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Month: November 2019

Review: The Shadow

Written by Rosemary Russett on . Posted in Theatre.

There were many themes at play in Company Chameleon’s performance of The Shadow, described as “a dark and psychological thriller,” which used contemporary dance to explore various aspects of humanity. A certain darkness played throughout, maintaining a slight sense of hopelessness even in times of light.

The lighting was consistently black and white, broken only by the everyday clothes of the dancers, which did little to lighten the mood. This was consistent with the music, which pulsed a regular beat with only the occasional moment of quiet.

The choreography beautifully played with this beat as the dancers showed off a perfection of movements demonstrating awe-inspiring core strength.

From the very beginning, there was bleakness. A scene of childlike joy briefly lifted this before we were plummeted back into the gritty atmosphere. Later came another upbeat scene, startling in its brightness, but even this was twisted by the anger of the people in it and tension between the dancers.

The idea of interaction between people was ever-present, with the ‘shadows’ – one for each of the main dancers – dressed head to toe in black, complete with black fencing masks, creating an extra dimension. A particularly dark part used the shadows to slowly push a man away from his friends as they seemed not to notice and continued their friendly interactions without him.

Perhaps most impressive was the level of trust between the dancers: they threw themselves at each other and fell with the trust of being caught, all without any evident signs of distress. Playfulness, courtship and even fights were carried out in a way that was occasionally uncomfortable in its realism, yet remained elegant and true to the style of the piece.

Over the course of the play, we saw each of the dancers’ darker sides in solo pieces that seemed to show the darker side of humanity. Even in these solo pieces, reflections and exaggerations of movements created breathtaking pieces that showed us the internal monologue of various characters. In this sense, for a piece that claims to be about people’s truest selves, it seems a somewhat bleak outlook.

Personally, I found this to be an incredibly emotive piece that I definitely connected with on some level. Despite finding it difficult to point to a narrative or themes, I found that this truly felt like a piece of art. As Banksy once said: “Art should comfort the disturbed and disturb the comfortable.” This work definitely disturbed my comfort. But maybe that is what it was designed to do. 

The Mancunion recently interviewed Anthony Missen, the co-artistic director of Company Chameleon. He told us what The Shadow means to him.

The Shadow continues its UK tour until 30th November

Richard Powers' The Overstory

A novel for the Anthropocene: Richard Powers’ The Overstory

Written by Will Stonier on . Posted in Books.

In September 2019, think-tank Climate Focus released a report indicating that the rates of deforestation had increased rapidly, when it was otherwise expected for the rate of deforestation to be sliced in half between 2004 – 2020. Deforestation has surged by 43%. Not only that, but there appear to be new hot spots for deforestation across central Africa.

The forests are burning and being destroyed at an alarming rate, whilst the almanac of world leaders act as spectators; nothing other than insouciant passengers watching as the destruction of the planet’s coniferous and tropical biotopes edges us toward a point of extinction. They are the destroyers of the Anthropocene. 

Richard Powers is a novelist and his career, to this point, cannot be defined to—nor should it be condensed to—a single stylistic literary buzzword or placed into any sort of genre. He is a writer who participates in a myriad of fields.

For instance, Powers initially trained and worked as a computer programmer and, in his novels prior to The Overstory, Powers explores music and composition theory (The Time Of Our Singing, Orfeo). Powers wrangles with neuroscience and mainstream medical writing in his National Book Award-winning The Echo Maker, and Powers explores late-20th-century concepts of artificial intelligence in Galatea 2.2.

Powers, then, is a contemporary polymath: his work encompasses the broad continuum of human experience. However, in his 2018 Pulitzer Prize-winning novel The Overstory, Powers turns his attention to the climate crisis. 

In an interview with The Guardian’s Alex Preston, Powers comments that, in regard to trees, he is an arboreal autodidact. He further stated that the knowledge he has accumulated on the environment has been from the  ‘120 single-volume books about trees’ that he has read, including the non-fiction writer he admires the most:  Robert Macfarlane. The Overstory, then, is a clear departure from Powers’ other work, and required a different field of research: The Overstory is, foremostly, an ecologically driven novel. 

The text, on a structural level, features a series of eight interwoven narratives alongside a network of characters each featuring distinct destinies and personalities. There is the story of Nicholas Hoel, a product of a long genealogical line of Norwegian-Americans, whose relationship to the natural world is foregrounded alongside a large chestnut tree originally planted by the Hoel’s original patriarch. Hoel —alongside Olivia Vandergriff (another central figure with her own story)—joins a group of non-violent radicals. There is also the academic drama surrounding arborist Patricia Westerford who discovers the ways in which trees are able to communicate with each other.

And there is also the story of programmer and video game developer Neelay Mehta, the paralysed child of Indian immigrants. He creates a series of incredibly influential games built upon a simulation of the natural world; video games charged by infinite regression and marked by their unlimited potential for creation. Though these are just a few characters in Powers’ cast, The Overstory is a novel that is universal in its story world—a cosmos tangled under the pressure of tragedy, drama, love and yet singular in its scope.

Synopsis aside, Powers’ novel is split into four sections that correspond to the fundamental anatomy of trees—the first being ’Roots’, then ‘Trunk’, followed by ‘Crown’, and finally ‘Seeds’— forming a literary nexus that reveals a phylogenetic mapping of trees as the novel progresses. Powers’ writing is indebted to the grammar of trees and the arboreal culture they signify.  

The most important character in The Overstory, though, is Mimas the primordial giant redwood tree that Nicholas and Olivia inhabit in order to prevent its uprooting. For Powers, redwood trees are monolithic fortifications harbouring their own unique ecological cultures that stand in diametric opposition to the predatory nature of American fossil fuel capitalism. The giant redwoods are emblems of biodiversity and Powers presents the struggle of these trees—as performed by Nicholas and Olivia—as one of urgency. 

Though it is a long novel, and Powers is certainly not afraid of flirting with excess. It is not a surprise, for me at least, that The Overstory won the Pulitzer Prize in 2018. What makes The Overstory sustain its environmental charge is that this is a novel driven by conceptual density in dialogue with Powers’ sense of poeticism. Whilst the Climate Emergency is raging and forests are being destroyed at an unprecedented rate, Powers’ masterpiece is an antidote to the damage that has arisen from the Anthropocene.

Breaking: Activists leave John Owens after talks with University

Written by Josh Sandiford on . Posted in News.

Student activists from climate campaign group People and Planet have left the John Owens building after a seven-day occupation.

The activists have agreed to abandon their occupation after the University promised to review their Socially Responsible Investment Policy (SRIP). Whilst not a full commitment to divestment, the group says this is the most progress they’ve seen in the eight years the campaign has been running.

An agreement was reached between the protestors and University leadership late on Monday afternoon, after nearly a week of negotiations. People and Planet will have ongoing communication with the University as part of their agreement.

