NARC. #180 February 22

ISSUE180

FEBRUARY22

FREE

LISETTE AUTON SIMON TAYLOR HEAL & HARROW LUCA RUTHERFORD FELT NOWT TIPS FOR 2022

RELIABLYINFORMED

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PREVIEWS 4 | HIGHLIGHTS Our pick of some of the best events in February

6 | FEBRUARY PREVIEWS ISSUE180

FEBRUARY22

FREE

RELIABLYINFORMED

Live music from Yes Grasshopper, LYRAS, Orchards, Kkett, Benjamin Amos, She Drew The Gun and more; theatre shows including Animal Farm, Girl In The Machine, Tree and No. 9; comedy courtesy of Omid Djalili, Scummy Mummies, Fern Brady and Jamali Maddix; and exhibitions and installations galore!

INTERVIEWS 24 | INDEPENDENT VENUE WEEK 25 | FELT NOWT TIPS FOR 2022 26 | PHILIP JONATHAN 27 | ERLAND COOPER 30 | CREATE:LIVE 31 | TOM A SMITH

28 LISETTE AUTON Lizzie Lovejoy talks to Northern writer, activist and creative Lisette Auton about her inspirational debut novel Hello! Welcome to the first edition of 2022! We’re sincerely hoping that this year will be significantly better than the last two (which, let’s be honest, won’t be hard), and although it may be a slow road to recovery for many in the cultural industries, there is at least some measure of hope on the horizon – although I’m sure I’ve said that more than once in these pages (it seems like ‘fingers crossed’ is my go-to phrase these days).

Here at NARC., we’re starting the year as we mean to go on, mainly by giving you more ways to connect with alt. music and culture in the North East. Over the last couple of months we’ve been putting plans in place for our increased digital output; a new edition of our E-ZINE is on the website now, chock full of multimedia content including videos, interview clips, playlists and much more; NARC. TV episodes continue to land on YouTube and via our social media every two weeks, and we’ll be kicking off more filming come the Spring; during January we’ve also been filming footage for our first documentary series, made in partnership with our NARC. Academy participants – coming to a big(ish) screen near you soon, keep an eye on our social media for more details! Another treat for later in the year will be our return to live shows, and we’re delighted to be once again programming a stage at Stockton Calling on Saturday 16th April. The line-up is pretty special already, with much more to be announced, so be sure to check their updates too.

32 | NORTHERING 33 | THE INVISIBLE MAN 34 | THANK 35 | MARK JAMES HAMMOND & THE SLENDER BLIND 36 | INKYLAB 37 | HEAL & HARROW 38 | REN LAWTON 39 | LUCA RUTHERFORD 40 | SIMON TAYLOR 41 | RENDEZ-VOUS DANCE LISTINGS 42 | LISTINGS

Editor Claire Dupree info@narcmedia.com Website David Saunders narcmagazineonline@gmail.com Creative El Roboto Advertising Claire Dupree info@narcmedia.com Stay social, connect with us NARC.magazine @narc_magazine @narcmagazine NARCmagazineTV

Cover Image Rob Irish Live Photography Iam Burn / Tracy Hyman / Thomas Jackson Contributors Jake Anderson / Tom Astley / Mark Corcoran-Lettice / Laura Doyle / Lee Hammond / Jonathan Horner / Tracy Hyman / Paul Jeffrey / Eugenie Johnson / Evie Lake / Lizzie Lovejoy / Hope Lynes / Robert Nichols / Evie Nicholson / Ikenna Offor / Stephen Oliver / Michael O’Neill / Helen Redfern / Damian Robinson / Elodie A. Roy / Conor Roy / Mera Royle / Steve Spithray / Adelle Sutheran / Leigh Venus / Luke Waller / Robin Webb / Ali Welford / Maria Winter / Cameron Wright

VISIT US ONLINE WWW.NARCMAGAZINE.COM NARC. Magazine, Tel: 07748 907 914 Email: info@narcmedia.com Web: www.narcmagazine.com Published monthly by NARC. Media. Printed by Reach Printing Services, Middlesbrough. Distributed by CSGN All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publishers. The opinions expressed in NARC. belong to the individual writers and do not necessarily reflect the views of NARC. or its staff. NARC. welcomes ideas and contributions but can assume no responsibility for unsolicited manuscripts, photographs or illustrations

The best of the rest…

REVIEWS 44 | LIVE REVIEWS Reports from Viagra Boys, Bill Bailey, Holiday In Tokyo, Roxy Girls, The Howl & The Hum and many more

47 | DEMOS Featuring Darren Wilde & The New Dimensions, Bosko Green, L93, M4ss Production and NTGB

48 | TRACKS Reviews of releases by North East artists including Eve Simpson, AXLS, Anthony Pears, Holly Rees, Sara Leilah, Fast Blood, JRM feat.

Kv$hnoodle and more

50 | ALBUMS New releases from Sea Power, Rolo Tomassi, Yaatri, Keeley Forsyth, Cate Le Bon, Abiodun Oyewole, Black Country New Road and more

54 | MIXTAPE Boo from DJ collective Ghetec picks some of their favourite tracks

Next Issue Out 1st March

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PREVIEWS FEBRUARY’S DIVERSIONS INCLUDE AN INSIGHT INTO THE PHENOMENON OF POP FANDOM, EXHILARATING LIVE PERFORMANCE, INSPIRATIONAL FILMS AND AN INSTRUCTION ON HOW TO MAKE YOUR LIFE TRULY ‘JELLICLE’...DIVE IN!

MUSIC

FRIDAY 4

SMOOVE & TURRELL Continuing their Stratos Bleu tour, North East

ART & LIT

ART & LIT

UNTIL 12 MARCH WHERE THERE’S SPACE TO GROW

Gurnica by ZeroGradient

UNTIL SATURDAY 26 EXHIBITIONS AT PINEAPPLE BLACK Three new exhibitions go on display

at the Middlesbrough-based gallery, including new solo exhibitions from co-directors Stephen Irving (aka ZeroGradient), whose Wild Animals is a mixed-media take on modern life, while Bobby Benjamin’s Deero examines cultural hegemony and the fetishisation of working class culture.

Christopher Tansy’s Paper Cuts is viewable 24/7 in the window gallery.

Pineapple Black, Middlesbrough www.facebook.com/ pineappleblackarts

ART & LIT

UNTIL SUNDAY 27

COME TOGETHER Graham Dolphin’s two-channel video piece

has been reworked and extended from its original 2013 incarnation and examines the phenomenon of pop fandom. Featuring footage of bands such as Primal Scream and Spiritualized, alongside filmed reactions from their audience; set side by side, slowed down and presented in silence, the footage gives the viewer a unique and intimate glance into the emotions of fame.

NGCA, Sunderland www.sunderlandculture.org.uk

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Curated by the Celebrate Different Collective, a group of young people living in Sunderland, this exhibition explores the region’s industrial decline in the 1980s, while also looking ahead to a more progressive future. Featuring work produced by local artists in collaboration with regional community groups examining culture, heritage and surroundings.

Sunderland Museum & Winter Gardens www.sunderlandculture.org.uk

MUSIC

THURSDAY 3 BOB LOG III A Bob Log III show is a show like no other; expect, well, anything really, as the ‘crown prince of punk blues’ shows off his astonishing musicianship which touches on Mississippi Delta blues, hip-hop and punk rock, all while clad in a jump suit and crash helmet. Exhilarating!

Bob also plays The Cluny 2, Newcastle on Friday 4th.

The Georgian Theatre, Stockton www.boblog111.com

party starters Smoove & Turrell bring their infectious brand of Northern funk and soul to Darlo. Their live show is guaranteed to blow away the winter cobwebs, fusing elements of funk, soul, hip-hop and electronica, making for a joyous experience.

The Forum Music Centre, Darlington www.smooveandturrell.com

STAGE

THURSDAY 10

JULIE CLEEVES & ROBBIE SYNGE: TO EARTH Performance artists and collaborators Julie

Cleeves and Robbie Synge present an intimate performance which explores friendship, cooperation, time and space by weaving together physical actions, film and wooden objects to reveal personal stories and offer a framework for conversation. Also on Friday 11th & Saturday 12th February.

BALTIC, Gateshead www.baltic.art

STAGE

FRIDAY 11 HOW TO LIVE A JELLICLE LIFE Linus Karp’s one-man celebration and comedic parody of the 2019 movie musical Cats aims to provoke a discussion about the aspects of cats from the hit movie, and how you can apply them to your life in order to make it truly ‘jellicle’. Expect laughter, dancing, PowerPoint presentations and “too many penis jokes”. Also on Saturday 12th February.

Laurel’s, Whitley Bay www.linuskarp.com

FEBRUARY HIGHLIGHTS MUSIC

MUSIC

GONE TOMORROW

NUBIYAN TWIST

SATURDAY 12

Teesside rockers Gone Tomorrow present garage-inspired rock replete with dark synths and emotive lyricism. They’ll be joined by relentlessly catchy Hull-based indie pop band Reardon Love, whose jaunty sound and mission to “champion the underdog, hail the outsider and liberate the falsely accused” promises intrigue and social justice wrapped up in catchy post-pop nuggets.

NE Volume Music Bar, Stockton www.facebook.com/nevolumemusicbar

MUSIC

SUNDAY 13

THURSDAY 17

Leeds/London Afro-jazz collective Nubiyan Twist will more than blow the new year cobwebs away, thanks to their joyous sound.

Tied up in stylish brass, ultra-tight musicianship, groove-heavy rhythms and uplifting melody, their blend of jazz, soul and hip-hop is intoxicating. Support comes from local racket makers Dilutey Juice.

Sage Gateshead www.nubiyantwist.co.uk

STAGE

WHATS ON

FILM

WEDNESDAY 23

SUNDERLAND FILM CLUB This brand new not-for-profit and volunteer-

run community cinema aims to showcase the most inventive and expressive work in contemporary cinema, with monthly screenings, talks and workshops taking place at The Peacock. February’s screening is of Gideon Koppel’s Sleep Furiously, a beautiful and meditative love letter to a sleepy Welsh farming community, featuring a soundtrack by Aphex Twin.

The Peacock, Sunderland www.facebook.com/sunderlandfilmclubsfc

COMEDY

THE CHAMELEONS

Revered Manchester post-punks The Chameleons reform to celebrate the 35th anniversary of their celebrated release What Does Anything Mean? Basically (albeit two years late…). They’re joined by post-punk originators The Membranes and local alt. rockers Atari Doll, making this a sure-fire highlight for any punk and rock fan.

Westgarth Social Club, Middlesbrough www.facebook.com/westgarthsc

MUSIC

SUNDAY 13 KNATS Striving to put intelligent, thought-

provoking and creative improvised jazz on the map, young Newcastlebased quartet Knats are a breath of fresh air. Taking inspiration from the likes of Charles Mingus, John Coltrane and romantic and baroque composers including Chopin and Bach, they’re setting exciting new standards for the genre.

Bobik’s, Newcastle www.linktr.ee/knatsncl

THURSDAY 17 HUMAN NURTURE Human Nurture tells of two ‘could-be’ brothers whose lives are sent in different directions when one is re-homed and the other stays in the care system. Exploring the intersectionality between race and class, and how exclusion and socio-economic context can affect relationships. Runs until Saturday 19th February.

Live Theatre, Newcastle www.live.org.uk

FILM

TUESDAY 22

SATURDAY 26 KIRI PRITCHARDMCLEAN Counting TV credits with Russell

Howard, Live at the Apollo and HIGNFY, the award-winning comedian and co-writer of the extraordinarily funny Gein’s Family Giftshop struggles with lockdowns, gets some rescue chickens and returns home to Anglesey. She also visits Gala Theatre, Durham on Saturday 12th March.

The Stand, Newcastle www.thestand.co.uk

MUSIC

SUNDAY 27

#HAPPYSUNDAYS POEMS OF TOWN Here’s one for those with youngsters keen to The Poems of Town project saw alt. pop band Field Music and poet Paul Summers work alongside young people to connect with the isolated village communities of Washington through music and words. This event will see a screening of their performance from June 2021 alongside a documentary, which is also available via Sunderland Culture’s YouTube channel.

Arts Centre Washington www.artscentrewashington.co.uk

experience live music, as the tremendously successful #HappySundays crew present a fun-filled line-up of talented musicians for all ages to enjoy. Expect top-notch songwriting from Martha Hill, joyous melodies courtesy of Whippet Beans and the beguiling sounds of Mage Tears.

Brinkburn Street Brewery, Bar & Kitchen, Newcastle www.facebook.com/ brinkburnbarandkitchen

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PREVIEWS

Grove by Khali Ackford

MUSIC

LONE TAXIDERMIST TAKE-OVER @ COBALT STUDIOS

Words: Claire Dupree Described as a relentless and brave experimental artist, Cumbrian musician Natalie Sharp (aka Lone Taxidermist) blends performance, theatre, film, music, make-up, costume and more to create a kind of electro-art-noise insanity which is instantly thrilling. A doyen of the avant garde and underground, she has her finger on the pulse of the UK’s cutting edge experimental scene,

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which is why it’ll come as no surprise that the similarly trailblazing Cobalt Studios have invited her to curate a weekend of weird and wonderful sounds.

Kicking off on Friday 11th February, Natalie explains her thoughts behind the event: “The feeling for this is all about queering ecologies and the voices of indigenous and intersections not being included in the climate crisis.” She’ll be bringing a selection of embodied themes to the front; queer, BIPOC, neurodivergent, disability positive, intersectional environmentalist, ecosex conscious and Afrofuturism. Taking part will be autodidactic Bristol-based producer Grove, whose sound fuses punky dancehall, jungle, bass and pop, with lyrics which are inspired by political angst and queer euphoria; Igbo Nigerian-Scottish

audiovisual artist Chizu Nnamdi, who blends lo-fi rhythms with R&B and indie rock; and the exalted experimental electronic pop of CURRENTMOODGIRL. On Saturday 12th, it’s all about the dancefloor, with DJ sets from inspirational and eclectic artists including Manchester-based Hesska, whose innovative mixing sees her gel seemingly disparate genres into floor-filling anthems.

