I’m a sucker for a support act. I like to look into them ahead of the concert – and, at the very least, give them a little listen. I always get to the music venue early enough to catch them. From a personal standpoint, they set the scene and warm you up. But I also go to support them. Whilst huge artists sometimes have notable opening acts (Cherhad Paul Young), most support acts are young, emerging talent, trying to make a career out of their passion. I encourage people to go for dinner a little earlier so you can get to the music venue early enough to catch the support act(s). If you’re too cold to care, think of it this way: you’re literally paying for it…
Little Mix have not one but two support acts on their farewell tour – The Confetti Tour. The second, Since September, are touring with the girls as a prize for winning Little Mix The Search. The first, Denis Coleman, was announced relatively recently. I checked him out a few weeks back. I was quickly fascinated by him. He’s only 18, yet he’s already achieved great success, and just by listening to his music, you know that he is wise beyond his years.
It’s for this reason that I reached out to interview him (something I do rarely). The interview went even better than expected; he’s so incredibly intelligent and eloquent.
Whilst I always talk about the support act(s) in my music reviews, this time, I thought I’d write a whole piece dedicated to them.
Denis opened the show. Whilst we were sat a little farther back for his set (the second side block from the stage), Denis commanded so much attention that it did not matter. His incredible energy cannot be attributed solely to his youth; much of it comes down to his enthusiasm. He was clearly thrilled to be there, opening for the biggest girl band in the world on their farewell tour, showcasing his phenomenal music to one of the biggest arenas in the world.
Wearing a colourful jumper – jumpers seem to be his staple – he really looked the part. He has this real rock star energy to him, even when he’s not singing (or jumping around the stage).
He opened his set with the aurally incredible ‘Halogen Nights.’ It was a really strong start to the show. He did not give the audience time to get to know him; he came out, loud and proud, and rocked the arena to its core.
He obviously sang his most-listened to song (and my favourite song of his), ‘pillowTHOUGHTS.’ This performance was particularly passionate. He went full-on rock star during the chorus, racing across the stage and rocking his body.
He boldly covered Elton John and Dua Lipa‘s acclaimed ‘Cold Heart (Pnau Remix)’. It’s brave to sing any Elton John song, let alone his first chart hit in over a decade – and his first #1 in almost two! Denis sure is daring, but he’s also assured – he knew he’d pull it off.
The only criticism I have for his set is that it was criminally short. It was an awesome opportunity for him to showcase some of his music, but I wish he’d gotten a little longer to sing a few more songs. Still, he made the most of his limited stage time, making fans out of Little Mix supporters who had never even heard of him – and you’d rather leave people wanting more than praying for you to wrap up.
Denis’ adorable parents let us have their (superior) seats after his set finished. We sadly missed Since Septembers’ first two songs because we needed to use the loo, get drinks and buy a programme (I collect them, which is not too bad when I’m getting the tickets for free, but the girl next to me spilled her drink on it, and I’m still pissed off).
Since September’s set was noticeably longer than Denis’, so we still got to jam along for a decent amount of time.
Like Denis, each member of Since September is an all-rounded artist and performer: they sing, they play instruments, and they have a whole lot of fun doing it! The boys also have a rock edge to them; they’re all pretty, but they’re not your typical pretty-boy boy band. Each member looked badass in their outfits – enhanced by their unashamed and understandable confidence.
It’s hard to believe that the boys have not actually been together that long – and they’ve only been playing arenas for a few weeks. They took control of the giant stage and forced every single member of the audience to watch and listen to them (not that we did not want to). Their set was a nice mix of covers and original music – including a particularly poignant performance of their debut single, ‘Let You Go.’
It was incredible seeing my pal, Patrick Ralphson – a former University of Manchester student, who I interviewed last year – playing at the Manchester Arena. His sister, Sally (my best mate), is gutted to be missing the tour (she’s teaching in Madagascar), but we look forward to seeing them on their second headline tour later this year! Both acts made for an incredible introduction before the main set from Little Mix.
Kendall Jenner, Euphoria’s Barbie Ferreria, Zendaya and Sydney Sweeney, Doja cat, Kaia Gerber… The list goes on. These are just a handful of the women in the limelight that have recently tried the ginger hair trend. But why? And why didn’t it last long?
Photo: Glenn Francis @ Wikimedia Commons
Red hair was in fact already trending last year, with micro-influencers introducing the trend on Instagram. In creating their own redheaded niche within an already bursting Instagram catalogue of fashion influencers, their aim was to appear different. Those that went ginger used the style to theme their outfits around and elevate their looks, using both clashing and complimentary colours. With their new hair they were able to create looks that no one else, or rather the remaining 98% of the world’s non-ginger population, would be able to recreate. Recently, the same trend has emerged in the celebrity world, making it into the looks of many A-List celebrities. It could be argued their intention is the same as the influencers– exclusivity, and to stand out. But perhaps the effect is not.
Each celeb works with their stylist to construct the next standout looks, vying to become the next ‘It’ girl. Indeed, on the red carpet and at celebrity events, people do pay attention to outfits, makeup, and hair. Hair is especially significant, its often considered the most important part of a woman’s look. When celebrities change their look – like to ginger – it indeed makes a statement. But what happens when this hair is gone in merely a matter of weeks?
Take Kendall Jenner for example. She debuted her copper hair during Paris Fashion Week walking for Prada, and then Off-White. Her hair was slicked back to compliment a black feather-trimmed coat and sheer midi skirt duo. The hair added colour and interest to a look in the show which was otherwise predictably monochromatic and plain. More noticeably, it aligned well with the colour palette chosen for the collection – monochromatic tones with a mixture of warmer browns and orange hues. With the risk of being hyper-critical, it could be said the copper hair colour suited the outfits a little too well. Jenner, as we knew her, was lost amongst the décor.
The first image of her with ginger hair (excluding photos from the Prada show) surfaced on Instagram on 16th March as an Alo Yoga advertisement. Again, the use of the hair to advertise and market, like on the runway, speaks little towards her personal style. Although she later posted a ginger-haired mirror selfie in an unsponsored post, if we fast-forward 3 weeks down the line, the ginger hair is gone. Marked by the biggest fashion event of the year – the Met Gala, the switch back to brunette was watched by the whole fashion world. The Met is considered the height of all things fashion – the chance to showcase the best looks, of the best brands and designers in the business. Jenner’s hair shift for the even, in some ways, labels her ginger hair as a fad, not taken seriously enough to be worn in respected company.
Irony can be found in celebs’ need to reproduce what appears to be a ‘real red’ colour. Ginger hair is notoriously the hardest tone to dye hair. And of course, there are many who settle for a bright, unnatural orange. Satisfied with the stand-out quality it will give them despite the artificial appearance. But the majority, including Kendall (and Sweeney mentioned above), want a deep auburn, or perhaps a strawberry blonde – like that of the real gingers of the world. Perhaps its the difficulty to replicate and maintain the auburn colour that pushes celebs to return to their natural look shortly after their red-hair debuts. What’s even more ironic, is that given the quick succession of hair colours post-ginger, and despite attempts to emulate a ‘natural red’, the look is indeed artificial and shallow in its purpose. It’s commercialised. It’s an advertisement. It works only to sell an image.
Of course, it’s unfortunate that this is the standard women in the media are subject to. Likely, Kendall Jenner had little say in her new hair colour. Perhaps not even her modelling agent could sway the hand of Prada, or Off-White, or whichever client desired said look. But certainly, it should be understood that for women, pursuing a hair trend not only plays with their image, but toys with their personal identity too.
On September 8th 2021, pop culture lost one of the greats: Keeping Up With The Kardashians. It seemed like the end was nigh for the infamous family after entertaining (and infuriating) the masses since 2007. Yet, this month the family’s back with a new series, The Kardashians. But, with a Disney+ subscription being £7.99/month, is the series worth the cost?
The main question on critics’ minds is how is The Kardashians different from KUWTK? The premise of the new series is to provide a fresh lens on the family, focusing on their work lives and business ventures … at least that’s what Kim claimed in interviews.
Gone are the days of trivial drama. Instead, the show swapped out the petty fist fights for deeper personal issues that frame the family in a more genuine light. This stripped-back approach has meant audiences are able to better relate to the issues that shadow each family member.
So far, the series has been following Kourtney’s surprise engagement to Blink-182 drummer, Travis Barker. However, this looks like it’s about to be overshadowed by the fertility struggles the couple faces. Simultaneously, we watch Kim try to maintain a healthy relationship with her ex-husband Kanye West, with the rapper still playing a significant role in her work and personal life. We’re yet to see the fallout between the pair on Instagram, or the debut of ‘Skete’ aka Pete Davidson.
Unlike KUWTK, The Kardashians is far less filtered both in terms of scripting and cinematography. By season 20 of KUWTK, you could barely make out Kris Jenner behind all the smoothing and blurring. You’re not kidding anyone Kris. Now, we actually get to see the family’s skin texture and age!
More genuinely intimate moments are shared throughout the series too. We watch Kylie aggressively snacking whilst ordering In-and-Out for instance – footage that would’ve previously been burnt. The family finally appears less concerned about appearing glamorously untouchable, instead opting for moments of touching emotional support that actually feel real.
However, one thing that the trailers have blatantly ignored is the Astroworld disaster. The carnage caused by that one event hugely affected the family as they desperately tried to save face. With Travis Scott (the face and founder of Astroworld) being the partner and baby-daddy to the most famous KarJenner (Kylie), the family was dragged down through association. A lot of the family members stepped back from social media, the driving force behind their success, due to the amount of outrage the fatal festival caused. For the family not to acknowledge Astroworld in their trailers says one of two things. Either the festival was so damaging to the family’s reputation that resurfacing it would only cause further backlash or, advertising the event as TV fodder would be deemed insensitive.
Overall, if you’re a Kardashian fan, undoubtedly you’ll enjoy the series. You get the classic Kardashian gossip with a glimpse into their work lives. Plus their kids are adorable. Saying that though, it did take me a while to enjoy the series. Major plot lines are dragged out over a number of episodes at an excruciatingly slow rate. In the past, KUWTK would have an overarching plot over a whole series, and mini-plots in each episode. Now, we have to watch Kim do SNL for three episodes, with Kourtney’s engagement dragging across several. It’s so much slower.
With that in mind, I’d only invest in Disney+ if you have an interest in pop culture and/or the family itself. Otherwise, feel free to skip this one.
Cinematically, the witch is undergoing a feminist renaissance. This occultist figure has taken many forms in recent years; from Hillary Clinton being labelled as ‘The Wicked Witch of the Left’, to Emma Watson’s BAFTA’s speech in which she exclaimed that she was ‘there for all the witches’.
Yet, to conceptualise this spell-casting monster, one cannot help but conjure up warty, crony, spindly hags with mystical means and devilish intentions. As a light example, think Queen Grimhilde from Disney’s 1937 Snow White and the Seven Dwarfs, or better yet, Angelica Huston’s grotesque visage (with a phallic nose to boot) in the 1990 adaptation of The Witches.
Throughout these films, such women are nothing more than malignant monsters seeking to cast the world into a spellbinding oblivion. Monsters, that must ultimately be thwarted for the betterment of our green and pleasant lands (or so we were supposed to believe).
In the late 19th Century, American activist, and suffragette Matilda Josyln Gage asserted something revolutionary. She argued that the persecution of witches had nothing to do with combatting evil or resisting the devil. Instead, she claimed that witch-hunts were nothing more than examples of deeply entrenched misogyny, fuelled by patriarchal fears of both female sexuality and gendered empowerment.
A witch, she argued, did not uphold the mystical malice of Queen Grimhilde, but instead she was simply a woman “of superior knowledge”. To think of witch, one must then think of woman. As Christina Larner contends, throughout the Early Modern Period of Western society, witch-hunting was quite simply ‘woman-hunting’. She argued that witches were essentially non-conformists who disrupted the Puritan ideal of the obedient, domesticated woman, who opted instead to live independently of the regimes of both church and state. In this sense, witches were the ultimate feminists.
