“Whatever happens in the final now, if girls are not allowed to play football in their PE – just like the boys can – what are we doing? We have got to make sure they are able to play and get the opportunity to do so. If there’s no legacy to this – like with the Olympics – then what are we doing?”
Hearing Ian Wright say those words after the Lionesses won the semi-final of the Euros made me quite emotional.
I’ve been a football fan my whole life, going to my first Aston Villa game when I was five and having a season ticket since I was 12. I’ve played since I was five, reffed, and coached too. Of course, I’ve been subject to the usual “you’re a Villa fan? Name the starting 11 then,” but I don’t think it was until I heard Ian Wright speaking that I fully realised the structural inequalities that had constrained my love for the sport. It hit me in a confusing mess of anger and hope for the future.
I first played for a boys’ team because no girls’ team yet existed in my home town. The first girls’ team was established in Derby in 2007 (when I was seven) but it was a combination of age groups, so I was playing with girls two years my senior. We had to travel quite long distances to games as there wasn’t a league in Derby (for quite a few years) so we had joined the Nottinghamshire FA.
When I was eleven we got banned from the playground at Primary School, so “the boys can play football”, apparently they were worried about us being hit by flying balls, rather than wanting to actively engage with the games. I was furious, we’d recently performed very well at a local schools 5-a-side tournament but weren’t allowed to play at lunchtime? And the boys themselves were happy to play with us.
Ever the campaigner, I started a petition entitled: ‘We want our playground back’. When it was presented to the teachers (with the majority of pupils having signed) it was ripped up in front of our faces – although we were allowed back on the playground!
At Secondary School the inequality continued. Twenty of my classmates were playing for the same girls team as me, which was actually named after the school and we trained on the school grounds. Consequently, that meant the school’s girls team was very good, winning a national competition, playing the final at Wembley. The school were very proud of this achievement, showing the video of the tournament at every open evening and assembly for years. But we were still only allowed to play football in PE on ‘gender swap week’; the boys played hockey.
In Sixth Form, football was finally open to all. I persuaded two of my friends to play with me, but in the first week the PE teacher suggested two of us go in goal at once because we’d be too short to save the ball otherwise.
I’m now 22, a year younger than Russo who scored the iconic backheel in the semi-final. This England team will have grown up in similar circumstances to me. But still very little has changed, only 63% of schools offer girls the chance to play football as much as the boys in PE. At secondary school that number drops to 44%.
Even in the Women’s Super League (WSL) conditions are disgraceful. A 2020 Sportsmail investigation revealed Tottenham Hotspur, at the time 7th in the WSL, were having to eat jam sandwiches for lunch because their training facility didn’t even have a fridge, let alone the nutritionists we’ve come to expect of men’s football. ‘Spurs didn’t even have a goalkeeping coach until 2017. The average salary was just £32,000 a year in 2020 for professionally contracted players.
But the inequalities go beyond pay and facilities provided by the teams, football boots specifically designed for women’s feet are rare (Nike claim theirs are “dual gender”), leading to an increase in ACL injuries in the WSL.
Unfortunately for England, their success is needed beyond the football pitch, the way many perceive women’s sport unfairly hinges on how they do in this tournament.
I keep thinking about this New Yorker cartoon I saw a couple of years ago. You almost dare not say it in earlier stages but the fact is, the extent to which this tournament will cause major social and cultural change hinges, at least in part, on England's success (1/) pic.twitter.com/bx2oO7fyaZ
A number of my friends told me they hadn’t been watching the Euros because they didn’t ‘connect’ with the players, not seeing them week, in week out in the Premier League. After England’s incredible semi-final performance they admitted the real reason they hadn’t been watching was because they presumed it would be worse quality. They were all pleasantly surprised by England’s performance and will be watching the final, but I’m frustrated that a 4-0 win and wonder goals were needed to get people to support their national team.
Whilst the support for England has been incredible, it feels nothing like last summer. We should be extremely proud of the viewing figures, 9.3 million watched the semi-final and the competition has been the most attended in Women’s Euros history. But we are one day off England potentially winning their first ever Euros (for both the Mens and Womens teams) and I’ve not seen a single flag flying. Normally unable to escape chants of ‘It’s coming home’, I haven’t heard it once.
This tournament may not have captured the hearts of a nation as much as I would like, but it has captured the hearts of a generation. We’ve all seen the girl passionately dancing to ‘Sweet Caroline’, but she was certainly not alone. I went to see Germany vs France in the other semi-final and it was a sea of young girls at their first football game. A girl sat behind me, who can’t have been older than eight, was insightfully breaking down England’s chances. Rather than being told ‘shut up love and watch the game’, which I have heard far too many times in the Holte end, people were turning round to actively engage with her.
Someone asked, “who’s your favourite England player?” and I was still expecting to hear Harry Kane or Jack Grealish, but the response came: “Beth Mead”.
Change takes time, but it starts in the classroom, it starts in PE and with kids answering “Beth Mead” when asked about their favourite England player – without being shocked at the reply. I’m hopeful that Ian Wright’s words come true and this tournament has a legacy far beyond Sunday.
The past week at the University of Manchester has been filled with chaos, strife, and multiple “internal server errors” as various system crashes prevented final year students from enroling on their level 3 modules.
At 12pm on July 18, students belonging to the School of Arts, Languages, and Culture (SALC) were poised to select their final year (level 3) modules for the 2022/23 academic year. However, within mere seconds of enrolment opening, the student system crashed, leaving hundreds of students confused, stressed, and anxious as many were unable to access the system, let alone select their modules.
Students were greeted with this error message upon trying to access the student system Photo: The Mancunion
Students trying to launch the system from MyManchester were greeted with either a blank loading screen or an error message when they attempted to access module selection. These issues continued for hours, with some students waiting 4+ hours to enrol whilst some have, as of the time of writing, been unable to register for any final year modules.
Other students were more lucky with enrolment as they were able to enrol on their modules but only after hours of waiting, refreshing the page, and facing infinite loading screens – fondly nicknamed “the spinning wheel of death”.
Even if students were fortunate enough to load the student system – and stay on it long enough without it crashing again – course modules were not available as administrative staff were also unable to access the system to open the modules for enrolment. This is a manual process, meaning staff have to open up each module for enrolment one-by-one whilst students concurrently select their choices before each module reaches its maximum capacity.
Students who attempted to enrol were met with further “error” messages like: “The search return[ed] no results that match the criteria specified”. As a SALC student myself, I experienced similar difficulties first hand. When I shared this error message with the History administrator last Monday, I was informed that this “usually indicates that the unit is now full, as the units are active.” However, upon attempting to enrol on the module again that afternoon, I was successful, demonstrating that, at the time (approximately between 1pm – 2pm), it was not actually full.
One final year student attempting to enrol this week was Tess, who studies History. Tess told The Mancunion she found enrolment “very stress inducing … especially since third year courses tend to be the most interesting.” She also told us that she’d been waiting to do a specific final year course, ‘Defining the Deviant’, since coming to Manchester, which added to the stress.
Tess commented that she experienced similar issues in previous years such as the system crashing and delays in modules opening. For Tess, better communication seems to be the key. She told The Mancunion the technical problems wouldn’t have bothered her if the University had communicated prior to enrolment that there may be issues with the student system.
In fact, it took the university 2 hours to communicate to students that they were experiencing issues with the student system. At exactly 2pm the SALC teaching and learning team sent the following email to students informing them of the issues with enrolment and encouraging them to carry on with module selection:
Photo: The Mancunion
It wouldn’t be until 5.01pm that a second email was sent to students, informing them that the issues were persistent. No references were made to a possible timeline for resolution or any explanation as to what was causing these issues.
Photo: The Mancunion
The next communication came in the form of a tweet from the IT services’ twitter account (@UoM_ITS) at 6.35pm, stating that IT services hoped to remedy the situation by “lunchtime tomorrow” (commonly assumed to mean 12pm but there was no further specification of an exact time).
We are aware of some issues with accessing the course selection module in My Manchester. IT are are working hard to fix the problem. It should be working correctly by lunchtime tomorrow, Tuesday 19 July. Apologies for any disruption this may have caused.
The University of Manchester’s official twitter account, @OfficialUoM, did not retweet this tweet despite being active sharing numerous graduation tweets and posting other important announcements. @OfficialUoM has approximately 90.5k followers and is verified on twitter, thus students often use it as an official source of news and updates, particularly when experiencing university-wide issues. For comparison, the IT services account is not verified and has only 6,024 followers.
A short update was also made on the Student News feed some time during the afternoon of July 18th, titled ‘Technical issues with the course selection module in the Student System,’ although no publishing time is given. An identical update was posted on the StaffNet, dated July 18 at 5.30pm, however it wasn’t until the following morning at 8.45am that SALC sent an email to students linking to the update and announcing the issues were still on-going.
This email also contained the announcement that enrolment for the School of Social Sciences (SoSS) would be delayed until the issue had been resolved although there was no time given as to when module selection would open. A follow-up email was sent at 11.35am, the day after enrolment opened, informing students the IT work was taking longer than initially expected and would now be after midday. This update was also added to the Student News feed and StaffNet at around 12:30pm.
Photo: The Mancunion
To add further chaos to enrolment, students also experienced issues with the course structures and the availability of modules for final year. Multiple politics modules included in programme structures for courses within SoSS were not listed in MyManchester’s Course Unit Information Portal (CUIP). Politics staff only informed students of this the day after many began their attempts at module enrolment. Furthermore, students were only sent timetables for SoSS modules 8 minutes before SALC enrolment opened on July 18, meaning joint honours students had only minutes to make their final module choices before completing enrolment.
Scheduling issues were also experienced by some Modern Foreign Languages students. The Mancunion received reports of mandatory language modules being scheduled as timetable clashes. Evie, a final year languages student, told The Mancunion that she had “three classes that were scheduled at the same time and two of them were mandatory”. She said this was also a course-wide issue and not just her experience.
When asked about her thoughts on the entire process, Evie described her opinions as “neutral”, saying, “It didn’t really stress me out because she knew everyone was going through the same thing. ” She did acknowledge that it caused anxiety for many others that she knew.
The next announcement came at 3.23pm on July 19, when SALC informed students that the issue had been resolved and the system was “ready for use for … course unit selection”. However, within minutes of the system reopening, the same issues experienced on day 1 persisted. These included slow loading times, system crashes, inabilities to login to the system, and similar search problems.
At 3.32pm the Undergraduate Politics Administrator sent an email informing students they were aware of the persisting issues. They instructed students to enrol in a very specific way using the “search for classes” function instead of going through the “enrol” page on the student system.
This guidance had already been in place due to an issue during enrolment last year after the student system encountered a bug when “enrol” was used to search for classes. Students had been already using this method since the previous day as it was believed to be the only way to complete module selection successfully. Unfortunately this still often proved ineffectual when dealing with the various system crashes and error messages experienced during the attempted enrolment this July.
9 minutes later, at 3.41pm, the UG Politics Administrator sent a second email acknowledging the guidance did not solve the issues, apologising for the frustration caused. The next update came at 4.30pm when the Student News item was updated, alongside its StaffNet counterpart, saying, “We are aware that some people are still encountering errors” and that work would continue on fixing the issue.
Many students feel this exemplifies how outdated and unreliable both the student system and entire enrolment process is. Tess is one of these students. She told The Mancunion “after doing this three times I’m shocked the system hasn’t been updated to be more user friendly”. Commenting on the timetabling issues, Tess said, “It does not help that we as students have to meticulously make sure we don’t have clashes”.
Finally, at 5.49pm on July 19, an email was sent to students announcing the ongoing issues had been unable to be fixed and that module selection was being suspended until further notice. This announcement came after students had spent over 10 hours combined attempting to enrol on their final year modules.
Photo: The Mancunion
Andy, a third year American Studies student, expressed frustration over the enrolment process. He told The Mancunion he “wasted 45 minutes refreshing constantly to no avail”. The rescheduling of enrolment was also a source of his discontent, saying, “It’s a pain how they’ve just changed the day because now I’m going to have to access it again when I barely have any free time.”
Another final year languages student, Tom, was even more critical of the way the University handled the process, saying: “I think it’s an absolute joke and an embarrassment that a university of the rigour and size of Manchester can’t even allow students to enrol in their next year courses”.
“This is my last year now and I haven’t encountered a year at Manchester where my enrolment has gone smoothly. I am the only student in my year that does my degree combination which has meant year on year the University has messed up my timetable.”
He finished by saying “I’m just glad it’s [the] last year I’ll have to face this”.
Alongside SALC enrolment re-opening on July 26, with SoSS following on July 27, the History department has said it will raise course caps, introduce new modules in Semester 2, and expand the number of dissertation supervisors available for allocation. At the time of writing, it is unclear what actions, if any, other departments within SALC or SoSS will take to mitigate the impact of the enrolment issues.
Not all students have welcomed this move, though, as some believe the system is still inherently unfair. Rose, a final year History and Politics student, was one of those affected by the enrolment issues. She feels that “it’s extremely unfair to penalise [students] for the incompetence of the system.”
Rose told us that the re-enrolment for modules is still very inconvenient as she has very little access to the internet and did not anticipate she’d have to spend four whole days trying to pick modules. She told The Mancunion, “This is further illustrative that the University consciously does not value its students’ time […] As a student who’s learning has been so incredibly impacted by Covid I cannot understand how the University is not more sympathetic.”
