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Month: March 2022

UK healthcare is structurally sexist – how do we fix it?

To say it’s been a tumultuous time for the UK healthcare system is an understatement. If it’s not year-long waiting lists for mental health services, it’s inadequate healthcare for trans people or steadily increasing waiting times for cancer treatment.

The UK healthcare system has always had problems lingering below the surface. The blow caused by Covid-19 only worsened them and devastated a structure that was already under strain.

And now, we’ve uncovered another issue; the UK healthcare system is structurally sexist. The news was surprising when I first heard it, but once the initial shock wears off, it suddenly makes sense.

Welcome to the UK, where inequality is inescapable.

The news actually emerged last December, when Omicron was arriving just in time for Christmas, cranking the Covid anxiety up to 11. The worries about the new strain meant that the findings got swept under the rug at the time.

There is some irony to news about the gender gap within the system drowned out by the very virus that has crippled it. Great – even Omicron is sexist. But we’re here now, and the findings are in our hands. And they’re as bad as you think.

The government put out the call in March 2021, asking for evidence to inform England’s first Women’s Health Strategy. The response proves the necessity of the Strategy;  there were 110,123 responses to the public survey and 400 written responses. These numbers demonstrate that these issues have always existed and that women and people assigned female at birth have been waiting for this opportunity.

It’s hard to know where to start with these findings. Perhaps the unsettling statistic that 8 in 10 women feel they are not listened to by healthcare professionals.

Also alarming is the finding that two-thirds of respondents with health conditions or disabilities said they do not feel supported by services made available to them.

Making patients feel supported and heard should be the main priority of any service, but especially one that exists to keep us healthy. This gender gap goes beyond meetings in GP offices and inadequate services, leaking into almost every aspect of healthcare.

From older women receiving less care for dementia than men, to women being half as likely as men to receive painkillers after surgery. Medical professionals tell women across the age spectrum that their debilitating symptoms are no cause for alarm, delaying severe and much-needed diagnosis.

Data from the Office of National Statistics found that women and AFAB people are more likely to have to go back to the doctor a second or third time for a reproductive issue. Women’s issues are not a priority for the healthcare system; the result of a lack of specific education and stigma surrounding women’s issues (particularly reproductive issues). The result is a lesser quality of medical care.

The issue even extends to vaccine trials, with women (particularly pregnant women) frequently being left out of the research. This leads to a lack of data on how new treatments could affect women and people who menstruate, also meaning a lack of trust on their part.

U.S. Secretary of Defence @Flickr

Like any issue affecting women, intersectionality should be critical to our analysis. While it is true that this ineffectiveness leaves all women vulnerable, the results are worse for women of colour.

The medical community has long known that women of colour face an increased risk of dying in childbirth (with Black and Asian women facing the highest risk). But a 2021 study found an increased risk of miscarriage for Black and Brown women. The racial gap holds for all aspects of pregnancy and childbirth; women of colour in the UK have an increased risk of premature birth, stillbirth and babies with low birth weight.

Data also shows that women of colour face more obstacles concerning cancer diagnosis and treatment. There are higher mortality rates for Black women with breast cancer, as well as lower rates of cancer screenings when compared with white women. In addition, it’s been found that Black women do not receive sufficient emotional support, referral services or understanding about their cultural needs.

With this influx of data and statistics, you might be looking at it all thinking, ‘okay… what now?’. Unfortunately, it’s a serious challenge and not something we can change overnight. The new Women’s Health Strategy is a good start, but it’s just that: a start.

The solution might appear simple on paper; if the issue is a lack of understanding of women’s health, simply hire more female doctors. While better representation for women is positive for any field, increasing the number of female doctors would be just one solution.

This is a structural issue and needs structural changes for us to see any real improvements. Yes, better representation is essential, especially when you factor in the issues facing BAME women. But what needs to change is training, teaching and how healthcare is run.

Medical training should include problems that specifically affect women. Professionals should ensure that women’s voices are listened to at all levels. And by that, we mean all women – not just white cis straight women. The industry must acknowledge these inequalities at the base level of education, ensuring that the male body is not the default in medical research.

Above all, we need a serious reflection on why and how these inequalities came to be. Where did they come from, and how are they still being propagated today?

It will take a long time, and whatever the solution is will likely be far more nuanced and complex than what I’ve highlighted here. But now that we know that the problem exists, there is no excuse for this to continue. Women constitute 50% of the UK population; it’s past time that the healthcare system took our issues seriously.

Faculty changes upcoming at UoM

Nominations for the University of Manchester’s new chancellor closed on March 28. The current Chancellor, Lemn Sissay OBE’s term will end on July 31 2022. He has been the Chancellor of the University since August 2015.

It was intended that voters would have the opportunity to vote for his replacement in May, with the voting opening on May 9 and closing on May 23. However, only one nomination met the criteria for the role, who is now being considered by the Board Nominations Committee.

The Chancellor role is described by UoM as “the ceremonial head of and vital ambassador for the University, working with the President and Vice-Chancellor and other senior officers to promote the University”.

Candidates for the role must have support of at least 20 members of the University community in order to stand.

This is not the only restructuring occurring at UoM though, with a new director of IT services, Patrick Hemmaway, set to join the University from July 4, 2022. He has previously spent 25 years in IT roles, including being part of IT operation for 11 years in NYU Abu Dhabi.

The sports department is also being restructured to include a “one team approach”, in response to a recent review of how UoM can “best meet the needs of students, staff and local community”. This is set to effect job descriptions as well as organisational structures, and is indication of UoM continuing “ongoing, meaningful engagement with colleagues at all levels”, according to the university.

 

Correction:

This is an updated version of a previous article with the following changes:

  • Students will not be voting in elections
  • Only one nomination has met the required criteria for the Chancellor elections, who will be considered by the Board Nominations Committee
  • Sport is a department not a faculty

Wales introduces smacking ban

Wales has become the second nation in the United Kingdom, after Scotland, to outlaw the physical punishment of children – piling the pressure on England and Northern Ireland to follow suit. 

Under ‘The Children (Abolition of Defence of Reasonable Punishment) Act 2020’, smacking, hitting, slapping and shaking are no longer acceptable forms of punishment. From March 21 any form of physical punishment used on a child is illegal in Wales and can result in arrest, assault charges and a criminal record, this law also extends to anybody visiting Wales.

Prior to this law, people accused of assaulting a child could enact the common law defence of “reasonable punishment”. It had been suggested that this defence created a legal grey area which allowed perpetrators of child abuse to avoid conviction.  

Wales joins over 60 countries in banning all forms of physical violence against children. Wales’ First Minister Mark Drakeford said “I am delighted the physical punishment of children is now illegal in Wales. This is a historic achievement for children and their rights”. 

Scotland successfully introduced their own so-called “smacking ban” 16 months ago. England and Northern Ireland are yet to introduce any legislation to address the issue.

A YouGov poll commissioned by the NSPCC found that 64% of 3000 adults surveyed in England believed it was time to change the law. 

In 2019, University College London conducted a study on the long term effect of smacking on children. It found that children who experienced physical punishment at a young age were far more likely to develop behavioural and mental health issues in adolescence and beyond.

An author of the study Dr Rebecca Lacey suggested it’s high time England outlawed the practice: “It is time for England to follow suit and take notice of this well-established body of research and accept the evidence around the long term negative effects of harsh parenting and physical punishment on children’s health and happiness is irrefutable.”

Critics of the law suggest the Welsh government are overstepping their boundaries. Conservative AM for Aberconwy, Janet Finch-Saunders said “The state should not be telling people how to parent”. She also suggested the law would do more damage than good, “There are already laws in place… and it is not necessary to seek to criminalise parents. The impact on a child of a parent taken away by police is greater than the impact of a slight smack”.

Bin strikes could leave 220,000 Manchester homes overflowing with rubbish

Manchester residents could face piling rubbish as bin collectors vote on strike action this week. 220,000 homes are set to be affected if Biffa workers strike following “insulting” 1.75% pay offer.

Students in halls are unlikely to be affected by the strikes, as the university will seek to make alternative arrangements for the recycling currently managed by Biffa. But students living in private housing would face the “mass disruption for the people of Manchester” according to GMB Regional Organiser, Michael Clark.

Biffa are proposing to pay loaders and operators £10.14 per hour (just 64p above minimum wage), and bin drivers £13 an hour although they are required to hold HGV licenses.

This is significantly lower than commercial rates and causing more backlash as Clark said: “This is the worst cost of living crisis for 30 years and all workers – not just HGV drivers – deserve more than a real terms pay cut.”

Biffa are a private company who the bin collection service is outsourced to, by Manchester City Council. The proposed pay rise is in line with what local government workers received in 2021, but Biffa recorded pre-tax profits of £26 million last year.

Half of the Biffa workers are part of the union so would be voting in the ballot, which opened on March 29 and closes on April 12. Strikes could take place at the end of April, if members vote in support.

A third year student studying Mechanical engineering said, “I don’t want the whole of Manchester to be like Egerton Road.”

This strike ballot comes as there is current discussion with Manchester City Council about whether to continue Biffa’s contract as the eight-year deal, which began in 2015, comes to an end.

