Bouncing on stage to a packed-out intimate gig at Manchester’s Club Academy, Aitch was everything I’d hoped for – and more.
Quite literally jumping on stage to a crowd of adoring, screaming girls, Aitch started the night with ‘Taste (Make It Shake)’. The pride and affection in the room for the Moston-born rapper was palpable. In fact, of all the gigs I’ve been to I don’t think I have ever seen so many phones poised in the air ready to record Aitch’s every move, and every word.
I noticed that some of the crowd were even Face-timing their friends! Every person in the room – myself included – was ecstatic to see him in the flesh, and they didn’t want to forget a moment of it.
Aitch played ‘1989’ from his new album Close To Home, which samples ‘Fools Gold’ by legendary Manchester band The Stone Roses. On the note of Manchester bands, it is worth mentioning that this gig was only a few days after it came out that the Ian Curtis mural on Port Street had been pasted over by an advertisement for Aitch’s debut album Close To Home, which was released on August 19. Aitch immediately apologised on Twitter, explaining that it was the first he had heard of it and promising to get the Ian Curtis mural reinstated as soon as possible.
It’s come to light that the iconic Ian Curtis mural on Port Street has been painted over with my album artwork. This is the first time I’ve heard of this, me and my team are getting this fixed pronto. No way on earth would I want to disrespect a local hero like Ian.
Old favourites of the night included ‘Keisha & Becky’, ‘Strike a Pose’, ‘Learning Curve’, and ‘Rain’. Aitch delivered every track with energy and dedication. He was a crowd pleaser for sure, interacting with the crowd, cracking jokes, and ensuring that everyone had a good time.
Harrison Armstrong, who goes by the name Aitch, is a North Manchester lad through and through. On stage, he’s charming, cheeky and authentic. He’s just himself. There’s no pretence, just a working-class lad who loves music, rapping, and having a good time.
By all accounts, he doesn’t seem to have let fame change him in the way you might expect. But in many ways, Aitch is an ordinary person just like the rest of us. His debut album Close To Home, released on 19th August, offers a candid insight into his reality.
Aitch deals with the issues he has faced in his sudden rise to fame. It’s an intelligent, insightful and oddly reassuring delve into fame, friendships, family and, of course, the significance of his Manchester home of Moston.
One song off the debut album that seems to be attracting a lot of attention is ‘My G’. At the gig itself, Aitch asks a girl in the audience what her favourite song is off the new album and she replies ‘My G’. It comes as no surprise really because the song shows another side to Aitch.
In this track, the 22-year-old rapper speaks about the love he has for his younger sister Gracie who has Down’s syndrome. “When you smile, you just light up the room / I ain’t never met a person that’s brighter than you” raps Aitch. It’s heart-warming because it’s different to a lot of his other stuff and serves as a reminder that you never know what’s going on in someone’s life, no matter how successful or famous they may be.
My G is probably the most important song on the album, it definitely means the most for me personally.
Aitch’s music aside, there’s something really endearing and truly inspirational about a Northern, working-class lad coming from nothing and achieving success in the way Aitch has. In his own words: “Ain’t nothin’ to it / I came from the sewers / Got busy, and made me a change.” I hope that Aitch can serve as a role model to ordinary, young people that they can succeed regardless of barriers they may have experienced and may continue to experience in life.
After what seemed like a short set of only about 45 minutes, he finished the night with ‘Baby’. Aitch seemed to love every moment of the gig just as much as his fans did.
The annual (Reading and) Leeds Festival returned to Bramham Park for the Bank Holiday weekend (26-28th August) this year, boasting six stellar headliners whose music traces all corners of the genre map.
Leeds Festival attracts some 105,000 daily attendees, the majority of whom will camp for the weekend, and offers entertainment on a variety of stages. The festival is particularly popular with school leavers who are celebrating their GCSE and A-Level results.
Traditionally Leeds Festival has been a rock festival, with the likes of Metallica, Muse, and Foo Fighters headlining previous years. However, Reading and Leeds Festival have shaken things up for the past two years, upgrading from three headliners on one main stage to six across two main stages, and enlisting a mixture of rap royalty and pop acts. This year saw The 1975 (replacing Rage Against the Machine), Dave, and Arctic Monkeys headline the Main Stage East, and Halsey, Megan Thee Stallion, and Bring Me The Horizon headline the Main Stage West, on what was to be a spectacular sunny weekend, showcasing the best newer and established artists on offer.
Friday
Friday at Leeds Festival was perhaps the most unpredictable day due to cancellations from Rage Against the Machine and Måneskin meaning The 1975 and Charli XCX were called in as last minute replacements for the headline and support slots on Main Stage East.
It was also a massive day for independent label Dirty Hit – their best known band as headliner along with Mancunian pop-punk outfit Pale Waves and grunge-inflected singer-songwriter Beabadoobee taking to Main Stage West and the Festival Republic Stage during the day, respectively.
Beabadoobee offered a slightly more subdued set than I had hoped. A packed Festival Republic tent gathered to see the alt-rock songstress who played a selection of tracks from her critically acclaimed sophomore Beatopia, along with the infectious bedroom pop of ‘Coffee’ and the glittering grunge of ‘She Plays Bass.’
Photo: Linda Borscika
Pale Waves, also having recently released third LP Unwanted, brought alt-rock aplenty. Frontwoman Heather Baron Gracie demonstrated her powerful stage presence, hopping off stage to get closer to the crowd, high-fiving festivalgoers along the barriers. The band could have perhaps benefited from playing slightly later on in the day, but nonetheless, they delivered a slick set.
As temperatures soared, a leather-clad Charli XCX entered the stage surrounded by Greco pillars and her two insanely talented dancers, blasting through a set of sing-along hits.
She opened with ‘Lightning’, a track taken from her latest record CRASH. But it was second track ‘I Love It’, her 2012 collaboration with Icona Pop that really got the party started as people jumped up and down, shouting the song’s main refrain. Charli’s command of the stage and of her audience is unparalleled – “You better fucking jump the fuck up!” she shouted between songs, in what was arguably a Leeds set for the ages.
With a career now spanning a decade and including the likes of ‘Boom Clap’, ‘1999’, ‘Boys’, ‘Beg For You’, and ‘Hot In It’, Charli certainly has a back catalogue that would make her a worthy headliner in the near future.
Photo: Sam McMahon
Pop provocateur Halsey proved to be one of the weekend’s highlights. The singer had been battling a severe case of food poisoning, sharing a video to social media the following day of them being treated by medical staff just moments before taking to the stage.
Halsey brought an eclectic mix of pop bangers, metal/hardcore hits from her new Nine Inch Nails-produced LP If I Can’t Have Love, I Want Power, and alt-rock aplenty, even entering into a guitar battle with their band. “I can tell from looking at this crowd that different people fell in love with different versions of me”, they remarked before playing a trio of tunes from their debut album Badlands: the foreboding ‘Castle’, kaleidoscopic ‘Colors’, and cathartic ‘Gasoline’, the latter of which Halsey added was a song that “always makes me feel better.”
Never one to shy away from using their platform to highlight issues around LGBTQ+ and reproductive rights, the singer, who has spoken candidly of their experiences with miscarriages and abortion performed in front of screens depicting pro-choice messages and footage from protests surrounding the overturning of Roe v Wade.
Both a powerful performer and outspoken activist, there was no doubt by the end of that set that Halsey had well and truly earned a headline spot at one of the UK’s biggest festivals.
Photo: Sam McMahon
The 1975’s set on Friday night was nothing short of triumphant. Following their unveiling as the replacement for Rage Against the Machine and the negative response from rock fans on Twitter, it felt like the band had everything stacked against them. Nevertheless, they were greeted with cheers from an adoring crowd.
The 1975 literally gave the crowd what they wanted – a greatest hits set – and they have plenty! Beginning with 2020’s ‘If You’re Too Shy (Let Me Know)’, the arena was transformed into a synth-pop disco. The band showcased their versatility with the jazz-inflected ‘Sincerity is Scary’, the Bowie-esque ‘Love Me’, and the hardcore punk-rock of ‘People.’
Photo: Emily Marcovecchio
Love him or hate him, there is no denying that Matty Healy is one of, if not, dare I say, the most charismatic and engaging frontman of his generation. A natural showman, his between songs banter, including an acknowledgement of the crossover between the band’s 2014 Tumblr-era fans and Sunday headliners Arctic Monkeys’ fanbase (“Get out your doc martens and fishnets!”) was second to none.
The band’s more ambient, sprawling songs were given a skip as The 1975 promised all killer and no filler. Healy’s sarcasm and self-awareness shone through as he exclaimed “We have been your favourite band, The 1975” before closing with a double whammy of bangers in ‘Sex’ and ‘Give Yourself a Try.’ Judging from the crowd’s response and comments from Twitter users, The 1975 may have well and truly debunked a lot of people’s preconceptions of them.