Since the issues began last week, course administrators and teaching staff have repeatedly apologised for the disruption caused to students during enrolment. Despite module selection reopening later this week, many students still feel angry and bitter over a process that rarely goes without issue at the University of Manchester. Despite the University saying the system has now been fixed, many students are hesitant to believe the second round of enrolment will go smoothly.
Even if the enrolment issues are resolved, there is no denying the impact it has had on the student body and how this incident will only serve to deepen bitter feelings surrounding the University of Manchester’s administration. Ruby, a final year Social Science’s student, expressed dissatisfaction with the way the system works. She told The Mancunion, “The way the uni handled this has made me less engaged with my course and choices for next year, devaluing the degree as a whole”.
Ruby elaborated further, saying, “Their [the university’s] lack of clarity and organisation to do with course choice over multiple years is frustrating for people who want to prepare for their next year and organise their lives around uni”.
Whilst this year appears to be the worst enrolment has been, previous years have not been without issue. Serafina, a recent English and History graduate, said, “Last year it [the website] physically wouldn’t let people enrol”. She told us she managed to find a workaround which eventually got spread round SALC as it was the only way students could enrol.
Interestingly, enrolment issues seem to disproportionately affect Humanities students – possibly due to the wide range of optional modules and combined degrees when compared to the limited offerings of STEM subjects. A recent Zoology graduate, who preferred to remain anonymous, noted the system is usually slow during enrolment but is “nowhere like it for humanities” students.
Ultimately, whether re-enrolment will be a resounding success or another agonising experience for staff and students alike remains to be seen, but the sentiments expressed by final year students demonstrates how little faith they have left in a university experience which, to them, has been characterised by scandals, chaos, and disruption.
When contacted for comment, Emily Turvey, the incoming Humanities Officer for 2022/23, had this to say:
Module enrolment has been a key issue for students at the University of Manchester for some years. As incoming Humanities Officer, I am aware that this is particularly true for students within the Faculty of Humanities and was therefore one of my key manifesto points. The inefficiency of the current system, which is not built to cope with the capacity accessing it, consistently impacts students in a negative way. This affects students not only academically, but has a subsequent impact on student morale, wellbeing and mental health. Students should be able to access the course content and areas of individual academic interest that they enrolled at the university to pursue. Consistent technical difficulties and failing systems provided by the university should not be the barrier to accessing this.
In light of the issues students have once again experienced during the last month, the university need to accept responsibility and recognise the full impact that the module enrolment system has on students. Faculties, schools and course conveners in the first instance should be prioritising third years, particularly those that may have had issues enrolling on dissertation modules or securing dissertation supervisors. Where possible, current caps of students on modules should be expanded, to mitigate against those who were unable to initially access the modules. Moving forward I would like to see a review and reassessment of the whole process, and to also consider whether first come first serve is the most appropriate option that prioritises student needs.
As Humanities Officer, I am yet to formally step into my role until the 1st of August. Module enrolment is an issue however that I am keenly aware and was one of my key manifesto priorities. In advocating for and representing the student experience, it will be one of the first points raised by myself to the university.
When contacted for comment, a University of Manchester spokesperson said:
“We recognise and understand the significant distress our students experienced, which were caused by the issues with the course unit selection module in the Campus Solutions Student System, and for this, we are very sorry.
IT Services worked with the Student Data, Analysis and Records team to fix the issue as quickly as possible. Please be assured that we are undertaking a detailed analysis of what happened to reduce the risk of this happening again. Feedback from students has been reviewed, and we are fully aware of the impact this caused.
Once again we would like to sincerely apologise for the effect this issue has had on our students and staff, especially those in the Schools of Social Sciences, and Arts, Languages and Cultures.”
July 19th inadvertently became a day of rarities. The date marked the hottest day ever in the UK, as temperatures soared to 39 degrees in Manchester. It also marked the day that Boston alternative rock icons Pixies played an enthralling, epic 41-song set to a tiny sold-out crowd at Band on the Wall. 500 sweaty bodies packed themselves inside the Northern Quarter bar to catch a glimpse of Pixies at their “secret show” which had been announced barely 24 hours beforehand.
The band only played at Manchester’s 8,000-capacity open air theatre, Castlefield Bowl, two weeks ago to the day, as part of the annual Sounds of the City celebrations. But it was clear the Mancunian crowd’s adoration for Pixies was mirrored by the band themselves.
I spoke to a family friend, who hails from Boston, and grew up listening to Pixies, about the show. She told me they would play secret shows like this all the time when she was a teen, often popping up unexpectedly at small bars, and making unannounced appearances at local venues.
Pixies, comprised of Black Francis (lead vocals, guitar), Joey Santiago (lead guitar), PazLenchantin (vocals, bass), and David Lovering (drums), barely came up for air during their tumultuous set. Each member looked at ease on stage, making some of the most iconic and musically intricate melodies look effortlessly cool.
Pixies’ group dynamic is unparalleled with each element coming together to produce an end result that has been the object of envy and emulation by Nirvana, Radiohead, and PJ Harvey, to name a few. Strutting promptly onstage at 8pm, the band opened with ‘Ana’, a track taken from their third LP Bossanova.
The band seemed much more relaxed at Band on the Wall – perhaps this was just because I could get a better look at them, being closer to the stage. The laid-back bar atmosphere suited the band well, and despite his infamous little-to-know speech between songs, Black Francis even managed to crack a smile, and introduce some of the new tracks. They continued to spew out a lengthy string of hits including ‘Here Comes Your Man’, ‘Break My Body’, ‘Hey’, ‘Nimrod’s Son’, and ‘Monkey Gone to Heaven.’
Photo: Pixies at Band on the Wall – Sarah Taylor @ The Mancunion
Paz couldn’t stop beaming as fans cheered her on, particularly during ‘Gigantic’, the band’s huge 1988 hit, where she lends herself to lead vocals. Lenchantin’s ability to captivate between her bewitching vocals and skilful bass-playing was met with supportive chants, though one confused gig-goer did mistake her for ex-bassist Kim Deal and received several funny looks from other audience members as a result.
They preceded to play for over two hours, amounting to a sprawling 41-song setlist of hidden gems, old favourites, expert covers, and even debuting some new material from their forthcoming album Doggerel, which is due for release on September 30th. Amongst the new material from Doggerel was: ‘Who’s More Sorry Now?’, ‘The Lord Has Come Back Today’, and ‘Vault of Heaven.’
The set was fairly reliant on their most-loved record Doolittle, as they played 11 of its 15 tracks. I was particularly pleased to hear ‘I Bleed’ and ‘There Goes My Gun’, both of which they did not play at Castlefield. In the final third of the setlist they played some of their most visceral, and mosh-pit friendly, songs including the back-to-back madness of ‘Crackity Jones’, ‘Broken Face’, and ‘Debaser.’
Having attended their Castlefield show too, I cannot avoid commenting on the crowd’s lacklustre response. Maybe it was the heat, or maybe it was that concertgoers simply wanted to say they had been there. But for a band so revered, so technically talented, and with an abundance of singalong hits, Pixies deserved better at Band on the Wall. That being said, the band played excellently, and people did generally seem mesmerised, quietly taking in the scenes before them.
Notably absent was Pixies’ best-known single ‘Where is my Mind?’ – many predicted they would close on it, as they had at Castlefield Bowl, and when the band departed from the stage with a wave after Surfer Rosa’s excellent ‘Bone Machine’, many thought they would return for an encore. However, the band chose to close on this number, returning only to take several bows. This didn’t matter too much as the crowd greeted the band with ample applause, and guitar pics were caught by a lucky few.
You can pre-order the new Pixies’ record Doggerel here.
You can read my review of Pixies’ Castlefield Bowl show here.
Dodie Smith’s The Hundred and One Dalmatians has had many incarnations. Most famously adapted into the animated Disney film, One Hundred and One Dalmatians – itself, adapted into the live-action 101 Dalmatians, and later rebooted into the live-action Cruella – its most recent incarnation takes the form of a stage musical.
The novel was first adapted into a (short-lived) musical in the US back in 2009, which was called The 101 Dalmatians Musical.
A huge fan of 101 Dalmatians – especially the story’s antagonist, Cruella De Vil – I have been excited for this new British musical since it was first announced. It was originally set to premiere in 2020, but the pandemic pushed it back to 2021, and then again to 2022!
What makes this new production is it’s being performed at Regent’s Park Open Air Theatre – and the story is, itself, set in Regent’s Park! This adds a sense of realism to what is otherwise a whimsical production.
I was down in London whilst the show was still in its previews – only its third showing – so the end-product of the musical is, no doubt, stronger and better than the show I saw. That said, whilst the show I saw was not perfect, it was clearly the early stage of what has the potential to be a piquant production.
As soon as we stepped foot into the theatre – I say into, but the theatre is outside – it was clear that the production value of the show would be immense. The set, which is immersed into the trees, is elaborate, complete with staircases that lead to another level.
There were also huge letters onstage, which spelled “101 Dalmatians”. I had wondered if the letters would be present throughout the entire show, but, to my surprise (and delight), the letters had different (wallpaper) prints on the back and were used to create setting/scenery for different scenes. The “D” and “s” of “Dalmatians” was fixed at either side of the stage, whilst the ginormous “101” is fixed at the top/back of the stage – with the “0 being made to look like a dog collar!
Indeed, this production’s design is dazzling – and the attention to detail is awe-inspiring. From the tremendous puppets to Cruella’s stimulating costumes (and there were many).
The puppetry is perhaps the standout star of this production. The adult dogs were played by actors who stood at the back, with their legs covered in dalmatian print, whilst a puppeteer walked alongside them, controlling the front of the dogs. The dogs’ movements were so natural and realistic; you quickly forgot there were actors and puppeteers controlling them.
Other memorable things about the production are the two cathartic scenes in which Cruella is tortured. One of them sees Cruella crash her car, whilst the other sees her electrocuted – in the cage she built for the dogs. Whilst they were both dynamically done, the car crash scene was excellently executed.
Members of the ensemble surrounded Kate Fleetwood, who played Cruella (perfectly, but more on her later), holding up pieces that made up a car. When the car crashed, the actors pretended to go flying with the set, which represented the car breaking apart. Other members of the ensemble pulled out fake arms, hair, eyes, and even a tongue! It was wonderfully cartoonish – and seemed to be a nod to this very scene in the animated Disney film.
The musical was very family-friendly – understandably, for it’s a story that children are very familiar with (especially because of the Disney film), and the school holidays have just began. Whilst this might be a little disappointing for adult fans (like myself), there is plenty for adults to appreciate – on top of the aforementioned production value. As is often the case in family-friendly productions, there is some subtle adult humour, e.g. Cruella saying, “That’s what I call big stick energy!”
As a huge fan of the story (and the Disney film), I was a little disappointed by the family-friendly tone of the production, but it knows its target audience, and it does a wonderful job of updating a classic story, without reinventing it.
Indeed, the musical’s relevance was achieved by bringing it into the 21st century. Not only is it set in modern times, it also deals with contemporary issues. Most noticeably, Cruella De Vil is no longer an aged fashion designer, clinging on to a thread of glamour and desperate to create the “perfect” coat – but, rather, a fame-hungry influencer, willing to do anything for attention and clout (desperate to create the “perfect” coat)!
The story was also quite sociopolitical – heck, it even touched upon the idea of racial purity, what with the mention of cross-breed dogs. The different animals represented diversity, with one of the animals asking, “Aren’t we stronger if we work together?”
Cruella, meanwhile, seemed to represent a provocative political figure, one who arouses endless controversy to stay relevant – and to garner support from those susceptible to the power of personality. For instance, when Cruella is videoed beating the two adult dalmatians – presumably a nod to the power of mobile phones and social media, especially when it comes to exposing egregious crimes, e.g. the murder of George Floyd – she, to her shock, received a great deal of support from people who despise dogs.
It was very cleverly done, however, maybe a little misplaced and unrealistic, because if there’s one thing that everybody agrees on – it’s dogs! There are actually plenty of right-wing and far-right figures who despise minorities but adore animals – some of them are even animal rights activists, e.g. Brigitte Bardot. What’s that all about?
That said, the dogs arguably became metaphoric for ethnic and racial minorities, many of whom are dehumanised in real life – or even portrayed as animals (e.g. the racist portrayal of Black people as apes, i.e. less evolved).
At one point, Cruella wears a greyscale Union Flag dress, perhaps a nod to nationalism (or maybe Tory-loving Ginger Spice, who knows?).
Some of the political undertones were understated and might have even gone over the heads of many audience-members, whilst a few were a bit more on-the-nose – though still well-done and never preachy. It’s not the most skilled social commentary you’ll ever see but the creatives must be applauded for their delicate but intelligent handling of sensitive issues in a fun, family-friendly production.
Regent’s Park Open Air Theatre do a good job of tackling issues in a fun way that doesn’t preach to the choir. Take their most recent (acclaimed) production of Legally Blonde, which cast a “plus-sized”, Black actress in the lead role of Elle Woods – who is traditionally played by a stick-thin actress with skin white as snow. That casting alone changed the story and its scope.
Like Legally Blonde, this musical was mostly a comedy, but there were some very touching moments. The scene in which one of the frozen puppies is presumed dead and their parents and siblings try to bring them back to life was incredibly emotional – especially for a musical targeted to children. Having a child play the puppy made it even more emotional – I’m sure it had some parents thinking about how devastated they’d be in these circumstances.