Truly a weekend for those seeking sublime and unusual pleasures.

Lone Taxidermist Takeover Weekend featuring Grove, Chizu Nnamdi, CURRENTMOODGIRL, Hesska and more takes place on Friday 11th and Saturday 12th February. www.cobaltstudios.co.uk

PREVIEWS

OCTOBER HIGHLIGHTS

STAGE

WOKE @ NORTHERN STAGE

Words: Helen Redfern Now living as an African American woman outside of America, accomplished writer and performer Apphia Campbell plays two women involved in the struggle for civil rights 42 years apart: 1970s revolutionary figurehead Assata Shakur is a member of the Black Panther party and Black Liberation Army, while Ambrosia, a present-day university student, is enrolling just

as the Ferguson riots begin in 2014.

The juxtaposition of these two women’s stories, performed at Newcastle’s Northern Stage on Thursday 10th and Friday 11th February, is disturbing: the past is not behind us, the story is never over – we are all connected. They start from different places but both women challenge the American justice system and both become criminalised through political activism. As her eyes are opened to the injustices of the past and the present, Ambrosia changes position and perspective throughout the play until both women ultimately face the same choice: “Do I stay and fight, or do I run?”

Following on from the success of her critically acclaimed play Black Is The Color Of My Voice,

inspired by jazz singer and civil rights activist Nina Simone, Campbell reclaims ‘woke’ in the context of civil rights activism against a powerful soundtrack of original music and traditional gospel and blues performed live.

Adapted from Altovise Laster’s Poems From The Underground, this award-winning, one-woman play by Apphia Campbell and Meredith Yarbrough takes the audience on a thrilling, emotional journey towards a fuller, deeper understanding of the reality of WOKE. WOKE is at Northern Stage on Thursday 10th and Friday 11th February. www.northernstage.co.uk

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PREVIEWS

Orchards by Jessie Morgan

MUSIC

ART & LIT

ORCHARDS @ HEAD OF BAY TALES LIVE @ WHITLEY BAY STEAM PLAYHOUSE Words: Conor Roy Brighton-based Orchards tour in support of their latest EP Trust Issues, with a stop at Newcastle’s Head Of Steam on Sunday 27th February. In 2016 the trio, consisting of vocalist Lucy Evers, guitarist Sam Rushton and bassist Dan Fane, broke out into the musical landscape with instant ear-worm Peggy, and to date have released two EPs and 2020s Lovecore LP which really established them as masters of their art.

Blending intricate and off-kilter math rock in a head-on collision with fizzy indie pop has seen the band ignite venues across the country with their own brand of infectiously fun ‘math pop’.

Having previously described themselves as “if Everything Everything had a Hard Times [Paramore] baby with Foals during a 2000s indie regression”, if this description is one that’s hard to pin down, from their live shows expect dance-like-no-one’s-watching moves and infectious positive energy from Evers, screw face riffs from Rushton and beautiful vocal layering from Fane. Newcastle’s Head Of Steam is a perfectly intimate venue for a night that’s going to be nothing short of a party.

The band will be supported by passionate pop duo Petrie and Gateshead’s own melancholic songwriter Hannah Robinson.

Orchards, Petrie and Hannah Robinson play Head of Steam, Newcastle on Sunday 27th February. www.orchardslive.com

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Words: Eugenie Johnson Across 24 weeks in 2020 and monthly virtual events in 2021, Simon Bewick and Victoria Watson’s series Noir at the Bar has ensured that crime writing enthusiasts have been able to continue connecting with writers throughout the pandemic. Now, the pair are bringing their knack for tapping the biggest names and rising stars in the crime genre to their home town.

Bay Tales Live, a one-day event coming to Whitley Bay Playhouse on Saturday 12th February, is the pair’s first in-person live event for quite some time.

It kicks off with a true local crime heavyweight, Anne Cleeves, author of Vera and Shetland, in conversation Vaseem Khan, writer of the series of Baby Ganesh Detective Agency books. The rest of the day sees six curated panels discussing a variety of different topics which will include the likes of Russ Thomas, author of the bestseller Firewatching, Sarah Vaughan, author of Anatomy of a Scandal (recently adapted for Netflix) and Dr Richard Shepherd, Britain’s foremost forensic pathologist, as well as a whole host more. It’s a chance for those dedicated to crime writing to be able to come together and once again discuss their shared passion as well as hear some killer conversations.

Bay Tales Live takes place at Whitley Bay Playhouse on Saturday 12th February. www.baytales.com

STAGE

ANIMAL FARM @ THEATRE ROYAL

Words: Leigh Venus “All animals are equal, but some animals are more equal than others.”

Never anything less than acutely relevant since its publication 76 years ago, George Orwell’s world-famous fable tells the story of the animals of Manor Farm, who drive out their human oppressor to run the farm themselves.

But what comes after the revolution?

Directed by Robert Icke – whose version of Orwell’s equally-famous 1984 was a smash-hit in the West End and on Broadway – this new adaption, which visits Theatre Royal from Tuesday 22nd-Saturday 26th February, is a Children’s Theatre Partnership production in association with world-class producing theatre Birmingham Rep. The puppetry skills of Toby Olié – who helped create the stunning life-size horse puppets of War Horse – breathe life into the non-human stars. No stranger to the factory floor, Olié played the back end of the titular horse in the original National Theatre production before being promoted to the head when the show was ported over to the West End. Bunny Christie, the winner of prestigious Tony and Olivier awards for the outstanding set design of the original London production of The Curious Incident of the Dog in the Night-Time, caps off an award-winning creative team for this dynamic, daring and contemporary take on a timeless story.

Animal Farm is at Theatre Royal, Newcastle from Tuesday 22nd-Saturday 26th February. www.theatreroyal.co.uk

PREVIEWS

David Reynolds, Untitled (From the series Familiar New Words) 2021, aluminium dibond print, 30x60cm

ART & LIT

DO CYBORGS DREAM OF ELECTRIC QUEERS? @ THE AUXILIARY

Words: Lizzie Lovejoy Newcastle-based artist David Reynolds is showcasing a new body of work at The Auxiliary in Middlesbrough from Friday 11th February until Saturday 19th March. This innovative solo exhibition, entitled Do Cyborgs Dream Of Electric Queers?, is a celebration of the world of Queer culture within science

fiction.

Reynolds has used the research of contemporary theorists and philosophers in order to develop a range of visual works which are not restricted by a single artistic medium.

Exploring their themes through animation, digital creations and sculpture, the artist shares a dynamic series of creative pieces. Alongside this, Reynolds has developed a publication that can be picked up when visiting the space.

This exhibition looks back at where we’ve come from and considers what our future may be, raising questions not only of the history of Queer narratives, but also the direction we might be heading. Consisting of three different collections, the work presented within The

Auxiliary shares the magic of the Queer world and the wonders of sci-fi.

There is a chance to get a closer look at 11pm on Saturday 12th March, when Reynolds will be giving a free late night artist talk and tour of the exhibition space. From the digital imagery of the Familiar New Worlds collection, to the sculptural works of the Unpronounceable By Ball series, this exhibition pays tribute to the diverse worlds of sci-fi and Queerness.

Do Cyborgs Dream Of Electric Queers? is at The Auxiliary, Middlesbrough from Friday 11th February until Saturday 19th March. www.theauxiliary.co.uk

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PREVIEWS

Image by Kimberly Corday

MUSIC

NIGHT SHOP @ POP RECS LTD.

Words: Jake Anderson Staple of Sunderland’s music scene and much-loved creative hub, Pop Recs Ltd. has reopened in its brand new High Street West location and boasts a cafe, record shop, art space and much more within its walls. While it

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may be missing the caustic humour of its driving force, the late great Dave Harper, the venue’s importance as a much-needed space for creatives and the local people of Sunderland can’t be underestimated.

On Saturday 19th February the venue will play host to alternative singer-songwriter Justin Sullivan, otherwise known as Night Shop. Now touring his upcoming album, Forever Night (out on 11th February), his rock-inspired indie folk will please fans of addictive rhythms and sonically ambitious folk sounds. Having previously spent his time behind the drum kit

alongside the likes of Kevin Morby and as instigator of LA post-punk outfit Flat Worms, Sullivan’s Night Shop persona sees the artist step towards more succinct and subtle arrangements, including the ballad-like beauty of For A While and the Divine Comedy-inspired Let Me Let It Go. Possessing a cinematic wit and dealing with universal themes, Night Shop’s live performance is certain to be one to treasure.

Night Shop is at Pop Recs Ltd., Sunderland on Saturday 19th February. www.nightshop77.bandcamp.com

PREVIEWS

She Drew The Gun by Rob Blackham

MUSIC

COMEDY

SHE DREW THE GUN @ OMID DJALILI @ TYNE THE GEORGIAN THEATRE THEATRE & OPERA HOUSE Words: Evie Nicholson On Friday 25th February, The Georgian Theatre in Stockton welcomes the dreamy etherealism of Wirral-based psych pop band, She Drew The Gun. Brooding and romantic in equal measure, She Drew The Gun have been on the rise for several years. The outspoken brainchild of Louisa Roach, the band released their debut record, produced by The Coral’s James Skelly, after a BBC 6Music Session in 2016. Since then, they’ve created waves through winning Glastonbury’s Emerging Talent competition, supporting The Coral on their 2018 UK tour and performing at SXSW and a string of UK festivals.

Their third album, Behave Myself, was released in October last year. Still retaining the band’s idiosyncratic space-age melodies, the album introduced a previously-unheard punk-infused electronica. Roach’s lyrics are angsty and refreshingly politically astute, with synth-heavy tracks like Next On The List and Class War – How Much offering a candid social commentary that is just as facetious as it is forthright.

Combining the personal and the political, She Drew The Gun possess a rare ability to combine vulnerable and rebellious song-writing with a contagious upbeat optimism, making this gig one not to be missed.

She Drew The Gun play The Georgian Theatre, Stockton on Friday 25th February. www.shedrewthegun.com

Words: Leigh Venus During lockdown Omid Djalili held Zoom gigs in his lavatory, including one where he was muted by 639 people. Flushing the toilet at the end of each show, he would announce “here’s the sound of my career.”

It’s a hell of a career though, ranging from the West End to film and TV. His credits include His Dark Materials, Gladiator, The Mummy, Pirates of the Caribbean: At World’s End and even a James Bond film (joking that he played “second Azerbaijani oil pipe attendant”).

Despite Covid restrictions, a spicy sociallydistanced gig in Kent saw the Iranian comic and actor pretend he was the head of ISIS trying out a stand-up routine with the masked audience all hostages, and he witnessed an audience member at a drive-in gig get out of his car, attach a hosepipe to his exhaust and feed it through the window.

Given these experiences, it’s understandable that Djalili genuinely believed his time as a legendary stand-up was over. Yet, as we circumnavigate yet more lockdowns by the skin of our collective teeth, he’s thankfully back, bringing his intelligent, entertaining and always provocative presence to Newcastle’s Tyne Theatre & Opera House on Wednesday 9th February for what is sure to be a captivating comedy masterclass.

Omid Djalili is at Tyne Theatre & Opera House, Newcastle on Wednesday 9th February. www.omidnoagenda.com

MUSIC

KKETT/TANKENGINE/ MXYM @ THE SHOOTING GALLERY

Words: Hope Lynes Since the reopening of Zerox, it is clear that their live room, The Shooting Gallery, will be a great space to platform local talent. On Friday 18th February, that is exactly what you can expect in the upper floor of the cool new Quayside offering.

With song titles as absurd as their sound (Bill Oddie Bastard Bitch and (I Can’t Wait For) Nothin’ But Nasal Cramps are excellent examples), Kkett create an energetic universe of sound; experimental and playful, their sound traverses the pop punk, emo, hardcore and indie spectrums culminating in a genre they call ‘joycore’ and inciting any live audience into a passionate frenzy.

Tankengine meanwhile are undoubtedly punk in nature; loud, passionate and full of swagger, they describe themselves as ‘sophisto-rock’, and the powerful trio have a hilarious online persona which is sure to emerge in the live set.

Armed with recent EP blatantly titled Tankengine Tankengine, their addictive soundscape isn’t afraid to stand out or throw its listener about.

Queer pop art punk MXYM meanwhile offers up dramatic instrumentation and strong vocals; with a sound undeniably theirs, MXYM’s beautiful mix of experimental soundscapes and an intriguing and creative persona described as ‘emo glamour’, is sure to combine into an interesting performance.

Kkett, Tankengine and MXYM perform at The Shooting Gallery, Newcastle on Friday 18th February. www.facebook.com/zeroxbarnewcastle

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PREVIEWS

Ross From Friends by Fabrice Bourgelle

MUSIC

STAGE

ROSS FROM FRIENDS NO. 9 @ ALPHABETTI (LIVE) @ BOILER SHOP THEATRE Words: Hope Lynes Here’s one for the dancers! Relaxed beats that still have an energetic thrill is the spirit of Ross From Friends, who will bring his live set to Newcastle’s Boiler Shop on Friday 18th February. Armed with new album Tread, released in October, the DJ who has previously performed barn-storming sets at the likes of Glastonbury and Coachella is embarking on a UK tour.

The producer and DJ’s soundscapes are atmospheric, with a softness and a danceability that makes the music easy to listen to outside of a club setting. On newer tracks such as Love Divide the influence of garage music is heard in the beats, whilst older tracks, such as fan-favourite Talk To Me You’ll Understand, have an altogether more prosaic feel, managing to encapsulate productivity and remarkable style.

The British electronic producer is supported in his set by two friends, who provide sax, keys, and electronic guitar, elevating the tracks beyond a regular DJ set.

Ross From Friends (Live) performs at Boiler Shop, Newcastle on Friday 18th February. www.rossfromfriends.net

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Words: Mera Royle “What were you wearing? How much did you drink? Cheer up love, it could have been worse.”

People mean well. That’s what we’re told. And we like to believe it. But when bad things happen, can we really that believe it’s true? In Anna Robinson’s new play, a fabulous, strange and bright telling of trauma erupts onto the stage at Alphabetti Theatre from Tuesday 22nd February until Saturday 12th March. No.9 is a story of ‘well-meaning’ assumptions from family and friends in response to assault, told through the perspective of a real survivor.

