PROUDLY SUPPORTING
GETTING STUCK IN
STEVE BRACKNALL ON SWAPPING THE SIDELINES FOR CENTRE STAGE
ROCK N ROLL CIRCUS // TRAMLINES // JON MCCLURE
SONNI MILLS // JAMES // MUCCARELLI // TERMINAL
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24:
PITCH PERFECT
Sheff’s most unlikely ringmaster swaps Sunday League for centre stage – Royal Oak’s Steve Bracknall tells us why Rock N Roll Circus needs tactics, team talks and possibly a pint of Stones to get fully swinging.
28: THE
GOSPEL
ACCORDING TO JON
The Big Top bash at Don Valley returns! We chat to Jon McClure of Reverend & The Makers about a headline slot celebrating 20 years of tunes, what it all means to him and why the event is shaping up to be an unmissable summer highlight.
36: POWER OF THREE
Sheffield’s legendary flat iron pub is back! We pop in for a pint with owner Jim Butterell to hear how he’s mixing history with a new age feel to breathe life back into The Three Tuns.
48: LIVE AND DIRECT
While the struggle for many live venues has been well documented, Sidney & Matilda is quietly smashing it. We chat with owner Paul Tuffs about DIY graft, what makes for a good gig experience and future plans on the horizon.
62: THAT’S A WRAP!
DocFest 2025 brought laughs, tears and even a conga line to the Steel City. Mark Perkins reflects on war, welders, pineapples and why our city keeps punching above its weight in the documentary world.
GAFFERS
Phil Turner (MD) phil@exposedmagazine.co.uk
Nick Hallam (Sales Director) nick@exposedmagazine.co.uk
FINANCE
Lis Ellis (Accounts) accounts@exposedmagazine.co.uk
GRAFTERS
Joe Food (Editor) joe@exposedmagazine.co.uk
Ash Birch (Online Editor) ash@exposedmagazine.co.uk
Holly Dibden (Web/Socials) holly@exposedmagazine.co.uk
Lizzy Capps (Content Creator) lizzy@exposedmagazine.co.uk
Marc Barker (Design Dogsbody) GI’
US A HAND PLZ
Isobel O'Mahony, Max Hayward, Rosie Brennan, Zac Beeden, Blessing Adefemi, Mark Perkins, Heather Paterson
THE BUSINESS STUFF
Exposed
DIFFERENT CLASS
Sheffield’s biggest party is back! From Friday 25 to Sunday 27 July, Hillsborough Park hosts over 100 acts across seven stages, including a long-awaited set from local legends Pulp.
2025 marks the band’s first-ever appearance at the festival, headlining Friday night in S6. Their main stage slot follows a huge 2023 reunion tour, which included two triumphant homecoming shows at Sheffield Arena, and coincides with the release of their new album More. tramlines.org.uk
100+ acts across seven stages
24 years since Pulp’s last album
40,000 tickets sold
PHOTO: BRADLEY WOOD
THAT’S A WRAP!
The 32nd edition of Sheffield DocFest came to a close last night with an awards ceremony at the Crucible Playhouse, marking the end of six days celebrating documentary film, audio and immersive storytelling.
Welded Together, directed by Anastasiya Miroshnichenko, took home the prestigious Grand Jury Award for the International Competition. The jury praised the film for its “honest and delicate portrayal” of a young woman’s struggle to hold her family together against the backdrop of alcoholism in Belarus.
Comparsa, by Vickie Curtis and Doug Anderson, won both the Grand Jury Award for International First Feature and the Shine Global Children’s Resilience Award. Judges called it “a powerful story of resilience” exploring systemic gender-based violence in Guatemala.
In the International Short Film Competition, In a Whisper by Catarina Gonçalves impressed the jury with its “bold and minimalistic cinematic mastery.” The Tim Hetherington Award, recognising stories that reflect Hetherington’s legacy, went to
END OF AN ERA
Sheffield’s iconic Leadmill has officially closed its doors for good, marking the end of an era for the city’s live music scene. After 44 years of live music, arts and culture, the curtain finally came down on 28 June, following an emotional week of sellout farewell shows.
The final run of gigs was a who’s who of Sheffield talent and friends of the venue. Pete McKee, Joe Carnall, Richard Hawley, Dinosaur Pile-Up and Miles Kane all took to the stage for sold-out farewell shows, as crowds packed in for one last dance under the famous neon sign.
While the building itself moves on to new hands, whispers around town suggest this isn’t the end for the Leadmill name. Plans are already brewing for the brand to live on, popping up at live shows across the city – and maybe, just maybe, a return to bricks and mortar isn’t off the table.
Sudan, Remember Us by Hind Meddeb, a powerful portrait of women-led resistance in Sudan.
Speechless Witness of a Wandering Tree won the International Virtual Reality Competition for its poetic use of 360-degree filmmaking to explore trauma and healing in a conflict zone.
The Youth Jury Award, selected by five young documentary enthusiasts, was awarded to Runa Simi by Augusto Zegarra, which explores the preservation of indigenous language in Peru.
Pitching competitions saw significant support for new
voices. The Video Guy by Sam Howard and Alexander Dickerson won the £100,000 Whickers Film & TV Funding Award, while Chris Mitchell’s Redemption Man took the top prize in the Podcast Pitch.
This year’s festival showcased 114 premieres from 68 countries, with recordbreaking public attendance and 2,601 international industry delegates. DocFest will continue year-round with DocNights screenings in Sheffield and London.
For all the winners and details of upcoming events, visit sheffdocfest.com.
PRIDE OF PLACE
To mark 150 years of life-changing care, Sheffield Children’s Hospital has announced its most ambitious project yet, launching Pride of Yorkshire – a region-wide sculpture trail featuring 150 full-sized lion and lioness sculptures, plus 150 lion cubs.
From now to September 2026, visitors will be able to explore the colourful trail across Sheffield, Barnsley, Doncaster and Rotherham, with each sculpture uniquely designed by artists, schools and community groups. The free public art exhibition promises to be a visual feast – and a powerful fundraiser for the hospital’s future.
Building on the success of 2021’s Bears of Sheffield, this new trail will again unite communities and bring creativity to the streets. “This is going to be our biggest and most impactful campaign yet,” said Cheryl Davidson, Head of Community and Events at the charity and Project Lead for Pride of Yorkshire. “We’re inviting everyone to be part of it – whether that’s businesses sponsoring a sculpture, schools taking on the fundraising challenge or families heading out to explore the trail. Together, we can shape the future of children’s healthcare in South Yorkshire.”
The team behind the trail are calling on local heroes from all walks of life to step forward. Businesses are encouraged to sponsor a sculpture and be part of a
landmark community celebration, while artists can apply to transform a lion into a one-of-a-kind artwork.
The trail is running until 7 September 2026. A farewell fundraising event will follow in October 2026, with the large lion sculptures auctioned to raise vital funds for Sheffield Children’s Hospital.
The cubs, meanwhile, will return to the schools and groups who helped create them, serving as a lasting reminder of their part in this once-in-a-generation celebration.
To get involved or learn more, head to www.prideofyorkshire.org.
PLENTY IN THE TANK
Sheffield’s beer scene has an exciting new addition with the opening of a sprawling, European-inspired beer hall on Wellington Street. The latest project from the team behind Abbeydale Road favourite Two Thirds Beer Co opened last month and promises to bring something fresh to the city centre.
The space – created by Ben Stubbs, Danny Clare and Adam Inns – is a major step up in scope from their original neighbourhood bar. Spread over two floors, it features a mezzanine, dedicated restaurant space, extensive seating and a wraparound outdoor beer garden – ideal for summer socials.
One of the venue’s big talking points is its exclusive Czech tank beer. Only a handful of places in the UK serve unpasteurised Pilsner direct from Budějovický Budvar, and with four 500-litre tanks installed, thousands of fresh pints will be pouring every week.
The food menu leans into European comfort classics, steering clear of tired beer hall clichés. Expect Austrian-style grilled chicken, Bulgarian paprika stews and a rich, dark beer-fuelled goulash. A proper Sunday roast will also feature heavily – something the owners reckon the city centre could do with more of.
This isn’t your typical UK-style beer hall. You won’t find novelty lederhosen or cheesy oompah music. Instead, the focus is firmly on “grown-up drinking” – quality beer, hearty food and a welcoming atmosphere.
The vibe will shift throughout the day, from laid-back lunches to late-night sounds. DJs are set to play most weekends, with house bands on Fridays and mellow Sunday sessions in the works. Music will complement the space, never overpower it.
Bringing the project to life has been a journey of patience and persistence, with delays along the way. But now, the taps are flowing and Sheffield has a new spot to explore.
Follow them on Instagram at @ kapitalsheffield to see what’s pouring
PHOTO: EMMA TOOGOOD
OUR WARDROBES ARE 80% GYM GEAR, 20% NORMAL CLOTHES.
Training for Strongwoman competitions will change your body shape like nothing else. Trying to find a jacket that fits both my lats and my waist is near impossible. And don’t even get me started on jeans! If you invite me out for dinner, expect me to be in Lycra…
EVERYDAY TASKS BECOME AN OPPORTUNITY TO FLEX!
People think Strongwoman is just lifting heavy stuff in a gym. But once you start training, it spills into the rest of your life. Suddenly, the weekly shop turns into event prep and you’re mentally weighing random furniture thinking, ‘I could deadlift that!’
FOOD IS LIFE.
We eat as hard as we train. Competing in Strongwoman is physically demanding and we need to eat to fuel it. I eat around 3,200+ calories a day and when people see me tracking my food they say, “You must be so disciplined.” But the fact is I’m just hungry every 90 minutes and completely panic if I’m more than five feet away from a snack.
PEOPLE WILL HAVE NO CLUE WHAT YOU DO.
“Oh, so you’re a bodybuilder?” is a question I’ve had to answer far too many times to count. Trying to explain that I lift cars and carry kegs for fun – not pose on stage in a bikini – really blows people’s minds. When I mention the World’s Strongest Man on TV at Christmas they seem to understand a little bit better.
THE COMMUNITY MAKES IT. Strongwoman might look like an individual sport, but it’s anything but. Behind the scenes, the women I train and compete with will scream encouragement while I grind out a lift, then give me a pep talk while I cry in the car park (true story). We swap kit, snacks, bruising tips and life advice. We cheer just as loud for last place as we do for first – because we get it. You won’t find a better hype squad than in Strongwoman.
Sheffield’s Laura Hollywood, founder of Mud and Muscle, won Britain’s Strongest Woman and will represent England at World’s Strongest Woman in Texas this November. The 36-year-old coach is crowdfunding £4,000 to cover travel and kit. Support her journey on Just Giving by scanning the QR Code on this page. Businesses interested in sponsorship or product endorsement can get in touch via laura@ mudandmuscle.co.uk.
FACES OF SHEFFIELD
Armed with a 1969 Rolleiflex 3.5F, local photographer Matt Willoughby wanders Sheffield, snapping portraits, swapping stories and capturing the spirit of the city’s residents, one shot at a time.
GEORGE
Meet George – the face behind Loveday’s Barbershop on Chesterfield Road. He’s been cutting hair for years, but it’s not just about the trims and fades – he has a passion for vintage style, old-school rock’n’roll and spinning vinyl records, with a particular soft spot for the King himself (that’s Elvis, not Charles – just to be clear).
His barbershop is all about top-notch cuts, laid-back vibes and building a little community where everyone feels welcome. He enjoys mixing classic barbering with modern styles, so whether you’re after something sharp or more relaxed, George and team have got you covered.
@lovedays_barbershop
WHAT WE’VE BEEN NATTERING ABOUT IN THE OFFICE THIS MONTH…
Sheffield has long been a trailblazer for steel, boiled sweets and Hendos, but now it’s our pubs putting us in the spotlight. The Times journalist and beer writer Pete Brown recently crowned the Steel City the UK’s best pub city, saying it “beats anywhere down South”. Being from Hull myself, where the independent scene seems to struggle (though I will say the drinks are cheap), Sheffield is a spectacle not just for pouring but brewing a strong pint.
The 2024 Sheffield Beer Report, authored by Brown, found that Sheffield and South Yorkshire is home to 58 breweries producing around 1,800 different beers – a whopping 800-drink increase since 2016. Despite this beer boom, we’re still proud gatekeepers of our pints, with 69% of the beer brewed here consumed locally. Abbeydale Brewery’s ‘Moonshine’ pale ale and Triple Point Brewery’s ‘Helles’ lager are among the region’s best-loved, but as any local knows, there are countless others for tourists and residents to sample. A personal favourite is Farmers Celebration Ale from Bradfield Brewery, found at proud Sheffield institution the Bath Hotel – 10 out of 10 for the place and the pint.
Like many places, including my hometown, Sheffield sadly lost a few pubs during the pandemic. However, our pub game remains undefeated thanks to strong independents. Beloved Irish tavern Fagan’s is a particular favourite of mine, while Kelham Island Tavern seems to bag a CAMRA award every month. As someone who’ll forever pick a good pub over a loud club, I can say the vibe of a Sheffield independent is unmatched – it’s that proper pint-in-a-cosy-place, wholesome feeling.
So, take it from an outsider’s perspective: Sheffield is a clear frontrunner in the pub scene. I hear all the usual complaints about how “the city centre isn’t what it used to be”, but just look around! You’ve got four breweries per 100,000 people, new brews popping up left, right and centre, awardwinning locals on nearly every corner and the city is often dubbed the ‘real ale capital of the world’. So maybe, just maybe, The Times has got it right.
Best city for a pint? Bath Hotel to celebrate, anyone?
Isobel O’Mahony
THE FRINGE AT TRAMLINES RETURNS!
NOT GOT A TICKET FOR THE DO AT HILLSBOROUGH PARK? OR JUST LOOKING TO MIX THINGS UP A BIT DURING FESTIVAL WEEKEND? THE FRINGE AT TRAMLINES IS YOUR PERFECT EXCUSE TO SOAK UP SOME LIVE MUSIC SCENE WITHOUT STRAYING FAR FROM THE CITY CENTRE – AND IT’S ALL COMPLETELY FREE.