Then there was the final scene, where the human adults count the dogs, and one of them says, “101” – which prompted an exclaim of “yes” from a grown man in the audience, which had much of the audience laughing. I usually hate unsolicited audience involvement, but this man simply said what we were all feeling after en unexpected emotional rollercoaster of a show.
Whilst much of the acting was merely satisfactory – as is often the case in pantomime-y productions, for the scrips don’t allow for striking performances – Olivier and Tony nominee Kate Fleetwood was perfectly cast as the contemporised Cruella De Vil.
Fleetwood has a long list of credits, the most notable being EastEnders, Vanity Fair, Harry Potter, Macbeth (film), London Road (original cast), Les Mis (film), Philomena, The Widower, Star Wars, Beirut, Victoria, Brave New World, Fate: The Winx Saga, and The Wheel of Time. She was nominated for an Olivier for London Road and a Tony for Macbeth.
She lived up to the excitement over her casting, playing the iconic villain to perfection and rocking every single costume she was given. The closing moments of Act 1 saw her wear a stunning white fur coat – much like the yellow fur coat she dons in the Disney film – whilst members of the ensemble, each donning white fur coats with huge black spots, surround her. Fleetwood then made her way to the stop of the stairs, and they followed her, bending over and creating what appeared to be a monstrously long, dalmatian-fur coat!
Her London accent was amazing, albeit (intentionally) annoying. However, Disney Cruella’s signature cigarette-scarred, croaky, husky voice sure is missed – as is her catchphrase, “Anita, dahling!” That accent is very dated, though, and probably wouldn’t have worked so well in this modern production – though it might have been a good way to show Cruella’s disconnect with normal people and real life.
The worst thing about the production, however, is one of the most important: its songs. The original musical was criticised for having a fun but forgettable score. Sadly, this production is very much the same – the music is not at all memorable; there isn’t a single standout song – in fact, I can’t remember any of the tunes.
But, whilst the musical is sorely let down by its mediocre score, the fun-but-clever script and fabulous design deserve great praise. No production is perfect – especially not in the mind of a critic (heck, I even have problems with Hamilton) – but this production offers more to praise than it does criticise. It’s a fun, family-friendly show, perfect for the summer holidays, with affordable tickets. The theatre, itself, is wonderful (so long as it doesn’t rain) – and it’s pretty poetic seeing a show set in Regent’s Park at Regent’s Park.
London based band Sorrybegan their journey wearing their hearts on their sleeves, releasing their initial ideas through rough cut demos and mixtapes – a refreshing and endearing start as it showed them figuring out their identities in real time. Their 2020 debut album, 925, became more traditional (albeit often satirical) in its presentation, mocking the clichés of the indie genre whilst combining gloomy guitar band aesthetics, jazz and post-punk influences to cement themselves as an emerging talent within it.
Their new single, ‘Let The Lights On’ sees them returning to their early form, only with more artistic and aesthetic maturity. The song is ironically direct and emotionally transparent as it describes the concurrent excitement and fear of being honest with a new love, in case this openness “lets the light go off”, singer Asha Lorenz calls out.
“It is a bittersweet track for us”, Sorry said of the song, “it kinda touches on how you want to be honest and say things directly, but in the end that can also ruin them. If you’ve got a light don’t let it go out.”
At its core, ‘Let The Lights On’ is a simple love song, with its backing vocals chanting “I love you” and “I need you” throughout the central and more lyrically hesitant vocal line. Indeed, its main choral refrain “Got a light don’t let it go out with you” is nothing new, echoing the language of The Smiths‘ seminal track, ‘There Is a Light That Never Goes Out.’ But the song still contains the idiosyncratic blend of self consciousness and self awareness that continually makes Sorry such a joy to listen to. Even when just aiming to make a “fun love song for the club”, as the band said in a statement about the song, they manage to make a pop song that is utterly raw and hard hitting.
Alongside the new track, Sorry have announced their forthcoming album Anywhere But Here, which will be released on the 7th October via Domino records. The record was made in collaboration with Adrian Utley of Portishead fame and promises to deliver a “more haggard” and “rougher around the edges” side of life in London than displayed on 925, as band member Louis O’Bryan has stated. The image of London carved out in the bands’ debut is by no means saccharine and so it will certainly be interesting to see how their approach differs on this new record.
Presave the upcoming album here and you can see the band on tour in October and November here!
The Reytons are one of the most exciting bands to have come out of South Yorkshire in recent times. Starting as a small, unsigned band a couple of years ago, they have since evolved into one of the best live acts on the UK scene; as well as last year releasing their much anticipated debut album Kids Off The Estate.
Having followed them for a while now, seeing them play small gigs up and down the country as well as their most recent show, a huge homecoming at Magna in Rotherham, I jumped at the chance to have a chat with lead singer Jonny Yerrell about old tunes, big gigs, and headlining the new Meadowlands Festival.
Firstly, the name of the band is pretty unique. Where did this come from?
You know what, when we first started this band, it was the hardest thing. Hardest question on the quiz isn’t it, the team name, do you know what I mean? To be fair, we went through some really shit names, trying to think of something that made sense, and in the end, we carried on working and writing without a name. Then, I were literally just driving onto our estate, these two kids ran out in front of me and I went “f*cking reyt uns”, and suddenly thought “there you go, The Reytons”. There you go, we’re named after two kids on our street.
Do you remember any of the other names?
Nah nah, oh god mate, I wouldn’t even like to say if I did, they were terrible! Like, they weren’t even a frontrunner, it weren’t like there was one where half of us wanted it and half of us didn’t, it was just a “no, that’s awful”. All I know is that we said we didn’t want “The” at the beginning but then we ended up with it in the end anyway.
A lot of your songs make reference to various spots round South Yorkshire. How much are the songs you write influenced by growing up and being from there?
Yeah, I guess really heavily. The genre – you can call it indie or rock or whatever, but our style, it’s social commentary, it’s observational, what we’ve seen around us, what we do see around us now, its really made up of that. Obviously the plots are a little bit twisted, to make it more entertaining, but generally, what we’re writing about is just real stuff, real stories and real people, things that are around us, so I’d say 99% of it is down to South Yorkshire.
Your first full-length album came out not too long ago – how different was it to make compared to your earlier releases?
Three times more hard work, because obviously you’ve got to write more songs, but it was just a case of before, you’re putting EPs out there, when we started this band, we knew we had to make an immediate impact, it was a case of getting as much content out there as we could, and never releasing a proper album until we felt we could do it justice. We never wanted to put an album out in the world until we knew we had enough of a platform of people to appreciate it, and I feel like the timing were just about right, we thought we’d put it out and it were special. After coming out of lockdown, and all the shit that’s been going on in the world, it wasn’t just releasing an album, it was getting back to normal, to be able to do what we love. So yeah, it were a big moment.
On this album, a couple of the tracks (Low Life & Kids off the Estate) are quite different to their original releases – what was the thinking behind this?
Well, in the beginning, the first tracks, you know, Slice of Lime, Low Life, all of them, we basically self-recorded and engineered them ourselves, it were kind of very minimal studio equipment, very basic gear that we used. Obviously when it came to record the album, sonically we’d gone up a level, working in a professional studio with a producer called David Watts in Castleford at Chairworks Studios, and it were a case of, we really really like these songs that we’ve got, these are our top-streaming, top-performing tracks, we don’t want them not to be on the album, but they just can’t stand next to these other tracks because the level of production is so much bigger, so we tried not to do too much to change it but obviously you’re going to hear it. I mean, do you prefer the old ones or the new ones? – I think me and my mates prefer the old ones, but that’s more because you know, I started seeing you when I was about 17, so it just reminds me of being younger, it’s a bit more raw – yeah yeah, I totally get that, and you can see it as well, if you look on Spotify, the originals still perform a lot better than the new ones do. But for new people coming to pick up an album, a new vinyl and give it a spin, they’d have stood out like a sore thumb, so we had to either re-record, or not put them on, and not putting them on weren’t right for me. I get what you’re saying about the old ones though, I probably feel the same to be fair, there’s summat a little bit special about them.
Following on from that, how would you say you’ve changed as a band since you first started to attract attention, if at all?
I don’t know to be fair. I guess, from the inside looking out, we’re just trying to get bigger and better, whatever that means, we’re not trying to lose our core. People have talked about new material and the future and asked what direction we’d take it in, but I don’t want to change anything that we’re doing, it’s maybe just trying to add a few more layers of guitar in there, sounding a bit more polished, but maybe that needs to happen less. The best thing about The Reytons for me is the live shows, it’s about that rawness, like you’ve said, the energy that we bring at gigs.
I feel like you’re going to develop as a band and work with new people, everyone’s an expert in this industry and you’re always going to bump into people who want to point you in directions they think you should go. For us, we’ve been knocked about a little bit, but we’re here, we’re independent, and we want to take our own direction, I think keeping that raw energy and that ballsy attitude is what I want to focus on. Bigger shows, bigger budget, but keep the core the same.
Talking of the gigs, your live shows are some of the best I’ve seen in terms of atmosphere and energy – what would you put this down to?
I think there’s nothing false about Reytons, you know, when we come out there, we’ll fling our arms about and stuff, cocky as fuck, because we’re in that mood, sometimes we’re blown away with hands on the heads, can’t believe what’s happening. I feel like however the crowd is, that’s what we are. We’re not in the mentality of ‘we’re putting on a show to however many thousands of people or hundreds of people here’, we’re just some of those people as well. Half of the time, I turn round to Jamie who’s on drums and I’m bouncing around the same as everyone else, I feel like it’s just that we’re enjoying it like everyone else, while we’re enjoying it, you guys are enjoying it out there, I feel that’s probably the key for us really. There’s no hidden tricks or anything like that, it’s not an act, it’s genuine, and that’s what I love about being in the Reytons, that everyone’s just themselves and dead honest with it.
I remember seeing you in a tent at Tramlines in 2019 in front of a couple of hundred people – three years later and I’m seeing you in front of 4 and a half thousand people for a homecoming gig at Magna – can you believe how much you’ve blown up in such a short space of time?
Where would you suggest? I mean you can’t do Sheffield or South Yorkshire on every tour, you’ve got to find and develop audiences in different places, but where else is left for us? I mean when we started this, and we first sold-out the Leadmill, it was a case of “we’ve really got to build this up and take it somewhere, where do we end up?” and I’ve just said “Magna, it’d be mint, let’s try us best to get there”. I remember, just before covid, one of the promoters said “are you sure you wanna do Magna? Let’s do two 02 Academy shows instead” and I said “no, I wanna do Magna, I wanna do Magna”. We eventually had to do the 02 shows anyway because of how it fell with covid and stuff, but then Magna came and we managed to sell it out in ten hours! So I’m there going “f*cking told you” but deep down I’m thinking ‘I can’t believe this has sold out, never mind that quick’. There’s only really one local venue left, so we’ll see what happens.
You’re playing the inaugural Meadowlands Festival – how excited are you to be part of such an exciting opportunity?
Yeah, it’s an amazing opportunity. As I’ve said to a lot of reporters already, the exciting thing about this type of event is seeing how high up we are on the bill, you know, it’s Gerry Cinnamon, then the Kooks, then us, it’s just mind-blowing. When you first start out in a band, it’s like a word search looking for your name on there! To be announced early, right at the top, it’s honestly mind-blowing. It’s gonna be a great day with very little pressure on production, you know, we just turn up and play. it’s a really easy day mentally, but on the other hand, it’s not all our crowd, obviously some will be there to see us but the majority aren’t, so you’ve got to have your wits about you, see what we can do. But yeah we’re looking forward to it, we like a challenge.
Who would you say your main influences and inspirations behind your music would be?
You know what, everyone’s really different in this band, we’ve all done different styles, different genres in the past, so I feel that does reflect on us. Lee, the bass player, that wasn’t him until this band, he grew up listening to reggae and like Dolly Parton. Jamie is into more of his heavy metal and classic rock, you can tell that from his drumming. Joe likes everything under the sun, from sort of singer-songwriter stuff to being similar to me with hip-hop and stuff, grime and that kind of thing, which I think comes into the wordplay, so there’s a lot of influences. Obviously, it’s inspirational to see so many big bands from round here like the Arctic Monkeys, Milburn, Reverend and the Makers, Little Man Tate, Pulp, all coming from from our area. A stones throw up the road, you’ve got people like the Courteeners, it’s a big place to be our end, when it comes to music. Obviously there’s inspiration from that, but we do try and do our own thing. The most inspiration from us comes from everyday people, you know, stories of people we’ve met that inspire us to write songs and do what we do.
Are there any bands you’re tipping to follow in your footsteps, maybe be the next big thing?
Well I’m hoping it’s us, I hope we’re the next big thing! There’s a load of good bands, have you heard of The Rosadocs? They’re a good band from our way, they’re doing good stuff. The Sherlocks are still churning out stuff, they’ve got their fourth album on the way. I don’t feel like any of us have peaked yet. With touring so much the past few years, the support bands we’ve been getting at each gig like Dictator, a Scottish band who are really different, really edgy, I’ve listened to them a lot. The people who end up supporting us are probably most of what I listen to cos I get really into new stuff and try and support them as much as possible.
Finally, it’s been an incredible few years for you – what’s next for the Reytons?