Saturday
Saturday’s line-up was dominated by rap royalty including a set of soothing, confessional grime from Dave, uplifting anthems alongside a dance masterclass from Megan Thee Stallion, and the masterful flow of Little Simz.
BBC Radio 1’s Dance Tent boasted a bill of rising talent including genre-defying artist Bakar and dance-pop starlet PinkPantheress. Bakar delivered a blinder of a set – I was actually a little late so missed the beginning but I could hear echoes of the crowd singing along to ‘NW3’ as I made my way there.
The native Londoner, who’s music fuses indie-rock, rap, dance, and gospel, with highly poetic, often politically-charged lyrics, was well-received. It was particularly hard to hear him sing during breakthrough song ‘Hell N Back’, due to the fact the entire audience joined in. His set made for a glorious start to a super sunny day.
Unfortunately, PinkPantheress’ set was hindered by technical difficulties. Her short and snappy bubblegum pop songs such as ‘Pain’ and ‘Just for me’ have catapulted her to stardom on video sharing platforms such as TikTok, but they fail to translate live, perhaps because they are so short and snappy. Her set seemed to be over before it had barely begun. Nonetheless, for a young artist, playing one of her biggest shows so far, she showed huge promise.
Scouse indie-rockers Circa Waves drew a huge crowd at Main Stage East, and deservedly so. The band have worked extremely hard to earn their spot and their breezy guitar-driven bops like ‘T-Shirt Weather’ have stood the test of time.
Photo: Matt Eachus
Next up was Little Simz, an artist who’s studio albums and live performances have continually impressed. With each new record, Simz has grown as an artist, incorporating everything from classical instrumentation (‘Venom’, ‘Introvert’) to afrobeat (‘Point n Kill’) into her music. Little Simz absolutely did not disappoint.
Opening with the first track from her lauded forth LP Sometimes I Might Be Introvert, the cinematic ‘Introvert’, Simz strided onstage in a baggy black shirt, yellow hat, and shades, smiling as the crowd soaked up every inch of her set. She did an excellent job at hyping the crowd, particularly during ‘I Love You, I Hate You’, with its insatiable hook. Ending on perhaps her best track, the empowering tongue-twister ‘Venom’, Little Simz left the crowd wanting more.
Though she arrived onstage slightly later than expected, Main Stage West headliner Megan Thee Stallion soon made up for this with an electric performance. Thumping bass blasted through the speakers as Megan strutted across the stage in a PVC leotard, twerking, dancing, and swaying to every beat of ‘Realer’ and ‘Freak Nasty.’ Twice, she invited around 20 fans onstage at a time to dance with her.
Photo: Matt Eachus
This was a hugely exciting moment as fans clambered atop their friends’ shoulders to be in with a chance of being seen and chosen. It also helped to break the divide between stage and audience, and despite the huge arena capacity, Megan’s set felt almost intimate, as she instructed the lucky chosen few: “Don’t be on your phones the whole time and don’t be acting shy!”
Despite a relatively short career thus far, Megan proved she had abundant hits to fill a headline set. You could barely hear the backing track during Cardi’s verses as the audience sang every single word so loudly.
The atmosphere Megan was able to create in the arena was one of self-love, empowerment, and, most importantly, safety amongst her crowd, as she checked in with them between songs. Undoubtedly, ‘Body’ and ‘WAP’, the rapper’s filthy collaboration with Cardi B were highlights, along with her penultimate (and best) song ‘Plan B’, which arguably should have been the set closer.
Photo: Alex Piper
Dave arrived onstage promptly at 9.20pm, delivering a perfect cocktail of thoughtful, spoken-word musings, along with his more danceable rap tracks. The 24-year-old continually expressed his gratitude to the crowd, who, from where I was stood, seemed to know every word to his (at times) tongue-twister lyrics.
Dressed in green shorts and a green cap bearing the word ‘Psycho’, a track from his Mercury Prize winning debut Psychodrama, Dave performed in front of a giant metal heart. Heavy use was made of pyrotechnics along with fireworks which shot into the sky from behind the stage, as Bramham Park became enraptured in darkness.
Having invited AJ Tracey to join him for ‘Thiago Silva’ at Reading the previous day, anticipation was high, but a suitable replacement was found when Dave invited an excitable Merseyside fan onstage to spit his bars.
The infectious ‘Funky Friday’ and ‘Location’ meant the crowd weren’t short of tunes to dance to, as heads could be seen nodding. Personally, I would have loved to see a few more tender, piano-driven cuts like ‘Black’, but Dave’s emotional performance of the epic ‘Heart Attack’ certainly sufficed. A man of many talents, Dave showcased his musicianship, wielding a guitar during ‘Clash’ and lending a hand (or two) to the keys for ‘Twenty to One.’
After a soaring rendition of ‘Starlight’, with ample fireworks surrounding him, Dave departed from the stage, thanking his audience once more for their continued support, and the organisers of Reading and Leeds for consistently booking him over the years. A truly magical set.
Photo: Harry McCulloch
Sunday
All eyes were on Main Stage East on Sunday as Leeds Festival delivered a trio of extraordinary rock bands in the shape of Fontaines D.C., Wolf Alice, and of course, Arctic Monkeys.
Photo: Georgina Hurdsfield
Irish post-punks Fontaines D.C., who are rightfully receiving critical acclaim and selling out increasingly larger venues following the release of their third album Skinty Fia, strutted onstage at 5.05pm. Beginning with 2020’s ‘A Lucid Dream’, frontman Grian Chatten, looking effortlessly cool in a pair of shades, grasped the mic stand and circled it, delivering each line with purpose.
The shimmering ‘Roman Holiday’ and sprawling ‘Nabokov’ offered some relief from their more mosh-pit friendly efforts like ‘Televised Mind’ and ‘A Hero’s Death.’
Performing in front of a piece of scaffolding decked in red roses, the band closed their set with the politically-charged ‘I Love You’ – their piece-de-resistance. Chatten spat its turbulent verses, which veer between patriotism and subversion, into the mic before a mumbled thank you, and then left.
Photo: Sam McMahon
Following on from this was none other than Wolf Alice, who once again proved why they continue to be adoringly referred to as Britain’s best rock band. They delivered a slick 40-minute set, punctuated with sizzling guitar-driven tracks like ‘Smile’, ‘Moaning Lisa Smile’, and ‘Giant Peach.’
Having followed the band since 2015, I still can’t get used to them ending on ‘Don’t Delete The Kisses’ on this run of shows – it should be ‘Giant Peach’, with EllieRowsell jumping down into the pit and screaming its final lines at the top of her lungs!
The band played a perfect balance of their softer numbers and rockier cuts. Rowsell’s vocals have never sounded better, particularly on ‘Safe From Heartbreak’ and the emotive ‘The Last Man on Earth’ – the band’s penultimate track which Rowsell performed sat on the edge of the stage, bringing the arena to a complete standstill.
Theo Ellis played the dual role of bassist and hype-man, asking the audience if they were “Ready for Arctic Monkeys?”, receiving cheers. ‘Play The Greatest Hits’ also marked a high point during the set as Rowsell paced around the stage, her vocals now a snarl, as she yelled “It isn’t loud enough!” Always reliable, Wolf Alice undoubtedly produced one of the best sets of the entire weekend.
As the dramatic flourishes of The Streets’ ‘Turn The Page’ draws to a close on the loudspeaker, the lights dimmed and so entered our Sunday headliners – the ones everyone had been waiting for – Arctic Monkeys.
The Sheffield four-piece and their expanded touring band swaggered onstage, to a grand overture before breaking into the instantly recognisable chords of their massive 2013 single ‘Do I Wanna Know?’ Quickening the pace, the band followed with the tumultuous ‘Brianstorm’ before breezing into the crunchy guitar lines of ‘Crying Lightning.’ Matt Helders on drums was a force to be reckoned with as the original ‘agile beast’ drilled through an abundance of complex arrangements.
Photo: Matt Eachus
Alex Turner, now sporting his signature floppy hair (gone are the days of the buzzcut!), he rested one foot atop an amp on the front of the stage, leaning towards the crowd and oozing charisma. The band’s effect on their audience is something akin to a religious ceremony, with Turner as its preacher. “Hello Leeds!” he said in his Yorkshire drawl as screams erupted from the giddy crowd.
Arctic Monkeys drew from all corners of their back catalogue, including songs from each of their six chart-topping albums, and even dropping in a new unreleased song, which they had debuted in Zurich mere days earlier – ‘I Ain’t Quite Where I Think I Am’ which will appear on their forthcoming seventh LP The Car, scheduled for an October 21 release.
A sprinkling of rarely-played deep cuts – namely ‘Potion Approaching’ from 2009’s Humbug and ‘That’s Where You’re Wrong’ from 2011’s Suck It and See were welcome additions to their greatest hits set.
Unfortunately, ‘I Bet You Look Good On The Dancefloor’ was not preceded by Turner’s trademark “LADIEEEEESSSS” but the crowd didn’t seem to mind as the already tightly-packed crowd surged forward and mosh-pits began to open.