Running from Friday 25 to Sunday 27 July, The Fringe at Tramlines is back with a weekend of live music, DJs, dance and solid community vibes across more than 40 venues. From bars and pubs to shops and public spaces, the city centre will be buzzing.
Last year, the event drew over 45,000 people and brought an estimated £1.86 million into the local economy – and 2025 looks set to build on that success.
At the heart of the action is the Devonshire Green main stage, curated by Tramlines cofounder Alan Deadman (aka Papa Al). It’s an open, welcoming space for all ages, perfect for dancing, a meeting point for mates or discovering new and established artists. This year’s line-up features a mix of local talent, rising stars and seasoned performers.
Saturday 26 July sees ska favourites Jungle Lion take the headline slot, back by popular demand with their full orchestra in tow. On Sunday, reggae legend Macka B takes centre stage with the Roots Ragga Band, celebrating 40 years since the release of his first record. Known for conscious lyrics, witty freestyles and a viral presence thanks to hits like ‘Cucumba’, Macka B is no stranger to a Sheffield crowd. As Papa Al put it: “Macka B is an inspirational performer who mixed ska, reggae and ragga. He has a big following in Sheffield and we can’t wait for this totally free performance for people of all ages and backgrounds in the
heart of the city.”
Also performing are standout artists from Sheffield’s own Tracks music project, supported by Ed Sheeran and championing young musicians aged 14 to 25. Ed even made a surprise appearance last weekend alongside Tracks and rapper JME, adding some serious buzz around the programme.
The weekend will also feature local partystarters Shanghai Treason, The Tivolis (selected by WaterBear Music College), Blue Street Brass and Highway Child, plus DJ sets from DJ Myna, DJ Kom and DJ Issa Dancer. On Sunday, catch Soul Battalion, a high-energy dance showcase from Ripton Lindsey and more sets from Tracks artists. Papa Al will also be behind the decks throughout the weekend with his signature global sound.
Beyond Devonshire Green, there’s loads happening right across the city – from Division Street to Heeley, Kelham Island to Hillsborough. New venues for 2025 include Department (formerly Kommune) and a large-scale event in New Era Square, offering even more options for Fringe-goers.
As Diane Jarvis from Sheffield BID said, “The event plays an important role in the annual events calendar, driving footfall into the city centre over the three days of The Fringe, bringing welcome dwell time and most importantly additional spend into our city centre business community.”
WANT ALL THE EVENTS IN ONE PLACE?
YOURS TRULY WILL BE KNOCKING OUT A FREE PRINTED PROGRAMME SHOWCASING LISTINGS, NEWS AND INTERVIEWS –OUT AND ABOUT MID-JULY.
WE’VE ALSO HAVE A SHINY NEW CLASHFINDER SO YOU CAN PLAN YOUR MOVEMENTS ON YOUR PHONE. NO DANGER.
KEEP AN EYE ON @ EXPMAGSHEFF FOR ALL UPDATES.
GIVE IT A GO GOLF FANG SHEFFIELD
WORDS: JOE FOOD
Every now and again, our gaffer Phil asks – nay, demands – that instead of ignoring each other all day and muttering muted goodbyes at 5pm before heading home, we shall go out together, as a team, for some forced staff bonding – and what’s more, we’d better ruddy well enjoy it.
From a pool of around 10 staff members, we managed to convince a healthy five to join us on our latest excursion – a game of decidedly crazy (*tongue-out, one eye closed emoji*) crazy golf at adults-only venue Golf Fang. More fool the ones who made their feeble excuses, though, as they missed out on a fun-filled evening and even a few rounds on the company card.
I get it – when you hear ‘crazy golf’, you’re possibly thinking of putting around puddles and discarded tinnies on a windswept Skeggy Esplanade. Or perhaps you’re imagining one of those indoor family activity centres filled with screaming children pepped to the eyes on e-numbers and parents teetering on the brink of tears, or possibly divorce.
But Golf Fang is different. For a start, it’s adultsonly with a fully licensed bar, street food and DJs to keep the vibe going and make it feel like a proper night out. Secondly, it’s genuinely a space to ogle – a 38,000 sq ft warehouse decked out with wall art, an in-house arcade and holes themed from Jeremy Kyle sets to sex shops (oo-er).
On arrival, we got settled in with drinks. There
are draught beers and non-alcos available but seeing as we don’t get out much, we went for the cocktails and were swiftly furnished with Lethal Drizzles, Nuthin’ But a G Things and Golfers Paradises to settle the pre-match nerves.
Whether they settled nerves a little too much is perhaps worth questioning, as some of the golf on show was, frankly, quite embarrassing. Over the 18 included holes, the ball left the assigned perimeters on multiple occasions (actually quite difficult to do) and Holly had a minor breakdown on the plane fuselage hole. The friendly Golf Fang staff continued to take drink orders as we made our way round the course – which, again, was great for the vibe but not for the general standard of play.
That said, Marc, our designer, managed his first ever hole-in-one, and you can see his restrained reaction pictured on this page (bottom right).
Each hole’s been meticulously designed with plenty of sneaky obstacles and surprise ramps, meaning even those of us who play golf like it’s a contact sport can stay vaguely competitive. We wrapped up the course in under two hours, just enough time to tally up scores and demolish some top-tier pizza from Nothing Cheezy. Happy days.
In short: cracking venue, brilliant for groups, dates or your next ‘mandatory fun’ staff do. To anyone stuck playing behind the Exposed crew – we salute your patience. We’ll work on our short game before next time… promise. Book in now at golffang.co.uk
OFF THE BEATEN TRACK
EXPLORING SHEFFIELD’S TUCKED-AWAY SPOTS AND LESSER-KNOWN GEMS
THE BARN AT WHIRLOW
It’s funny how quickly Sheffield melts into countryside. One minute you’re dodging taxis on Ecclesall Road, the next you’re surrounded by fields, chickens and the odd Highland cow. Whirlow Hall Farm is a good example of this paradox – and tucked away in the middle of it all is The Barn Cafe, serving up locally sourced dishes, cracking coffee and the kind of views you normally have to drive another half an hour into the Peaks for.
The cafe itself is part of Whirlow Hall Farm Trust, a vital charity offering practical learning opportunities to children and young people who don’t thrive in mainstream education. The site is also a fully working farm, with everything from chickens and Highland cows to an on-site vineyard – yes, really – and a farm shop stocked with local produce and crafts.
Whirlow Hall Farm has been part of Sheffield’s landscape for centuries, but the biggest transformation came in 1979 with the creation of Whirlow Hall Farm Trust. What was once a tucked-away stable block has since been reimagined as a bright, welcoming cafe – now home to brunches, lunches, bistro evenings and even weddings.
The spot is particularly popular with families and local hikers looking for sustenance, with a menu built around the best of the farm’s own produce. “It’s a breakfast brunch menu,” Isabelle says. “You’ll find classics like eggs benedict, big bacon or sausage butties and full Englishes. We’ve also got lighter deli options – homemade sausage rolls, chips, salads – plus a specials board that
changes all the time. You might see things like fish and chips, chicken Caesar salad, beetroot and fennel salads… there’s plenty of choice!”
With a large playground out back, kids are very much part of the picture too. “We’ve got a kids’ menu designed for all ages,” Isabelle adds. “Little plates for picky bits, avocado dippers, small children’s breakfasts… we even have a farm picnic!”
The cafe also plays a key role in the Trust’s educational work. Students from the farm’s onsite education centre help grow produce, handle animals and even run the coffee trailer some days. “It gives the students confidence and the opportunity to develop important life skills. And everything goes back into the Trust – they support the children with equipment they need, and loads of fun activities people can donate to.”
One of the farm’s quirkiest features is the vineyard, which produces a successful crop of grapes each year for Whirlow Hall Farm Wine. You’ll find it served in the cafe, available to buy in the farm shop and taking centre stage at the popular bistro nights – themed evenings with small plates from the chefs, perfectly paired with Whirlow Wine, including sparkling, red, white and rosé. The first vineyard tour is set to take place soon, adding another experience for guests to enjoy.
On that note, the events calendar has continued to grow, from evenings showcasing Sicilian cuisine to hog roasts and plenty of private hires. “Summer’s choc-a-bloc with weddings,” Isabelle says, “but we’re managing it well and
have a great team here to keep up with demand.”
The wider farm is open to the public Thursday to Sunday, with plenty to do beyond brunch. Kids can meet rabbits and guinea pigs in the animal handling area, the shop’s stocked with everything from Whirlow Honey to handmade wool gifts, and visitors can see the farm’s resident cows grazing in the fields. The team also runs bigger events throughout the year, including the popular Highland Fling – a family-friendly day packed
with activities, stalls, tractor tours and barbecues. Practical touches make it family-friendly: there’s a large car park, loos even when the cafe’s closed and easy bus links from town. “There are a few buses that stop just around the corner, and it’s only about a 10 to 15 minute walk from Ecclesall Road South,” Isabelle points out. “It feels like the heart of the Peak District, but you don’t have to commit to the full day out.”
With cafe opening hours adjusted to accommodate the after-school crowd – 9am to 4.30pm Wednesday to Sunday – there’s more time to enjoy it all. “It’s a lovely spot. The kids can play, parents can have a coffee or a relaxing drink. It’s a really picturesque place and somewhere we feel more people should discover.”
More than anything, The Barn Cafe proves that you don’t have to trek far for countryside charm – sometimes it’s right here, tucked away on your doorstep.
FIND US
Public transport (city centre): 265, 65, 272, 81, 82 or 88 to Ecclesall Rd South/ Whirlow Lane, then 10-15 min walk up Whirlow Lane and left onto Broad Elms Lane. Free parking available.
enjoy summer at the barn at whirlow hall farm
Tucked away just off Ecclesall road sits a countryside oasis, just minutes away from the city centre. Come and enjoy tasty homemade cakes served with a cracking cup of coffee or tea on our beautiful outdoor terrace while you let the little one’s enjoy our fantastic childrens playground.
Or come for a spot of lunch and enjoy some wonderfully prepared local produce. We have a regularly changing specials board, or lighter deli items and fresh salads. Maybe come and join us for our lively bistro nights and sample a glass of Whirlow Wine paired with fresh, local ingredients.
the barn at whirlow
Whirlow Lane, Sheffield, S11 9QF W. www.whirlowhallfarm.org
E: thebarnbookings@whirlowhallfarm.org
We are open 9am–4:30pm, Wednesday to Sunday.
Big weekend coming up in August, Steve, and we’re not talking about the start of the 25/26 season! How does a humble Sunday League assistant manager end up compèring a Rock n Roll Circus?
Listen, mate, it’s certainly not in my job brief to be fronting up an outdoor gig the size of Rock N Roll Circus, but here’s some backstory: me and our Nikki have loved Sheffield music scene for absolutely years. Boardwalk, Grapes, you name it.
We used to go because Cookie from Arctic Monkeys' dad boozed in the Royal Oak and he was always telling us off about the hottest bands. We saw them all – Milburn, Harrisons, Rev, Arctics. It were a reyt time to be alive in Sheffield. Brilliant.
I’ve kept in touch with Rev – he’s stayed local. He’s a big football fan and he’s always backed what we do at Royal Oak FC. He needed someone confident, who could pull it off, who could bring people together. I fit that brief.
It’s only same as giving a team talk on a Sunday. Bring people together, make them believe. That’s my job on the day. Yeah, I’m out my comfort zone, but that’s when the best things happen.
Will you be dressed for the part?
I’ve already told them I’m not wearing a daft circus outfit. I’ll feel a lot better in my cream jacket and jeans tucked into my socks – last thing our Nikki needs is mud traipsing through house.
Are you excited, or would you rather be reviewing set-piece routines and sorting lift shares?
I’m very excited, mate, but let’s be frank, I’m more comfortable on the touch line in piss-wet rain. That’s my bread and butter.
But I’m all for anything that brings people together. Music and football can do that. It’s a one-off event. I’ll do my job, have a laugh, then it’s straight onto the new season. It starts two weeks after – training sessions, tactics, kits, bibs. The work of a Sunday League assistant never stops.
Will any of your Royal Oak lads be allowed to attend, or are you enforcing a curfew?
No curfew. It’s an open invite – players, staff, families. I’m hoping Rev gives me a guest list, because I’ll be filling it with Royal Oak lads. They can stay out as late as they like, but I’ve told them I want best behaviour.
Ahead of this year’s Rock N Roll Circus, Ash Birch grabbed a quick word with Steve Bracknall – assistant manager of The Royal Oak FC – as he put out the cones at Hillsborough Park, to hear what he’s got in store as compère for Saturday’s Reverend and the Makers takeover…
They don’t just represent Royal Oak on the pitch, they represent it off it. If I hear any shenanigans, I’ll be stamping down on it. No doubt about it.
The Rock N Roll Circus is known for big performances and even bigger hangovers – do you think your players can behave?
Listen, it’s a big event, and that means press, journalists, paparazzi – so I’ve told ’em: best behaviour. Last thing I want is some so-called journalist getting a scoop on one of my lads. I don’t need it, and neither does our Nikki, or Terry and June, landlord and landlady of the Oak.
So have a dance, have a sing-song –but behave. I’ll be alert to the press being there, and I include you lot in that.
You’ve mentioned the new season. Feeling confident? Or just hoping Housey remembers the corner flags? I’ll always back my lads. Yes, there’s been ups and downs over our 25-year history, but this season I’ve told ’em I expect a certain level of performance.
I’ve probably been guilty in past of not changing things round quick enough. I hope Housey, Parksy, Tommy and Winny don’t get too comfy, because I won’t be afraid to shake things up.
There’s a good feeling in camp. A few of ’em have been on all-inclusives, had their jollies. Now it’s heads down, heads on the game. I’m quietly optimistic.
Paul Sampson – your gaffer – looks a lot like Reverend and the Makers frontman Jon McClure. Will he be at the gig?
I’m constantly asked this question. The resemblance is uncanny. However, the other person they both look like is Ange Postecoglou, and he got sacked recently, so Paul Sampson better keep on his toes. I’m joking.