In a story of darkness, fear and shame, the play tackles trauma through a new lens. Bright and bold, weird and wonderful, laughter, dance, live music and wacky characters define No.9’s outburst onto Alphabetti’s stage. It’s a play about standing up to blame and rubbish feelings, and seeking the answer to the question we’ve all, at some point, asked ourselves: do people really mean well?

No.9 is performed at Alphabetti Theatre, Newcastle from Tuesday 22nd February until Saturday 12th March. www.alphabettitheatre.co.uk

ART & LIT

VINCA PETERSEN @ NGCA

Words: Claire Dupree From her unique perspective as an instigator of the British and European rave scene in the 1990s, photographer, multimedia and performance artist Vinca Petersen presents new work entitled Make Social Honey at Sunderland’s Northern Gallery of Contemporary Art. Exhibited from Saturday 29th January until Monday 2nd May, Petersen’s exhibition takes the viewer on a collective search for joy, asking the viewer where it can be found – whether through sea swimming, meditation or choir singing – and helping us to understand how joy can be found collectively after a period of isolation and social restrictions.

As an artist who strives to give a voice and recognition to under-represented communities, Petersen will also be present in the gallery displaying documentation from a series of ‘actions’ undertaken with local community groups which explore collective joy, as well as archiving her image collection and unearthing previously unseen images.

Petersen’s preoccupation with the things that ake us happy will ultimately be a representation of what makes us human.

Vinca Petersen: Make Social Honey is at NGCA, Sunderland from Saturday 29th January until Monday 2nd May. www.vincapetersen.com

PREVIEWS

COMEDY

SCUMMY MUMMIES @ TYNE THEATRE & OPERA HOUSE

Words: Hope Lynes On Friday 4th February at Tyne Theatre & Opera House, comedy duo Helen and Ellie – better known as the Scummy Mummies – will

encourage the audience to grab a classic gin and tonic, have a big night out, and explore motherhood with an audience of sympathisers!

The pair host a podcast talking about all things mums. For a flavour of the night, past podcast topics have included Christmas Special: A Tale of Two Bumholes, Emmerdale And The Humility of Boyzone, and Wine Special With Knackered Mother, making it fairly obvious that this isn’t your average Mumsnet chitchat.

The pair also tackle serious topics within their lighthearted fun, and their live show will include

a mixture of stand-up, sketches, songs and motherly stories. It’s a testament to their experience and skill as comics that they’re able to encourage belly laughs and heartfelt relatability in one routine, making this show one for the mums, as well as those that have them!

Scummy Mummies perform at Tyne Theatre & Opera House, Newcastle on Friday 4th February. www.scummymummies.com

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PREVIEWS

Benjamin Amos

MUSIC

BENJAMIN AMOS RELEASES NEW SINGLE, MAELSTROM

Words: Mera Royle Finding the words that express the insatiable joy of being alive is something which may baffle the best of us. Benjamin Amos’ new album, Letters, is due for release later this year and manages to articulate this experience in a beautiful bundle of soulful, heart-lifting tracks.

Born in Northern Ireland and based in Durham, the songwriter has been creating stunning, expressive music throughout the last decade; through intertwining his contemporary sound and Celtic roots, Amos has created a deeply authentic musical voice.

Amos releases the lead track on the album, Maelstrom, this month; offering an expansive journey of sounds, from stirring string accompaniments and beautiful vocal harmonies to uplifting rhythms and touching, heartfelt lyrics. It is difficult to listen to without feeling connected to your own experiences of relationships and heartache, as Amos has created a track which urges the listener to reflect on their own lives.

Amos and his captivating sound can be chased down this February on a short tour of the North East, which calls in at The Green Room in Stockton (Friday 18th), Claypath Deli in Durham (Saturday 19th) – which also features eclectic spoken word electro artist Faithful Johannes – and Bobik’s in Newcastle (Sunday 20th) Benjamin Amos releases Maelstrom is released on 4th February via Spooker Rekkids. www.benjaminamos.bandcamp.com

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COMEDY

EDDY BRIMSON @ LAUREL’S

Words: Eugenie Johnson Hard-hitting drama and stand-up comedy don’t seem like particularly easy bedfellows. Sure, you might get the occasional dramedy that combines a few laughs in amongst a dramatic tale, but it’s rare to see the two side-by-side on stage. Eddy Brimson is giving you the opportunity to do just that. The actor, author and comedian with 20 years of experience under his belt is the perfect person to bring the combination together in his critically acclaimed one-man show, Naughty Boy, which comes to Laurel’s Theatre in Whitley Bay on Sunday 20th February.

Naughty Boy is a dramatic and thoughtprovoking exploration of morality, mental health and politics. Taking on subjects from identity to nature-nurture, Brimson takes us on a journey from a mental institution to a weekend of hedonism filled with sex, drugs and violence. In the process, Brimson poses questions about responsibility and truth through the lens of his complicated character, Joe. Following the performance, Brimson turns his hand to another side of his wide-ranging talent by returning to the stage for another 30 minutes of stand-up comedy. Brimson is set to bring a unique blend of thought-provoking drama and laughs to the stage, all in a single night.

Eddy Brimson: Naughty Boy is at Laurel’s, Whitley Bay on Sunday 20th February. www.feltnowt.co.uk

MUSIC

JODIE NICHOLSON @ THE GEORGIAN THEATRE/THE CLUNY 2

Words: Michael O’Neill Hailing from Teesside, and dealing in rich, evocative song-writing that threads together such disparate influences as Warpaint, Laura Marling and her dad’s prog rock collection, Jodie Nicholson is a refreshing addition to the wave of hugely talented emerging artists in the region. After years of building momentum locally, Jodie is embarking on a national tour (her first with a full live band) which takes in Stockton’s Georgian Theatre on Saturday 5th February and Newcastle’s Cluny 2 on Saturday 12th, fresh from the release of her four track EP Can’t Escape The Feeling. Released with the support of the PRSF’s Women Make Music initiative, Jodie considers Can’t Escape… to be an exploration of “what it means to feel alone in a familiar world” with the brooding atmosphere of Be Back Soon and the intricate fingerpicked melodies of Second Sun showcasing her brilliant penchant for keenly progressive song structures and profoundly moving song-writing. The EP is served by the intricate and up-close production from Tim Bran (who has previously worked with the likes of Aurora, London Grammar and Rae Morris).

It’s a confident statement of intent from an artist who has a singular approach to the craft, and will make for a compelling experience live.

Jodie Nicholson plays The Georgian Theatre, Stockton on Saturday 5th and The Cluny 2, Newcastle on Saturday 12th February. www.jodienicholsonmusic.com

PREVIEWS

Exodysis II

ART & LIT

EXODYSIS II @ NEWBRIDGE PROJECT

Words: Eugenie Johnson Since coming together in 2016, Alex Bell and Giulia Shah – better known as Abel Shah – have been using their art to explore themes of authorship, both the presentation and representation of things, knowledge and structures of power. Their work primarily consists of multi-media installations combining constructed objects, texts, images and sound, using the interplay between the different

mediums to explore the relationships between apparently binary concepts (such as non-verbal and verbal, or physical and virtual). Instead of seeing these as distinct forms though, Abel Shah use their work to explore how these concepts exist on a continuum, in a constant state of push and pull.

After first showing the work at London’s Swiss Church in 2021, Abel Shah now bring their latest sculptural installation to Newcastle’s NewBridge Project. For Exodysis II, showing from Wednesday 23rd February until Friday 25th March, the pair have worked in dialogue with other collaborators, using materials common to 20th and 21st Century developments, including urban housing,

Saturday 26 February, 7.30pm

healthcare technologies, information storage and control of movement. In doing so, Exodysis II strives to be a symbol of our everyday environment and history. Committed to their ongoing vision to stretch beyond traditional studio practice, Abel Shah will also be inviting practitioners to disrupt their work during the course of the exhibition. In doing so, the fluid nature of Exodysis II promises to be even more dynamic.

Exodysis II by Abel Shah is at NewBridge Project, Newcastle from Wednesday 23rd February until Friday 25th March. www.thenewbridgeproject.com

RENDEZ-VOUS DANCE

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PREVIEWS

Gordon Dalton - I am so lonely without you

STAGE

GIRL IN THE MACHINE @ VARIOUS VENUES

Words: Helen Redfern Think tense love triangle in a dystopian digital age. In Girl In The Machine life couldn’t be better for loved up Polly and Owen until the ‘Black Box’ enters their lives. This mysterious new technology promises to break the daily grind, but as the line becomes blurred between the physical world and the digital world, the cracks in their relationship begin to show.

As this disruptive force creeps into everyone’s phones and society fractures as the population begins to rebel, award-winning writer Stef Smith explores our growing present-day concerns about digital intrusiveness, the centralising control of big data and the blur between work and home in an always-on digital world, asking how soon will it be before we start preferring a digital version of ourselves?

Directed by Theatre Space North East creative producer Jamie Brown, Girl In The Machine will engage and entertain audiences at multiple dates across the region. Fans of popular culture, including dystopian sci-fi like Black Mirror, will love this production featuring local actors Andrew Neale and Corinne Kilvington, which successfully brings the genre into the theatre in a fast-paced, gripping way.

Stef Smith’s hard-hitting play raises all the questions we’re all asking as we daily witness awe-inspiring (and maybe also terrifying) advances in technology. Girl In The Machine starts the conversation – what you then do with it is up to you.

In February, Girl In The Machine is at Customs House, South Shields (Thursday 10th); The Exchange, North Shields (Friday 11th); 17Nineteen, Sunderland (Saturday 12th); Gala Durham (Saturday 19th) and Northern Stage, Newcastle (Friday 25th). www.theatrespace.org.uk

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ART & LIT

MUSIC

GALLAGHER & TURNER YES GRASSHOPPER @ EXHIBITIONS THE GLOBE Words: Hope Lynes A series of exciting new exhibitions from brand new artists will be running at Newcastle gallery Gallagher & Turner from Friday 28th January until Saturday 5th March.

Middlesbrough-based contemporary artist Gordon Dalton presents his new solo show, Abandon All Hope; displaying both industrial and natural landscapes with a colourful and abstract twist. The abstract beauty is in the melancholy nature of the artwork, one which asks its reader to think, and question the consciousness of what they see intimately in front of them.

Also on display will be work by a trio of artists – Mark Bletcher, Abi Hampsey, and Oliver Hoffmeister – entitled Three’s A Crowd. Meeting locally at Newcastle University, the former students wish to explore figurative painting, but from three individual perspectives, all working in oil paint, resulting in an ambitious project that will beautifully capture the differences of perception. Bletcher’s perspective focuses on the magical realism genre, creating dreamy captures of perception; Hampsey creates an interesting contradiction in her explorations of truth, lies, memory and reality, reflecting these layers within her artwork; while Hoffmeister intertwines both of these perspectives by looking at the obscurity of the imagination, ultimately creating a sense of uncertainty in his work. The different layers produced by the three unique artists will bounce off each other exploring the senses of realism, truth and the imagination.

Gordon Dalton: Abandon All Hope and Mark Bletcher, Abi Hampsey and Oliver Hoffmeister: Three’s A Crowd exhibit at Gallagher & Turner, Newcastle from Friday 28th January until Saturday 5th March. www.gallagherandturner.co.uk

Words: Michael O’Neill It’s rare to come across an evening hosted by a group who promise to take you on a trip “into the unexplored depths of their collective mind, a place of daring rescue missions and uncanny swamp monsters, all imagined through the lens of a playful B-movie aesthetic” via “the slicing of mustard and people losing their socks”, however, when noise rock merchants of hardcore-acid-math-crustcore Yes Grasshopper are in the equation, it should come as no surprise.

Taking place at The Globe, Newcastle on Saturday 19th February, the Newcastle-hailing duo – consisting of six-stringer Jordie Cook and tub-thumper Adam Stapleford – take the minimal-yet-maximal setup of John Times Two and Lightning Bolt to exciting new extremes, with taut and sprawling songs chock to the brim will filth and vigour. Recent release 7 OUTRE 10 is a phenomenal testament to their less-is-far-far-more approach with the likes of Borewell Rescue being a refreshingly frenetic whirlwind of chaotic but brilliantly constructed noise, exhibiting a command of dissonance and a keen ear for a vicious hook. Support comes from the experimental multi-instrumentalist Brad Field, whose marvellous avant-garde jazz compositions, heavy on gloriously wonky abstraction, provide a fine showcase for his virtuosic command of the drumkit.

Yes Grasshopper and Brad Field play The Globe, Newcastle on Saturday 19th February. www.yesgrasshopper.bandcamp.com

PREVIEWS

COMEDY

JAMALI MADDIX @ THE STAND

Words: Cameron Wright I first became acquainted with Jamali Maddix’s work through the Vice programme, Hate Thy Neighbour. The show saw the comedian throw himself into the heart of extremist groups, conversing and laughing with them in a candid and illuminating fashion. The show interspersed

these dialogues with clips of the comedian recounting his experiences to a stand-up comedy audience.

Not only did Hate Thy Neighbour offer a new insight into the confusion and trauma that consumes the personalities he engaged with, but it also highlighted the comic’s ability to communicate honest, visceral experiences to an audience while keeping it thoroughly engaging and hilarious.

Since then, Jamali Maddix has seen his career surge from strength to strength, with his voice becoming a calm cornerstone of Frankie Boyle’s annual New World Order, as well as an

iconic run on Taskmaster. There is a swagger and candour to Jamali that exudes from every appearance, regardless of format or medium.

Taking his irresistibly charming personality on the road, King Crud is the tour making its way to Newcastle’s beloved venue, The Stand, on Tuesday 8th February. Maddix will be tackling an array of home truths, leaning on his flare and frank sincerity to guide the night through a myriad of universal topics.