To trace the roots of why witches have become so maligned over the years, one cannot ignore the importance of Christian scripture. Since Eve was tempted by Satan to eat the forbidden fruit, women have been considered as the morally inferior sex. And then in 1486, the Malleus Malleficarum was written. This handbook for persecuting witches essentially dictated that due to their “volatile bodies”, “insatiable lust”, and “untameable emotions”, women were considered more susceptible than men to be coerced by the Devil.
Females, it argued, were innately sinful. Women were perceived as naturally irrational, unable to resist the temptations that the devil could offer due to their carnal physicality and unbridled sexual nature. As a result of their sexual difference, woman was then conceived as ‘Other’, that which was ‘not-man’.
Because they lacked a phallus, Barbara Creed notes that fears of witchy castration were prevalent. She argues in her book The Monstrous-Feminine, that “witches were accused among other things, of copulating with the devil, causing male impotence, causing the penis to disappear”.
Photo: The Monstrous Feminine by Barbara Creed, Madsjune @Wikimediacommons
So, how best to deal with this possible threat of dismemberment? The answer? Centuries of systematic stigmatisation of the female form. Such an effort would require the consistent persecution of females until the idea of women as evil, women as subordinate and women as fundamentally monstrous became so ingrained within cultural memory that it eventually served as cultural myth.
Such myths have consequently been translated upon the big screen.
As Barry Keith Grant notes, the central truth within the genre of the horror film is that it is preoccupied with issues of sexual difference and gender. It comes as no surprise that women within horror, due to their ‘castrating’ and ‘devilish’ potential, have been victimised within the cinematic universe.
Take any slasher from the 1970s: The Texas Chainsaw Massacre, Friday 13th, or Halloween and note that the first sexually active female is reduced to a cowering, screaming, ultimately punishable victim. The same phallocentric paranoia can be seen in subsequent horror flicks like The Exorcist, Carrie, and Rosemary’s Baby.
Simply put, the persecuted witch of the 1600s fared no better than the females we see in modern horror film. Due to their sexuality, they are still depicted as evil, or weak (or both) and are fundamentally, unequivocally, irrefutably bundled upon the cinematic pyre, set alight and stamped out.
That is, until now. In the wake of the #MeToo and #TimesUp movements, females are beginning to embrace the power of the witch. To become a witch then is to embrace the power that female sexuality imbues.
As Natalie Wilson in her 2020 book notes, women are adopting a “willfull monstrosity”. She argues that modern horror witches have the power to imagine a “post-patriarchy” where “women hold the power to recast the world into something more magical”. We are currently experiencing what has been commonly known as a ‘fourth-wave’ of feminism, wherein notions of ‘choice’, ‘agency’, and ‘bodily autonomy’ have become all the more prevalent.
Films like The Witch (2015), The Autopsy of Jane Doe (2016), The Love Witch (2016), Suspiria (2018), and Midsommar (2019) have begun to take up the mantle of this monstrous figure as a means of translating such empowerment through the spellbinding language of cinema.
The witch has now become crucial in spearheading ideas of feminine empowerment and agency within a world that has unapologetically sought to undermine such notions. Historically, the witch was everything that a man feared. She was independent, she was subversive, and she was powerful.
The many female leaders of the world today have been consistently dubbed as the “granddaughters of the witches that [the patriarchy] couldn’t burn”.
To embrace the witch is to destabilise the binary. To counter archaic morality tales of good and evil and more importantly, disturb ideas of passive femininity with an active masculinity. No longer are they as dastardly as Baum’s The Wicked Witch of the West, nor are they as quaint as Glinda’s The Good Witch of the North. These new witches are now “wicked good”.
The contemporary horror genre seems to have thus served as a beacon for the change that has begun to appear, and also the change that is yet to happen. Despite the warts, crooked noses, and cloaked figures, the witch has grown more inspiring now than ever before.
Much like the character of Thomasin in Robert Eggers’ 2015 oeuvre The Witch, the modern witches of today are choosing “to live deliciously”, refuting the patriarchal institutions for a life of unadulterated feminine potency.
Ultimately, the witch represents an irrepressible sphere of exclusively female power. The tides of terror have begun to turn. And the season of the witch is upon us. Certainly, if these new horror films are anything to go by, something wicked this way comes.
Hello Oriental is a new bakery, restaurant, and oriental food shop that has recently opened on Oxford Road as part of the new Circle Square development.
The dancing Dragon may have graced your timelines in the past few weeks as part of the grand opening, a tradition for good luck. Arriving with a bang, Oxford Road’s newest residents seem to fit into the area. The building spirals down over three floors with different elements on each. There is a Chinese bakery at the entrance
Downtown level at Hello Oriental, Photo: Hannah Wellock
and you then go down to the Vietnamese mezzanine: Rice Paper Pho, and down again to Downtown Oriental, serving Oriental street food. The shape of the space creates a tunnel of light shining down into the basement floor of Downtown Oriental, replicating a busy Asian metropolis with different pockets of light.
The bakery is open and bright, the mezzanine acts as an in-between and then the darker area of Downtown Oriental has neon lights and a buzzing atmosphere. This floor is the main attraction of the restaurant. Business partners, Azim and Ricky, drew inspiration from 1-800 Lucky, an Asian restaurant in Miami, aiming to create the same environment as a busy street food market in an alleyway. The Bakery sells traditional Hong Kong oriental bakes freshly made every day. Rice Paper Pho serves fresh and healthy options including summer rolls, delicious, light and fragrant with a peanut dip, and Vietnamese salads with plenty of Gluten Free and Vegan options.
Downtown Oriental serves everything from Chinese roasts and Dimsum to Malaysian wonton and curries. The menu aims to introduce the people of Manchester to Oriental food through transitional pieces. Whilst they won’t mess with the traditional Chinese roasts, Azim described it as having “a firm foot in both camps”. Their most popular dishes include a soft shell crab burger and the Downtown loaded fries.
They’ve maintained a level of authenticity with all the chefs having experience in authentic kitchens, the wok chefs having 65 years between them and both the Dimsum master and the baker have 50 years of experience each.
The Bao Buns are also worth a mention, cooked fresh every day, steamed to order ensuring light and fluffy buns every time. I tried the Crispy Chicken Bao Bun on my visit, the chicken cut from the roast topped with red cabbage, crispy onions and hoisin sauce. Crunchy and fluffy in the same bite.
Bao Buns at Hello Oriental, Photo: Hannah Wellock
The bar stays open late with a DJ on a weekend. I tried a Mandarin Martini which came in a novel little juice carton, that was the most interesting thing about it. I’d say you get your money’s worth for this slightly overpriced cocktail in that there was a lot of vodka and not a lot of Mandarin. It was an interesting cocktail choice to say the least.
Mandarin Martinis at Hello Oriental, Photo: Hannah Wellock
To top off this multilayered Oriental experience there is also a shop selling snacks and ingredients needed to make some of the restaurant’s signature dishes. Whilst it is a great concept with a mix of new and interesting food options, it is slightly too overpriced for a student area. It feels as though it is aimed at a more professional audience which potentially may come as Circle Square fills up.
You can visit Hello Oriental Monday-Thursday 8am-10pm, Friday 8am-12am and Saturday-Sunday 10am-12am. With Live DJs on Friday and Saturday and fun challenges throughout the week like Tuesday’s all you can eat Korean Hot Wings.
Manchester has been a little lacking in musical theatre as of late – in part because the city’s premiere theatre, the Palace Theatre, has been hosting Disney’s Beauty and the Beast for a 2-month residency. However, we’re now welcoming the return of musical delights, with everything from Sondheim’s Passion, starring West End legend Ruthie Henshall, to the UK tour of the Barbican’s smash-hit revival of Anything Goes, starring another West End legend, Kerry Ellis!
Palace Theatre (Thursday 31st March until Saturday 4th June)
“Disney proudly invites you to ‘Be Our Guest’ as the most enchanted musical of all time, Beauty and the Beast, returns to the UK stage in 2022. Spectacularly reimagined using the latest theatrical innovations, this beloved ‘tale as old as time’ will be brought to life on stage like never before… Disney first debuted Beauty and the Beast on Broadway 26 years ago. Members of the original creative team have reunited on this new production that features all of the spellbinding music and lyrics of Alan Menken, Howard Ashman and Tim Rice.”
HOME (Wednesday 27th April until Wednesday 11th May)
‘I’m the new Berlin Wall. Try and tear me down!’
“Welcome to a euphoric night on the rock ‘n’ roll rollercoaster with singer Hedwig – a hedonistic genderqueer anti-heroine seemingly hellbent on destruction. This darkly humorous self-love story, powered by a live band, epic rock-inspired music and hard-hitting lyrics, explores gender identity, acceptance and the freedom to be whoever you want to be. Directed by Jamie Fletcher and starring divine drag queen and sensational songstress Divina De Campo, this multi-Tony award-winning musical breaks all the rules – challenging us all to create a world where everyone is valued and everyone is loved.”
Hope Mill Theatre (Thursday 5th May until Sunday 5th June)
“Olivier Award winner and Musical Theatre icon Ruthie Henshall will lead a reimagining of Stephen Sondheim and James Lapine’s multi-award-winning Passion at the Hope Mill Theatre. Directed by Michael Strassen this revival will reenergise the tale of love, sex and obsession in a new dynamic staging.
“Arguably Sondheim’s most lyrical and romantic work, Passion is a legendary musical based on Ettore Scola’s Italian film, Passion d’Amore. Situated in 19th Century Italy, the production tells the tale of a young soldier, Giorgio, who is obsessively pursued by the relation of his superior officer, Fosca – a woman prone to severe melancholy and mania. Exploring the consequences of intense passion and obsessive adoration, Passion is a ravishing and thought-provoking look at the lengths people go to for desire.”
Passion is also based on Passione d’Amore‘s source material, Iginio Ugo Tarchetti’s novel, Fosca.
“Song and dance legend Adam Cooper stars as ‘Don Lockwood’ alongside Charlotte Gooch, Ross McLaren and Jenny Gayner in Jonathan Church’s critically acclaimed production of Singin’ in the Rain, making a splash in Manchester this May!
“Journey back to the glamour of Hollywood during the roaring 20’s. Silent movie star Don Lockwood has it all, a string of hit films and a studio-engineered romance with the most beautiful actress in town. What Don doesn’t know is that the silver screen is about to find its voice, and a chance meeting with a talented young chorus girl set to steal his heart promises to change both Don, and Hollywood, forever.
“High-energy choreography and sumptuous set design (including over 14,000 litres of water on stage every night) combine with the charm, romance and wit of one of the world’s best- loved films. Singin’ in the Rain features the glorious MGM score including Good Morning, Make ‘em Laugh, Moses Supposes and the legendary Singin’ in the Rain. Don’t save it for a rainy day, book your tickets now!”
“Frankenstein: How To Make A Monster is a critically-acclaimed, Off West End Award Winning gig-theatre production by Battersea Arts Centre and BAC Beatbox Academy, inspired by the original monstrous tale of power and persecution.
“Part electrifying gig, part thrilling theatre, Frankenstein: How To Make A Monster is a powerful and poetic show that pushes the power of the human voice to its expressive, musical and rhythmic limits. Six performers with six microphones take apart Mary Shelley’s original and reimagine a world of modern monsters – from our over stimulated digital age to the pressures to conform – while taking musical inspirations from Pachelbel to The Prodigy.
“The production marks 10 years of nurturing rising talent and pushing the boundaries of sound and music with BAC Beatbox Academy; Battersea Arts Centre’s young performance collective. Frankenstein will leave you asking: Who are the monsters we fear? Who created them? And how the hell did they just do that with their voices?!”
Photo: BAC Beatbox Academy and Battersea Arts Centre.
“Starring past performers from the global theatrical sensation that is Les Misérables, The Barricade Boys have entertained fans around the world since they formed in 2015 and now, they are back on tour in 2022. The Barricade Boys’ Bring Him Home Tour will feature music from some of the best-loved shows from the West End and Broadway stage, including Phantom Of The Opera, Miss Saigon, Jersey Boys and, of course, Les Misérables, as well as hits from some of pop and rock music’s all-time greats including Queen, Elton John, The Beatles, Ed Sheeran and Adele.