Me, Paul, Deborah, all Royal Oak lot, Carpet Dave, MOT Mick, Fire Stick Dean’s trying to get a ticket, but I’d rather him not. We’re going to get a minibus from Oak – can’t wait. Maybe go into town first. Have a drink. Brilliant.
What kind of ringmaster will you be – Greatest Showman or fairground barker with a pint of Stones?
It’s not for me to say. What I want to be is relatable. That’s the power of the Royal Oak – people see a bit of themselves in us.
So if I walk on that stage, and I might have a tin of Stones to take nerves off, all I can hope is they relate to me, and I can bring people together. That’s what I’ll be going there to deliver, mate.
Worried about getting caught up in the glamour and swapping dugouts for dressing rooms?
I can categorically state, on record – no way, Jose. The music industry full of absolute sharks. My bread and butter’s on the touch lines of the Sheffield Imperial League, and that’s where I’ll stay.
Rumour is you’ve been rehearsing with a karaoke mic down at the Oak. Any truth in that?
I absolutely adore karaoke. Put that in your magazine. My favourite nights out are with our Nikki – a few drinks at the Oak, then karaoke comes out at the end. We have a lock-in, oreyt, curtains shut, ashtrays are out. Gets a bit naughty. Me and our Nikki do Bonnie... err, not Bonnie and Clyde – they were murderers!
[Looks towards Nikki] What do we do?... Sonny and Cher, brilliant. I love owt like that. I’d absolutely love to set up a karaoke machine backstage. I think that’d be reyt good. I should get into entertainment. No don’t, you’re tempting me now. Stop it, Steve. Stop it.
Any of the lads tried blagging a support slot or backstage passes? Who’s most likely to show you up?
To be honest, I’d rather they were
backstage, because that reduces risk of showing me up and showing club up. However, my new 25/26 season strip is going on sale and will be out by then. I might put shirts on Tommy, Winny Parksy and Housey and send them out into crowd – increase revenue, because that’s what we need at minute, a cash injection into the club. seeing Oak shirts across the field would fill me with pride.
Could this potentially become a new revenue stream for the club? You've spoken already about how finances can be tricky at Sunday League level. Are we looking at Steve Bracknall: assistant
manager by day, Sheffield’s answer to P.T. Barnum by night?
Listen, I’m doing Rock N Roll Circus for a laugh. I’ll enjoy me sen. But come Sunday morning, the tactics board’s back out in my garage and I’m planning the downfall of D Division.
It’s about taking the club to a new level, so I can’t be gallivanting on stage, acting the goat. No, we’ve got new kits. We might even do a live talk. See people’s faces. I love football. I love music. I love Reverend and the Makers, but more than anything, I love Royal Oak... Oh, and I love Our Nikki anall. Cheers for the chat, pal.
I’VE ALREADY TOLD THEM I’M NOT WEARING A DAFT CIRCUS OUTFIT. I’LL FEEL A LOT BETTER IN MY CREAM JACKET AND JEANS TUCKED INTO MY SOCKS – LAST THING OUR NIKKI NEEDS IS MUD TRAIPSING THROUGH HOUSE.
good things. Rock N Roll Circus is just a bit different. It’s not like the usual gigs – having people on high wires and fire breathers, I hope that causes a little bit of chaos.
Sheffield’s always played a big role in your sound and your lyrics – how much of the city is still in the DNA of Reverend & The Makers in 2025?
Roll up, roll up – the wildest show in Sheffield is back for more. Next month, Rock N Roll Circus returns to Don Valley Bowl, bringing with it not just a stacked live music lineup, but fire breathers, acrobats, stunt performers and general scenes of gig-based chaos. But this year, there’s an extra reason to celebrate: our very own Reverend and the Makers are marking 20 years in the game – and they’re doing it in style, by throwing a proper hometown bash and inviting some of their favourite acts along for the ride. Exposed caught up with the big man himself in esteemed Broad Lane watering hole Fagan’s. Over a couple of pints, we looked back on two decades of tunes and talked tackling personal struggles, championing Sheffield spirit and why 30 August is a date every festival-lover in South Yorks should be saving.
WORDS: JOSEPH MURPHY // PHOTOS: KEVIN WELLS
First off – 20 years of Reverend & The Makers. How does it feel hitting that milestone, and celebrating it with a hometown headline slot?
Well, you never really think you’re going to be in a band when you’re in your 40s, so I’m kind of just amazed that it’s lasted this long and that people have stuck in their ways. It seems to be going from strength to strength, really. And obviously to celebrate that in Sheffield, where it all began and where my home is, it’s wonderful. That’s why I want the gig to be about family, friends and things that I do. Sheffield is a very unique place. I’m incredibly proud, in a civic sense, of Sheffield – the place, the people, the community, and especially the musical
community. I think it’s very special, like even when we’re sat every night jamming in here [Fagan’s], it’s a musical city.
Rock N Roll Circus is far from your standard festival setting – what’s your take on playing under the big top, and how do you think it’ll shape the atmosphere?
It’s gonna be great. It’s like a mad, rollicking carnival, innit? I went down there last year and saw Richard Hawley and Milburn, and my wife went to watch Self Esteem. I have a lot of admiration for Steve and his brother Paul, who promote it, because they’re two Newcastle lads from working-class lives and they pulled themselves up by the bootstraps and did a great thing. So I just admire people who are trying to do
Every single day of my life. Richard Hawley recently told me that Sheffield is where the mojo is. People have called me the Godfather of Sheffield, but I’m not. Richard has always been the Godfather. Maybe one day I will be. But Hawley is the Don, right? And Richard’s been a great source of advice for me, because he’s older than me and he’s done more than me. He said, “Sheffield’s the place – do it in Sheffield.” And therefore, every single day of my life, I’m inspired by people in Sheffield. I love it. We just do things in our own way here. And I feel like that tradition is something that persists to this day. You’ve only to look at what Self Esteem is doing. That’s firstly because she is who she is – she’s that kind of woman and she’s got a vibe – but also because she’s from Sheffield. Same for Arctic Monkeys – you listen to Alex’s lyrics and you can see how Sheffield really informs people’s thinking.
Are there any tracks that have taken on new meaning for you after all this time, especially when performing them live? Yeah, definitely, because a lot of them are about my life. ‘Open Your Window’ is me saying to my wife Laura, leave your boyfriend and go out with me. ‘Heavyweight Champion of the World’ is about people I know in Grenoside, where I’m from in Sheffield. They’re all about people I know or me. So inevitably, things are very emotional for me. And I got very emotional singing ‘A Letter to My 21 Year Old Self’. It’s a relatively new song, but it’s all about my career and life. I sang it in Australia recently – they were all loving it and singing it back to me, and I did get a bit choked up.
What message do you hope fans walk away with after your set?
I want them to think, ‘Oh my God, that was an amazing party. I’m really sweaty. I’ve sung my heart out. My voice is hoarse. I love the Reverends. I love Steve Bracknall. I love Lottery Winners. I love Everly Pregnant Brothers. I love Sheffield. This is the best city on Earth.’
And finally – with 20 years behind you, what’s next for Reverend & The Makers? More music? New directions?
ROCK N ROLL CIRCUS IS JUST A BIT DIFFERENT. IT’S NOT LIKE THE USUAL GIGS – HAVING PEOPLE ON HIGH WIRES AND FIRE BREATHERS, I HOPE THAT CAUSES A LITTLE BIT OF CHAOS.”
Lots of stuff is coming. I’m in the process of writing a novel that I’ve been working on for a long time. It’s set in Sheffield in 1968 and it’s like an alt-history kind of novel that I’m hoping to publish at some point. Day Fever, obviously, is a runaway success. I think it’s now the leading daytime economy gig in the country, which has been amazing. There’s a new album on the horizon, and I’m working on another project in Sheffield that I can’t reveal yet, but I hope it’s going to be transforming for the city. So I’m always up to something. Above that, I’m just trying to be a better human because I’ve spent a lot of my life being angry – carrying around a lot of trauma and ADHD numbness. I think part of what fuels me, and what fuels a lot of Northern people, is anger – especially a lot of men. It’s an energy that can drive you, but it can also be incredibly destructive and distressing to people. I just want my dad to be proud of me and what I’m doing. He died very suddenly and it really hit my heart like a thunderball. So I want to do this gig, put him on the big screen, and know in my heart that he is proud of me.
Reverend and the Makers headline Rock N Roll Circus on Saturday 30 August. Full lineup info and tickets (£55 adult, £27 under-12 and free for under-5) available from rocknrollcircus.co.uk. @randrcircus
SCAN FOR TICKETS
The following day, Joseph Murphy also got the chance to natter on the phone with Tim Booth, lead singer of Manchester band James –responsible for multiple Britpop bangers and still going strong in the midst of their 40-year career. With over 25 million records sold worldwide and a special live show involving some onsite circus clientele, festivalgoers will be in safe hands for the headline slot on 31 August.
Ahead of your performance in Sheffield, how do you feel that your recent number one album, Yummy, reflects where you and the band are in 2025? We’re playing those songs live, along with our older stuff. There’s a certain sense of relevance to some songs – there’s at least five or six from that album we’re playing in rotation at the moment. So the older fans might not have heard the newer album, but we feel that the older stuff is just as vital and alive as the new, and people will really enjoy it as a whole.
A lot of your early stuff, namely Laid or Gold Mother, is still relevant and very big with my generation, Gen Z. How do you feel about the band’s career being so long spanning with its influence? See, there we’re talking about the 90s, which is definitely before your time. We span
decades, my friend – like vampires who never age. It is nice, though, to see so many people come back to us. I like to think we’ve been fairly consistent. Some bands have this issue where they create one astonishingly good album and it just defines them – it becomes somewhat of an albatross. They can never move on from how good that record was for them. I think we’ve been able to keep moving quite effectively. That’s also what’s unusual about James – 42 years in, we’re still making music that is challenging our earlier works.
Are there any songs that you’ve been particularly surprised about the longevity of in the public eye or the charts?
I guess it would be ‘Getting Away with It (All Messed Up)’, which seems – by things like Spotify – to be one of our most
popular songs. But when we released it, it didn’t do very well in the charts. That was written in 1984, and it was Morrissey and Marr’s favourite song at the time. They came through to the studio and said it should be a single. We should’ve listened to them, really, because they knew quite a bit about what singles were good.
What goes into the process of writing a setlist for James?
You see, it’s funny really – I’ll be writing a set according to the general feeling. But it’s never set in stone. If the audience is a bit low energy, we might decide we need to bring it up. If it’s more of a thing where we can put in a more moody or heavy tune, then we’ll do that. So really we make the set according to the location, the people, the weather. We did a gig in Portugal and it was by the sea and it was like, wow, I wonder if we could start in a boat and come ashore. So we found someone with a boat and started the set that way. You just kind of think,
with both the music and the spectacle, how can we break this up, how can we make this an event that people will remember? It’s much more of a communication with the audience – it’s all about that interaction.
What’re you most looking forward to adding to the set for Rock N Roll Circus?
I think that having those performers available to us is going to be great fun. We’re going to see if we can get those firebreathers, ask how many acrobats can we get on stage, what can we show the audience alongside the music. We’re really going for that crazy, psychedelic – just overall a visual thing, not just the music. We’ll try and get in some of the tunes from before, but also some of our big stuff from the more modern releases, so hopefully we’ll have something for everyone to enjoy.
James headline the final night of Rock ‘N’ Roll circus on 31 August.
BACK IN TARN
After taking a well-earned breather, Barnsley’s own Sonni Mills is back – and she’s coming in strong with a bold new sound, fresh visuals and a spot on the main stage at this year’s event. Exposed’s Isobel O’Mahony caught up with the up-and-coming artist to see what else we can expect…
Sonni Mills stepped back from releasing music after her 2023 EP Monochrome and the single ‘I Think You’ve Had Enough’ reached the top 100 on the iTunes Charts. Now fully refreshed, she’s ready to shake things up with a 90s-inspired sound and a renewed sense of direction.
“I had a little anxiety about the fact that it’d been a while since I put something out,” she says. “But I’m glad in a way, because it gave me all that time to realise what I wanted to make.
“I think if I’d released this a couple of years ago, I wouldn’t have released it as confidently, so it just all seems to be coming together nicely.”
‘Silence is Violence’ brings a dark, ethereal backdrop to Sonni’s striking vocals, with hints of what could easily be a
James Bond theme. Released alongside the poppier ‘Bloom’, her latest work draws on past and present influences alike.
Speaking on the two tracks, she said: “‘Bloom’, I think, taps into a more current sound. I love people like MF DOOM and De La Soul, which I think you can hear. But ‘Silence is Violence’ is a very grandsounding song – a bit inspired by Massive Attack, and even a bit like Burial in some of the production.
“It’s funny to look back at songs and remember where I was, both literally and in life, when I wrote them. It’s really interesting to look back, as well as looking forward.”
Sonni is also a long-time fan of breakout artist Lola Young, whose raw style has helped shape her own. “‘Bloom’
I LIKE THE MEANING OF MY LYRICS TO BE QUITE CLEAR, BUT WRITING IN A METAPHORICAL, SPACEY WAY – BECAUSE I SUPPOSE THAT’S HOW MY HEAD IS NATURALLY.”
leeway to really be all you want to be, and I think this release is giving me the confidence to do that this time.”
That confidence has led to some big moments, including Sonni and her Leeds-based band supporting James on the main stage at this year’s Rock’n’Roll Circus.
“I’m a bit nervous for that one,” she laughed. “But we’ve got a full band on the main stage, which is really cool.”
Sonni’s love for the local scene runs deep. Having collaborated with Wakefield’s Skinny Living and dreamed up collabs with some of Sheffield’s icons, she’s still got plenty she wants to tick off.
was quite influenced by her production,” she explains. “I remember showing my mate, before ‘Messy’ blew up and everything, and being like “she’s gonna be big.”
“Her visuals are really cool, and her writing’s quite brutal and raw. It’s not delicate, and it’s good to hear a young girl write like that.
“So many artists have been influenced by Amy Winehouse, and Lola has that same thing of not being scared to write about bad sex and bad dates and how it actually made you feel.