A University of Manchester spokesperson said: “Our general waste collection is managed through Veolia, and Biffa carry out our recycling operations for cardboard, bottles and plastics. We have not yet received any information about impending strikes from the supplier, but would plan to make alternative arrangements in the event of strikes occurring.”

Schools close in Manchester due to Covid-19 outbreaks

Schools are shutting across Manchester as a suspected new variant has caused a rise in Covid cases across all ten boroughs.

In Greater Manchester as a whole there are now 582.2 cases per 100,000, with a 28% increase in Covid-positive patients in the week ending March 21, compared to the week before.

Fred Longworth High School in Wigan is amongst the schools that has had to close temporarily, with their headmaster Paul Davies telling parents: “we have now unfortunately reached the point where we cannot safely staff the school.”

UoM, who are no longer able to provide test kits to staff and students following the government rule changes, have acknowledged that the cases are rising but have not taken any action.

Alex, second year student stated: “I do think that there should be more information on this. However, in terms of restrictions, I think having masks mandatory again is just about fine.”

Manchester’s Director of Public Health, David Reagan does attribute the end of restrictions, such as mask-wearing, lateral flow test provisions and isolation, to impacting the spike. Whilst he has called this variant “much more transmissible”, he has said the cases haven’t risen to the concerning rates as in the previous waves, and he believes that it can be controlled.

Sophie a second year politics student reacted to this saying, “It should be scary that the cases are rising again. However, it doesn’t feel like it should be. I think we all just want to move on.”

Judging a book by its cover: Penguin clothbound classics

Penguin’s Clothbound Classics are a much-loved collection of classic titles. The first editions were released in 2008, and there are currently a total of 93 novels in the series. Each year, a continuous stream of titles is issued, with the most recent being Ulysses by James Joyce and On the Road by Jack Kerouac, both of which will be released in 2022.

The covers are all designed by in-house designer at Penguin, Coralie Bickford-Smith. Bickford-Smith, who studied Typography and Graphic Communication at Reading University, is also the author and illustrator of the children’s books The Fox & the Star, The Worm & the Bird, and The Song of the Tree.

The book covers are composed of colourful, tactile fabric with foil imprinted into the design, and they never have more than two colours on them. The books aim to evoke a rich heritage of bookbinding, looking back to the world of Victorian bindings, with what Bickford-Smith describes as a longevity appropriate to the contents. 

Each book highlights one moment or theme that is pivotal in the book, but something that is sometimes overlooked, meaning it can also create a bit of a riddle to figure out the significance of the image. For example, Little Women features a pair of scissors, making reference to the moment in which Jo cuts her hair, and Mansfield Park features a chain, or if you look closely, two chains, alluding to the gifts from her competing love interests.

The gorgeous covers mean that the clothbound classics are experiencing a wave of popularity on Instagram (‘Bookstagram’) and TikTok (‘BookTok’), with people sharing ‘shelfies’ featuring their collections of clothbound classics, often in colour order. 

The books are designed to be collectible, and hence serve as a mechanism for Penguin to sell more books, perhaps even resell the same book to the same customer, just with different packaging. At £20 a pop, it isn’t a bad business strategy. 

The series can be continued for a long time, as more and more classics are added to the collection. This raises the question of which books should be selected to become clothbound ‘classics’. Is the series perpetuating a traditional classical canon and republishing the same, often white, authors? Names like Charles Dickens, Robert Louis Stevenson and Daniel Defoe are repeated again and again in clothbound editions.

The popularity of the series ensures high readership of the chosen works, and so could provide an opportunity to highlight less well-known works from interesting, sidelined authors. At the very least transparency about the selection process would help readers consider why each author was chosen, and an opportunity for reader input about which titles they would like to see bound seems like an obvious step forward for Penguin. 

I love the appearance of the Penguin clothbound classics as much as the next person, but applying a critical eye to book covers (and the publishing industry) is just as important as critical reading.

Review: Joseph and the Amazing Technicolour Dreamcoat

Joseph and the Amazing Technicolour Dreamcoat is a classic musical for a reason. Its show-stopping songs, sets and costumes make it feel like such a big production, as if you’re watching something special. After fifty years from when it was first created, it still resonates with many and feels just as magical.

For those unaware of the plot, the musical follows the biblical story of Joseph, who is envied by his brothers for being his father’s favourite and a strong dreamer. After his brothers sell him to slavers, he receives the admiration of Egypt’s Pharaoh, and his brothers don’t know any better. Will they ever see each other again? What will become of Joseph? Go and watch the show to find out!

Photo: ©Tristram Kenton 07-21.

The UK tour is the redesigned, brand-new London Palladium production, with some of the same iconic cast, such as Alexandra Burke as the Narrator, Jason Donovan as the Pharaoh, and Jac Yarrow in his Olivier award-nominated performance of Joseph and Alexandra Burke as The Narrator. Donovan played Joseph in the musical’s first West End revival, and that earned him an Olivier nomination too.

Filled with talent, every cast member is truly wonderful. I never thought I’d say this, but I was even envious of how talented the children were. They were so energetic and fun to watch, and you could tell they were having a great time on stage.

Throughout the entire show, Burke (pregnant belly on display) was smiling and having the time of her life, and the crowd erupted in applause when Donovan entered the stage in the second act. I can see why Yarrow was Olivier nominated for his performance; he was an extremely charismatic Joseph. I loved his performance, and I think he loved performing it too. It was also wonderful to see him back onstage after a small bout with illness forced him to miss a few shows.

Photo: ©Tristram Kenton.

In particular, I loved the costumes in this production. The technicolour dreamcoat is absolutely stunning, and I love how it was pleated so it moved gracefully with every twirl of the coat. The details on it were impeccable, with starry segments on it to reflect Joseph’s dreamer nature, and even the lining inside the coat had rainbow stripes. From every angle, the coat was spectacular.

Rainbow was incorporated into many of the dancers’ costumes too, such as cheerleading costumes and cancan skirts. It was such a vibrant show to watch, and even the lighting was colourful. A particular highlight for me was the song ‘Joseph’s Coat’, where The Narrator listed the colours, and the lighting framing the stage matched the colour named, alongside the constellations in the sky. It was such a joy to watch, and I even noticed people wearing rainbow accessories and outfits in the crowd!

As a sung-through musical, its pacing is very well done, considering how tiresome some musicals can be. With the range of songs and dance sequences, from an Elvis-impersonating Pharaoh to children harmonising, this show has something for everyone. I went to see the show with my friend who has never seen a musical before, and her face of joy said it all.  Joseph is for the dreamers, and for those who like to have some fun, with many jokes in the show landing with the crowd.

Joseph and The amazing Technicolor Dreamcoat plays at Manchester Opera House until 2nd April before continuing its UK tour.

The few remaining Manchester dates are close to selling out. Get your tickets whilst you; it’s extremely popular for a reason!

If you’re seeing the show in a different city, be sure to check the cast beforehand: whilst Yarrow will be starring in the tour during its entire run, Burke and Donovan are only performing at select dates. Where Burke is not performing, Linzi Hately (who originated the role of the Narrator in the 1991 West End revival) will be in her place.

Review: Barbara Dickson at King Georges Hall

Scottish singing sensation Barbara Dickson brought her Time is Going Faster Tour to King Georges Hall in Blackburn, the first time she played at the beautiful venue in decades.

Dickson delighted the audience with her diverse setlist, singing a mixture of folk songs, new music, and songs from her extensive catalogue, such as her hit ‘January, February’. She also treated us to a couple of musical theatre songs: first a song from Blood Brothers (she originated the role of Mrs Johnston) and later Another Suitcase in Another Hall (she sang the song on the concept album for Evita).

The latter, a criminally underrated ballad, is one of my all-time favourite musical theatre songs. Some people might be more familiar with Madonna’s cover (from the film adaptation of the stage musical), which, though inferior, was a bigger hit.

It was a real treat seeing Dickson sing that song, up there with seeing Jennifer Hudson sing And I Am Telling You I’m Not Going and Nicole Scherzinger sing Memory. I wish she had sang I Know Him So Well – her duet with Elaine Paige OBE for the Chess concept album and her only number 1 – though she might have wanted a mezzo-soprano female to sing that with, and her backing singers were both male.

Alas, Dickson still delivered a satisfying setlist, albeit a little slow. That’s the only real criticism I have: it was clear that the audience preferred the more upbeat songs; Dickson might have added a few more of these. Perhaps her best performance was her wonderful rendition of ‘The Witch of the Westmorland’.

Another highlight was her headstrong cover of the horrifying ‘The Ballad of the Speaking Heart’. After this, she went straight into ‘Another Suitcase’, telling us afterwards that she threw that in there in case we were traumatised by the previous song!

The concert, though beautiful, was quite heavy, in both content and themes, so I’m glad that it was broken up with a 20-minute interval. Dickson even had a dress change, which was delightful. She really looked the part, her elegant clothes complimenting her ethereal voice.

Even at 74 years of age, she still sings so beautifully; her voice has aged so well, becoming richer and meatier. There are many singers out there who could learn a thing or two from Dickson. Far too many pop singers strain and damage their voices with inadequate training and bad vocal techniques. Dickson has truly cherished her gift.