We’ve got the Uninvited tour coming up, biggest headline tour we’ve done to date – I mean every band says that because that should be the way it goes – so yeah, get involved, get to the front!
There was a while when we wondered where Jamie T went. Silence from South London’s finest answer to the question “what genre do you call this?” left fans yearning for his return. Many were resigned to him not returning at all. Fortunately, almost five years on from his last live appearance, here he is.
It hasn’t been the most ideal circumstances leading to this record for indie’s favourite Mr T, real name Jamie Treays. He found himself writing a scattering of songs since 2016’s top 5 album Trick, feeling unable to harness a direction. This is not far off what happened between his second and third efforts (Kings and Queens and Carry on the Grudge, respectively), where concerned fans set up even a Facebook page.
However, Treays’ track record suggests he only emerges when the music is congruous with where he wants it to be. He works at his own pace for himself, but it also ensures quality and satisfaction for fans. The Theory Of Whatever is, gloriously, no exception.
Teaming up with friend and fellow musician Hugo White taking the reins on production, formerly of the much-missed The Maccabees, The Theory of Whatever is snappy and energetic and is authentically Jamie T. White focuses Treays’ prolific creativity, with an archive of hundreds of songs to narrow down. The 13 parts remaining make up a polished and courageous album.
Brimming with references to London (‘The Terror of Lambeth’, ‘St George’s Wharf Tower’), Jamie T balances his characteristic unrefined style with more tender moments, a line he has toed perfectly throughout his career. There are two sides to his music which dovetail effortlessly. This follows on from his beloved previous albums, most notably Panic Prevention, reissued for its 15th anniversary last year.
Jamie T songs, on the whole, lend themselves to community, with the lead single ‘The Old Style Raiders’ displaying this. It’s an uplifting, fist-in-the-air anthem waiting to be belted out in fields up and down the country. Come next summer, I’m sure it’ll become a favourite of the festival calendar, along with now modern classics ‘Sticks N’ Stones’ and ‘Sheila’.
Sonically, The Theory of Whatever is more expansive than previous efforts, seeing Treays incorporating synths and ambient style. Intro ‘90s Cars’ is a free-flowing monologue over an instrumental which has a sound that neighbours In Rainbowsperiod Radiohead. This is foiled by Treays’ distinctive style, drawing influences from all corners of a plethora of genres; a mix of Billy Bragg, The Streets, Blur and several others, perhaps. Such is his unmistakable sound; however, that The Theory of Whatever sounds like him and him only.
Treays’ lyrics occasionally feel inconsistent (what does “she’s keying Lamborghinis in my mind” actually mean?), but this can be forgiven. He’s simply making the music that he wants.
If the last 15 years of Jamie T’s career have shown anything, it’s that audiences latch onto his authenticity.
Producer Hugo White’s fingerprints can be prominently heard over some of the tracks’ instrumentals, namely on the outstanding noughties indie throwback ‘A Million and One New Ways To Die’ and ‘Old Republican’, sounding not lightyears away from early to mid-period Maccabees. The latter is a spiritful nuts-and-bolts indie push, which could easily soundtrack a montage on Football Focus; never a bad thing.
The album reaches a crescendo with lo-fi piano ballad ‘50,000 Unmarked Bullets’, which hears Treays directly addressing his audience. Yet again he fuses characteristic belligerence with introspectivity and hope (“Someone that you love / someone’s holding on / someone will not let go“). The ending is a really nice touch, which could easily feel insincere but does the opposite and triumphs. It goes back to the central principle of Jamie T’s career; producing music that is aggressively genuine to him.
The Theory of Whatever is a fantastic record that has everything you could want from a Jamie T album. Festival-ready anthems, thoughtfully interspersed with more gentle ones, and a sonic expansion which keeps the album engaging and cohesive. He’s back, and here to stay until he decides to dip again on his terms. Enjoy it.
Catch Jamie T in Manchester at Victoria Warehouse in November; tickets here.
The Theory of Whatever will be released on 29th July 2022.
Immersive experiences that celebrate the works of renowned artists are taking the world by storm. In particular, Van Gogh has seen his work reproduced across various venues, cities, and organisers. Events include Imagine Van Gogh: The Immersive Exhibition, the Immersive Van Gogh Exhibit, Van Gogh: The Immersive Experience, Beyond Van Gogh, and Van Gogh Alive – the latter of which I saw earlier this year in Salford, Greater Manchester. Van Gogh immersive experiences have become so popular that there’s even a Wikipedia page about them!
Mexican Geniuses is an experience by Brian Hunter Co. and organised by Fever – who also organised the magical Michelangelo’s Sistine Chapel exhibition. I was invited to the intimate press launch event for that at the Trafford Centre earlier this year, where I got to meet the exhibition’s creator, Martin Biallas. Fever are involved with some fabulous experiences, and this one is no different.
This latest experience has attracted scores of Frida and Diego fans in both London and Washington DC – including Rihanna, who visited the Canada Water, London, exhibit days before I did!
Rihanna. Photo: Fever.
The exhibit is split into several sections – each room an experience of its own.
“Art & Life” is an introduction to the revered artists. The room features unique storytelling, cutting-edge technology, and recreations of paintings and props – including Frida’s corset and wheelchair.
Photo: Fever.
In particular, I loved the 3D recreation of a Frida painting. It brings the painting to life – and is a highlight of what is to come, for if you think this room breathes life into Frida and Diego’s work, just wait for the next one!
Photo: Fever.
I also loved the wall covered in famous Frida Kahlo quotes (in their original Spanish and translated into English for gringos) – including, “I suffered two serious accidents in my life. The first was when a tram hit me. The second was Diego”.
Photo: Fever.
Next to the feature wall is a curtain, with a painting of Frida and Diego printed on it, that leads you into the next room – much to the confusion of lots of attendees (myself included – one of the guys working there told me I won’t be the last to get confused).
Photo: Fever.
Walking through the curtain leads you into the “Immersive Room”. This room uses the latest video-mapping technology to bring Frida and Diego’s greatest paintings to life in a mesmerising digital show – a light and sound spectacular!
Photo: Fever.
Over 300 digital projections envelope the walls around you, with Frida and Diego’s brushstrokes painting each and every wall in real time. The projections shower everyone in sight, drawing them into the iconic art; they are no longer fellow spectators but part of the paintings. The surreal, psychedelic experience has you feeling trapped inside a painting – and then another painting, and then another – but you never want to escape. It’s like an endless fever (sweet) dream and a beautiful nightmare, all wrapped up in one.
Photo: Fever.
The next room is less immersive, more interactive. In it, you will find two photo stands. One of them allows you to pose with Frida and Diego.
Photo: Fever.
The other allows you to become Frida or Diego!
Photo: Fever.
The room also features a huge colouring wall (well, a whiteboard). Boxes of brightly-coloured whiteboard markers sit ready for children (and easy-going, fun-spirited adults) to get involved. After featuring in Frida and Diego’s art, you now get the chance to recreate it!
Photo: Fever.
The experience ends with the “VR Room” – a virtual reality experience that requires a VIP ticket (or you can just pay for it there on the day).
Photo: Fever.
The 360° experience allows you to walk alongside Frida and Diego on a visually-rich journey throughout Mexico. Travel to the After Life and celebrate the Day of the Dead in a world inspired by their works of art.
Photo: Fever.
After this, there’s a gorgeous gift shop, filled with the most marvellous merchandise and super sumptuous souvenirs!
Photo: Fever.
The experience is a sensuous celebration of two of the most important artists who ever lived – including my favourite artist, Frida Kahlo. Whilst there are no actual works of art from the artists, this exhibition allows you to experience them in an entirely different way – by being inside them.
Don’t worry if you can’t get away this summer, for Mexico has come to the UK (trust, the day I visited the exhibition, it was roasting)!
South Pacific deals with lots of interesting issues – and whilst it premiered over 7 decades ago, these issues remain relevant. Whilst Rodgers and Hammerstein established the musical to send a strong anti-racism message – and it infuriated audiences in southern states – contemporary audiences will, of course, take issue with the musical’s representation of race.
The creatives behind this reimagined production, however, have attempted to de-orientalise the musical – to mixed results.
As we saw in Bartlett Sher’s award-winning adaptation of The King and I – which I reviewed in Manchester after seeing it on the West End – it is possible to fix numerous flaws of racially problematic productions, but one can only go so far without completely reinventing the piece. It’s a double-edged sword.
Director Daniel Evans had no easy job: he had to address the huge relevance of the musical whilst confronting its shortcomings – most noticeably, the marginalising of the Polynesian community living around a group of American soldiers. Whilst his attempts to add humanity and autonomy to the Polynesians are not quite as successful as Sher’s deorientalisation of Siam (Thailand) in The King and I, one can appreciated his concerted effort to address the text’s flaws.
Julian Ovenden and Gina Beck. Photo: Johan Persson.
Evans makes changes right from the get-go. Whilst the musical traditionally begins with two half-Polynesian children, Ngana and Jerome, playing and singing, he has added a scene in which a young Tonkenese woman, Liat (played by the delightful Sera Maehara), is seen delivering a traditional dance – before the stage is invaded from all sides (two soldiers even sail down from above). What was once a safe, serene space is now occupied and corrupted by American forces. It’s a bold opening that addresses the inhumanity of Western militaries waging war in Eastern countries.
The invasion is brilliantly done. The production, for all its faults, must be applauded for its spectacular set and dazzling design. The score is splendid (obviously – it’s Rodgers and Hammerstein), especially the sprightly scenes featuring ‘I’m Gonna Wash That Man Right Outa My Hair and ‘Honey Bun’ (pictured) – both of them sang by the female lead, Nellie Forbush (Gina Beck), whilst the latter is also sang by Luther Billis.
Dougie McMeekin played Luther Billis at the Manchester press night – and he was both annoying and hilarious. McMeekin is playing Billis at Sadler’s Wells, London, whilst Pierce Rogan is playing the role “at select performances”. The picture below features Keir Charles, from the original Chichester Festival Theatre production last year.
Gina Beck, Keir Charles, and Company. Photo: Johan Persson.
This musical’s introduction is followed by a more grounded scene – but, quite possibly, the strangest opening to a musical I’ve ever seen.
We meet Nellie and Emile de Becque (Julian Ovenden). Beck is known for playing lead roles in various West End musicals, whilst Ovenden’s credits are immense: Foyle’s War, The Royal, Marguerite (original cast), Finding Neverland (original cast), Smash, Downton Abbey, Persons of Interest, Knightfall, The Crown, Bridgerton, and Adult Material.
Gina Beck and Julian Ovenden. Photo: Johan Persson.
Whilst Ovenden and Beck are wonderfully cast, the scene is rather boring. There’s lots of exposition. They chat for what feels like forever – before eventually kissing. They also sing a couple of songs. It’s a really long opening scene.
Then de Becque suddenly reveals to a girl he has not known very long at all that he killed a man. He just blurts it out. Weirder – she doesn’t seem too phased about it (though she later has time to process it). It’s the opening scene, but so much is thrown at the audience.
Instead of getting to know the new lovers over the course of a few scenes, we are thrown mid-way into their early relationship and expected to care about the outcome. For us, the audience, there are no stakes, for we have only just met these two characters – neither of whom is particularly enchanting, as of yet. The acting was amazing and the singing was sublime, but it was an odd opening, if nothing else.
The Company. Photo: Johan Persson,
The following scene was much more exciting – we met the American soldiers, nurses, and the only Polynesian character that the musical deems important: Bloody Mary (Joanna Ampil). Whilst Bloody Mary is traditionally nothing more than a caricature, this production sees her become a much more nuanced, sympathetic figure. We are forced to understand her struggle – she’s not selling her daughter (the aforementioned Liat) to better her own place in society, but, rather, trying to secure a good marriage (and, thus, a better future) for her daughter.
Joanna Ampil, Sera Maehara, and Rob Houchen. Photo: Johan Persson.
Joanna Ampil deserves great praise for her three-dimensional portrayal of the criminally underwritten (yet vitally important) Bloody Mary. Ampil is a well-known theatre actor – gaining great attention for originating the role of Kim in the original Australian production of Miss Saigon (after previously playing the role in the West End) – and whilst this is a smaller role than she might deserve, it’s great to see Ampil involved in reclaiming a renowned musical’s racist narrative.
Joanna Ampil. Photo: Johan Persson.
Liat’s love interest, Lt. Joseph Cable, is played by relatively well-known theatre actor Rob Houchen – who, like the other actors I’ve mentioned, starred in the original Chichester Festival Theatre production last year. Houchen is very likeable as Cable – even when he heartbreakingly rejects Liat.
Rob Houchen. Photo: Johan Persson.
Whilst this production makes some charming changes, the script leaves lots to criticise. I found that the story never really went anywhere in the first act. The production spends a lot of time setting the scene, and I never really cared much about what was going on.
That said, the end of the first act is one one of the best ends to a first act I’ve ever seen. It wasn’t flashy or elaborate; it didn’t end with a Nazi salute or ‘Defying Gravity’. It was much more subtle.
After questioning her relationship with Emile for over an hour, Nellie finally realises and confesses her love for/to him. But it doesn’t last long. The children who we saw at the beginning of the musical return – and whilst Nellie, herself, calls them adorable, her delight comes to an abrupt end when she realises that they are Emile’s children. The problem is not that Emile has children from a previous marriage, nor that he was married before, but, rather, he was married to (and had children with) a “colored” woman.