“Blending powerhouse vocal harmonies and slick dance routines with a journey through the decades of musical theatre, the Boys are bound together by their shared experience of performing in the world’s longest running musical. A night at the musicals like no other, The Barricade Boys share anecdotes from the shows they have starred in, including the West End hits Mamma Mia, Wicked, Billy Elliot, The Book Of Mormon, The Sound Of Music and Joseph And The Amazing Technicolor Dreamcoat. Don’t miss out on this opportunity to experience a sensational night celebrating the very best of musical theatre interspersed with your rock and pop favourites!”
“35 smash hits – one pop goddess. Get ready to TURN BACK TIME in this outrageous new musical! Six decades of stardom, over a hundred million records sold. Legend, icon, Queen. She is Cher and this is her show. Music icon turned Hollywood royalty, the Grammy, Oscar, Emmy and Golden Globe award-winning Queen of re-invention has conquered it all. It’s now time to turn back time with this fiercely fabulous kick-ass new musical, from the writer of Jersey Boys.
“Three Chers is better than one! Three West End stars play Cher as we span her iconic career: Millie O’Connell (Six, Rent) as BABE, Danielle Steers (Bat Out of Hell, Six) as LADY, and the Olivier Award nominated Debbie Kurup (The Prince of Egypt, The Bodyguard) as the ultimate diva, STAR.
“The Cher Show tells the incredible story of Cher’s meteoric rise to fame, flying in the face of convention at every turn. This HUGE new production features a fresh take on her show-stopping costumes which earned her the title of “the ruler of outré reinvention” (VOGUE).
“In a dazzling glitter fest sparkling with Cher’s signature wit and style to the sounds of her biggest hits, including ‘If I Could Turn Back Time’, ‘Strong Enough’, ‘Gypsies Tramps and Thieves’, ‘The Shoop Shoop Song’, ‘I Got You Babe’, and ‘Believe’. Written by Tony award-winning Rick Elice (Jersey Boys), this brand new UK production is directed by Arlene Phillips (Grease, Starlight Express), choreographed by Oti Mabuse (double Strictly Come Dancing winner), with costumes by Gabriella Slade (Spice World Tour, SIX). Book now for a joyous party musical fit for the Queen of pop.”
“Chicago, the “sexiest musical ever” (Metro) is back in Manchester for one week, only starring Coronation Street’s Faye Brookes (Dancing On Ice, Grease, Legally Blonde) as Roxie Hart and West End star Djalenga Scott (Annie, Chicago, West Side Story) as Velma Kelly. Murder, greed, corruption, exploitation, adultery and treachery…all those things we hold near and dear to our hearts” So begins the international multi-award-winning musical, Chicago.
“Set amidst the razzle-dazzle decadence of the 1920s, Chicago is the story of Roxie Hart, a housewife and nightclub dancer who murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.
“Created by the musical theatre talents of John Kander, Fred Ebb and legendary choreographer Bob Fosse, Chicago’s sexy, sassy score with one show-stopping song after another includes ‘Razzle Dazzle’, ‘Cell Block Tango’, and ‘All That Jazz’. With 6 Tony Awards, 2 Olivier Awards, a Grammy and thousands of standing ovations, Chicago truly is “SUPERB” (Daily Telegraph). Don’t miss out, book now! It would be criminal to miss it…”
Also starring Sheila Ferguson (former lead singer of the Three Degrees) as Matron “Mama” Morton!
“One of Britain’s greatest modern plays, The Rise & Fall of Little Voice, is embarking on a UK Tour this year. The Olivier Award-Winning comedy-drama from Jim Cartwright has earned international acclaim across the globe, including a Golden Globe winning smash-hit film starring Jane Horrocks and Michael Caine.
“Meet Little Voice and Mari Hoff. A mother and daughter central to the heart of this Northern fairy-tale, but as far apart in character as can be. Little Voice leads a quiet and unassuming life, seeking companionship and joy from music’s most iconic singers, whilst Mari prefers the sound of her own voice, indulging in a life of booze, cheap thrills and seedy men.
“Left to her own devices, LV starts to embody the famous divas she plays on repeat, swapping the grey backstreets of Northern England for the bright lights of Hollywood and Broadway, all from the safety of her own bedroom. When Mari starts dating small-time club owner Ray Say, LV’s astonishing impersonations of Shirley Bassey, Marilyn Monroe and Judy Garland to name a few, are thrust into the spotlight. Transformed and sensational, LV might just be Ray’s one and only chance to hit the big time, but what will the consequences be for mother and daughter?
“Starring TV favorite Shobna Gulati (Coronation Street, Dinnerladies, Loose Women), British soap royalty Ian Kelsey (Emmerdale, Casualty) and ‘the girl of a thousand voices’ and two-time Drama Desk Award Nominee Christina Bianco, as Little Voice. Cartwright’s timeless and iconic tale explores the highs and the lows of small-town dreams, family rivalry and finding your voice in a noisy world. With humour, heart and countless powerhouse ballads all performed live on stage, featuring music from Judy Garland, Shirley Bassey, Billie Holliday and many more, this life-affirming production will rouse even the weariest of souls.”
“Anything Goes is the ‘musical equivalent of sipping one glass of champagne after another’ (The Times) and as ‘delightful, delicious, and buoyant as helium’ (Evening Standard). The show will star Multi Award Winner Kerry Ellis(Wicked, We Will Rock You)as Reno Sweeney and Olivier Award Winner Denis Lawson (Bleak House, Star Wars) as Moonface Martin. Joining them on board is Oliver Award Winner Simon Callow (Art, Death in Paradise) as Elisha Whitney and Musical Theatre Royalty Bonnie Langford (EastEnders, 9 to 5) as Evangeline Harcourt.
“Featuring a 50 strong cast and ensemble of the finest we have to offer on stage (including tap dancing sailors!) and a full-sized live orchestra, this uplifting production of Anything Goes features heart-warming romance, farcical fun and spectacular show stopping dance routines. Directed by the multi-award-winning Broadway director and choreographer Kathleen Marshall, this gold plated production features Cole Porter’s joyful score, including ‘I Get A Kick Out of You’, ‘You’re the Top’ and the show stopping ‘Anything Goes’.”
Palace Theatre (Monday 27th June – Saturday 9th July)
“Brace yourselves sisters – the habit is coming to Manchester! Don’t miss this eagerly anticipated brand new production of the Broadway and UK smash hit musical Sister Act. This hilarious musical comedy is premiering in Manchester ahead of a major London run.
“All your prayers have been answered this summer with a stunning all-star cast, including national treasure and comedy legend Jennifer Saunders as Mother Superior and The Greatest Showman’s incredible Keala Settle. They are joined by TV and West End legend Lesley Joseph, Olivier Award-winner and star of Tracy Beaker Clive Rowe, West End sensation and Hairspray favourite Lizzie Bea and Emmerdale and Waitress star Sandra Marvin as Deloris, everyone’s favourite nun on the run!
“Disco diva Deloris’ life takes a surprising turn when she witnesses a murder. Placed under protective custody she is hidden in the one place she shouldn’t be found – a convent! Encouraged to help the struggling choir, she helps her fellow sisters find their true voices as she unexpectedly rediscovers her own.”
“Featuring original music by Tony and 8-time Oscar award-winner Alan Menken (Disney’s Aladdin, Enchanted) and songs inspired by Motown, soul and disco, this heavenly musical is joyous and uplifting in equal measures. A musical sent from above, Sister Act is the brilliant, must-see show which raises the spirits and warms the soul time after time.”
“Chichester Festival Theatre’s critically acclaimed, landmark production of Rodgers & Hammerstein’s South Pacific launches in Manchester for 9 performances only in 2022, directly prior to a London season. This powerful love story, set on a South Pacific island during World War ll, is brought thrillingly to life in an epic new five-star production directed by Chichester Festival Theatre’s Artistic Director Daniel Evans (Me and My Girl and Fiddler on the Roof).
With a sensational cast of over thirty led by Julian Ovenden (Bridgerton, Downton Abbey, Merrily We Roll Along and Grand Hotel) andGina Beck (Matilda, Wicked and Les Misérables), and a full orchestra, this ravishing musical is set to be the must-see theatrical event of the year. Boasting one of Rodgers & Hammerstein’s most memorable scores, this much-loved Tony and Pulitzer Prize-winning musical features songs such as ‘Some Enchanted Evening’, ‘I’m Gonna Wash That Man Right Outa My Hair’ and ‘Bali Ha’i'”.
Palace Theatre (Tuesday 9th August – Saturday 13th August)
“You Loved Them For A Reason. Now, for the first time, you can see this sensational new musical and relive one of the world’s biggest ever boybands. The Osmonds: A New Musical tells the official story from Jay Osmond about the five brothers from Utah who were pushed into the spotlight as children and went on to create smash hits decade after decade. From their star residency on The Andy Williams Show, to the arrival of Donny and Marie, The Osmonds lived a remarkable life recording chart topping albums, selling out vast arena concerts and making record breaking TV shows – until one bad decision cost them everything.
Directed by Shaun Kerrison and choreographed by Olivier Award winning Bill Deamer, this brand new musical features a chart topping list of anthems including Love Me For A Reason, Crazy Horses, Let Me In, Puppy Love, One Bad Apple, Long Haired Lover From Liverpool, Paper Roses and many more, The Osmonds: A New Musical will take you back to the relive 60s…the 70s…the 80s…. We’re Having a Party and you’re invited to join us for this night of drama and nostalgia.”
Opera House (Friday 2nd September – Saturday 1st October)
“A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now. Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
“Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with a book by Karey Kirkpatrick and John O’Farrell, original music and lyrics by Wayne and Karey Kirkpatrick, (the Tony Award-nominated team behind Something Rotten!, along with O’Farrell), direction by 4-time Tony winner Jerry Zaks (Hello, Dolly!), scenic design by David Korins (Hamilton), choreography by Lorin Latarro (Waitress), and music supervision by Ethan Popp (Tina: The Tina Turner Musical).”
“With 24 of Queen’s biggest hits and Ben Elton’s hilarious futuristic comedy writing combined, comes a show that boasts the scale and spectacle that marked the band’s legendary live performances. This global phenomenon will continue to be one of the most spectacular musicals to tour the United Kingdom & Ireland. The multi-million-pound show dazzles all the senses in breath-taking style. Guaranteed to blow your mind, this musical phenomenon is not to be missed!
“Since 2002 over 16 million theatergoers in 19 countries have thrilled to this awe-inspiring production. With 24 of Queen’s biggest hits delivered in a show that boasts the scale and spectacle that marked the bands’ legendary live performances. 24 of Queen’s greatest hits, including Radio Ga Ga, Killer Queen, Bohemian Rhapsody and, of course, We Will Rock You!
“Taking on the role of Galileo is Olivier Award nominee Ian McIntosh (Beautiful – The Carole King Musical, The Commitments), who will be joined by Elena Skye (Les Misérables, Kinky Boots) in the role of Scaramouche. Playing Killer Queen is Jenny O’Leary (Heathers The Musical, Rent), with Michael McKell (Macbeth, Blood Brothers) as Cliff. Adam Strong (Jesus Christ Superstar, Rock of Ages) will take on the role of Khashoggi, with David-Michael Johnson (We Will Rock You, Germany, Jesus Christ Superstar) reprising the role of Brit and Martina Ciabatti Mennell (Pretty Woman, We Will Rock You) playing Oz.”
“Let your soul sing with the dazzling multi-award winning Dreamgirls at Palace Theatre Manchester in 2022! Direct from the West End with an extraordinary story and the unforgettable, spine-tingling vocals that send audiences wild, this spectacular musical production features the classic songs ‘And I Am Telling You I’m Not Going’, ‘Listen’, ‘I Am Changing’ and ‘One Night Only’.