Speaking to The Mancunion, Students’ Union Activities Officer Lizzy Haughton said: “The University have brought forward a rewriting of the Socially Responsible Investment Policy, included in that is a look at the potential of decarbonising the whole of the endowment fund…they don’t want to say it out loud but divestment has to be a part of the decarbonising of the investment portfolio. It goes beyond divestment.”

“We haven’t won yet, but it is the biggest shift that we’ve seen since the campaign started.”

Another activist, Neriya, explained: “We got a letter from Patrick Hackett, and it said that the University was going to review its Socially Responsible Investment Policy, and part of that is going to be divestment, but again, they didn’t publically commit to divestment, they just sort of said they’re going to review their finances.”

“Ultimately we didn’t think that our occupation could get a much better deal so we collectively decided to end our occupation.”

Photo: Juan A.Garcia @juan.agh

Live Review: Cassia at Manchester Cathedral

Written by Georgina Davidson on . Posted in Music.

For many people the experience of going to a gig is something that provides that well-needed release. So as Halloween approached last week, I was sure that a slightly spooky and hopefully entertaining gig awaited at the impressive and quite unexpected venue of Manchester Cathedral!

It was true that the Cathedral came to life that evening for this not-so-spooky, but nevertheless entertaining, gig. It was hosted by Northern three piece Cassia and proved to be a real voyage of discovery (beyond the various pirate costumes that formed a sort of loose theme throughout).

The first act of the evening came from 18 year old singer-songwriter Tom Gibson, who gave a beautiful performance with his band that set the tone for the indie-infused spectacle that would unfold as the evening progressed. His music slots more directly into the pop genre with a light smattering of guitar riffs that drift by pleasantly and make for an extremely easy listen. There was nothing especially ground breaking in his set, but the sound resonated about the arches and filled the room with enjoyable ripples of sound. He eased the crowd into a steady sway which would soon become surprisingly and quite profoundly more energetic.

The following performance stepped up significantly in terms of crowd energy within the room but honed a similarly earnest hunger for sonic impact. Leeds’ four-piece Marsicians seemed to have a real hold on the growing crowd from the very start of their set. Confidence leapt between the band members who had a fantastic rapport with each other. This rapport was really reflected in their performance and ability to deliver some stellar sounds. The band have an excellent understanding of their vocal abilities with some lovely harmonies ringing true through several of their tracks. They appeared truly consumed by their music as they playfully circled each other, ruled by their extremely experimental guitar riffs and sense of fun. The track ‘Too Good’ was a firm crowd favourite and something special when played live. Marsicians really set the room alight and provided a true warm up for what was to come.

Juan A.Garcia @juan.agh

Although the gig primarily learnt on Cassia’s sufficiently honed musicianship, it was really impressive and exciting to see active variation in style and lighting that brought their specifically breezy indie aesthetic to a heightened state throughout the gig experience. There was a real, tangible energy that coursed through the high arches and really encouraged the young and highly boisterous crowd to give it their all.

The centre of the room became a complete whirlwind of arms and legs as an excitable pit took over and the band reacted with equal enthusiasm, interacting regularly as the swell of bodies moved quite vigorously to the otherwise rather relaxed indie sound. It seemed bizarre at times but ultimately fitting for a Halloween themed night out and quite the testament to the bands who had a really dedicated following.

Highlights included a playful trip through Cassia’s latest releases ‘Replica’ and ‘Loosen Up’ which saw lead guitarist Rob Ellis and Bassist Lou Cotterill making the most of opportunities to harmonise with relative ease. A beautiful choral rendition of the popular track ‘100 Times Over’ created a very ethereal echo through the arches of the Cathedral, furthermore cementing the venue as an excellent setting for live music of this kind. Sights and sound seemed aplenty as the various elements converged on an ever intensifying crowd.

A brilliantly executed show from start to finish, paired with talented supports in a venue that had a colossal and yet equally balanced acoustic quality. There were no screeching scares to be heard from the soundboard but enough shouts of enthusiastic delight from a suitably entertained crowd.

7/10.

Photo: Jack Kirwin

Live Review: Squid at YES (Pink Room)

Written by kerryscott on . Posted in Music.

Genre-bending in music is in vogue and Squid are definitely part of this movement.

Perhaps one of the most exciting young bands emerging right now, Squid share audiences with other notable rising stars such as Black Country, New Road and Working Men’s Club. Hopping between post-punk, math-pop and psych, Squid have very quickly developed a cult following. Their highly anticipated, and sold-out, performance at The Pink Room at YES was definitely a testament to their ever-growing and diverse fanbase.

A band praised for their unexpected and fresh musical take on the punk genre, Squid’s performance was surprisingly theatrical. Drummer and lead singer Ollie Judge brought immense energy to the venue, and definitely carried the rest of the band throughout the gig. As refreshing as it was to see the drummer as the band’s focal point, it did definitely impact the band’s connection with the crowd. Lead singers usually have freedom over the stage and hence can rouse the crowd, however sitting behind a drum kit definitely restricts this.

The band’s ability to switch out instruments faultlessly throughout the gig added a whole other dimension to their music. Furthermore, the transition between songs was seamless; the band blazing through their set with few breaks.

Perhaps the biggest disappointment of the evening was that the enthusiasm the band clearly has for performing live was completely unmatched by the crowd. With the band breaking a sweat within minutes of getting on stage, it was a shame to see such a reserved and unwilling crowd. The lack of a cloakroom at the venue may be the reason for the lack of movement: rucksacks and handbags weighing down what you would expect to be a vibrant and energetic audience. Alongside this, The Pink Room is an extremely intimate venue, and with a sheepish atmosphere it was arguably not the best venue for a punk band like Squid.

The flat audience, despite being a drawback, definitely did not take away from the quality of the live music as the band played their way through the track list of their newest EP Town Centre. The band also treated the crowd to a large number of unreleased tracks which only added to the anticipation and excitement surrounding the future of this talented young band.

It seems Squid are well aware that ‘Houseplants’ is undeniably their most exciting and well-known song. Placing it in the middle of the setlist it helped to keep the pace of the performance and definitely woke up a few of the more disengaged audience members. However, with their most popular song being the only track that roused excitement with the first few chords, one couldn’t help but question the future of Squid and whether the band will continue to expand their current cult punk following. Perhaps more excitement will come as they continue to release new music, as the band have a very limited catalogue at the moment.

The gig ended on a high with belter ‘Match Bet’, although as the band walked off the stage it was impossible not to feel slightly dissatisfied. Despite the uncharacteristically quiet audience, Squid did their best to deliver a pretty stellar gig.

7/10.

Photo: Kmeron @ Flickr

Live Review: Spector at Club Academy

Written by brendannixon on . Posted in Music.