I must also give a shout out to her wonderful band. Made up of four men, they created the most marvellous, melodious music. They were not playing for Dickson, per se, but, rather, playing along with her. Dickson repeatedly complimented her band – especially Troy Donockley, her Musical Director, who she seemed to be particularly fond of. I loved that the second and final song of the encore was a ferocious instrumental piece, allowing not only the men but also Dickson to show off their ability to make magic out of musical instruments. It was the most marvellous end to a mostly mellow concert.

Whilst I might have liked a few more meaty songs in the setlist, the mellifluous music that made up the most prominent part of the concert actually helped to make the heavier songs – those which you might clap along too – all the more special.

Whilst the setlist was dark and mellow, Dickson was quite clearly chuffed to be back on the road and appreciative of all the people who had come out to see her. She had even signed most of the merchandise at the stall!

It was a real privilege getting to see Dickson up-close and personal, in a gorgeous, intimate venue just miles from my hometown. For a small amount of time, I struggled to see her – when she was sat at the back of the stage, and Troy cut her off from a small fraction of the audience. That did not take away from the aural experience, though: Dickson’s vocals are a true delight.

Barbara Dickson continues her UK tour until May.

In conversation: Johannes Radebe

Johannes Radebe, this year’s Strictly finalist, and half of the first male same-sex partnership on the show, answered the Zoom call with a smile. The energy he brings to the show (yes, in THAT iconic Pose routine) was clear when he talked about it too. Joining Strictly three years after they originally spotted him in 2015, “it did feel like a dream coming true.”

But this year was even more important to him, “the opportunity to authentically live my life like that on national television, primetime television – it’s something I wish I had seen as a young boy”. Johannes said he felt like it was healing to him, personally, but the way he spoke about visibility with purpose and poise showed that this year’s Strictly journey went far beyond his and John’s experiences.

“People as well felt seen for the first time, and it was just a statement to say there’s nothing wrong with two people who just want to dance. So I know that our partnership has influenced a lot of people to really start dancing; there’s been an increase in same-sex partnerships throughout the world,” he said with a hint of pride and emotion.

But on a week-to-week basis on the show, it was a bit more difficult. Strictly is known for its formula, from the one-liners “FAB-U-LOUS” to the classic steps which mean everyone becomes an armchair judge, how did they manage it when that formula was largely stripped away?

“We had to find a template that works for John and I, because the dynamics are different – we didn’t have a beautiful ballroom gown to swish around the floor.”

This, Johannes revealed, was reasonably tricky for him: “I was still in my head about what it’s supposed to be. And when I let that go, as a teacher, as a choreographer, I realised the potential of what it could be.”

He’s grateful to John for his patience: “I realised that I’ve got somebody to try things out with and make beautiful. And I think that’s why it worked, because we had an open mind and open heart, and it was absolutely gorgeous. We’ve changed. We’ve written something.”

Whilst Strictly gave Johannes and John the freedom and platform to explore and dance together, Johannes acknowledges the professional dance world as a whole, whilst it has come a long way, “we still have a long way to go.”

But there’s a movement, “there’s been associations that people don’t know about where people in same sex partnerships can go and compete around the world. There’s championships for it, you know?”

Every word felt considered and thoughtful as he talked: “with that visibility, a lot of people were empowered.”

The warmth he exuberates came through on screen, which bodes well for his future career goals as “standing in front of the camera is something that I really would like to pursue moving forward.”

Johannes Radebe
Photo: ROYO Entertainment.

But before that, Johannes has a new show, Freedom, which is coming to Manchester Opera House for one night only: “For the first time I get to dance to my own beat, paying homage to my African roots and the dance genres that have made Johannes the dancer that he is today.”

It’s his first show, and it promises to be uniquely him – with the iconic cha cha cha, samba, Viennese waltz, foxtrot, “and the heels and fan might make an appearance.” Beyond his Strictly experience, the show highlights his childhood and continues to promote visibility: “I’ve never seen African influences put together like that in a beautiful theatre setting.”

“I want people to be standing up in the aisles at the end of the show and celebrating with me for the fact that it is what it is, we are who we are, and all we should do is love each other.”

Whilst Strictly was his dream, dance has always been his passion, and the way he lights up when he talks about it made me want to take up dancing! “There’s a feeling of joy that overcomes me when I dance, and it’s a gift because however I feel I always used dance as an expression. And obviously to overcome a lot of things but, like I said, that feeling that dance has given me as a young boy, I think that’s what I’ve always held on to.”

“Dancing is all about relationship building and understanding another human being not so much with words. I’d encourage anybody to go and do it, because it really does release the happy endorphins.”

Those happy endorphins will be filling Manchester Opera House this April as “Dance has got a special way of connecting the audience and the performers … and I think that if they come with an open mind and open heart they honestly are going to have a fantastic evening and experience a dance extravaganza.”

For those who can’t make it to the show and dance in the aisles with Johannes, don’t worry, he should be be back on your screen this year: “I want to come back to Strictly Come Dancing this year; I want to do it for as long as they will have me.” And as he said with a booming laugh as I was ending the call, “You better vote!”

Johannes Radebe’s Freedom plays at Manchester Opera House on 6th April for one night only, before continuing its UK tour until 1st May.

Shanghai goes into city wide lockdown

Shanghai has entered a city-wide lockdown in response to growing cases of COVID-19, becoming the largest city in China to be locked down since the beginning of the pandemic. The city, with a population of over 26 million, has seen the lockdown commence in a two-stage process.

Starting last Monday, the eastern side of the city has been shut down, with an expected easing of the restrictions to begin on April 1. At the same time on that day, the western side of the city will enter a lockdown with that one planned to end on April 5.

These actions come as part of China’s zero COVID-19 policy. When a case is detected in less densely populated areas, China purses a mass testing program of all residents. In cases where the population is much more densely populated, such as Shanghai, lockdowns are imposed until cases die out.

The policy of attaining zero COVID cases has been under strain since the Delta variant entered China and has experienced continued pressure as the country tackles the Omicron variant, which was first detected in South Africa in late November before spreading quickly across the world.

The city has also been building huge quarantine facilities with the idea being that infected residents will be moved to these facilities once their case has been detected.

Until recently, mild and asymptomatic cases of COVID-19 were treated within hospitals in order to keep the virus out of general circulation. Now however, China’s National Health Commission has accepted it is reasonable for mild cases to isolate outside of the hospital setting.

The restrictions are due to end on April 5 however this is not confirmed, and a full city lockdown is still a potential option.

Grand design your home on a budget

It’s never too early to start planning your room design for the next academic year. So, whether you’re a first year thinking about how to make that dirty Fallowfield house seem like a home, a future fresher wanting more than Ikea furniture, or even a student who has still not decorated their current halls, The Mancunion has the perfect guide for how to spice up your space!

Artwork

First up, get something on those walls. Posters are the obvious choice and Afflecks have a huge selection, with everything from band posters to city prints.

For a different aesthetic, hit up the charity shops for things like art books, old postcards and calendars. This unique artwork can be bought on any student’s budget, and the DIY project of transforming your second-hand finds into a wall installation will leave a personal touch to your home.

Unique artwork can also be found within the print pages of The Mancunion which is perfect for a bright, sustainable DIY wall display. You could also consider doing something more interesting with your DIY projects, such as making your own collages, bunting or 3D art with sustainable finds – be creative! Whatever you decide on, visiting the Northern Quarter’s Fred Aldous where both artwork and endless art supplies are sold is always a good move.

Furniture

With the move from halls to student housing, you’ll suddenly find a whole lot more space to think about in the design process. Consider visiting antique centres or car boot sales to bring your vision to life. The cheapest options may include side tables, chairs, mirrors and books to add that intellectual touch to your Fallowfield pad, and you can always go wild on the up-cycling.

Alternatively, check out Etsy if you don’t fancy doing the upcycling work yourself. Antique centres can also be a great place to find quirky trinkets for your room, or even one of a kind crockery to impress your guests.

Some of the largest antique centres in Manchester include Antique World Manchester in Failsworth and Levenshulme Antique Village, though often the best antique options are found by getting out of the city. Good crockery is also available new in places like IKEA, however for something more individual it could be a fun day out to visit gallery gift shops and independent retailers across the city.

Textiles

Soft furnishings are vital to any cosy space needing to provide comfort from the stresses of university life. Pillows are a great place to start, and any inviting bed or sofa wouldn’t be complete without a blanket or throw. In addition, bright rugs have been shown to make a room feel bigger – they’re a treat for the eyes and the feet.

There are many homeware brands to choose from when selecting soft furnishings, but Dunelm or Habitat is a good place to start. You can even print your own photos onto textiles on websites like Photobox! If you feel like leaning into the crafty spirit,consider crocheting a quilt, pillowcase or throw.

Charity shops often have crocheting or knitting wool and needles for very cheap prices, so it’s easy to get started with an online tutorial. Textiles also give the opportunity to add a pop of colour to your room, for which the Northern Quarter’s Oklahoma has lots on offer.

Plants

A staple in any student space, house plants really bring the outside in. Start by checking out The Mancunion’s guide to the best student plant shops, which will give you the perfect recommendations for which independent places to visit.