Jamali Maddix is at The Stand, Newcastle on Tuesday 8th February. www.jamalimaddix.com

Tue 15 - Sat 26 March 2022

Tickets: £6 – £8, many events FREE

(0191) 232 1232 www.live.org.uk

Live Theatre Quayside, Newcastle upon Tyne NE1 3DQ Follow Live Theatre #ElevatorFestival

Introducing the best new plays by rising talent Live Theatre is operated by North East Theatre Trust Limited, a registered charity number 513771.

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PREVIEWS

LYRAS by Gareth Williams

STAGE

TREE @ ALPHABETTI THEATRE

Words: Eugenie Johnson Despite occasional high-profile roles hitting our big and small screens, there still seem to be frustratingly few roles for mature women that don’t veer into the typical stereotypes of mothers, grandmothers and wives. It’s a frustration shared by actors Jacqueline Philips and Judi Earl, who were motivated by their shared dissatisfaction with the lack of diverse and interesting roles available to them, leading them to collaborating with writers Gary Kitching and Steve Byron (part of the team who’ve also brought us Bacon Knees And Sausage Fingers and Rocket Girl). Together, they’ve crafted Tree, a production that steps outside of a gendered lens.

Performed at Alphabetti Theatre from Tuesday 25th January until Saturday 12th February, Tree follows Hazel and Rowan after a chance meeting. The pair are polar opposites; Rowan is a fantasist, happy to dabble in conspiracy theories and live her life through the internet.

By contrast, Hazel is worldly and lives her life with her feet planted firmly on the ground.

Through a series of intimate yet uncomfortable conversations, sound-tracked by a series of timeless songs exploring the idea of balance, Hazel comes to confront the fragile nature of life, while Rowan is given the opportunity to re-assess her actions. By exploring the concept of humanity in a post-truth world, Tree is set to re-evaluate the roles that we see older women play.

Tree is performed at Alphabetti Theatre from Tuesday 25th January until Saturday 12th February. www.alphabettitheatre.co.uk

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MUSIC

FROM THE GLASSHOUSE @ SAGE GATESHEAD

Words: Laura Doyle Sage Gateshead has long since provided support for creatives at any stage in their careers. The Quayside’s most recognisable landmark now celebrates artists nurtured as part of their many artist development programmes with a new series of showcases, From The Glasshouse. The third in the series takes place on Friday 18th February and brings together three artists with wildly different backgrounds, but who have all found impetus in their work.

Headliner LYRAS is the sum of its parts: its members worked individually for a decade before joining forces to create their soulful R&B sound. The new group had to navigate the new terrain of lockdown life, before being able to debut live last summer. They already boast a small back catalogue recorded as part of the Sage Gateshead Summer Studio residency programme. Liverpool-based jazz artist Ni Maxine has been on the scene for a little longer, and already focuses her energies on inspiring another generation of creatives to follow their own art. Francine Luce joins her fellow Sage Gateshead Summer Studio alumni to provide new solo compositions developed throughout the pandemic, proving to all listening that isolation does not have to mean the death of creativity.

From The Glasshouse featuring LYRAS, Ni Maxine and Francine Luce takes place at Sage Gateshead on Friday 18th February. www.sagegateshead.com

ART & LIT

TESS DENMANCLEAVER @ WORKPLACE FOUNDATION

Words: Claire Dupree Continuing in their mission to support emerging and under-represented contemporary artists, both in the region and beyond, Gateshead’s Workplace Foundation will be exhibiting a series of new works by Newcastle-based artist Tess Denman-Cleaver from Saturday 5th February until Saturday 9th April.

Denman-Cleaver’s solo exhibition brings together a series of texts and photographs which have been in development since 2016.

Entitled Return, the artist’s work addresses female friendships and memories; a collection of texts are written with a performative sensibility and relate to unseen photographs and film documentation. In addition, a series of hand-printed silver gelatin photographs of a fragment of broken pot consider thoughts around objects, place, materiality and time.

The artist’s interest in philosophy and landscape in performance (which led to her completing a PhD at Newcastle University) has seen her produce work which spans performance, writing, workshops and installations, with exhibits at the likes of Tate Britain and Turner Contemporary, she is also a producer of the Women Artists of the North East library.

Return by Tess Denman-Cleaver is at Workplace Foundation, Gateshead from Saturday 5th February-Saturday 9th April. www.tessdenmancleaver.com

PREVIEWS

Image by CVY Photography

MUSIC

LEOPARD RAYS @ THE SHOOTING GALLERY/ PLAY BREW CO

Words: Jake Anderson After having their last performance of 2021 cancelled, Hartlepool riff-masters Leopard Rays will be making up for it by pouncing straight into 2022 with a brand new single and a

February tour.

The alt. rockers’ newest track, Something Like Hell, follows the foundations built by the band’s previous singles, Curtain Call and Carried Away, and demonstrates the band’s bombastic and explosive sound, replete with string section and euphoric melodies. It’s a track that must be witnessed live, and lucky for you Leopard Rays will be stalking venues in Newcastle and Middlesbrough as their hunting ground.

First up is a show on Friday 11th February at Newcastle’s newest venue The Shooting Gallery (Zerox), and two weeks later they’ll be marking

Middlesbrough’s Play Brew Co as their territory on Friday 25th February.

Support for Newcastle is yet to be confirmed, but SWEARS will be joining them at the Middlesbrough show, bringing their rowdy atmospheric songs and smashing out bangers such as the heart pumping Say Nothing and the hair-raising guitar-led Lame Wizard.

Leopard Rays release Something Like Hell on 28th January. They play The Shooting Gallery, Newcastle on Friday 11th and Play Brew Co, Middlesbrough on Friday 28th February. www.facebook.com/leopardrays

M U S I C AT A R C Aly Bain & ALBERT LEE Phil Cunningham Thursday 7 October FRI 25 MAR Andy Fairweather Low SAT 26 MAR

Rich Hall’s Hoedown Deluxe THUR 12 MAY £18

FRIDAY 26 NOVEMBER

The South

SATSaturday 11 JUN 27 ARC | STOCKTON ON TEESNovember | TS18 1LL

01642 525199 www.arconline.co.uk 19

PREVIEWS FEBRUARY 4TH stockton

FEBRUARY 19TH

Here for Gigs February Highlights Wednesday 9 February Sage One Transatlantic Sessions Saturday 12 February Sage One Echo & The Bunnymen Sage Two Heal & Harrow Thursday 17 February Sage Two Nubyian Twist plus Dilutey Juice

Friday 18 February Sage Two From The Glasshouse #3 feat Lyras, Ni Maxine & Francine Luce Thursday 24 February Sage Two The Wind – live score by Erland Cooper feat the Chorus of Opera North

FEBRUARY 26TH

BY THE CLASHED

MARCH 4TH

MARCH 5TH

MARCH 12TH

MARCH 19TH

MARCH 25TH

MARCH 26TH

APRIL 2ND

APRIL 29TH

Lilacs the

Head to sagegateshead.com/whats on for our full gig listings. @Sage_Gateshead

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KU • PRINCE REGENT ST. STOCKTON-ON-TEES | KUSTOCKTON.CO.UK | SEETICKETS.CO.UK

PREVIEWS

Fern Brady by Matt Crockett

COMEDY

FERN BRADY @ ARC/ THE STAND

Words: Eugenie Johnson Scottish comedian Fern Brady isn’t afraid to speak her mind. After 10 years honing her craft, she’s taken her own unique lens to contemporary culture in her BBC special Power & Chaos, while on the podcast Wheel of Misfortune she teams up with fellow comedian Alison Spittle to share their most embarrassing (and funniest) stories with their guests. Unafraid to go to the most uncomfortable places while on stage, she sold out her 2019 tour across Europe and Australia. She also became the first Scottish woman to perform on Live at the Apollo, as well as appearing on The Russell Howard Hour and Frankie Boyle’s New World Order.

In early 2021, Fern revealed that she had been diagnosed with autism after referring herself during the pandemic. Since then she has openly spoken about the process of being diagnosed and living with the condition but has continually brought out the funny side of being neurodiverse – even the Tweet announcing her diagnosis was laced with wit. Now she’s back on tour with a brand new show, Autistic Bikini Queen, which comes to ARC Stockton on Thursday 3rd February and The Stand in Newcastle on Tuesday 22nd February. It’s likely to delve into her recent experiences in her typically scathing but hilarious style. Always a fearless performer, this could be Fern’s most personal and entertaining show so far.

Fern Brady performs at ARC Stockton on Thursday 3rd February and The Stand in Newcastle on Tuesday 22nd February. www.fernbradycomedian.com

ART & LIT

WHAT’S FOR TEA? @ VARIOUS VENUES

Words: Lizzie Lovejoy Gateshead’s BALTIC and Travelling Gallery Scotland are coming together to share What’s For Tea?, a group exhibition celebrating BALTIC’s 20th anniversary and a piece of Northern history. Once a flour mill, the BALTIC has its roots in working-class industrial heritage; this exhibition will look at both food production and the impact it has had on the local community, and will tour throughout the region from Monday 21st February until Monday 18th July.

This collection of work, and the programme of hospitality and communal meals that pairs with it, will visit galleries and space in the region, calling back to the rich culture found in the North East. Travelling Gallery is a mobile exhibition space that increases accessibility of art to communities nationwide and their partnership with BALTIC will take this project around Gateshead, urban Northumberland and the rural Borders to connect with remote groups and allow more people the opportunity to interact with both the art and each other.

Encouraging audiences to analyse our culture’s current attitudes to food consumption and production, the artists involved put social responsibility in the forefront, bringing attention to the matters which concern them the most.

Isabella Carreras, Kara Chin, Future Farmers, David Lisser and Cooking Sections all collaborate to take people on a participatory journey with a combination of community projects and visual art.

With bread making workshops as a nod to its past, and artwork that aims to help create a bright future, What’s For Tea? seems like a

fitting way for the BALTIC to celebrate its 20th birthday as a public art gallery.

What’s For Tea? tours spaces in the North East from Monday 21st February until Monday 18th July. Check the venue’s website for dates and locations. www.baltic.art

MUSIC

BOSOLA/SILVER HAAR/ RIOTOUS MONKS OF HENHAI @ LITTLE BUILDINGS

Words: Lizzie Lovejoy Alternative rock band Bosola are getting ready to take to the stage as Glasgow-based Deliberator Records announce their first North East show at Little Buildings, Newcastle on Saturday 12th February. Joining them are label mates Silver Haar, bringing Scottish indie rock and the self-described ‘obnoxious rock ‘n’ roll’ sounds of Riotous Monks Of Henhai.

Since Bosola released their debut EP last year, this local band has become well-loved across the region thanks to their mix of classic rock sounds and refreshing alternative lyrics. Silver Haar is a Glasgow-based band who craft alternative, soft rock sounds. Letting their accents shine through in their vocals, Silver Haar have a strong and easily identifiable presence which is both calming and energetic.

Opening the show are Riotous Monks of Henhai, a trio that has a reputation for their loud and rowdy shows and raucous psych rock sound.

Bosola, Silver Haar and Riotous Monks of Henhai play Little Buildings, Newcastle on Saturday 12th February. www.deliberatorrecords.com

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PREVIEWS

Pip Blom

MUSIC

PIP BLOM @ THE CLUNY

Words: Laura Doyle Dutch dream-poppers Pip Blom just love the UK. If you need proof, look no further than the title of the four-piece’s second album, Welcome Break, an ode to rest stops up and down the country that became oh-so familiar to the chronic tourers. If the title wasn’t enough, just know that Pip Blom did the whole two week quarantine thing at the height of the pandemic in their quest to return to their beloved Big Jelly Studios to record their sophomore effort in a country that so often returns their affections. Five weeks in total later, and the band had successfully completed their mission.

Feel-good anthem Keep It Together leads the charge, exploring the rockier side of indie pop. Its message goes beyond simple self care, as it recognises the importance of, and encourages, human connection. Meanwhile, You Don’t Want

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This is a procrastinator’s wake-up call and the antidote to post-lockdown fatigue.

What’s left but to bring their hard work to fruition with a string of live shows up and down the country, dropping in to Newcastle’s Cluny on Tuesday 8th February where they’ll be paying tribute to the gas stations and service stops that gave the record its name. If the seemingly endless drudgery of pandemic life has you at your wits’ end, then Pip Blom can prescribe a much-needed welcome break from this depressing abyss.

Pip Blom play The Cluny, Newcastle on Tuesday 8th February. www.pipblom.com

MUSIC

DEATHCRASH @ THE CLUNY 2

Words: Jake Anderson Valentine’s Day can certainly be one of the loneliest days of the year for the bachelors and

bachelorettes out there. So instead of spending the night with a bottle of wine and crashing the next morning, The Cluny 2 invite you to join London’s slowcore group deathcrash, and enjoy a night of captivating rock sounds instead.

With two EPs currently under their belt, the band are ready to crash into our ears with the intricate soundscapes they’ve been flaunting during the lead up to their debut album, Return, released in January. It’s a highly anticipated debut, as the band have been on the radar of many since touring with the highly revered Black Country, New Road, showcasing hypnotic sonics through the likes of minimalist track Bind and the sublime melancholy of People Thought My Windows Were Stars.

Support for the night is yet to be announced, but you can expect a night of depressive, entrancing rock. Is there any better way of spending Valentine’s Day? deathcrash play The Cluny 2, Newcastle on Monday 14th February. www.deathcrash.bandcamp.com

PREVIEWS

Image by Matt Crockett

COMEDY

MARK WATSON @ THE WITHAM Words: Laura Doyle Dunno ‘bout you, but contemplating the uncertainty of traversing this mortal coil is not exactly what I have in mind when I think of suitable topics for a stand-up routine.

Unfortunately, there hasn’t been much else on

the table to take inspiration from for quite a while.

There’s still a handful of comics that can really benefit from these circumstances though: Mark Watson is already known for his pessimistic outlook on life, so now it’s really his time to shine. His new show This Can’t Be It, which comes to The Witham in Barnard Castle on Thursday 10th February, isn’t for anyone prone to existential crises, because the spiral of despair with any more than one over-thinker in the room would be too much to handle. Leave it to the professionals. Thanks to the calculations of a

totally-not-dubious app, he’s worked out he’s exactly halfway through his life. Dealing with that knowledge, if accurate (doubtful), is enough to turn anyone a little paranoid. Watson has plenty of experience when it comes to anxiety, so there’s no one better to walk you through the ins and outs of dealing with your own mortality. You have to laugh, or else you’ll just end up crying.