It is not often that the UK’s Prime Minister features in a rock band’s live set, but Spector are clearly an outfit with little regard for convention.

“I’d rather be dead in a ditch”, repeated Boris Johnson’s booming voice as lead singer Fred Macpherson, led the band onto the stage. Much to the delight of the youthful crowd, the Prime Minister’s wish had been duly granted, or, at least, for the sake of Halloween they could believe it. There he stood: Boris Johnson covered in blood and leaves, presumably having been dragged from the aforementioned ditch.

If Macpherson’s costume showed one side of the band, opener ‘Bad Boyfriend’ demonstrated the other. Driving instrumentals and self-depreciating lyrics saw the band offer-up their more introspective character, which was graciously accepted by a fixated audience. The band had effortlessly engineered full control over the room inside the first song. The tone was set.

It is fair to say that the average crowd at a Spector gig consists almost exclusively of die-hard fans. They are not a band who attract a passing interest. And from the dulcet opener to the high-octane follow-ups ‘Celestine’ and ‘I Won’t Wait’, they expressed their devotion in a series of increasingly volatile mosh-pits. The crowd knew every word and maintained their energy regardless of tone or tempo. It’s a wonderful feeling to be surrounded by a group of people finding one voice in such spectacular fashion.

Given Macpherson’s already blatant acknowledgement of the elephant in the room, it was inevitable it would be readdressed. Spector have never shied away from using their platform to convey strongly left-wing views, and in no song is this more prevalent than ‘Born in the EU’. Released on the day of the referendum as a love letter to the Union, the band have rarely performed it live. But considering this gig fell on the day the 50-year partnership was set to be terminated, the band could not resist unleashing it. This endures as one of the night’s more memorable moments.

As the night surged forward at breakneck speed, the crowd continued to lap up every minute. But rather to their disappointment, the show reached its climax just short of the hour mark. ‘Never Fade Away’ offered a rare break for the raucous crowd, allowing them to recharge for the long-term favourite, ‘Chevy Thunder’. The gig then finally reached the peak of its crescendo with the pulsing bass of ‘All the Sad Young Men’. The morose finale was relished by the audience, who turned the melancholic nature of the song into a sheer state of euphoria.

The band triumphantly left the stage to chants of “one more song”, but the crowd’s appetite was left unsatisfied. Despite the set’s excellent finale, spectators were left feeling that it came all too soon. For a band whose discography totals almost three hours, a one-hour set left a little to be desired. And yet, it did not detract much from the overall quality of the set.

A lot of bands are capable of reproducing a well-polished studio sound on stage, but Spector are able to go further than this. They perform every song with more energy and bite than could ever be captured by their endeavours in the studio. The synth-hooks are bigger, the guitar-riffs are packed with more flair, and the lyrics seem to resonate the way they did on the day of their conception.

Although it appears Spector have not gained many new fans in recent years, they again showed why they are deserving of the faithful support they have accrued over their eight-year career.

7/10.

Photo: Jay Darcey @ The Mancunion

Live Review: Cher at Manchester Arena

Written by Jay Darcy on . Posted in Music.

Whilst America got Neil Rodgers and his band Chic, Cher’s UK opening act was 80s star Paul Young, who failed to get the party going. He’s a nice guy with some good songs but he wasn’t the right choice for Cher. I felt envious of American audiences – Chic made everybody dance, whilst this audience wanted Paul to just go away and let Cher come on.

Cher was well worth the wait, though. The production quality of this concert was astounding. There were lots of set pieces, and lighting was used to create different scenes, such as a cabaret for ‘Welcome to Burlesque’.

She had extensive costume (and wig) changes. She had aerial dancers, a robotic elephant that she rode like a Hindu Deity, and made her grand entrance by descending from the ceiling like a Goddess. She was singing ‘Woman’s World’, but Cher wanted us to know that this was her show.

Whilst the show was elaborate, Cher didn’t take herself too seriously. She didn’t even wait until her grand entrance to make an appearance – she came to the side of the stage and casually waved before going backstage again. She didn’t make the audience wait long for the encore, and once she finished it, she danced around, waved, and skipped away casually.

After her first two songs, she gave a hilarious monologue about age: one might believe in life after love, but nobody can believe she’s 73. She walked from centre-stage to stage-left, before announcing she had to go back to the centre because she “forgot something.” She was effortless yet mesmerising; powerful but hilarious.

It was touching to see Cher sing to her late husband, and musical partner, Sonny. She was unsure whether to include their emotional hit ‘I Got You Babe’, joking that she could instead do it on her “next farewell tour”. She turned her back to the audience as she looked up at archive footage of Sonny.

Cher’s latest album, Dancing Queen, is an ABBA tribute, which she released after appearing in Mamma Mia! Here We Go Again, so she sung some ABBA hits. Now, being an ethnic minority can be tough, but nothing is as isolating as others discovering you’re one of the few people who don’t love ABBA, but Cher could cover Justin Bieber’s ‘Baby’ and still astonish everybody, so even ABBA-haters will have become Dancing Queens for the ABBA section!

Cher’s encore was, of course, ‘Believe’. That song basically invented autotune, so it’s great that she used it on her live performance too. The contrast of the emotional lyrical content with her robotic voice and disco music is a work of art.

This concert was almost faultless. There were just a couple of times when it was difficult to see Cher, but that’s a consequence of having a big show with such intense staging and dancing, and the circular shape of an arena. At times, she was blocked by her dancers, and she stood on top of the set for the whole of her performance of ‘Fernando’, which resulted in her being blocked by two large pillars. I could hear the distant drums, but I couldn’t see Cher, who wasn’t distant, just blocked.

Cher was just remarkable. If I could turn back time to that night, I would. I’ve never believed in love, yet she’s made me believe in life after it! She offered a night of emotion, triumph, nostalgia, and ABBA, and if this is her farewell tour – though she will probably live forever – she has sure gone out with a Bang Bang.

10/10.

Photo: Georgina Davidson @ The Mancunion

Live Review: Psychedelic Porn Crumpets at Band On The Wall

Written by Georgina Davidson on . Posted in Music.

There is some undoubted magic about the space at Band on The Wall, the host of a number of incredible gigs with its own unique and defined style.

Therefore, it was really no surprise when I discovered that the unique and bizarrely titled band, Psychedelic Porn Crumpets, were playing their after an extremely busy summer of festivals. The band had provided the perfect sound for cider soaked days at festivals, such as the charming Truck festival, so I had high expectations for the gigs that were to follow.