Alternatively, supermarkets usually offer a good selection of house plants that won’t stretch the budget too far, as well as flowers for a quick fix of nature. And, if you want to add a touch of green to your space without the pressure of keeping the plant alive, there’s always the option of a fake plant or two for the same effect. I’d recommend Home Sense for the fake options, or a visit to establishments Flourish and Nice Things to create an indoor oasis in your space.

Any good plant or furnishings shop will probably also offer botanically themed prints, so why not double down on the artwork and add that extra pop of green to your walls without the need for water?

Scents

If you’ve moved into student housing, rejoice in the luxury of candles! Candles are perfect for transforming that dingy smell of old rooms, and there are tons of independent candle businesses floating around the internet and Manchester alike. Deadstock General Store in the Northern Quarter is a great place to start.

Consider investing in a good reed diffuser (or even just a nice air freshener) for that shared bathroom – you’ll thank yourself after a messy night out. Reed diffusers are also a great option for those in halls where candles aren’t an option, as is a good fabric softener. You’ll soon create a space that smells so good, you’ll never want to leave. Diffusers can be purchased in any good homeward section, such as Next or M&S, whilst there are many candle small businesses to discover on Tiktok.

If you want to do your own candle research, the account @candlepeeps on Instagram might be a good place to start – they share a different independent candle maker every day.

Lighting

Mood lighting is a must. Investment in some kind of salt lamp, projector or viral sunset lamp, if your pennies can stretch that far, will set the mood for any room. Of course, fairy lights are a classic and come in many variations. Or, you could plump for the strip of LEDs which feature at all the Fallowfield house parties. LEDs and fairy lights can be purchased for low prices online, whilst Afflecks has a good selection of salt lamps.

Equally, mirrors are a great way to make a space feel bigger, especially if placed next to a source of natural light. As mentioned, antique centres and charity shops are good places to go for a unique option, while Wilko and Primark will offer something cheap yet effective.

Storage Solutions

Most of the time students aren’t afforded the luxury of large rooms. Simple and cheap ways to add storage to your space include under-bed boxes, wardrobe organisers and extra shelving, all of which can be bought extremely cheaply in your favourite furniture giants.

Command hooks and over-the-door hangers will also save room in your precious cupboard space. A simple fix could be buying a cover for your electronic leads, or some trays to shove away the miscellaneous crap – out of sight, out of mind! For smaller storage solutions, consider bookends, pen pots and miniature crates, which can be found in retailers such as Flying Tiger, Paperchase or the independent Fred Aldous.

20 Artists 2 watch in 2022

In no particular order, here are my twenty artist to watch in 2022. Covering everything from local talents, hot up and comers and left-field alternatives to your traditional playlisting here are 20 bands I personally think you have to check out in 2022.

1 – Witch Fever

Our first ones to watch are none other than the legendary Manchester punk outfit Witch Fever. Having just supported Idles at O2 Academy Brixton, then on their European tour, they are the perfect way to begin to explore the heavier side of guitar music this year. Check out their latest EP Reincarnate for the best Witch Fever listening experience, or catch them at Colours London this week.

2- Sugarstone

Having recently worked in Nave studios bringing more music to life, Sugarstone are 80’s glam rock brought well and truly into the 21st century. Their latest track ‘Pink Duct Tape’ has been making waves within the BBC introducing scene, and are well worth checking out at a local show in Manchester! Previous support slots with Kid Kapachi and Strange Bones prove just how great these boys are!

3 – Slap Rash

The ying to Sugarstone’s yang, Slap Rash are an iconic duo that the Mancunion has covered more than once before! A brother sister punk duo that play each gig like they have a point to prove played the House of Vans in London on February 10th, following that up with an support slot with the aforementioned Witch Fever this week shows how white-hot this band are. New track ‘Holy Smoke’ is bound to impress, but there is certainly no better way to see this band other than live and in the flesh.

4 – King Mob

King Mob ended their 2021 with a sold out show headlining Manchester’s Aatma and have continued into 2022 in the same fashion. Supporting French band Tapeworms at the same venue on February 10th they have been working hard in the studio preparing a 4 track EP for release this spring. Dreamlike in their indie anthems they are destined for big things, a GABS favourite they should very much be on your radar, student or not.

5 – Phoebe Green

Working with members of Everything Everything to deliver her newest album and then joining them on tour Phoebe Green continues to define herself as the “Shirley Temple of the North”.  Check out her latest single ‘All Grown Up’ and if you like what you see you can find Phoebe at Manchester’s own academy 1 on Friday 8th April. Set for a summer of wonderful festivals Green makes indie pop that is simply to die for. Joining both Baby Queen and Self Esteem to make three tours this year shows just how hard Phoebe is working to make 2022 her year!

6 – Me Rex

My most listened to band of last year were Me Rex. Heavily connected to the London scene through members playing in other outfits Fresh and Happy Accidents, the fourpiece have just released their best work yet. Pterodactyl is a four track EP that continues to blow fans out of the water! Fresh off of shows at SXSW the four piece were supposed to support Foxes on their long awaited return to the UK, which has sadly been cancelled. Me Rex aren’t ones to let this stop them though announcing the release of another dinosaur inspired EP ‘Plesiosaur’.

7 – DEAF DEAF DEAF

Manchester born and bred, the self dubbed ‘post-something’ Deaf Deaf Deaf  have just announced the re-scheduling of their Rough Trade Bristol headline show to 2nd April. With a new single coming on Friday 25th March with ‘One by One’ this band just refuse to slow down. A personal favourite of mine to catch live DEAF DEAF DEAF are best friends with student favourites Pyncher and deserve a lot more recognition from UOM’s student community and the music scene at large.

8 – Wargasm

Just announced as a nominee for the Heavy Music Awards for best live band Wargasm are undoubtedly the best band I have seen live in the past six months. Faster than lighting and heavier than a mountain Wargasm deliver riffs that rip your face off and stitch it back on upside down. The perfect support that Limp Bizkit could ask for on their ‘still sucks tour’ of the United States. If you’re into heavy music and haven’t seen this band live, you’re missing out.

9 – Wet Leg

Bands that can sell out the O2 Ritz having only released five singles come few and far between. Yet that’s exactly what Wet Leg have managed since the release of ‘Angelica’. Following the single up with an American tour and an appearance on Jimmy Fallon’s the tonight show. The Isle of Wight natives have captured the hearts and souls of so many, I’m certain only bigger things await for them.

10 – Nova Twins

How do you top a nomination for best UK artist at the Heavy music awards and a sold out headine show at Academy 3? Announce a headline tour at Academy 2 in Manchester, Glasgow’s St Lukes and Electric Brixton in London. Not only this Nova Twins are hitting Europe as Yungblud’s lead tour support! What can’t this alt duo do? Hitting every venue from Albert Hall to stages in Munich and Zurich this is very much Nova Twins year!

Nova Twins – Reece Ritchie for the Mancunion

11 – Atmos Bloom

Whilst dormant for 2022’s early months, Atmos Bloom are the very best dreamgaze I’ve come across. Bedroom styled DIY dream pop fused with shoegaze excellence is just as awe inspiring as you can imagine. Having released their first self titled EP in 2020 this band have been working hard to record their next masterpiece. Now internationally backed this new project is due for release this year and deserves a spot in your playlist.

12 – Auto Suggestion

Auto Suggestion ended their year in Manchester with lead support slot at Night and Day café with the wonderfully French psychedelic ensemble The Psychotic Monks, promoted by the much loved Sour Grapes. Since then these Leeds natives have announced a co-headline weekend with Pop Vulture and had to reschedule it due to covid, joined the bud fest line up and set themselves well up for their biggest year yet. Taking post punk and making it their own Auto Suggestion are way up there with DEAF DEAF DEAF.

13 – Baby Dave

Baby Dave, the solo project of Slaves legend Isaac is certainly a different direction for the punk frontman/ percussionist but one I simply adore. ‘Gen Z baby’ has such a beautiful melodic harmony that its cemented in my head. Isaac covers each painstakingly crafted backing track with his iconic vocals. Covering all manner of themes his new tracks are culminating into an album that is sure to solidify Isaac back well into the UK’s music scene with Baby Dave. A true journey of personal growth this record isn’t just going to be an album it’ll be an art piece.

14 – Larry Pink the Human

Baby Dave isn’t the only wonderful creation to stem from Slaves. Laurie, Isaac’s guitarist counterpart, has taken just as different a turn as Baby Dave with his alt pop creations. The beautiful hook “Love is love is love is love” on ‘Might Delete Later’ is haunting in its beauty. Each section of a Larry Pink The Human track is vastly different yet very much part of an astounding whole. Live Laurie is even better, making use of a trucker microphone for other vocals bring even more individuality to Laurie’s live performances. Whilst having to cancel his UK tour this march due to Covid this project definitely deserves all the love in the world.

15 – Bilk

Bilk are more than just indie, they are the very definition of emotion with feeling. They compile indie, rap, punk, and rock influences into their unique blend of Essex based garage indie guaranteed to get any room moving. Just about to set off on an April UK tour that takes them to Manchester’s Deaf Institute this three piece are moving from strength to strength. Recently signed to the Manchester record label Scruff of The Neck  with an album on the way, Bilk are bound to impress a Manc crowd on April 7th, for the freshest flavour of these rising stars listen to their newest single due for release on March 25th.