“I think I kind of lean into that. I like the meaning of my lyrics to be quite clear, but writing in a metaphorical, spacey way – because I suppose that’s how my head is naturally.”
As the writer, producer and graphic designer behind most of her work, Sonni is a true one-woman band. Being independent in today’s industry isn’t just about the sound – it’s about graft.
“It gave me the time to create my own sound,” she said. “I do a lot of the graphic design stuff and I work with other animators and creators, but it’s based on drawings that I do.
“It’s great to interpret the arts with the music – particularly as an independent artist. It’s really cool to have the complete freedom to create your own world.
“It’s obviously a little bit harder with self-promotion and stuff, but you do have a lot of
“I have a lot of love for Skinny Living – they’re doing amazing – and we’ll always come back to each other, even if we’re doing different bits.
“I love the Sheffield music scene. I’d love to work with someone like Richard Hawley. I love Jarvis Cocker, Arctic Monkeys… Reverend and the Makers are always doing amazing.”
As for her bucket-list moment? She’s got her eyes on Jools Holland’s Hootenanny –with a twist.
“I’d love to cover ‘Holding Back the Years’ by Simply Red on Jools. I love artists like Joy Crookes and CMAT, and they’re on Jools all the time –and rightly so. I just want to be up there with them, and hopefully I will be.
“A lot of my inspirations come from people like Simply Red, New Order, Kate Bush, Paul Weller.
“There’s a trend of artists covering old-school tunes you wouldn’t expect. It’d be really cool to bring back a song that’s been so significant in my writing over the years.”
With a second EP on the horizon and more shows in the diary, Sonni is very much back on the scene and carving a lane entirely on her own terms. If you’re looking for some upand-coming talent to scout at Don Valley Bowl, her set is one that should be high up your list.
Sonni Mills plays the Rock N Roll Circus on Sunday 31 August.
Pad12 offers a curated selection of wines, gins, vodkas, rums, and whiskies, with an emphasis on locally distilled spirits. We also offer cold beer on tap to enjoy on our sun trap terrace.
Now open. Visit our new shop with its on-site roastery and seating for up to 60 people. 203 Arundel street Sheffield, S1 4RE
We also offer subscriptions How It Works
• All of our subscription coffees are 5% off our usual prices
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• Enter code FRAZER23 at the checkout and you’ll get your first subscription bag of coffee at half price!*
*Applicable to coffee subscription orders only
Pad 12, Merchants Court, 43 Mowbray Street, Sheffield S3 8EN.
OPEN FROM THURSDAY TO SUNDAY, WITH HOURS EXTENDING TO 11:00 PM ON THURSDAYS, MIDNIGHT ON FRIDAYS AND SATURDAYS, AND 09:00 PM ON SUNDAYS
Pad12 is a wine and gin bar located in Sheffield’s Kelham Island area.
For a building as iconic as The Three Tuns, sitting empty just didn’t feel right. The flat iron-shaped pub on Silver Street Head has been part of Sheffield’s landscape for decades, but in recent years it’s been more known for closing its doors than pulling pints. That’s all changing thanks to new owner Jim Butterell, who’s determined to bring the historic boozer back to life.
“It happened quite randomly,” Jim laughs, chatting with Exposed over a pint outside the Tuns. “We saw it was available online and I joked to my husband, ‘Shall we buy a pub?’ Next thing I know, I’ve put an enquiry in and we’re writing a 90-page business plan.”
Turns out, that plan was enough to convince the brewery to hand over the keys, and Jim and the team have been on a mission to revive the place ever since. But it’s not just about dusting off the bar and opening the doors. Jim, who’s also a commercial interior designer, has got bigger ideas – blending the pub’s history with events, music and a fresh look that nods to the past without being stuck in it.
Tucked away between Paradise Square and Broad Lane, you can’t miss the building. Its architecture instantly catches the eye of passers-by and, as such, it has developed its own local lore. “Someone told me the architect who designed this also worked on the Flatiron in New York,”
says Jim, with a small grin.
“Don’t know how true that is, but it’s a nice story. Nothing wrong with an urban myth or two!”
It’s also one of the reasons Jim was drawn to the place. “It’s one of the coolest looking pubs in Sheffield. I wanted to elevate that – so the branding’s inspired by the building, the colours are pulled from the brickwork, even the logo’s a simplified take on the old barrel sign.”
Pub renovations are always a careful balancing act, he admits, especially when the heritage runs deep. The Three Tuns dates back to the 18th century and has played its own part in Sheffield’s social history. For years it was a favourite haunt for workers from the nearby financial and legal offices, known as much for being a convenient after-work stop as for its distinctive shape.
Locals are noticing the changes, but it’s been a gradual process. The floors have been sanded, the old wallpaper replaced with vintage red panels and there’s a mix of mid-century furniture that
gives the place a warm, livedin feel. “Loads of people were worried at first – saying, ‘Don’t change it!’ But we’re doing it bit by bit and people like being part of the journey. The biggest compliment is when people say they’ve not been in for years –then they come back and love it. That’s what it’s all about.”
“It’s still a proper pub at heart,” he adds. “But we’ve added a contemporary layer – supper clubs, DJs, pottery classes, that kind of thing. You can still come in for a casual pint but there’s always something else to get involved with if you’d like to.”
That approach is already paying off. Their first pop-up supper club, with a well-known Sheffield chef, sold out in days. Friday nights are vinyl-only, with customers bringing their
own records to play, tables are often fully booked in advance for the Tuesday night quiz and the renewed energy of the place has been attracting everyone from former regulars to a new, more youthful generation of patrons.
Jim’s realistic about the challenges, especially with the current state of the pub industry. “We’ve never worked behind a bar before – I’ve designed loads of pubs but never run one,” he says. That’s where general manager Paul comes in, keeping the dayto-day ticking over while Jim focuses on the bigger picture. At the moment, this includes expanding the events calendar, getting the kitchen area fired up and making the most of the quirky space for private hires.
But at the heart of it, Jim’s goal is simple: “We just want to rescue it,” he says. “This isn’t about making money. If we break even, that’s a success. It’s more about putting The Three Tuns back on the map, giving it new life while keeping its soul intact.”
@thethreetuns.sheffield
SUMMER
While many enjoy the warmth of summer, people experiencing homelessness face increased risk and hardship. We provide vital support and safety – but can’t do it alone. This summer, if you can help raise funds, please scan the QR code. Your help is greatly appreciated.
Charity number: 1064818
TALK OF THE TOWN
Work is under way to create a tasty new addition to Sharrow Vale’s independent food scene, with Shaanti Town opening its doors on 19 July on Cowlishaw Road.
The new venue from long-time Sheffield hospitality figure Bally Johal is about more than just bold Sikh street food though –community-first values, grounded in the centuries-old tradition of langar, are just as central to the venue’s ethos.
“It’s kind of an ethical community food hall, really,” Bally tells us. “Built on service – seva – which means selfless service. Whether that’s paying forward a meal or washing up for your tea, the whole space is designed around people coming together.”
Inspired by the Sikh principle of langar –community kitchens open to all, regardless of faith or background – Shaanti Town will offer a mix of affordable street food, rotating specials and a strong focus on vegetarian and vegan thalis.
“Every gurdwara [Sikh temple] has a langar hall,” Bally explains. “You come in, you sit together, rich or poor, you eat together. It’s about respect, equality and looking after each other.”
At Shaanti Town, that ethos is woven into everything. From communal bench seating to pay-as-you-feel Mondays, the model is designed to keep meals accessible while encouraging generosity. A “pay it forward” wall lets diners donate the cost of a meal for someone else – and if you’re short on cash, you’re still welcome.
“We’ll have people who can afford it donating meals, and people who need them taking them,” Bally says. “If you’ve only got a couple of quid, that’s fine. Come and eat. That’s what it’s about.”
The thalis will be the backbone of the
menu – hearty, home-cooked lentil and veg curries served with rice, breads and something sweet – all priced fairly. “It should be affordable as a lunch or a tea,” says Bally. Alongside that, expect rotating pop-ups and collaborations, with leftovers from weekend events reimagined for the Monday Kitchen – also on a pay-as-you-feel basis. They’ll also be offering tiffins to take away. “We’re doing proper steel tiffins – £25 feeds a family, and you get your deposit back when you bring it back. It’s a proper nod to how we eat at home,” he adds.
In keeping with the DIY feel, the venue has been brought to life with salvaged furniture and bright colours. Bally says the aim was to avoid the over-polished ‘street food fit-out’ look.
“I didn’t want to spend silly money and then have to claw it all back through the till. This way, we’ve brought together something beautiful that still feels real.”
There’s indoor seating across two floors, covered outdoor space, low-key background music – and crucially, no plans for it to morph into a late-night bar. “There’s a school opposite and people living nearby. We want it to be respectful. Music will be chill.”
As well as food and drink, Shaanti Town is shaping up to be a proper community space, with plans for volunteering, school partnerships and donations of everything from time to teapots. Bally’s even asking locals to dig out unused china to kit out the tea station.
“There’ll always be a masala chai on the brew,” he says. “And if anyone’s got an old tea set knocking about, we’ll take it!”
Follow @shaantitown on socials for updates
SHISH HAPPENS – WHAT’S NEXT FOR ADNAN’S
There are fresh plans brewing for the site of an infamous West Street takeaway – and this time it’s coffee, not kebabs, on the menu.
The former home of Adnan’s, which for 25-years was a go-to for late-night scran in Sheffield city centre, could soon be given a new lease of life as a café or coffee shop.
The takeaway closed in 2024, and now a planning application has been submitted to Sheffield City Council by Oakstore Limited, the current owners of the ground floor unit located in Rockingham House, part of The James residential development.
If approved, the application would see the site switch from a takeaway (Sui Generis use class) to Class E – allowing it to operate as a café, coffee shop or similar daytime business.
While no specific occupier has been confirmed, planning agent Christian Cardiss of Urbana Town Planning said the proposal aims to encourage “a use similar to a café or coffee shop” that would help “enhance the potential for active frontage” in the area. He also highlighted benefits such as reduced noise and odours compared to a latenight takeaway, making it more suitable for nearby residents.
ROOTING FOR CHANGE
In full bloom for the summer, The Botanist has given its menu a green-fingered refresh. Development Chef Guy Greaves talkes us through a bold new direction that’s bringing seasonal veg, vibrant flavours and a dash of botanical whimsy to the table.
Let’s start with the big news – “the biggest transformation yet” of the Botanist menu. What sparked the decision to take things in this new direction?
We were ready for a shake-up! Over time the menu had started to lose touch with the brand’s ethos. We’re all-in with plants when it comes to restaurant design and now we’ve pulled that love of botany into our new menu. We’re celebrating fresh veg, fruit, herbs and spices and the best the season has to offer.
The menu has been described as ‘vegforward’. Can you tell us more about that shift – are we talking more plantbased options, or a full rethinking of how vegetables are presented? It’s about celebrating the best of botany, so we’ve really diversified the fruit, veg, herbs and spices we use across the menu, adding vibrant colour and seasonal flavour to every dish.
You’ve mentioned some “innovative nods to our botanical roots”. Could you give us an example or two of how that’s come through in the dishes?
Our sharing Allotment Board is a fresh way to start your meal whilst settling down and catching up with friends over a drink. It comes piled with raw rainbow heritage carrots, candy beetroot, chicory and radishes with big green tops and is served with a Green Goddess herb dip, so everyone can dig in.
Comfort food classics like sausage and mash have even had a botanical update –our Cumberland Sausage is glazed in red onion marmalade and skewered with a sprig of rosemary, then served with herby mash, minted peas, thyme gravy and crispy onions.
Which dish on the new menu are you most excited for people to try, and why?
It’s got to be the Gardener’s Pie for two – it’s packed with goodness and is light for summer yet still has that creamy comfort you want from a pie. It’s packed with Tenderstem broccoli, garden peas, spinach, cannellini beans, sweet leeks and carrots in a creamy vintage cheddar & tarragon sauce topped with puff pastry brushed with dill and sorrel leaves.
How does seasonality play into the new summer offerings?
We’ve led with seasonal ingredients like radish, tomato, apple, pomegranate and Mediterranean spices, and ensured the dishes have that light, fresh, vibrant taste that people want during the warmer months.
How do you think the Sheffield crowd will respond to this new direction? We hope they’ve love it! We believe in making every moment a bit more than you expected, whether you’re here to unwind after work, catch up with friends or celebrate life’s big occasions over good, laid-back food. There’s live music every Friday and Saturday too, and we celebrate home-grown artists, to keep that Friday feeling going all weekend.
Lastly, if someone’s visiting for the first time this summer, what would you recommend they order for the full Botanist experience?
Start by sharing some small plates like Spring Arancini, Garlic & Chilli Prawns and Burrata. We can’t not mention our famous hanging kebabs – we sell over half a million (680,000) of them every year. We’ve added new Signature Kebabs to the menu this summer, including Slow Marinated Steak, Giant Piri Piri Chicken and Turmeric Spiced Tofu. And to round things off properly, our new Plant Pot Pud is three miniature pots of joy, served with miniature shovels. It includes a banoffee sundae, vanilla creme brûlée topped with fruit and a chocolate mousse topped with edible chocolate soil.
That got you feeling peckish? Browse the full menu and get booked in thebotanist.uk.com
SANITISE THIS
imagery. Often underpinning the metaphor and symbolism, there is a palpable longing for a time when life felt a little less hazardous.
That faded seaside nostalgia forms the backdrop for the their first video, filmed in Cleethorpes by local videographer JamBurrito. It’s an effective pairing –deep, syrupy beats accompanying shots of rain-washed piers, empty arcades and rusting fairground rides.
WORDS: JOSEPH FOOD // PHOTO: JACOB FLANNERY
Sean, who you might recognise from these pages as the lead singer of Drastic//Automatic, and Liam, AKA beatmaker-rapper Muccarelli and member of hardcore band POWERDRILL, have just wrapped up work on their first joint EP, Sanitise Your Soul – a four-track mix of gritty rap beats and reflective lyricism imbued with a distinctly DIY punk spirit.