Mark Watson performs at The Witham, Barnard Castle on Thursday 10th February. www.markwatsonthecomedian.com

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INTERVIEWS MUSIC

L-R, T-B: Frankie Jobling by DS Media, Eliza Lawson by Craig Abbott, Scruffy Bear

INDEPENDENT VENUE WEEK

CLAIRE DUPREE CHATS WITH SOME OF THE VENUES INVOLVED IN THE WEEK-LONG CELEBRATION OF GRASSROOTS MUSIC The very lifeblood of any region’s musical and cultural scene is embodied by the grassroots ecosystem; independent venues and the artists, crew and audiences which depend on them are absolutely vital to the health of a music scene, and considering the dire circumstances of the last two years, they need more help now than ever.

It’s initiatives like Independent Venue Week, which takes place across the UK from Monday 31st-Sunday 6th February, that highlight the great venues on music lovers’ doorsteps, with the hope that by shining a blazing light on them and celebrating a flurry of high profile live shows, audiences will continue to flock to them year-round. Our region is blessed with a multitude of great spaces, owned and run by passionate people who have a real dedication to the health of the music scene.

Jimmy Beck from Stockton’s KU Bar, explains why IVW is important to him. “I’m a big fan of the initiative, especially the timing of it. It’s no secret venues are not as busy after their December schedules and they find it a little risky to put on as many shows, so to help draw the fantastic talent at that time of year is great.”

Mark Elliot from North Shields venue The Engine Room explains that the community approach IVW takes has advantages for all. “We are all in this together and all impacted upon, and that is something that this government has largely failed to realise. So IVW can potentially help all of us, not just venues.”

Ben Richardson from Sunderland’s aptly named Independent is also full of praise for the programme. “IVW really helps us as a venue to celebrate the work we do year round and get more eyes and ears on

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JUST GETTING TO THE POINT WHERE WE CAN ENGAGE IN A NATIONAL CELEBRATION OF LIVE MUSIC FEELS LIKE WE’RE MOVING CLOSER TO SOME DEGREE OF NORMALITY

our programmes. In the past we’ve been involved in radio interviews and extra promo during the week, as well as having the chance to host some great live shows.”

While the last two years may have been full of uncertainty and worry, in some instances audiences have already heeded the plight of local venues, as Ben explains: “People have been particularly helpful and willing to come out to shows since we reopened last summer, despite the recent downfall in attendance with the rise in Covid cases we had some heavily supported projects in 2021.”

The region’s independent venues are rising to the challenge of programming headline-worthy shows during the week, some – like North Shields’ Engine Room – are focusing their shows on under-represented groups across all genres, while bigger spaces like The Georgian Theatre welcome pop superstars like James Bay (Friday 4th). Of particular note regionally are gigs from alt. songwriter St James Infirmary (Tuesday 1st, The Engine Room, North Shields); emerging artist Sarah Johnsone (Wednesday 2nd, Little Buildings, Newcastle); masked garage rockers Wax Heart Sodality with support from rambunctious rock ‘n’ roll band Scruffy Bear and slacker popster James Leonard Hewitson (Wednesday 2nd, The Forum Music Centre, Darlington); evocative folk musician George Boomsma, with superb support from Kate Bond and Faye Fantarrow (Thursday 3rd, Old Cinema Launderette, Durham); Teesside popsters Cherry Head, Cherry Heart and supports Jenny Lascelles and Eliza Lawson (Thursday 3rd, NE Volume Music Bar, Stockton); fuzz popsters The K’s (Friday 4th, KU Bar, Stockton); and indie rock trio Don Coyote who perform with R&B artist Frankie Jobling (Saturday 5th, Bobik’s, Newcastle).

The Georgian Theatre and Tees Music Alliance’s Paul Burns sums up the hope that many venues are feeling as they cautiously head into the new year: “Just getting to the point where we can engage in a national celebration of live music feels like we’re moving closer to some degree of normality.” www.independentvenueweek.com

INTERVIEW

FELT NOWT TIPS FOR 2022

COMEDY CO-OPERATIVE FELT NOWT GIVE US SOME TOP TIPS OF FEMALE COMEDIANS TO LOOK OUT FOR IN 2022

COMEDY

L-R: Catherine Young, Kelly Edgar We have just passed the time of year when The Lists come out. One of these lists are of the comedians to keep an eye out for over the next twelve months and, as ever, despite the incredible talent in the region, this year saw no acts from the region included.

Why? Well, it’s because we are isolated up here, and therefore easily ignored. Indeed, in what must count as a stunning oversight, despite being the BBC City Of Comedy 2022, Newcastle and Sunderland were the furthest cities (other than Inverness and Plymouth) away from a heat of the BBC New Act of the Year competition.

It certainly isn’t for lack of talent. So, recently, we at Felt Nowt (the non profit co-operative dedicated to the promotion of comedy in the North East) published our list of new local comedians to keep an eye on over the year, which included Estelle Anderson, Anja Atkinson, Omar Abid, Jack Fox, Elaine Robertson, Kelly Edgar, Catherine Young, Mike Wardley, Sam Mayes, Connor Read and Matthew McLane.

We’d like to draw your attention to the amazing female comedians on the list, particularly as our all-female stand-up gala show at Tyne Theatre & Opera House on International Women’s Day (Tuesday 8th March) is almost upon us. It’s a show where you can see all of these women and more as some of the best comedians in the region come together to raise money for Rape Crisis Tyneside and Northumberland.

If you’re a comedy fan around these parts you’ll already be familiar with the likes of Lauren Pattison from her regular TV appearances and vaunted live shows. Maybe you’ve seen Louise Young doing tour support for Alan Carr recently or caught the likes of Sammy Dobson and Zoe taking the roof off at The Stand or the new comedy club at Laurel’s Theatre in Whitley Bay. Perhaps you’ve enjoyed the left-field delight of Lauren Stone at her groundbreaking Comedy Night That Passes The Bechdel Test?

Following in the wake of these women are the next generation of great

RECENTLY, WE AT FELT NOWT PUBLISHED OUR LIST OF NEW LOCAL COMEDIANS TO KEEP AN EYE ON OVER THE YEAR acts who we strongly suggest you keep an eye out for! Like Estelle Anderson, a truly prodigious talent; living on Holy Island and still young enough to be doing her A-Levels, there’s a depth to her writing that you just don’t find in one so young. The most experienced of these acts is the deliciously devilish Anja Atkinson, who has developed into a strong headline act over the last year with her almost brutal honesty and strong punchlines. Elaine Robertson has something you don’t normally see from new acts too; the ability to go where the gig takes her. Elaine has great material but isn’t confined by it, and is able to adlib like an act with many years under their belt – she has definite star quality. Sam Mayes was due to take part in Best In Class, the showcase of the best working class acts at the Edinburgh Fringe, before ‘All This’, and it was a spot she’d thoroughly earned; an effervescent performer, she’s just loads of fun to watch. Catherine Young is wise beyond her comedy years – probably the most adaptable act here, she can play to arts centre audiences and in boisterous working men’s clubs just the same, she’s a joyful act; a dream for both bookers and audiences. Rounding out the list is Kelly Edgar, the newest of our tips but a real talent; it’s rare an act so new is so at home onstage, able to take her time and draw audiences in as well as having a genuinely individual point of view.

With these women, and the many other top up-and-comers you’ll find at the multitude of comedy shows across the region, it’s fair to say we are in safe hands! www.feltnowt.co.uk

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INTERVIEW

MUSIC

Image by Joel Barwick

PHILIP JONATHAN JAKE ANDERSON TALKS TO THE NORTHUMBERLAND-BASED CINEMATIC FOLK ARTIST ABOUT THE REALISATION OF HIS DEBUT EP A debut is always a tricky thing to nail, first impressions are everything after all, however Northumberland-based artist Philip Jonathan’s Pluma EP is a magnificent first statement; it’s a focused project which explores feelings of hope and loss with gorgeous ambient, folk-inspired instrumentation.

Philip is classically trained and has played with the likes of The Lamplight Poet and Tom Joshua, and these experiences had a big influence on how he has approached Pluma. “Between my dad being a huge classical music enthusiast and the pieces I was learning, I didn’t listen to much else until I got to university. They share a value for storytelling through music. Before arranging a track, I’ll always ask myself – what is the song trying to say? Performing in orchestras taught me to listen to what was around me – how each part can serve the song; and that silence can be just as powerful as playing.”

The storytelling that Jonathan has incorporated into his poetic lyricism and cinematic soundscapes gives the music a theatrical edge.

I mentioned to Philip that one of the EP’s highlights, Before The Dawn, conjured the image of ‘the end of an indie film, protagonist looking over the railing of a pier, having just gone through the greatest character arc ever’. “That’s a great picture! I definitely see my songs

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PERFORMING IN ORCHESTRAS TAUGHT ME TO LISTEN TO WHAT WAS AROUND ME – HOW EACH PART CAN SERVE THE SONG; AND THAT SILENCE CAN BE JUST AS POWERFUL AS PLAYING

visually, so I love it when people share what they see too. I love stories, particularly when authors such as Steven Erikson or filmmakers like Wes Anderson are able to communicate complex and nuanced themes without it being too in-your-face.”

Philip talked in more detail about the imagery he invoked as part of the project. “The tie for me between a feather and the concept of hope goes back some way. Chokehold came about through the grief of losing a close friend who passed from cancer a few years ago. As he got more unwell, he kept on seeing feathers everywhere, and this prompted him each time to remember things to be thankful for and to live in the moment. He was someone of faith and for him, existence was bigger than the life lived here, so he had a different perspective. I worked the feather into most of the music videos. Working with Goutham on the album art was an important part of developing this idea again at the end – he suggested having a flower bursting from the end of the feather. Even after the feather has fallen from the bird: its story isn’t over yet.”

Despite just realising his debut, Philip is already back in the studio working on his next EP. “I’ve got a few different directions I want to go in. I think I’ve still got more to explore within the ‘cinematic folk’ genre, but I’d like to weave elements of other artists I love. Most of the tracks on Pluma are very layered, so I’ll also be looking to restrict myself on a couple of tracks and experiment with silence and space a bit more.”

Philip Jonathan releases Pluma on 11th February, he plays a launch gig at North Shields’ The Engine Room on Friday 18th February. www.facebook.com/philipjonathanmusic

INTERVIEW

ERLAND COOPER

AHEAD OF A PERFORMANCE AT SAGE GATESHEAD THIS MONTH, JONATHAN HORNER TALKS TO SCOTTISH COMPOSER AND MULTI-INSTRUMENTALIST ERLAND COOPER ABOUT HIS COMPELLING SCORE FOR 1928 SILENT FILM, THE WIND

MUSIC

Erland Cooper with the women of the Chorus of Opera North by Tom Arber Erland Cooper’s latest project is a predictably unpredictable piece of audiovisual art to be sung by the women of the Chorus of Opera North. He has written a new live score for the elemental 1928 silent film The Wind, and the show receives its world premiere at Sage Gateshead on Thursday 24th February.

When I speak to the Scottish composer and multi-instrumentalist, there’s just over a month to go before the big night, and Cooper is deep in preparation. He is in his studio in the bowels of a basement which he describes as “like a little boat, a ferry.” He laughs. “I forget I’m in East London but then I emerge and it’s a shock, like dropping into the sea.”

The Wind may seem an obscure and disparate choice for some but to Cooper, it made perfect sense. “Growing up on Orkney, surrounded by wild weather, I can relate to the wild Mojave wind. When shooting, they had 20 aeronautic engines to whip up a storm. To mimic this, I got some industrial fans and created a machine I’m jokingly calling Ventovox, nodding to Ultravox and the Italian for wind. The sound is torturous, wild, brilliant, exciting. Hopefully we’ll play it on stage.”

Hold onto your hats, those in the first few rows!

It becomes clear as we chat that silent film has a special place in his catalogue of passions. “This is a requiem to a dying artform. Despite being one of the greats, The Wind wasn’t appreciated! It came at the end of silent films and people wanted talkies. At the time, they would

AT THE TIME, THEY WOULD HAVE WANTED BOMBASTIC PERCUSSION AND TIMPANI AND BRASS SECTIONS AND SWEEPING STRING LINES. MY SCORE IS MORE OF A TONE POEM

have wanted bombastic percussion and timpani and brass sections and sweeping string lines. My score is more of a tone poem. I set the manifesto to create it with predominantly the human voice. There’s a motif called the Mojave Chant. The choir sing ‘hee hoo haa’.” He breaks into a primal grunting and gurning and for an instant I’m in the shack with Lillian Gish, the wind battering the beams. He laughs and then falls into deep thought when asked what the original team would have made of his interpretation. “They might enjoy or be horrified by the musical recreation of their set, having flashbacks to those huge engines!

They might think we’d captured the essence of what they went through but whether they’d have liked it...who knows?”

To further compound the artist’s unpredictability, we veer off-topic and end up chatting about Carve The Runes And Then Be Content With Silence, an album which Cooper recorded, transferred to ¼ inch tape and then promptly buried somewhere in Orkney, deleting all other copies. “I get a text message every so often from my father on the island saying ‘all resting well. Nobody has found it.’ Oh and in telling you that, I’ve given away another clue!” So all I need to do is go to Orkney and follow your father around? “Ha! He would be so angry with me!” He punctuates his laughter with an ascending flourish on the piano. An endearing quirk which acts like body language. “I’d love for someone to find it so we could share it together but I have to be patient. That’s the whole point. Someone said to me recently ‘What time will you be here, so my heart can prepare.’ That comes from a children’s book, but it sums up the magical experience of waiting perfectly.”

The Wind – live score by Erland Cooper featuring the Chorus of Opera North is performed at Sage Gateshead on Thursday 24th February. www.erlandcooper.com

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COVER FEATURE

ART & LIT

LISETTE AUTON

LIZZIE LOVEJOY TALKS TO NORTHERN WRITER, ACTIVIST AND CREATIVE LISETTE AUTON ABOUT HER INSPIRATIONAL DEBUT NOVEL IMAGE BY ROB IRISH “I wanted to write about disabled people having adventures. Not being second best, not being a villain…I want it to be kind and fun.”