16 – Factor 50

Despite having only released one song to major streaming platforms with ‘Fetusman’ this five piece have still delighted stages and local crowds up and down the country. Incorporating brass instruments into Cornwall based surf-rock and psychedelia they are amongst the most interesting outfits I’ve encountered in long while. Factor 50 are signed to BYP’s booking agency they are bound to continue their run of nation wide shows and should certainly be on your radar!

17 – Geoblu

Having spent the later half off 2021 promoting with his company, “Geopresents” featuring an event booked at Manchester’s rebellion on the 31st March Geoblu is still very much releasing banger after banger. Most well known for his publicly acclaimed ‘Greaze’, he’s been making a name for himself since moving to Manchester. Blessing major Spotify playlists since the birthing of his career this rising star is hungry and working towards a major career in the grime scene. A must see for both those in Manchester and further afield.

18 – Crawlers

Crawlers are truly a demonstration of the power of Tik Tok as a musical marketing tool. The earth shattering hook “Take her name out of your mouth” on their single ‘Come over (again)’ has catapulted them to stardom, over a million monthly listeners on Spotify and a record deal with Polydor records. Whilst this might have been enough action to last some bands a lifetime Crawlers followed up this success a UK nationwide tour for 2022 that completely sold out. Trying to find a ticket to this band is harder than finding cheap petrol even in modern Britain. I’d suggest its best to catch Crawlers at a festival but spinning their already débuted tracks should be enough to scratch the itch until their album is released.

19 – Nara

Nara are a personal favourite of mine from the local Manchester music scene. Having supported the likes of Gender Roles at Yes’ basement last year they’ve just announced a show at the legendary Night and Day café.  A partial product of Manchester BIMM, they seem to have taken a new turn with each and every track they play, certainly a four-piece that keep you on your toes. With a new single ‘Up The Walls’ due on 30th March I can’t see where this band go next!

20 – Vundabar

‘Alien Blues’ is undoubtedly one of the best single tracks released in the 2010s, yet it has still managed to find new life in 2022. With the release of new music videos and taking Tik Tok by storm Vundabar have cemented themselves as ever evolving. Described as both indie-rock and jangle pop these three Boston natives are something else! Having just played on Seth Myers show, releasing their new single ‘Lord’ and on an American tour there has never been a better time to become a Vundabar fan!

 

So that’s it! Twenty artists to expand your music library this year! I hope you find something new, make sure you go out into the world and support these bands. Especially the local ones, they more than deserve the love.

Keep checking out new artists, long live live music!

Gloves, corsets and ballet flats: Bridgerton season two

Netflix’s Bridgerton is returning for season 2 on the 25th of March, just in time for some regency inspired spring fashion inspo. The show is set in England, focusing on the high society of the 19th century and has been described as the Regency era version of Gossip Girl, with plenty of drama and romance. 

The release of the first season of Bridgerton last year saw a surge in searches for items such as gloves and corsets – trends that were already making their way onto everyone’s pinterest boards. ‘Regency Core’, as it has been dubbed online, became a trend on social media, but the obsession with the show and its looks had a particularly large presence on TikTok, with many creating Bridgerton inspired outfits. 

The series first came out during lockdown, so the romantic, fancy, hyper feminine style was especially alluring to our low-effort lockdown selves. This time around, you might see more obvious Bridgerton inspired get-up while out and about. Girls wearing corsets are a given on a night out, but something like opera gloves might be the next historically inspired piece to make its way into the mainstream. 

Part of the beauty of the show, and the thing that distinguishes it from many other period dramas, is its lack of regard for historical accuracy. It has a quintessentially 21st century approach to history-based entertainment. It has been praised for its diversity, and everything from the music (modern hits performed by a string quartet) to the sparkly fashion, which includes reference to multiple eras (including Regency, Georgian and Victorian) is produced purely for entertainment and aesthetic rather than truthfulness. 

So much of the styling on Bridgerton can be adapted for everyday wear. Some trends which are likely to grow with the release of season two, even if they might already be popular are:

Corsets

Photo credits: Maia Penny

Lacy, patterned or plain, corsets are having a moment. Try finding a basic white or black corset top to fit with any outfit, or commit even harder to the Bridgerton aesthetic by choosing a pastel shade, especially if it has added sparkles or ribbons. 

Sparkly Jewellery 

Photo credits: Maia Penny

Tiaras and shining necklaces galore are featured on the show, pearls are already trending like crazy, everyone either has or has wanted a Vivienne Westwood pearl choker. Something that has a prominent place in multiple promo photos for season two is matching jewellery sets. Maybe the return of Bridgerton will inspire a more put together, regal approach to jewellery after the colourful, mismatched bead craze of the past few years.

Gloves 

Photo credits: Maia Penny

Another accessory worn frequently in Bridgerton is silky opera gloves. These are easy to find online in a plethora of colours, and make a great addition to any night out outfit. You could even add some rings for a 2022 twist on the trend.

Underwear as Outerwear

Photo credits: Maia Penny

Boudoir inspired pieces are all the rage, the pretty florals and pastel colourways of Rihanna’s Savage X Fenty embody the pretty, lacy aesthetic of Bridgerton. There’s also a recent trend for wearing underwear (corsets, bralettes etc.) as outerwear and although, this isn’t directly influenced by the styling of the show, it mirrors the steamy romance present in the storyline. 

Ballet flats

The shoes in Bridgerton are comfortable looking classic flats that haven’t been on trend for a number of years, but the trend predictors of TikTok have been saying that ballet flats are going to make a comeback. They cite Lily Rose Depp’s classic-looking Repetto ballerinas as an inspiration. They’re definitely a contrast to the popular chunky flatforms and boots of the past few years, maybe a resurgence of delicate, comfortable footwear is due?

Red Rocket: Simon Rex shines in redneck Texas sex-fest

Written by Archie Macintosh.

Red Rocket is slang for a dog’s erection. The dog in question is Mikey ‘Saber’ Davies (Simon Rex). The film follows Mikey as he returns to his hometown in Texas after seventeen years working in Los Angeles as an adult film star. Moving in with his estranged wife, former co-star Lexi (Bree Elrod), and her mother Lil, Mikey must navigate his fall from LA grace in the face of some pretty complicated relationships.

Claiming to hate the small town Texan life he left behind, he quickly begins to regress and recreate his teenage years. Within a few weeks he is back dealing weed and sleeping with Lexi, all while secretly dating a seventeen-year-old named Raylee/Strawberry (Suzanna Son). The shots of Mikey cruising around aimlessly on his kid’s yellow bicycle recall coming-of-age films, except actor Simon Rex is forty-seven years old and came of age a generation ago.

Rex, who has done adult film work in the past, puts in a great performance as Mikey. He fills every scene with energy and it’s easy to see why his sloppy charm has an effect on people. But with Mikey everything is a front. For example, a set of injuries at the start of the film are explained away by a string of confectionery lies. He brags about awards won by female sex workers as if they are his own achievements. He can’t get hard without one of his ‘magic pills’. And underneath the easy-going charm Mikey is a predator. He identifies, isolates and takes advantage of people like Raylee and his neighbour Lonnie who are too young or trusting to see through his lies.

The film is set during the 2016 presidential election and the parallels with Trump are unavoidable and hardly subtle. At the core of this film is a man who believes in his ability to transform the world around him, never letting decency or conscience stand in his way. Why should someone with 20.1 million views on Pornhub care about small things like that? It’s a warped, twenty-first century American Dream.

Red Rocket is littered with characters left stranded by the difficulty and hopelessness of their situation. Lonnie’s dad cares about nothing except keeping his garden immaculate after the death of his wife, while Lex and Lil’s garden has been left to overgrow; two opposite responses to loss and lack of opportunity. The oil refineries spew fire into the sky and workers back into the streets after their shift, the latter dead-eyed and wanting to ‘kill themselves’. The film returns again and again to the subject of work: getting it, keeping it and the different kinds of value placed upon it.

As in his previous films, director Sean Baker confronts the stigma placed upon sex work. Mikey’s years as a pornstar stand in the way of him getting other, more conventional jobs (although he doesn’t seem too bothered about that) and Lil worries that Lexi’s work as a prostitute is too dangerous. Baker also puts America’s military honour culture on display in a scene at the mall when Lonnie is confronted having pretending to be a veteran. The scene is reminiscent of what Red Rocket does throughout. It invites audiences to question why characters struggle to feel valuable and the depths they will go to to feel anything.

Even the landscape is bleached a sickly yellow by the sun and marked with the souvenirs of deprivation. Lonnie takes Mikey to fish in a slick of greasy water opposite the Texas Killing Fields, where the bodies of thirty murder victims have been found. Even the home becomes inflected by this sense of tragic waste as an abandoned car slowly decays in Lex and Lil’s garden.

This is a film about characters who have been failed by the state and by the people they trusted. They can be cruel, selfish and unlikeable, but most of all they are vulnerably human.

3.5/5

Serena’s Shambolic night with the Skinner Brothers

Corr where do I even start? Drunken messes, sexist football hooliganism, and beer flying everywhere.