Photo: Matt Eachus
Chat between songs may have been minimal from Turner, but for a band of their calibre, it didn’t really matter. Though, Turner did in fact joke that the band might place ‘Sketchead’, a B-side to 2009’s ‘Cornerstone’ suggesting that there may be more Humbug-era tracks instore for this tour! In a three-song encore, Turner lost himself in his train of thought during the mellower ‘One Point Perspective’ before playing back-to-back AM bangers ‘Arabella’ and ‘R U Mine?’
Though Arctic Monkeys undoubtedly attracted the festival’s largest audience, the arrangement of two main stages with six headliners is clearly a success with each artist putting on career-high performances.
From Halsey’s incredible set whilst battling illness to Dave breaking records as the youngest Reading and Leeds Festival headliner, to Megan Thee Stallion’s inclusive and uplifting performance, and The 1975 refuting people’s expectations of them, it is difficult to decide on just one highlight. But to see such a diverse array of acts taking to the stage and tearing it up is certainly a step in the right direction for Leeds Festival, and one that will hopefully be continued.
Leeds Festival will return over the August bank holiday weekend in 2023. You can buy tickets for Leeds Festival 2023 here.
Jeremy Corbyn MP appeared at The University of Manchester on September 22 as he announced the Right to Clothing campaign alongside the affordable clothing charity Sharewear.
The campaign aims to tackle the issue of clothing waste and deprivation, with a particular focus on school uniforms. Sharewear’s Founder and CEO, Dr Louise Cooke, who also spoke, claimed the “lack of access to affordable clothing locks people out of their own lives.”
The charity asks schools to control clothing prices to make good-quality uniforms more affordable, ensuring people can afford the clothes needed to access jobs and education. Surveys show the average UK school uniform costs £101.19 per pupil, with prices reaching over £300 in some regions.
Mr Corbyn commented “school uniforms can be a complete rip off … some of the academy chains make a minor change in the uniform every year … it’s crazy.” The former Labour Leader called for uniforms to be made “much cheaper”.
The event called attention to how lack of access to suitable clothing has a significant effect on people’s position in society as it can prevent people from working, attending job interviews, and limits access to education.
Mr Corbyn highlighted how fast-fashion can contribute to clothing inequality, stating “Primark produces such low-quality stuff that they know you’re going to be back in six months or six weeks to buy the same thing”.
The Right to Clothing campaign is also supported by Dr Luke Graham, a Lecturer in Public Law and Human Rights at The University of Manchester. When asked about how students could get involved in the campaign, Dr Graham suggested a student-led organisation or society aimed at providing accessible clothing for those who need it would have a great impact on the community.
Tom, a current University of Manchester student and former Sharewear volunteer, now supports the campaign from Manchester. He called for “not only an end to clothing being wasted .. but also making sure that that clothing goes into the hands of people that need it.”
The campaign also seeks to form solidarity with workers throughout the global supply chain as, Dr Graham claims, companies in the UK often exploit workers from the global south. The campaign will be working with communities in Myanmar and Bangladesh to enforce international labour laws.
“Every time exam season rolls around, I always get incredibly stressed. The thing is, my stress doesn’t manifest in the exams themselves, but in other things. It can either be over relationships (like intense loneliness), food, or just overthinking things generally. I’ll obsess over everything and anything but the exams themselves.
The main problem with all of this is that I don’t have any ‘tools’ to tackle this. I’d usually talk to my family, but being 200 miles away from them, it can be lonely even when I am talking to them.
How do I find ways to cope with my anxiety around exam season, or even find ways to open up to people?”
Exam season takes its toll on people in various ways, and reaching out can be hard when you feel swamped. It’s really not easy, and there’s no quick overnight fix. But there are ways of slowly chipping away at the anxiety whilst still getting deadlines done.
Firstly, take care of the basics. Cater day-to-day routine to things you enjoy and that keep you busy. Have smoothies and fruit with each meal, and try to cook up something nice for dinner. Microwave meals are meh on a good day. Tuna pasta bake, aioli chicken, huge burritos, and stew gives you the energy to face the next day and the filling comfort of home-cooked food. It can be nice to spend an hour concentrating on your cooking skills rather than revising over a stale pot noodle.
Once the clock hits nine, that’s your time to spend as you wish in the evening. Take a longggggg hot shower, catch up on some tv, FaceTime your family – whatever helps you feel at ease before bed, do it. But, try and avoid staring at a screen. If you’re prepping for deadlines, the likelihood is you spend most of the day scrolling and typing. By doing that before bed, you’re still in work mode mentally.
After you cover the basics, look into mitigating circumstances. Even if you don’t need it right now, it’s a lot better to have it as a safety net than something you’re desperately waiting on. I’ve had too many occasions where I’ve submitted for M.C. the night before my deadline and obviously not got it in time. Plan ahead and be honest with yourself. Even if there’s only a small chance you might need it, it can only be worth it.
Finally, look into counselling. This can be general counselling from the university, group sessions, one-on-one therapy – there are loads of options. Sometimes it may not click straight away, and that’s fine. Sometimes we don’t always click with the counsellor or even the method, it might just mean something needs to be switched up.
Overall, allow yourself to feel stressed. Don’t pent up emotions for the sake of trying to be productive. Let yourself cry or feel like shit. But, make sure you’re not doing it alone. Everyone needs someone to fall back on. Partners are usually the go-to, but if they’re no longer there, what do you do? Keep talking to people and slowly let the weight fall off your shoulders.
Kisses,
Aunt Angela x
Need some advice? Send in your mishaps and worries here!
Boston-based blues trio GA-20 made an audacious gamble. They claim they are onto something big: a resurrection of the same down-home, electrified blues style that took Chicago by storm in the 1950s. They are enjoying a pay-out of legions of fans – recruited during a ferocious touring schedule – all of whom seem to agree that Crackdown completes an impressive trinity of stripped back, raw, revivalist blues we didn’t know we needed.
Perhaps it is due to their ensemble approach: the antithesis of the virtuoso style favoured by many artists flying the same blues revivalist banner. They boldly swagger into some of the most terrifying ground known to musicians – empty space – and guard it from long guitar solos while chasing melody and resisting the safety of the 12-bar structure.
It comes just a year after releasing their second album Try It…You Might Like It!GA-20 Does Hound Dog Taylor in which guitarists Matt Stubbs and Pat Faherty with drummer Tim Carman recreated the work of one of their biggest influences.
In order to pay sufficient homage to their hero while retaining some of their own signature warmer sound, the three vintage gear fanatics carefully selected their hardware to match that of Hound Dog and his band – The Houserockers – and played live with just two or three attempts at each song. No overdubs, no headphones, and minimal rehearsal time in order to preserve as much exuberant and instinctive energy as possible.
GA-20. Photo: Fancey Pansen.
Hours of research and tweaking were required to achieve the Hound Dog sound; you would be forgiven for expecting such an endeavour to have influenced their new album. However, Crackdown was in fact recorded before the Hound Dog tribute, which was a project entirely conceptualised and recorded during the pandemic.
While Crackdown had already been written, global restrictions meant it could not be toured, and its release was subsequently delayed. It is therefore more of a follow-up to their first album, Lonely Soul, which comprises catchy rock and roll riffs and comes with more discernible country overtones. All three albums have been released through Colemine Records, an independent label which boasts a panoply of soulful artists such as Durand Jones and the Indications, The Dip, and Black Pumas.
Crackdown is melodic, raucous, precise, and playful. Lyrics tread familiar ground, primarily taking a doleful perspective on matters of the heart. But like good old-fashioned garage rock, their delivery is beat-driven: the vocal and drum grooves seem to sit in each other’s pockets. The album has both punchy tracks like ‘Easy on the Eyes’ or ‘I Let Someone In’, or you can get lost in the instrumental namesake.
GA-20 has been credited as luminaries of the growing resurgence of new traditional blues. Part of the attraction of the blues has long been the idea that it lurks mysteriously on the edges of the mainstream. For many fans, it possesses a powerful and untellable quality. It provides a snapshot of a completely unfamiliar time and place while employing enough ambiguity, colloquialism, and innuendo to keep us listening and trying to understand.
GA-20. Photo: Fancey Pansen.
These days, blues fans – and indeed artists – enjoy the idea of being fringe. But in the days of Kokomo Arnold and Big Bill Broonzy, this was not the case. Throughout the early 20th century, blues was a mainstream, albeit stigmatised, genre. The vast majority of musicians were looking to make it big, and that meant appealing to as wide an audience as possible. With the development of new and exciting forms of R&B, traditional blues went out of fashion. Now, GA-20 wants to bring it back: “I think a lot of people are just not familiar with that style of blues, from the 50s and 60s”, says Stubbs, who has also long-served in Charlie Musselwhite’s touring band.
