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Month: May 2022

Celebrations fit for a Queen: What to do this Jubilee weekend

 Our Lizzie is the first monarch to celebrate 70 years on the throne. Kindly enough, she’s given us chance to celebrate with a four-day bank holiday weekend – the perfect opportunity to unwind from exams! Rather than succumbing to another night in Squirrels, there’s a range of student-orientated events happening in Manchester to look forward to!

Starting on Thursday 2nd June, why not spend the last of your student loan at the Craft and Flea market in Manchester cathedral? Over 50 stalls from local and independent shops will be showcasing their creations from 10am – 4pm. It’s an easy way to support Manc businesses and get out the house. Plus, you pick up some new pieces to showcase in your new house next year!

If you’re looking for something more energetic on the Thursday, the Drag Queen Music Bingo at Pong and Puck bar might be for you. The bingo will test three decades of your music knowledge, accompanied by complimentary cocktail on arrival. The bar also serves throwback vibes with their retro cocktails and old school games. A night suited to all the queens in town. 

Similarly, Sackville Gardens is coming alive with their ‘Fit For a Queen Weekend’. Music from some of the biggest musicians of the 1990s and 2000s will be played, with a proportion of ticket sales being donated to the regeneration of the Gardens. Also, the event finishes at 10pm; perfect for STEM students who have a full day of revision awaiting them! But, Gay Village is just round the corner, where a good night’s guaranteed… 

Throughout the weekend, Piccadilly Gardens is celebrating the jubilee in style. Piccadilly Gardens is taking a more lowkey approach, with live music, dance performances, and food stalls. If you’re heading into city centre over the weekend to let loose, enjoy street food from a variety of cuisines and alcohol made by local manufacturers. If you’re in an exam mindset, why not grab some chow mein noodles or a burrito before heading to the Main Library? 

Finally, the big one: Ducie Street Warehouse. With four days dedicated to drinking to the Queen, there’s no place with a similar atmosphere to Ducie. There will be a pop-up BBQ and a disco brunch. Expect all-day DJ sets and a recharge brunch for those of us who went a little too hard. Hey, it’s called being patriotic.  

So, get ready to crack open and call an Uber. There’s a whole host of ways to join in the Platinum Jubilee celebrations in Manchester. Oh, did we mention that Love Island starts on Monday 6th June? Get me another bottle. 

Words by Lexie Baynes

Review: Drag Fest

Drag Fest 2022 took place on the last weekend of May, with a performance at Bowlers Exhibition Centre in Manchester on the Saturday, and another at Studio 338 in London on the Sunday. The line-up was the same, save for the headliners: the first night was headlined by Brazilian drag queen Pabllo Vittar, whilst the latter was headlined by England’s own Raye – the only non-drag artist on the bill.

We only attended the Manchester day, and we only saw the acts on the main stage (I held on to the railing for day life – I was going to be right at the front for Pabllo, come what may), so I cannot speak on the smaller stage, the London event, or Raye.

The line-up was nice and varied, with very different Queens from a few different countries – mostly singers, but a few lip syncers. Some of them actually lip synced to their own songs – perhaps that is a convention of Drag Race drag, but I’m not sure. Now’s the time I reveal I’ve never seen RuPaul’s Drag Race. I love drag, I just don’t watch reality TV – even though my main job is working BTS in reality TV… I’m one of a kind, okay?

Doors opened at 3PM, and Gothy Kendoll (the first act to be eliminated in series 1 of RuPaul’s Drag Race UK) took to the stage at 3:30. She did a DJ set. One imagines she sang or played ‘Switch’, but we were hovering about in the foyer and trying to find WiFi so I could communicate with Grag Queen’s producer, so we only caught the end of her set. She looked sickening.

The sickeningly sexy DJ Andy Rew – the owner of Klub Kids and Drag Fest, and a booking agent for RuPaul’s Drag Race UK – delivered the opening message.

Then, Victoria Scone took to the stage. It was great to see Scone included, for she is the first cisgender female contestant on any series of the Drag Race franchise. Whilst she placed in the top 2 in the first episode, she was forced to withdraw from the show on the third episode, after partially tearing her anterior cruciate ligament during her top 2 lip sync for the win with eventual winner Krystal Versace. This meant she finished in 10th place.

Scone poked fun at this during her set, singing Bonnie Tyler’s ‘Holding Out for a Hero’ as video footage of herself from the challenge played on the screen behind her – “Don’t do it,” she told herself. I love self-deprecating humour.

Scone hosted the next part of the set: Pick ‘N’ Mix – which is made up of fellow series 3 queens, Ella Vaday (joint runner-up with Kitty Scott-Klaus), Vanity Milan (4th place), and Choriza May and River Medway (joint 6th place). They each had a solo performance before lip syncing to their fab song ‘B.D.E. (Big Drag Energy)’.

I particularly enjoyed Vaday’s tribute to Shakira (my fave singer) and May’s lip sync to her underrated bop ‘My Pussy Is Like a Peach’ – which really got the crowd going.

Next up was the legendary Jujubee, who was 3rd place on season 2 of Drag Race (US) and season 1 of Drag Race All Stars – and joint runner-up (with Miz Cracker) on its third season – before once again coming 3rd place on Drag Race: UK vs. the World – joint with Baga Chipz! She has the unique distinction of being the only contestant to reach the finale of the competition four times. She sang a couple of songs.

She was followed by Crystal Methyd – joint runner-up (with Gigi Goode) on Drag Race (US) season 12 –  who offered some hilarious lip syncing to Dinvyl’s ‘I Touch Myself’. Methyd then hosted the “UK Talent” part of the show, which featured Wolfy, Anna Phylactic, Saki Yew, Plastiq, Sminty, Deziah, Chyio, and Alexis St Pete. Chyio (a gorgeous trans man) ended his performance by speaking up about the sidelining of drag kings – and even called out RuPaul and Drag Race.

Detox – 4th place on Drag Race season 5 and joint runner-up (with Katya) on All Stars 2 – was a sultry superstar on the Drag Fest stage – and off of it: she strutted her stuff through the audience towards the end of her set, much to the concern of the security. She then hosted “Queens of the North”, which featured Canada’s Drag Race season 1 winner Icesis Couture and season 2’s joint runner-up (with Pythia) Kendall Gender.

Next up was Loris, who was 5th/6th place (with Xochi Mochi) on The Boulet Brothers’ Dragula season 1 and 4-7th place on The Boulet Brothers’ Dragula Resurrection. It was great to see the inclusion of some horror drag.

She was followed by Queen of the Universe season 1 runner-up Ada Vox. Vox blew me away with her killer chops. Her voice is something else. She gave Etta James a run for her money with her sickening cover of ‘At Last’. She has to be one of the best performers of the night.

Miz Cracker – who was 5th place on Drag Race season 10 and joint runner-up on All Stars 5 (as aforementioned, with Jujubee) – hosted the “UK vs the World Talent Show”.

First up was fan favourite Jimbo – 4th place on Canada’s Drag Race and 7th place on UK vs the World – who delivered a terrifying performance of Björk’s ‘It’s Oh So Quiet’ (lip syncing). I loved the video footage on the screen behind her, especially the creepy “shh”s. Towards the end of the song, she unzipped her bump and pulled out some kind of cured meat, which she began throwing at the audience. It was not to my taste (pardon the pun), but other audience members seemed to love it.

For those who like that sort of thing, that is the sort of thing they like…

She was followed by her UK vs the World co-star Janey Jacké (5th place) – runner-up on Drag Race Holland – who delivered a ferocious tribute to the most famous “é”: Beyoncé. This rivalled Ella’s tribute to Shakira, earlier on in the show.

The final UK vs the World queen was the delicious Lemon (9th/last place) – 5th place on season 1 of Canada’s Drag Race – who received a roaring response from the audience. She said she knew we wanted her to sing ‘Come Through’, but she would be making a special appearance during Priyanka’s set to perform that absolute bop (Priyanka featuring Lemon).

Miz Cracker, too, performed during the set and event reenacted Tyra Banks’ epic rant on America’s Next Top Model, after mixing her shrieking “stop it” with Diana Ross and the Supremes’ ‘Stop! (In the Name of Love)’.

The final host was Mutha Tucka – “the North East’s original bearded lady”. First up was Grag Queen – the Brazilian beauty who won Queen of the Universe. She was at Drag Fest as part of her What’s Up Lindas Tour. Her sexy set included her hit song ‘Party Everyday’.

Next up was Manchester’s own Divina De Campo – Drag Race UK season 1 runner-up – who I’ve seen several times before (Dancing Bear, All Together Now, and, most recently, Hedwig and the Angry Inch). She was a late addition to the festival – she replaced Sonique. De Campo was as fabulous as ever, ending her set with a cover of RuPaul’s ‘Sissy That Walk’.

She was followed by the wonderful Willam, who was memorably disqualified in season 4 of Drag Race, putting her in between 6th and 7th place (6.5 ain’t bad, baby). Georgina and I previously saw Willam the hilarious Death Drop.

Willam donned a very realistic vagina, complete with a flashing clitoris. It was brilliantly vulgar. She ended her set with a live performance of her iconic song ‘Boy is a Bottom’, a parody of Alicia Keys’ ‘Girl on Fire’, which features Detox and Vicky Vox (Willam’s drag daughter). Detox joined Willam for the performance, to delight from fans.

The penultimate act was the one everyone was waiting for: Priyanka – the winner of Canada’s Drag Race season 1. She looked and sounded incredible. She, of course, ended her set with ‘Come Through’ – where she was joined by Lemon. It was pure brilliance. The crowd went wild.

This was followed by Mutha Tucka and Priyanka’s Canda’s Drag Race co-stars Lemon and Jimbo leading a happy birthday song to Priyanka. The crowd went wilder.

Then, the strangest thing happened: everybody left. I’m not kidding – after the queens left the stage, and it was announced that headliner Pabllo Vittar would be on in ten minutes, almost everybody left. They were not bothered about seeing Vittar – the only drag queen ever to perform at Coachella. The biggest drag queen in the world – with 3 x as many followers as RuPaul – and they don’t even know it.

Fricken gringos.