It’s a scorching Friday afternoon in the Rutland Arms beer garden and despite the oppressive heat, Sean Hession and Liam Francis Hunter are on good form, nattering away with Exposed about nostalgic seaside towns, existential dread and how their friendship turned into a fruitful music collaboration... infectious.
“I’ve always believed with creativity, when it works, you run with it immediately,” says Sean. “Our voices just gelled, even though I had to find my feet going from screaming in punk bands to actually spitting bars.”
“We’ve been working in kind of unison for a few years now,” says Sean. “But I still don’t recall how we actually met. I was in a new house-share at the time, and one of the lads knew Liam from work.”
Liam picks up the thread. “I was playing in a band back then with the same drummer who’s now with Sean in Drastic, and we just clicked over punk and rap and that sort of thing.”
Their shared taste in music, hours spent freestyling together during lockdown and an inclination to broaden their horizons creatively became the foundation for their partnership. Fast forward to late 2023, and what began as hazy late-night experimentation had crystallised into proper studio sessions. “I was going through a bit of an existential crisis, to be honest, and had reams of writing to use,” says Sean. “Liam had a studio over on Savile Street – really DIY: just one comfy chair, a toilet, burning plastic fumes from the skip outside, real Trainspotting toilet vibes. Then just us two inside going for it.”
Their first track, ‘Crystal Chalice’, emerged from those sessions – Liam’s atmospheric, crunching beats from the Memphis school of rap providing an outlet for the unused lyrics Sean had tucked away. Switching between verses, their differently accented voices collide and complement each other, creating something both distinct and rhythmically
Liam agrees. “It might seem like a proper learning curve, going from shouting to spitting. But that crossover between punk and rap’s always been there. Both come from the same place –disenfranchised people making music to reflect their reality.”
Sanitise Your Soul is the result of that shared outlook – four tracks that delve into self-doubt, nostalgia and navigating adulthood’s contradictions. The EP’s title alone nods to the disillusionment that lingered after the pandemic, when isolation and introspection became unavoidable.
“There’s a level of morbidity in it,” Liam explains, “but not in a ‘we’re miserable’ way – more observing how people hit walls repeatedly without realising why.”
That existential weight runs throughout the record, explored through introspective writing and hard-hitting
“British seaside towns have this dystopian dream energy,” Sean explains. “Failed perspectives, failed promises. Nostalgia’s constant in my lyrics, and that sort of place sums it up.”
Liam adds: “We’re two grown men still trying to enjoy the things we loved as kids, but it’s not the same. The world’s moved on, but those places haven’t.”
The accompanying track ‘Spain’ –named half-seriously after the original beat file title – captures that mood perfectly, with woozy production leaving space for both the storytelling and beats to breathe.
“We didn’t plan to make a conceptual record,” says Liam. “It just naturally came together reflecting what we were dealing with – self-sabotage, the confusion of your late 20s, that pursuit of fleeting pleasure that can mess people up.”
Despite its heavy themes, both are quick to stress that their live sets are about community and big energy. An upcoming Tramlines Fringe performance at the Harlequin, supported by sharp-tongued MC Katz With A K (whose album The Fixer Liam produced and engineered in its entirety) promises exactly that.
“It’s house party energy,” Liam says. “Everyone included, everyone welcome. We just want people bouncing.”
Sean nods. “It’s punk, rap, metal – all in the same place. If you want to see what that sounds like mashed together properly, come down.”
With Tramlines Fringe, Sanitise Your Soul and more recordings in the pipeline, the duo admit that they’re still figuring things out, but they’re doing it on their own terms.
“I had ten years’ worth of lyrics sat on phones and scraps of paper,” says Sean. “This project gave them life. It’s about finding meaning from the mess.”
“Exactly,” Liam agrees. “It’s a bit like working with clay. It doesn’t look like a vase when it’s just a big fucking clump, but keep refining it and it’ll start to take shape.”
25 July. Doors 7pm, free entry.
Sanitise Your Soul drops preTramlines. Catch Muccarelli, Drastic// Automatic, Mother's Day and Katz With A K at Hosted by Earwig Presents at the Harlequin on
sunday 20 july 2025
geordie greep
£20.00, Doors 6:30pm
wednesday 23 july 2025 wet leg
£14.00, Doors 7:00pm
wednesday 30 july 2025 public image ltd
£35.00, Doors 7:30pm saturday 16 aug 2025 melvins & redd kross
£30.00, Doors 7:00pm
sunday 17 aug 2025 souls of michief
£28.00, Doors 7:30pm
tUESDAY 26 aug 2025
THE LEMONHEADS
£25.00, Doors 7:30pm
thursday 28 aug 2025 martha wainwright
£33.00, Doors 7:30pm
saturday 6 sept 2025 the bootleg beatles
£30.00, Doors 7:00pm
SATURDAY 13 sept 2025 antarctic monkeys
£20.00, Doors 7:00pm saturday 20 sept 2025 corella
£18.00, Doors 7:30pm
FRIDAY 26 SEPT 2025
CODY PENNINGTON COUNTRY SHOW
£24.00, Doors 7:30pm
SATURDAY 27 sept 2025 float along festival
£38.00, Doors 12:00pm
MONDAY 29 SEPT 2025
RED RUM CLUB
£20.00, Doors 7:30pm
WEDNESDAY 8 OCT 2025
VISTAS
£16.00, Doors 7:30pm
FRIDAY 10 OCT 2025
NEW
MODEL ARMY
£27.50, Doors 7:30pm
wednesday 15 oct 2025
panic shack
£18.00, Doors 7:00pm
FRIDAY 17 OCT 2025
THE WEDDING PRESENT
£30.00, Doors 7:30pm SUNDAY 19 OCT 2025
NEWDAD
£18.50, Doors 7:00pm friday 24 oct 2025
remember monday
£22.50, Doors 7:00pm saturday 25 OCT 2025
spacey jane
£28.50, Doors 7:30pm tuesday 28 oct 2025
rianne downey
£15.00, Doors 7:00pm
wednesday 29 oct 2025 footprints jazz club: moses yoofee trio
£18.50, Doors 7:30pm thursday 30 oct 2025
the enemy
£28.00, Doors 7:30pm monday 3 nov 2025
rory
£25.00, Doors 7:00pm thursday 13 nov 2025
halina rice
£17.50, Doors 7:30pm friday 14 nov 2025
Craig charles funk & soul house party
£19.00, Doors 7:00pm saturday 22 nov 2025
amble
£22.50, Doors 7:30pm
sunday 23 nov 2025
ash
£27.00, Doors 7:00pm
thursday 27 nov 2025
cast
£35.00, Doors 7:30pm friday 28 nov 2025 beth mccarthy
£19.00, Doors 7:00pm monday 1 dec 2025 wheatus
£27.50, Doors 7:30pm thursday 4 dec 2025
inspiral carpets
£28.50, Doors 7:30pm
SATURDAY 6 dec 2025
808 state ex:el live
£30.00, Doors 7:00pm wednesday 10 dec 2025 the slow readers club
£27.50, Doors 7:30pm friday 12 dec 2025 the clause
£15.00, Doors 7:30pm saturday 7 feb 202 the lilacs
£14.00, Doors 7:00pm friday 27 feb 2026
elvana
£29.50, Doors 7:00pm saturday 7 mar 2026 the feeling
£35.00, Doors 7:30pm saturday 25 april 2026 the britpop hour with marc burrows
£18.00, Doors 6:30pm saturday 25 april 2026 one night in nashville
£24.00, Doors 7:30pm friday 1 may 2026
just radiohead
£17.50, Doors 7:00pm
SONGHOY BLUES @ SIDNEY & MATILDA
The drums are pounding, the guitars are screaming, the bass is pumping, the hands are clapping, but it’s the faces you notice the most – the smiling, grinning, laughing faces of Songhoy Blues on stage at Sidney & Matilda. There can’t be many bands today who radiate joy so clearly and openly as the Malian four piece, who have built up a sizable following in the UK since their debut album ‘Music in Exile’landed in 2015. The album title wasn’t a stylistic choice: it came about after the group were literally forced to flee their hometowns during civil war in their home country. And so, with that whistle-stop backstory in tow, the band’s stated aim to spread a message of peace, hope and understanding through music starts to make sense perhaps more than any other band you’ll find performing in Sheffield.
If Songhoy Blues’ lyrics are all about peace and understanding, their music has a harder edge that reflects their challenging beginnings. They fuse Western rock with West African desert blues, and in a live setting every song is played 10% harder, 10% louder, and 10% faster. Breakout single ‘Soubour’ is belted out at breakneck speed, and it’s an immediate set highlight. In fact, many of the songs from ‘Music in Exile’ have had a turbocharged refresh here,
with Al Hassidi Terei even drawing an unlikely singalong from a Sheffield crowd surprisingly well-versed in the Songhai language of northern Mali. Or maybe they’ve just been listening to Songhoy Blues quite a lot. Either way, it’s testament to the power of music.
Lyrical comprehensibility aside, the lack of true singalongs is easily made up for by the sheer joy – not just on stage – but all around the packed-out Sidney & Matilda room. Oh, and handclaps. Lots of handclaps: slow ones, quick ones, spaced out ones, frenetic ones… if there is a chance to clap along to one of these songs, frontman Aliou Touré will take it with both hands… and probably clap some more.
Still, don’t be fooled by the claps and grins and smiles on stage. Songhoy Blues came from tough beginnings, hounded out of their hometown because religious fanatics deemed music a sin. They started with Music in Exile, and their three albums since then have continued to defy those who told them they couldn’t make music: Résistance, Optimisme, Héritage. It’s a neat summation of Songhoy Blues, where there’s steel behind the smiles and guts behind the grins. As long as they’re around, the drums will continue to pound and the guitars will continue to scream – exile or no exile.
OUR SHOUT WET LEG
FOUNDRY // 23 JULY // £17.50
Wet Leg are back with their brand new album Moisturizer and to celebrate, they’re heading to Foundry for an exclusive album launch show. Formed by Rhian Teasdale and Hester Chambers, Wet Leg burst onto the scene from the Isle of Wight in 2019. Their breakout single ‘Chaise Longue’ turned heads in 2021, followed by their self-titled debut album, which shot to number one in both the UK and Australia and earned a Mercury Prize nomination in 2022. Expect singalong anthems and plenty of energy.
foundrysu.com
TONY CHRISTIE & RANAGRI
GREYSTONES // 17 JULY // £26.50
Tony Christie belting out Irish anthems in a local boozer? Sign us up. Forget the folk who reckon he only popped up in 2005 asking the way to Amarillo – Tony’s been making exceptional records for over 50 years. Now teaming up with award-winning folk outfit Ranagri, he’s diving into his Irish roots with The Great Irish Songbook Volume II. Expect lush melodies, heartfelt stories and the stout to be fer-lowing, lads.
PETER DOHERTY
CROOKES SOCIAL CLUB // 25 JULY // £32.50
British indie icon Peter Doherty heads to Crookes Social Club for an intimate Sheffield show this summer. Known for his work with The Libertines, Babyshambles and as a solo artist, Doherty remains one of British music’s most enigmatic figures. Expect a bit of everything from the back catalogue. crookesclub.co.uk
SPEED FOR LOVERS
SIDNEY & MATILDA // 26 JULY // £10
Live dance outfit Speed For Lovers bring their arps, cowbells and rave energy to the rehearsal room, alongside SheffManc newcomers FlatStanley, blending electronic influences with guitars, bass and sax. Pre-gig tunes from Hemmo and after party sets from Sheffield legends Chris Duckenfield and Dino – expect proper wonky dancefloor action all night.
sidneyandmatilda.com
WORDS: NICK HARLAND PHOTO: JACK FYLNN
PHOTO: JACK FLYNN
While many headlines in recent years have focused on the struggles of UK venues – with closures, rising costs and landlord disputes dominating the conversation, both national and local – one Sheffield space has seemingly bucked the trend. Tucked away in a reworked industrial building just off Matilda Street, Sidney & Matilda has steadily grown into a cornerstone of the city’s cultural scene. Now, with a recent win for ‘Best Live Venue’ at the Exposed Awards under its belt, it’s clear that gig-goers in the city are beginning to recognise the importance of this proudly DIY spot.
WORDS: JOSEPH FOOD // PHOTO: MARC BARKER
“The cultural story of Sheffield is a city built on live music. These are sacred spaces – they add chapters to the story,” says Paul ‘Tufty’ Tuffs, renowned Steel City sound engineer and owner of Sidney. “I’ve been doing sound for gigs and venues of all sizes for over 20 years now, so I reckon I know what a good venue looks like. This place is a success story. It’s growing. It’s getting better. It’s a positive thing for the city.”
Tufty’s career has seen him become a well-known, always smiling face on the local music scene. From his early days at the Grapes, through running Cafe Totem, to manning sound desks at pubs and clubs across the country and major festivals across Europe, the bloke has certainly earned his stripes. Sidney & Matilda, he says, is the culmination of all that experience. “We’ve done it all gradually. Some places open with a big glitzy launch night and that’s as good as it gets, but we’ve been focused on continually improving. There wasn’t loads of money involved. We just grafted. The big refurb – moving the bar, fitting out new spaces – most of it was done by us. My dad welded some of the steelwork.”
Launched originally as an art gallery and creative space by his friend and collaborator Al Daw, the venue’s name was borrowed from the two streets it straddles. Tufty came on board to help with some gigs in the basement – a vibe not dissimilar to the one he’d cultivated at Cafe Totem – but just as the pair were set to relaunch the building as a full-time live venue, Covid hit.
Rather than pack it in, Tufty and the team used the lockdown period to refit the building from the inside out. “We
didn’t have any income. No furlough. We were skint,” he recalls. “But we did have a bit of time on our hands. So we just got stuck in.” That work ethic led to Sidney & Matilda being one of the first venues in the country to host a live show post-lockdown, a seated outdoor yard gig featuring local acts and attendees seated in groups of four.