The Crumpets have an incredibly fun sense of self from the start, with outwardly bizarre song lyrics and rapid, quite brutal, yet lively, musical ability displayed across this merry band of hair waving rockers. They raced through some stellar tracks from their 2016 release High Visceral, Pt.1, displaying a keen technical ability and some rather indulgent shredding which danced between entertaining and, at times, too long. However, the wit and sarcasm that flowed between the band members really couldn’t be contained, with infectious laughter echoing through the venue between songs. The sense of passion for music met with the crowds already keen engagement served them well as the gig went on; it was true that the room remained packed till the final chord rang out.

The unexpected star of the show came in the form of a strange fairy light adorned leg (apparently called “meg da leg” according to official Crumpet sources) that travelled proudly aloft through the crowd as a kind of mascot for the band. The leg dived over the crowd of enthused gig goers and, in some ways, this was all the representation the band needed for their quirky and tenacious ability to set the room ablaze, as the crowd violently swayed to the sonic stupor that filled the room.

Lead singer, Jack explained how much he loved the space, reminding everyone of his sincere joy at having sold out the venue for that night. Then, as if the gig couldn’t take any more psychedelically charged twists and turns, we were also treated to a blast of a chord that was a perfect rendition of Lenny Kravitz ‘Are You Going To Go My Way’. This sent a ripple of excitement through the entire venue. This was a welcomed surprise, providing a high point for the gig.

The band also played their latest release ‘Mundungus’, which has a distinctively primal and raw guitar sound that ensures that the sprawling sound of the Crumpets will likely continue to take wacky and unexpected turns across their releases later this year. As the show drew to a close, it was clear that their music holds up across fields and venues alike, providing something of an old rock sentimentality with an impulsive strive towards the most weird wacky lyricism.

An all-round headbanging spectacle that danced between rock and roll musicianship and all out fun from start to finish. The leg game was most definitely strong for this Aussie four piece who know exactly how to treat a clamorous crowd to a seriously energised set.

6/10.

Photo: Kerry Scott @ The Mancunion

Live Review: CHAI at YES (Pink Room)

Written by kerryscott on . Posted in Music.

Chai are the perfect girl band.

Their gig at Manchester’s YES venue included coordinated dancing, pink matching outfits and a speech about the importance of owning your body. This came before the set was even halfway through. Despite the dwindling crowd, Chai were not phased, immediately throwing themselves into the performance, which, despite feeling rehearsed, was still so bizarre and abstract, you couldn’t help but be hooked.

Chai put on an act that made the crowd feel as if they’d discovered something was still in obscurity but would soon be blowing up into the mainstream. There is no doubt in my mind that Chai are destined for greatness; coming off the back of a support slot with Superorganism in 2018, they have continued to rise.

The band’s discography is largely dominated by songs with Japanese lyrics which is perhaps a deterrent to the casual UK listener who may have stumbled across them. The small crowd at their gig was perhaps a reflection of the language barrier. However, in my opinion, the Japanese lyrics are what makes Chai so special; they a testament to what can be achieved globally without compromising in areas to appease the masses. Additionally, Chai were not going to let the language barrier stop them from connecting to their fans, allowing for a singalong with a Japanese lyric cover of Culture Club’s ‘Karma Chameleon’, alongside which they performed a coordinated two-step.

It is obvious that Chai take inspiration from electronic music, and their excellent genre-meshing is what makes their performance so wonderfully unpredictable. As a result, the setlist felt refreshing, deviating from being a repetitive play-through of just guitar music. ‘Choose Go!’ and ‘N.E.O.’ are standout songs from Chai and sound almost better live. As a band, they vow to break the conventions of ‘kawaii’ or ‘cute’. In subverting the popular genre of J-Pop and incorporating punk and alternative rock into their music they definitely smash through these stereotypes. The songs are driven by heavy basslines and come across much more intensely than the recorded versions. The contrast between this ferocious delivery and the pink outfits and piggy tails is no doubt a realisation of Chai’s ideas about combating conventions of cuteness and femininity in Japan.

‘Fashionista’ is also a highlight, the smooth vocals and harmonies created a hypnotic and electric feel with bass and drums as a punching constant backing beat. The song is slower and softer than most of Chai’s discography and shows off their ability to craft an incredibly memorable single. This presents itself as the standout song of the gig.

Before closing the set the band put aside their instruments and danced in blue hooded coats covered in multi-coloured tassels to their song ‘THIS IS CHAI.’ This is an angle in which Chai surpass what you would expect: you can feel the energy and positivity radiating from the stage and it takes the performance aspect of a gig the extra mile. This enthusiasm causes an attentive crowd, their engagement a testament to the band’s stage presence.

Chai are definitely ones to watch.

7/10

Photo: Robson @WikimediaCommons

DéjàReview: The Shining

Written by Tom Kuson on . Posted in Film.

It’s impossible to think of something that hasn’t already been said about Stanley Kubrick’s horror film – not because it’s an important film that’s nearly thirty years old (it is), but because The Shining is so unique. Much as the film follows the descent of caretaker Jack Torrance (Jack Nicholson) as he’s consumed by the history of the isolated Overlook Hotel, many are consumed by the film. Analyst communities invite you down a maze of intricate analysis so deep you lose focus; a sort of proof by confusion that becomes more persuasive the more you want it to be.

Rob Ager of Collated Learning has hours of videos on themes of genocide, Jack as an abusive father, and Kubrick’s views on the gold standard and currency. They’re rewarding watches, but, often, you can’t help but think that the intensity of analysis on the tiniest things has gone way beyond intention. Note that Rob is a reasonable analyst compared to those who believe Kubrick faked the Apollo moon landing, and admits this in film through coded imagery and unsubtle costume design.

Room 237 is a fascinating documentary that platforms far-out theories, or if I were uncharitable, an insight into the obsessive. One claims the true way to experience the film is to superimpose it running backwards over it running forwards. Ager’s reasoning behind refusing an interview invitation was that people would “pick out the most ridiculous interpretations by the least credible interviewees featured in the [film] and prominently showcase them as a strawman way of discrediting all interpretations of hidden messages in The Shining.” He has a point, Kubrick would obsess over detail.

 

 

Take the spatial layout of the Overlook Hotel – the set was made deliberately impossible with corridors that lead nowhere and windows that couldn’t exist. Famously, Kubrick tortured actress Shelley Duvall by forcing her to perform 127 takes of one scene. Her frantic performance was impulsive, she really was terrorised on set. Kubrick never lensed to film what he hadn’t agonised over – hence, many theories about The Shining ring persuasive. When a director is this deliberate, it begs the question: why? Accepting this, the only way to answer that question and subsequent theories is by further and further analysis.

Although often praised as the best Stephen King adaption, King disliked the film, saying Kubrick “thinks too much and feels too little”. Perhaps it’s unfair to focus on the analysis of the film itself rather than its merits – but this is the legacy of The Shining. It’s not a particularly scary horror film, it’s not as culturally significant as 2001: A Space Odyssey or Dr. Strangelove, and it’s a poor adaption of a terrific novel.