The Secret of Haven Point is the exciting debut novel by Darlingtonbased writer and creative practitioner Lisette Auton. She continues: “[I wanted it] to have the grittiness of the places that we love and know up North. And I wanted to write about a captain with a kitten in his beard! Then the book just happened.”

With clear focus on both Northern and disabled identity, Lisette has written a powerful book about a daring and adventurous community of ‘wrecklings’. I wanted to know more about her

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decision to make everything so clearly local, especially in her use of dialect and colloquialisms. “I realised that we speak in patterns, we have a lyricalness to our language. I wondered if I could put in the pattern from our language and the odd words. Then maybe we’ll know it’s from us.

“I did get told, right from the beginning, that it might be harder to sell to other countries and places. So there was a point, I suppose, where I could have gone ‘no, I’ll make it more universal’ but I can’t.

It’s my voice. It’s how I write. It’s what I love. That was a definite choice I made. Because our voice isn’t in stories, is it? Our voice

COVER FEATURE

BELONGING IS KIND OF A UNIVERSAL THEME, SOMETHING THAT WE ALL SEARCH FOR. I DEFINITELY FOUND A SENSE OF BELONGING AND A FOUND-FAMILY WITHIN THE DISABLED COMMUNITY, WHERE YOU DON’T HAVE TO DO ALL THE EXPLAINING FIRST. IT’S JUST LIVED AND UNDERSTOOD

should be there. Because it’s rich and beautiful.”

In spite of its clear Northern ties and celebration of our local culture, it’s hard to pinpoint exactly where this novel takes place. Many signs point to South Shields, but other context clues come from the Tees mouth. So how real is Haven Point? “It was very real to start off with. The coast was my childhood, my stomping ground. And then when I came to writing, it felt like sacrilege to change anything. My editor was like, ‘why have we got two chapters of them walking?’ I said ‘they need to get from here to there’. She was like, ‘can’t you just move it?’ That was a really liberating moment.”

The book is filled with complex, wonderful characters, both on land and at sea. One such character is the wise “not-Mam” Ephyra. “She’s probably an amalgamation of loads of strong Northern women.

Grandma and Nana, and then women in positions of power. In the North East you’ve got a lot of women in leading creative roles. We’ve got this thing of this heart, this soul, this beauty. This fierce, hard fought wisdom. When I started getting involved in disability arts, there were lots of women who are a bit older than me who really took me under their wing. They’re all hard, battle-scarred women who are just the kindest, funniest, slightly scary people that I’ve ever met.”

Almost every character within this story is disabled, both in ways that are visible and invisible. It is refreshing to find a story that lets

disabled characters use their voice, but also lets them be flawed, well-rounded and real. What’s more, their disabilities are talked about as casually as eye colour. I asked Lisette about the decisions around what language she chose to use.

“I’m really nervous about this going out in the world. I think if there were loads of books by disabled people out there with decent disabled characters, then I would feel alright. Because, at the end of the day, I can choose the way that I describe myself…I just hope that people know it’s coming from a place of love.

“I think for me, being disabled is a massive part of my identity. But it’s a political part of my identity. There are barriers to things.

They’re not my fault or my body’s fault. They are barriers that societies put in the way. And I want me and my friends to be able to access everything. So I suppose this wasn’t impairment-led, it was more about the ‘whys’ of being disabled. I think it’s really important that we’re allowed to make choices about self-description.”

Having experienced a system which was not designed with her in mind, Lisette reflects on the language placed onto disabled people, and hopes that creative works like her book can be a part of dismantling that same system. “There’s blame and shame and wrongness in language use. I think in most of the discourse about disability, it’s a charity model. It’s ‘Oh bless, what can we do to help the poor disabled people?’ Or a medical model. ‘What’s wrong with them? How can we fix them?’ In this book, nobody needs fixing.

They just are. They have arguments, they fall out and they do all the stuff that you just do when you’re human. But without being fixed, or being told they’re wrong.”

Ultimately, The Secret of Haven Point is a book about a foundfamily. Discovering somewhere that you can call your home, with people that you can call your own. Something that has always been vital to Northern people and people with disabilities; two groups which this book champions for the complicated, wonderful people they are.

“Belonging is kind of a universal theme, something that we all search for. My family are absolutely and utterly glorious. When I became disabled, because they weren’t, there were a lot of conversations and questions and things that I couldn’t have with them. So I definitely found a sense of belonging and a found-family within the disabled community, where you don’t have to do all the explaining first. It’s just lived and understood.”

The Secret of Haven Point by Lisette Auton is published by Puffin on 3rd February. www.lisetteauton.co.uk

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INTERVIEW

MUSIC

L-R, T-B: Chumbo, Jasmine Whalley from Jasmine Quintet, Madeleine Smyth, RepeatBeatPoet

CREATE:LIVE

CLAIRE DUPREE MEETS THE YOUNG PROMOTERS WHO, THANKS TO GENERATOR’S CREATE:LIVE PROJECT, ARE TAKING THE REGION’S VENUES BY STORM Aiming to encourage and support the next generation of live music promoters in the North East, Generator’s Youth Music funded Create:Live programme will this month begin to unleash some exciting and creative line-ups on venues across the region.

Promoting live music can often be a difficult task (worldwide pandemic notwithstanding), and young people face many barriers when attempting to navigate the industry. Create:Live was set up last year in order to create pathways into the industry via workshops, masterclasses, mentoring and networking, and to enable a group of young people to get themselves established as grassroots promoters.

“A highlight for me has been watching the ideas develop throughout the programme, as participants learn more about the industry, they’ve been applying that knowledge to their event plans.” Says Helen Walkinshaw, head of creative development at Generator. “Also, the level of commitment and ability to overcome challenges and adapt, despite the live music sector being so uncertain for the duration of the programme! I’m really excited to go to all the shows and see what they all do beyond the programme!”

Among the cohort for the Create:Live programme is Grace Stubbings from alt. rockers Venus Grrrls, who is also a member of Generator’s Youth Advisory Board. “I thought it would be a great networking opportunity, to meet other young promoters in the area and to immerse myself in the eclectic scene that is going on in the North East. This past year, we have had workshops via Zoom with a variety of people in the music and events industry, it has been really insightful and it was very informative for my own creative practice.”

Grace’s event, which takes place at The Studio in Hartlepool on

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IT HAS BEEN REALLY INSIGHTFUL AND IT WAS VERY INFORMATIVE FOR MY OWN CREATIVE PRACTICE

Saturday 9th April, is an excellent example of the creativity and innovation Create:Live has fostered, celebrating nature and our place within it. She explains the ideas behind it: “My plan is to create an immersive art installation with cross-disciplinary elements at the event. There will be live music from electronic musicians Me Lost Me and Madeleine Smyth, some local artwork on display which explore themes of nature, surveillance and technology, with the addition of some augmented reality that people can access on their phone if they want to. I am hoping to get some local florists involved to help me design the stage area.”

Promoting her shows under the Interchanges moniker, Evie Hill’s event at The Cluny 2, Newcastle on Sunday 27th February aims to expose the audience to refreshing and vibrant genres and encourage innovation. “The concept of Interchanges came about after a conversation between friends about the points of crossover between different genres, and the fact that genres such as jazz and hip-hop share a similar musical trajectory and history. It feels like many audiences and artists don’t often collaborate because of the boundaries of genre, so Interchanges is a way for two sides of a musical coin to come together and discover something new!”

The line-up includes MF Doom-inspired jazz instrumentalists Jasmine Quintet, who will be joined by MC and hip-hop artist Holly Lightly Flo, and North East beatmakers Chumbo working alongside hip-hop artist and broadcaster Repeat Beat Poet. “Understanding the musical trajectories of different genres allows us to see that the binaries are a lot more blurred than we might think, and that we all owe something to an artist we may not even realise has influenced us.”

She explains.

Further events will take place across the North East throughout the Spring, keep an eye on social media and Generator’s website for more info. www.generator.org.uk

INTERVIEW

TOM A SMITH HOPE LYNES SPEAKS TO RISING STAR TOM A SMITH ABOUT HIS DEBUT EP

MUSIC

Image by TyneSight Photography

I SEE IT AS A WAY TO PROVE THAT I’M QUITE A DECENT CREATOR AS WELL. IT’S REALLY NICE TO BE ABLE TO SHOW THE WORLD WHAT I CAN DO The rise of Tom A Smith has been nothing but incredible. Armed with a backlog of covers, the Sunderland sensation played his first gig aged eight, and became Kendal Calling’s youngest ever performer (under the moniker of Tom ‘Mouse’ Smith). Now at seventeen, freshly and more maturely re-christened, the performer is ready to show the world what he’s capable of on his debut EP. With a newfound confidence and maturity to his sound, the young musical polymath is keen to prove his mettle. “When I was young I based everything around covers, I was a young lad doing covers of Led Zeppelin, which was great for the time because it got me so many incredible opportunities. But with this EP, I see it as a way to prove that I’m quite a decent creator as well. It’s really nice to be able to show the world what I can do.”

Tom has had a crazy response to debut single Wolves, which came out in late 2021 and garnered airplay on BBC Radio 1 via Jack Saunders, Radio X and BBC Introducing, but he’s more excited about soundtracking the footie. “The Radio 1 thing is absolutely mental – Jack Saunders is phenomenal – but I am a massive football fan, so to be in the background of the Brentford highlights was pretty cool! I’m completely blown away, couldn’t have asked for more really and it

makes you more excited for the next thing. It’s been pretty tough to wrap my head around things to be honest! It’s all been a bit mad!”

As the lead track on the new EP, Wolves sets the tone for the rest of the release, which is full of indie rock grandeur. “Wolves has got that very nostalgic Cure sound, with the chorusy guitars,” he says, admitting Robert Smith and The Cure are firm heroes. The rest of the EP explores other styles: Convince Yourself feels like a darker Arctic Monkeys, showing off Tom’s powerful vocal range; while the lighter indie rock of recent single Dragonfly has a propulsive and engaging sound. The final track, Crucify Me, will impressively be the original home demo, demonstrating a beautifully mellow side to the versatile songwriter. “I think it’s really important to show the authenticity, and how natural the music is and that it is just myself.” He says.

While he may be courting national radio airplay and getting high profile live shows under his belt, Tom’s keen to keep his feet on the ground – albeit with a couple of ambitions on his wishlist. “The one thing that’s important to me is not to just be a massive touring artist – of course that would be lovely – but to have maybe Paul McCartney or Noel Gallagher listen to one of my songs and know who I was!”

Tom A Smith releases his debut EP on 25th February. He plays Old Cinema Launderette, Durham with support from Luke Royalty on Friday 4th February. www.tomasmithmusic.com

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INTERVIEW

NORTHERING

ALI WELFORD TALKS TO MAIUS MOLLIS AND ANNA HUGHES ABOUT THEIR SPECTRAL FOLK SOUND

MUSIC

Image by Megan Savage

WE’RE DRAWN MORE TOWARDS CRYPTIC WORDS – THEIR BEAUTY, AND THE IMAGERY THEY CREATE – THAN TO LITERAL TALES A mesmerizing marriage of words, harmony and sonic adventure, Maius Mollis and Anna Hughes’ burgeoning partnership is generating some of the region’s outstanding emerging sounds. As Northering, the pair impart their own characteristic spin on folk’s guiding contours, belying both their years and listener expectations with a captivating, symbiotic brew of spectral drone, starkly aligned guitar and eclectic found sound samples.

“We met while studying at Newcastle University, and although we didn’t really know each other we decided to move in together,” Anna reveals. “Gradually we realised that we liked the way each other worked and what we were doing musically, and that’s where our friendship really started – through playing and living together at the same time.”

Unusually among students studying for a Folk and Traditional Music degree, both cite roots in classical music as opposed to a conventional family folk heritage. “I think that was one of the reasons why we got on,” Maius offers. “For us, it was more about a general love of stories, experimenting and pushing the boundaries of what folk music can be than any kind of tradition.”

“A lot of our songs have an element of darkness, for want of a better word, and I think the language of that traditional repertoire is one of the things that pushes us away,” Anna explains. “We’re drawn more towards cryptic words – their beauty, and the imagery they create – than to literal tales,” Maius continues: “It’s also important to us that

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they have some sort of contemporary relevance; that they exist in a space that’s relevant to an audience here and now.”

For those yet to experience their synergy live, this month’s debut single Ghosts offers an effective introduction to Northering’s craft.

Adapted from a poem by Robert W. Service, the song’s eerie, rumbling ambience was overseen by producer Lisa Murphy – a rewarding, collaborative session, albeit one which presented challenges. “We recorded live in a really small studio, so we knew we’d have trouble with the bleed from Anna’s harmonium,” Maius recalls.

“It’s such a loud instrument – we were only a few feet apart, but we ended up having to build a wall around me, which meant that we couldn’t use our usual cues.” Issue resolved, their delight with the end product is evident. “The sound came out exactly as we wanted it,” Anna confirms. “There’s always a feeling in the room when we play Ghosts, and it’s often a song that people come up to us and ask about after gigs. I guess we thought that since they like it, they can have it!”

While each juggles Northering with a clutch of concurrent projects, both feel the duo represents a unique cog in their creative endeavours – not least with the more collaborative writing process they’ve adopted of late.

“I think we’ve developed a level of trust which allows us to be quite brave,” Maius concludes. “I’m definitely pushing myself more than I ever would do solo in terms of polyrhythms and time signatures, and lyrically we allow each other to be quite vulnerable too.”

“It’s unfiltered,” agrees Anna. “When you write on your own it’s tempting to self-edit to make everything sound poetic or beautiful, but we tend to keep things as they are. The earliest ideas are often the ones which stay.”