Since then, the venue has grown room by room, month by month. It now boasts several performance spaces – from the 70-capacity Factory at the front, to the booming, sub-heavy basement and the 250-capacity main room that regularly hosts major touring acts. A large courtyard ties the building together, frequently used during summer events ranging from televised tournaments to lynchpins like their annual ‘Other Festival’, a Tramlines-weekend celebration of local talent.
“There’s been a lot of talk about the city losing venues, and rightly so – the guys at the Leadmill are our pals and were
putting on some of their smaller shows here,” Tufty says. “But what we’re focusing on is growing and talking up what we’ve got to offer. This is working because the content is right, the team’s amazing and the standard is there.”
That standard comes in no small part from his sound engineering background. “A lot of grassroots venues scrimp on production,” he says. “But I wanted Sidney to sound as good as an O2 Academy, for example, or a much larger venue than ours. The monitors, the desk, the spec – it’s got to meet what touring engineers expect. If they’re used to playing thousand-cap venues and come here, they should still be impressed.”
One such moment came early on when they hosted a Newcastle band called Lanterns on the Lake. “There’s this guy bringing gear in, setting up. I thought I recognised him. Turns out it’s Phil Selway from Radiohead. He’d driven the van down on his own and was in the live room, setting up drums. We had a good chat and at the end he’s saying how good the monitoring and gig experience was. That was a bit of a ‘this is definitely working’ moment.”
Despite its growing national profile, Sidney remains deeply rooted in Sheffield’s local scenes. Alongside international bookings and underplays from touring bands, it continues to champion emerging acts and genrespanning club nights. One weekend might feature a psychedelic art rock gig, the next a free party in collaboration with Planet Zogg or underground techno from Berlin down in the basement. “We’re not trying to be a rock bar or a house club,” Tufty says. “We’re a reflection of what’s
SOME PLACES OPEN WITH A BIG GLITZY LAUNCH NIGHT AND THAT’S AS GOOD AS IT GETS, BUT WE’VE BEEN FOCUSED ON CONTINUALLY IMPROVING.”
going on in the city – a melting pot of music and cultures.”
That commitment extends to the team too. The venue’s day-to-day is steered by manager Mark, whose background in bands and Sheffield’s art world gives him an instinctive feel for balancing chaos with curation. “He’s the one with a level head,” Tufty laughs. “I’ll have a mad idea and he’ll pull me back just enough to make it work.”
The model is simple, really: a flexible, multi-use venue that adapts to what people want. “You can come in one night and there’s a gig in the basement, a club night upstairs and maybe a little photo exhibition in the factory,” Tufty says. “It’s like the big ruin bars in Budapest – where you’ll get completely random things in each room. Discovery’s part of the experience.”
Looking ahead, there are murmurs about expanding into a larger space, particularly as Sheffield loses some of its mid-sized venues. “We’re not here to take the place of somewhere like the Leadmill,” he says. “But we do need bigger spaces here. Otherwise Sheffield will start losing more touring acts to Leeds, Nottingham, Manchester. We’ve got the team, the production values – we just need the right building to come up.”
For now though, Sidney & Matilda’s focus remains on maintaining its steady, organic growth. “A lot of places open promising the world, then slowly fall apart,” Tufty says. “We did it the other way round. Every time you come in, it’s a bit better. Bit cleaner, bit tighter, bit more on offer. The best it’s ever looked is today – and it’ll look and sound better in the future. You can hold me to that.”
@sidneyandmatilda
COMING UP:
Emma Coates and Eli Green
£5 ADV / £8 OTD, 16 July
The Other Festival featuring Alexis Taylor
from Hot Chip, Cruz and over 30 more artists
FREE, 26 - 28 July
Penumbra, Polat and Hitlist
£5 ADV / £8 OTD, 1 August
The Warlocks
£15, 11 August
Float Along Festival featuring Andrew Szmierek, Jane Weaver and more
From £27.50, 27 September
DJ ADHD with Keppie and Beat
Bunker
£11.50, 3 October
Jarred Up Festival featuring Femur, Avalanche Party and more
£30, 25 October
THE ROSADOCS @ LEADMILL
THE ROSADOCS ALL-DAYER ON SATURDAY 14 JUNE SAW THE RISING INDIE BAND HEADLINE A WHOLE DAY OF GUITAR-DRIVEN GOODNESS AT THE LEADMILL, ONE OF THE ICONIC VENUE’S FINAL SHOWS.
Joined by a line-up of up-and-coming talent, including Crystal Tides, Whitehorse and Junk, from 4pm onwards, The Rosadocs brought their love for Leadmill to the stage for a fifth and final time. The event promised to be an emotional farewell for the band, and audience, to the fabled gig spot – and it did not disappoint.
Penultimate performers Crystal Tides, travelling to the gig all the way from Portsmouth, clearly suffered no lack of energy from their long journey, bringing a booming energy to the stage – the perfect warm up for Rosadocs to take their final Leadmill bow.
The bustling audience anticipating Rosadocs’ headline set was made up of anyone and everyone, from 14-year-old fresh fans in bucket hats aching to be in their first mosh pit, to seasoned gig goers patiently waiting to sing along to some anthemic indie tracks. Those few minutes spent before watching a band take the Leadmill stage for the final time were spent in anticipation, and amidst a crowd of fellow people bursting through the lyrics of Pulp’s ‘Common People’, as it played over the PA in a bubble of civic pride.
Packed between pumping festival-worthy anthems were intimate stripped-back acoustic tracks – a cover of The Vaccines’ ‘I Always Knew’ was a highlight. Another standout was the third track on the band’s upcoming EP, Cross To Bear – an emotionally raw, vulnerable song, with chorus lyrics – “you see the thing is I’m never on my own / I’m surrounded / but I’m all alone in my head / all I need is a friend” – powerfully echoed by the crowd, particularly the band’s younger audience up on shoulders, bellowing out the track.
The band’s passion for The Leadmill seeped through every note and audience interaction. “This is our fifth time performing here,” they repeated throughout, highlighting how honoured they felt to be part of the venue’s final set of shows between songs. As an audience member and, of course, Sheffield local, those few moments took away from the band/crowd distinction, pulling you back to the fact that we were all just people enjoying one last hurrah before one of our most-loved places closed down.
A QUICK NATTER
Before the gig, lead singer Keelan Graney and keyboardist Myles Henderson sat down with Rosie for a friendly chinwag…
So, let’s start with what does The Leadmill mean to you?
KG: We feel it’s played such a pivotal role in our career so far, we wanted to play one of the final shows. Tonight is one last time – a final farewell to The Leadmill. When we first started, it gave us a step on the ladder. It’s left a legacy. I actually don’t think the legacy of The Leadmill will ever go.This is the fifth time that we’ve ever played it. We basically met at The Leadmill, so even just as friends, it’s played a pivotal role in us meeting each other.
MH: I think it’s going to be synonymous with Sheffield and quality live music and events, which is great. My first ever gig was here, which then obviously made me want to get on the stage myself. As KG said, I opened for these guys as a solo artist back in 2021. We met, became fast friends and now we’re here headlining together as part of the end of it all.
Tell me about the new EP, The City’s No Good For Reflection.
KG: It’s out on 20 June. It’s a combination of five songs, pretty much to do with the struggles of fast-paced modern life and how, over time, that can kind of get to you. I suppose we’ve done it from the perspective of a couple of lads in their mid-twenties.
What do you think the response has been to your music so far?
KG: I think we’ve tried to build a community. As our numbers have grown, we’ve got a fan group. It’s amazing because you just see people talking amongst themselves and making friends. We’ve had people who’ve got engaged just because they’ve come to our gigs. We’re seeing a consistent growth now, and every time we return it’s just more and more people. It really motivates you.
What do you have planned over summer?
KG: We’ve got a hell of a lot of exciting gigs. We’re joining some musical heroes of ours – we’ll be joining The Courteeners in Norwich at Rock ‘N’ Roll Circus. We’ve managed to get on Victorious, and we’ve also got Tramlines on the Leadmill Stage, which is the big one.
@therosadocsuk
WORDS: ROSIE BRENNAN PHOTO: SCOTT ANTCLIFFE
Meet Terminal, a Sheffield-based trio blending gritty guitar roots with moody electronic textures to create something distinctly their own. Made up of former SHEAFS members Lawrence Feenstra and Cal Wright, alongside new collaborator Eric Robinson, the group have been quietly building towards a bold new sound. With their debut single dropping this month and their headline show at the Hallamshire Hotel, we caught up with them to talk about moving on and embracing new horizons.
WORDS: MAX HAYWARD
Can you give some insight into your change from SHEAFS to Terminal?
LF: When SHEAFS started to come to an end, I was writing music by myself, which was different, as usually everyone in the band has their role in the creative process. It was the first time I tried to create my own song from scratch. Callum, my bandmate, was similar to me and didn’t want to let go of the music, so we partnered and started building a few songs. It wasn’t until a few years later that Eric joined, as he was mates with Callum from primary school. Callum suggested that we should all work together on a project, as Eric was interested in electronic and synth-style music.
What inspired the move to a more electric sound?
ER: Making music was always a hobby for me. I started in my room but didn’t really release any music. Then I got together with Lawrence and Callum and we decided to put a project together. We
haven’t fully shifted from SHEAFS original sound; it’s definitely a blend with guitar music still included. It’s synth, string samples and drum samples aligned with other instruments.
Were there any particular artists or bands who influenced it?
ER: There are a lot of modern and electronic producers who I’m influenced by their approach to music as well as the sound. I try to be creative every time I’m producing instead of just treading the same ground every time.
LF: There aren’t too many bands that we’ve looked at and gone, “We want that sort of sound.” It’s been nice that it’s happened quite organically. When I write music, it’s influenced in the moment. I find that I’ll be sitting with my guitar, and I’ll come up with a sound that I like and that’s where the song will progress from.
As musicians that have been
plying their trade in Sheffield for a while now, has the city shaped your sound in any way?
LF: It’s clear to see how cities shape sound, and when we support bands such as White Horse it’s evident to see how Sheffield also helped to shape their sound as well. We’ve definitely been influenced by the city; it’s shaped our creative journey all the way from SHEAFS to what we’re doing at the moment. We’re a product of the city itself.
SHEAFS had a reputation for lively gigs. Is that something you’ll be looking to continue?
LF: That’s definitely the inspiration for it, because performing is something that we’d all love to do again. It’s interesting because I don’t have the answer yet to what our stage presence will look like. We’re still in that part of the creative journey, as it’s a special part of our shows on how we present ourselves and how the setup will look.
ER: It’s somewhat of a challenge moving the music
IT FEELS LIKE WE’RE NOT TRYING TO BE INFLUENCED BY ANYTHING ELSE AND WE’RE MAKING OUR OWN AUTHENTIC SOUND.”
we make at home on the laptops to a live performance and ensuring it’s dynamic. We’re aiming to make it as interesting as possible for our live performances.
Where there any challenges in setting out on a new project or was it quite liberating?
LF: Although it definitely helped that Callum and I had a strong foundation from SHEAFS, I think the hardest part in being in a band is trying to find our sound. We’ve definitely pushed the creative limits; Eric’s joined with a more electronic sound and that’s something we’re really proud of and impressed with. It feels like we’re not trying to be influenced by anything else and we’re making our own authentic sound.
ER: From my perspective, it was about the confidence in myself to produce music to a good standard, but because I’ve played in a few live gigs and got some positive feedback from people, it’s definitely a
good confidence boost.
Do you think a different sound will appeal to many fans of your older music or attract a new fanbase?
LF: I think SHEAFS music was definitely heavier as we focused on creating a wall of sound, whereas our new sound is somewhat more accessible because it’s easier listening and I’d say ‘vibier’. From the music side of things, we just trust our ear and we release music which we think sounds good and put it out there for people to relate to and enjoy.
What’s the long-term vision for Terminal?
ER: We are creative with our music and we are gonna continue experimenting with the blend of sounds, including samples and different instruments. I’m most looking forward to doing some more live shows and gigs.
LF: We’re just going to throw everything at the wall and see what sticks. With music, you
can release something that goes down great or something that doesn’t. But new doors are always opening and it’s exciting to just throw our hat in the ring. Even at times when it’s stressful, as long as you love what you’re doing, it’s still so enjoyable.
‘Turbulence’ by Terminal is out now. Follow @ terminalterminalterminal for gig updates.
SHEFFIELD’S EXCITING LIVE MUSIC COLLAB POWERED
BY EXPOSED AND JOE GREEN
EACH MONTH, WE INVITE LOCAL ARTISTS TO GREENY’S REHEARSAL SPACE TO LAY DOWN A STRIPPED-BACK LIVE SESSION. ONE TAKE. NO DO-OVERS. THIS MONTH FEATURES EMERGING SHEFFIELD DUO REE-NO — AKA CURTI$ AND LUKY-D — WHO BROUGHT THEIR R&B-TINGED RAP STYLINGS TO THE SESSION ROOM. WATCH THE FULL VID OVER ON THE EXPOSED INSTAGRAM CHANNEL (@EXPMAGSHEFF).
REE-NO
We meet the pair a few weeks after their recording at a café in town. Straight away, their easy chemistry is clear – bouncing off one another with unrehearsed ease. They’re instantly likeable, charismatic without trying too hard, and they speak with a level of confidence and self-awareness that belies their 23 years. It’s obvious why people are paying attention.
During the session, Ree-no brought that same natural chemistry and charisma to the fore –along with no shortage of talent. Opening track ‘Symbiotic’ is built on crisp production and sundrenched, nostalgic melodies. “It was the first one we made together with [producer] Winter Soldier,” says Luky-D. “It’s got that 2010s UK hip-hop vibe –something you’d hear in the summer. It felt right.”
In contrast, second tune ‘Spotlight’ was originally created with a larger group of young artists through Tracks and needed reworking for a live two-piece setup. “I had to write a whole new verse last minute,” says Curti$. “I spent the rest of the time scrambling, writing what I could.”
They were backed by a house band of Joe Green (drums), Philippe Clegg (bass) and Chris Mayall (keys). “They’re geniuses,” says Luky-D. “Every single thing you can think of – they’re playing it.” Curti$ agrees, singling out Clegg’s style: “He grooves. Same face the whole time, but he’s just in it. Proper musician.”
