An electrifying blend of drama, song, music and dance, the production was part-play and part-disco extravaganza. It opened and closed with a dance, with a DJ playing African-inspired dance music and the actors encouraging audience-members to join them onstage. A highlight was seeing Alfred Enoch (Harry Potter, How to Get Away with Murder) encourage an older gentleman to boogie.

The play’s story saw a mixed-race British South African man head to his ancestral home to learn about his father. There, he meets his distant maternal grandmother and his zealous paternal half-sister. Whilst the story was bold, brave, topical and interesting, I preferred the production as an immersive experience than as a socio-political play.

The production relied heavily on audience interaction. Actors twice handed out protest signs for audience members to hold, directly involving us in the action. However, I felt quite sorry for the man who had to carry a racist, pro-Apartheid sign…

This happened when the main character, Kaelo (Enoch), was raised to the ceiling with a harness and envisioned his family’s history: His white mother and black father falling-in-love during the most violent years of Apartheid. Offering the audience signs and pushing us to the front of the stage forced us to become a part of Kaelo’s (slightly clunky but very gripping) vision.

It was a little odd how Kaelo seemed surprised to learn of the violence that occurred during Apartheid, but I appreciated the play’s nuanced take on South African politics. It was surprising to learn many black South Africans detest Nelson Mandela. The play delved into political discussions not often heard in the west.

The set consisted of a circular stage, with steps leading down to the audience, and a runway leading into the audience. There were no permanent set-pieces, instead, actors would move them about. At times, the ensemble was playing ancestral spirits, so having them move set-pieces and props worked well. The most impressive piece of set was the tree (pictured). Bags containing masses of rope fell from the ceiling, then crew and selected audience-members brought the titular tree to life.

The use of song and dance in the production was incredible, not only stunning to hear and watch, but it also helped set the scene. For example, instead of showing Kaelo hopping on and off a plane, this transition was represented with a stunning dance, which was much more enchanting than watching a guy at an airport…

Enoch was captivating as the lead character, Kaelo, who seemed to deliberately be written as just an ordinary guy to allow the audience to enter his mind and watch the action unfold around us. As aforementioned, the ensemble forced us into Kaelo’s vision, which increased our emotive response to his family’s (and country’s) history. Olivier and Tony nominee Sinéad Cusack played Kaelo’s cold grandmother, a white woman who feels ashamed of the past. She became more likeable and sympathetic as the play progressed, even when it was revealed she was indirectly responsible for a tragedy, but Cusack was fantastic from the second she appeared.

Whilst some are calling for a boycott of this play, I would argue it is an important production that ought to be seen (and experienced). It is unlike anything I’ve ever seen before. However, notice should also be given to Allen-Martin and Henley. You can support their Burn Bright organisation, which sets out to support female writers, by clicking here.

Tree runs at Manchester International Festival until 13 July, then at the Young Vic, London, 29 July to 24 August.

Rothwell officially supports climate emergency

Professor Dame Nancy Rothwell has confirmed the University of Manchester officially support the government declaration of a climate emergency.

In an open letter from the Vice-Chancellor, she said “climate change is one of the greatest challenges facing our society and the world around us, and we believe it is right that we join with the Government and make a statement now to highlight the extent of this threat”.

The announcement has been made the day after Rothwell celebrated her 9th year as Vice-Chancellor, and 12 days after the end of a student occupation of UoM in protest to divestment.

The letter fails to mention if the University will divest from fossil fuel companies, which students have been campaigning for over the course of 2018-19. Those activists claim the University has in the region of £11 million invested in firms such as Royal Dutch Shell, BP, and Exxon Mobil.

Rothwell added in the letter that she believed “the biggest contribution research universities like Manchester can make to the challenge of climate change is through the impact of our research and by engaging policy makers, industry, students and the public on this pressing challenge”.

Additionally, she claimed that the University has seen a “33% reduction in carbon emissions since 2007” but also recognised “that more rapid change is needed”.

In a recent interview with The Mancunion, when asked about the issue of divestment, Rothwell said: “I think you have to be careful about the difference between what is an important statement and what is a gesture.

“I don’t want to make a gesture, if you like, just to keep some people happy when the bigger issue, and it is a big issue – I am really worried about climate change – is that we’ve got to reduce our use of fossil fuels.”

She went on to say that the University is not wholly ruling our divesting from fossil fuels, explaining that the UoM Investment Committee “continually review” their financial portfolio.

People and Planet, the student society who organised the occupation outside Nancy Rothwell’s office, said they were “thrilled” by the news, adding that they believed “our campaigning has given a voice to students’ anxieties the future of their planet and the University has finally decided to listen.

“However, the University continue to invests in fossil fuels. It would be deeply hypocritical for them to claim to be operating within a climate emergency and yet continue to hold £11.3 million of assets in companies like Shell and BP”.

Lizzy Haughton, Students’ Union Activities Officer, said: “This is a massive step forward for everyone working against climate and ecological breakdown and I am delighted that Nancy Rothwell has listened to students and staff and recognised the crisis facing our planet.  But this first symbolic step now has to be followed with the sort of meaningful action Nancy herself has talked about previously if we’re to play our part in creating a sustainable environment.

“To go from students occupying buildings in protest to demand divestment from fossil fuels, to declaring a climate emergency only two weeks after I submitted the paper to the university Senior Leadership, shows the impact SU Exec and student campaigners can have.”

In regards to the open letter, a University of Manchester spokesperson said: “The University of Manchester no longer invests in companies with significant coal and oil sands revenues.

“Following an update to the University’s Socially Responsible Investment Policy (SRIP) our investment managers have been instructed not to invest in in companies that generate more than 5% of their revenue from thermal coal (the type of coal used in power plants) or oil sands (also known as tar sands).

“Both of these are associated with producing high levels of carbon emissions and air pollution. We understand climate change is a global problem and as a University we have a role to play in bringing our influence to bear.”

“With this update to the SRIP reinforces our approach that seeks to pursue a responsible investment, whilst minimising any potential negative impact on our investment returns.”

The University of Manchester Students’ Union have been contacted for comment.