This speaks to the dismissal of Latin artists and music in the UK. Even mainstream Latin artists, such as Shakira, Enrique Iglesias and Ricky Martin, are nowhere near as big here as they are pretty much everywhere else. Don’t get me wrong, everybody knows Shakira is an icon, and Enrique Iglesias still sells out arena (£140 a ticket last time – I paid it!), but many don’t see them as “relevant” anymore – even though all three of them have had some of their biggest (Spanish-language) hits in recent years.

It was disappointing to see so many people leave, but there was a positive: I had nobody fighting for my place on the railing, and I could dance freely, without bumping into anybody!

Pabllo was astonishing. Her vocals are vivacious, her dancing is dazzling, and her energy is epic. She looked unbothered by the small number of people in the crowd; she still gave it her all. After all, she still got paid, probably quite a good sum, so I guess she cried all the way to the bank! Whilst the crowd was small, we were devoted to the star, and she gave it right back.

She performed a full set – the festival basically turned into a Pabllo Vittar concert. After all, she is here as part of her I Am Pabllo World Tour.

Vittar brought out fellow beautiful Brazilian bomshell Grag Queen for a performance of her first ever single, ‘Open Bar (Lean On)’ – a Brazilian cover of Major Lazer and DJ Snake’s ‘Lean On’ (feauring MØ). It was wonderful to see two Brazilian queens not only perform together but show each other so much love and support. There was clearly no rivalry. Grag Queen probably looks up to Vittar, and Vittar is probably delighted to see a fellow Brazilian queen killing it.

As aforementioned, I’ve never seen Drag Race. Don’t get me wrong, I’m very familiar with many of the queens, and I absolutely adore drag as an art form – I just don’t watch reality TV! Indeed, I went specifically to see Pabllo Vittar – after all, Latin music is my favourite – and she did not disappoint.

The second best part of the festival had to be seeing Priyanka and Lemon perform ‘Come Through’ – one of my all-time favourite drag songs, up there with Rhea Litre’s under-appreciated cover of Teena Marie’s ‘Lovergirl’. Go give it a listen!

Drag Fest returns to Manchester and London next year.

Bonobo lights up Victoria Warehouse, with a little help from his friends

Si Green, more commonly known as his DJ alias Bonobo, is a master at his work. His genre-bending career cements him as a pioneer of electronica and puts him up there with the greats. He returns to Manchester, flanked by a full live band and a small orchestra, in support of his UK top 5 album Fragments, prior to four consecutive shows at London’s Royal Albert Hall. Not bad.

Fragments, like much of the art produced over the last couple of years, was born out of lockdown musings. Green, after extensive touring of his previous record Migration, returned back to his current residence in Los Angeles to be hit with devastating forest fires and then coronavirus. The way Green countered this was to spend time with nature, something which he continued from his touring habits.

This is all crucial information when understanding Bonobo’s current iteration; something far advanced from the early days in Brighton’s basements. There were no less than 7 individuals on stage at one time, as well as Bonobo himself. Every member in the live setting contributed to a serene and frail sound while staying ostensibly as an electronic act. It is something akin, in a separate genre, to Bon Iver’s direction on their third album 22, A Million, where Vernon transcended genre and created a fragile yet computer-generated folk sound.

Support came from Montreal DJ Jacques Greene. Greene performed a 30-minute set to a decent crowd. His support slot comes off the back of the release of EP Fantasy, another record inspired deeply by nature, as well as the feeling of loneliness and anxiety permeating alone time. Greene, with a low-key setup, got the expectant crowd up for the main event with ease. His set showed his full range, with a matching impressive light show. He received a good response and it became clear why he had been selected to appear at this high-profile gig.

Now packed out, we waited patiently for the main event. A wide range of instruments revealed themselves on stage, making it ostensibly clear that this was a gig to be remembered. On cue, Si Green walked onto the stage with an acknowledging wave and began constructing 2021 single ‘Rosewood’, along with members of the live band. A rich, dynamic plethora of sound emerged, which the crowd harnessed immediately and got swept along with.

Vocals were sporadically provided by Nicole Miglis, of the band Hundred Waters, providing vocals on her own collaboration ‘Surface’, then covering songs such as ‘Shadows’ (in place of Jordan Rakei) and ‘From You’ (in place of Joji). Having live vocals provided important texture in the set. The main criticism you could level at Bonobo is that the set could get repetitive given his music is thematically situated. However, the variations with the orchestral backup on some songs and live vocals on others clarified a stunning live show and made you excited for each configuration.

Photo: Harry Boulton @ The Mancunion

As the set progressed, it became clear that the audience was witnessing a career’s progress unfold before them. Bonobo is approaching veteran status in electronica, and his current live show acts almost as a verification. Mixing songs with effortlessness and being surrounded by incredibly talented musicians must be for Green an adequate reward for all his hard work.

Towards the latter half of the set, a man in front of me started FaceTiming his friend to show him the concert, which was in equal measures confusing and compelling. Yet they both seemed to enjoy it, so power to them.

The last song of the main set was the driven and punchy ‘Otomo’, which caused Victoria Warehouse to revert back to its Warehouse Project days some nine years ago. The crowd’s feedback to this rise in energy was explosive; partly as this was Manchester on a Friday night, but also because the track is a banger. The song played out with one extra drop, and led to a half-hearted vacation of the stage, as we all knew there was to be an encore.

Green thanked the crowd and said how good it was to return to Manchester, which he will do again when headlining the opening night of The Warehouse Project with Caribou. Miglis contributed vocals to ‘Break Apart’ and ‘Stay The Same’, and bid her farewell. After a jazz interlude, which slowly built in intensity, the strains of ‘Kerala’ emerged. The catchy sample reverberated around the room with the audience becoming one with the track, jumping up and down as a collective. I felt a sense of euphoria being able to experience this in a collective space. 

When Bonobo finally wound things down, the reception was warm. It was a set of masterful control and seeing a professional (and indeed professionals) carry out their work incredibly. But most of all, Green looked like he was having fun showcasing his talent, and that translated to the 3,500 strong crowd. A joyful and spectacular show from an individual at the top of their game. 

Information is taken from Fragments press release and Jacques Greene’s Bandcamp.

Bonobo will return to Manchester at The Warehouse Project’s opening night, with Caribou and SNO. Tickets available from WHP22 website.

Kendrick Lamar : Mr Morale & The Big Steppers – Track by track

Kendrick Lamar has released Mr Morale & The Big Steppers and as its first track notes, it’s been 1855 days since DAMN. In those five years, Kendrick and his partner Whitney have started a family, he performed at the Super Bowl half-time show, and notably became the first ever rapper and pop-star to win the Pulitzer Prize.

As teased by Kendrick on his website, Mr Morale & The Big Steppers is a two disc album, breaking in two between ‘Purple Hearts’ and ‘Count Me Out.’ Less than a week before the new LP, Lamar released ‘The Heart Part 5’ as part of his long running ‘The Heart’ series. ‘Part 5’ dropped alongside a sublime music video directed by Kendrick Lamar and Dave Free‘s company pgLang, in which Lamar’s face changes into famous deep-fakes such as Will Smith, Kobe Bryant and Kanye West.

This newest release is a complex and emotional listen. Mr Morale & The Big Steppers is personal, painful and transparent and will have relevance and relatability to you, I guarantee it. As stated in the album’s third track, Lamar was faced with a two year writer’s block which he has clearly annihilated with an hour and thirteen minutes of musical catharsis.

My thoughts on this rollercoaster:

DISC 1

‘United in Grief’

The opening vocals seems akin to a traditional Kyrie or psalm melodically. We hear a high pitch a cappella introduction which is stunted and interrupted by Duval Timothy’s short piano chords and Kendrick’s spoken voice saying “I’ve been going through something…be afraid.” Duval’s minimalist piano plays a huge role throughout this album and ‘United in Grief’ sets the musical tone for the following 17 tracks. As does yet another interruption, this time by fast moving chaotic drums flowing beneath the vocals. “I grieve different” Lamar explains, whilst touching on moments of his own life that have led to grief concluding, “Everybody grieves different.”

‘N95’

Here, the backing is reminiscent of his collaboration with his cousin, Baby Keem in ‘Family Ties.’ This is one instance where we hear Kendrick Lamar displaying some clear Baby Keem-esque vocal inflections. The beat and chorus are undeniably satisfying. Kendrick switches verse tempo effortlessly and you have no idea what to expect next. This feeling of disorientation remains for the rest of the album. “What the fuck is cancel culture?” Lamar exclaims. Check out Kendrick and Free’s video for ‘N95’:

‘Worldwide Steppers’

‘Worldwide Steppers’ opens with the clear sound of tap-dancing, something that remains a constant motif throughout the album. The atmosphere is dark and intimidating. The beat paces beneath like a sprinter’s heartbeat until we reach yet another sudden tone switch into a ten second taste of 70s soul, then back into the relentless drum sample of Nigerian band, The Funkees. Lyrics fly by as Kendrick Lamar spills out messy glimpses of his past. Piano chords build and the relentless beat finally ceases.

‘Die Hard’

A much more relaxed tone, ‘Die Hard’ exhibits generally simpler lyrics and a more chilled atmosphere. This track features Blxt and Amanda Reuter and is a welcome RnB style break following the album’s encapsulating and intense opening tracks.

‘Father Time’ (Feat. Sampha) 

A combination of lush and quasi-staccato strings introduce this track, alongside a voice saying “You really need some therapy.” Timothy’s piano smooths the transition from strings to yet another bout of tap-dancing which is swiftly interrupted by a reversed sample of Hoskins Ncrowd’s ‘You’re Not There.’ This track is an exemplification of fine production on the part of Beach Noise, Bekon, Dahi, Duval Timothy, Sounwave and Victor Ekpo. Kendrick depicts the world he grew up in, tackling his relationship with his father alongside ideas of being a man and being sensitive. Vulnerability is at the core of this song. The beat and gorgeous piano harmony result in a beautiful song that you don’t want to end. A particular gem in the entire record.

‘Rich – Interlude’

The whole track is underpinned by a locomotive-like fast moving triadic piano. With no percussion, backing vocals enter to fill the harmony as the track reaches its climax; the combination feels rewarding. Running at 1:43 the interlude is over, reaching a calm destination.