Their ease in the space comes from years spent immersed in music, surrounded by people who inspire and challenge them through Tracks. The project – founded and run by Lucy Revis – was a key catalyst in both artists’ development.
“I only started making music because of Tracks,” Luky-D admits. “I started going to open production sessions at Flourish, where Lucy used to work. They just put you in front of Logic with some guidance and let you get stuck in. Lucy offered me some mentoring sessions and from there, it just clicked.”
Curti$ was already trying to coax him into the studio years earlier. “I knew he had a voice – I’d hear him singing while we were on PlayStation. I was like, ‘Get in the studio!’” Luky-D laughs: “Neighbours must’ve hated me – I was always singing!”
That low-key love of music eventually bloomed into passion. “Once I started producing music at Tracks, it unlocked something. I didn’t even know I wanted to do it – now it’s just what I love.”
Tracks has played a pivotal role in both their stories – and their lives. Now volunteering and mentoring others, they’re giving back to the very system that helped them grow. “They make music accessible,” says Luky-D. “You don’t need money to get involved. And the mentors – they’re actual musicians. You feel lucky to be in the room.”
Curti$ adds: “Music in schools is all classical, and if that’s not for you, it can put you off. At Tracks, they ask what you’re into and work with that. It’s how it should be.”
Despite being only 23, both artists carry a grounded understanding of their ambitions. “Before Tracks, I had no idea what I wanted to do,” says Luky-D. “Now things feel more clear.” For Curti$, the aim is simple: “I want music to be the job – not something I have to fit around loads of other ones. I want to be able to live off it and keep making it.”
That mindset flows through their creative process too. “We work differently,” Curti$ explains. “He’s melody-focused, I’m lyric-driven. I’ll write a full verse while he’s figuring out the hook, then sometimes I’ll bin it all and freestyle something new in the booth.”
It’s an organic process, one that reflects their hybrid musical identity – which even feeds into their name. “Ree-no is a mix of ‘retro’ and ‘neo’,” explains Curti$. “We wanted something that felt nostalgic but new. Like something you might’ve heard in your teenage years, but with a fresh spin.”
With a clutch of tunes already in the bag, more in the works, and a Tramlines performance on the horizon, things are moving fast. “I’m a bit anxious,” Curti$ admits. “I keep saying the number – 40,000 people – just to wrap my head around it.” Luky-D, more zen, smiles: “With every performance, I enjoy it more. You get used to it.”
With more gigs, more writing – and more chances to let the sound of Ree-no speak for itself – the future looks full of possibility. “It’s about trying,” says Curti$. “Pushing ourselves. Seeing what’s possible.”
Start your week on the wall with LGBTQ+ Night [every Mon] at Depot Climbing. It’s more than just a climb; there’s brews in the café and a gentle, affirming environment for both newbies and experienced climbers to scale and socialise. Prefer to quiz rather than climb? Head over to Dempsey’s Quiz Night [every Tues] for a raucous blend of trivia, disco bingo and cheap drinks at their beloved Skint Tuesdays. And if belting out pop hits is your thing, come back for Karaoke [every Wed], hosted by the ever-fabulous Ivabollocoff.
This July, Sheffield is turning up the volume on queer life. Across the city, LGBTQ+ spaces are humming with connection, creativity, protest and pleasure. From drag-fuelled karaoke to woodland dance socials, zine launches to radical marches, the next few weeks are overflowing with opportunities to gather, resist and celebrate.
Midweek is also when the city leans into comfort and connection. Rainbow Minds [every Wed] at the Wellbeing Centre offers a welcoming LGBTQ+ café space for chats, cuppas, and occasional surprise activities – think pottery nights, film screenings or pizza-fuelled socials. And over at Gut Level, July kicks off with a belly-filling bang as the Gut Pleasers [Wed 2 Jul] communal meal returns. Vegan, veggie and GF-friendly, it’s food made with love, shared with strangers who might soon become friends.
Thursday nights bring drag, folk and zines to the table. Emma Maezin’s Dragoke [every Thu] at Maggie May’s is
a weekly riot of glam and power vocals – arrive early if you want a song. We also have the SAYiT Zine Launch [Thu 3 Jul], featuring young queer artists, poets, and their cats. It’s a colourful testament to the creativity of Sheffield’s LGBTQ+ youth. That same night, Sheffield-based artist and scholar Alison J Carr presents Sex on Stage: Performing the Body Politic [Thu 3 Jul] at Juno Books, diving into the performance of gender and sexuality across burlesque, drag, theatre and more. If folk’s more your speed, the Folk Session [Thu 3 Jul] at Gut Level centres queer voices and welcomes all traditions and skill levels, guided by the glorious Huzzard sisters.
Then comes the weekend and the city truly explodes. Sheffield Radical Pride [Sat 5 Jul] takes to the streets in a noholds-barred march from City Hall to Mount Pleasant Park. It’s pride without police, without corporates – just pure, unfiltered queer protest. Later that day, football fans can head to the Itchy Pig for the Rainbow Owls’ Lionesses Watch Party [Sat 5 Jul], complete with scarves, flags and plenty of cheer. Over at Gut Level, the day begins with a FLAW x SISU DJ Workshop [Sat 5 Jul], giving queer people and gender minorities the tools to craft their own sets. The party continues into the night with Working Classics [Sat 5 Jul], a queer rave dripping in trance, house and nostalgia, featuring Aiden Francis, Shauna, Bron and more. Elsewhere in the city, DJ Brooke hosts Sassy Saturday [Sat 5 Jul] at the Malin Bridge Inn – a night of bops, banter and big dancefloor energy.
July doesn’t slow down. There’s the neurodivergent-friendly Over 50s LGBTQ+ Group [Thu 10 Jul] at Weston Park Museum, and the return of Cruise [Thu 10 Jul], a leatherdyke bar night at Gut Level, low-key but brimming with sleazy charm. The following day, Juno Books hosts Florrie – A Football Love Story [Fri 11 Jul], a conversation around Florrie, a gorgeous graphic novel exploring lesbian football history, while Emma Maezin brings her Drag Karaoke [Fri 11/Sat 19 Jul] to The Ball Inn.
For sweaty dancefloor catharsis, Communion’s WET ‘N’ WILD [Sat 12 Jul] promises basslines, techno and hydration. And football lovers get a second fix with Rainbow Blades’ Lionesses Watch Party [Sun 13 Jul] at the Porter Brook. That night, Church hosts Gut Level’s Pub Quiz [Sun 13 Jul] – expect queer questions, glittery prizes and jokes for days.
Need to take a breath? Breathe Easy [Mon 14 Jul] returns to Gut Level with socially distanced cultural events for clinically vulnerable attendees. Meanwhile, QTIBPOC Cinema Club
[Tue 15 Jul] celebrates queer, trans and intersex stories from Black and People of Colour communities, complete with a potluck dinner and a thoughtful discussion space.
Things turn political again with the Sheffield Trade Unions for Trans Rights [Wed 16 Jul] meeting at the Showroom. That same night, Dempsey’s turns up the volume for their Summer Vibes Party [Wed 16 Jul] – a 90s nostalgia-fest. Back at Gut Level, we have the beautifully niche Pattern Club [Thu 17 Jul], where artists, musicians and makers explore the weirder sides of pattern.
The latest Queer Writes Zine Launch [Fri 18 Jul] takes place at Raccoon Studios, while Silicone Carbide [Fri 18 Jul] brings a gritty dyke rave to Gut Level with a stacked line-up including Karlie Marx and TB-316. Mad Pride [Sat 19 Jul] takes over Weston Park for an open mic and protest picnic celebrating neurodivergent queer identity; that evening, yours truly will be behind the decks for Disco Divas [Sat 19 Jul], serving up sapphic anthems, Disco Pop, Dance Classics and Floor Fillers at the new night for women and minority genders at Crookes Social Club – supporting Sheffield LGBTQ+ youth charity SAYiT. Meanwhile, Orange Room [Sat 19 Jul] transforms Gut Level into a genre-fluid, friend-fuelled party in support of trans+ charity Not a Phase.
Silky Floor Social [Sun 20 Jul] invites dance-lovers to Hathersage for a woodland wiggle – think floorwork, tea flasks and fairy wings. That evening, Soft Landing [Sun 20 Jul] at Gut Level
offers a calm, poetic reset. By the end of the month, the momentum is still fierce. Writers Ellen Jones and Elizabeth Lovatt in Conversation [Tue 22 Jul] talk queer activism and lesbian hotlines at City of Sanctuary, hosted by Juno Books. Key of She [Thu 24 Jul] returns to Gut Level with their improv jam night, while Queer Writes [Thu 24 Jul] explores a Game of Thrones theme at Raccoon Studios. It’s the climbers’ turn again with Fri-Gay Night [Fri 25 Jul] at The Climbing Hangar – chalky hands, big laughs and team projecting galore.
And if you’re still standing? The month ends with a bang: ARMPIT [Sat 26 Jul], a kink-friendly queer sportswear rave featuring DJs Michael Upson and Luke Daniels, promises high-octane hedonism at Gut Level. Round things off with a breezy Rainbow Blades Summer Picnic [Sun 27 Jul] and the ever-popular Rainbow Gamers [Sun 27 Jul] at Treehouse Boardgames Café.
Sheffield in July isn’t just busy – it’s alive. There’s a queer pulse beating through every neighbourhood, echoing from every mic, spinning from every DJ deck. Whether you’re here to shout at the system, craft in a quiet corner, fall into trance at a rave or share your snacks at a cinema club, you’ll find your people. You just have to show up.
That’s your lot for this month –make sure to check out the latest event announcements at facebook.com/ sheffieldlgbtevents
Overboard
The old seafarer, Rolls gunpowder cigarettes, With his rope twine hands, Looks up through shipwrecked eyes, Before he lights the touchpaper, And smooths down the damp strip with anchor thumbs. Shuffling down from the crowsnest, He leans against the saloon door, For this bar has been far out at sea and he is one of a mutinous crew. His roll up smoke a miasma on The ocean waves, Even the Captain is green at the gills. He strikes another match; The sun, cannon ball like, bursts through weak clouds All is calm- a life on the ocean waves, Crimson, black Guinness ocean waves
Settle into the horizon.
The sailor Heads back to his stool starboard side, The shoreline in view Once again.
Taken from David Venn’s recently released collection of poems, Hell’s Angel Coffee Morning (@hellsangelcoffeemorning).
Signed copies available from davidvennwriter.wordpress.com. Illustration: Helen Frank (@helen___frank)
OUR SHOUT
COLOUR
MILLENIUM GALLERY // UNTIL SEPTEMBER // FREE
This new exhibition brings together over 150 objects spanning art, science, nature and cultural histories, alongside a range of interactive activities. Exploring a world of colour – how we see it, how it’s made, how it’s used and what it means. Discover artwork by Hokusai, Kandinsky, Bridget Riley, Andy Warhol and more.
sheffieldmuseums.org.uk
THE LAST LAUGH
LYCEUM// 1-5 JULY// £15 - £46.50
Direct from the West End, The Last Laugh is a brand-new laugh-a-minute play which reimagines the lives of three of Britins all-time greatest comedy heroes – Tommy Cooper, Eric Morecambe and Bob Monkhouse. sheffieldtheatres.co.uk
CROSSED WIRES
VARIOUS PLACES // 4-6 JULY // VARIOUS PRICES
Crossed Wires is a celebration of the podcasts you love, the hosts you obsess over and the stories that stick with you. An expected line up of podcasts including Help I Sexted My Boss, Tailenders, Dish, Paul C. Brunson, and many more. With a range of genres including comedy, current affairs, food, true crime, sport, love, life or all of the above, they’ve got it covered. crossedwires.live
WE LOVE WHAT YOU’VE DONE WITH THE PLACE
SOHO YARD // 18 JULY // FREE
Now back for its third outing, WLWYDWTP is a no holds barred pop-up exhibition celebrating the best of Sheffield’s alternative art scene. The latest event takes place in the swanky surroundings of the newly opened Soho Yard near Kelham Island. Organisers are keeping the lineup under wraps for now but expect announcements soon on their socials (listed below).
@we_love_whatyouvedone
ROBYN HOOD
PLAYHOUSE// 25-26 JULY // £10
Robyn Hood tells the story of Robyn, a little girl who likes to play outside and on a small patch of green land she builds a magica. Until one day, developers arrive and Robyn’s den is under threat. Robyn and the adventurous outlaws teach the Sheriff a lesson and she learns to be the real-world hero everyone needs. sheffieldtheatres.co.uk
Venn+Frank
A worker owned and run neighbourhood grocery
1 Barber Road, Crookesmoor
Documentary film has a habit of getting under your skin – well, it does with me anyway. After almost a week of DocFest, it’s hard not to feel more connected to the world beyond Sheffield. Travelling may broaden your mind, but documentary films inhabit your soul.
I always try to find light and shade when choosing what to watch at DocFest, and this year’s line-up had it all. I’ve been immersed in stories that made me think, laugh out loud and feel deeply moved. There have been times I’ve sat quietly weeping, despairing at where the world is heading. But mostly, it’s made me reflect.
The global reputation of the festival is now firmly established. I’ve spent the week chatting with film and TV professionals from all over the world, and one thing stands out – while locally we talk about films ‘showing at DocFest’, filmmakers from other countries talk about films ‘showing at Sheffield’. Like Cannes, the name of the city has become the brand.
Some documentaries
The 32nd Sheffield DocFest has been and gone, bringing film fans, industry talent and curious locals together once again. By our reckoning, our reviewer Mark Perkins has now been to at least ten of them – so you could say he knows his way around a screening or two. Here’s his take on what stood out at this year’s festival, and why Sheff keeps making its mark on the documentary world.
simply inform, providing facts, viewpoints and sparking debate. Our Land did just that, giving equal screen time to both sides of a contentious issue. On one side, the principle that we should all have access to the countryside, and that ‘private land, keep out’ signs should disappear. On the other, landowners argue that owning land means controlling access, which often means restricting or denying it. Only 8% of England’s countryside is publicly accessible. In Scotland, the Land Reform Act passed over 20 years ago allows responsible access to land and inland water, including walking, cycling and wild camping. Campaigns like Right To Roam are pushing for similar change here.