“Meet The Dreams – Effie, Lorrell and Deena – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. Join the three friends as they embark upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of show business, testing their friendships to the very limit.
“Nicole Dennis will play the iconic role of Effie White. Her credits include Dear Evan Hansen, Dreamgirls (West End production) and finalist on ITV’s The Voice in 2019 where she wowed viewers and judges singing ‘And I’m Telling You I’m Not Going’ with team mentor Jennifer Hudson.”
Photo: Dreamgirls.
So, there you have it. It’s going to be a marvellous, musical summer here in Manchester!
The year is 2022, and there’s a film starring Nick Cage, playing Nick Cage – and yet the film isn’t actually about the real life of Nick Cage. It’s a bizarre concept, to say the least, but did the meme king make a film worth watching?
When I first heard about this film by watching a trailer, I knew that I needed to see it because whether good or bad, it was going to be a fun time. I’m not entirely sure how to sum up the plot of this film, but I’ll give it a shot: Nick Cage is a struggling film actor and wants to retire from acting until he receives a $1 million offer to be a guest of honour at a superfan, Javi Gutierrez’s (Pedro Pascal), birthday party. Javi wants Nick to star in his film, and after initially refusing, the film turns into a Nick Cage and Pedro Pascal buddy-cop film where the CIA are involved. I told you it was going to be weird, but somehow, it worked.
When I saw that the film was co-written and directed by Tom Gormican, I had little faith in the film, I cannot lie. Whilst he hasn’t done much, he was a co-producer for Movie 43 (2013), which was one of the worst films I’ve ever had the displeasure of seeing. Whilst The Unbearable Weight of Massive Talent has issues for sure, this is a definite improvement and defied my expectations. The film feels like it could be five separate films as it tries to cram too much into the plot to become almost universally likeable. It has it all – a meme king as the star, a billion celebrity cameos (Pedro Pascal, Tiffany Haddish, Neil Patrick Harris and Demi Moore but to name a few), a family-orientated plot and enough action to keep people entertained. Each aspect could have been developed further in my opinion, but because there was so much going on that proved to be impossible. For instance, I’d have liked a larger focus on Nick Cage’s fictional family to see the true extent of how Nick’s lifestyle impacts his daughter. Although we did get insight into this, there was little time devoted to it to allow me to have any form of emotional connection to the film.
With what the film may lack in emotional connection, however, it does make up for it in Nick Cage references. There are a lot, as there should be in a film devoted to Nick Cage, but not an unbearable amount. I think portraying Nick Cage as a self-obsessed actor who questions his actions based on what his past self would have wanted (portrayed accordingly by a horrifying CGI rendition of younger Nick Cage, named Nicky Cage) worked because it brought in references to Con Air (1997) and Wild at Heart (1990) that worked as an effective comedic punch. By making Javi (Pedro Pascal) a Nick Cage superfan, the references throughout the film felt natural rather than too forced, and I loved that some of the references came back as larger plot points.
For a film that shouldn’t work, I’m surprised by how much it does. There were times when I genuinely laughed out loud, and that’s more than what most films manage to achieve. Is it a masterpiece? No. Does it have issues with pacing and having a coherent plot? Absolutely. But did I enjoy it? Yes. If you enjoy Nick Cage, or Pedro Pascal, they were both fantastic in this film. Their chemistry was very good together, and I enjoyed every minute that they were on screen. If you have a few hours to kill, I’d definitely recommend The Unbearable Weight of Massive Talent if you want to watch a film that doesn’t need too many brain cells to watch.
Arriving to TheWombats first night (of three) in Mountford Hall, Liverpool Guild of Students, I had high expectations; these expectations unfortunately dropped just short. The night was eventful to say the least – good music, but with the strong smell of dehydrated urine. This is not the responsibility of the band, however when it came to the set, I have to say the set list seemed somewhat scattered and I think it could have been better ordered.
The Wombats are an indie rock band formed in Liverpool in 2003 and are currenting touring All the Hits! Three of the eight shows on this tour were in their hometown. The tour was well received by the fanbase, resulting in an extension – adding dates in August and November. Their latest album Fix Yourself, Not the World reached the UK number one spot. Surprisingly this was their first number one album.
Photo: The Wombats ‘All The Hits!’ Official Tour Poster
The crowd was typical for an indie rock band, with fans ranging from 14 to mid-thirties, and of course the Radio 4 dads at the back. The balcony was mostly 40+ couples. Entering the venue there was definitely a feeling of a predominantly male crowd, however once inside it was almost levelled out. It was very busy, and I would argue oversold with the amount of people in the crowd. The Wombats have a huge following; this being clear with three shows in hometown Liverpool and the quantity of Wombats’ merch, specifically t-shirts, amongst the crowd.
The venue reminded me of a school assembly hall and I’m not sure it did the band or sound any favours…
The first support was Rivia, an alt-rock band based in Liverpool. The next two Liverpool shows have supports from The Peach Fuzz and Natalie Mccool. It’s great to see The Wombats giving a platform to up-and-coming artists and bands.
Vistas introduced themselves early on, emphasising that they are from Scotland. They were a solid support act and kept referring to The Wombats, showing their gratitude to be on tour with the band. By getting the audience excited for the main event, the purpose of a support, they definitely delivered. The set lasted less than 40 minutes but they sounded great throughout. My one critique as such was it didn’t feel like much of a ‘performance’, with the crowd only really becoming fully engaged with Vistas towards the end of their set. Having said this, I would say this is quite common with support bands due to the majority of the crowd attending the gig for the headliner.
Then came on The Wombats, the moment we’ve all been waiting for… but they started with ‘Flip Me Upside Down’ – a song from their latest album. This didn’t do the job of getting the crowd pumped and engaged immediately. Following on immediately with ‘This Car Drives All by Itself’, again, there was a lack of acknowledgment or engagement from the crowd. This start was a bit mediocre.
After these two songs The Wombats introduced themselves and addressed the crowd before playing ‘Moving to New York.’ Immediately this song got a roar from the crowd and the atmosphere was buzzing. Without a doubt they should have started with this song. Moving onto ‘Cheetah Tongue’, this again maintained the crowd and the band had great energy on stage. Pausing after these two songs to speak to the crowd, The Wombats showed their caring nature stating, “Be careful with pushing in the crowd, if people fall over pick them up!” This of course is lovely, but again reaffirms that it was VERY crowded and potentially oversold. Plugging their fifth album, they of course dropped the subtle flex in that it reached number one. They then played ‘Ready for the High’ from this latest album; there wasn’t a huge crowd buzz until about halfway through the song.
Following on Matthew Murphy, The Wombats’ frontman, revealed that he used to live in London, with an immediate boo from the crowd. The classic North vs South competitiveness was in full swing. The next song ‘Techno Fan’ was about Matthew’s time living in London. This was played incredibly, sounding better live than it does on the record. The long outro was met with the introduction of ‘Pink Lemonade’ as “This is part of a two-part series on my favourite fruit… which is a lemon.” Again, the crowd was buzzing; the common theme being the older tracks being better received than the latest ones.
The set continued playing ‘Everything I Love is Going to Die’, fading into ‘1996’, and then ‘Kill the Director.’ I’m going to be honest, I wasn’t paying much attention during these few songs as I was focused on the fact someone threw their urine over me and I stank. This resulted in a toilet break to scrub and wash my arms and asking a poor woman if I smelt like pee – bless her. However, I can safely say the sinks and soap at Liverpool Guild of Students are of good quality.
‘Lemon To a Knife Fight’, the second part of the favourite fruit series, received a huge crowd reaction beforehand, and energy remained throughout the song. This led onto an acoustic rendition of ‘Lethal Combination.’ I think acoustic versions at a live gig can sometimes be risky with the potential to lose crowd engagement, however this song didn’t fall short, and actually I think the change in tempo was beneficial to the set. The transition from this acoustic version into ‘Tokyo (Vampires & Wolves)’ was seamless and the buzz from the crowd was met with intense strobe lighting. The crowd were all clapping, in sync, to the beat – The Wombats have formed their own cult.
Photo: Serena Jemmett @ The Mancunion
The introduction to ‘If You Ever Leave, I’m Coming with You’ was sentimental, with Matthew telling a brief personal anecdote that this track was written about his wife who had said to him “If You Ever Leave, I’m Coming with You.” A heart-warming moment to say the least. This song was performed very well, and it sounded great. The “last song” was ‘Greek Tragedy’, which naturally was well received by the crowd, especially given the song has gone viral on TikTok.
As soon as they left the stage, the crowd started chanting “one more song.” They returned to the stage playing ‘Method to the Madness.’ Again, I think this song choice was surprising, as the crowd didn’t really get re-engaged until the very end – this being due to it being a slower song. In my notes I wrote it was a bit wishy-washy and I can’t think of a more sophisticated was of writing this… They almost made it harder for themselves by re-starting with this song. This is why I think the set list and play order was muddled.
‘Let’s Dance to Joy Division’ was massive! In my opinion they should have started with this song, OR this should have been the first encore song. Of course, I’m referring to the “I’m back in Liverpool” lyrics, and I think this could have been used and optimised better. Having said this I, without a doubt, enjoyed the song and they sounded very good.
With thanks to the fans and the supports, Matthew concluded with “it’s a pleasure to be home for three days, this is our last song called ‘Turn.’” The crowd cut him off with a scream and with a heavy drum and beat, the final song ended the night with a bang. The multi-coloured strobes and confetti were a beautiful sight to end the almost two-hour set.
Photo: Serena Jemmett @ The Mancunion
My overall conclusions are that despite the tour being called All the Hits!, I would argue not all the songs played would be regarded or defined as “hits”, but maybe I’m being picky. The set would have been just as good with a few less songs, and I think a restructure of the set list would be beneficial. I say this having still had a great night and enjoyable experience, but given it’s The Wombats, who have a reputation, I obviously had higher expectations.
Tornado Dreams by Daisy Harris is a refreshingly organic album with singing and playing that comes straight from the heart. In a world where so many songs are carefully compressed and micro tuned vocals sung over rigid quantised beats, this tapestry of longing, heartbreak, and pensive introspection stands out with its acoustic and holistic approach. You’re sure to stay around and see it all with the strong melodies and catchy instrumentals Harris has written. Check this out if your a fan of folk, indie-pop, or want to enjoy some well-written music by a UoM student.
The star of the show is Harris’ voice. Its allure is immediately shown with the beautiful undulating harmonies on the first track ‘Shona’. Throughout the album their singing is consistently rich with authentic expression that perfectly matches the themes of the songs. The tracks ‘Again and Again’ and ‘How Do You Like It’ were stand out performances. A few times, more extroversion felt suitable in the voice on a song like ‘Baby You’re Bad Luck’ with its punk elements. Especially when the artist is exasperated with someone who “only rings [them] when they’re bored”.
On Tornado Dreams Harris shows her skill for track-listing. This album could have been a collection of expansive, dreamlike songs. Instead, Harris smartly changes gears every few tracks by putting in songs with a more rhythmic feel. Just as you are settling into it, songs like ‘All the Time’, ‘Dreamer’ and ‘The Boy’ come along to make sure you aren’t sitting too far back in your seat. ‘East Midlands Soliloquy’ sums up this technique nicely. In the beginning it is small and intimate, and then Harris counts in more instruments to change its mood to a sound with more energy.
Production is very much DIY. This didn’t bother me. It never got in the way of Harris’ artistic vision and I think it actually adds to the charm I spoke of at the beginning. Sometimes their singing and the repeating refrain on the guitar don’t blend entirely; on ‘Come Home’, I found the guitar too prominent. ‘Get Free’ achieved the balance I was looking for. On this track I could hear their voice and the guitar line well, without the guitar sticking out.
There are 16 tracks on this album and I think some of them didn’t need to be there. Harris is a great lyricist and whereas the lyrics from other tracks really caught my ear (examples include the aforementioned ‘Again and Again’ and ‘How Do You Like It’, then ‘Dandelion Salad’) songs such as ‘Gregory Crewdson’ and ‘Foreverforever’ didn’t speak as much as others. I also would have chosen to finish this experience on ‘The Boy’ and not on ‘Gelato’. It doesn’t blend with the sonority of the other songs and finishing on ‘The Boy’ is would make it a more a satisfying journey.