“These days, when you think of the blues, you think of blues-rock, with a lot of extended guitar shredding, a band playing just to support a guitar player who’s playing long solos… All the blues I’ve ever listened to is typically shorter songs and song-based. It’s about melody or a story. I think it’s not that people don’t like it, it’s just that they’re not familiar with it, so hopefully they can get familiar with it through us.”
GA-20 has described their music as a movement, but they do retain some humility: “Putting a mantle of responsibility on our shoulders feels a little, I don’t know, pretentious or self-important. It’s not like that. We’re just playing the music we like to hear.” Stubbs has named artists such as Otis Rush, Howlin’ Wolf, Junior Wells, Buddy Guy, Lloyd Price, Guitar Slim, Johnny “Guitar” Watson, Earl Hooker, and Freddie King as influences. What he does not mention and what really stands out on this album, however, is the roundabout way revivalism itself appears to have inspired them.
In the 1950s, the genre was uncovered by young British musicians like Mick Jagger, John Mayall, and Peter Green who lay the foundations of British blues. Their music was heavily based on Chicago blues interlaced with the rock and roll sound everyone was so excited about at that time. Crackdown shares a lot of its best qualities with seminal albums of this era: Fresh Cream; The Beano Album; Mr. Wonderful. A tried and tested recipe of a thudding beat, warm guitar tone with smooth sustain, low-fi vocals, interaction and confluence, it was always going to be a safe bet.
You can catch GA-20 live in Manchester on the European leg of their tour on November 13 at the Blues Kitchen.
The final day of All Points East was by far the busiest and the most ‘festival’ of the weekend– by this I mean everyone was dressed up, with glitter, colour, and sequins in full view. Clearly everyone got the memo that Disclosure would bring it! On a personal note, this was the best day I attended – with the previous two headliners, Gorillazand Tame Impala, falling short with poor sound.
Starting with Lola Young at the early slot of 2pm, she still attracted a small crowd of fans. Singing her popular tracks ‘Blind Love’ and ‘Dopamine’, it was clear the audience were huge fans. Lola has a soulful voice, and paired with the funk of her band, the set was excellent.
She is a naturally funny person and was constantly speaking between songs. An entertaining moment was her mentioning how annoying her trousers were – and to match this she ran off stage at the end having to hold her trousers up! She ended with her most well-known track – ‘Fake’.
Also playing were Yung Singh at the BBC 6 Music stage. The DJ was mixing tracks including ‘The Groovy Cat’, ‘Original Nuttah 25’, and Pink Pantheress, providing all the tunes for a good boogie.
Shy FX were slightly underwhelming however they had impressive visuals on the North Stage. As expected, ‘Gold Dust’ and ‘Roll the Dice’ got the crowd moving. The tent was packed, attracting a large crowd – confirmed by the sweatiness; however, their set was slightly underwhelming.
Mura Masa did not underwhelm, meeting all expectations, and more. With comments such as “London is my favourite place to play in the world” and “thanks for having me”, Alexander Crossan was sure to get on the crowd’s good side. Lyrics and visuals were played on the back of Main stage East, a thoughtful factor which allowed festival goers to sing along.
Popular tracks ‘Deal Wiv It’, ‘Love$ick’, and ‘Firefly’ were performed, encouraging the whole crowd to move – right to the back of the accumulated people in Victoria Park. The excellent set ended with a wholesome moment – Mura Masa and two vocalist guests’ hugging on stage before exiting.
There was a scheduling clash with Mura Masa and H.E.R., so we dashed over to West stage to catch the end of H.E.R.’s set. Gabriella Sarmiento Wilson has a beautiful voice, backed with vocalists including Miles who is just 17 years old! Gabriella is incredibly talented, showcasing her musical talent by playing both the guitar and drums in her set, with incredible solos. She also covered ‘I Love Rock ‘N Roll’ with an exciting arrangement, maintaining her style and niche.
A feature I loved was how Gabriella gave each band member an opportunity to have their ‘moment’. The band was very in sync, and they looked extremely happy to be playing together and on stage for Victoria Park.
Back on the main stage Charli XCX had quite the stage arrangement, with columns and stairs at the back to spice up her performance, and it’s safe to say you are missing out if you don’t watch her preform. This was slightly hindered when the livestream on the side of the stage faced some technical issues, however this didn’t last long. Charli XCX is an incredible dancer – I was in awe.
‘I Love IT’ got the crowd moving, before she announced that “this next song is for all the hardcore angels… you know who you are”. A highlight was one of these hardcore angels, who the livestream panned to multiple times. She further dedicated her track ‘Boys’ to all the “gays boys out there”.
Ms XCX performed with an electrifying energy and her statements between songs completely matched this energy with phrases like “you ready to party or what!?” and “I f*cking love you”. She ended her set with “make some noise for Nathan and Grant… and make some noise for me, B*TCH!!!”. A great set.
Charli XCX; Serena Jemmett @ The Mancunion
Headliner of the day, Disclosure, started their set with fireworks – a big start for the moment everyone had been waiting for. Kicking off with ‘White Noise’, everyone quickly got into the moving, grooving, and boogieing spirits.
They made reference to this being the summer of dance and how glad they are that we are back to being in person (post-covid). With comments such as “music is fundamental” and “let’s light this place up” they gave the crowd everything they expected and more. Tracks that featured other artists were met with videos and visuals of such artist on the screens behind and to the side of the stage. This was a nice feature.
Towards the end of their set, they played ‘Latch’ and brought out Sam Smith – this was the first time in five years they’d performed it together! This was an unreal moment, and they sounded incredible together.
The final few tracks of their set were enjoyed with confetti and fireworks over Victoria Park. Finishing on the massive dance track ‘Tondo’, there was a huge cheer and thanks from both the attendees and Disclosure, saying “London! Thank you so much, we were Disclosure”. Notably they didn’t have an encore – something that I’ve noticed is increasing nowadays, could we argue that an encore is a bit outdated and a sign of the past? Only time will tell!
Strictly Come Dancing’s original Italian stallion (you hear that, Giovanni and Graziano?), Vincent Simone, is currently touring the UK with his first ever solo tour, Tango Passions!
Tango Passions showcases the beauty and passion of the art form that is the Argentine Tango.
Although his dance partner of over 25 years, Flavia Cacace, has retired from performing, Vincent wants to continue to bring his passion and love for the Tango to the stage and will be joined by Argentine Tango specialist Paula Duarte – his leading lady.
Born into a family of professional dancers, Vincent, from the Puglia region of Italy, began teaching dance from the age of twelve. He moved to Guildford, Surrey, aged 17, to continue teaching.
Vincent and Flavia won numerous Ballroom, Latin and Argentine Tango competitions before joining the hit BBC show Strictly Come Dancing in 2006 as professional dancers.
Vincent appeared in seven series of Strictly and reached the final in 2008 with pop star Rachel Stevens. After leaving the show, he went on to co-create, choreograph and star in numerous productions with Flavia, including Midnight Tango, Dance ’til Dawn, The Last Tango, and Tango Moderno – all of which toured the UK. They also completed two successful West End runs and received two Olivier Award nominations.
Vincent wants to share the raw, intimate and authentic art of the Argentine Tango with his audiences, taking them on a journey through its history.
The event will feature music from Astor Piazzolla and Gotan Project.
Tango Passions plays at the Lowry (Quays Theatre) on Sunday 25th September and tours the UK until early November, before resuming in early March 2023 and until early April.
For more Strictly content, check out our reviews of Him & Me (starring Anton Du Beke and Giovanni Pernice), Burn The Floor (starring Kevin Clifton), This is Me (starring Giovanni Pernice), Remembering the Oscars (starring Aljaž Škorjanec and Janette Manrara), and I Am Here (starring Oti Mabuse) – and our interview with Johannes Radebe. The first three shows all come from Strictly Theatre Company, who are also the producers of Tango Passions.
Oranges Are Not The Only Fruit by Jeanette Winterson
Kicking the list off is Jeanette Winterson’s semi-autobiographical novel, Oranges Are Not The Only Fruit. Winterson was not only born in Manchester, but she is currently a professor of creative writing at the UoM!
Oranges Are Not The Only Fruit is based on Winterson’s childhood and tells the story of a young girl adopted into a highly religious household who, as she grows into her teenage years, finds herself attracted to another girl. It is an incredible coming-of-age story. It’s especially good for little moments of homesickness or nervousness which naturally come with the move to university.
Weaving together religion and sexuality, it is without a doubt a modern classic.
A Clockwork Orange by Anthony Burgess
Although made famous by the Stanley Kubrick film, Anthony Burgess’ novel is a truly harrowing work of art. Burgess was born and educated in Manchester, having attended Xaverian College and Manchester University itself. There’s now a plaque remembering him on the outside of the Samuel Alexander building!