Gina Beck and Company. Photo: Johan Persson.
Right before our eyes, Nellie transforms from a bonny bombshell to a babbling bigot. The protagonist we had grown to love over the first act is revealed to be a raging racist.
When this musical first premiered, this twist would not have come as such a shock to audiences – even lots of “liberal” Americans did not look favourably upon interracial relationships. However, for a modern British audience, the revelation comes as a grave shock. We are forced to question everything that has happened throughout the act. How, we wonder, did we fall for a bigot? The curtain then drops, giving us time to reflect, mourn, and wash Nellie right outta our hair!
The Company. Photo: Johan Persson.
Sure enough, Nellie comes around – an ending that liberal White audiences love, but, as a person of colour, I could feel my eyes rolling. It just makes racism look trivial and easy to fix. We are made to see Nellie not as a bad person but an ignorant one – and thus, her racism, though never defended, is explained away.
This fault lies not with the current creatives but the original writers. But it is important to remember that this is a very old musical written by White men. However, we cannot just render it “a product of its time” – for two opposing reasons. Firstly, it is lazy to just dismiss something offensive as such, without engaging with those problems. Secondly, this musical was not merely a product of its time – in actuality, it was radical for its time. It scandalised southern audiences with its strong anti-racist message – and its portrayal of interracial relationships.
For that reason, the musical must be applauded – even if it fell short of offering me an enchanted evening.
South Pacific plays at Manchester Opera House from 16th until 23rd July, ahead of a month-long residency at Sadler’s Wells Theatre in London, from 27th July until 28th August. The UK tour resumes in mid-September until mid-November.
Cabaret is one of my all-time favourite musicals. Both its story and its score are tremendous. Dark and depressing, but dazzling, it makes Les Misérables look like le merveilleux!
The musical offers creatives a great deal of interpretation, but Rebecca Frecknall’s new production is a roaring reimagining. She has radically reinvented the rules and, somehow, made this twisted tale even more twisted.
Indeed, she has twisted every single little aspect of the musical to make it unrecognisable from any production of Cabaret one might have seen before. Whilst that might sound risky – unnecessary, even – Frecknall succeeds in bringing the musical’s themes and messages to the forefront and creating the most sumptuous spectacle you ever did see.
Frecknall’s production has received unprecedented acclaim from critics and fans alike, with bodacious reviews everywhere from boring broadsheets to brassy blogs. Everybody is in agreement – this new production of Cabaret is, indisputably, one of the greatest pieces of theatre of all time.
Photo: Marc Brenner.
The Plot
Cabaret is based on John Van Druten’s 1951 play I Am a Camera – which, itself, was adapted from Christopher Isherwood’s semi-autobiographical novel Goodbye to Berlin (1939).
The musical’s setting is 1929-1930 Berlin, during the twilight of the Jazz Age, as the Nazis are ascending to power. The musical focuses on the hedonistic nightlife at the seedy Kit Kat Club and revolves around the relations between an American writer, Clifford Bradshaw, and an English cabaret performer, Sally Bowles. A subplot involves the doomed romance between German boarding house owner, Fräulein Schneider, and Herr Schultz, a Jewish fruit vendor.
Overseeing the action is the Master of Ceremonies (aka Emcee) at the Kit Kat Club, with the club, itself, serving as a metaphor for ominous political developments in late Weimar Germany. The musical depicts Weimar-era Berlin during this chaotic interwar period as a carnival of debauchery and despair, inhabited by desperate people who are unaware of the national catastrophe that awaits them.
Photo: Marc Brenner.
The Prologue
Now, the show begins as soon as you walk into the theatre – before the production, itself, begins. Instead of entering at the front of the Playhouse (which is now the theatre’s exit), you enter around the back and head down into the basement. Even the staircase is dazzling.
You walk along a few corridors before entering a bar lit by red lights. At the entrance of the bar sits a cabaret performer, adorning themselves in a mirror. Upstairs, there’s an especially grandiose bar, complete with gold decor – and even a dancer and band playing on the bar counter.
It’s an incredibly immersive experience, in which you experience a cabaret before Cabaret, itself. It’s a sensuous prologue that transports you to the Kit Kat Club – both metaphorically and literally, for when you head into the auditorium, you realise that the Playhouse has been transformed into the Kit Kat Club! Once a traditional theatre, it is now in-the-round, with the circular stage surrounded by seats (cabaret tables and theatre seats) – voyeurs at every angle, finding entertainment in the tragical tale of Cabaret‘s unlucky characters.
The Performers
A long list of splendid stars have starred in productions of Cabaret. This production, itself, was originally lead by Academy Award, BAFTA, Golden Globe, 2 x Olivier, 2 x Screen Actors Guild Award, and Tony winner Eddie Redmayne as the Emcee and BAFTA, Cannes and Olivier winner Jessie Buckley as Sally Bowles.
They were joined by Omari Douglas (It’s A Sin) as Cliff Bradshaw, Olivier winner Liza Sadovy as Fräulein Schneider, Olivier winner Elliot Levey as Herr Schulz, Stewart Clarke as Ernst Ludwig, and Anna-Jane Casey (first London revival of Sunday in the Park; first UK tour of Calendar Girls) as Fräulein Kost.
Anna-Jane Casey.
Redmayne, Buckley, Sadovy and Levey all won their Oliviers for starring in this production, so their replacements had big boots to fill – and they’ve all filled them so well that they’re about to burst out of them!
Fra Fee is freakishly fantastic as Emcee. Fee is known for starring in the film version of Les Misérables, the original cast of The Ferryman (for which he won a WhatsOnStage Award), Amazon Studios’ Cinderella, Hawkeye, and RebelMoon. Now, Emcee is sure to be one of his most memorable roles.
Fra Fee and Amy Lennox. Photo: Marc Brenner.
As aforementioned, Olivier nominee Amy Lennox’s rendition of ‘Cabaret’ is a sight to see, but whenever she appears onstage, one can never take their eyes off of her. She offers a sympathetic yet frustrating portrayal of the iconic Sally Bowles.
Lennox is known for starring in the original West End cast of Legally Blonde, the original UK tour of 9 to 5, Wrong Turn 5, Shetland, the original West End cast of Kinky Boots (for which she was nominated for an Olivier), the original London production of Lazarus, and Holby City. This role, however, is career-defining.
Omar Baroud is thoroughly likeable as Clifford Bradshaw; he is, arguably, the most likeable and realistic character in the play – thanks, in large part, to Baroud’s considered portrayal.
Vivien Parry and Omar Baroud. Photo: Marc Brenner.
The doomed lovers, Fräulein Schneider and Herr Schulz, are now played by the wonderful Vivien Parry and Richard Katz. They serve as (two halves of) the heart of the musical – and when that heart is broken, the show loses the little optimism it had left.
Stewart Clarke and Richard Katz. Photo: Marc Brenner.
Original cast-members Clarke and Casey are still with the production – and for good reason: Ludwig excels at playing a character that is representative of the Third Reich – especially during that twist – whilst Casey is fabulous as the morally dubious, yet undeniably likeable, Kost.
The ensemble and prologue performers are all captivating. They perfectly embody numerous qualities – from sexual transgression to political aggression – and work hard to capture the essence of the story, both individually and collectively.
The Production
This production of Cabaret has little set, instead relying on choreography to set the scene and tell the story – à la Chicago.
The choreography-heavy opening number, ‘Willkommen’, is a bold, bodacious beginning to a most marvellous musical. Whilst Cabaret usually has a larger ensemble, which allows the final chorus of ‘Willkommen’ to be a real riot – and very Broadway – this production relies on the mechanics of the small stage to create a “big” number. The stage, though small, operates in three parts – there is the possibility of creating three tiers, like a birthday cake – and even spins around.
The production welcomed us to the Kit Kat Club the second we entered the sparkling staircase to the basement – but this number entrapped us!
The Company. Photo: Marc Brenner.
Cabaret‘s choreography relies not just on dance but also movement. This production, in particular, relies heavily on movement – with the ensemble making sensual shapes and getting into creepy positions. Julia Cheng deserves great praise for her writhing, frenetic choreography.
The Company. Photo: Marc Brenner.
Tom Scutt’s set and costume design is incredible. Whilst the set is relatively simple, especially by West End standards, Scutt succeeds in making it eye-catching – and turning it into the Kit Kat Club. The costumes, though, are anything but simple; the colours and textures are soft and tame, but the designs are extravagant and outlandish.
However, as the musical draws to a close, the vivacious individuality of the costumes is brought to an understated uniformity. The palette becomes grey, brown and, at best, khaki – a representation for not only the dark days that were to come but the conformity that the Nazis demanded of their denizens. The production literally ends with every single cast-member in a simple suit. Gone are the dazzling days of dandy debauchery. Gone are the optimism, celebration, and artistry; they have been replaced with cynicism, nihilism, and destruction.
The Company. Photo: Marc Brenner.
Transformation is, indeed, an important theme in Cabaret. People change – they must, in order to survive. Transformation is sometimes shown more obviously – e.g. Fraulein Schneider calling off her marriage to Herr Schultz when she realises that marrying a Jewish man will be unsafe – and other times, it is more subtle.
Take Emcee, who arguably represents the soul of Germany, transforming through costume and performance. At first, a boy in braces, donning a party hat, then a masked and armed Pierrot, and, finally, a blond conformer, singing a different tune – literally. Is he being indoctrinated, or is he just trying to survive? In Act 1, he sings the White supremacist tune ‘Tomorrow Belongs to Me’ with a subdued passion – a turning point for the character.
Fra Fee. Photo: Marc Brenner.
Act 1 ends with the group performance of ‘Tomorrow Belongs to Me’. This is one song that I actually think the film gets better – first sang by a member of the Nazi youth, before more and more adults join in (representing the journey of indoctrination), as an elderly man watches on in horror – knowing that this has happened before.
However, the movie tells quite a different story, and having Fräulein Kost and Ernst Ludwig sing ‘Tomorrow Belongs to Me’ at the party for Fräulein Schneider and Herr Schultz works perfectly.
I am pretty sure that the last production I saw ended with most of the cast doing a Nazi salute at the end of ‘Tomorrow Belongs to Me’, a horrifying end to the act that signalled the darkness that was yet to come – but a little on-the-nose. This production was more subtle; it elegantly showed how people are indoctrinated over time – one does not just wake up one day, chant ‘Sieg Heil’, and call for the extermination of an entire ethnoreligious group. Rather, hatred is taught and learned.
Indeed, the quiet domesticity of this version (what with it being sang in Fräulein Schneider’s home) makes the song all the more chilling and insidious, for it reflects the Nazi infiltration of Germany – how quickly and easily the Nazis spread their propaganda, converted seemingly ordinary Germans, and seized power.
Amy Lennox. Photo: Marc Brenner.
Whilst the first act is a whopping 1 hour and 45 minutes, it flies by. The second act is much, much shorter – and thank goodness, for it is harrowing.
It, of course, reaches its climax with its title song. I included ‘Cabaret’ in my article about misunderstood musical theatre songs. Ostensibly, the song seems to channel themes of carpe diem (seize the day) and enjoying life. In actuality, Sally is not living life to its fullest; she is ignoring reality.
Olivier nominee Amy Lennox’s interpretation of this classic song is far from the flawless number sang by Liza Minnelli in the film adaptation – but that version is largely why the song is so misunderstood. The film version, though phenomenal, was largely a vehicle for Minnelli to showcase her star quality – even though Sally is supposed to be a mediocre singer.
Lennox, a spectacular singer, succeeds at “good bad” singing. Her rendition of ‘Cabaret’ is reminiscent of ‘Rose’s Turn’ in Gypsy – a near-flawless nervous breakdown, with Sally realising her troubles but preferring to live in denial and just enjoy life whilst she can, with a Hedonistic philosophy of sorts.
The Problems
The musical doesn’t have any problems, per se, but I do wonder if other productions, whilst indisputably inferior, did a better job at three important moments.
First of all, the script omits two changes seen in recent UK productions – one of which I think worked better; the other change is a matter of interpretation.
At the beginning of ‘Willkommen’, Emcee says, “In here, life is beautiful. The girls are beautiful. Even the orchestra is beautiful!” – omitting the line that has appeared in recent UK productions, “The boys are beautiful”. This production is unashamedly queer – indeed, venues like the Kit Kat Club were often a sanctuary for those society would deem sexual deviants – and whilst Fra Fee’s Emcee is as straight as a bendy ruler, that additional line signals the unashamed homoeroticism that is yet to come. Then again, perhaps Emcee pretending to be straight (and hiding his sexuality) is part of the joke.
Fra Fee and Company. Photo: Marc Brenner.
Traditionally, the musical ends with the ensemble reprising ‘Willkommen’, but the song is now harsh and discordant. The Emcee sings, “Auf Wiedersehen… à bientôt…” followed by a crescendo-ing drum roll and a cymbal crash.
Several productions feature a finale with a white space flashing with a strobe effect, implying the cabaret performers – except for Sally who is not standing in the white space – will fall victim to Nazi atrocities towards the Jews and homosexuals.
Some productions make it even more explicit – the touring production I caught a few years back saw the Emcee and the ensemble wear blue and white striped pyjamas, with yellow stars (and, in the case of the Emcee, a pink triangle), before stripping. It was made explicitly clear that the cabaret troupe had not only been persecuted by the Nazis but had, in fact, been sent to a gas chamber.