In summary, Tornado Dreams, is a solid and interesting musical experience. I can definitely see myself returning to album to listen to Harris’ captivating voice, lyrics, and instrumentals in the future.
Favourite Song: “Dreamer”
Favourite Lyric: “Still as a doll with a deafening heartbeat.”
Keep up with Daisy Harris’ releases and gigs on Facebook.
Last weekend I had the pleasure of seeing Kae Tempest perform at the Albert Hall in Manchester for the opening night of their “The Line Is A Curve” tour, and it was spectacular.
As a longtime Kae Tempest fan, following them and their work since the days of Everybody Down, I was thrilled to hear at the start of the year that an album was on its way, all the more so when the first singles graced our ears proving that the calibre was to be as strong as ever. It then occurred to me that as an aspiring music journalist and with the help of the lovely Mancunion’s music section I could cover this release, and over the last couple of months have done just that, writing on its singles, its release, and now its performance. The whole process has been a treat, start to finish, but I’d be lying if I said the performance wasn’t the highlight.
Oozing with charisma, Tempest delivered an electrifying performance truly worthy of their namesake. Conducting the audience with ease through a spectrum of emotions, from tear-jerking renditions of classics to straight bar-spitting hip-hop-esque energies charging the room, Kae demonstrated a masterclass in live performance. The atmosphere? Ecstatic.
Before diving into the details of Tempest’s set, and ultimately returning to shouting their praises from rooftops, there are first a few less positive points which deserve mentioning. Keen to focus on the positives as much as possible, I’ll address these quickly now so they can be done with.
The first, and most significant issue was the choice of venue. Having never visited the Albert Hall before, the first thing I noticed upon arrival was the beautiful interior design, the wonderful stained glass windows, and the lovely high ceilings of the former Methodist hall. Then I noticed where we’d be seated.
For those unfamiliar with the Albert Hall, the stage is situated on the first floor with space for standing audience members. On the second floor there is a raised seating area overlooking the crowd below, formed in a horseshoe around the stage. The ‘seats’ are essentially curved benches formed by a flight of deep stairs, offering nothing in the way of back support. They were profoundly uncomfortable, so much so that throughout the show I could see audience members forsaking their seats to come downstairs and get away from the discomfort, including those who’d paid extra for seats in the VIP section. Whilst this may be but a minor frustration for those who can stand for a three hour performance, for those who can’t such a seating area hardly makes for a pleasant experience. This brings me onto a wider issue with the venue: accessibility, or rather the lack thereof.
In my opinion, the Albert Hall is not an accessible venue. So far as I could tell there were no provisions for wheelchair users, lacking a lift and the only access to the venue being multiple flights of stairs. Furthermore, the restrooms are in the basement, three flights down from the seating area, so for those who are able to make it up but with difficulty, toilet trips are likely to be quite a challenge. So, beautiful as the Albert Hall is, I wouldn’t be quick to recommend it to gig promoters.
The other slight shortcoming of the evening was the opening performance by the tour’s support act, Shungudzo.
Though evidently very talented, Shungudzo’s set was rather underwhelming. Somewhat unfairly to her, I think this was due to a few factors outside of her control. First and foremost, it seemed like the sound engineer only switched on at the end of her performance, as the vocals were far too quiet, so much so that even sat almost inline with the speakers we couldn’t hear her introduce herself and had assumed she was just soundchecking.
Eventually the vocals were turned up a bit and we could hear her, but this initial floundering seriously took away from the performance as a whole. Even then though the audience seemed hardly engaged, partly perhaps because the light let in by the stained glass windows left the room looking almost like a grey haze, but also I think because the demographic had been misjudged. The majority of the audience were an older crowd who more or less talked en masse throughout Shungudzo’s performance, not interested in the more pop-esque grooves that were being pumped out. The younger heads in the audience seemed to get it more, but outnumbered significantly these few bobbing heads were lost in a sea of otherwise seemingly disinterested middle-aged folk.
It was a shame to have the support fall a bit flat, but fortunately this didn’t take much away from what would shape up to be a phenomenal evening. So with these few caveats addressed, allow me to return to the realm of positivity to discuss what I can honestly call one of the finest live performances I’ve ever attended.
Having been hyped for this gig for months, and having spent the previous 48 hours travelling back on a nightmare 2-day train journey from Cornwall to Manchester to attend this gig, I was pretty disappointed to have spent two hours sat on uncomfortable benches watching a set I couldn’t even hear properly. By the time Kae was about to come out, I can confess my concerns that either through persisting technical difficulties or an uninterested audience, the concert was set up to be a disappointment all round. I could not have been more wrong.
Kae’s performance can be summarised as having had two halves, first performing The Line Is A Curve before playing what they jokingly referred to as “the hits”. Before beginning though Tempest took some time to discuss the significance of the performance to them, not only for its being the first concert they had performed since the Coronavirus Pandemic, but also as a marker of a personal journey, remarking “it’s taken me thirty-six years and I’m here”. Then the music for ‘Priority Boredom’ kicked in and things really began to heat up.
The performance of The Line Is A Curve was superb, demonstrating clearly Kae’s capability to command a room right from the very outset. It’s always interesting to see how an audience reacts to hearing new material live for the first time, and I’m glad to say it was received exceptionally. Every song seemed to land perfectly, creating the intended response at each turn, shifting from hard hitting flows of ‘Nothing to Prove’ into the intense introspections in ‘No Prizes’, the intense emotionality of ‘Salt Coasts’ and then back into pure rhythms and vibes for ‘Move and More Pressure’. ‘Grace’ closed out the first half beautifully, cementing its merit as the album’s finale, for whilst a departure from its energetic predecessors the sheer serenity it evokes brought the room together to reflect as one on love and the grace with which it touches our lives.
After such a stellar performance of The Line Is A Curve, I’d expected Kae to perform a short selection of their older material before making their leave. Again, I was wrong, as Kae went on to perform another hour’s worth of classics from across the previous albums.
Opening with a powerful a cappella delivery of ‘Brand New Ancients’, Tempest returned to their slam poetry roots, drawing the crowd in before blasting the beat of ‘Europe Is Lost’ over the speakers and proceeding to just shell it down the mic. The crowd went mental. As any hip-hop head knows the value of an enclosed venue cannot be understated, the ceilings encase energies, beats fall in on themselves and the crowd begins to move as a singular wave. Persevering this momentum, Kae went on to perform a melody of ‘Marshall Law’, ‘Ketamine For Breakfast’, ‘Theme From Becky’ and ‘Circles‘. As a huge fan of both Everybody Down and Let Them Eat Chaos this was possibly the most exciting way to deliver so much of the adored legacy records into a short time frame, a feeling seemingly felt throughout the auditorium as the response rose indefinitely.
As the set wound down, two unforgettable performances from The Book Of Traps And Lessons brought not only the audience together, but the themes which had permeated the entire evening. The first of these, ‘Firesmoke‘, can only be described as gorgeous. As an aspiring writer and an unfathomably amateur poet, particular when writing for my partner, ‘Firesmoke’ is the epitome I strive for. I remember hearing it for the first time and being left speechless at its beauty. If love could ever be summarised in two minutes it would be here, and its performance live was all the more special, a whole room left enamoured with love itself.
If ‘Firesmoke’ can be understood as Kae’s representation of love between two, the gig’s finale, ‘People’s Faces’, should be understood as showcasing the importance of love between all people. I can confess that every time I hear this song I well up, and no exception was made for being in the Albert Hall. Tying together the themes of unity, love and the idea that “all life is forwards”, ‘People’s Faces’ rounded out the night superbly, precipitating a standing ovation of teary-eyed fans embracing one another.
Kae Tempest’s performance at the Albert Hall was truly spectacular and will hold a special place in my heart for years to come. I can’t wait to see it again later in the tour and I can’t recommend it enough for those thinking of seeing them play. My thanks to Warren Higgins, Chuff Media, The Mancunion, and of course Kae for an unforgettable evening.
For tickets, music, and more on Kae Tempest, visit their website here.
Have you ever thought about why you find a specific person beautiful? Maybe it’s their pearly white teeth or their healthy, radiant hair. Or maybe it’s because the way they look mirrors Western beauty norms.
A lot of the social norms that we follow today in everyday life stem from colonialism and imperialism. Beauty has usually been associated with the colonial idea of what’s attractive and the white race is favoured in this. This includes having fair skin, being thin and having light-coloured eyes. This image of beauty is projected onto many women in society and plays a huge part in developing body image and self-love.
Many women of colour are constantly changing their appearance to match this white feminine ideal which is only truly achievable to a small population. By not having these features, many women feel inferior and less desirable. Women of colour are beautiful and should not be excluded from the perfect image of beauty. Ideas of beauty should not be colonised.
The damaging impact of these standards
From skin bleaching to fatphobia, female Eurocentric beauty standards have been internalised into the minds of both men and women in society, forcing women into extreme lengths to stray away from this. An example of this is model Bella Hadid who had rhinoplasty surgery at the age of 14 which altered the nose of her ancestors to conform to Eurocentric beauty standards. Her sister Gigi Hadid inherited more of her mother’s Dutch genes as opposed to her father’s Palestinian ones like Bella. Gigi was seen as prettier as she had more Western features such as her nose and being blonde. Many young women of colour are conditioned into wanting Eurocentric features from an early age and many undergo cosmetic surgery to erase their ancestral features. This also brings into question notions of social class as many working-class people are unable to afford these procedures. It brings about an inequality and the perception that you need to be rich to be pretty as you can afford a certain look and lifestyle.
These ideals impose negative affects upon the mental health of many young women. This involves feelings of not being good enough and the need to constantly alter their appearance to fit the standard. With many other women in society doing the same, it doesn’t appear as harmful as it is the norm.
The role of straight men
It is also important to note how male standards tie into this. Men also internalise these standards on what is deemed to be beautiful and what is not thus making it a continuous sight in society. This male gaze also exists within many women who judge themselves according to what others find attractive as opposed to objectively viewing themselves. Men are also subjected to beauty standards, there is no denying that, however not to the same extent as women. Men are accredited for their personality traits and being attractive is seen as an added bonus. Women are not held to the same degree, their prettiness comes before anything else about them is known. Straight women then have to strive to possess this “trophy wife” look in order to feel desired by men. This differential treatment is also seen when it comes to bodily hair where women are seen as less beautiful or hygienic if they do not remove it which is not the same standard for men.
Photo: pxhere
A better future
Movements such as the body positive and Black is Beautiful movement have brought about change to the way we as women view ourselves and beauty. As a society, we are becoming more accepting however there is still a lot of conditioning to undo. Not fitting the beauty standard does not make you ugly. Beauty is subjective and comes in many different forms. Embrace your natural hair, love your ancestral nose. All women are beautiful in their own, unique way.
Another Sally Rooney adaptation is coming to BBC iPlayer on May 15th which means we should all prepare ourselves to feel emotionally devastated all summer.
This time it’s Conversations with Friends, Rooney’s first novel released in 2017, that’s getting the silver screen treatment in safe hands with the team behind 2020’s lockdown sensation Normal People.
Dealing with more mature characters than Rooney’s sophomore novel, Conversations follows Frances and Bobbi, ex-girlfriends who are still friends and recent graduates. When they meet accomplished photographer Melissa and her husband Nick, a failing actor, at a poetry open-mic night a complex affair begins.
The most pivotal part of the story is the chemistry between Frances (Alison Oliver) and Nick (Joe Alwyn), so if this aspect of the show falls flat then so will the jeopardy and secrecy in their relationship. The adaptation also boasts an impressive cast of recognizable faces such as Sex Education and Girls actor Jemima Kirke as elegant Melissa and relative newcomer Sasha Lane as incorrigible Bobbi.