His tale of ultra-violent youths in a near future dystopia is as good as it is terrifying. Touching on many fascinating ideas, from free will to gang mentality, it’s a true tour de force. If you’re looking for gripping, gritty and horrifying yet humorous read, Burgess’ novel is the perfect place to look. Be warned, however, as it does touch on many themes that carry strong trigger warnings and could be distressing for some readers.
The Condition of the Working Classes in England by Friedrich Engels
Perhaps not the most glamorous portrayal of Manchester, but a massively important one that marks Manchester as one of the most important world cities over the past 200 years. Engels’ comments on the industrial revolution were drawn from his 1842-1844 stay in Manchester.
The book was read by Karl Marx upon his second meeting with Engels, who was mightily impressed by it. Marx and Engels actually met and studied at Manchester’s Chetham’s Library.
If non-fiction is much more your scene, this is definitely a must-read. A massively important feature of the canon of political literature and a literary reminder of Manchester’s incredible position at the forefront of the world’s industrial revolution.
North and South by Elizabeth Gaskell
Continuing on the theme of Manchester’s role in the industrial revolution, Elizabeth Gaskell’s social novel is one of her most famous. It tells the story of a southern woman who comes and settles in the north in the fictional town of Milton (based on Manchester itself). It portrays the hardships of the Industrial Revolution, particularly the relations between the rich employers and the poorer employees.
Gaskell’s protagonist becomes a supporter of the poor, allowing the book to become a fascinating exploration of the industrial revolution on a personal level. Gaskell herself is intertwined with Manchester in so many ways: her house (which you can visit) is a five-minute walk from the University, her husband was the longest serving chair of the Portico Library in the city centre and she is buried in Knutsford, just outside Manchester.
Gaskell is also a hugely interesting literary figure and definitely worth a Google to see how she relates to everything from pet cows to Charles Dickens and John Ruskin.
A Taste of Honey by Shelagh Delaney
Mixing it up a bit, Shelagh Delaney’s play cannot be recommended highly enough. Set in Salford, ‘A Taste of Honey’ follows 17-year-old Jo as she navigates life’s tribulations, most notably her strained relationship with her vulgar mother. It’s the perfect example of an ‘angry young man’ play as it showcases the protagonist’s anger and disillusionment with the state of modern society.
Delaney’s inextricable connection to Salford also informed how she presents her characters; she wanted to combat the conventional stereotype of northerners as ‘gormless’, attempting to shift the London-centric views that informed both theatre and society.
Furthermore, Delaney questions the state of 1950s Britain and its relation to race, class, sexuality and gender. It is a play that embodies not just Manchester at a certain period, but Britain as a whole.
It has been over two months since the Lionesses clutched victory at the Euros. However, it is vital to keep this win alive in the hopes of continuing to push women’s football forward.
Lineswomen. Female match officials. Women managers. As a young woman myself, seeing so many women involved in a football match was a sign that women’s football could no longer be ignored. The 2022 Euros was evidence of how far women’s football has come, but also exactly why it cannot be dismissed any longer.
For context, the last time England won silverware was 56 years ago in 1966. Years of heartache and frustration would follow for English football fans. England has often been agonisingly close to victory, then a few penalties are missed and it’s all over. The recent 2021 Euros still haunts many of us to this day. Then came the women’s Euros in 2022.
As the prospect of penalties loomed once again for England, it seemed a familiar story was set to be written once again. However, when player Chloe Kelly poked in the winner in extra time, a new tale could be told. Not bad for a sport that the Football Association actually banned women from playing for over 50 years.
Women footballers have not had an easy come-up. Yet despite setbacks, the current England team would be the one to actually get the job done. The Lionesses did what the men could not manage to do in the previous year.
A few months ago, I wrote an article on the issue of women’s pay. I discussed how if people show little interest in female sports such as football, then equal pay remains a difficult task. This year’s Euros saw the Lionesses catapulting the brilliance of women’s football onto the screens of 17 million across the nation. Many people who had never watched women’s football are now interested. As the excitement around women’s football builds, so can its case for equal pay.
So, not only did this win spark the interest of millions of young women to take up a sport that so many times they have been encouraged not to, but it also demands the respect that female athletes are so often left without.
This win has shone a spotlight on the women’s game, but it cannot stop there. This moment will pass, which is why the momentum can not be left to die out. Attending Women’s Super League games or following a women’s football team are both vital ways to ensure that this Euros win will have a lasting impact.
“How do you breakup with someone who refuses to let you? I’ve tried before and end up feeling guilty, meaning we stay together. Other times they tell me I can’t break up with them…”
Ummm, as far as I’m aware, that person isn’t the breakup police. In fact, if you want to break up with someone, you can. You don’t need their permission! I’ve never actually heard of someone refusing to be broken up with – it’s almost funny. Are you sure they know what breakups are?
Your (hopefully) soon-to-be-ex sounds incredibly manipulative and controlling. These are beyond red flags. If anything, their toxic behaviour is a sign to bail even quicker. What gives them the right to decide whether you’re allowed to walk away if you’re unhappy, which you clearly are. By this point, you’re being held hostage, not in a loving relationship, but in a situationship at most.
If you don’t live together, I would just break up with them over text. Straight after, block them on everything. Instagram, mobile, email, hell even Depop if you have to. You’re past polite moral obligations at this stage. You just need out, and texting is a quick distanced way of doing it.
Once you’ve done the deed, refrain from any further contact. Share the news with mutual friends that you’ve ended things and maybe explain why. This way, your ex can’t paint you as the ‘bad guy’, making you feel guilty for ending things. Plus, but cutting them off completely, you can genuinely start afresh.
Regardless of how they feel about the situation, they don’t get to ‘refuse’ your decision to end your relationship or invalidate your feelings. If they ask to be friends or even loose acquaintances, firmly decline. They will use any snippet of connection they have with you to try and get you back, further causing you stress. Either way, it needs to end, and you know that. Help is always available if you need it.
Kisses, Agony Aunt Angela
Need some advice? Send in your mishaps and worries here!
Student life is known for being messy and slightly grim. However, that doesn’t mean you need to live in your own filth of dust and bugs. Especially if you’re looking to bring people home. So, here’s the rundown on how to keep a tidy(ish) home this year!
The Basics
Dishmatic: A sponge… on a stick! It makes washing up quick with washing up liquid loaded inside the stick. Warning: Your housemates will likely steal your Dishmatic to wash their own dishes. Replacement sponges are available.
Dish brush: Way better and less nasty than those metal scrub balls or a regular sponge. It Helps removes burnt food and the dried nasty stuff at the bottom of the pan.
Surface spray and clothes: Any cheap cloth will do, but I recommend the microfiber ones. The same goes for surface spray. If you want to save money, all you need are two sprays: Bathroom and window. That way, you can clean the kitchen, bedroom, bathroom, mirror and any screen surfaces you have easily.
Toilet brush: Please don’t leave skid marks on your own toilet, have some dignity. UoM provide these in halls, keeping your bowls squeaky clean! If you want to avoid your brushes getting rancid, keep toilet bleach at the bottom of the container. Or, eat less curry. Your choice.
Air freshener: Because no one wants to walk into a bathroom stinking of s**t.
Silverfish
Yes, you will be getting up close and personal with Manchester’s wildlife this year in the form of silverfish. They’re vile but avoidable. These creatures thrive off moisture, meaning they’ll usually be found in the bathroom and occasionally the kitchen sink. An easy way to avoid them is to keep these areas clean.
In bathrooms, regularly remove your hair (emphasis on your hair) from plugholes and pour toilet bleach down. Removing the hair airs out the plughole while bleach kills off any bacteria and mould. Keeping windows and doors open also helps create air circulation and reduce moisture that comes from cooking or showering.
Fruit Flies
This issue usually arises in the first few weeks of halls or new homes. Fruit flies are attracted to rotting or overripe fruit and vegetables. They then hatch up to 500 eggs inside rotting fruit and within two days grow into adult flies. That means these creatures can easily spawn seemly out of nowhere. To prevent this from becoming an irritating problem, there are a few easy solutions.
First off, to no one’s surprise, keep your kitchen clean. Wipe surfaces down, tidy up spillages (especially alcohol) asap, and take out the bins regularly. Basically, do what your mother would do.
Wash your fruit and veg before storing them either in a dry cupboard or fridge (if you have room). This will rid your produce of any potential eggs. Also, be sure to throw out any overripe fruit before it starts to rot.
If it’s too late and your home is swarmed, vinegar is your best bet. The main way to get rid of fruit flies is to trap them and let them die out. An easy trap is vinegar and a few drops of washing-up liquid in a small uncovered jar. The concoction attracts the flies, with the soap acting as a surface barrier to trap and kill them. Pouring boiling water is also effective in killing them off. There are various other traps like these available here.
Laundry
No, it is not okay to wash your sheets once a month. That’s nasty and wrong, and potentially a call for an intervention. Gone are the days when laundry is done with racks in the rivers, thanks to the astonishing invention of washing machines! Thankfully, UoM provides each hall block with its own laundry unit that are also equipped with dryers – how nice of them. That means there are no excuses for crusty bedsheets.