‘Rich Spirit’

An unbelievably smooth track. Immediately the slightly stirring backing is reminiscent of Mac Miller’s ‘Self Care’, unsurprisingly the tracks share the same producer, Dahi. ‘Rich Spirit’ is filled with arrogance, accentuated by the suave nature of the beat and finger clicks.

‘We Cry Together’

I haven’t ever heard a song like this before. Kendrick combines with American actress Taylour Paige for this track and she goes all out in her characterisation. Beginning with the statement, “This is what the world sounds like”, Lamar and Paige engage in the worst, most unnerving and abhorrent argument one could experience with a partner. This is juxtaposed with a calm arpeggiated piano and steady slow beat. With every listen I pick up a new slur or shutdown, it’s entertaining and almost farcical in nature. Though, it ends once again with the sound of tap dancing and an explanation of the metaphor, “Stop tap-dancing around the conversation.”

‘Purple Hearts’

Featuring Summer Walker and Ghostface Killah, ‘Purple Hearts’ acts as another pleasant contrast to the intensity that has come before. Summer Walker’s feature is a particular highlight and brings some RnB sheen to the track. Ghostface Killah’s vocal style adds a fantastic old school hip-hop nuance to finish Disc 1.

DISC 2

‘Count Me Out’

Disc 2 begins by recapitulating the high pitch vocal style in the first track ‘United in Grief.’ The track is complemented by a great descending female backing vocal but there’s yet another atmospheric switch with a huge bass entry. Kendrick discusses the act of proving a particular individual wrong all the while passing through different phases of his life and tackling pride and ego. “This is me and I’m blessed” he explains, before being interrupted by the now familiar tap-dancing.

‘Crown’

This track builds masterfully and effortlessly. It presents Duval Timothy‘s minimalist piano in all its glory, helped by there being no percussion. “I can’t please everybody” and “Heavy is the head that wears the crown” are the resounding messages. The immediate nakedness of this track helps you realise just how incredibly diverse this album has been in its choice of sound. Lamar’s backing vocals here highlight his skilful vocal and tonal range.

‘Silent Hill’

The groove on this track is undeniably cool. However, the hook seems becomes slightly mundane and Kodak Black’s feature is not particularly impressive. The track doesn’t contain a great level of development, not enough occurs sonically to make ‘Silent Hill’ stand out or act as a meaningful addition to the album.

‘Savior – Interlude’

This interlude opens with the voice of German Self-help author, Eckhart Tolle. Strings play dramatically alongside Baby Keem’s vocals tackling the way past traumatic experiences inform your being for the rest of your life. Heavy themes crammed into an interlude. Baby Keem, like Kendrick, makes references to asking God for creative help, acting as a messenger.

‘Savior’

The album seems to have moments of arrogance, yet Kendrick states at the beginning that you shouldn’t see him as “your saviour.” Perhaps alluding to the previous track’s mention of him and his cousin acting as messengers or “prophets” as opposed to God. Lamar criticises those who view his suffering as an opportunity for performative protest. He explains “One protest for you, three-sixty-five for me.” The production is skilful – reversed drum sounds work incredibly to make up the beat and the incorporation of Sam Dew’s airy vocals result in a lush and interesting soundscape.

‘Auntie Diaries’

This is a huge track for hip-hop. ‘Auntie Diaries’ is a deeply heartfelt message of empathy and alliance with the trans community. Lamar discusses his past homophobia and the understanding of his previous and dangerous prejudice, all the while calling out the contradictions of the church and the homophobia of fellow rappers. The track builds orchestrally like a film score until the very last line that acts as a sudden instance of anagnorisis.

‘Mr. Morale’

Lamar’s vocals are fast and frantic, matching the dark atmosphere coming from an arpeggiated synth dancing over a massive sub bass. Once again themes of generational trauma arise as Lamar mentions Oprah Winfrey as well as R Kelly. Another snippet from Eckhart Tolle’s speech, this time focusing on identity and unhappiness, closes the track.

‘Mother I Sober’ (feat. Beth Gibbons of Portishead)

We hear the piano taking a larger role again, punctuated by the deep kick of a bass drum. This track is by far the most heart-breaking and emotionally transparent moment on the album. He unflinchingly discusses the sexual assault experienced by his mother and tells an anecdote of his younger self being questioned by his family as to whether his cousin had abused him. He explains how nobody believed his denial of the allegations against his cousin leading him to feel inadequate and “chasing manhood” as the trauma resurfaces. Beth Gibbons’ supporting vocals and chorus provide a suitable atmosphere of delicacy and vulnerability, almost Kate Bush-like in nature.

‘Mirror’

This is a great album closer. We end with a bit of self-affirming positivity and moments that seem like a film score yet again. The perfect closer to an album that charts a huge emotional journey.

Closing thoughts:

The incorporation of Duval Timothy’s piano alongside the lush string accompaniment make this album seem thoughtful and emotionally driven, even before you delve into the lyrics. You feel like a fly on the wall of every explosive moment in a Kendrick Lamar therapy session, this is him at his most honest and emotionally candid. The tap-dancing motif scattered throughout the album is a clear metaphor that doesn’t feel overworked, but decorous and poetic. It feels an absolute privilege to listen to this creative genius. I derive more and more meaning from the album on every listen.

Benee, meeny, miney, moe – In Conversation with Benee

Benee is a pandemic defining pop artist whose certified bop ‘Supalonely was heard everywhere from TikTok to radio stations. 

Her charming pop tunes heard in EPs such as FIRE ON MARZZ and STELLA & STEVE and, most recently Lychee, are memorable and easy to sing along to.

Benee and I spoke mid-April, during her off-time from her latest world tour.  Although it might sound like time for some free time and rest, the artist had sessions in an LA studio for a few weeks before resuming the gruelling life of tour.

 

Me: How‘s off-tour life treating you?

Benee: I‘m pretty happy to be in a different country for sure, and and just being in the States and being around everyone in the industry. I think it is really good right now! All our spirits are pretty high at the moment.

Do you look forward to coming to Europe? Is it your first time touring in Europe or have you been there before?

I’ve been there before on tour. Maybe one or two times on tour, but I never had a headline tour of this size; so this will be our biggest one so far.

Have you performed in the UK before?

Yeah we have, I mean I love the UK and Europe. I think they’re both just like such cool spots to go out and connect to the fans and explore as well – so, I’m looking forward to that part of the tour, definitely.

Do you have any key moments? Something memorable that happened?

Damn, I think just like going on big walks with my band. Exploring the streets of Amsterdam. Oh, we went on a cycling tour when we were in Berlin. It was, it was so cool!

Do you have any free time [on tour]?

Uhm, I have a feeling that I don’t have a lot of free time. Because we’re gonna be on a bus for the first time, which would be quite an experience I’m sure. But yeah, I don’t know how much free time.

Do you get recognised when you walk around? Is it different from place to place?

Yeah, I reckon it’s definitely different from place to place – like in New Zealand, obviously, it’s really small – so you get recognised all the time. In Australia and in the States, occasionally, but I haven’t been there in so long, so we’ll have to see.

Do you remember specific shows or does it blend it to a nice collage of memories?

I remember bits of different shows. I definitely remember my show in Amsterdam. I remember what the venue was like and you know, there’s something that stands out from a show; the last London gig we did was really cute. But then I also have memories of the sound person at one of my London gigs being really mean. It’s funny to look back on a tour and only remember some parts and then forget some.

Talking about your recently released EP ‘Lychee’, how was the experience of performing the newly written songs?

It’s pretty exciting to see how the crowd reacts to it and [performing live] always brings a new kind of vibe to the songs, it’s nice to see the ones the audience connects the most to. And I also have like one song in the set that isn’t out yet – so, it’s also really exciting, and I’d say encouraging, to see how people take it.

What’s your favourite song to perform? A new one and a favourite of all time?

Oh, it’s a good question. It’s always pretty fun to perform ‘Glitter’ or ‘Supalonely’ because those are the ones that people will like the most but I have this song called ‘Monday’, which isn’t out yet which I like. It’s been really, really fun to perform that one as well. We’ve also just added ‘Winter (featuring Mallrat) to our set, which is another song of mine from my album [Hey u x]. I mean, it’s always just fun to add new things to the set and play them, ’cause you get so used to playing the same songs so it’s nice to mix it up.

Do you get bored of questions about your hits, such as ‘Supalonely’?

It’s nice that people can ask your question in a different way, but it’s always funny when someone asks the exact same question. I’m like, ‘Girl, you could look that up’…

Do you have a favourite interview or a dream interview that you would like to do?

Oh, I love Nardwuar. You know it’s a different kind of way of interviewing. I think it is really exciting, so hopefully one day.

What’s the most memorable interview you’ve done?

I did a Mukbang interview once, which was kind of fun. I think it was a very exciting one ‘cause you could eat at the same time.

How do you feel about coming to Manchester? 

I’ve already been once. It’s still pretty light and new to me, but the one time that I was there we had a really good time in Manchester. We went to a nice cute little café and I’m keen to explore it more. The people were really friendly and had cute accents. Love love the accents! But yeah, I think I love the UK. And people in the UK have a similar sense of humour to New Zealanders. A kind of dry sense of humour, which is quite funny. I’m very excited to reconnect with everyone there.

What’s it like being a singer from New Zealand?

New Zealand is quite small, so there’s this very weird thing. Like when you start out where you’re kind of like, OK, it doesn’t really seem very realistic to pursue something like music ’cause there’s so many people in the world. I think quite a few artists from here like Kimbra and Lorde and stuff have brought more attention to New Zealand, so I think they’ve paved the way which has been really beneficial for other artists coming out of New Zealand and Australia. The industry is all really supportive when you’re kind of starting out, which is nice, and it has a family kind of feel to it. I think also just like being from such a small place that is so far away, I think it just makes you so hungry to just keep going with the grind because you want to be out here and live in this big world – not go back home and get into a routine there.

What artists from New Zealand would you like to give a shoutout to?

There’s this very cool artist called Muroki and in general I could make a whole playlist of artists from NZ I love.

I know that your EP came out recently… but is there something the fans could look forward to in the new future?