The tone of the night should have been predicted given that both support acts were all-male bands. The crowd as well was very male, but with a wide age range. In terms of women, there were a few, along with a cluster of young teen girls, probably aged around 14/15/16. With drunk older men hovering outside the girls’ toilets, this gig probably failed every single accessibility and inclusivity suggestion you could ask for. The highlight of my night was singing Sweet Caroline in the crowd, during the transition between the Gulps and the Skinner Brothers, and that already says a lot…

The Skinner Brothers have previously supported Kasabian touring in 2021 and have just released the album Soul Boy II. You can read my review on the album here!

The Chase

Photo: Serena Jemmett @ The Mancunion

The first act of the night was The Chase, and they were probably the best band at Deaf that night… They had good energy and good banter, especially given the dissembling and resembling of the drum kit after the first song. Almost proving their backup job could be stand-up comedy, they seamlessly filled the gaps with puns and jokes, really portraying themselves to be nice lads who were enjoying their time on stage. The music itself was high energy with the quirky use of the keys, at the same time as being indie rock on the guitars and drums, it was almost quite chaotically pleasing. I actually don’t mind their music after listening to it on Spotify after the gig, but I think this is because sounded chaotic and almost messy on stage. Many songs sounded fairly similar and blended in with each other. They treated Manchester to a new song called ‘The Rumba’ and are back in May.

The Gulps

Photo: Serena Jemmett @ The Mancunion

The Gulps are a London band with members from across Europe and the Middle East. The lead singer Harry All exuded Freddie Mercury energy throughout. However, near the end of their set, the band became fairly aggressive and almost angry at the audience. The stage arrangement appeared to be very cramped, and the musicians kept bumping into each other. Initially, I assumed this was due to the small size of the Deaf Institute’s stage, but the last time I was in Deaf in December, Delights had five people on stage and it did not seem claustrophobic. The Gulps definitely put on a show; they were enjoying themselves and every moment on stage. After a few failed attempts to engage the audience, the audience eventually became responsive after about 15 minutes and thoroughly enjoyed ‘Stuck in the City’, especially the chorus. Surprisingly, the Gulps only have two Spotify releases, and finished their set with ‘The Kings House’.

The Skinner Brothers

Photo: Serena Jemmett @ The Mancunion

Now we have the headliners of the night – The Skinner Brothers. I was honestly and genuinely excited to see The Skinner Brothers perform live, especially since I rated their most recent album 7.5/10. However, I was extremely disappointed not only with their performance, but also with the energy they gave off and  the general atmosphere. The only way I can describe it is that I felt like I was watching a bunch of sleezy old drunk men at the local pub after a football game.

The performance started with a minute-long siren fused with electronic and techno-like sounds, and then a beat that gave off 2007 Jessie J and girls aloud girl group street dance. Not that I wasn’t one of them back in the day. The crowd were hyped, but I was honestly a bit baffled at what I had just witnessed, the siren just did not do the job at setting the tone for the night.

I’m not sure if they were awfully drunk, and if they were, that doesn’t excuse their poor performance, but frontman Zac Skinner was incredibly jittery and spent more time in the air crowd-surfing than on stage; and more time speaking, slurring, making inappropriate comments, or drinking, rather than actually singing their songs.

Within seconds of their first song, Zac was already in the crowd, or the air.  I’m not sure what to say about the first song because I was so taken aback. The band sounded slightly better during the second song, ‘Culture Non-Stop,’ but another stage dive occurred (it got repetitive and predictable within minutes).

This was followed by a long break between songs and Zac chatting about how “London is s**t compared to this,” “F**k London, f**k them all,” which prompted the crowd to begin chanting Manchester football slogans in a cult-like manner. This comment surprised me because a large part of their aesthetic is about being ‘proper’ London lads, singing about London culture, and so on. I’m beginning to wonder how performative that is…

A popular song was ‘Away Days,’ which has an acoustic version on their latest album. Before the song began, Zac told the audience, “I want to see geezers on shoulders and girls on shoulders”. This was well received, with many fans following suit and being thrust into the air. The band then performed a new song from their album Stupid Much, which the audience knew the lyrics word for word.

There was a lot of drinking during the first half of their set. Pouring beer cans on themselves, each other on stage, and the crowd. Occasionally taking gulps of beer from the can and hurling them into the crowd. Not only did this mean that everyone smelled like beer and that beer was flying everywhere, but it also meant that cans of beer could knock someone out… Bless the Deaf Institute employees who had to clean up after that!

Then the inappropriate sexual remarks started. I’m not sure mentioning that this was a 14+ event is even relevant, because even as a 20-year-old, I found this rhetoric and comments extremely uncomfortable and unenjoyable. The comments, regardless of age, are neither professional nor appropriate. Zac’s remark that Alfie Clayton had just been dumped and wanted to be “groovy” with a Manchester girl and that “he’s on the prowl tonight” certainly left much to be desired.

Zac then proceeded to distribute beers to the audience. Again, not to be a ‘Debbie Downer’, but with a 14+ gig and an 18+ UK drinking age, you fill in the blanks as to whether or not that’s responsible. Later in the gig, Zac stated that they “started with 50 beers and they’re all gone”, which just shows there was not a moment where beer was not in the picture, on stage or flying around.

They eventually played another song, ‘Mountain High,’ emphasis on eventually because there was so much chit-chat in between. But then again, when they performed one of their songs, Zac either didn’t sing half of it, or it wasn’t picked up by the mic because he was jumping around, or he vanished into the crowd. I genuinely wanted to hug the poor crew member, who appeared to be extremely stressed from having to run on stage to find Zac’s mic wire every time Zac launched himself off stage. In reality, the crewman probably spent more time front and centre on stage than Zac.

Following their brief performance, the Skinner Brothers invited their tour photographer to the stage. In my opinion, this was a cute and appreciative moment, plus he was wearing a personalised and pretty cool leather jacket with “Soulboy Tour 2022” written on the back. Throughout the show, I noticed that they sounded very different live than they do on record. I actually found it difficult to recognise some of the songs, and I know the songs because I reviewed their album, which resulted in it becoming my most-listened-to album…

 

Again, there was a four-minute (minimum) break in between songs, however this time they got a fan on stage. Again, I was in shock at what was occurring on a Tuesday evening in Manchester. The (male) fan comes on stage and doesn’t know what to do, so says something along the lines of “Let’s have it Manchester” and then stand by the mic for probably a minute in silence, whilst the band are drinking and have stepped away from their mics. To fill the gap, this Mancunian fan says the line again and then Zac takes his mic back and goes to start singing their next song. This poor fan doesn’t know what to do, so just waddles off stage looking extremely lost.

I note and criticize that there was too much chitter chatter and not enough music, but when they did play their tunes, they just did not sound like the tracks on the record, and they didn’t sound very good. From the slurring words to dropping his guitar, surely the only explanation is that they were unbelievably drunk.

After the song ‘Iconic’, there were more sexual comments. This time with Zac spotlighting the bassist, Perry Meadowcroft. Asking whether the “ladies in the crowd” fancy him, think they are “compatible”, to stating that “he quite wham isn’t he”, and (to Perry) “you might need to get a hotel room”, “you’re pulling tonight”. Again, it was just uncomfortable, unpleasant and unnecessary.

Regardless of this grim build up, Perry did start the song ‘Put Me Down as a Maybe’ extremely well. The build up from the bass made this the best song of their set/night, but again it did sound quite different to how on record. The sound stopped randomly and abruptly about two thirds of the way threw, with Zac stopping to chat again for over a minute and stating they only had two songs left. He lied. They had 1.3 songs left, because they finished ‘Put Me Down as a Maybe’ before the final song.

Zac ended his final chat break with “shoutout to Deaf Institute, shoutout to the supports, and shoutout to you [fans]”. It is always great to see bands and artists properly appreciating their fans. And then, of course and predictably, Zac ended with a final crowd surf/stage dive, but this time he leaped with his guitar whilst still playing.

I feel so mixed about this review, because I hardly feel like this is a music review with the lack of songs played and performed, let alone songs from the recent album. But the overall conclusion is this was not a good night at Deaf Institute, and actually a quite an uncomfortable one.

The Snuts are “hoping to make the most influential album that comes from Abbey Road”

I was lucky enough to speak to Callum from The Snuts about their soon-to-be-released second album. Having just arrived back to Glasgow the day before chatting to me, it seems the record only needs a few finishing touches. Speaking about their latest single, ‘Zuckerpunch’ (read my review here), to the album in general, to the wider political context and finishing talking about in person post-lockdown gigs and accessibility, this quick chat was not quick or brief on the details.

Callum said that they “will be furious if it’s not out by autumn this year” and that they’re “hoping to make the most influential album that comes from Abbey Road”.

Starting off chatting about the origins of the idea behind their latest single ‘Zuckerpunch’, Callum told me that it came about in a very natural way. “We were just talking and just getting to know each other, and this theme constantly came up – that we don’t actually have control of what we are doing, buying, or consuming”. With key emphasis on consumption, Callum went on to state that “the way we consume media” is troubling, especially since social media is such a huge part of society, but that no one has ever “really questioned”, “no one has really stopped and questioned – is this right?”. All of this preliminary conversation was occurring whilst Mark Zuckerberg’s 7-hour testimony was on the television behind them.