It’s an especially dark ending, one which makes the audience pause before applauding, but perhaps a little too provocative. This new production thinks that less is more – and it achieves a powerful, bleak, goosebump-inducing ending without recreating a death camp.
Photo: Marc Brenner.
Then there is a musical change. Whilst ‘Maybe this Time’ traditionally ends with a roar (before the last line is sang more softly), this version rids the powerful song of its climax – and thus, decreases its desperation (in favour of showing a softer side to Sally). It still works; it’s just disappointing to hear the build up to the song’s climax but then never actually reach said climax. It almost feels like a tease.
Other than that, the production is perfect. It swept the Oliviers earlier this year, winning Best Revival, Director, Sound Design, and all four musical acting categories! Every single one of those awards is deserved because this truly is one of the greatest pieces of theatre one will ever see.
Photo: Marc Brenner.
The Prices
Whilst the production has been critically acclaimed and showered with praise from audiences, it has received sharp criticism for its high prices. Is it worth £350 a ticket? Of course not – in fact, I can’t think of a single show that is worth that much, and I’ve seen just about everything.
If you have the money to spare and want to really treat yourself to top tickets to a West End show, then Cabaret is probably the right call. But if you are not willing to spend quite so much, do not worry, for tickets vary greatly in price – starting at £30 in the upper circle! According to reviews on SeatPlan, upper circle seats at the Kit Kat Club still offer an incredible view, because the theatre is small, intimate, and well-designed.
So, whether you want to splash out or save money, Cabaret welcomes you to the Kit Kat Club for a few hours of decadence, debauchery – and devastation.
Life is a cabaret, old chum – come to the cabaret…
As summer draws to a close and the new term looms, August is the perfect month to make the most of your remaining free time and plan some events. The Mancunion has our top picks for what to do this month, so you’re all sorted for inspiration!
Music:
The hugely popular Warehouse Project makes its return to Mayfield Depot this August. You can purchase tickets for its events on the 26th and 27th of August here, as well as browsing the rest of its September to January line-up. Tickets are expensive, however its a student favourite event and something one-off, so consider checking them out.
Although not a Manchester event, Leeds Festival is one of the most well-known UK festivals and, if you can secure last-minute tickets, the line-up isn’t to be missed. The Artic Monkeys make their return to UK soil, headlining alongside the likes of Dave, Megan Thee Stallion, Rage Against the Machine, and Halsey. Although Leeds is a bit of a way from Manchester, coach company Big Green Coach are the official partner of the festival and run return coaches to the city centre – check out their website for prices.
There’s also always great live music at Manchester Pride Festival, taking place this year from the 26th to the 29th of August. There’s more on Pride in the Events section, however you can book tickets here.
Sport:
New cricket sensation The Hundred returns to Manchester this August, and tickets can be purchased for events at Old Trafford here. The competition involved women’s and men’s matches in a one day format, using, as the name suggests, 100 bowled balls for each team. This year, Manchester Originals are representing the city and it promises to be a good day out.
The 2022/23 Premier League season begins on the 6th of August. There are of course the two big Manchester men’s teams to support as City launch their defence of the title and United attempt to reinvent themselves under new manager Erik Ten Hag. The season begins slightly earlier this year due to the winter 2022 World Cup.
If tickets to these games are too expensive, you could always go to one of their female counterparts’ matches (click here for United and here for City). Both Manchester women’s teams finished in the top four of last season’s table, so exciting games are promised. You can also catch cheaper matches from the men’s lower ranking Greater Manchester teams, including Bolton, Wigan, and Salford.
Culture:
Theatre fans can expect lots of good theatre from Manchester in August. The Lowry has runs of the extremely popular SIX The Musical as well as family friendly play, The Gruffalo. Meanwhile, Palace Theatre is showing The Osmonds: A New Musical, which tells the story of the musical family, whilst Sale’s open-air theatre has a range of shows on offer.
Arts events in August include the ending of Amazônia’s run at the Science and Industry museum, a photography display which celebrates the landscape and people of the Brazilian rainforest. British Art 9, an event across Manchester showcasing contemporary British art, also enters its last moth in August – consider checking out both before they close. Alternatively, the outdoor Lunar Cinema returns to Tatton Park, showing Grease, West Side Story (2021), and Moulin Rouge. You can browse ticket prices for the full list of films here.
Escape to Freight Island continue their series of summer events into August, with the multifunctional depot venue offering much more than simply food and drink. There’s their staple Comedy Store comedy club, alongside one offs such as disco pogo, bottomless Bruch bingo and hip hop karaoke. Tickets are relatively cheap, and can be seen alongside the full list of events on their website.
Events:
One of the annual events which Manchester is most well known for is Manchester Pride, which fills the final weekend of August. You can purchase tickets and check out the full range of events on their website. We’d definitely recommend going along to the massive parade, as well as the huge range of live music. Manchester has a proud queer history, and, with a portion of ticket sales going to LGBTQ+ charities, the pride festival is the perfect way to celebrate.
Other days out include Bolton Food and Drink Festival which is held on the same weekend as Pride. Headlining this year are The Hairy Bikers, Ainsley Harriott, and James Martin. There’s also the results of the Great Bolton Cake Off and live music to go alongside chef demos and food and craft stalls. The festival is in its 17th year and tickets can be purchased through its website.
A central Manchester option is the Heaton Park Food and Drink Festival, taking place on the 20th of August in the same park which hosts Parklife festival. Things on show include artisan food markets, live music and craft fairs. Tickets are only £5.
Hopefully, you’ve found The Mancunion‘s summer guides helpful. Look out for our upcoming Fresher’s Guides for everything university-related, whether you’re returning to Manchester or a first-time student.
It’s rare with a rock band that you can name every member. It’s also rare to see a rock band where each member’s star shines equally – usually it’s the lead singer, or maybe a wise-cracking bassist whom audiences take a liking to. But with HAIM, sisters Danielle, Este, and Alana work as a true unit, all exceptionally talented, all well-versed in entertaining a crowd.
The pop-rock trio returned to Manchester for a double-bill of headline shows at Manchester’s O2 Victoria Warehouse located in Stretford, where they performed for some 7,000 fans across the weekend as part of their aptly titled One More HAIM Tour.
As ‘Now I’m In It’ begins, each member enters the stage, singing their solo and wielding an instrument, simultaneously showing off their musicianship and ability to command the room. They each receive rapturous applause upon entrance. This only continues as the multi-talented siblings rotate between instruments and lead vocals throughout the night. They perform ‘I Know Alone’ – now a viral TikTok dance – to a tee.
During ‘Up From a Dream’ the three musicians are accommodated their own individual drumkits, tearing the stage up with a mixture of marching band-esque rolls, and such tenacity that would put the likes of John Bonham and Phil Collins to shame – no, seriously!
Alana, who recently had a starring role in Paul Thomas Anderson’s Academy Award-nominated Licorice Pizza, leads the between-songs banter to begin with. She describes her audience as a “sea of babes” much to their delight before recalling an anecdote about a psychic who once told her she’d marry someone from Manchester, joking that that person may well be in the room tonight.
Later Danielle reels off venues the band have previously played in Manchester, in increasing capacity: Gorilla (which she refers to as Gorillas, but we’ll allow it) and the O2 Ritz. She remembers how a band who played at the neighbouring venue asked their crowd to put two fingers in the air to HAIM, and so they asked their audience to respond similarly at the time.
This time, however, she asks attendees at Victoria Warehouse to do the same, but for “anyone who threatens the rights of women, especially their reproductive rights”, implicitly referencing the Supreme Court decision to overturn Roe v Wade, denying access to a safe abortion for millions of people in the US. Their activism, and decision to use their platform to be outspoken about issues close to their hearts clearly resonates with the crowd.
‘3 AM’ is preceded by Este taking a faux-phone call from a ‘Daniel’, who’s been watching Gogglebox, before bashing out a sublime bassline on ‘Gasoline’ – and making her trademark bass faces. Whilst some bands repeat the same jokes each night no matter where they’re playing, it seems HAIM have really perfected their onstage patter, making it culturally and city-specific.
Danielle performs ‘Man From The Magazine’ solo, accompanied only by her trusty acoustic guitar. Its tender moments like these, contrasted with the high-energy of main-set closer ‘Summer Girl’ that make you realise what a truly great band HAIM are, with their discography encompassing a range of emotions and genres. Before ‘FUBT’, the girls move side stage to give their touring saxophonist the space to play a sensational solo.
Though spread out evenly across the stage, during ‘Hallejuah’ the sisters converge at the centre, embracing each other or resting a head on another’s shoulder. Their familial bond is tangible in the audience, as fans mimic this with their friends. Their cathartic Women in Music, Pt III hit ‘Don’t Wanna’ encourages a huge singalong moment. Meanwhile, in a classic onstage move, Alana and Este divide the room into ‘sides’ and ask each to sing the main refrain of ‘Want You Back’ the loudest. It may be one of the oldest tricks in the book, but it works a charm every time.
Their encore contains two of their biggest hits, the breezy soft rock of ‘The Wire’ and ‘The Steps.’ Despite soaring temperatures due to the ongoing British heatwave, the audience danced on enthusiastically throughout the hour-and-a-half set. Between their blissful pop-rock bops, relentless riffs and musicianship, and their unparalleled stage banter, the band put on a truly memorable show. Here’s hoping for onemore HAIM!
Bloodhound have advanced their third single of the year, ‘Illuminations’, in support of their second album. A favourite of the Hull scene, they have supported bands such as The Blinders, Low Hummer and Man of Moon up and down the country and are ready to make their own mark. Following up on debut Fragile Skeleton released in 2020, and fresh from a line-up change, the band have promised a second album ‘more modern, mature, and ambitious’.
The third offering backs up this statement; the single ticks all the boxes. It is a ferocious, 3-minute-something ball of energy. Vocalist Max Lilley displays range, using several different styles over the distorted instrumentals. He does this while keeping it very energetic; repeating “let’s have a revolution” on the chorus with incredible urgency and fervour. ‘Illuminations’ is the culmination of hard-rock sensibilities from Queens of The Stone Age fused with sonic construction akin to My Bloody Valentine. And it’s an absolute banger. The lyrics are sometimes difficult to make out given the heavily distorted mix, but that doesn’t detract from the fierce, enjoyable experience.
‘Illuminations’, as well as the previous two singles ‘A Message’ and ‘Backscattering’, are depicting what’s to come from Bloodhound. Eyes are on their next steps; it could be massive.
Based on George Bernard Shaw’s 1913 stage play Pygmalian, My Fair Lady premiered on Broadway in 1956 and transferred to the West End two years later. Both versions starred Dame Julie Andrews DBE and Sir Rex Harrison. The film adaptation (1964) controversially replaced Andrews with the then-better-known Audrey Hepburn. The musical has had quite the journey, and it’s now back on the West End for the first time in two decades!
Amara Okereke, Harry Hadden-Patton and Company. Photo: Marc Brenner.
The current West End version is a transfer of the 2018 Broadway revival (produced by Lincoln Center Theater and Nederlander Presentations, Inc.) – presented by the English National Opera at the London Coliseum.
The London Coliseum is the largest theatre in the West End and second largest in London (if we include the Hammersmith/Eventim Apollo as a theatre and not as a music venue, that is). The theatre is perhaps the most beautiful I’ve ever seen – there are even sculptures of chariots at the top of the walls at either side of the stage! It’s not just beautifully designed but practically, too – the stalls’ raking is some of the best I’ve ever seen in a theatre. Like the Barbican Theatre, each row is on a step, so no matter where you’re sat, you’re a step above the row in front of you (like the circle and grand circle).
Stephen K. Amos. Photo: Marc Brenner.
The West End production stars Harry Hadden-Patton (who was nominated for a Tony for the role on Broadway) as Professor Henry Higgins, Amara Okereke as Eliza Doolittle (the first Black actress to take on the role), Stephen K. Amos as Alfred P. Doolittle, Dame Vanessa Redgrave DBE as Mrs. Higgins, Malcolm Sinclair as Colonel Pickering, Maureen Beattie OBE as Mrs Pearce, and Sharif Afifi as Freddy Eynsford-Hill. Sadly, Redgrave was off when we went to see the show, but I did catch her Q&A a the premiere ofMrs Lowry & Son a few years back.
The Cast
Tony and 2 x Screen Actors Guild nominee Harry Hadden-Patton is best-known for La Vie en Rose, Posh (original cast), About Time, Downton Abbey, The Crown, Versailles, and Flying Over Sunset (original Broadway cast). He was every bit as excellent as one would expect from such an acclaimed actor – and one who received a Tony nomination for playing the role on Broadway. He showed a slightly softer side to the arrogant and insufferable Professor. He was surprisingly likeable – if only by virtue of being hilariously hideous!
Harry Hadden-Patton, Amara Okereke and Malcolm Sinclair. Photo: Marc Brenner.
Olivier nominee Malcolm Sinclair has played the role of the Colonel on the West End previously – and he’s still got it! Sinclair is very well-known onstage and starred in the West End revival of Andrew Lloyd Webber’s Jeeves – a very different production, renamed By Jeeves. He was nominated for an Olivier for starring in Privates in Parade. Onscreen, he is known for Pie in the Sky, V for Vendetta, and Casino Royale. Whilst Colonel is your quintessential, loveable old man, Sinclair set himself apart from what is sort-of a stock character in theatre. There was a delightful delicacy to his performance.