I think I want to do another EP, that’s the plan at the moment – because I like releasing in that way, so I can definitely look forward to more music this year.

Really looking forward to it and your Manchester show! Thank you very much for your time.

Benee is playing at the O2 Ritz on 16th May – tickets can be bought here!

Fruit, Sex, Sadness: Harry Styles returns with Harry’s House

When looking at the album cover and hearing the album’s name, you’d be forgiven for thinking Harry’s House is a wholly quiet, introspective album, but, in truth, Harry Styles imbues the album with a confidence of someone who has grown into themselves. That’s not to say there’s no introspective moments here, there’s many of those and lots of confessional lyrics, but there’s a sense of confidence in the album’s 70s funk influence. It’s a strong third album, a worthy follow up to Fine Line and his first LP. If it wasn’t clear before, Harry Styles is here to stay.

The first song ‘Music for a Sushi Restaurant’ is an explosive start, sweeping in with a groovy bassline, trumpets and moaned shouts of “You know I love you babe.” It’s straight from a 70s disco and an immediate standout. Like ‘Golden’ on his previous LP, it’s a triumphant way to start the album. The album slides along to ‘Late Night Talking’, which carries on the previous track’s joyful 70s funk groove. Lyrically Harry details his love for someone and their conversations through the night, committing to following them to star studded places like ‘Hollywood’ and more familiar ones like ‘Bishopsgate’.

With ‘Grapefruit’, and I’m sure I’m not the first to say this, Harry adds more to his ever-growing rolodex of fruit references (see ‘Kiwi’, ‘Watermelon Sugar’ and ‘Cherry’). It features Styles talking about buying roses for a lover, though he chooses to buy a bottle of wine for himself instead. Leading into ‘As It Was’, which features references to pills, ‘Grapefruit’ hints at darker ideas than the album’s initial bright funk sounds suggest, with its focus on drinking. Speaking of ‘As It Was’, the song contrasts an 80s synth that feels reminiscent of songs like ‘Take On Me’, with some of Styles’ most confessional lyrics to date. Breaking records the world over, it’s one of the album’s most radio ready songs and I’m not sure what’s in that bridge but it has me, and apparently the internet, playing it on repeat.

After ‘Daylight’, which features guitars that bring to mind Styles’ first LP, the album takes a more mellow tone with two album stand outs ‘Little Freak’ and ‘Matilda’. With ‘Little Freak’ Styles reflects on a past relationship, with the more toned-down production creating a sense of longing. Similarly, ‘Matilda’ deals with the concept of chosen families, and the idea of home as not a literal place. Lyrically, ‘Matilda’ is one of the best tracks on the album, both confessional for Styles and relatable for the listener.

With ‘Cinema’ and ‘Daydreaming’, the album returns to lighter themes and sounds. ‘Cinema’ is a slinky smooth disco song featuring one of the more unexpected lyrics on the album, though after ‘Watermelon Sugar’ (from 2019’s Fine Line) we shouldn’t really be surprised anymore, with “I bring the pop to the cinema” and then “You pop when we get intimate.” On ‘Daydreaming’, Harry samples The Brother’s Johnson’s 1978 hit ‘Ain’t We Funkin’ Now’ for one of the LP’s sunniest tracks.

‘Keep Driving’ is another more mellow moment on the album, detailing the more mundane parts of life, like food, “Coffee, pancakes for two, hash browns”, and juxtaposing them with more serious parts of modern life e.g., “riot America” and social media “Life hacks going viral in the bathroom.” The questions it raises, about focusing on one’s own life and relationships or the bigger problems the world faces, are interesting ones, making it one of the album’s most thought-provoking tracks.

Harry’s House comes to an emotional end with ‘Satellite’, ‘Boyfriends’ and ‘Love of My Life.’ With ‘Satellite’, we’re taken out of Harry’s House and into space, with 80s synths giving the song a sci-fi flare. The smooth vocals on the track and the catchy hook make it an album highlight. ‘Boyfriends’ is a folky song, featuring perhaps Styles’ softest vocals on the LP and an acoustic guitar. ‘Love of My Life’ features heavy synths and a piano ending, giving the LP’s end a sense of grandiosity, despite it being one of the more introspective songs lyrically on the album, with Styles realising one of his previous lovers was the true love of his life.

With moments to dance to and introspective tear-jerking moments, Harry presents the full range of emotions that we feel when we’re home. Love, joy, sadness, and yearning are abundant, wrapped up in a neat 1970s meets the 1980s funk package (and maybe a sequin jumpsuit). Inviting us into his house, Harry Styles reveals quiet kitchen moments, bedroom confessions and moments with the energy of a house party. It’s Styles at his most artistic.

For more on Harry Styles, check out his website here, and you can listen to Harry’s House here:

Mae Muller at Club Academy

Last weekend saw London-based pop singer Mae Muller arrive in Manchester for her sold-out Club Academy show. Providing a chaotic, fun and feel-good set, it was the perfect Saturday night for Muller and her legion of dedicated fans.   

Declaring Manchester her second favourite place (after London of course), Muller was certainly glad to be here. She commanded a powerful stage presence throughout, with impressive vocals to match. The set began as it meant to go on, Muller declaring after opening with ‘nails so long’ that only in Manchester would she “be dashed someone’s phone on stage and thrown a Muller corner yoghurt”.

The audience continued to match Muller’s energy in a way that only teenage girls can. Every song that Muller launched into was responded to with a scream and the whole crowd seemed to have every lyric memorised. This was appreciated by Muller, particularly with her track ‘Dick’, who was truly delighted when everyone shouted along with her.

Some of her most dedicated fanbase had queued for 10 hours to secure a coveted space at the front barrier. Given the small capacity of Club Academy I’m not sure this was entirely necessary, but Muller could be seen waving to familiar faces. There was very much a feeling of love and loyalty in the room, which reached a touching moment mid-show as Muller launched into a slower track, ‘Maybe’. A coordinated effort saw fans display matching signs stating “This is Home”, which promptly reduced Muller to tears.   

Wiping her eyes and swiftly describing herself as “back on her bullshit”, Muller continued to move through her carefully curated setlist of fun, lively, pop anthems. There was a brief intermission for a Harry Styles’ cover which didn’t quite hit the mark, but the rest of the set was energetic, upbeat and carried by Muller’s charisma and voice. Finishing appropriately with ‘Better Days’, there was no need for an encore as Muller, her band and the audience danced their way out together to continue their Saturday night.

I can guarantee that it won’t be long until Muller is selling out much bigger venues, with even bigger audiences screaming “Dick, Dick, Dick, Dick”.

You can listen to Mae Muller on Spotify here.

Live Review: It’s Good to Be Back with Metronomy

Metronomy, which started as a side project of frontman Joseph Hoult, has evolved beyond what the members of the band themselves could imagine. Their career has taken twists and turns from lo-fi laptop-based music to the full band 2011 effort The English Riviera, nominated for a Mercury Prize. There is an air of unlikelihood about Metronomy’s success, not being conventional pop stars, yet still forcing themselves into the forefront of both indie rock and electronic music over their career. Comparisons can be made with similar touchstones being LCD Soundsystem and MGMT.

 

Metronomy came to Manchester Academy, having been delayed a year by the pandemic, but with a new album under their belt to showcase. Small World, released in February, reflects on lockdown times optimistically and delicately. It contrasts with their more potent sonic direction but it is still inherently Metronomy. The Academy is a stop on their UK Tour in support of Small World, culminating at London’s Alexandra Palace.

 

First up, however, were Mancunian support act Porij. A self-assured band walked on stage with matching clothes, exuding confidence but also a palpable excitement between them. Their sound is much from the school of Metronomy themselves, combining dance beats with guitar music influences. As former students at both Universitty of Manchester’s neighbour, RNCM, it was very much a home crowd, and a venue they would have frequented as students. Now, the roles are reversed, which you could see in their excitement. You couldn’t help but smile at the lead vocalist and keys player, Eggy, who radiated across the fast filling Academy crowd. The infectious energy shone through, and they received a very favourable reception from the anticipating crowd. Porij’s new single, ‘Lose Our Minds, is out on Spotify now.

After a short break, each member of Metronomy walked on stage without many theatricals, picked up their instruments and started to play; this ad-hoc mentality carried throughout the set, even through the higher production numbers. Opening with new song ‘Love Factory’, the tone was set, with each member of the band shining. Joseph Mount’s vocals are as distinctive as in the studio. Bassist Olugbenga Adelekan struts to and from the microphone, prompting the crowd to clap in time to the (ironically) metronomic beat of the music. Anna Prior contributes vocal duties as well as her impeccable command of the drums, and keyboardists Oscar Cash and Michael Lovett carry out a somewhat awkward yet charming choreographed dance routine.

 

After their opener, the band immediately plunged into their classic ‘The Bay’, which they kept on evolving beyond the confines of the studio track. Olugbenga acts as the perfect foil to Mount, his effortless cool complimenting Mount’s idiosyncratic demeanour. Any member of the crowd that may have held reservations about the more delicate opener can now relish in the soundscape that is produced, with the width and depth of the Academy accentuating the similar traits in the music.

 

The on-the-nose new track ‘It’s Good to Be Back’ holds a clarity live, and you genuinely believe it. Metronomy appear to be so grateful to be returning to a live environment, and it becomes abundantly clear why; they’re good at it. Metronomy hold masterful control over their audience; sure, there are times when it feels like the way they operate shouldn’t work, but it just does. Transitions between genres seem effortless, and there is a distinct lack of ego. Playing a career-spanning set, from the noise rock electronic ‘You Could Have Easily Had Me’ off their 2006 debut, to the new folky and delicate ‘Things Will Be Fine’. Perhaps the most commendable part of Metronomy’s masterclass was keeping the set coherent despite the vast disparity in genres; something that I didn’t even notice until reflecting on it later, which means they pulled it off.

 

Photo: Alex Cooper @ The Mancunion

Towards the latter half of the set, members of the band come and go off the stage and allow individuals to showcase their talent; this kept us entertained and guessing, while also allowing us to miss seeing the band operate. When they regained their full line-up, there was a pent-up joyful atmosphere in the room. This led to a highlight of the set, the blues version of the 2019 single ‘Salted Caramel Ice Cream’, which took everyone by surprise. Their playful and tongue-in-cheek track was elevated on the live stage by the half-remix and suited the controlled chaos of their set. Metronomy keep the audience guessing without being misunderstood, which is a fine and difficult balance to strike.