Considering its extensive analysis, The Shining doesn’t have a meaning or emotional appeal that wouldn’t be better served by an essay. However, it’s an effective portrayal of the obsessive tendencies of its legendary director, and as a reflection on film analysis. Jack wasn’t a victim of the Overlook Hotel, he stared at it, looking for something. For that reason, The Shining is a film every film enthusiast should watch and think about (but not too much).

3.5 /5.

Press Image: King Nun

Album Review: King Nun – Mass

Written by archiemclachlan on . Posted in Music.

There is something weirdly unsettling about King Nun’s debut album. Whether it is the jarring harmonies or syncopated basslines, it doesn’t sound like it should work. Although, undeniably it just does.

All elements of the London four piece’s first outing merge together to produce a jagged wall of sound, forming something surprisingly pleasant. From the driving chords of the opener, ‘Mascara Runs’, to the closing notes of the pseudo-summery, ‘A Giant Came Down’, the album is reminiscent of Nothing but Thieves, albeit with a harder edge.

Several songs on the album immediately jump out, with ‘Low Flying Dandelion’ being a personal highlight. The song is powered forward by its off-beat bassline and manages to encapsulate the feeling of three songs packed into one, using frequent key changes to instil excellent variety. Other stand-outs include ‘Mascara Runs’ and ‘Chinese Medicine’, two of the heavier numbers from Mass. But not every track is a winner. Some of the later efforts, such as the plodding ‘Sharing a head with Seth’, is a little less interesting than the rest of what is on offer here.

As Mass progresses, the majority of the later tracks highlight one of its key flaws. Although King Nun have crafted a sound that is unique and engaging, past a certain point, many of the less vibrant offerings blur into one. This makes it hard for you to be fully absorbed by the album for its entire run time. Even after several listens, I still can’t fully differentiate between several songs from the tail end of it. This isn’t to say that these songs are bad, per-se, but they struggle to find their own identity within the rough noise of the rest of the album.

Underlying Mass’s perhaps inconsistent quality, is an intriguing, venom-fueled bitterness that takes indie-punk themes and twists them into something wholly original. Lyrically, there are some dark undercurrents to the ragged guitars and vocals. ‘Black Tree’ paints an interesting picture of depression, whilst the aforementioned ‘Chinese Medicine’ tells the story of a man bashing his head open on a curb. The dark stories told here draw parallels with some of the Cure or Radiohead’s heavier work, although perhaps lacking the artistry of their entries.

Lead singer Theo Polyzoides brings a surprising weight to these themes, despite the band’s youth. These themes, combined with the music produced as a whole, allow some of the better tracks on the album to truly elicit a sense of dread, one I don’t doubt was fully intended.

King Nun’s debut perhaps isn’t the most solid album, with very evident highs and lows, but it certainly stands out from the crowd. For the most part, the unorthodox sound crafted by the band is at the very least entertaining, and when it reaches its highest highs, it is thoroughly gripping. Regardless of any misgivings I may have, Mass shows that King Nun are determined to carve out a novel path within the genre, and I for one look forward to seeing where this takes them.

6/10.

Photo: Sam Dynes @ The Mancunion

Live Review: The Murder Capital at YES (Pink Room)

Written by Sam Dynes on . Posted in Music.

Following spots supporting IDLES this past Spring and the release of their hotly anticipated debut record When I Have Fears, The Murder Capital stopped off at the Pink Room in Manchester’s own YES to end their completely sold out headline UK tour in what is perhaps their last gig of this scale for a long while.

In support of the Irish quintet were Happy Couple, a London-based, female-led trio who unleashed a barrage of cold, brooding, industrial noise upon a constantly enlarging crowd, magnetised to the surprising tight playing of the band (the drummer in particular showed impeccable skill in his craft). Essentially the aural equivalent of being curb stomped, the selection of songs played were somewhat one-note, but this seemed like a conscious decision as opposed to a lack of creative variation. For a band with only one song available to stream, they left a massive mark on the audience, with many praising the members as they ferried their equipment back out of the room during the intermission.

Considering the choice of venue was perhaps the most garish and cartoon-like in Manchester, it was remarkable that the two bands fit in so well, with their combined caustic energy overpowering the overwhelming pinkness of it all.

The Murder Capital came out after the song ‘Dear James’ played, from another Irish band Burnt Out, whose lead singer recently passed away, catalysing the creation of some of the more sombre moments from When I Have Fears. Emerging amidst a wall of deafening guitar feedback, the band quickly took to the stage and began with ‘Slowdance’, a long, winding track that was played calmly and confidently by the boys, saving their energy for some of the more raucous moments to come.

Continuing the apparent pattern of quietest songs first, ‘On Twisted Ground’ followed, prefaced by a dedication from lead singer James McGovern to “those who can’t be here tonight”. It was a surprisingly emotionally involved performance considering how early it was in the setlist, and yet didn’t seem out of place at all. Despite spanning over six minutes the audience remained as invested as ever, cheering as the song came to a close after McGovern’s surprisingly melodic vocal performance (melodic given the preexisting stereotypes of a band of their ilk).

‘Love, Love, Love’ and ‘Green and Blue’ were the last of the slower songs, both showing the band’s musical prowess, once again highlighting the drummer, this time Diarmuid Brennan, and allowed for the first demonstration of the investment the crowd had in the show as they sang along passionately to the choruses of both songs, roaring with applause in the final moments of ‘Green and Blue’.

McGovern then disappeared briefly into the caverns backstage and returned just in time for the next song, lighting a cigarette as he came back to cheers from the crowd, as if for some reason they thought he’d decided to just give up for the rest of the gig. In between songs, McGovern briefly made a speech introducing himself to Manchester and asked what the craic was, which was met to a subdued response from the crowd.

Upon returning to the stage, James started what can only be described as a rally, shouting that “this is for everything”, which was then followed by the militaristic drumming of ‘For Everything’, the beginning of the louder portion of the setlist. The crowd began to mobilise, slowly changing from vocal engagement to physical, with some of them starting to form the beginnings of a mosh pit. Noticing the increasingly invigorated crowd, McGovern again asked the crowd what the craic is, to a much louder cheer than when he had asked previously, before launching into their final trinity of songs.

Based on the crowd’s reaction to the last minutes of the band’s set, you would’ve thought that they had invented punk music. From the first moments of ‘Don’t Cling to Life’, the entire front portion of the audience were jumping around, chanting along in celebration. It was by this point that you could tell the band had perfected their live show, as James balanced the line between arrogance and confidence reciting his tales of poetic angst, whilst bassist Gabriel and guitarist Cathal both became more confident and brash with their playing, swinging and gestating as if their lives depended on it.