Much of the criticisms surrounding the book were concerning the unlikability and coldness of the characters. Conversation with Friends is a little more adult than Normal People, since the characters are in a different stage of their lives there is a greater distance between the audience and character as we don’t get to see them growing up.
However, so many coming of age stories are focused around teenagerhood, when a lot of the real maturing we do is when we’re out in the world on our own, I’m intrigued to see how this stage of life is depicted onscreen, particularly with queer characters.
Look forward to and expect multiple shots of Dublin and Trinity College, a hauntingly brilliant Phoebe Bridger’s track written exclusively for the show, subtle class commentary, wine drinking and a LOT of heartache.
No-one hates FIFA more than the people who actually play it. Dodgy connections, inexplicable goalkeeping, over-the-top through balls, Presnel Kimpembe… all the things listed here can reduce a regular player to a cold sweat. But if there’s anything that can bring all players together, it’s the iconic soundtracks that come with each edition. Everyone remembers the one particular song that reminds them of their childhood. From indie-rock jams and Britpop classics to dance anthems and fresh grime tracks, there’s something for everyone in a FIFA soundtrack. Resident Mancunion FIFA players Dan Knight and Charlie Morton have taken it upon themselves to find some of their favourite ever tracks from games past and present.
FIFA 2002 – FIFA 09
Gorillaz – ’19-2000 (Soulchild Remix)’
Dan Knight: An outstanding track from Damon Albarn‘s eclectic side-project Gorillaz, this is the oldest tune on the list, coming from way back in 2002. Featuring Albarn’s unmistakeable vocals, a bouncy electronic backing and the characteristic cynical lyrics of the band, this is the song you’d have heard as your older brother refused to let you have a turn on the Xbox. On par with the other great Gorillaz track from FIFA 11, ‘Rhinestone Eyes.’
Caesars Palace – ‘Jerk It Out’
DK: How could we leave out arguably the most iconic FIFA song of all time? Whilst the Swedish band never had another hit in the same way, the brash stylophone riff that opens this track is instantly recognisable as belonging to one of the biggest anthems of the decade. Blasting this as you organised legends like Zidane, Nedved, Raul and Shevchenko into a team is something very difficult to match in terms of vibe and nostalgia. No list of best FIFA songs is complete without this.
The Stone Roses – ‘Fools Gold’
Charlie Morton: Probably the best song from any FIFA game, this 80s classic is still getting played on the radio and in clubs, but even on a FIFA soundtrack it was just perfect. Despite its release predating the game by 24 years, it shows its timelessness by slotting in amongst music over two decades younger. That instantly recognisable bass and Ian Brown‘s unique style combine to make it one of FIFA’s most iconic.
The Streets – ‘Fit But You Know It’
CM: Part of the beauty of this song is how much it splits opinion. Mike Skinner‘s offbeat rambling about a girl he meets on a night out over the top of a simple garage beat shouldn’t be nearly as good as it is. It might not be the most typical FIFA song ever, but it’s too good to miss off this list. For those who played the game at the time, its distinct sound will bring memories flooding back.
New Order – ‘Blue Monday’
CM: ‘Blue Monday’ is another song that well predates the game’s release, but again to the same success. Despite being released in 1983, this electronic anthem didn’t feel out of place in a mid-2000s game. The famous intro gave the song an immediate impact when it cropped up, and had it been released closer to the game’s era, it would certainly be considered much more of a FIFA song.
Sam Sparro – ‘Black & Gold’
DK: A proper childhood classic for all of us, this track fights off some strong competition from the likes of Jupiter One, MGMT and FIFA veterans Ladytron to land a spot on our list. Aussie one-hit wonder Sam Sparro croons his way through a tale of fish walking, apes growing tall, stars falling out of the sky, tears rolling into the ocean and all sorts else. This rocking as you got ready to take apart defences with Ronaldinho or run through opposition teams on Beginner difficulty in Be a Pro mode was something else.
FIFA 10
The Enemy – ‘Be Somebody’
DK: This Coventry outfit were once seen as part of the future of British indie music, before rapidly falling off after their outstanding debut We’ll Live and Die in These Towns. Their follow-up, Music for the People, was panned (rightly so), but this track is arguably the sole saving grace. A punchy opening riff is followed by a typically Enemy chorus, featuring typically aspirational lyrics. Also featured as part of ITV’s FA Cup coverage for a time, this song absolutely screams football. I spent a summer playing the old Manager Mode on my old 360 back in the day, and every time I play this track, I can see my virtual Sheffield Wednesday team bagging goals that almost certainly made no sense. This was proper FIFA.
Tommy Sparks – ‘She’s Got Me Dancing’
CM: This song was Tommy Sparks’ only single to chart in the UK, but what a single it is. It’s comfortably one of the catchiest songs from any FIFA soundtrack, and will have you singing its basically nonsense lyrics in your head for the rest of the day after hearing it. Although a far cry from some of the classic anthems by indie bands in earlier games, it was a strong addition to a relatively average soundtrack. Someone find that man wherever he is, and give him a Grammy.
FIFA 11
Mark Ronson – ‘Record Collection’ (ft. Simon Le Bon & Wiley)
DK: A track that has ended up being one of my favourites of all time, this song transcends genres to bring a masterpiece to a real classic FIFA. Mark Ronson drops lines with his trademark cutting wit and arrogance like they’re going out of fashion, whilst Duran Duran‘s Simon Le Bon absolutely belts out the chorus. The crowning jewel of the track is the eight lines supplied by Wiley, who reminds us that there was an incredibly talented artist before he ruined his career with *that* anti-Semitic rant. I went through a real phase of playing FIFA 11 again recently, and while the gameplay doesn’t quite hold up compared to the more modern editions, the soundtrack more than makes up for it because of gems like this belter.
Two Door Cinema Club – ‘I Can Talk’
CM: Now a household name, this single from TDCC’s debut album fits the typical FIFA sound perfectly. The indie-pop sound makes it a readymade FIFA song, and it’s no surprise that the song remains a favourite to this day. The hypnotic dance beat made it unskippable when playing it back in the day, and sounds arguably like the most stereotypical FIFA song there could be. The only song on that album that didn’t end up as Inbetweeners filler music.
FIFA 12
The Strokes – ‘Macchu Picchu’
DK: Anyone who knows me knows I’m a massive, massive fan of all things The Strokes, and this track is no different. Taken from their 2011 comeback album Angles, lead singer Julian Casablancas and his ever-nasal vocals bring a song dripping in character. This track was actually my introduction to The Strokes, so I’m a bit biased here, but I can still picture myself banging in goals with Rafael Van der Vaart whenever I hear it, so it beats off strong competition from Grouplove, Chase & Status and others.
Foster the People – ‘Call It What You Want’
CM: This was a tough call given it appeared on one of the all-time greatest FIFA soundtracks. FIFA 12 had some classics, including ‘Got It All’, ‘Colours’, ‘Wreckin’ Bar’ and ‘Latino & Proud’, but for me this one is the quintessential FIFA tune from the soundtrack. Clearly someone working on the game agreed, as the band better known for ‘Pumped Up Kicks’ was featured again on FIFA 15. The brilliant chorus and upbeat melody have made it a memorable one for years after its appearance in the game.
FIFA 13
The Presets – ‘Ghosts’
DK: This is just such a FIFA track. I’m not sure whether it’s the vaguely nonsense lyrics, the anthemic style, the obscure artist, or a combination of all three, but this just absolutely hits the spot. I’m sure most people reading this are picturing sweaty Brazilian squads, and rightly so. This is getting towards the golden era of FIFA, when life seemed that bit more simple, complete with KSI doing his ‘Road to Division 1’, before he decided he was a rapper/boxer/author/whatever else. Everything here comes together to create something absolutely evocative of different times.
Kasabian – ‘Club Foot’
CM: Ask any long time FIFA player about their favourite songs from the series, and this is bound to get a mention. The heavy drums and bass make it unforgettable and the sort of anthem that made FIFA soundtracks such a key part of the games. Although its wider success has perhaps removed its status as simply a ‘FIFA song,’ there is no doubt that for many it is synonymous with FIFA 13.
FIFA 14
Miles Kane – ‘Don’t Forget Who You Are’
DK: Another track where my own biases have arguably beat off other soundtrack classics from artists like American Authors, Disclosure and Foals, this is still however an absolute singalong anthem from arguably the king of singalong anthems. This is one of the last great indie tracks to grace FIFA, with a strong riff and Miles Kane‘s Wirral-tinged vocals combining to add a real taste of the British music scene to a soundtrack increasingly dominated by American artists. Check out my interview with Miles Kane here.
John Newman – ‘Love Me Again’
CM: In my opinion, there is no debate for the most iconic song from this game, which is saying something considering how strong the soundtrack was. Like ‘Club Foot’, the song was a massive hit outside the game, but it doesn’t take away from just how well it suited the game. The song is big enough to still get the occasional play, and it immediately brings back memories of everything that was great about the game.
FIFA 15
Avicii – ‘The Nights’
DK: Another utterly iconic tune, this time from the sadly-deceased Swedish DJ Avicii. I remember hearing this so many times as a young lad playing a ridiculous amount of hours of FIFA 15. To this day, whenever I hear this song, I can see Gervinho, Tevez, Biabiany, Hernanes, Doumbia and every other member of that absolutely beautiful Series A team that everyone seemed to have that year. Featuring that classic half-folk, half-house sound that Avicii seemed to trademark in the 2010s, the uplifting chorus is absolutely perfect for a game like FIFA, especially one of the classics in FIFA 15. Arguably the best ever.
Photo: Dan Knight @ The Mancunion
Saint Motel – ‘My Type’
CM: This is much more of a typical FIFA song, with an upbeat introduction with trumpets and a fast melody. Although its lyrics are hardly the most inspired, the catchy rhythm and instant recognisability of the song made it an instant favourite with so many players. Songs like this and ‘Busy Earnin’’ by Jungle were what made this soundtrack slightly different to previous years, and helped set the mood for what was most people’s favourite game from the series.
FIFA 16
John Newman – ‘Tiring Game’ (ft. Charlie Wilson)
DK: We really are in the golden age of FIFA music here, with John Newman and Charlie Wilson giving us a timeless anthem. As soon as Wilson starts the opening lines, you’re taken back in time, to a place before Croqueta spams and endless Vinicius cards. The powerful chorus sends me straight to career mode – this tune soundtracked me taking Huddersfield from bottom half championship to Champions League winners, and I’d like to think it at least partially inspired that success. Banger.
Foals – ‘Mountain at My Gates’
CM: ‘Mountain at My Gates’ is typical of the indie sound that made up the majority of FIFA’s soundtracks, particularly in the early years. Clearly Foals’ sound is one that those at FIFA feel is perfect for the game, as ‘Mountain at My Gates’ is one of four Foals songs that have appeared in the series. The arena pop sound that Foals adopted in the mid-2010s suits the more chilled out feel of FIFA 16’s soundtrack in lieu of overly upbeat or high tempo filled tracks.
FIFA 17
Kasabian – ‘Comeback Kid’
DK: You can’t talk FIFA tracks without having some Kasabian in there. No band can really create as many anthems to remind you of the game and football in general as the lads from Leicester. From the second the opening riff gets going, it’s impossible to not know this is one of their tracks, and their traditional anthemic chorus just adds to how good it sounds. This does beat off strong competition, but in the end, I couldn’t look past it.
Saint Motel – ‘Move’
CM: This soundtrack saw a clear step down in quality compared to those on the games from the mid-2000s to 2015. However, Saint Motel’s second feature in the FIFA series felt reminiscent of the series in its prime with an upbeat and triumphant melody, likely needed as a pick up after sampling the gameplay. The song’s tempo changes, interspersed with a joyous chorus, make it a solid listen.