To keep your sheets smelling fresh, or at least hygienic, here’s what I recommend.
Laundry pods: Cheap and easy to throw in. They contain detergent (the thing that cleans your sheets) and fabric softener (the thing that makes your sheets soft). Every supermarket sells these and I suggest just going for the cheapest ones.
Detergent and softener: I prefer to not use pods. This is because I can get more washes by using bottled detergent and softener, making my washes cheaper in the long run. P.S. Place liquids in the bottle lids before putting them in the drum to avoid staining your laundry.
Drying racks: Save money (and the planet) by not using the dryers this year. Instead, buy a cheap laundry rack and let your clothes dry in the kitchen.
Laundry beads: These are my favourite! Prevent your clothes from smelling damp by grabbing some of these pellets. Throw them into the drum and your laundry will come out smelling super fresh.
A hilarious and heartfelt story about holding onto your loves ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.
The story follows Daniel, an out-of-work actor who will do anything for his kids. After losing custody in a messy divorce, he creates the alter-ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
Based on the 1993 film of the same name, which starred Robin Williams in perhaps his most iconic role (and there have been many), the musical premiered in Seattle in 2019. It then transferred to Broadway but only played two previews before the coronavirus pandemic forced it shut. It resumed previews in October 2021 and officially opened in December, before going on hiatus from 10th January through 14th April. Whilst the creatives hoped this would be third time lucky, a month after reopening, producers announced the production would close on 29th May.
Now, the musical is having its UK premiere, with a month-long stint at Manchester Opera House – a careful tryout, with no other dates yet announced. Whilst there has not been a press night, the new production has received stellar reviews from fans.
The musical has been created by a transatlantic team of award-winning artists, with a book by Karey Kirkpatrick and John O’Farrell, original music and lyrics by Wayne and Karey Kirkpatrick (the Tony Award-nominated team behind Something Rotten!, along with O’Farrell), direction by 4x Tony winner Jerry Zaks (Hello, Dolly!), scenic design by David Korins (Hamilton), choreography by Lorin Latarro (Waitress), and music supervision by Ethan Popp (Tina: The Tina Turner Musical). Expectations are understandably high!
Mrs. Doubtfire opened at Manchester Opera House on 2nd September and runs until 1st October. No word yet on whether the musical will be transferring to the West End and/or embarking on a UK tour, so keep your eyes on the website for any announcements.
Based on the true story of the chart-topping Cornish buoy band (and the hit 2019 movie about them), Fisherman’s Friends: The Musical is a feel-good voyage about friendship, community and music which smashed box office records in Cornwall.
When a group of Cornish fishermen came together to sing the traditional working songs they’d sung for generations, nobody, least of all the fishermen, expected the story to end on the Pyramid Stage at Glastonbury.
The musical follows the friends as they are spotted by a fish-out-of-water music manager on a trip from London, who must learn that there is more to life than selling your sole for fifteen minutes of fame.
A star cast includes James Gaddas (Coronation Street, Billy Elliot the Musical), Parisa Shahmir (Mamma Mia!), Robert Duncan (Drop the Dead Donkey), Anton Stephans (The X Factor), and Susan Penhaligon (Bouquet of Barbed Wire).
So, climb aboard, find your sea legs, and allow yourself to fall for this critically acclaimed musical – hook, line and sinker!
Fisherman’s Friends runs at the Lowry (Lyric Theatre) from 27th September until 1st October and tours the UK until mid-November and then again from the end of January until mid-May. It will have its North American premiere at the Royal Alexandra Theatre in Toronto, Canada, from 27th November until 15th January!
It’s hard to describe 12 Last Songs. I guess, it’s about work and how we spend our time.
Making a living. Finding your passion. Watching the clock. You know?
12 Last Songs aims to construct a fleeting portrait of society. There are no actors. It’s a live exhibition of people; an epic performance that casts the steady rhythms of life on a carnival scale.
From midday to midnight, workers will perform paid shifts. A builder might build a wall, a hairdresser might cut someone’s hair, a chef might prepare a meal (we’re all hoping we’re there for that last one).
12 Last Songs premiered with Transform 21-22 at Leeds Playhouse in Autumn 2021, before taking place earlier this year at Attenborough Centre for the Creative Arts and Brighton Festival.
This extraordinary durational production is created with the people of Manchester. Directed by Richard Gregory, it’s a durational piece of work by Manchester-based ensemble Quarantine.
Quarantine is a Manchester-based ensemble of artists and producers who have been making work for 24 years. United by an interest in what it means to be alive right nowm and known around the world for their forensic interest in daily life, they have achieved international acclaim for work that is intellectually rigorous, radical in form, and unique in character. Past works include dance marathon Wallflower, the epic quartet of live performance and film Summer. Autumn. Winter. Spring.; and the ongoing, monthly curry and conversation event No Such Thing.
12 Last Songs takes place over 12 hours. Audiences can come and go as they please over the course of the day.
“A reminder that all lives are extraordinary in their ordinariness” – The Stage.
12 Last Songs runs at HOME on 24th September – for 12 hours.
A brand-new cinema experience is coming to Manchester this Autumn. Backyard Cinema, situated in Manchester’s Mayfield District, is a new immersive rooftop cinema showing a wide range of your favourite films over a limited ten-week period starting on the 21st of October. Watching a film at Backyard promises to be the perfect seasonal night out.
Since becoming a success with London audiences, Backyard Cinema has moved up north to conquer Manchester. Located at the Mayfield Depot, next to Escape to Freight Island and Warehouse Project, means they’re in good company amongst student staples. The Backyard Cinema is a massive project, renovating the industrial warehouse into a magical rooftop cinema with stunning views of the city and Mayfield Park.
There will be a chance to see Elvis (2022) on the big screen if you didn’t see it earlier this year. You can also experience the musical magic of The Greatest Showman (2017) on the big screen again. Backyard also caters to the nostalgic viewer with onscreen favourites like E.T. The Extra-Terrestrial (1982), back on the big screen for its 40th anniversary.
Get into the Christmas spirit with seasonal Classics such as The Holiday (2006), Love Actually (2003), Elf (2003) and Home Alone (1990). The crowd reaction to these iconic movies is bound to be electrically when experienced in “the most magical place to watch a movie,” according to The Telegraph. The programme is featured on the Backyard Cinema website here.
Catching a film at Backyard Cinema will be a cosy wintery experience for you and your housemates with giant beanbag seating areas and seasonal cocktails. The cinema is also ideal for an alternative date night if you don’t have ice skating skills to flex. The large-scale project is bound to impress with additional movie-grade sets and a festive tunnel of trees for visitors to walk through.
There will also be live music and street food on offer so you can embrace those festival vibes even in winter. Perhaps even treat yourself to a seasonal cocktail! No need to worry about getting too chilly, either, as the cinema itself is inside.
Ticket prices range between £10-£20 and are already on sale. The event opens on the 21st of October for a limited 10-week run so make sure to secure your tickets here before they sell out.
This summer, Manchester-based theatre company, So La Flair made a showstopping debut at the Edinburgh Fringe with the fabulously feminist How To Keep Up With The Kardashians.
Throughout their first year as a company, So La Flair made a powerful splash into the creative scene at festival performances across the UK. The collective of UoM graduates visibly prioritises inclusivity, presenting seven performers who explore their intimate relationship with their bodies. Each tackles a different insecurity, transforming “flaws” into a source of empowerment. The display of diversity onstage puts individualism first and teaches us to treasure the uniqueness of our own bodies.
How To Keep Up With The Kardashians is a witty combination of theatre, comedy, and cabaret. It criticises Keeping Up culture, the pressure to be plastic, and the farce of our current capitalistic beauty standard. So La Flair dares to demand the Kardashians keep their mitts off our bodies, and advocate every individual’s right to feel beautiful, regardless of size, shape, race or identity.
The cast successfully discards self-destructive thoughts on appearance, like an abandoned bra at the end of a long day – enthusiastically tossed aside to enjoy freedom and liberation outside the constricts of societal ideals.
While the show tends to scoff at ludicrous beauty standards, directors Lucy Laverty and Scarlett Spicer balance fast-paced comedy with honest and touching monologues as they explore knock-on implications to our mental health. The stand-out soliloquy belongs to Millie Loveday Inglis, who passionately brings the audience to tears as she interrogates a Black girl’s relationship with beauty. She states, “When he says he ‘doesn’t fancy black girls,’ I know he’s not talking about me”.
One of the many aspects of production deserving its own round of applause was the outstanding sound design of Sofia Armella. She cleverly stitches together sound bites from popular media (TV, social media and otherwise) to provide irrefutable evidence of an overwhelming toxicity that infests content we digest daily – we’re looking at you, Khloé and Kim.