Northering’s debut single Ghosts is released on Friday 25th February. www.facebook.com/northering

INTERVIEW

STAGE

Artwork by David McClure at Velcrobelly

THE INVISIBLE MAN

HELEN REDFERN CHATS WITH DIRECTOR ANNA GIRVAN ABOUT NORTHERN STAGE’S ELECTRIFYING NEW PRODUCTION, WHICH EXPLORES THEMES OF EXPLOITATION, IDENTITY AND ESTABLISHMENT POWER AND CORRUPTION “What would I do if I were invisible? How does it feel to be treated as invisible by society in the UK in 2022?”

Ahead of the Northern Stage adaptation of HG Wells’ sci-fi classic The Invisible Man, director Anna Girvan has been delving into these questions raised by one of the most iconic characters in horror fiction, alongside writer Philip Correia. This contemporary re-working of the well-known Gothic horror tale seeks to deliver something new and fresh that audiences weren’t expecting. Anna Girvan reveals: “The set will have a modern Gothic feel with a starkness in its design that alludes to the original and that suspenseful tension of not being quite sure who to believe and what to believe.” Relishing the clever and inventive ingenuity required to convey invisibility to an audience, she explains: “Creating an invisible presence on stage is of course one of the hot topics with the light and sound designer, and we’ve been playing with sound, which is not always what it seems.”

Northern Stage has cast four early career North East actors as part of its ongoing commitment to supporting and developing new talent in the region. Daniel Watson will play Griffin, a frustrated young man from the North East with a troubled past and violent thoughts, who claims to have discovered the power of invisibility; Kate Louise Okello plays Dr Sara Kemp, a promising young therapist; Jack Fairley and Izzy Ions then take on all the other characters as the lens through which we see the main protagonists.

Director Anna Girvan returns to her roots in the North East to work

THIS IS ONE OF THOSE STORIES WHERE THE VOICE FEELS QUITE STRONGLY FROM THE NORTH EAST, BUT ANYONE FROM OTHER REGIONS WOULD BE ABLE TO IDENTIFY, WHERE THERE ARE LOTS OF LITTLE POCKETS OF SOCIETY THAT HAVE BEEN LEFT BEHIND OR FEEL INVISIBLE

with this predominantly North East cast and creative team. When she was starting out in theatre, she didn’t want to get “sucked into this London-centric bubble where the regions get so easily forgotten” and yet discovered how hard it is to forge a career outside of the capital.

“Quite a lot of the time, when you’re working in London, you can be the only Northern voice in the room and you feel like you’re coming from quite a different perspective, and so this production feels quite special.”

Touring the region after its Northern Stage debut, Anna believes a wider audience further afield will relate to the production. “This is one of those stories where the voice feels quite strongly from the North East, but anyone from other regions would be able to identify, where there are lots of little pockets of society that have been left behind or feel invisible.”

As for Griffin, who will believe someone like him? He’s uneducated, invisible in society. He must be mad. After all, how could someone like him achieve these scientific heights? For Anna, the play reveals that “people from those places do have the capability to do remarkable things, they just don’t have the opportunity or anyone having the belief in them.”

So what about the insidious invisible presence that has changed the world today in ways we could not possibly have conceived? I wonder how the pandemic has framed this production, beyond the obvious ever-increasing levels of uncertainty and disruption. Now that science fiction has crashed into reality, is it so crazy to believe in The Invisible Man? The Invisible Man is performed at Northern Stage, Newcastle from Tuesday 1st-Saturday 19th February before touring the region at Phoenix Theatre, Blyth (Thursday 24th February); Gala Durham (Tuesday 1st March); Queen’s Hall, Hexham (Wednesday 2nd March); The Witham, Barnard Castle (Thursday 3rd March); Gosforth Civic Theatre, Newcastle (Saturday 12th March) and The Exchange, North Shields (Saturday 19th March). www.northernstage.co.uk

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INTERVIEW

MUSIC

THANK

MUCH OF THIS ALBUM STEMS FROM A KIND OF SEMI-PSEUDO AWAKENING I’VE HAD IN RECENT YEARS

ALI WELFORD TALKS THEOLOGY, CHAOS AND THEIR JOURNEY TO SELF-AWARENESS WITH LEEDS’ NOISE QUINTET THANK Sarah Flower Adams’ 19th-century Christian hymn Nearer My God To Thee has a history as colourful as it is long, from its use in CNN’s notorious Turner Doomsday Video – the broadcast prepared to augur the end of the world – to its alleged airing as the Titanic disappeared beneath the North Atlantic waves. Translated roughly from Latin, its central refrain, “at the moment of death, my power comes from heaven,” now has the distinction of spearheading Thoughtless Cruelty, the full-length debut from Leeds noise quintet Thank.

“I wouldn’t describe myself as a religious person, but it’s always been a theme in Thank and that song is a really distilled example,” offers vocalist and chief songwriter Freddy Vinehill-Cliffe. “Much of this album stems from a kind of semi-pseudo awakening I’ve had in recent years. We’re approaching a point where society has largely abandoned religion, and without it I often wonder what’s left. What is there to give people’s lives meaning, or to connect with those around them? A friend of mine describes Simpsons quotes as the new scripture – a level we can relate to each other on – and I found it an interesting idea to pursue.”

Together with apocalyptic fixations and liberal complacency’s enabling of the far-right, this “spiritual confusion” forms an intense thematic patchwork across Thoughtless Cruelty’s nine tracks, expressed via a jarring cacophony of doom-laden guitars, pulverising electronics and Freddy’s cathartic, often unhinged vocal delivery.

“We had a lot of working titles relating to those themes – Revised Standard Bible, Turner Doomsday Video – but they all felt blunt and clumsy,” he recalls. “Ultimately, a lot of the lyrics are examinations of the different ways people are cruel to each other. We did briefly ponder the title The Thoughtless Cruelty of Cowards and Cunts,

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though that seemed wanky and pretentious. That, and that fact that some might not like the word ‘cunts.’”

Rather than shooting for 6Music airtime, this reticence arose from wider reflections over what Freddy and his bandmates believe Thank should represent. “I actually ended up redrafting a handful of lyrics, because we specifically didn’t want this to be a violent album,” he admits. “A turning point was a really chaotic show we played at Tramlines in Sheffield a few years back. Theo’s equipment was malfunctioning so he spent the entire gig punching and smashing it to pieces, and I was choking myself with the mic cable and drawing blood – stuff like that which seemed cool at the time. Somebody came up to us afterwards and said it was the most violent thing he’d ever seen – and although it was meant as a compliment we realised we didn’t want to be pegged as that kind of band. That’s not who we are.”

It’s a wiser, more self-aware Thank, then, who’ll rock up at Little Buildings this month, yet their maiden outing in Newcastle nevertheless promises to be anything but predictable. “We’ve only played one gig – with Gnod, last November – since COVID, and even now there are songs we’re yet to play together in the same room,” Freddy reveals. “All our previous stuff was recorded live, but in a way working remotely has felt liberating, like we’ve no obligation to recreate these songs faithfully on-stage. I’ll be playing guitar for the first time too – we’ve come a long way from that Tramlines spectacle!”

Thank’s debut album Thoughtless Cruelty is released on Friday 4th February via Box Records. The band visit Little Buildings, Newcastle on Wednesday 22nd February. www.thankleeds.bandcamp.com

INTERVIEW

MARK JAMES HAMMOND & THE SLENDER BLIND

DAMIAN ROBINSON CHATS WITH MARK JAMES HAMMOND ABOUT VENTURING TO NEW AND INTERESTING PLACES ON HIS NEW RELEASE

MUSIC

Image by Jason Hayles

THERE’S A LOT OF DISSONANCE ON THE RECORD AND AT TIMES IT HAS BEEN PAINFUL STUFF Returning almost four years to the day after NARC. labelled their dream pop-inspired debut album, Nothing Stays Put, as ‘classy and contemplative’, 2022 sees the Mark James Hammond and The Slender Blind return with a new album and an almost entirely new musical styling. Moving away from some of the more ambient moments of their debut, MJH&TSB’s new album, Cast Off, lands squarely inside the hard rock/metal genre – varying the atmosphere of their music whilst pushing the lush melodies of their debut into new and interesting places.

“Yeah, it is different,” agrees Hammond when asked about the project’s new direction, “on initial listening I thought that if you stood the new album next to the first album it sounded very different and if anything, the first record was maybe more dream pop whereas this is the opposite.”

Heading towards the end of a five-year training course in psychotherapy, Hammond credits some of the shift in sound down to his experience in higher education, and its impact on his creativity. “The training has definitely taken my head to places that it didn’t go with the first album, and interestingly I wrote different pieces of this album during different parts of the course, so I think there’s a theme which I can hear. For me, different parts of the studying triggered different emotions, emotions which seemed to want to express themselves differently though mostly it came out as heavy guitar music and the sounds of some of the bands I listened to

when I was younger, like Alice in Chains and the Deftones.”

Driven throughout by rocky riffs and an aggressive guitar performance, Cast Off is the work of an artist using heavy musical textures to communicate the type of deep feelings that often want to stay hidden. Standout tracks, including the Stone Temple Pilots dirge/gutter rocker No Need and the riff-heavy opener The Night Hag (a track about reoccurring nightmares relating to the death of Hammond’s mum), are brutal in parts and clearly the sound of an artist bearing his soul in service to his art – a process Hammond agrees is difficult but ultimately artistically beneficial: “There’s a lot of dissonance on the record and at times it has been painful stuff, and maybe it’s safer to not bother, but I believe that if you’re willing to go there and put the hard work in it’ll be the best work.”

Yet for all of its heaviness and brutality, scratch the surface of Cast Off and you’ll start to hear echoes from the MJH&TSB debut; mid-album track Kill Yr Darlings draws on dreamy electronica, while album end point He Likes Vonnegut returns MJH&TSB to their original dream pop sound of gentle guitars and sugar-coated melodies, with the two releases drawing on similar messages and intent. As Hammond himself signs off with: “At first the two albums sounded very different – but after a few listens I can hear more and more similarities. The first album is reflective in parts and so is this, it’s just reflective in different ways.”

Mark James Hammond & The Slender Blind release Cast Off on 25th February. www.facebook.com/mjhtheslenderblind

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INTERVIEW

INKYLAB

LAURA DOYLE FINDS OUT MORE ABOUT THE PUBLISHING COMPANY DRIVEN BY THE DESIRE TO SHOWCASE COMPELLING, UNIQUE LITERATURE WHILE ALSO GIVING NORTHERN WRITERS A VOICE

ART & LIT

InkyLab’s editor, Gareth Bartaby

WITH EACH ANTHOLOGY THEME ACTING AS A SPRINGBOARD OF INSPIRATION, THE POOL OF TALENT FROM WHICH INKYLAB DRAWS IS RICH INDEED For every Stephen King or George R. R. Martin, there are thousands of writers left by the wayside unable to get a word in edgeways at publishers unmotivated to take a risk on potential. Seeking publication can be a disheartening process for any writer, but Newcastle-based publishers InkyLab sought to make life a little easier for North East creatives with their refreshingly welcome attitude to storytelling, as editor Gareth Bartaby explains.

“Publishers generally aren’t prepared to put something out there that they don’t know exactly where it would fit in a niche. People are smart enough to know what they like, and they read it. If we want to read it, we’re prepared to take a chance on it.”

Since its establishment in 2019, InkyLab has been proactive in its methods to provide platforms for aspiring and out-of-the-box writers, and getting the creative juices flowing with regular opportunities. In keeping with their eschewing of genres and definitions, they began a tradition of anthologies in which any local writer of any discipline can apply to appear. Each edition gets a theme, which acts as its title as well as pretty much the only submission criteria.

“The themes are very broad, they’re basically just jumping off points.

Our first few themes were what defined us as InkyLab: the North East itself, writing and reading, and being off the beaten track. Now, it could be anything really. At the start of each anthology we’ll have a quote… it could be anything that anyone has said that we’ve found interesting. They’re not necessarily anything profound, just something that’s made us think.”

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With each anthology theme acting as a springboard of inspiration, the pool of talent from which InkyLab draws is rich indeed. The latest edition, Science vs. Superstition, leaves a lot to the imagination. It has its roots in an unusual conversation between parents on the school run, and the revelation that many still look to supernatural reasons to explain what others would chalk up to coincidence. Origins be damned, however, because it’s up to InkyLab’s contributors to do with this theme what they will. They are, as ever, up to the challenge.

“It’s been great to have a theme to spark my creativity,” explains emerging writer Jane Carnaffan, “Being a writer for InkyLab has also given me the opportunity to read fellow writers’ work on the same theme and to see where they’ve taken it.”

Fellow contributor Chris Miller speaks as highly of Inkylab: “They practice what they preach. Knowing that they are genuinely open to a very broad range of styles and genres means that you can focus on trying to make your writing as interesting and good as you can without worrying about trying to make it fit a particular market or tickle the fancy of an unknown gatekeeper.”

K Weissman, a being of few words outside of his published works, offers brief but still powerful praise, calling the anthologies “an impetus to actually sitting down and writing.”

This is a publishing company driven by the desire to showcase compelling, unique literature, rather than a concern of what will or won’t sell. Thanks to InkyLab, we will continue to read stories that might otherwise never see the light of day, but which will now be open to an audience who can truly appreciate that which is indefinable.

Science vs Superstition is released via InkyLab on Monday 28th February. www.inkylabpress.com

INTERVIEW

MUSIC

HEAL & HARROW

Image by Elly Lucas

LUKE WALLER DISCOVERS WHY SCOTTISH FOLK DUO RACHEL NEWTON AND LAUREN MACCOLL HAVE DRAWN INSPIRATION FROM THE HORRORS OF THE BRITISH WITCH TRIALS FOR THEIR NEW PROJECT, HEAL & HARROW For a period spanning hundreds of years, witch trials and the executions of the accused were common occurrences across much of Europe. In Britain, and in Scotland in particular, many thousands were tried, tortured and killed, until the practice faded in the early eighteenth century.

Almost three hundred years on, a Scottish duo, Rachel Newton and Lauren MacColl, both well-known and respected folk musicians in their own right, have come together to begin their latest undertaking. “Heal & Harrow is a multi-disciplinary project that pays tribute to Scottish women persecuted as witches in the sixteenth and seventeenth centuries while also exploring traditions and beliefs in the supernatural.” They explain.