Photo: @greatbritish.memes @ Instagram
FIFA 18
The National – ‘The System Only Dreams in Total Darkness’
DK: Another choice based more on my own personal preferences as opposed to it being the best FIFA-style song, this smooth track from American rockers The National is absolutely brilliant nonetheless. Slow, brooding verses lead each time into a quicker, more melodic chorus, whilst the backing is a stripped back, almost electronic sound. This comes from my favourite FIFA of all time, and arguably the last actual good game to be released. Hearing this track, I can see Ivan Perisic and Inaki Williams scoring at the back-post, FUTMAS Carroll bagging bullet headers and Isco netting screamers. What a time to be alive.
Avelino – ‘Energy’ (ft. Stormzy & Skepta)
CM: In recent games, there has been an increased inclusion of UK rap, and this song is a good example of why. It was the perfect song to get you fired up for FUT, and a welcome injection of ‘energy’ into the soundtrack. The quick tempo and brilliant first verse from Avelino meant it blew many of the indie songs on the soundtrack out of the water. Don’t show up to their show if you’ve got no energy.
FIFA 19
Sam Fender – ‘Play God’
DK: What a tune. What a bloke. What a choice for the soundtrack. For the first few weeks of FIFA 19, it was all fun and games, bagging bicycle kicks and ridiculous headers like you were prime Zlatan, all to the tune of one of the best tracks from Geordie songsmith Sam Fender‘s debut album. This song was, for a lot of people, their introduction to Fender, and he’s since established himself as arguably the biggest young artist in the UK right now. But before all the hype and stadium gigs, we had this moment of magic.
easy life – ‘Pockets’
CM: At the time that this song first appeared on the game, easy life were a relatively unknown group. However, the song’s popularity on the game definitely played a part in the band’s growth in 2019, and it’s easy to see why. The song sounded different to what had come before it due to its blend of different genres, and it stands alone as a genuinely great song outside of FIFA.
FIFA 20
P Money & Giggs – ‘Where and When?’
DK: A track which best symbolises the shift away in FIFA soundtracks from being rock/indie focused towards a more contemporary sound, two of the UK’s finest MCs combine to produce something dripping in menace and heavy beats. With Teddy providing the perfect production, these two heavyweights did their best to salvage what was a pretty terrible game with an unbelievable tune. This just reminds me of being sat during the first lockdown with the window open and the heat rolling in playing endless FUT Drafts, only before it all got a bit boring being sat at home.
Skepta – ‘Same Old Story’
CM: The appearance of this song in FIFA marked another turning point for the game’s sound, with the inclusion of a modern grime song. This was a bold move given the fact this would be unfamiliar to many outside the UK, but Skepta’s flow and typically brilliant lyrics made it a popular choice. By FIFA 20, the indie genre no longer held a monopoly on the soundtracks, and although for many this has been a negative, if it had been replaced by more songs like this it would be hard to complain.
FIFA 21
Glass Animals – ‘Heat Waves’
DK: Wow. What a tune. This is a track that is unmatched for the amount of times I’ve heard one of my mates sing along to it in our Xbox party. Glass Animals‘ first number one hit was for me, the only possible choice here. Another track that accompanied endless lockdown FUT Drafts, and one of the few things that distracted me from another year of poor-quality gameplay, as well as the outside world seemingly ending during the peak of COVID winter. We’ll always have those late nights in the middle of June though.
Celeste – ‘Stop This Flame’
CM: Celeste was another artist who’s rise to fame coincided with an appearance on FIFA, however the two are likely very little to do with each other. Celeste’s voice and blues-influenced style is weirdly perfect for the game given the diversity of genres that are in recent soundtracks. Listening to this song makes it very easy to understand why Celeste grew so quickly.
FIFA 22
Statik Selektah – ‘Watch Me’ (ft. Joey Bada$$)
This track is admittedly picked from quite a poor choice of songs, but it is still a quality tune in its own right. With Statik Selektah‘s smooth production accompanied by Joey Bada$$ sounding like Q-Tip in his prime, ‘Watch Me’ is a song that accompanies the best FIFA made in a few years. Lobbing balls into the box for Calvert-Lewin and Origi to head home wouldn’t be complete without this pounding in the menus between games. The best hip-hop track to ever make FIFA.
Yard Act – ‘The Overload’
CM: This was a surprise inclusion for a FIFA soundtrack, given the size of the band at the time as well the style of music. However, it was a stroke of genius from whoever selected the song as it sounds like it’s from one of the classic FIFAs and a partial return to the high-tempo indie rock that dominates the earlier soundtracks. Although one of the few guitar songs on FIFA’s most recent soundtrack, it holds its own against some strong additions from Joy Crookes and Little Simz. Check out the recent Mancunion interview with Yard Acthere.
Mallrat burst onto the scene in 2016 with her first EP Uninvited, featuring the single ‘Suicide Blonde’ that quickly garnered her attention thanks to the witty, catchy lyrics combined with the fact that she’d recorded the whole EP whilst in her last year of high school in Brisbane. She’s since become a household name in Australia, with headline slots at national festivals and two top ten finishes in Triple J’s Hottest 100, an annual countdown of the top 100 tracks according to Australia’s national radio station – and even showing off her ability to recite Pi to 62 decimal places. But whilst she remains relatively underground over in the UK, all that could be set to change with the release of her debut album Butterfly Blue on Friday 29th April, from which her latest single, ‘Surprise Me’ comes.
With glitzy, trap-influenced production, the song is a far cry from her earlier, lo-fi indie/electronica-style tunes. But far from selling out, this feels like a natural progression for Mallrat, who since 2016 has been selling merch with the tagline “Very Expensive Rap Star”. The yearning of Mallrat’s lyrics, imploring her “boy” to “spit it out now, stay beside me” and “leave them all behind / You’re all I need”, adds to the emotion of the gorgeous synths in the instrumental.
In a contrast to Mallrat’s verses, she taps rap’s queen of controversy Azealia Banks for a guest verse. But this isn’t a random big-name guest verse to attract attention – instead, Mallrat said in a press release that the first album she ever bought was Banks’ debut studio album Broke With Expensive Taste, and praised her: “Azealia Banks was truly the best to work with. It felt like she really cared, which you don’t always get with feature artists; often, it can feel like they’re fulfilling an obligation. Maybe I’m biased, but hers is one of the most iconic and memorable verses I’ve ever heard”.
Memorable it certainly is – in the very first line, Banks compares her vagina to a piña colada, and throughout the verse, associates it with a squid and even claims it’s “tighter than Nicole Kidman’s face” – perhaps Kidman is set to become the latest in Banks’ ‘full Coachella lineup’ of feuds. Whatever the intent, her guest verse is truly arresting, replete with other striking references to Louis C.K. and Birkin bags, cementing Banks’ place as an icon of rap. With any luck, her co-sign of Mallrat will help her to gain the wider audience she deserves in the UK and USA. A rising star for years now, it’s time Mallrat broke big in the Northern Hemisphere, and this song signifies that she’s made for great things.
Mallrat’s debut album Butterfly Blue is released Friday 13th May 2022.
Listen to ‘Surprise Me (feat. Azealia Banks)’ on Spotify:
Mallrat supports Conan Gray at Manchester’s O2 Victoria Warehouse on 4th June – get your tickets here!
Hello you sexy minxes and welcome to the Mancunion’s new SeXion! (Pun very much intended)
As a student paper, we want most of all to write about what’s important to students. Amidst all of the SU scandals and department drama, it felt like there was a need for a platform to talk about sex and relationships, and all of the wonderful chaos that entails. Y’know, the personal stuff you chat about down the pub with your mates…or over breakfast…or on a 4 hour long phone call. We would love to hear about it as well!
Our main focus is for this section to be wholly inclusive, and representative of all genders and bodies. This means that you can write about everything from sex to celibacy, or love to heartbreak, and everything in between!
So whether you have sex all. of. the. time. (God, get a room!), or maintain admiral abstinence, from flirtation fiascos to flat-cest faux pas, there is definitely something in this section for everyone.
No one said you can’t be sexy and studious, (in fact, I’m sure some people would be very much into both) so it seemed only fair that our student paper should be as well!
Know a thing or two about the science behind an orgasm? SeXion it.
Think there’s not enough representation of LGBTQ+ relationships in popular culture? SeXion it.
Thinking ‘God, this girl needs to stop relentlessly banging on about sex and relationships’? You guessed it…SeXion it.
The sexiest issue of The Mancunion yet will be out next academic year, with the result of the UoM survey carefully curated by yours truly. If you’ve not done so, please fill in as much or as little of it as you’d like. It’s all anonymous – obvs!
The link can be found @TheMancunion on instagram and Facebook. I’ve also popped it here for you just in case:
An investigation by The Mancunion has revealed students were left feeling “stressed and frustrated” after oversubscription of accommodation led to first-year students being assigned to private halls leased out by the university.
Lauren, a first year medical student and Emily, a first year History student, were both placed in private halls by the University despite not actually applying for them. They spoke to The Mancunion about the process of getting placed in these halls and their experiences living there.
Lauren and Emily were allocated their accommodation at the end of August 2021. They both said they’d received their allocation very close to the moving in date, and much later than many of their peers. This meant that they were left with very few days to decide whether they would accept the accommodation.
Lauren said she “felt very stressed and frustrated with university starting so soon, with no word from the university about accommodation”. She soon began to worry “whether she would have anywhere to live at all”.
When they finally received their allocation of accommodation Lauren and Emily were told via email that “Due to high demand for accommodation the university has provided an additional number of rooms at Wilmslow Park Hall of Residence.”
Wilmslow Park are private halls administered by IQ Student Accommodation on Oxford Road, which according to the IQ website“offers a variety of student rooms in Manchester, with social spaces, transport links to universities and local amenities”.
The email freshers received assigning them Wilmslow Park private halls Photo: Lucy Giles @ The Mancunion
For the academic year 21/22 many freshers found themselves placed in an accommodation they never applied to; in fact, many were not placed in ‘university’ accommodation at all. The reason why so many students like Emily and Lauren were placed in these leased out private halls was due to a large increase in students applying for university accommodation for this academic year.
The Mancunion obtained statistics via a Freedom of Information request, revealing that for the academic year beginning September 2021 a total of 718 more undergraduates applied for university accommodation than in the previous two years.
Whilst 125 fewer postgraduates applied, a net total of 593 more students applied for accommodation this year than the previous two. This increase of students, alongside the closure of other university-run accommodation like Owens Park, has resulted in the University of Manchester leasing out privately run student halls to house their students.
The price of the halls has also been an issue for the students living there. When they were put into the accommodation the halls originally cost £168.00 per week, making them the most expensive self-catered halls offered by the university. However, this was later lowered to £158.00 per week.
The email residents received notifying them of their reduction in rent Photo: Lucy Giles @ The Mancunion
Both girls were confused and somewhat distressed when they found out where they would be moving to, for they feared that being in private halls would not only be more expensive but also not allow them to have the ‘real’ university experience they were looking forward to. They were concerned about the different experience they would have living in these halls as opposed to more classic University accommodation.
Emily told The Mancunion she initially tried to look for alternative accommodation but upon meeting her flatmates decided she wouldn’t change. Similarly, Lauren decided that with only 5 days before the deadline to accept her offer she would take it to avoid missing out on university accommodation altogether. Both agreed had they been given longer they would have attempted to live somewhere else.
Over the past two semesters Emily and Lauren have found benefits of living in their accommodation.
Emily likes the facilities and enjoys having the privacy of en-suite. She was pleased with the fact that the kitchen/lounge is fairly spacious. Although she found it quite frustrating that those who were paying less in other accommodations had amenities the private halls do not, such as a vacuum cleaner for each flat.
IQ Halls of Residence promotional photo Photo: IQ Student Accommodation
IQ Halls of Residence promotional photo Photo: IQ Student Accommodation
The biggest downside that both Lauren and Emily brought up was the size of the flats and the sociability of the accommodation. The flats in their accommodation range from 3 to 5 people in total. Whilst this does it keep the accommodation peaceful; Lauren and Emily found they had to trade the chance to meet a greater number of their peers for this ‘peace’.