So La Flair does not refrain from holding those who irresponsibly wield influence accountable in a bold proclamation of self-love. Their openness achieves an incredible level of intimacy as powerful verbatim and undeniable chemistry establishes an empowering sense of solidarity between audience and performer. With the help of great music taste, boatloads of talent and brilliant writing, the hour flies by. Post-standing ovation, the audience leave with a spring in their step, and a renewed sense of self-confidence, standing just that teeny tiny bit taller.
This smash-hit, sell-out is one of my Fringe favourites; it’s hilarious, it’s touching and an inspiration to the University of Manchester Drama department. Speaking on behalf of the audience, we were incredibly safe in the hands of So La Flair.
How To Keep Up With the Kardashians returns to Manchester on 23rd September, where it will play at the John Thaw Studio in the Martin Harris Centre.
Celebrated playwright Conor McPherson (The Weir, The Seafarer) boldly reimagines the legendary songs of Bob Dylan, like you’ve never heard them before, in Girl from the North Country – a heart-breaking and universal story about family and love.
Girl from the North Country is actually the second Broadway show to use Dylan’s music, after Twyla Tharp’s ill-fated dance musical, The Times They Are a-Changin’.
Girl from the North Country, however, has received great renown since premiering in 2017. The original production won two Olivier Awards out of five nominations – and the Broadway production won a Tony (out of seven nominations) earlier this year.
The Broadway production actually opened in 2020 but was forced shut a week later (you know why), before resuming performances in October 2021.
Now, it is touring the UK for the first time.
The musical is set in 1934. In the heartland of America, we meet a group of wayward souls who cross paths in a time-weathered guesthouse. Standing at a turning point in their lives, they realise nothing is what it seems. But as they search for a future, and hide from the past, they find themselves facing unspoken truths about the present.
Whilst the story is set in 1930s America, it deals with themes that remain relevant in 2022 – both in America and across the pond, here in the UK. Further, the timeless tunes of Bob Dylan are sure to captivate all audiences.
Girl from the North Country plays at the Lowry (Lyric Theatre) from 20th until 24th September and tours the UK until mid-March 2023.
Manchester has the greatest theatre scene outside of London. There’s numerous theatres, and a diverse selection of theatre (plays, cabaret, etc.), but musicals are, without a doubt, the most popular form of theatre. So here are the musicals coming to Manchester (and Salford) this September!
“A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.
Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with a book by Karey Kirkpatrick and John O’Farrell, original music and lyrics by Wayne and Karey Kirkpatrick, (the Tony Award-nominated team behind Something Rotten!, along with O’Farrell), direction by 4-time Tony winner Jerry Zaks (Hello, Dolly!), scenic design by David Korins (Hamilton), choreography by Lorin Latarro (Waitress), and music supervision by Ethan Popp (Tina: The Tina Turner Musical).”
“With 24 of Queen’s biggest hits and Ben Elton’s hilarious futuristic comedy writing combined, comes a show that boasts the scale and spectacle that marked the band’s legendary live performances. This global phenomenon will continue to be one of the most spectacular musicals to tour the United Kingdom & Ireland.
The global phenomenon returns to the UK!
The worldwide smash hit musical by Queen and Ben Elton returns to the UK. The multi-million-pound show dazzles all the senses in breath-taking style. Guaranteed to blow your mind, this musical phenomenon is not to be missed!
Since 2002 over 16 million theatergoers in 19 countries have thrilled to this awe-inspiring production. With 24 of Queen’s biggest hits delivered in a show that boasts the scale and spectacle that marked the bands’ legendary live performances. 24 of Queen’s greatest hits, including Radio Ga Ga, Killer Queen, Bohemian Rhapsody and, of course, We Will Rock You!
Taking on the role of Galileo is Olivier Award nominee Ian McIntosh (Beautiful – The Carole King Musical / The Commitments), who will be joined by Elena Skye (Les Misérables / Kinky Boots) in the role of Scaramouche. Playing Killer Queen is Jenny O’Leary (Heathers The Musical / Rent), with Michael McKell (Macbeth / Blood Brothers)as Cliff. Adam Strong (Jesus Christ Superstar / Rock of Ages)will take on the role of Khashoggi, with David-Michael Johnson (We Will Rock You, Germany / Jesus Christ Superstar) reprising the role of Brit and Martina Ciabatti Mennell (Pretty Woman/We Will Rock You) playing Oz.”
From multi-award-winning Fat Rascal Theatre and fresh from complete sell out runs at the Edinburgh Fringe and around the UK comes this critically acclaimed hit parody musical. ‘Unfortunate’ splashes into Salford – and things are gonna get wet.
Join everyone’s favourite Disney Diva, Ursula, as she gives her take on what really happened all those years ago under the sea. With an original hot pop soundtrack and trademark filthy humour, it’s time to take the plunge and dive in to this year’s hottest night out.
Cruella told her side, and Maleficent’s had her moment. Now the legendary queer queen is ready to spill, in this tell-all tale of sex, sorcery and suckers.”
Photo: Unfortunate: The Untold Story of Ursula the Sea Witch.
“Let your soul sing with the dazzling multi-award winning Dreamgirls at Palace Theatre Manchester in 2022!
Direct from the West End with an extraordinary story and the unforgettable, spine-tingling vocals that send audiences wild, this spectacular musical production features the classic songs And I Am Telling You I’m Not Going, Listen, I Am Changing and One Night Only.
Meet The Dreams – Effie, Lorrell and Deena – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. Join the three friends as they embark upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of show business, testing their friendships to the very limit.
Nicole Dennis will play the iconic role of Effie White. Her credits include Dear Evan Hansen, Dreamgirls (West End production) and finalist on ITV’s The Voice in 2019 where she wowed viewers and judges singing And I’m Telling You I’m Not Going with team mentor Jennifer Hudson. Further casting to be announced.”
“Celebrated playwright Conor McPherson (The Weir, The Seafarer) boldly reimagines the legendary songs of Bob Dylan, like you’ve never heard them before, in Girl from the North Country. A heart-breaking and universal story about family and love, hailed by the Observer as the ‘No.1 theatre show of the year’.
It’s 1934 in the heartland of America and we meet a group of wayward souls who cross paths in a time-weathered guesthouse. Standing at a turning point in their lives, they realize nothing is what it seems. But as they search for a future, and hide from the past, they find themselves facing unspoken truths about the present.
Now audiences at The Lowry have the chance to experience this ‘magnificent’ (Standard), ‘astonishing’ (Guardian) and ‘piercingly beautiful’ (Independent) production brought vividly to life by an extraordinary company of actors and musicians.”
“Fall for this record-breaking great British musical – hook line and sinker!
The true story of the Cornish chart topping buoy band
Based on the true story of the chart-topping Cornish singing sensations and their hit 2019 movie, Fisherman’s Friends: The Musical is a feel-good voyage about friendship, community and music which smashed box office records in Cornwall.
When a group of Cornish fishermen came together to sing the traditional working songs they’d sung for generations, nobody, least of all the fishermen, expected the story to end on the Pyramid Stage at Glastonbury. They are spotted by a fish-out-of-water music manager on a trip from London, who must learn that there is more to life than selling your sole for fifteen minutes of fame.
A star cast includes James Gaddas, (Coronation Street, Billy Elliot the Musical), Parisa Shahmir (Mamma Mia!), Robert Duncan (Drop the Dead Donkey), Anton Stephans (The X Factor) and Susan Penhaligon (Bouquet of Barbed Wire).
So, climb aboard, find your sea legs and allow yourself to fall for this critically acclaimed musical – hook, line and sinker!”
“Experience the best selling Bee Gees soundtrack live on stage in this spectacularly reimagined music and dance extravaganza.
Follow the story of Tony Manero as he embarks on a reckless yet thrilling road to dancing success.
It’s a homage to the 1977 John Travolta classic with more drama, more music, and hot new choreography which is sure to have you dancing all the way home.
Featuring songs from the bestselling movie soundtrack of all time, including the Bee Gees’ Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy and More Than a Woman, as well as 70s favourites Boogie Shoes, Disco Inferno and many more.”
Photo: Saturday Night Fever.
So, there you have it – a splendid selection of marvellous musicals to choose from! Stay tuned for what’s on in October.
Yes, the fever is back! Get on your dancing shoes as Saturday Night Fever returns to the Palace Theatre.
The musical was supposed to be at the Palace Theatre’s sister theatre, the Opera House, earlier this year – but Covid got in the way. However, the musical managed to stay alive – it was only a fever, you see – and now it’s coming to Manchester to put on some sickening shows.
The creatives welcome you to experience the best-selling Bee Gees soundtrack live on stage in this “spectacularly reimagined music and dance extravaganza”.
Whilst paying homage to the iconic 1977 film, which starred John Travolta, this new stage version promises more drama, more music, and hot new choreography.
Saturday Night Fever tells the story of Tony Manero, who escapes the harsh realities of working-class Brooklyn life when he embarks on a reckless, yet thrilling, road to dancing success.