‘More is Less’ received the most positive reception from what was a typical post-punk crowd, and not a single person in the room remained still as the throbbing bass shook the room. The boys finished with their first single, ‘Feeling Fades’, with culminated with McGovern and members of support act Happy Couple crowd surfing until the band finished playing.

As they left the room, ending with a bow, there was a palpable sense of wonder from those in attendance, that they had witnessed something important, even in spite of what was, honestly, a fairly short set.

8/10.

 

Live Review: Reverend and the Makers at Manchester Academy

Written by James Carroll on . Posted in Music.

The Yorkshire heavyweights blessed a joyful Manchester Parish with a heavenly sermon comprised of non-stop floor fillers.

Before the show had even started, the warm-up music was filled full of classic tunes, from Avril Lavigne to the climax of ‘Don’t you want me’ by The Human League, which sent the crowd into a frenzy – everyone was excited and raring to go.

The set opener, ‘The State of Things’, a song about cheap booze and domestic abuse, set the standard for the noise level from the crowd. The lead singer, Jon McClure (also known as The Reverend), showed off his energy from the offset, jumping around stage and orchestrating the synchronised jumping from the crowd to perfection.

The visuals were simple, with just the bands logo draped behind them. It was just the band, the music and the fans, without the complex videos and the giant screens that many bands now adopt. Standing in the crowd, you feel yourself being drawn into the bands performance rather than being distracted by whatever is happening in the background.

Photo by James Carroll

One theme that runs through the bands albums is their experimentation with ‘ska’; a music genre that originated in Jamaica in the 1950’s, popularised in modern music by the band Madness in the 1980’s. ‘Miss Brown’ is the bands most popular venture into this territory. With its driving drum beat and syncopated guitar, I found myself dancing away. The Reverend was leading the way, frantically running and dancing around the stage in traditional ‘nutty’ fashion.

Jon McClure has often expressed his interest in poetry and is good friends with poet John Cooper-Clarke, a Manchester icon. As a break from the set, the makers left the stage leaving Jon alone to recite a specially written collaborative poem by the two men. It was a refreshing break to such a high intensity gig, allowing everyone to have a breather before launching right back into, what The Reverend describes consistently as, ‘banger after banger’.

The highlight of the gig must be ‘Shine the Light’, described by the lead singer as “the best song on FIFA”. Opening the song with the words “brothers and sisters of Manchester parish, you are watching Reverend and the Makers”, added to the songs already religious feel. For a few minutes the venue turned into a gospel church, with each side of the crowd being pitted against each other in true pantomime fashion. The crowd responded with many looking to the heavens with arms open for the duration of the song.

‘Heavyweight Champion of the World’ is the best-selling single from the bands first album The State of Things and is always a crowd pleaser. The vocals on this song however disappointed; it felt like they had just given up and were letting the crowd sing the song for them. Jon hasn’t got a powerful voice by any means and much of the music is, effectively, poetry spoken to music. Even with this, it seemed that sometimes he just wasn’t trying to sing the songs.

Photo by James Carroll

One of the bands classic acts is to finish the show and invite all the crowd outside for an ‘intimate’ acoustic set on the street. Being such a well-known tradition to many of the die-hard fans, the number of people that turned up caused a large crowd outside the venue for another final sing along. I have a lot of respect for bands that add to their shows like this. It gives the crowd something special to take away with them, not to mention the number of fans The Reverend stopped to take selfies with.

Overall the gig was clean, other than the more-than-occasional sound hiccup or loud feedback, which was so often it became noticeable even to the untrained ear. Bands that are this big shouldn’t be having these problems. Couple that with an overly aggressive crowd – there were a few pushing and shoving matches flaring up – that, at times, marred what was a good performance from the band.

5/10.

Photo: Markus Hillgärtner @ Commons

Single Review: Frail State Of Mind by The 1975

Written by Jemma Harris on . Posted in Music.

The 1975 are a band with a lot to say, and that fact holds true in their recently released single, ‘Frail State Of Mind’.

Having previously released songs concerning the climate crisis and their contempt for figures such as Donald Trump, it’s no surprise that this song also highlights an important issue prevalent in today’s society: mental health. Songwriter and frontman, Matty Healy, uses the song to speak openly about his personal struggle with social anxiety. Other songs in their discography addressing important issues like this are often popular with fans, as many identify with Healy’s beliefs and feelings. ‘Frail State Of Mind’ is yet another example of that.

The third single from The 1975’s upcoming 22-track album, Notes On A Conditional Form, this track has sounds reminiscent of songs such as ‘TOOTIMETOOTIMETOOTIME’ and ‘Petrichor’, from their most recent album, A Brief Inquiry Into Online Relationships. These songs feature heavier drumbeats further from the band’s typical style and are akin to those found in genres such as UK garage. These beats give the song a disjointed feel that can be difficult to listen to at times, which was perhaps a conscious decision by Healy and George Daniel (the band’s producer and drummer) to demonstrate Healy’s feelings of discomfort resulting from his social anxiety. The outro could also be attempting to replicate Healy’s experience of anxiety with his voice echoing the song title in a melancholic tone.

The instrumentation of this single feels as though it is not entirely original for The 1975 and seems to be more of an amalgamation or reworking of some previously released work. This gives a sense of some originality but when compared to ‘People’, also from Notes On A Conditional Form and the single immediately preceding the release of ‘Frail State Of Mind’, it feels a bit lacklustre. Hopefully, the other tracks of Notes On A Conditional Form have the kind of freshness and variety that ‘People’ brought. However, the significance of the theme means that ‘Frail State Of Mind’ is somewhat redeemed in my eyes.

Although, what may be considered as lacking originality, it could be seen as an evolution or a creative reimagining of the previous songs, working as a bridge between the two albums. It’s likely that the similarities were intentional as the albums are both part of the ‘Music For Cars’ era of The 1975. The auditory themes throughout both albums unify them, making them feel like a single intertwined unit to be experienced as a whole, rather than two separate pieces of work.

Notes On A Conditional Form is due to be released on the 21st February 2020 and will be the fourth studio album from The 1975.

7/10

Authorised Press Picture

EP Review: Space Cadet by Beabadoobee

Written by henryclift on . Posted in Music.

This month, London based singer-songwriter Bea Kristi — better known as Beabadoobee — released her third EP, Space Cadet. Best known for her acoustic pop-folk sound, this EP feels like a big leap into the realms of indie pop-rock. This, however, is not to its detriment.

The desire to break out and have a band-oriented sound has been evident since her previous record, Loveworm, which featured the song ‘Apple Cider’ baring a resemblance to the recent single, ‘She Plays Bass’. Both feature short bursts of bubblegum lyrics sung dreamily over a danceable groove and lazily strummed guitars with bass-popping and noodling underneath. ‘She Plays Bass’, however, feels like a far more realised song than it’s predecessor. The production is cleaner and more radio-friendly, a motive clearly achieved since the song appeared on Annie Mac’s Hottest Record in the World upon its release as a single; the overall composition and arrangement speak of the recent distillation of the live band’s roster and a move towards Bea being a bandleader rather than simply a solo artist.