 

However, after the bemusing yet humorous improvised laundry-based skit played out, with Mount prompting Cash to sing operatically. Out of nowhere, the opening riff to Metronomy’s best-known hit ‘The Look’ played. There was audible glee from the crowd. Now over 10 years old, the song sounds as fresh as ever, and the audience fed off the energy of the modern classic. With the crowd perfectly doing the ab-libs on the second chorus (“big book”, “look look”, “shook shook”, and, you guessed it, “took took”), from the gig emerged an experience. There was a collective catharsis in the room like everyone had been waiting for the specific moment to let loose, with several mosh pits forming for the breakdown. In that moment, everyone at Manchester Academy could bask in the glory of the song and forget any extenuating circumstances. It was truly moving, in the most backward way possible.

 

After an encore featuring brooding, Sparks-esque single ‘Love Letters’, the band bid their farewell after a candid and free-flowing 90-minute set. There wasn’t any disappointment lingering among the crowd sprawling out onto Oxford Road, but a total content for the experience they had just had. A year’s wait seemed irrelevant; Metronomy’s set had thoroughly entertained the Thursday night crowd, and I’m sure if they were given the chance, many could have enjoyed the band for much longer.

 

The perfect band is greater than the sum of its parts; Metronomy fit this. Each member was eminently watchable and produced a set filled with joy, which I think is what you want out of a gig from this kind of band. Metronomy’s music defined an era of my teens, The English Riviera and Summer 08 paving the way to some of my favourite music. Having finally seen them live, I understand; it is within the genre-bending and permitting every member to shine within their own right that the unlikelihood of Metronomy’s success becomes likely. Talent and joy prevail, and Metronomy are pioneers of both. It’s good to be back.

The kids are not alright: Final year students and rising living costs

Final year students will finish university and graduate soon, prompting many questions regarding their next year’s living situations. Where many students will be going abroad to work, study, or take a gap year, most final year students will stay in the UK, entering work life, and having their own place, mostly in big cities such as Manchester, Birmingham, and London.

However, the UK is currently facing a strong and sustained rise in the costs of living, making it difficult for recent graduates to picture what their early working life will look like. According to the Bank of England, inflation is likely to peak at 10% this year, showing a substantial increase in consumer goods and energy prices in the UK. This rise, which follows the Russian invasion of Ukraine, is the highest 12-month inflation rate seen in the National Statistic Series, which began in January 1971. Numerous final years declared being concerned with the beginning of their working life, as prices keep on increasing.

Every sector of the economy will be hit, and essential goods prices are all escalating. According to Statista, a worldwide statistics company, since March 2021, “food prices in the United Kingdom [have] increased by 5.9 percent”. The Office for National Statistics has indeed published a report detailing that food prices in the UK had risen by 4.32% since January 2021, with oils and fats seeing the most important rise of 15.9%. Food, being an essential, could take a large part of young workers’ salary away.

Graduates, even when planning on living in big cities, are sometimes still looking at buying a car to commute to work. However, given the current inflation in prices on the used car market, many could have to re-allocate a part of their budget to living closer to work, or to city centres, and to using public transports instead of a car. The second-hand car market is also being hit by inflation and prices on the used car market have been growing continuously. According to the Guardian, in February 2022, “One in five secondhand cars in UK cost more than new models”. Emily, a third year Biology student who is planning on moving to London next year, said that she “thought about buying a car, before [she] saw the prices”. She explained that, in order to gain independence, she was thinking of buying a car after a few months of work. She is now “100 percent sure that [she] will use the Tube”.

The housing market is also difficult, especially in big cities. All over the UK, house prices have been increasing, both in the buying and renting markets. According to the Government’s data, in February 2022, the average house price in the UK was £276,755, showing an increase of 10.9% compared to February 2021. Rising housing costs were already preventing many young workers from being able to buy their first house rapidly after graduating, however, as explained by the BBC, “they are [now] being priced out of the rental market too”. Concerning rents indeed, “London’s average monthly rent is now £2,142” per month.

Emily explained that she recently got accepted into a graduate scheme and is therefore ready “to start living the London life”. Yet, she said that it is only possible because she will earn a “sufficient wage to afford living in the capital-city”, and because she “started saving money last year”. Aware of high living costs, especially in London, she has been saving part of her previous pay in order not “to be broke within the first month of being there”.

Yet, for some final years, the rise in housing costs is simply unaffordable, which forces some of them to go back home and live with their parents next year, even when it was not their initial plan.

Sarah, a third year Law student, said that, even though she is planning on finding a job soon, “it will have to be in Essex because my mom lives there”. She is planning on going back home and live with her mother, as a job “probably won’t be enough to afford food, gas, and housing expenses”. She also explained not wanting “to start [her] adult life being stressed about money and feeling guilty every time [she] spends”.

Given that graduates earn on average £30,000 per year, it makes it difficult for them to face the rise in costs of living. Many final year students explained being scared by the inflation, and declared not knowing “what’s going to happen next year”.

Nonetheless, one thing final year students can be reassured with is that there remains a high percentage of employment for graduates, and mostly in skilled jobs. According to the Government’s 2020 Report on Graduate labour market, the graduate employment rate reaches 86.4%, with 66% of graduates employed in high skilled jobs, compared to 24.5% for non-graduates. The employment rate of young graduates, since 2007, has been pretty stable, and has always exceeded the one of non-graduates.

‘Roaring crowds in Manchester’: Declan McKenna rocks the Albert Hall

It was a gig which had been rescheduled twice due to Covid, with ticketholders having waited for over two years to see indie sensation Declan Mckenna perform his second album Zeros in the flesh. The artist arrived in Manchester for two shows in a sold-out mini tour of the UK, and on the back of a landmark show at the Royal Albert Hall. The crowd was more than ready for a Zeros party, and the wait was certainly worth it.

McKenna first entered the stage with his band to the backdrop of The Beatles’ ‘With a little Help from my Friends’ to play ‘Beautiful Faces’. It was a great start to the gig, with the repeated refrain ‘put your hands up’ getting the crowd ready to jump around. Another fan favourite early on in the set was of course ‘The Key to Life on Earth’, which includes lyrics in homage to the “roaring crowds of Manchester”. The crowd were certainly roaring in full voice. McKenna played the whole of Zeros across the set, as well as the vast majority of his debut album What Do You Think About the Car.

Photo: Declan McKenna and CMAT, shot by Annabel Benton @ The Mancunion

For me, one of the highlights of the night was when McKenna brought out support artist CMAT (who’s solo gig I reviewed here) to sing a duet of ‘Make Me Your Queen’. The pair sat down at the front of the stage to combine gorgeous harmonies with Declan’s simple acoustic guitar. CMAT also joined McKenna for his most recent single ‘My House’, dancing around with a shaker and again providing some lovely harmonies. The pair of songs felt really special, with the two friends providing renditions you can only experience live.

Other standout moments included McKenna’s piano playing on ‘Be an Astronaut’ and ‘Daniel You’re Still a Child’, two songs which perfectly sum up the sound of his sophomore record Zeros. ‘Be an Astronaut’ was particularly captivating, with the keyboard raised up on the stage against a backdrop of glittering white and purple lighting. For me, the single is one which I listened to constantly in 2020, and to see it played live alongside 1800 other fans was very special. It was also a good moment to take a breather from the energy of the other songs and to just enjoy the music.

You’d expect your fair share of mosh pits and jumping at a McKenna concert, however this gig was on another level of energetic. By the time the set reached its six-song encore, the venue was extremely warm, I’d fallen over twice and was holding ice from cups of water to cool down. However, it’s all part of the experience and I just had to keep focused on the music. The final songs included McKenna’s most well-known tracks such as ‘Brazil’ and ‘Why Do You Feel So Down’, as well as a last-minute special addition to the set list thanks to just how amazing the crowd was. The song in question was ‘Brew’, the B Side to the artist’s debut single ‘Paracetamol’.

Photo: ‘Eventually Darling’, shot by Annabel Benton @ The Mancunion

The concert finished with ‘British Bombs’, perhaps McKenna’s best song which combines impassioned social commentary on the British arms trade in Yemen with catchy lyrics and great guitar riffs. ‘British Bombs’ summed up the whole night perfectly: an energetic performer, fantastic live music and a ridiculously raucous crowd. McKenna was able to transport his audience into both the worlds of experimental Zeros and youthful What Do You Think About the Car, culminating in the single which bridges the gap between his two albums.

If you can, I would highly recommend seeing Declan McKenna at either a festival over the summer (tickets are still available for Kendal Calling, Standon Calling and Finsbury Park) or when he next tours the UK. You’ll get to experience live music at its very best: loud, sweaty and so much fun.

Halsey vs Capitol Records: Are record labels the bad guys?

This week pop star Halsey has exposed their record label for withholding the release of their new song. Following a series of tweets, IG stories and TikToks, the star revealed their frustrations with their label (Capitol Records) and their marketing strategies. This isn’t the first time a major record label has been criticised by fans and artists alike for prioritising profit over art. But are they as cold and calculated as artists make them out to be?

As TikTok has taken over as the place for viral sensations (RIP Vine), the music industry has flocked to the platform desperate to get viral hits. Doja Cat is a prime example of how having viral songs can launch your career with the artist raking in millions from ‘Moo’, ‘Say So’, and ‘Streets’. Without her TikTok (and YouTube) success, her sophomore album Hot Pink wouldn’t have gotten the recognition it has today.

It’s unsurprising that labels are encouraging artists to follow her lead, especially pop stars. Not only can stars connect to their fans by showing off their talent, TikTok also humanises the artists, making them more appealing to listeners. Lil Nas X for example managed to do this flawlessly with both his debut album release and singles like ‘MONTERO (Call Me By Your Name)’. People enjoy the music for longer, giving it more weeks in the charts and career longevity for the artist.

That being said, TikTok isn’t for everyone. The platform works well for young pop artists with catchy hooks to offer. For alternative or older artists, any attempts to seem cool or relevant feel uncomfortably awkward. Yet, record labels are still willing to try this cheap marketing strategy purely because, for them, there’s nothing to lose.