Stephen K. Amos and Company. Photo: Marc Brenner.
RTS winner and BAFTA nominee Stephen K. Amos was LOL-funny – living up to his reputation as a comedy legend. Whilst the musical was long and could feel a little heavy at times, Amos consistently brought comedic relief. In particular, his transformation in Act 2 was hysterical. Amos’ hard-hitting documentary Batty Man was nominated for a BAFTA, and now he’s doing musical theatre – is there anything this man can’t do?
Stephen K. Amos and Company. Photo: Marc Brenner.
Maureen Beattie OBE is an acting icon, known for Casualty, The Chief, All Night Long, Bramwell, Wing and a Prayer, The Bill, and Dreadwater Fell. She was thoroughly likeable as the proper Mrs Pearce.
Mauren Beattie OBE. Photo: Marc Brenner.
Sharif Afifi was excellent as the excitable Freddie – a brilliant representation of young people being more open to difference and change.
Sharif Afifi. Photo: Marc Brenner.
Whilst Redgrave – one of the most-awarded actors of all time and one of the few performers to have achieved the Triple Crown of Acting – was sadly off, her understudy, Heather Jackson, was very well cast as Mrs Higgins. At first intimidating, later welcoming, but always elegant – Jackson embodied her perfectly.
Dame Vanessa Redgrave DBE, Amara Okereke and Company. Photo: Marc Brenner.
Then there’s the little-known leading lady, Amara Okereke. Little-known, you say? Not for long! Okereke is surely going places. As Doolittle, she is instantly captivating and commands your attention for the whole three hours that the musical runs.
The Attention to Detail
Whilst the script is problematic, one can appreciate it as a product of its time – and I cannot deny the magical feeling one gets when watching an iconic, old musical brought to life. You get a nostalgia for a time you never knew – a time you should never want to know, for it was pretty awful, but still, the feeling is one of warmth, yearning and appreciation. There’s nothing quite like it.
The script has many flaws, but one cannot find a single fault with the musical’s production value. There were no expenses spared.
Stephen K. Amos and ensemble. Photo: Marc Brenner.
Funnily enough, it did not seem that way at first. Before we were introduced to high society, we were on the poor streets of London – which were created using 2D models that looked like cardboard cutouts – well-done, yes, but still, cardboard cutouts!
Then, we were transported to Higgins’ residence. At first, we were in his library – which looked just like the inside of a personal library, complete with a winding staircase and a first floor. This piece of set span around: the other side was a living room, and there were two small rooms at the sides: one was more dynamic and was first used as a bathroom, whilst the other appeared to be a garden terrace, complete with a tree – though we never saw this head-on; we just saw it through the windows (yes, there were even windows).
Maureen Beattie OBE, Harry Hadden-Patton, Amara Okereke, Malcolm Sinclair and company. Photo: Marc Brenner.
Higgins’ home was miles away from the surprising simplicity of the previous set. Granted, the scenes in the poor part of town just take place on the streets, so it’s understandable why 2D sets were chosen – but this was contrasted with the scenes that took place on the street outside Higgin’s residency, which used elaborate set just to create a door! Rather than being about saving cost, it was quite clear that the creatives were attempting to create a contrast between the rich, sumptuous, 3-dimensional world of the aristocracy and the dull, thoughtless, flat (literally) world of the working-class.
The Company. Photo: Marc Brenner.
The costumes are some of the best I’ve ever seen onstage. In particular, the colourful gowns seen in the first scene of the second act, and the ivory gowns seen in the racecourse scene in the first act.
The Company. Photo: Marc Brenner.
Whilst I’ve never seen the stage musical before, nor the film, I’m a huge Audrey Hepburn fan, and I recognised a few of the musical’s costumes as ones that Hepburn wore. Most noticeably, Doolittle’s black and white racecourse dress. Whilst the film version sees the entire ensemble wear black and white, this production saw Doolittle become a “black sheep” surrounded by a sea of whites (quite literally, racially). It was just another example of the production’s clever creativity and awe-inspiring attention to detail.
The “New” Eliza
Okereke’s casting follows a trend of (finally) casting Black actresses in lead roles in musicals (e.g. Christine Daaé in The Phantom of the Opera, Belle in Beauty and the Beast and the understudies for Elsa in Frozen and the title character in the recently-closed Cinderella).
But there’s something interesting about casting a Black actress as the titular My Fair Lady. It adds another layer – the story becomes not just one of class, but also race. The pompous White man is now attempting to change not just a poor woman but a poor, Black woman – forcing her to “fit in” with his kind.
Amara Okereke and Company. Photo: Marc Brenner.
However, upon watching the production, it became clear that race was not a thing – the casting was colourblind, with all races playing members of both classes, and race never even being alluded to. It was pleasantly post-racial, as theatre should be (except where race is important). Sure, race was never a thing in this musical, but casting a Black woman as Doolittle and then never acknowledging race (not even subliminally) is something of a missed opportunity.
That said, I can still appreciate that casting a Black woman as Doolittle seems to be sending a certain message – especially with the changed ending (first seen in the 2018 Broadway revival), in which Doolittle leaves Higgins (with a smile upon her face).
Indeed, the ending was wonderfully done, with Okereke walking off-stage and into the audience. She doesn’t just leave Higgins; she leaves the theatre – for that is what her life has become: theatre, e.g. Higgins forcing her to be somebody she was not, keeping up appearances, etc. Doolittle exits the story Higgins crafted for her, but not before getting the last laugh (or, rather, smile) – the “duff duff” moment of the musical. She sets off to live her own life and tell her own story. She is no longer his fair lady.
Harry Hadden-Patton, Amara Okereke and Malcolm Sinclair. Photo: Marc Brenner.
For those who don’t know, the original musical ends with implied coupled contentment for Higgins and Doolittle – after he transforms her into a proto-Stepford Wife. Surprisingly, Pygmalion actually ends with Doolittle leaving Higgins. The creators of the musical did their own “my fair lady” to the story – ridding it of its feminism. This reminds me of Ibsen’s A Doll’s House, which ends with Nora leaving her husband – but the stage adaptation saw her choose to stay and, worse, be tucked in by her husband/owner.
My Fair Lady’s new ending, then, is not so new, but, rather, a reclamation of the original ending that was discarded in order to further oppress and marginalise Doolittle.
Now, the reclaimed ending, nor all the Suffragettes in the world (that Suffragette scene was brief but beautiful), is not enough to make up for the musical’s undeniable classism – made worse by the fact the crowd is quite possibly the (first-)classiest theatre crowd you ever did see! But, in the end, the poor, Black woman wins.
Isn’t that just… loverly?
The Company. Photo: Marc Brenner.
My Fair Lady plays at the London Coliseum until 27th August, before beginning its UK tour a month later, at The Alhambra Theatre, Bradford, from 22nd September until 2nd October. The final date, so far, is Birmingham Hippodrome, from 8th until 26th March. More dates are expected to be added to what is currently only a 6-city tour – one hopes we get it in Manchester!
Glaswegian rock band Primal Scream closed Manchester’s Sounds of the City 2022, as they marked the 30-year anniversary of their seminal Screamadelica album.
The psych-rock band were preceded by a brilliant billing of emerging talent including fellow Scots Walt Disco whose neo-goth glam-rock tunes filled Castlefield Bowl to begin with. Dressed in a flamboyant purple taffeta gown, lead singer James Potter worked the crowd, performing songs from their debut album which was released to critical acclaim earlier this year. Their Bowie-esque vocals combined with new-wave inspired beats combined to create floor-fillers that would warm the audience up this sunny afternoon.
They were followed by native Mancunian LoneLady, whose funk meets post-punk tracks have met with the seal of approval from the likes of Brian Eno and New Order. As a one-woman project, LoneLady was, of course, accompanied by a live band for her set. Her recent record Former Things drew on her experiences growing up in north Manchester. The album’s lead single ‘There Is No Logic’ was an instant crowd pleaser, inviting the audience to dance along to its irresistible groove.
Merseyside’s best musical export since The Beatles, The Mysterines play just before Primal Scream and do an excellent job at hyping the crowd up. Frontwoman Lia Metcalfe’s powerful vocals over thunderous guitars on tracks like ‘Life is a B*tch (But I Like It So Much)’, the bluesy ‘Old Friends / Die Hard’, and the steeped-in-grunge ‘In My Head’ hold the audience’s attention, and even inspire the odd sing-along from fans at the barrier.
When Primal Scream eventually arrive onstage, Bobby Gillepsie is dressed in his bright red suit, emblazoned with the Screamadelica album artwork and an equally excellent pair of red suede boots. Lithe and lean, he prowls around the stage, still sporting his signature long black hair. “Are you ready to be redeemed?” he exclaims, as if he is our preacher, and we his assembly, before bursting into ‘Movin’ On Up.’ Accompanied by a quintet of gospel singers who add a layer of soul to each track, and beneath the golden sunset, it really does feel akin to a religious experience.
This is not the kind of concert where you’ll expect mosh pits, but rather a more relaxed atmosphere: people basking in the sun, side-stepping and nodding their heads in time with the music, smoking a spliff or sipping a cider, and all-in-all just enjoying themselves and appreciating the live music before them.
Because this is an anniversary tour, Primal Scream predictably play their Screamadelica album in full, but with a few tweaks to its chronology, choosing to end on perhaps their most recognisable hit, ‘Loaded’ in all eight minutes of its glory. Gillespie makes great used of the entire stage, strutting across it and leaning towards either side of the audience, such that everyone can catch a glimpse of him.
Third track ‘Don’t Fight It, Feel It’ is dedicated to Denise Johnson, who originally provided powerhouse vocals on the 1992 album, but tragically passed away during the pandemic. Meanwhile, ‘Slip Inside This House’ cascades through the bowl, its baggy-inspired beat instantly getting those sat on the back benches on their feet.
‘Come Together’ offers Gillepsie the opportunity to vocalise his support for the LGBTQ+ community, and make his solidarity with Ukraine, disdain for the Tories, and his staunch anti-racist stance clear to the crowd. It’s simple yet effective chorus loops on infinitely, as the 8,000 strong crowd chant it back to Gillepsie & co., embracing their friends and families, drinks held high in the air, and grins across their faces as the sun sets
The setlist is not extensive because many of Screamadelica’s songs are lengthy, spiralling soundscapes. Despite this, the band manage to play until 10.50pm, surpassing Castlefield Bowl’s 10.30pm curfew, much to the audience’s delight.
In an encore of greatest hits, Primal Scream play ‘Swastika Eyes’ and ‘Jailbird’, two rockier tunes that get the crowd moving. But Gillespie still has one more trick up his sleeve, as he introduces a very special guest: The Stone Roses’ Mani aka Gary Mountfield, who joins him for not one but two tracks: ‘Country Girl’ and ‘Rocks.’
As the sun sets, and the many-hued stage lights fade, there’s a real sense of joy permeating Castlefield Bowl. Well-versed in working a Mancunian crowd, before departing from the stage, Gillepsie tells fans: “Be northern, be proud.”
Contact celebrated Keisha Thompson taking over as their new Artistic Director and CEO with a wonderful celebration, which included a welcome party, an after party, and a performance called ‘Cocktails and Cinquains’: a carnival-themed night full of cocktails, dance, music, poetry and cinquains!
Keisha Thompson has been actively involved with Contact Theatre for 15 years, and it was great to be part of welcoming her as the youngest, first Black, female leader, and even first Mancunian head of the organisation.
Keisha certainly knows how to throw a party: on arrival, guests received a complimentary cocktail, a tasty Rum Punch, one that was produced by ingredients that were nostalgic for Keisha (including a nutmeg garnish, which Keisha admitted was one of her favourite spices) and set up the theme that inspired the structure of the night. Split into 4 parts (just like a cocktail), the night unfolded in 4 sections: mixer, spirit, flavour and garnish.
Cocktains and Cinquains opened with both Keisha and writer, singer, and actor, Rory Aaron, another creative who is very involved with Contact Theatre. Rory and Keisha bounced off each other in an entertaining open conversation as Rory attempted to recreate the Rum Punch cocktail live on stage.
The first dance performance we had was by the Manchester based dance academy, Jet Black, who gave an excellent performance of Caribbean and Carnival inspired dance. It was great to see performances from all ages really demonstrating how Contact Theatre provides opportunities to make the arts more accessible to the youth.
Rory Aaron then gave an exceptional spoken word performance focusing on modern life and the gentrification of the modern city landscape.
Then it was the audience’s turn to write a cinquain! With many participants, there were great pieces that took to the mic, following a cinquain’s unique form of 2,4,6,8,2. It was lovely to see the night bringing so many creatives together, sharing their talent through the cinquains to celebrate the talent on the stage.
Keisha Thompson headlined the show with original songs that were emotive, followed by some more upbeat songs that shaped her childhood. Keisha then performed her poem ‘Algebra’ which was moving as she challenges the problems within the curriculum and it’s censorship of Black history; she rewrites the algebraic formulas of what should be taught in schools and what society should be acknowledging in history.
The closing act was a video performance of the mixology of the rum punch cocktail that was offered to us on arrival. It focused on the components that this cocktail was made up of, but dived deeper into the cultural origins of the ingredients in our hand that we have been sipping all night and taking for face value. It delved into the origins of the rum, the sugar canes, the fruits, and the garnish. As an audience member, this made me reflect upon the many ingredients whose cultural heritage are forgotten in the booming party of Britain’s drinking culture.