The Grenfell Tower tragedy hangs over Britain as an unresolved scar. Grenfell: Uncovered was a stark reminder that little has changed since June
2017. The public inquiry has concluded, yet accountability feels as distant as ever. Profit was prioritised over lives, with the companies involved still trading and making money. The film was harrowing, with phone footage and fire brigade video showing the horror unfold. Survivors, firefighters and campaigners were in the Crucible for the screening, many taking to the stage to a standing ovation. It was little surprise when the film won the 2025
DocFest Audience Award.
The opening night film was Still Pushing Pineapples by Kim Hopkins, who made A Bunch of Amateurs in 2022, which found success after its DocFest premiere. This new film is in the same vein – a story of workingclass, northern Britain, this time following Dene Michael of Black Lace fame. He’s spent most of his life singing ‘Agadoo’, recently voted ‘the worst pop song ever’ by readers of Q magazine. Despite the song’s notoriety,
he’s determined to revive his career. The film becomes a road movie as he heads to Benidorm with his mother and girlfriend, chasing one more shot at stardom. And stardom of a sort came later that evening, when Dene showed up at the after party in Sheffield Cathedral. A few glasses of wine in, DocFest delegates from across the world were dancing to ‘Agadoo’ and conga lines formed. Any photos you might see of me pushing pineapples up a tree – or
dancing to a hula melody – are obviously AI fakes.
A documentary film festival reflects the world – and the world is at war. Within hours, I watched 2000m to Andriika and Cuba and Alaska, two powerful accounts of the conflict in Ukraine. Andriika follows the brutal fight for every one of the 2,000 metres leading to a small town near the Russian border, now reduced to rubble. Most of the film uses body cam footage, providing an unfiltered look
at the war’s grim reality. Cuba and Alaska shifts focus to two female frontline medics whose deep friendship offers fleeting moments of joy amid chaos. The film is unpredictable, mixing warmth with devastation, and asks whether such bonds can survive the trauma of war.
Mr Nobody Against Putin gave an equally chilling insight into the propaganda shaping Russian classrooms, where children are being raised on militarism and nationalism. Meanwhile, The Librarians highlighted the shocking rise of book bans, right-wing censorship and threats facing school librarians across America. The filmmakers hope it sparks a protest movement to defend free expression.
Music, as ever, played its part at DocFest. Dreaming of You told the story of 90s jangly pop band The Coral, focusing on their little-known early years. The BBC previewed Live Aid at 40, which looks at how the Band Aid single led to the global concerts. The Ethiopian perspective and the project’s modern-day controversy are explored too. I was amused to hear younger festivalgoers dismiss ‘Do They Know It’s Christmas?’ as nothing more than ‘that terrible Christmas song’.
Tomorrow’s Too Late follows singer Dylan Holloway, formerly known as Lots Holloway, navigating the impact of transitioning on his music career. The film is a powerful, intimate portrait of the trans experience – and one I’d urge people to see.
DocFest’s poster boy this year was Professor Brian Cox. Who
wouldn’t want to spend an hour listening to his story? His talk traced the extraordinary mix of chance, determination and good timing that made him one of Britain’s most recognisable science presenters.
Laughter was scarce this year, perhaps reflecting the times, so A Night with Adam and Joe was a much-needed tonic. Their anarchic sketch show ran from 1996 to 2001 and seeing them reunited was a real festival highlight. Guests of honour Fenton Bailey and Randy Barbato introduced them, saying their talent and originality meant they were simply left to get on with it.
The stories that had a deep impact, which continued long after I emerged from the Showroom’s darkened screens, were the deeply human ones. Power Station followed artists Hilary Powell and Dan Edelstyn’s extraordinary mission to take their Walthamstow street off the grid, pushing for a solarpowered revolution.
But my most powerful festival experience was Welded Together. It follows Katya, a 22-year-old welder in Belarus, caring for her infant half-sister as her mother’s alcoholism tears their family apart. Determined to break the cycle, Katya faces heartbreaking choices for the child’s future. For me, this compelling, moving film was the standout of DocFest 2025 – a worthy winner of Best International Documentary and a viewing experience that stays with you long after the credits roll.
See you in 2026!
2025 marks the final chapter of ILLUMINATE THE GARDENS at the Sheffield Botanical Gardens.
What started as an ambitious idea in 2015 became a sold-out sensation, bringing thousands of people together for nearly a decade of unforgettable shows!
SHEFFIELD BOTANICAL GARDENS 7th- 9th NOV 2025 ‘Final Show’
The team at EVENTS COLLECTIVE has loved every moment of planning, designing, and delivering this experience.
Now, as we move on to new projects, we want to ensure this FINAL SHOW is the most SPECTACULAR yet!
www.illuminatethegardens.co.uk
EXHIBITION OF THE MONTH
SELECTED SPACE: SHEFFIELD 2025
11–13 JULY, YORKSHIRE ARTSPACE, PERSISTENCE WORKS
Sheffield’s much-loved showcase for contemporary art and craft returns this July as Selected Space: Sheffield marks its seventh edition. Held at Yorkshire Artspace’s Persistence Works, the three-day event brings together over 30 outstanding artists and makers from across the region, all exhibiting and selling their work directly to the public.
Selected Space presents a carefully curated mix of fine art, ceramics, jewellery, textiles, woodwork, furniture, prints and homewares, highlighting the very best of contemporary creative talent in the North.
The event is run by four awardwinning northern jewellers – Chris Boland, Jane Dzisiewski, Jennie Gill and
Emily Thatcher – each of whom has exhibited nationally and internationally. Drawing on their networks, they created Selected Space to champion excellence in art and craft while providing an affordable platform for makers to share their work.
“It’s frustrating that fine art and contemporary craft rarely exhibit in the same space, because they sit so perfectly together,” says organiser Jane Dzisiewski. “Selected Space is a great opportunity to enjoy the finest examples of both, under one roof.”
This year’s line-up includes new and returning artists such as landscape painters Richard Johnson and David Kereszteny Lewis, ceramicists Laura Plant, Evelyn Albrow and Tim Copsey, fashion textiles brand Fronté, mixed media artist Samantha Bryan, and contemporary jewellery by the event’s organisers themselves.
Local favourite Depot Bakery will also be on site throughout the weekend with seasonal artisan food and drink, making this a full day out for anyone with an eye for beautiful things.
Landscape painter Richard Johnson, based at Yorkshire Artspace, will be exhibiting six new works, including seascapes from St Kilda and views of the Peak District. “My favourite is of Win Hill Pike as seen from Wet Withens stone circle on Eyam Moor,” he explains. “I usually have a battle with my paintings – they go badly before they come good again, and I’ve come to accept that has to happen. The painting of Win Hill Pike spent a long time on the easel before I
was happy with it, but I finally finished it on the solstice – the longest day of the year. It seemed fitting.”
For Johnson, supporting regional art is about more than just sales. “The arts are what makes us human,” he says. “Life can be tough, work is often hard, and relationships can be difficult. But having beautiful things in your life –whether you own them or not – can be all the antidote you need. If you’re lucky enough to be able to buy art, then why not buy direct from the people who make it?”
Tickets are £5 on the door. More info at selectedspace.co.uk.
‘THE
ARTS ARE WHAT MAKES US HUMAN’
Based in Sheffield, artist Richard Johnson is known for his atmospheric landscapes, often focused on the Peak District National Park. His work aims to capture not just the look, but the feeling of being in the natural settings he paints. Richard’s paintings are widely exhibited and collected, with pieces acquired by public collections including Sheffield Museums Trust, Nottingham Trent University Art Collection and the National Coal Mining Museum. Rosie Brennan caught up with the artist ahead of his upcoming exhibition at Selected Space Sheffield.
Tell me a bit about your background – how did you get involved in art?
I grew up in Thorpe Hesley, a pit village near Rotherham. Then, when I was 13, we moved to the neighbouring village of Wentworth. I spent all my free time wandering the woods and fields around the village. From the highest hill I could see the moors of the Peak District. Most of my work is inspired by the Peak District now, but it existed in my imagination long before I ever went there. That’s what I try to paint. I hope people recognise the views, but more than that, I want my paintings to remind them how it feels to be in those wild landscapes – places that exist as much in memory and imagination as they do in real life.
How long have you been a professional painter?
I turned professional in 2013. Can you describe your art? My paintings are nearly always of remote landscapes –mainly the Peak District, but sometimes Scotland, especially the Orkney Islands and St Kilda. I run courses to teach people how to paint outdoors and one
thing I always tell students is that you don’t have to include everything you see. In fact, I often find that the more I leave out, the better it captures the feeling of being there.
Where does your inspiration come from?
I love the colours of the landscape, especially in winter. In summer, it’s mostly green. But in winter, when the sun is low, the hills erupt into a kaleidoscope of pinks, oranges, purples and greys. That’s what I try to paint.
Where is your studio?
My studio is in Yorkshire Artspace, Persistence Works – the first purpose-built artist studio complex in Europe, and the venue for Selected Space.
Are there particular places you tend to depict in your paintings? Why those specifically? I keep going back to paint a little island at the top of Derwent Reservoir. It’s easy to miss and doesn’t look like an island from the path. But at dusk and dawn, when it’s shrouded in mist and only dimly lit, it becomes a place of
mystery – an island within an island. I’d live there if I could!
What will you be exhibiting at Selected Space?
I’ll be showing six new paintings. One is of the sea stacks around St Kilda. The others are of the Peak District. My favourite is of Win Hill Pike as seen from Wet Withens stone circle on Eyam Moor. I usually have a battle with my paintings – they tend to go badly before they come good again. I’ve accepted that has to happen. The painting of Win Hill Pike spent a long, long time on the easel before I was happy with it, but I finally finished it on the solstice – the longest day of the year. It seemed fitting.
What are your hopes for the exhibition? Is there a specific response you hope to evoke?
I don’t mind what reaction my work gets, so long as it gets one. You don’t want people walking past without noticing. But I’m lucky – I think I have a way of painting that expresses the emotional connection many of us feel to the landscape. It’s nice when someone else sees that in the work too.
There are over 30 artists and makers exhibiting at Selected Space. Are there any in particular you’re looking forward to seeing?
I love the ceramic work of Janet Barnes. Janet’s my neighbour at Yorkshire Artspace and she makes vessels that are somewhere between sculptures and pots. Their shapes and surfaces remind me of the gritstone boulders on Higger Tor and Carl Wark. I love them.
Why, in your opinion, is it important to support regional art?
The arts are what makes us human. Life can be tough, work’s often hard and relationships can be difficult. But having beautiful things in your life – even if you don’t own them – can be all the antidote you need. And if you’re lucky enough to be able to buy art, why not buy direct from the people who make it? That’s what events like Selected Space are for.
What do you hope people take away from Selected Space? Lots of art!
RESIST AND REMEMBER
Last month, Exposed attended the opening of Collateral Echoes – a solo exhibition created by artist and filmmaker Baff Akoto. Arriving at Site Gallery as part of Sheffield DocFest ‘Alternate Realities’ offering, this immersive experience combines XR, moving image and sound to create a powerful, poetic showcase commemorating the Black and immigrant Britons killed after police contact since 1969.
WORDS: BLESSING ADEFEMI
Upstairs at Site Gallery, I meet Baff Akoto. Known for his captivating work exploring identity and self-perception, he tells me this project feels like a natural continuation.
“It’s important for me to think about art in service of community because otherwise you’re left with, in my experience, an artistic practice that can be quite insular and capitalistic.
“I think centring community and collective practice allows impact, purpose to kind of creep in and ideally kind of offset some of the more selfcentred things.
“Specifically, this project came about because I had a long think about what I could do, what I could add to this sort of phenomenon discussed in the work. And there’s a lot of commodification of Black pain, evident in popular culture and in film particularly.
“It became apparent to me that a lot of the families who have had to go through this haven’t had the chance to have their remembrance and commemorations elevated in the way that we as a country, as a culture venerate for
“So, the seed of it was very
much about offering that chance to the families of those who’d been killed over the years.”
Before entering Collateral Echoes, we’re given a content warning, as it includes examples of racist language and explores themes of mental health, failed care systems, loss and grief.
The exhibition is split into three sections: the onboarding room, the main space and the reflective space. Each one provokes distinct, often unexpected thoughts and feelings, showcasing poetry and art in various forms. Dance performances, virtual reality storytelling and layered sound design, mixed with political
commentary, all contribute to the whole experience.
Akoto explained why it was important to include the late poet and rights activist Benjamin Zephaniah through the use of virtual reality.
“Benjamin had a cousin called Mikey Powell who was killed by the police in Birmingham.
So, Benjamin has been very involved with these families for a long time He was a natural kind of first step when we were thinking about this idea of merging testimony with performance. So, he was the first person we spoke to about providing contributing performance to the project.
“We were very lucky to have been able to work with him before his unfortunate illness and passing.”
Throughout the whole exhibition, people remained silent and in awe as we watched, vicariously experienced and listened to the stories shared by the people affected by this violence. It wasn’t just about documenting the loss of these individuals, but highlighting how their families and communities did not succumb to the pain and instead found triumph and strength within it.
This is not about glorifying past trauma but drawing our attention to the realities of generational biases and racism ingrained in the history of the UK. We are called to look at our own hidden ignorance at the unfair killings of Black and immigrant Britons at the hands of the police due to misconduct.
Akoto explained: “It’s an intimate project. It’s about intimacy. It’s about intimate moments and intimate tragedies and intimate grief and for you to be privy to that as an audience member makes it transgressive.
“I think in focusing on the intimate, we’re really shining a light on the structural, macrostructural kind of constitution of this country that we call home.
“Ultimately, art won’t change the world, but it definitely starts conversations and shifts people emotionally. And that’s what I hope we’ve achieved.”
Collateral Echoes is at the Site Gallery until the 13 July. Free entry.