That’s where Halsey comes in. With their career spanning eight years, the singer arguably has yet to become an established artist like the industry titans such as Beyoncé or Taylor Swift, who can guarantee substantial sales regardless of what they put out. Even Katy Perry, who’s been around for yonkers, flopped in 2017 with Witness. For Halsey to strop on social media about being held back artistically whilst asserting that they are “way too established to stir something up like this for no reason,” not only makes them look unprofessional but ignorant of their own privilege.

Time and time again musicians complain about being held back artistically or being locked down in contracts. The main struggle for most artists is not owning the masters to their songs, hence why they’re forced to be held back from releasing them. They want that ego boost and adrenaline release now, not considering everyone that’s depending on them financially.

The role of record labels in the music industry has always been clear: they’re the middleman. They provide artists with material resources, project investments, industry connections, marketing, managers, tours and ultimately a career. In return, they own your creations. Why? Because they paid for all of it! If the artist invested in all these resources themselves, then yes, they have every right to the profits their masters make. They’ve made millions thanks to the success record labels provide them, so suddenly being held back artistically rather than financially doesn’t seem so bad…

Don’t get me wrong, you can be successful as an independent. But the main reason people sign to major labels is because of the promise of financial security. When Halsey signed their contract aged 19, they’d been homeless several times and dropped out of college. They weren’t in a position to consider turning down a deal for the sake of owning your art. That’s the case for almost every artist. It’s only when they’re secure financially that they start turning on their labels.

Labels have to prioritise profit over art because otherwise, they’d be out of business. If they allowed every artist to spontaneously release music without strategising or marketing the release, they’d lose millions. Without a return on investment, they’d have no money to invest in their other clients, sacrificing the quality of the music they then produce.

What Halsey wants in this situation is to release their new music now, just nine months after the release of their fourth album which they’ve just started touring. A new song wouldn’t make sense right now, but would in the near future.

Halsey loses nothing by releasing a song early. If it flops, at worst they look like a fool. For Capitol Records though, they would lose millions. That’s something neither the company nor the employees can afford and something wealthy artists easily forget.

Understandably not every 27-year-old wants to be prancing around on Tik Tok trying to go viral. In fact, Halsey’s complaints using their unreleased track have gone viral… just not viral enough for Capitol Records. If anything, Halsey’s frustrations have highlighted the turbulent relationship artists share with their labels. It’s a harsh reminder to them that they’re part of an industry, sometimes having to become puppets to make a profit.

10 things to know before you take a year abroad

I’ve lived in Amman, Jordan since August as part of my year abroad programme as I study Arabic and German at UoM. If you’re considering a year abroad as part of your degree or are going to be jetting off later this yea, here are some of my top ten tips to being prepared and making the most of your time in a new country.

1. What is the University going to be providing?

It may sound boring, but check what the exchange university is providing for you. Are they providing insurance (health or property), accommodation, or your university place? It means there’s less stress on your plate when you know what’s being taken of already.

Be sure to double-check the following:

  • Does your health insurance cover everything? In UoM’s case, only over £100 in medical costs is covered.
  • Do you definitely have accommodation, or do you need to find your own? If so, what areas should you avoid?
  • Are there any bursary schemes that can offer you more financial support during the year?

2. Check local customs and traditions, along with the laws

Always make sure you read the laws of the land before you jet off. However, reviewing local customs is just as important. For example, in Jordan and most other Middle Eastern countries, it is customary for women to cover their legs and shoulders in the street. While it may not be illegal, it is deemed disrespectful to not do so, so be aware of other little things that may be really important for you to know.

3. It doesn’t have to be the time of your life…

Everyone, and I mean everyone, will tell you that this is about to have the time of your life. But that doesn’t mean it has to be. 

At first, the pressure to love it can feel like too much. You may even feel as though you’re not doing enough to make the most of your time. That’s okay. You have a lot to adjust to in the first few weeks, and if it still doesn’t stick, listen to my next point.

4. It is only temporary

You’ll be back in Manchester in a year! Most placements abroad occur in third year at UoM, and you’ll be back in the city before you know it. Your placement isn’t you emigrating forever, it’s just getting a glimpse at what life is like elsewhere. If you’re not enjoying yourself, that’s alright, you’ll be back with everyone you love before you know it. 

5. Sounds obvious, but research where you will live

What’s it like? Who frequents the area? Does it have restaurants? Could you find a similar place for cheaper elsewhere? Is it going to be noisy and constantly filled with tourists? Are you going to be amongst other expatriates or is it going to be locals who live there? Have a look at where is also best according to your needs and interests

6. Speak to other ex-pats and students in the same place as you

This is a lot easier than it may sound, as there is a Facebook group with the name ‘Expats in [your city]’ in just about every major city on the planet. This will be filled with people in the same situation as you, and you may find it beneficial to find information in this way from people who have been through the same thing. It may also be nice to hear a familiar voice once in a while. 

7. Get a Monzo or Starling card

No one wants to be paying international bank fees whilst abroad. It’s an unwanted added expense. Although both banks are cost-free to open an account, I would personally recommend Starling, having had a Monzo card. Monzo only allows you to take out £200 in cash every 30 days without a withdrawal charge, whereas Starling doesn’t have a cash withdrawal cap.

8. Take home comforts with you

Whether you feel homesick or not, personalising your room is a must-do when moving elsewhere, especially if you’re alone. Whether it be a beloved photo of your family, your favourite football team strip, or the LED lights from halls… Having something to make your room yours, is always great to have. 

9. Learn some simple phrases in the country’s language before you go

I guess this makes sense if you’re not studying a language, as by the time you go on your year abroad you will know the simple stuff. ‘Hello’, ‘goodbye’, ‘thank you’, ‘please’, and even ‘can I get the bill?’ are always great simple starts which will not only often surprise native speakers, but make you feel that little bit more at ease in your new country. Asking ‘do you speak English?’ doesn’t hurt either. 

10. Always remember, you’re not alone

A countless number of people have been in your position before, and a countless number will be in it in the future. Your friends and family are always a call away, and there are bound to be people you know in your country, if not in your city. Sticking together can be a great help, and if you find yourself needing serious support, learn the national emergency dial number and British Embassy number just to be safe. 

Events in Manchester this June

As exams come to a close and things begin winding down at university, it’s time to look ahead to summer. With the first in a three-part series for what’s on in the summer months, The Mancunion has our guide for everything cultural happening in the Northern Hub this June.

Music:

Parklife returns to Manchester in June 2022, with the Heaton Park festival promising to be an excellent weekend, especially for students who’ll have just finished exams. There are two days of live music on the 11th and 12th, with headliners including Tyler, the Creator, 50 Cent, Megan Thee Stallion and Lewis Capaldi. Tickets for Sunday can be bought via the official website, whilst weekend tickets always seem to be for sale on Facebook groups (just be wary of scammers!).

Sounds of the City also returns to Manchester’s Castlefield Bowl between the 28th of June and the 8th of July for another outdoor live music treat. Artists performing in June are Lewis Capaldi, Foals and Crowded House, and you can still get tickets here. The venue is found just off Deansgate in central Manchester, and with a capacity of 8,500, it promises to be far more intimate than many outdoor music offerings.

Our top picks for other gigs in June include Ed Sheeran for four consecutive nights from the 9th (tickets here) and Harry Styles on the 15th and 16th. Styles plays two nights at the Emirate’s Old Trafford Cricket Ground, however, as tickets are already sold out, The Killers in the same venue on the 11th may be a better option (tickets are still available here). Some smaller artists playing in Manchester in June include Holly Humberstone, Remi Wolf, St Vincent and Jacob Collier – all are worth checking out Ticketmaster for spare tickets.

Sport:

After the culmination of the Premier League, sports fans may require some more sport to fill their time this summer. Firstly, there’s lots of cricket on offer, with the Lancashire team playing in multiple T20 Blasts. Rugby comes to Manchester in the form of the English Premiership in Salford and the Betfred Championship in Leigh, so both rugby league and union are covered. Athletics also comes to the city from the 24th of June in the form of the UK Championships, with tickets still viable to watch the track and field competitions here.

For those wanting to get involved in sport themselves, there’s the Oldham Race for Life on the 18th. Runners can also enjoy weekly free Park Runs across Manchester: venues include Platt Fields Park in Fallowfield and Alexandra Park in Whalley Range, but you can search the full list on the Park Run website.

There are other big sporting events happening in June which aren’t taking place in Manchester, but which could be enjoyed in one of the city’s many bars and pubs. Sport to watch out for includes the Azerbaijan and Canadian Grand Prix, the French Open tennis, the US Open golf and the start of Wimbledon, so be sure to get planning where to watch with friends. Consider checking out our Manchester’s Bar Crawls article for suggestions on where to visit.

Culture:

There are tonnes of cultural activities on offer in Manchester this summer, including lots of theatre tours. Three tours are coming to the Palace Theatre: Beauty and the Beast until the 4th, Anything Goes between the 9th and the 18th and Sister Act from the 27th. The Manchester Opera House is also showing The Play that Goes Wrong until the 4th of the month, as well as a one-off night on the 11th with Elvis Costello & The Imposters.

If food, drinks and entertainment are more your things, Escape to Freight Island has a great range of events in June. The multi-levelled venue has ticked events including rollerskating, comedy clubs, bingo and supersized club nights to go alongside their numerous regular vendors. To book and browse the range of options, check out their website here.

Other top picks for culture are art events at Manchester Art Gallery and HOME. The Gallery has events such as a Jubilee afternoon tea on the 2nd and philosophy live on the 21st. Alternatively, head to HOME for cinema, exhibitions or theatre. Their full range of events can be viewed on their website; however, we’re most drawn to their wide selection of new international films and the Made it 2022 exhibition of the annual North West Graduate Art Prize.

Events:

The start of June sees the Queen’s Platinum Jubilee Weekend from the 2nd to the 5th, and there are plenty of special events to celebrate. The first is the return of the Manchester Flower Show, with 10 professional displays throughout the city centre alongside additional displays in shop windows and along the streets. There’ll even be floral-inspired cocktails on offer in some bars – check out @themanchesterflowershow on Instagram for more information.