The movie soundtrack sold 40 million copies worldwide, making it one of the best-selling albums in history and the second-biggest-selling soundtrack of all time, after The Bodyguard (of course).
The sensational soundtrack features the Bee Gees’ greatest hits, including Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy, and More Than A Woman, as well as 70’s favourites Boogie Shoes, Disco Inferno and other tantalising tunes that are sure to have you dancing in the aisles (before the ushers send you back to your seats)!
Saturday Night Fever is playing at Palace Theatre Manchester from 27th September until 1st October and tours the UK until the end of November. No matter what day you visit, prepare for a hot Saturday night!
Dreams can come true! After a 41 year wait, Dreamgirls is finally in Manchester – so The Mancunion sent two theatre-fanatic writers to celebrate this momentous occasion.
Jessica Hamilton
They’re your Dreamgirls, Boys! And they’ve finally come to Manchester. The dazzling musical is gracing the Palace Theatre for the first time, over 40 years after its Broadway debut!
The story is loosely based on Dianna Ross and The Supremes (Mary Wilson and Florence Ballard, the latter of whom is replaced by Cindy Birdsong), with the spotlight put upon the forgotten Ballard. It follows a small Black girl group whose singers find success crossing into the pop charts. Through a work of fiction, it tells the very real stories of Black artists struggling to make a name for themselves, despite their obvious talents.
The audience follows Effie White (Nicole Raquel Dennis), Deena Jones (Natalia Kassanga) and Lorell Robinson (Paige Peddie), or ‘The Dreamettes’, on their journey to success. After losing a talent competition, the hopeful teenagers are scouted by car salesman Curtis Taylor (Matt Mills). He convinces Marty (Jo Servi), the manager of the already famous and eccentric Jimmy Early (Brandon Lee Sears), to let them sing backup. After touring with Jimmy, the girls quickly reach stardom and are re-named ‘The Dreams’ (just like ‘The Primettes’ became ‘The Supremes’).
But game comes as a cosy, and the musical unravels revealing compromise and consequence as integral themes. Marty’s line “You can’t have it all” summarises the show perfectly.
The frustration of this is explored throughout the show, but especially through Jimmy’s switch from “I Mean You No Harm” to “The Rap”. Sick and tired of singing slow songs to please predominantly white audiences, Jimmy breaks into energetic song. Sears engaged the audience; his energy was infectious and his talent beyond belief. The song comes to a halt as Jimmy pulls his pants down on stage. This act was met with a roar of laughter, but it soon dies down as Jimmy is disgraced into leaving by his team.
Jimmy was filled with pent-up frustration, built by his record label tailoring songs to fit into the 60’s charts. By humiliating himself, he makes a stance against the entertainment industry.
The cutthroat and backstabbing nature of the industry is also explored in Dreamgirls. It’s predominately shown through Effie being replaced in the Dreams (first with Deena replacing her as the lead singer and then Michelle replacing her altogether). It is referred to multiple times in the show. Namely through the stealing and altering of songs: the reinvention of ‘One Night Only’ into a glamorous dance track perfectly demonstrates the business in showbusiness. But what I found most sinister was the cheesy, White, Beach Boys-esque singer who stole the song ‘Cadillac Car’. As he is wheeled out on a blue platform with a sparkly background, it’s stressed his talents are all show and no soul.
With so much packed into one show, so much could go wrong. But I found myself wishing the show would never end. The characters were down-to-earth and multidimensional, and the talented cast who played them were hypnotic to watch.
The star of the show was Miss Effie White, played by the exceptionally talented Nicole Dennis. Her rendition of ‘And I am telling you I’m not going’ received an early standing ovation just before the interval. The applause, which is usually reserved until the end, was well-deserved for this performance of a lifetime. Dennis appeared on season eight of the voice, where she trained and sang with a former Effie White, Jennifer Hudson. The EGOT winner’s role in Dreamgirls scored her an Academy Award for Best Supporting Actress.
Living up to the phenomenal success of Hudson would be intimidating to most. But Dennis played the strong-willed character so smoothly, it’s as if the role was made for her.
The rest of the cast were just as captivating. Kassanga gave a stunning performance as Deena Jones. Her growth throughout the show spoke directly to the audience, and even prompted someone to shout “You Go Girl,” as she leaves Curtis. Peddie was suited to play the adorable Lorell Robinson. Her comedic timing was spot on, but she still wowed us with her deeply emotive voice. Brianna Ogunbawo did a good job playing the underwritten but notable Michelle Morris. And of course, the audience favourite was Sears as Jimmy, who gave an impressive performance of such a high-energy character.
The visuals were stunning throughout; credit should be given to the creative team for such a beautiful show. The Lighting Design (Hugh Vanstone) enhanced ‘Steppin’ To The Bad Side’, and ‘One Night Only’ wouldn’t have been the same without the Set and Costume Design (Tim Hatley).
Such a spectacular show is hard to summarise and would probably take longer than the 2 hours 40 minutes running time. So, if you’re seeking a night of phenomenal entertainment, stunning vocals and an important story, then book your tickets now.
Dreamgirls has finally arrived to Manchester on its much-anticipated first ever UK tour.
I eagerly awaited the show’s opening, wondering how the original theatre format would compare to my first introduction to the Dreamgirls (in the 2006 film – one of my favourite movie musicals), and it certainly didn’t disappoint…
Dreamgirls is a musical set in the 1960s, following a trio of Black female artists searching for fame, despite the racism, misogyny and setbacks faced during their careers.
The protagonist is the ambitious Effie White (Nicole Raquel Dennis/Sharlene Hector), who confronts cruelties and betrayals on her way to stardom. Her song-writing brother, C.C. (Shem Omari James), has to adapt his music to satisfy White audiences.
Meanwhile, slim, traditional-beauty Deena Jones (Natalie Kassanga), struggles with her individuality, due to her forceful manager, Curtis (Matt Mills). Last but not least, Lorrell Robinson (Paige Peddie), the witty heart of the group, tries to pacify the trio’s conflicts, whilst working her way through a complicated relationship with James “Jimmy” Early (Brandon Lee Sears), a sex-driven star, whose every move mesmerises and captures the funky aesthetic and style of the 60s era.
Each star had her own shining moment, all producing beautifully versatile solos and harmonic vocals. Despite being set back in the 60s, the musical retains much relevance in today’s society, containing themes of domestic control, racism, media body-shaming, and the cruel nature of ‘Showbiz’, encapsulating them with a combination of musical genres like pop and soul, varying between emotional, soulful and disco-esque, danceable songs.
‘Family’ from the 2006 Movie:
Some of the most famous and popular songs include the titular ‘Dream Girls’, ‘Listen’, and ‘One Night Only’, although every song is just as memorable for their variations in style/genre and the rich vocal casting.
‘And I’m Telling You I’m Not Going’, originally performed by Jennifer Holliday in the original 1981 Broadway production of Dreamgirls, and later generations of Effie White actresses, including the awe-inspiring singer and ex-The Voice judge, Jennifer Hudson, in the movie adaptation of Dreamgirls (2006) – and now the dazzling Nicole Raquel Dennis.
High expectations arise when you realise Nicole Raquel Dennis was previously taken under Hudson’s wing in The Voice (2019), becoming a semi-finalist and iconically duetting the song with her on show.
This song forms a pivotal part of the story, explaining Effie’s desires, dreams and frustration with her lover, Curtis, and show business. The powerful raw emotions require seamless blends of acting, crying outbursts, and a powerful wide array of notes, making it a difficult feat to perform. Effectively, it could become the breaking point for any adaptation of the musical.
However, Dennis’ voice was pure magic, with all the ferocity and beauty required, completely enchanting the audience and holding our sympathies with the character, thus leading to an overwhelmingly deserved standing ovation (the first I have ever seen for one song at any theatre production).
‘I Am Changing’ from the current show:
The stage design was simple yet effective, with reused vertical stage lights providing a centre point and used to create the illusion of different stages, spaces and perspectives. Most times, they perform straight towards our audience, the most ironic of which being the fourth wall-breaking ‘Jimmy’s got soul’, seeing his hilarious hip-thrusts, gyrations and encouragement of audience participation.
Other times the staging featured gorgeous draping, light set pieces, and sometimes used the lights as a space to show backstage conversations during a performance, creating realistic perspectives with little space.
Costumes were equally as wonderful, glitzy and colourful.
Whilst there were a few moments that felt a little brushed over, such as the birth of Effie’s child, who is mentioned approximately twice, and the eventual fate of the soulful Jimmy Early (Lorell’s love interest), this was ultimately overshadowed, wisely focusing more on the branching, complicated relationships of ‘the Dreams’, their fame, their lovers, their managers, and their family; as well as the difficulties of being Black female singers in a racist and size-discriminatory society.
The show is a love letter to old styles of pop, Motown, R&B, soul, disco and more, with luxurious costumes, an energetic cast, mesmerising melodies and passionate, flawless acting.