The second single, ‘I Wish I Was Stephen Malkmus’ is a bold statement of intent sonically. As well as it’s referential title, the song boasts the clean and carelessly melodic guitars characteristic of bands such as The Velvet Underground (Think ‘Oh! Sweet Nuthin”) or perhaps The Get Up Kids, paired with a big chorus and an anthemic second pre-chorus. This song almost becomes a ’00s pop-punk reprisal. Lyrically, at a glance, the song is a reflection on personal growth: “I think I’m starting to change, with the weeks and the days”. It doesn’t brood, though. The refrain is a loud and empowered, “I think I kinda like it”.

This is a celebration of the need and compulsion to change one’s persona regularly and being okay with that. Digging a bit deeper, however, one will find references to the changes that are perhaps more public, “I wish I was Stephen Malkmus, I wanted change, no-one forced it”. This feels as if Bea is addressing her old school fans who perhaps feel her new sound and aesthetic are a far cry from the moody acoustic balladeer who wrote ‘Coffee’.

This may be true, since her signing to Dirty Hit Records she has become what could be seen as one of their squeaky clean minimalist caricatures. A part of their Dirty Hit Universe. Bea, however, wants these fans to know that this is still her making the music she wants. If she wants to sound like Pavement then she will. It is not Matty Healy putting ideas in her head.

Thematically the EP holds up nicely. When imagining a space cadet sonically, one might imagine clean wide guitars playing hypnotic arpeggios — there are some of those. One might even expect something a little more shoegaze-ey — though this might not be for hardcore shoe gaze fans (this is Dirty Hit after all). There are some colours of Slowdive in there and, arguably, My Bloody Valentine as well. The central influence is, as expected, however, Pavement. ‘Cut Your Hair’ is a perfect example of a Pavement song that Bea will have used as a reference when in production for this record. This record rings of an early Weezer (Pinkerton especially) in many ways, and it will certainly appeal to fans of pre-haitus Fall Out Boy.

Something the Dirty Hit label keep digging up are artists with a distinctly indie sound – regardless of parent genre –  that have a wonderful Beatles factor aesthetically. This means that the audience feels emotionally and personally addressed while also being validated by what feels like the artists personality, rather than just their work. Beabadoobee is no exception and she certainly fits in well amongst the big hitters and the up and comers at the label such as No Rome, Pale Waves, The Japanese House and The 1975.

Overall the record deserves a 6.5/10. It’s strong, but the space Bea is moving in to is crowded and she’ll have to compete with a vast catalogue of beloved classics. Importantly though, she is out-writing much of the contemporary competition, including hero artists of yesteryear.

Photo: Jack @ The Mancunion

Live Review: Frankie Cosmos at Night and Day Cafe

Written by Jack Burnett on . Posted in Music.

Frankie Cosmos, real name Greta Klien, has a steady cult following by this point in her career.

When she played The Night and Day Café in Northern Quarter the crowd was shoulder to shoulder right back to the merch stand. Touring her newest record Close it Quietly, she stays true to her signature sound. Although the instrumentation is produced much more cleanly, the writing and lyrics both still feel truthfully DIY and close to her bedroom-pop roots. The new record (and the set) are also both brimming with the mess of life: 21 new songs about guys, grievances, fuck-ups, family and friends fill the room.

Night and Day did give the band some difficulty however, after the first song’s keyboard lines were silent there was about twenty minutes of technical troubleshooting getting everything back together. The stage banter all the while was awkward, “Anyone get any good jokes?” was met with a small laugh, but the band mentioning that they ate at Picadilly Bundobust for lunch brought the crowd back on side. There was also a wandering fan who jumped on stage during ‘Leonie’, mime-singing into her imaginary microphone which the band didn’t seem on board with (although Klien and the fan shared smiles and a chat after the show).

These kinds of difficulties can ruin big concerts, but the Night and Day show was good evidence that Frankie Cosmos’ following feels almost like a community. By the time she finished with ‘Is It Possible/ Sleep Song’ voices rang around singing the words back to each other. The support, Lina Tullgren, also had her saxophonist join her to improvise a solo over the middle section. The track was transformed into a much silkier and joyful version of the original and was broken down perfectly to end with Klien’s final lined delivered solo.

There must have been more competent, smooth shows elsewhere on the tour, although its dishonest to say that this matters above everything else. The hiccups seem telling of the band’s (and Klein’s) honest approach to writing and performing. Her music often feels like a diary, and all the extras are just a part of that lived experience that she lets you share with her.

7/10

Photo: Laura Davies @ The Mancunion

LM5 Tour: the embodiment of female empowerment in pop

Written by lauradavies on . Posted in Music.

Since their formation on The X Factor in 2011, Little Mix have been a dominating force in pop music.

Although their music has matured greatly over the past eight years, there is no doubt that their message of ‘girl power’ has always shone through, and in a music industry where artists such as Chris Brown can make a comeback without question, this message has never been more needed than now. The LM5 tour promotes the group’s fifth studio album, and it encapsulates all that is great about modern feminism.

From the very start of the performance, feminism and independence were promoted with the lyrics of the first three songs, ‘Salute’, ‘Power’ and ‘Woman Like Me.’ Each song strongly carried the themes of women coming together and supporting each other, and not conforming to traditional gender roles. These songs had huge productions with intricate dance routines, including a multitude of backup dancers and plenty of props such as fire cannons. However, at times this staging came with the price of losing out on some vocals, with the singers seeming out of breath after only a few minutes.

This amount of showmanship has never been expected of or been produced by boy bands. Comparing their performance to tours of One Direction – standing on stage with dance moves consisting of nothing more than some dramatic hand movements – made it evident just how much more work went into each Little Mix show. These double standards shouldn’t need to be something that Little Mix hold themselves to, but the fact they do makes their shows far more entertaining than those by any comparable boy band.

The next act of the performance began with a video interlude entitled ‘Opinions’, which mainly featured clips of Piers Morgan criticising the group’s provocative stage outfits. This is something that has been discussed a lot in the media, with many suggesting that the sexualised images they portray is, somehow, ‘un-feminist.’ However, Little Mix have been outspoken in their opinion that feminism is about wearing what you want and what feels comfortable, regardless of the opinions of others, and they followed the video with a rendition of ‘Wasabi’, a song that shows how they don’t listen to or care about criticism. Little Mix are unapologetically sexy, and their clear defiance of the opinions of others pushes their message of independence further.