If given the choice, both girls believed they may have chosen to live in more traditional university accommodation. This is especially the case when talking to students who live in Fallowfield campus halls, as they don’t share many of the infamous aspects of ‘Fallowfield student life’. Lauren stated that when in her accommodation, she sometimes doesn’t feel like she is actually at university. Both feel isolated at times, as often the flat can be empty, when there are very few other people to be around.
It is interesting to note that as it stands these halls are not currently an available option for students applying for university accommodation. Whilst they were not an option in 2021, this year they are on the website but it is stated that they will not actually be available for the next academic year.
Many students come to university hoping to live with several other students. Large flats often help to curb feelings of isolation very quickly have the chance to meet several new people, giving freshers a wide pool of potential friends to draw from.
This communal living is seen as an integral part of the university experience many students love. Both Lauren and Emily feel as though they have missed out on that, stating that they both had wanted to live with a larger number of people and feel as though in these flats they don’t really get the true University experience.
The main thing that Lauren and Emily would have liked to see when getting allocated their accommodation was more time to decide and less uncertainty in the run up to moving into their halls.
Overall Emily and Lauren have had an interesting and perhaps different first year university experience. They acknowledged their issue of sociability wasn’t “the end of the world” but they would have still liked to experience university like most of their peers.
Despite the less than ideal living conditions of some Fallowfield Halls of Residence, they continue to have a charm for those living there. The allure of an active social life and opportunities to mix with hundreds of like-minded students are a persistent draw of Fallowfield life.
Clearly, private halls have been used as a temporary solution to the large increase in demands for student halls at the University of Manchester. Whilst their facilities are an improvement on many of the other university halls of residence, it seems that social life is still an important factor in the experience and life in student halls – an experience which private halls do not seem to have the same ability to recreate.
A University of Manchester spokesperson said:
“The University’s student accommodation offer consists of University owned Halls of Residence, and those leased from Private Providers. The number of bedrooms required each is planned in advance, with the University aiming to meet the demand for accommodation, without having an over provision of rooms. There are years where the popularity of the University results in a higher than expected intake of new students; 2021-22 has been such a year. It was therefore necessary to source additional accommodation during the summer of 2021; the additional rooms at Wilmslow Park were arranged as part of this response.
“The University Accommodation Office attempts each year to match students’ preferences in their applications with which hall of residence they offered. Typically it is possible to achieve this for over 80% of applicants. Due to the popularity of some halls however, it is not possible to guarantee a choice of accommodation. The ensuite self-catered accommodation at Wilmslow Park is well located and of good quality and is therefore still considered to be an appropriate offer of accommodation for University of Manchester students.
“The rent for Wilmslow Park was carefully considered and following consultation with the student body it was realigned to closer match the rest of the University accommodation offer.
“Wilmslow Park was not available to lease again from 2022 onwards; instead the University is entering into suitable alternative arrangements.”
The Northman is Robert Eggers’ third feature film, following in the daunting footsteps of The Witch and The Lighthouse. Like his previous movies, The Northman delivers the creepy and uneasy experience in the usual Eggers style, but on a much larger scale.
The film takes place in the thrilling world of Viking epic. The tremendous battles, as well as the historically accurate and intricate set designs bring a level of realism that sits as a framework for Eggers’ to implement his mythological and Shakespearian tale.
The film follows Amelth (Alex Skarsgård) on his quest to claim vengeance for the murder of his father, King Aurvandil. Through intense battles and mystical magic, the film reaches its dramatic climax and blurs the line between protagonist and antagonist.
Clearly influenced by the work of Shakespeare, namely Hamlet, it doesn’t attempt to directly adapt the famous revenge tragedy and instead opts to merge all sorts of references to Macbeth, Oedipus Rex and viking mythology in its extremely layered texture. With scenes of graphic fatality, it’s hard to see how this film only makes the rating of a 15. Be wary if you’re the squeamish kind.
Like many of the historically fictitious epics from the 60s, such as Laurence of Arabia and Spartacus, the film doesn’t shy away from doing things on a large scale. One scene shows a huge viking raid, with ruthless killers taking a village from innocent townsfolk, a sequence supposedly filmed in a single shot.
The all-star line-up includes some of Eggers’ previous collaborators such as Willem Defoe, Anya Taylor-Joy, and Ralph Ineson, as well as a largely Scandinavian cast including Alex Skarsgård, and Icelandic artist Björk. The film also stars Nicole Kidman, as Amleth’s mother, and Ethan Hawke as Amleth’s father. Although these may seem like unusual picks, they bring a level of grit and Hollywood acumen to the roles that are bound to have a strong effect on audiences.
To add to the unbelievable story and cast, the cinematography is incredible. The large, intricate sets and the beautiful scenery of Iceland is an amazing backdrop for Eggers to tell his tale. The cinematographer, Jarin Blaschke, worked with Eggers on both his previous films and it shows with consistency to the cinematography, something we now associate as an ‘Eggers style’.
The music in this movie was unlike anything used before for a film of this setting. The composers, Robert Carolan and Sebastian Gainsborough, had an undeniable challenge to create a score that matched its tone and pace. How could they mirror the hardship, the dirt, and the violence of the movie? The film has an intensive rhythm that would need to be matched for it to work. Apparently they worked tirelessly throughout lockdown to that the music could truly reach its unsettling and nightmarish melody.
The Northman is definitely worth the watch. Although some may find scenes disturbing at times, don’t shy away from viewing this cinematic masterpiece. The cinematography, music, actors, and the story itself all come together to create an amazing cinema experience.
Free coffee on International Women’s Day, Photo: Izzy Langhamer
Nibble is a popular and women-lead café in the heart of the Northern Quarter, just across from Afflecks. Serving up delicious coffees and a variety of tasty cakes, the café has proved a hit with Mancunians. It’s cosy and cute, the windows covered with colourful designs.
For International Women’s Day, I popped down to nab myself a free coffee, which came with an inspirational motto on the side: ‘Girls can do f*cking anything’. With a focus on female empowerment and creativity, Nibble is clearly a café that’s only just getting started. I spoke to the owner Lauren Irlam who is the business manager, chef, barista and all-round “dog’s body” of Nibble, about the cafe’s development.
Lauren tells me how she started the business in 2017, having to make things work with “no money or time to waste”. A real example of learning on the job, she created everything pretty much from scratch after falling in love with the space. Lockdown meant the café had to close down, and Lauren says she was worried that she would lose the businesses and that everyone would lose their jobs, if she couldn’t figure out a way to get through the impact of Covid. She explains how she pivoted the business online, initially selling off café stock at cost price, and later used their website to offer food deliveries all around the UK. This part of the business is still up and running. Online, you can order afternoon tea (perfect for Easter!), cake and brunch. Nibble also has a range of ‘Girls can’ merchandise, which is available online and in-store.
It’s clear that Lauren has a real business brain, having taken Nibble through 3 lockdowns, and all the anxiety of the last few years. The key, she tells me, is social media. During lockdown, a course in marketing and mindset helped her grown the business’ social media presence, to what it is now: a female friendly, interactive community. She wants Nibble to be a “safe space” for customers, and staff. The hospitality industry is notorious for being a high-stakes, high-pressure environment. Nibble is a space where “like minded women […] have each other’s backs […] a family, not just a team”. It’s refreshing to hear such a staff focused approach to business, particularly in a culture of zero-hours and dog-eat-dog mindsets. At Nibble “we genuinely all love and understand each other” she says.
If the atmosphere of Nibble isn’t pull enough, then they’ve also got a wide range of cakes, brunch and lunch options which are all served all day. There’s something for everyone, and Lauren particularly recommends the Sweet Potato Breakfast Hash which is Vegan, and can be served with gluten free toast. It’s Nibble’s inclusivity that is its signature, and is a Northern Quarter must-visit café!
For any fan of Kae Tempest, The Line Is A Curve breaks new and exciting ground, preserving that power that we’ve come to love and expect whilst exploring new avenues as yet untouched.
The first thing that stands The Line Is A Curve obviously apart from previous entries into the Tempest canon is that it contains features. Upon discovering this, I was intrigued to see how they’d fit alongside Kae’s unique sound. In truth, I had held some reservations, concerned that the features were more of an attempt to appeal to mainstream audiences and wouldn’t fit with the distinctive delivery, detailed imagery, and profound lyricism that has stood Tempest apart from other artists of their generation. I was thoroughly mistaken. From Fontaine’s D.C.’s Grian Chatten‘s softly spoken poetry on ‘I Saw The Light’ to fellow South-Londoner Confucius MC spitting deep-cutting bars closing out ‘Smoking’, the features compliment Tempest’s strengths superbly.
That’s not to say the features don’t come as stark contrasts to Tempest’s work, but where this juxtaposition could’ve been awkward or seemed jarringly out of place, it has been done with such craft that it adds to the listening experience tremendously. Simultaneously, the features subvert expectations, from the quick cadence of ‘I Saw The Light”s opening, it feels at first like Chatten will keep pace, then he doesn’t, to a spectacular final result. Finally on features, it would be remiss not to mention the serene vocals provided by Lianne La Havas and ãssia on ‘No Prizes’ and ‘Water in the Rain’ respectively, finely contributing to Kae’s creation of a sound truly contemplative in nature, fit for all purposes, whether tackling demons from the past, choosing a path for the future, or simply grappling with the here and now.
Whilst the features are certainly laudable it would not do justice to the record as a whole to dwell on them for too long as The Line Is A Curve sees some of Tempest’s finest solo tracks to date. From ‘Salt Coast”s challenge to notions of national identity to the punching pace of Kae’s flow on ‘Nothing To Prove’, this album contains much more to be excited by for fans. With that said, not everything is new. Throughout the album the message of hope, introspection, reflection, and personal growth present in previous incarnations of Tempest’s artworks persist, tying in the changes to what we’ve come to love and expect from their work, grounding the excitement in the comfort that adjustments aren’t at the expense of a ‘proper’ Kae Tempest record.
Finally, for the fans of Firesmoke, look forward to the album’s closer ‘Grace.’ Infectiously amorous, ‘Grace’ not only depicts a particular relationship but also executes an exploration of elements deeper in love, the vulnerability, the trust and the learning all entailed in the formation of something beautiful. With all this delivered over the lightly plucked strings of an acoustic guitar, so far as to almost sound like a harpsichord, ‘Grace’ is simply gorgeous and an excellent finish to a wonderful album, its levity leaving us with an ultimately positive takeaway message.
To finish, I thoroughly enjoyed this album; The Line Is A Curve is both excitingly novel and steadfast in preserving those parts which make Kae Tempest and their work so special. This balance is hard to achieve in music, with artists often compromising their strengths for the sake of features for broader appeal, or sticking within their comfort zone until each project is no longer discernible from the last and people switch off. Tempest has avoided both pitfalls perfectly, providing an album I’m sure will attract new heads whilst ensuring the existing fandom is pleased in the process, I whole-heartedly recommend that you check it out.
Dublin trio Hook‘s latest single ‘I Want To See You Tonight’ marks their first single of the year, and is a further articulation of their take on new wave and grunge music. If you haven’t heard of Hook, think of early Pixies’ signature loud-quiet dynamic and driving basslines,fused with a little bit of Elvis Costello and Nirvana.
Hook formed in early 2019, and they have released a string of singles and an EP (‘!’). Their music is “about small moments, the brutality of love and finding the beautiful in the simple”.
In the case of ‘I Want To See You Tonight’, the band stay rigid to the simple formula. Lead vocalist Eoin O’ Donnell croons over the instrumental with a quirk in his voice in Elvis Costello fashion, repeating the title and hammering home the message, centring around the optimism that someone feels at the start of a relationship. The ponderous bassline carries the track and knits all the elements together to create a solid and eminently listenable song. The single also features the more lo-fi b-side ‘Caroline’, which displays a softer side of the band while keeping their sound’s grungey characteristics.
‘I Want To See You Tonight’ is an excellent display of the legacy of 90s alternative music. You could place this song in the 90s scene and today’s scene concurrently, and it would seamlessly fit in both contexts. But luckily, Hook doesn’t descend into tribute and instead creates a competent showing of the genre.