“So, we had this in the background, and it inspired it, and it kinda snuck up on us and social media zuckerpunched us from behind, and now were completely addicted to it. It’s completely ingrained in our life, so we thought ‘Zuckerpunch’ – Mark Zuckerberg – he’s the man who’s started it all.”

I went on to share with Callum that I saw a Zuckerberg interview where he explained the reason, he renamed his brand of Facebook to Meta was due to his belief in the metaverse, the idea that everyone is going to be living in a virtual reality very soon. Callum exclaimed “Oh man! That’s so sinister! That’s like a f**king James bond villain or something. Why is nobody questioning this guy?” His reaction was really refreshing that not only was he genuine and authentic, as is their latest music, but that artists are not shying away from conversations that need to be had.

We went on to discuss the name ‘Zuckerpunch’ some more, starting with my joking of Urban Dictionary’s top definition “someone who’s royally d**ked you over for their own personal gain”. Callum chuckled and replied, “We actually didn’t even read any of those but that kinda sums up the entire industry”.

Going on to discuss the ‘attention economy’, Callum clearly had thought a LOT about this entire topic – “the more anyone spends on social media scrolling laterally translates to pound and dollar signs into these guys pockets, and they’ve no interest in stopping”. I almost felt like I was having a better and more informed conversation than I have in my undergraduate module on ‘Trust and Security in the Digital World’. Callum ended this topic of discussion with how studies on this topic get brushed aside and dismissed, “so we just kinda thought as artists that it is our job to kinda look out into the world and question stuff”.

Moving on to discuss the appearance of Boris Johnson in ‘Burn the Empire’, and of course ‘Zuckerpunch’ has obvious links to Mark Zuckerberg, I asked if any of the upcoming tracks are aimed at more corrupt individuals in our society.

Callum replied, “there’s a few characters in the cabinet who kinda feature through the record, but I don’t want to give too much away.”

Pushing on when the album will be released, I got out from Callum that they “will be furious if it’s not out by autumn this year”. He also said that every track in this upcoming album was “wrote and recorded within eight weeks”, and the album will have “11 tracks, possibly 12”; with “probably five” tracks released beforehand.

I went on to ask if there’s an added pressure on this album, seeing as the debut album W.L. made number 1. Callum said, “even if I was to say that I don’t feel that right now I definitely do – I think everybody feels that though”.

Going on to add “there’s always that thing with a band of what’s the second album going to do, is it going to hit the same heights?”

Having expressed these anxieties, Callum is confident in The Snuts abilities, “we’ve kept the music really interesting; it’s not completely far removed but it is quite removed from the last record.”

“Even in subject matter, I feel like we’re saying a lot more in this record, and I feel like we collaborated a lot more with producers as well, and I think we hopefully might even have a feature on the album – so it’s a definitely a kinda new chapter.”

“I feel like with this record we really pushed ourselves creatively.”

Moving on to ask Callum if he felt artists have a responsibility to ‘be political’, his answer surprised me. “To be honest I don’t feel anybody should entirely feel a massive responsibility to that, especially as an artist because you can only comment on the world and how it affects you and how it makes you feel creatively.” To me, this almost seemed like a U-Turn from earlier “it’s our job to look into the world and question stuff”. However, he redeemed himself by expanding “Art’s always here to question the status quo, question if things are right or wrong. So, I think it’s our job to always pose questions… I think if you were to really get into the politics you should become a politician.”

I’m still conflicted about this answer because, in my opinion, every minuscule act a person undertakes is political, whether an artist speaks up and out, or stays silent on a particular matter, it is a political choice to do so, with political implications whether they intend it or not. However, Callum again expanded and said, “Politics effects everybody, and I think if it effects you, and you can say something about it, you should – but I don’t necessarily feel every artist has to feel a massive weight on their shoulders”.

It was clear from his answer that he views an artist’s responsibility as making people question the world, and how they live, or what is considered the norms; rather than direct people towards a particular view or opinion. I would argue there are blurred lines there, but that’s a debate for another day.

Asking whether they’ve received backlash from the past two (politically charged) songs, Callum answered immediately “Yes! Yes, we have… Quite a lot…” However, it seemed as though it wasn’t taken to heart,

“It’s just kinda f**king social media.”

Again, this comment shows how fundamental the conversation on social media is needed, and places further significance on ‘Zuckerpunch’. “As soon as you put yourself in any public space people are always going to find ways to hate you – if it’s not your politics, it’s your haircut; if it’s not your haircut, it’s the music you make. People find it quite easy to hate on you.”

Discussing how the promotion of the new album is going, especially given the past album was solely online due to covid and lockdowns, Callum said that is “definitely night and day, everything feels more authentic! I think because you can actually see the reactions, and judge the reactions to songs, and you can actually speak to people after shows, you can kinda even see crowds sing.”

Specifically considering ‘Burn the Empire’, Callum states they were a bit “cautious” before releasing and playing it, “but within maybe five shows, by the time it got to the chorus, you could hear it was like a war crowd, people would just chant back”. Clearly, the song resonated with fans “and you knew at that point that stuff was connecting”.

“So, I definitely feel it’s a lot more authentic now we can be out there with people, as opposed to hiding behind screens” – another reference to ‘Zuckerpunch’?

My final question specifically related to the album was: “You’ve said in an interview (with Far Out) that the producers you’re working with on this album are from ‘totally different spaces and cultures’. What does this mean for the overall vibe and tone of the album?”

“I just think for us it was a kind of destruction of genre for us. It wasn’t like f**k we’re an indie band, we need to just kinda keep it bread and butter guitars and drumkit, we really explored samples and explored sounds.”

“There’re much more key parts. Jack got a piano, so he’s been laying down stuff. It’s been great, John got sample pads. It just feels like it kinda broke down what it meant to be a band.

“As well, Matt Detonate, he’s from a classic church background and so he can play like the organ and add soulful elements to it. And Coffee is from Miami, so he brings this whole American angle, but he loves London and hates America, so he brings a nice edge to the writing. And melodically I think he can sing in f**king 15 octaves or something – he’s unbelievable. So he’s helped Jack, even just construct songs vocally and melodically.

“And Detonate kinda focuses mainly on musicianship and instrumentation. He kinda just took us back to school and showed us all these new rhythms – Caribbean rhythms, Jamaican rhythms, just stuff that we had never explored ourselves. You know, just four working class guys from Scotland who have never even been, so even being in rooms with these people is inspiring.

“And the conversation – everything was a conversation; every song was a conversation. Just getting to know each other, getting to know about each other’s backgrounds – stuff we’d never even experienced before was kinda special.”

Callum’s authenticity was shining through here. It was clear he’s so appreciative of the producers and the experience, and excited would be an understatement for how he feels about the record.

“We’re hoping to make the most influential album that comes from Abbey Road, and you can quote me on that!”

With reference to my recent article on the importance for artists to consider accessibility and inclusivity of their fans, I wanted to question Callum on the accessibility of their upcoming gigs.

“100% it’s an artist’s responsibility to look after your fans’ safety and wellbeing, as well as the venues.” Mentioning that he’s witnessed incidents in the past, he went on to say “so we try to always make sure there’s a safe space for people, and a way to report it around the gigs, because it’s just in this day and age, its f**king disgusting that it’s still happening. It’s f**ked but we tried to look at that and make it as easy as possible for anyone who had anything like that happening to have a safe space, and someone to report it to.” I think this really shows that it is not difficult for artists to put measures in place, and it just shows they care about their fans. Arguably, the bare minimum, but then again, only a small number of artists do this.

Ending with a “I hope to see you in Manchester” and the promise of “well, I can guarantee you’re going to be blown away. We’ve put a lot of production into the show, so I think it will be one to remember!”, I can certainly say I’m excited for the upcoming shows and will be impatiently waiting for the release of more tracks and the album itself.

Find them on instagram here.

The Snuts are playing Manchester academy on Wednesday 27th April 2022 with support from The Royston Club and Lauran Hibberd, you can purchase tickets here!

Rice Orange Tree

HOME is serving Rice

After winning numerous awards, including the Australian Writers’ Guild Award for Best Original Stage Play, Rice comes to Manchester. Directed by Artistic Director Matthew Xia and written by Hmong-Australian writer Michele Lee, it’s a powerful and fast-paced play full of humorous observations on gender, globalisation, family, and friendship.

The story follows Nisha (Anya Jaya-Murphy), an ambitious executive working for Australia’s leading rice producer. Her goal is to become the first female Indian CEO in the country. She’s close to finalising a deal with the Indian government, which would see her company take over India’s national rice distribution system.

Working late at night in the office, she meets Yvette (Angela Yeoh), an older Chinese woman with entrepreneurial ambitions of her own. Yvette works as a cleaner and is preoccupied with worrying about her daughter who faces court after protesting against the unethical practices of supermarkets.

Nisha and Yvette form an unlikely yet powerful bond as they navigate through their lives and through complexities of the world.

Playwright Michele Lee says: “I’ve always wanted to centre a story around two strong female actors of colour and that was my starting point. In this play their characters traverse a range of identities and jump between and transform across many different roles. I feel exhilarated that this drama is being staged on opposite sides of the world and hope its universal themes around gender, ambition and friendship will resonate with audiences in the UK.”