The following act was comprised of Little Mix’s slower songs; this gave the performance a much more emotional, powerful tone as production gave way to exceptional vocal performances. ‘Told You So’ and ‘The Cure’ are songs with messages of supporting one another, talking about your emotions and not letting a man’s opinion of you affect your self-worth; all of which are part of the healthy mental practices the group promote. This was also the point in the performance where the fans support of Jesy was especially prominent, after the release of her BBC documentary, Odd One Out, in September, where she discussed the effects that online bullying have had on her. Often, arena concerts such as this one can feel impersonal, as if there is a disconnect between the artist and crowd. However, the combination of Little Mix’s openness with fans and the floating stage in the crowd allowed everyone in the arena to feel a personal connection with the group.

The message of female empowerment was further pushed with the next collection of songs. ‘Wings’ and ‘Shout Out to My Ex’ have lyrics promoting following your dreams, being ambitious, and not letting people who don’t care about you hold you back. The following song, ‘Joan of Arc’, encourages the idolisation of strong female role models and accepting the label of feminist without question.

Little Mix’s final message to fans, before their encore, was that they hoped that if all the young boys and girls in the audience took one thing from the performance it was empowerment, and their concluding statement could not have rounded up their performance better. They once again proved themselves to be excellent role models to their younger fans, telling them to be unashamedly themselves, not care too much about what others think and to always stand up for what they believe in. Their performance was powerful, personal, at times emotional, but always, above all, empowering.

9/10

Photo: Stephen Richards @geograph.org.uk

The Old Bank Residency: more than a cinema

Written by dtickner on . Posted in Film.

City centres are renowned for being clogged up to the brim with the kings of the commercial industry and conventional nightlife entertainment. They yank up the prices and are, ultimately, the place you always end up going because you can’t be bothered to look hard enough for somewhere new. Therefore, it’s always exciting when we get something a bit different — and we have!

I visited the Old Bank Residency to enjoy a viewing at the 16-seat built-in cinema and learn more about this unique addition to Manchester. 

The creative space supports non-profit companies, art schemes and workshops as well as having a small cinema that shows exclusively documentary films every Monday and Tuesday evening. They aim to create a different kind of experience for the public that doesn’t exist in the mainstream flow of Manchester’s commercial centre.

The Old Bank Residency’s general goal is to “help build a sense of community and neighbourhood at NOMA” — NOMA being the company running the space — and they offer the disused bank as a location for a wide range of non-profit organisations to “change the world around them for the better.” Charities such as Rethink Mental Health, Manchester Cares and National Youth Advocacy Service have used the space in the past and the company says that they are always looking for more. 

In terms of accessibility, the Old Bank aims to be inclusive, progressive and politically neutral. The manager of the space stated “we are on the lookout for more charities, community [and] environmental groups, book clubs, choirs and meet-up groups to share our space.” You can contact the company if you would like to use the space for your own work or enjoy the diverse range of exhibitions and various activities they provide for some relaxed and unique entertainment. 

The documentary screenings offered by Old Bank are intimate and unique. Currently showing exclusively Dogwoof productions (with the exception of various collaborations with smaller, independent filmmakers), Manchester is given an exciting opportunity of entertainment that’s different from your average night at the Odeon. The documentary genre is rich in diverse content and enlightening points of view; this has influenced ‘poignant, thoughtful and wide-ranging’ conversations after screenings at the venue. A documentary only cinema is something Manchester doesn’t have, so I can’t recommend enough to go and support this unconventional venture by buying a ticket and enjoying the entertainment they have on offer. 

Go to their website if you wish to know more about the company or to get your own work included within the space.

Photo: Laura Davies @ The Mancunion

Live review: New Rules and Mae Muller at the Manchester Arena

Written by lauradavies on . Posted in Music.

British boy band New Rules and singer-songwriter Mae Muller performed as support on the British leg of Little Mix’s LM5 tour. The 14th of November was the first of three nights at the Manchester Arena and will have been the largest audience that either act has performed to.

It was probably for this reason that the three-piece, guitar playing New Rules started off a little nervous. Their opening song, an original entitled ‘Call It’, was a little flat but still a catchy, light-hearted pop song that got the crowd on their feet. The band made a real effort to make the performance feel a little more personal, with each member introducing themselves and talking to the audience.

It was clear that not many people watching were aware of the band before, so their decision to include some covers, such as Dominic Fike’s ‘3 Nights’, was the right decision as it allowed people to sing along. The crowd’s reaction allowed New Rules to become more comfortable on stage and gain confidence, their vocals vastly improving. By their final song, their biggest hit ’24 Hours’, they were performing much less like a support act and more like an established boy band who knew their sound and were excited to be sharing it.

New Rules’ supporting of Little Mix, where a vast proportion of the audience was below the age of 12, and consistent promotion of their TikTok, made it obvious that they are trying to present themselves as the next generation’s heartthrobs. However, in doing this, they put themselves at risk of isolating those slightly older in the audience who would arguably be more able to spend money supporting them or attending their headline tour next February.

The second supporting act of the night was Mae Muller. Her songs have strong themes of female independence and feminism, so her support was very fitting to the LM5 tour’s empowerment message. The highlight of her performance was the unreleased song entitled ‘Therapist’, which is about how it is not a woman’s job to help fix her boyfriend, and her comments about her own experiences between tracks made the whole set much more personal.

Her most successful track ‘Anticlimax’ ended what was an exceptional vocal performance perfectly, setting the audience up for the main event. The only downside was that the style of music, a slower pop reminiscent of Jorja Smith, was maybe not entirely fitting for a large arena venue.

7/10.

LIVE: Climate activists occupy John Owens Building – Day 7

Written by Josh Sandiford on . Posted in News.

Welcome to a special Mancunion live blog on the ongoing occupation of the John Owens Building by climate activists People and Planet.

The student campaigners are demanding the University of Manchester makes a commitment to fully divest from fossil fuels.

They moved into the building on Tuesday morning with activists split between the financial board room and the corridor. Today marks their seventh day of occupation.

A meeting had been arranged between activists and the University’s Senior Leadership team for this morning in an effort to end the protest but People and Planet announced this morning (25th November) that talks had broken down.

They now say four of them are prepared to go on hunger strike as early as midnight if the University doesn’t agree to divestment.

A University of Manchester spokesperson said: “We welcome the chance to meet with students as it long as it is through the appropriate Students’ Union representatives. We have offered to meet on that basis.

“The University recognises that students have a right to protest peacefully, providing that this does not unduly disrupt the conduct of the University’s normal business. However, by occupying the corridor and meeting room they are causing significant disruption.

“On the issue of divestment, our policy is clear and in the public domain as part of our Socially Responsible Investment Policy (SRIP). We no longer invest in companies with 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).

“We sincerely hope that the students will accept our offer and we look forward to meeting them in due course.”

You can follow this live blog for all the latest, with updates below.

People and Planet are also live tweeting here.