Other dates to note in June include Manchester Day on the 19th, returning for the first time since the start of the Coronavirus pandemic. The event consists of a massive parade which encompasses music, dance and supersized art. There’ll also be plenty of food and drink options across the city centre to round off the free day out.

Finally, June has some other festivals on offer for the more culinary inclined. Pop up events begin to ramp up for the summer, such as the Summer Beer Thing, a celebration of beer at the city centre Kampus – tickets start at £6.59. Alternatively, there’s the Manchester Rum Festival on Saturday 18th, or, for foodies, Platt Fields Park hosts the Magic of Thailand Festival. Tickets are just £5 and give festival-goers access to live music, dance, massages and, of course, lots of Thai food.

Don’t miss our upcoming July event guide!

Live Review: Yard Act – Completely chaotic in the best way possible

To quote Forrest Gump, Yard Act shows are like a box of chocolates…

No. Seriously, you never know what you’re gonna get. This is something the band prides itself on, changing their setlist for every show, and always open to a bit of spontaneity. Tonight is no exception.

James Smith (vocals) and Ryan Needham (bass) formed Yard Act together in 2019, co-writing many of the band’s songs whilst Needham lived in Smith’s spare room. Since adding Sam Shjipstone (guitar) and Jay Russell (drums) to the line-up and unleashing a slew of sharp, satirical singles, they’ve emerged as one of the UK’s most exciting bands in a long time.

What sets Yard Act apart from many of the bands in the post-punk revival scene they’ve found themselves lumped into is their ability to make a point about the state of the world without taking themselves too seriously.

Yard Act open with the title track from their debut album The Overload which narrowly missed the top spot in a chart battle against Years & Years. Bursting with riotous riffs courtesy of Shjipstone and tongue-in-cheek lyricism, it sends the crowd into a frenzy.

During songs, Smith leaps around the stage sometimes leaning into the crowd wide-eyed and menacing, sometimes taking the mic-stand with him. His witticisms and one-liners go down a treat. An ace at improvisation, Smith’s patter between songs keeps the crowd entertained without feeling forced. Shjipstone is equally enthusiastic, staying onstage slightly longer than the rest of the band between the main set and encore to show off his guitar-playing prowess.

For a relatively new band, Yard Act have garnered quite the following of fans – I recognise a few faces from their Liverpool show two nights earlier in the crowd. This and the fact that people are able to keep up with their slippery sprechgesang. I was interested to see how a song like ‘Rich’ might translate in a live setting – slightly sped up, its main refrain echoed right through the venue.

During ‘Land of the Blind’, Smith usually asks the audience for a 50 pence piece as part of a magic act/swindle, (which, by the way, he must be making a small fortune out of!) but instead someone throws a t-shirt emblazoned with the Aatma logo, an independent Northern Quarter venue, on stage. Smith politely declines changing into it, with a quip about eating too many crisps during the band’s recent stateside tour.

More astute observations and crunchy riffs on ‘Payday’ and ‘The Trapper’s Pelts’ go down a storm. Their latest single, the sentimental but by no means soppy, ‘100% Endurance’ makes for a pretty wholesome moment in the night as gig-goers grab their loved ones and “Shake them by the shoulders, scream in their face / Death is coming for us all but not today […] Give it some of that good stuff that human spirit / Cut it with 100% Endurance.”

‘The Incident’ offers an equally thrilling singalong moment – its not everyday you’re stood in a room filled with people yelling “I’m irrelevant!” at the top of their lungs. My personal favourite ‘Dead Horse’ is reserved for the latter part of the show, a bizarre post-Brexit anthem that takes aim at our mess of a government and the middle-Englanders who vote for them.

Yard Act never fail to engage with the crowd – Smith points out that Needham was recently invited back to his university to speak about his success. This is a crowd well-versed in Yard Act-isms, as Smith asks what he studied, and someone shouts out “Probably one of them pointless media degrees!” before cheers of ‘Ryan! Ryan! Ryan!’ surface.

Photo: Phoebe Fox @ Press

Notably absent though is their breakthrough single ‘Fixer Upper’ despite crowd cheers of ‘Graham! Graham! Graham!’ Instead towards the end of their set, the band begin taking requests, and we end up with some warmly welcomed rarities – EP track ‘Peanuts’ and the ought-to-be released ‘Human Sacrifice.’

Smith even invites the three lads who threw the T-shirt on stage to recite the spoken-word segment of the former song, referring to them as the shit Beastie Boys. They do a pretty good job, taking it in turns to say each line and jumping up and down, much to the band and the audience’s amusement. In the encore, the band invite their opening act Nuha Ruby Ra, an immersive avant-garde performer, back on stage to duet a Modern Lovers song – something which came about after discovering a shared love for Jonathan Richman. It’s unpredictable moments like these that make Yard Act gigs worth every penny. Completely chaotic but in the best way possible.

Yard Act never stop touring – you can buy remaining tickets for the rest of their May tour as well as their upcoming November tour which includes a date at Manchester’s O2 Ritz on 25th November here.

Read our interview with Yard Act here.

In Conversation with Crawlers

Starting my weekend at Liverpool Sound City I finally caught up with Crawlers! After many reschedules (they are in high demand!), we hopped in their tour van and let the chat commence. Before we go onto the content of the conversations, I can safely say that Crawlers are very easy to chat to and the conversation flowed swimmingly. We discussed Neighbourhood festival, eyeliner, upcoming singles and tours, their latest single, social media and more…

Kicking off with the topic of the upcoming Neighbourhood festival (28/29 May), where Crawlers are playing on the Big Top Stage in the 28th, it wasn’t long before Amy had mentioned that she has attended the festival every year as its pretty much 10 minutes from her house in Warrington. Touching on this locality of the massive festival, the band said that it was “surreal” to be able to play at it and Holly added “it’s so cool – it always includes bands we look up to”. This sounded like a bucket list gig/festival for them, but of course they played there last year too! Hearing about last year’s antics leading up to playing at NBHD was amusing; from Amy bugging Holly to get a ticket and trying to persuade her to “come to Neighbourhood” and Holly being very relaxed saying “mehhhh I think I’ll be able to get in somehow”, to a band dropping out and Crawlers getting offered the spot – the band said this year they’ll try not to “freak the heck out”.

Holly went on to add that the line-up is incredible, with “so many great upcoming bands”. I asked which bands they are most excited to watch perform, to which they said: Daisy Brain, STONE, Eli Smart, Wet Leg, Gayle, to name a few.

Tickets for Neighbourhood Weekender can be purchased here!

Neighbourhood Weekender 2022

We then moved onto the most serious topic of conversation – makeup recommendations. Due to the band being called, and calling themselves, the silly little eyeliner band, I (on a personal level) was just intrigued as to what brands they use that stay so flawless after performing on stage. A soon as I mentioned “silly little eyeliner band” the whole van was giggling, and Liv spilled the tea. The commitment was next level, whipping out her makeup bag, we got the accurate names of the products – maybe this should be in the fashion section as well as music…

Making jokes throughout including “this is *not* sponsored”, Liv revealed they use the Rimmel waterproof liquid eyeliner, and the NYX matte setting spray. Liv reaffirmed that she swears by this product and the waterproof eyeliner does not budge. Continuing to stay comical, she said “when you have the ‘El Depresso’ [depression], you need it. You cry and it does not budge a bit. I will have a full on melt down and it does not move; the b*tch doesn’t budge”. I will certainly be investing in this eyeliner. Ending this topic of conversation with Liv stating that she’ll come off stage and her “eyebrows are half way down my face, but my eyeliner has not moved”, I stated that it was forgivable as they are the silly little eyeliner band, not the eyebrow band.

Photo: Liv showcasing her eyeliner – Libby Elliott @ The Mancunion

Moving on to the topic of social media, Crawlers press release states that Holly knew a lot about social media beforehand. I find the influence of TikTok and social media incredibly interesting in how it influences the music industry, so I straight up asked how much of Crawlers success do they credit to social media. Holly replied “so I think a good 50%. I think 50% to be honest is our hard work, our work ethic – for example Amy is one of the hardest working people I’ve met ever, we all work so hard, and we don’t kinda slack”. This offers me an insight to the band dynamic and the immense respect they have for each other.

Holly went on to reveal when she was younger, she “was a little STAN-ey”, with fan pages and all, “so when the band happened, even before we had our first single, I plugged it that way”. Of course, as TikTok blew up in popularity over lockdown, Holly stated that “I just blew my eyes – I think I need glasses now because I looked at screens so much, just like gauging what you need to post on there all the time”. Whilst its clear social media has been incredibly beneficial in Crawlers success, I think it’s fair to say that their commitment to maintaining this online presence is impressive, and “lockdown did have a big role in allowing us to have the opportunity to build our online presence” (Liv).

@crawlersband

confronted the label about the single today #fyp #originalmusic

♬ convince our label to release this – CRAWLERS

I asked if musicians are being forced to become content creators, this received a more ambiguous response of “depends”. Holly said, “The thing is for us it’s a fortunate thing, because we are very social media driven band. I grew up as chronically online to be honest. I’m very used to being online”. They, however, did show sympathy towards independent musicians because “you have to be your own PR person, your own social media creator, your own manager. You also have to be writing the songs and performing the songs, being enticing with your image…”; they added, “I don’t think people give independent artists enough credit”. They also said that “social media is key, it just depends on who runs it” – i.e., is it the artist, manager, independent label, or major label.

Showing off their understanding of the complex relationship of musicians and social media, Liv expanded that “you still have to be able to translate your online presence into the real world, or the industry, because you can have so many followers and fans online, but if you don’t have much of a presence in the industry then there’s a massive drop in engagement”. Holly added that when ‘Come Over (Again)’ went viral they “had engagement online as a social media presence rather than musicians”. This was bittersweet as they had people commenting “Love you guys!! Never listened to your music before… but love you guys!!”.