It was a brilliant evening with fabulous energy: Manchester’s iconic Mr Scruff and DJ Sequinella then took the party into the night.
Not only was it a great celebration of Contact’s new CEO, it showcased the theatre’s real sense of community as it radiated from the theatre on Friday evening from both the acts and audience.
UPDATE: Rage Against the Machine, Måneskin, and Jack Harlow will no longer perform at Reading and Leeds Festival 2022.
When? 26th-28th August 2022 (August Bank Holiday Weekend)
Where? Bramham Park, Leeds
For many artists, playing Reading and Leeds Festival marks an all-important milestone in their career trajectory. However, the festivals have attracted controversy over the years for what has been perceived as a lack of diversity. Fear not, for this year’s headliners trace all corners of the music genre map!
Replacing Rage Against the Machine, indie-pop sensations The 1975 will headline the Main Stage East on the Friday. Expect enthralling visuals, inimitable stage presence from frontman Matty Healy, and boogying aplenty. On the other end, at Main Stage West, pop-provocateur Halsey will close the evening with a set of their instantly recognisable radio hits. Never one to shy away from their activist credentials, expect Halsey to raise the (invisible) roof with political fervour between songs.
A trio of wonder women will perform on Saturday: Little Simz will enrapture audiences with her masterful flow, the ethereal Joy Crookes will weave her soulful melodies, whilst Megan Thee Stallion will be bringing her empowering energy and inimitable stage presence as the headliner of Main Stage West. Check out her recent headline-making Glastonbury set here.
Mercury-prize winning wordsmith and multi-instrumentalist Dave will headline Main Stage East. If his explosive and iconic BRIT awards performances of ‘Black’ in 2020, and ‘In The Fire’ at this year’s ceremony were anything to go by, audiences will be in for a treat.
Indie darlings Wolf Alicewith their mixture of ambient ballads and raucous rock tunes, and Dublin’s finest post-punks Fontaines D.C., with their politically-charged anthems and mosh-pit-anticipatory tracks, will grace the stage before Main Stage East Sunday headliners Arctic Monkeys provide an absolute spectacle in support of their highly anticipated seventh record. It will be interesting to see in which direction they go after their previous polarizing entry Tranquillity Base Hotel and Casino.
Alternatively, emo outfit and Leeds-natives Bring Me The Horizon will close the weekend on Main Stage West. Given their recent collaborations with Ed Sheeran and Nova Twins, there’s no telling what surprises the band may have in store for their huge homecoming set.
After two years of cancellations, COVID passes, and playing it safe, Leeds festival has finally provided us with an unmissable line-up of some of the best live acts across a spectrum of styles!
Check out the full line-up here and stage splits here.
Photo: Official Leeds Festival Stage Splits @ Reading and Leeds Festival
Remaining day tickets for Friday and Saturday are available here. Sunday tickets and Weekend tickets are sold out.
You can still attend the festival as a volunteer, joining the Green Team, with a focus on litter-picking and ensuring the festival is as environmentally-friendly as possible, or as a Campsite and Arena volunteer, helping with directions, health and safety, wristband exchange, and ensuring the event works smoothly as part of a team.
The nearest train station to Bramham Park is Leeds Train Station. The festival is located around a 30-minute drive from here. You can get trains directly from Manchester Piccadilly, Manchester Oxford Road, and Manchester Victoria Station to Leeds. Journey times vary. From here you can ride the shuttle bus from Sovereign Square Park to Bramham Park. Shuttle bus tickets cost £6.50 for a single, £12 for a day return, and £26 for an unlimited shuttle bus pass. You can purchase tickets here.
Excitement was extremely high last Tuesday in Manchester Academy, as emo legends Jimmy Eat World were to make a long-awaited return to a sold-out crowd.
The band, mostly famous for 2001’s Bleed American album, is the perfect balance of alt-rock and early emo but without the whine, mixed in with guitar-driven pop. Every single headline gig Jimmy Eat World have performed in the city has been at one of the Manchester Academy rooms, interestingly, having played a total of nine times and in every single venue. They brought with them support acts Together Pangea and The Get Up Kids, both well-toured pop-punk acts that were sure to make it a night to remember.
Together Pangea came on first to get the crowd warmed up with their energetic Californian pop-punk reminiscent of bands such as The Offspring. Formed in 2009, the trio have released 5 albums, and have seen success with songs such as ‘Sick Shit’ and ‘Badillac’, with 15 million and 7 million streams on Spotify respectively. They gave an energetic set, playing all their most popular tunes.
Afterwards, emo forefathers The Get Up Kids came on stage to a very full room. They are about to embark on a headline US tour to celebrate the 25th anniversary of their debut album Four Minute Mile, named in 2017 by the Rolling Stone as one of the best emo albums of all time. They played a 13-song long set ending in 1999’s ‘Ten Minutes.’
By this point, everyone is buzzing for Jimmy Eat World. They come on stage and immediately dive into the titular song of their 2004 album Futures. The crowd is pretty tame at first, however during their second song, ‘Pain’, there is a solitary crowd surfer who seems to be having the absolute best time.
However, it is with the third song that the crowd warms up. As soon as they play the thunderous intro to ‘Bleed American’ the crowd erupted. A massive mosh pit opened right in front of me, whilst everyone around was jumping and singing along.
The band played a varied setlist, however most songs naturally came off 2001’s Bleed American and these were the songs that received the best crowd response. No wonder though: the crowd’s age averaged 35 and was mostly composed of ‘elder emos’ and those who have outgrown the phase but still kept it close to their heart as the album would have most likely been a massive part of their teenage years.
Highlights from the set were ‘Hear You Me’, with people on shoulders and phone flashlights on, and the lesser played ‘Get It Faster.’ Despite touring their latest album Surviving, they only played three songs from it. They played ‘The Middle’ just before the encore, and there was not a single person in the room that wasn’t jumping or dancing to the infectious hit. They finally ended on ‘23’, which whilst a bolder choice, it gave everyone a moment to wind down and enjoy the end of the gig.
“We don’t take this for granted nowadays.” Frontman Jim Adkins rarely spoke, however when he did, he came across as honest and earnest, thanking the crowd. He seemed to be having the best time out of everyone, living the moment.
Paloma Faith delighted fans at Haydock Park Racecourse last Friday. The Age of Optimism Summer Tour ironically ended up happening on a cold and showery night. But Faith’s charming persona and run through of her biggest hits was enough to keep the audience distracted from the weather. Arriving at 9:15 after a day of races, the particularly well-dressed audience flocked to see the award-winning star.
Faith was dressed in a military-school girl-style outfit, matched with a red beret and tie, adding to her catalogue of signature quirky looks. Perhaps after one-too-many drink the crowd ended up quite rowdy. But Paloma took it in good Faith (pun intended) by complimenting the northern audience. Knowing we’d love to hear it, she told us we were better than her southern crowds. The audience were a mix of guests specifically there to see Faith, and their other halves dragged along after the races. But all was well as everyone seemed to know the lyrics.
Though performing most of her biggest hits, ‘Picking Up The Pieces’, ‘Cry Baby’, and ‘Lullaby’ stood out. They were sung just as well as the studio versions, made unique by Faith’s jazz-inspired style, which her album A Perfect Contradiction maintains. The audience seemed to prefer these safer, more definite pop songs compared to her more experimental tunes. But whilst Faith is definitely comfortable singing these popular songs, she appeared to have more fun with the faster paced songs as she could play with them differently.
Faith sang the lovely ‘Upside Down’ with a faster tempo than the recorded version, though the change in pace didn’t matter much to the audience. Enjoying the upbeat tune and lively lyrics nonetheless. ‘Upside Down’ is my personal favourite Paloma Faith song and the lyrics fit perfectly with her optimism-inspired tour, encouraging anybody slightly different or ‘Upside Down’ to embrace their quirks rather than ignoring them. And Faith’s success as an artist only reiterates the message of ‘Upside Down.’
Arguably her best performance of the night was a cover of Janis Joplin’s ‘Piece of My Heart.’ Doing justice to the iconic rock song, Faith’s sensational vocals boomed over the loud singing crowd. Faith ended the night with her well-known ‘Only Love Can Hurt Like This.’ The song, first released in 2014, continues to wow fans. And thanks to the viral TikTok sound, which has over 15,000 uploaded videos, it has a whole new lease of life. The ballad type of tune prompted audiences to light up their phones and a sea of flashlights encouraged her breath-taking vocals to soar before the set finished.
Her enjoyment of performing and her unique but down-to-earth personality resonated with the crowd. Faith has the ability to connect with any audience, fans or not, offering a personal performance despite her star status. Even more than a decade after her 2009 hit ‘Stone Cold Sober’, Faith appears humble and appreciative of the crowd which is perhaps why she continues to be loved by the nation and doesn’t appear to be stopping any time soon.
Paloma Faith’s The Age of Optimism Summer Tour will continue until August 28th 2022, with many shows in the meantime. If you missed the show at Haydock Racecourse, you can find tickets to her other shows here.
With a career spanning five decades and a slew of instantly recognisable hits including ‘Where Is My Mind?’, ‘Hey’, ‘Debaser’, and ‘Here Comes Your Man’, Boston alt-rock pioneers Pixies delighted Mancunian audiences with an epic 30-song set of greatest hits, deep cuts, and the occasional new number.
Their second and third albums Surfer Rosa and Doolittle are considered instant classics by the music press and fans at large, frequently appearing on best albums of all time lists. Headed by Black Francis, whose immense and unique vocal range arguably sets the group apart from other acts of their genre, Pixies have influenced countless alternative rock acts including Nirvana, Sonic Youth, Fontaines D.C., and Wolf Alice.
Pixies were preceded by Dutch rock outfit Klangstof, whose third album Godspeed to the Freaks will be released in September 2022. The band could have benefited with being onstage a little later, but still managed to attract a steady crowd, as Koen van deWardt’s icy vocals soared across ambient synth-laden soundscapes and Joy Division-esque riffs. You can read The Mancunion’s interview with Klangstof here. Next, Mancunian rockers The Slow Readers Club took to the stage, providing a suitably guitar-heavy precursor to the headliners’ set.
Between songs banter and a conventional encore are non-existent – the Pixies are far too cool for that. Instead, they blast through their gigantic setlist, with instrumentation so tight, and Black Francis’ vocals so faultless that you could easily mistake them for the original studio recordings. That’s not to say that the Pixies did not create an electric atmosphere – they certainly did, as fans moshed to punkier tunes and swayed to softer ones, revelling in the opportunity to catch a glimpse of the acclaimed rockers.
The Boston natives demonstrated their range with classic cuts from their acclaimed third record Doolittle – from the ska-heavy ‘Mr Grieves’, the tumultuous ‘Tame’, wherein Black Francis let out screams so guttural, they must have carried over to Manchester’s sister city of Salford, and the album’s formidable closing track ‘Gouge Away.’
Props must be given to bassist Paz Lenchantin who has been with the band for almost a decade now, sufficiently filling the shoes of ex-member Kim Deal, who went on to form The Breeders. Paz takes lead vocals on the band’s iconic 1988 single ‘Gigantic’ – and its this tune which allows the audience a well-deserved break from the mosh-pits of earlier energetic numbers. Pixies are infamous for their bold basslines and Paz plays these with unflinching ease.
The band open with Surfer Rosa’s ‘Cactus’ but its during their second song of the night, ‘Here Comes Your Man’, that they really get the crowd going. Pixies only have to play its opening guitar twang and in the millisecond between this and the next note, fans are already cheering in anticipation of what is to come. Despite it being a considerably tamer cut from the band, the audience still manage to bounce around to its chorus.
During Pixies’ euphoric 90-minute set, at least two dozen pints are chucked into the air along with jackets, shoes, and even a paper bag – I’ve been to a lot of gigs but never in my life have I seen so many flying objects! Seasoned Pixies fans may be unsurprised by this, however, given their more visceral tracks like ‘Broken Face’ and ‘Crackity Jones.’
Not ones to rest on their laurels, Pixies played their standalone 2022 single ‘Human Crime’ and the lead single from their forthcoming eighth LP Doggerel, ‘There’s a Moon On.’ Decades of touring have also enabled the band to experiment with their live shows, throwing in a trio of covers – namely, NeilYoung’s ‘Winterlong’, The Surftones’ ‘Cecilia Ann’, and The Jesus andMaryChain’s ‘Head On’ – which complimented the cuts from their own lengthy catalogue.
Their experimental and genre-defying discography felt timeless at Castlefield Bowl, as Black Francis’ voice soared to tremendous heights during the bridge (“If the devil is six / Then God is seven!”) of ‘Monkey Gone to Heaven.’ Standing out as a particular highlight of the night, perhaps because it is my favourite Pixies’ track, the mass sing-along it inspired could only really be rivalled by the band’s closing tracks: ‘Hey’ and ‘Where Is My Mind?’. The latter, made even more famous by its inclusion in David Fincher’s Fight Club (1999), made for an emotional end to the night as the fuzzy, nostalgia-infused guitar lines carried across Castlefield Bowl and concertgoers climbed atop their friends’ shoulders to soak it all in.
Pixies prove that sometimes the music simply speaks for itself. Their no-frills stage set-up of a simple black backdrop emblazoned with their logo and lack of onstage chat did not detract from the band’s captivating stage presence. It simply confirmed their status as alt-rock legends.