Rice plays at HOME for 2 nights only, on the 29th and 30th March, before visiting Newcastle and York in April, the last two stops of its UK tour.

Review: Animal Farm

Animal Farm is a critically acclaimed novel by George Orwell that was met with controversy upon its release in 1945, as Britain was in an alliance with Russia against Nazi Germany and the novel is extremely critical of Stalinism. However, as the Cold War began, the novel grew in popularity.

As the novel is quite intense, I was extremely curious about how this would be brought to life on stage at The Lowry, and I wasn’t disappointed.

For context, Animal Farm is an allegory for Stalinism and the demise of the Russian revolution, which gave way for little meaningful change for the average person in Russia. Despite their hope, many were starved and worked to death at the hands of the state.

Animal Farm broadly spans across the start of the 1917 Bolshevik Revolution to the paranoia of Stalin’s reign. Now, imagine that dark part of history as a satirical tale of animals taking over a farm after the brutality of a farmer, and that’s Animal Farm in a nutshell. It’s dark, it’s compelling, and it’s definitely worth a read.

First of all, the puppetry. Oh wow, the puppetry. Each character was magical – the designs of the puppets were impressive, as were the puppeteers behind the animals. The mannerisms were impeccable for each type of animal, with impressive dog-like statures, flustered feathered chickens and slow majestic horses. I loved that each chicken was on a singular wheel as it made them quick to move, and strangely enough, I loved the goose puppet the most because it had such a dangly neck and long, frantic wings.

At the beginning, I heard some audience members laugh at the puppets, but towards the end of the show, I heard gasps and even tears as things started to go south for the animal’s revolution. That’s how powerful the performances were. Every character, apart from the farmer, is an animal, and despite this, the animals felt more human than the farmer ever could be. You learn about their lives and troubles, their fears and hopes, and it’s a harrowing watch to see their dreams fail.

Alongside the impressive puppetry, the sets were also impressive. Not the actual sets as such as it was largely fixed on different areas on the farm, but the amount of quick set changes were genuinely awe-worthy. By using a few simple panel changes, the mood entirely shifted, and we knew that time had passed or they were in a different space.

Above the stage, there was a screen, and when the stage faded to black, the screen lit up with the season or a specific date to showcase the passing of time, and this was an effective way of keeping the pace and unearthing the slow decline of faith in the corrupt leadership. I found this very simple but effective, and it enabled many set changes to occur. I also thoroughly enjoyed when the sets needed to go beyond the farm, as the team cleverly used tiny models of the animals and buildings alongside a dark background to portray the distance from the farm. This distance was also heightened by fast-paced anxious music, which was compelling throughout the entire play; the string instruments clearly conveyed the stakes set for the animals.

All in all, Animal Farm can be a tricky but worthwhile watch. Whilst the story is heavy, you are left in awe at how Orwell captured this moment in history, stunned by the performances of each character, through both the powerful voice acting and coordination of the puppeteers. I’ve never hated a puppet pig as much, nor mourned a puppet horse as intensely, but Napoleon and Boxer were fantastic characters that perfectly captured Stalin’s power-hungry yet paranoid reign over Russia and the Russian people’s dream of peace, bread and land.

Whilst it won’t be the most cheerful show you’ve ever seen – especially given the current conflict – if you get chance, do go to see a performance of Animal Farm so that we never forget the atrocity that occurred, and will keep occurring under dictatorships across the world.

Live Review: Imarhan at YES

Anyone familiar with the hypnotic, bluesy jams of Tinariwen or Bombino will know that ‘desert blues’ has enjoyed increasing international popularity over the last couple of decades. IMARHAN, however, are redrawing the lines completely. While staying true to traditional arrangements and rhythms, they have fashioned a new iteration of Tuareg music by injecting some seriously funky chops and a good dose of psychedelia into their new album Aboogi.

Hailing from Tamanrasset, an oasis city in Algeria, I was curious to see how Imarhan’s songs would translate in the basement of YES, Manchester. Their writing is heavily influenced by the natural elements, culture and colours of their home. Their new album is the first to have been recorded in the studio they built themselves back in Algeria. Its construction means they no longer have to travel to Europe to record. Presumably it also means they have more creative space and control to produce the music they want to. As such, it’s a very special place for the band and the name of the new album pays it homage.

On the day of the gig, the band had posted on Instagram a photo of themselves exploring the city in which they were wearing jeans, hoodies and leather jackets. It was therefore a pleasant surprise on the night to see that the percussionist and bass player had opted to wear traditional allichu veils that covered most of their faces. It was a striking reminder that despite the powerful international influences of funk, blues, and rock in their music, they are inextricably tethered to their Tuareg roots.

 

Photo: Ellie Hughes @ The Mancunion

The first few songs of the set were tranquil with a soothing lilt. Each was punctuated by sparse and beautiful phrasing from acoustic and clean electric guitar. I became increasingly aware of the rich layers of vocals echoing those of Sadam, the bandleader. It sounded as though there were far more than just three vocalists in the band. Just as I began to get lost in the hypnotic, rolling rhythm, the break in their fourth song of the set – ‘Achinkad’ – came crashing down as Sadam stepped on his distortion pedal with a grin on his face and turned the energy up a few notches.

It was clear that Sadam and the band genuinely enjoyed interacting with the audience in the intimate venue. Frequently we were welcomed into their call and response vocal motifs. They also delighted in each other’s reciprocal harmonies and artfully weaved these into the evocative soundscape. It was utterly captivating.

The driving yet unpredictable rhythm of the drums and bass kept us hooked, wondering where it would take us next. The percussionist animatedly leapt between a djembe and a calabash (made from a vine-grown gourd or vegetable which is left to mature and used as a container or drum) demonstrating their huge range of percussive sounds. Imarhan are masterful musicians and it was a joy to see such dexterous and tasteful guitar playing. Looking around, it was clear that everyone in the room was well and truly under their spell.

Even for those unable to understand the lyrics, it would be hard not to sense the melancholy of some songs. While many of them exuded a feeling of celebratory pride, some of the sparser songs such as ‘Tindjatan’ had darker undertones. This was a reflection of the intention of the new album to portray themes of oppression, lost youth, and the day-to-day struggles of semi-nomadic Tuareg people of the Sahara. The undulating mood and pace throughout the set was just one more reason this will remain such a memorable show.

Album Review: Crash – Charli XCX

Crash marks Charli XCX ’s fifth studio album, and the last on her current record contract with Atlantic Records which she has had since age 16. Delayed since 2019, the self-described “poptastic” album is a controversial move away from the alternative sound of her 2020 album How I’m Feeling Now.

The move away from hyperpop has disappointed lots of fans, and in part, rightly so. Charli XCX was one of the first people in the genre, and certainly one of the most successful. Seeing her stop making hyperpop in favour of more commercial pop is disheartening, however she has never shied away from the fact that it was always meant to be a commercial pop album. Judging it on that basis, it is clear that she is still standing well clear of most pop artists, pushing boundaries within the genre.

This album symbolises the end of a record deal and an era for her, and was advertised with dark images such as one of her own gravestone, captioned with “tips for new artists” reading “it only gets worse” and “suffer in silence”. She has used ‘Crash’ and its promotion to make a point about how big labels treat artists, especially young female ones. Some of the lyrics also make a nod to this such as “Tell me what you want, Imma give it to you” in ‘Lightning’, referencing the control that record labels often have over artists content.

The singles disappointed a lot of ‘hyperpop Charli’ fans as they all cater to the charts. Her most successful song in the charts ‘Beg for You’ featuring Rina Sawayama heavily samples the 2006 euro-dance hit ‘Cry for You’ by September. It’s filled with nostalgia and the perfect vibe for a club. ‘Baby’, while still a fun dance track, is one of the weaker songs from the album. It is catchy and lively, but just doesn’t have the creativity that her older pop songs like ‘Boom Clap’ have.

However, the singles definitely don’t represent the best that the album has to offer. The opening track ‘Crash’ is a perfect start to the album, and really sets the tone of the project. Charli XCX interpolates and references a number of old songs such as ‘Vroom Vroom’, the song feeling like a representation of her time on her current label.

Futuristic and infectious, ‘Constant Repeat’ is a highlight of the album. It’s glitchy in a dream-like way, with pitch-shifted vocals adding to the trance-y atmosphere. ‘Move Me’ is the perfect example of a pop-ballad. It is slower and more vulnerable than most of her songs, but still interesting to listen to thanks to the brooding synths which build up, and then dissipate during the chorus. The album peaks with ‘Lightning’ which is a masterclass in producing a vintage pop inspired song in 2022. Charli blends classic synthpop with her hyperpop influences, producing a unique sound which should satisfy fans of both her hyperpop and commercial pop songs. On the other hand, ‘Yuck’ sounds like something that Doja Cat could have written. Fun lyrics about getting “the ick” featuring over a cool, slightly groovy beat.

Despite the rollout and singles not setting expectations of the album too high, overall Crash sets an example of mainstream pop which is still creative and pushes boundaries, and Charli XCX has proven once again that she is the queen of pop.

7/10.