Expanding on this bittersweet feeling, Holly added that “it’s the best and worst thing for DIY artists; because it gives DIY artists a platform to compete with major label who are using the exact same facilities”. You’ll be pleased to hear that Crawlers do still use their own social media. Holly stated, “I’m still doing it, and they’ll [the label] be like ‘what about this?’, and I’m like ‘No. Trust me, I know that silly clock app quite well.’”. I can confirm that I will, from now on, be referring to TikTok as the “silly clock app”.

Photo: Crawlers @ Press

Crawlers latest single ‘I Can’t Drive’ is about the romanticising of mental health in society nowadays, however Amy states that “we marketed it in a way that was quite funny”. This was partially referring to the posters with a QR to the track, and a phone number. The band revealed that the phone number is real!! And they have the phone – they are planning to film live reactions to the voicemails they receive.

I asked the band what the role of social media is in the romanisation of mental illness, Holly replied “even in the Tumblr days, which I was a part of, it was absolutely brutal; like how was it so romantic, especially things like EDs [eating disorders] and other mental illness”. Amy summarised this perfectly: “really triggering things and they were just *romantic*”. Holly added that “its resurfaced again with TikTok” and “it’s a very hard topic. Being a band that has grown up in this media driven society, we’ve faced it a lot”. Holly continued that it wasn’t until her “complete mental breakdown in 2020” where they realised that they hadn’t been taking herself seriously.

Holly expanded about breakups and the romanticising of “What if he can fix me? What if I can fix him?”, Liv interjected “Nah, drop the b*tch”. Everyone needs a friend like Liv.

 

I asked if writing the song was cathartic, to which Holly replied “Oh my god, yeah! Most of our songs, especially the ones we’ve been writing quite recently, have been, not like my therapy, but they’ve been an outlet”. “Every time I’ve written them, I’ve felt like I’ve uncovered a new part of myself – which is very different to how we used to write. It’s become journaling and it’s very weird to have people relating to those things that feels so personal, but at the same time I guess we’re all going through it.” Liv added “We’ll literally have a mini breakdown over something that we’ve just written, and then we release it, and other people are also having that many breakdowns with us”. Asking if it’s nice and reassuring when people relate back, the whole band jumped in stating its “gorgeous”, “insane”, and “incredibly reassuring”.

One of Crawlers upcoming songs is called “F**k me”, a powerful title with a deep meaning. Holly stated that this song is the first song where its “kind of deeply traumatic because it basically covers two instances of sexual assault” and also “where you instantly think that sex is what love is.” We spoke about the idea of being kissed, just to be kissed, without intentions, and the “horrible realisation” of having never experienced this feeling; Holly added the song is “very deep, and it’s a hard song to sing sometimes”.

The song has clearly already been well received, with fans approaching the band after gigs saying thank you and that they feel heard. They also stated that they are going to be careful when planning this campaign because it’s such a triggering and sensitive topic, but also because they want to be able to help. This linked perfectly to asking about accessibility and inclusivity at their shows. Holly stated that at the beginning of a set they give a speech covering gig etiquette, from falling over to someone having a panic attack. The whole band stated that they “never want anyone to feel uncomfortable at our shows”.

Photo: Crawlers @ Press

Finally touching on their upcoming tours, Crawlers are touring North America in June, and a headline UK tour in October/November. In comparison to their last tour, they are doing “some new cities, some new ones, but a lot bigger venues” including Islington Academy in London and Academy in Liverpool. You can purchase tickets here!

Review: Rambert – Dance

Written by Jessica Hamilton

The brilliant and bold dancers of Rambert took to the Lowry stage this week. The diverse group performed three separate pieces by different choreographers. Though their styles and themes were notably different, all were connected by their beautiful storytelling of the human condition.

Starting the show, Imre and Marne Van Opstal’s Eye Candy delved into the discomforts of the human body. Each dancer wore silicon suits reflecting the ‘ideal’ body type. Moving robotically and reluctantly as if they were navigating a foreign vessel. Their external movement reflects the inner dissatisfaction with unattainable beauty standards. This dystopic dance assesses the absurdity of placing physicality on a pedestal.

Dylan Tedaldi and Daniel Davidson in Imre van Opstal and Marne van Opstal’s Eye Candy. Photo: © Camilla Greenwell.

Ben Duke’s Cerberus is simultaneously light and dark. The dance-comedy included an on-stage percussionist Romarna Cambell, guitarist George Robinson and soprano Rebecca Leggett. The performance considered multiple meanings on mortality.

Entering the stage with a rope tied around her waist, Aishwarya Raut progresses from life (stage right) to death (stage left). Unsure of where she went, a bewildered director Antonello Sangiradi attempts to find her. Instead, he finds himself in a nightmarish state speaking an Italian eulogy to guests wearing elaborate funeral garments. His comedic other-half consistently translating and both of them stressing not to walk towards stage left. A change of pace occurs as dancers move in a continuous line across the stage. Grasping on to a rope, each performer reacting to their indefinite ending. Some dragged, some accepting but most reluctant. Willingly confronting death the director enters the underworld to retrieve Raut. This thought-provoking piece was personally my favourite of the three.

Ben Duke’s Cerberus. Photo: © Camilla Greenwell.

Alonzo King’s Following the Subtle Current Upstream concluded the evening. King explains, “everything that exists in nature is seeking to return to its original source”. The dance, rooted in ballet, consisted of highly technical movements which the dancers performed effortlessly. In contrast to the previous pieces, King’s work lacked a storyline. 

Therefore, audience appreciation seemed to focus on the performers rather than the plot. In my opinion, this piece was best placed last. The combination of entrancing music and flowing movements offered a more optimistic outlook, ending the evening on a light and hopeful note.

Alonzo King’s Following the Subtle Current Upstream. Photo: © Camilla Greenwell.

Credit for production design should be given to Ed Trotter. The lighting, set and sound all added to the texture of the performances. Rambert is a beautiful company, and I would encourage anyone to spend the evening with them.

Rambert’s Dance plays at the Lowry (Lyric Theatre) until 27th May, before heading to Theatre Royal Brighton for two nights over 31st May and 1st June – the last stop of its UK tour. You can find upcoming events on their website.

Live at Leeds: In The Park Preview

The first ever Live at Leeds: In The Park is taking place on 4th June 2022, brought to us by the same organsiers as Live at Leeds: In The City, which will be taking place on 15 October 2022.

 

This festival is an alternative/indie one-day festival taking place in Temple Newsam Park, Leeds.

With an insane line-up featuring:

Bombay Bicycle Club, The Vaccines, Easy Life, Arlo Parks, Sea Girls, Holly Humberstone and Sports Team, and more.

 

The 5 stage splits can be found below:

Photo: Live At Leeds Press

The Hill Top Stage features Leeds’ own The Pigeon Detectives, and the Dork Presents tent includes two stages of ‘up and comers’ including The Mysterines, Lime Garden, Courting and L’Objectif.

 

More information can be found here and you can purchase tickets here!

Neighbourhood Weekender 2022

Everything you need to know about Neighbourhood Weekender #NBHDWKND22

Neighbourhood Weekender will be taking place on 28th and 29th May in Victoria Park, Warrington.

Warrington is just 30 minutes (max) from Manchester Oxford Road. With reports that trains will be running every 30 minutes (from Oxford Road and from Liverpool Lime Street), there really is no reason not to make the most of every indie kid’s dream festival being so close.

With an unreal line-up including Courteeners, Wet Leg, Becky Hill, Jamie Webster, Blossoms, and Scouting for Girls (to name a few); the two-day festival has three stages (Main Stage, Big Top and Viola Beach), along with Shit Indie Disco, The Neighbourhood Inn Pub and the Library Silent Disco.

The line-up and stage splits can be seen below. The Viola Beach stage is a tribute to the Warrington band who tragically passed away in a car accident in 2016.

Stage Splits – supplied

The Mancunion has had the pleasure of interviewing multiple of these artists and bands. The interviews are linked below.

NOISY

Crawlers

The Amazons

Scouting for Girls

The Snuts

Tickets for this unreal festival can be purchased here!

Moovin’ and Groovin’: Moovin’ Festival 26-28th August

Located just a stone’s throw from Manchester, Moovin’ Festival returns to take over the stunning Whitebottom Farm on the August Bank Holiday weekend (26-28th).

The established festival has an impressive line-up, as Moodymann, Shy FX, Orbital, and Roy Ayers are set to perform. The diversity of the artists attending, as the festival offers a range of genres from hip-hop to techno to soul to punk, means that the weekend is set to offer something for everyone.

This festival offers variety, as shown through the range of activities you can engage in. For those who are looking to relax, the festival offers holistic healing treatments, ethically sourced food and breath-taking surroundings. For those wanting a new experience, why not learn circus skills or explore a range of up and coming artists? For those looking to dance, the party continues until 2am on both Friday and Saturday with their notorious silent disco. Moovin’ festival truly looks to cater for all.

Juke Box Music @ Moovin’ Festival

Limited tickets available set to give the weekend a community, friendly feel – meaning you can fully enjoy the immersive experience. But the festival’s small capacity means tickets are selling fast, so be sure to secure your ticket soon! Offering a range of ticket options, attendees can choose to camp at the festival or stay elsewhere. Moovin’ also offers payment plans perfect for students. Find tickets here.

Come to Moovin’ and “forget the outside world for a magical weekend”.

 

 

Immerse yourself in MVSON World

On the 16th of July 2022, the renowned Mason Collective brings their biggest event, MVSON World, to the Grade II listed Arley Hall, located just outside of Manchester.

Since their inception in 2014, the Mason Collective has been gathering support for their phenomenal DJ sets and events. Performing globally, the DJ and production trio have developed a name for providing high-energy sounds at high-profile parties and events.

All children from first and second generation immigrants, the collective’s distinctive sound combines a range of influences and genres. This diverse approach is reflected in the trio’s first festival.

Years in the making, MVSON World ‘s line-up brings together both international and local artists. The range of electronic underground musicians being hosted includes AJ Christou, Fleur Shore, Jesse Calosso and Luuk van Dijk.

The beautiful Arley Hall, located in Cheshire, provides a stunning home for the event with its country house and historic gardens. The collective “promises to bring more than just music” by guaranteeing explosive 3D visuals, art installations and a ‘village’ with food, drink and activities.

Standard release tickets for MVSON World are now selling here for the affordable price of £34.50. Don’t miss out!