As a multi-disciplinary project, Heal & Harrow explores its challenging theme from more than one angle, and is the handiwork of a number of influential Scottish women. “We commissioned author Màiri Kidd to write ten stories based on the lives of ten different women. These stories inspired our music, which in turn has informed a specially commissioned film by Alison Piper, which will be part of our live show.”

The project’s album is due for release on 4th February, and debut single, Lilias, is an enticing precursor. Musically, it’s a mixture of folk and modern electronic music, perhaps reflecting its subject matter’s enduring pertinence. “We were lucky to have the time and space in the studio to be quite experimental with sounds and textures.”

Rachel Newton explains. “We both have a very solid grounding in

THESE PEOPLE, MOSTLY WOMEN, SUFFERED A GRAVE MISCARRIAGE OF JUSTICE AND WE FEEL IT’S IMPORTANT TO REMEMBER THEM AND TO BE MORE AWARE OF WHAT TOOK PLACE IN OUR PAST

traditional Scottish music, but also enjoy exploring other avenues with our music. We worked with producer Andy Bell and recorded at Black Bay Studio on Great Bernera in the Outer Hebrides. It was a very special place to make the album.”

Lyrically, the piece tells the tragic tale of Lilias Adie, who lived from around 1640 until 1704. “Lilias was accused of witchcraft by a neighbour, imprisoned and interrogated for four weeks. She confessed, but died before trial, giving the authorities the unusual challenge of disposing of the remains of a witch who had not been condemned to the fire. They buried Lilias under a slab of stone in the intertidal space of Torryburn Bay. In the 1800s, her grave was disturbed by curio hunters and the remains eventually lost.”

Currently, there is a campaign underway in Scotland for a legal pardon, apology and monument to the victims of the country’s witch trials, of which the people behind Heal & Harrow are supportive. “These people, mostly women, suffered a grave miscarriage of justice and we feel it’s important to remember them and to be more aware of what took place in our past.”

After such a long period of time, some may ask how this terrible piece of history still bears relevance. Witch trials are common subjects of study, often via modern feminist perspectives, and Rachel explains that there are lessons to be learned from the past in order to bring about change: “It’s worth noting that witch trials still take place in some parts of the world, and it’s often the most vulnerable in society that suffer.”

This month Heal & Harrow will be touring the UK, with their concert at Sage Gateshead on Saturday 12th February their first in England. Their set will include music from previous endeavours, followed by a full performance of their new album, alongside its accompanying film.

Heal & Harrow perform at Sage Gateshead on Saturday 12th February. Their self-titled debut album is released on 5th February. www.healandharrow.com

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INTERVIEW

MUSIC

REN LAWTON

DAMIAN ROBINSON TALKS TO NEWCASTLE-BASED SONGWRITER REN LAWTON ABOUT THE MATURE LYRICISM AND WARM AMBIENCE ON HIS DEBUT RELEASE

Melding intimate lyrics with the type of gentle production that wraps around you and keeps you warm, Today Today Tomorrow, the new album by Newcastle-based singer-songwriter Ren Lawton, may well be a micro encapsulation of the beliefs and values of the North.

Brave and ambitious, yet demonstrating stoic levels of privacy and humility, Today Today Tomorrow breezes into the room with the ambience of a warm Northumberland evening; seeking to find new friends and make strong connections, whilst never looking to push its own agenda or drive up its own uniqueness.

Never one to force his music to the front of the queue, even encouraging Lawton to blow his own trumpet about the concept and intent for the album proves difficult; “On its own the words ‘Today Today Tomorrow’ can be thought provoking and confusing.

It’s not meant to mean anything really. If you listen to those words in the context of the song they come from then you can attribute meaning to them. But what that is, is for the listener to decide.”

Building on the clever, concise songwriting style shown off by Lawton on his early single Piece Of Your Heart, his album pushes Lawton’s sound and experimentation further out, whilst maintaining an emotive, personal grounding. Sparkling in places with sonic experimentations (including multi-tracked vocals, lo-fi brass compositions and high in the mix gentle vocals), the ten tracks all seemed designed to fully support Lawton’s cool, calm and almost lullaby-esque vocal and its intimate ability to reassure you that things will be alright if you just breathe and stay calm.

“A lot of the intimacy comes from keeping the writing and recording process involving as few people as possible,” continues Lawton.

“Most of the songs are about personal experiences or contain dressed up political or societal observations, and I wanted the listener to really feel like they were getting to know me on some level. You want to be able to get up close to the mic and sing it like you mean it without feeling like you’re being judged.”

Standout track Willow, a tearjerker layered with orchestral sounds and strong production, gives some glimpse of a future direction for

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MOST OF THE SONGS ARE ABOUT PERSONAL EXPERIENCES OR CONTAIN DRESSED UP POLITICAL OR SOCIETAL OBSERVATIONS, AND I WANTED THE LISTENER TO REALLY FEEL LIKE THEY WERE GETTING TO KNOW ME ON SOME LEVEL Lawton, though it’s still rooted in a humility which maybe be the perfect tonic for his creativity. “The song came about after receiving some unwanted attention at a party. I remember waking up the next morning feeling quite overwhelmed, sad and missing an ex-girlfriend deeply. The orchestral section added to the end of the song is really a musical representation of the cyclical nature of life and love in many ways. It starts off with a simple melody that flourishes into a full string section which in turn slowly dwindles back to the original melody before fading out.”

Lawton is already thinking about Today Today Tomorrow’s follow up, though as is his wont, he’s reluctant to say too much about it just yet or to blow his own trumpet too loudly – only hinting at where it might be going. “As this is my debut album and the songs were selected over years and years writing, my intent was to say ‘I’m here, I’m a musician and I’m making music’. I’m sure that album number two, written in a shorter amount of time, will have a more particular concept and intent.”

Regardless of future endeavours, we’re left with the impression that Ren Lawton may be a humble songwriter, but the glint in his eye demonstrates a confidence and mature talent that’s hard to deny.

Ren Lawton releases Today Today Tomorrow on 23rd February. He plays Little Buildings, Newcastle on Friday 25th February. www.renlawton.com

INTERVIEW

LUCA RUTHERFORD EVIE LAKE TALKS TO THEATRE MAKER LUCA RUTHERFORD ABOUT HOW A MOMENT OF TRAUMA LED TO THE CREATION OF HER POWERFUL PRODUCTION YOU HEARD ME

STAGE

Image by Camilla Greenwell Luca Rutherford returns to her past, not as therapy – she did that on her own time – but to contemplate the intersection of power that exists in moments of traumatic violence. “I had never been so powerless but so powerful.” Engulfed in intense fear, Luca felt herself resorting to learned behaviours, instinctively leaning towards doing anything the man attacking her said. “But something in my body felt out of control and was just saying no. I’m going to hold myself and take up as much space as I can. I won’t apologise for not being obedient or polite…I chose to scream”.

You Heard Me is a one-woman play about Luca escaping rape by refusing to stay silent. As we talk about the timeliness of the play, in the wake of Sarah Everard and Sabina Nessa’s murders, unbeknownst to us, that morning Ashling Murphy was attacked and killed while out on a run in Ireland – the same situation Luca herself was in. “There’s a version where I’m not here. I’m telling this story because I can.” She exclaims.

You Heard Me may be a one-woman play but it’s held up and sustained by a team of female and non-binary creatives and has been made in conjunction with You Heard Us, a photography project that includes 44 women and their own experiences. “I’m not trying to speak for anyone else, that feels dangerous. The show can only tell my story because it’s the only thing I have.” The photography project makes the personal political by blowing up the women’s faces in public spaces. It represents the range of trauma, but that every woman’s experience is underlined by recognition.

Contending with the personal and the political can be difficult. Luca contemplates her intersectional feminism and beliefs whilst not invalidating her trauma. “It’s bullshit that we have this hierarchy of trauma because it undervalues every woman.” At this point, the interview becomes a back-and-forth conversation between women, we’re tied to each other through shared experience and everything is

I’M NOT TRYING TO SPEAK FOR ANYONE ELSE, THAT FEELS DANGEROUS. THE SHOW CAN ONLY TELL MY STORY BECAUSE IT’S THE ONLY THING I HAVE familiar. This is the power of Luca’s story. “It’s not like I’m only letting women in, it’s for everyone because I think we can all connect to how we can keep ourselves small. But this is about women taking up space.”

You Heard Me isn’t an attempt to bring people down; care underlines everything Luca discusses. “I didn’t want to rehash any trauma on stage and I don’t want to traumatise the audience. From the beginning, the question was always ‘how are we making sure the team and the audience are safe’.” Luca will not regurgitate her escape on stage, instead, a voice-over will play out the details of her attack.

“I don’t want to perform a show that is heavy and lacking joy, but I also don’t want it to be jokes all around. There will be some dark stuff, but it’s about being a complicated and messy human, which can be funny.” For Luca, her trauma has been transposed into a celebration of art and creativity: “This hasn’t been made in isolation.

It’s all about community, listening and resilience. About connecting to your voice and power.”

Luca acknowledges the time it has taken for her to get to this point, it’s been hard. But now she asks: “How do we find moments of celebration along the way?”

You Heard Me by Luca Rutherford is performed at ARC, Stockton on Wednesday 16th-Thursday 17th February and Northern Stage, Newcastle on Friday 18th-Saturday 19th February. www.luca-rutherford.co.uk

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INTERVIEW

SIMON TAYLOR

MARIA WINTER SPEAKS TO LATIN AND FUNK ROCK FUSION ARTIST SIMON TAYLOR ABOUT HIS UPCOMING EP, THE IMPORTANCE OF MUSIC AND HIS CAREER SO FAR

MUSIC

Image by Jon Forster “I guess it all started through Latin music. I love both European and English music, so this EP is a combination of both.”

Newcastle-based singer-songwriter Simon Taylor has combined inflections of Latin, folk and retro music with intricate lyricism to explore the multiplicity of mental health within his new EP, Survival.

“I have a mental health condition, and I thought it was an appropriate time to collate all the material related to that particular subject to describe my experience through music,” Simon explained.

“Instead of spiralling into darkness, I decided to put my efforts into recording.”

By creating complex songs that produce an overall tale of honesty and resilience, Simon reveals that the EP took 13 and a half months to record and mix, proving his skills and determination as a musician. The first two songs, Survival and Bad Times Are Through, examine the difficulties of getting through the winter months. “Bad Times Are Through took me almost nine weeks to record. I play guitar and sing but I didn’t know anything about keyboards at the time. There are so many intricate chords in the song and I was new to the discipline so I wanted to get it right. I guess that’s the perfectionist in me.” Simon goes on, “After writing those first two songs, everything just sort of came together.”

The EP gives meaningful insights into Simon’s struggles with mental health – a topic he is incredibly passionate about. “Music has most definitely helped me and almost given me self-esteem, as I can

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INSTEAD OF SPIRALLING INTO DARKNESS, I DECIDED TO PUT MY EFFORTS INTO RECORDING physically see myself getting better at it.” As a powerful healing mechanism, music allowed Simon to channel and communicate his emotions, and he hopes the audience will get as much out of the EP as he has throughout the entire developmental process.

As a way of rejuvenating his creativity, Simon draws on the power of prayer and meditation, noting: “It calms you down so much. I’m a stress-head, so I use it for both creativity and to get the right mindset before a gig.” You can hear this deep introspection on one of the EP’s highlights, Going Home, through the music’s serenity and tranquillity. “I write my music in a place that’s quite peaceful, so if I can bring anything to the world it’s peace. There’s a lot of noise about and I want this EP to chill people out.”

As a body of music that eludes to both personal experience and wider themes, enhanced by exquisite guitar playing, powerful lyricism and alluring orchestral elements, Survival demonstrates the necessity of following your dreams and striving for whatever it is you want to achieve in life.

Simon Taylor releases Survival on 4th February. He performs at Bobik’s, Newcastle on Friday 11th February. www.simontaylormusic.com

INTERVIEW

STAGE

Image by Luke Waddington

RENDEZ-VOUS DANCE RENDEZ-VOUS DANCE’S ARTISTIC DIRECTOR MATHIEU GEFFRÉ TALKS TO HELEN REDFERN ABOUT HOW TIME AND SPACE ARE KEY TO CONTEMPORARY DANCE AND HOW SPANNING THE YEARS AND MILES CAN CREATE A PLACE WHERE WE ALL BELONG Created in the North East and set to tour the region, the latest work from contemporary dance company Rendez-Vous Dance is set in Le Monocle, the 1930s Parisian lesbian cabaret club.

Having left France in 2009, Mathieu Geffré has had what he describes as a European career with “a sense of geography that goes beyond borders”. He’s delighted to bring the pure entertainment and celebration encapsulated in the Monocle to North East audiences.

The work is centred on the universal idea of shelter, that we each need to find a safe space in order to find freedom. In the Monocle in the 1930s, members of the LGBTQIA+ community created that safe space. Mathieu came across photos of Le Monocle through simple curiosity: “As a gay man, I’m passionate about the story of my community and where my community is coming from. The way the Monocle was in the 1930s is very much relevant to the way cities are nowadays – 90 years after the opening of the Monocle, we still have the necessity to shelter as a community to find a sense of freedom.”

Working with women and non-binary people to explore the lesbian cabaret club, Mathieu is fully aware that he is looking at a female story from the lens of identifying as a man, honestly acknowledging: “This is about me getting informed and listening, and approaching the story with a lot of care and respect.”

It’s by drawing this parallel of the desire to belong somewhere, and the need for a safe space for freedom of expression, that Mathieu

THAT IT IS CABARET ALLOWED ME TO ADDRESS THE SENSE OF ENTERTAINMENT THAT IS MISSING FROM CONTEMPORARY DANCE IN GENERAL, OR AT LEAST THE WAY PEOPLE MAY THINK OF CONTEMPORARY DANCE AS AN ART FORM

believes the Parisian cabaret club from the 1930s can speak to the modern world through the language of contemporary dance.

“Within my research, I’m inspired from the specificities of these postures and dances from the 1930s and explore how these can be refreshed to nowadays within my language. The physicality is still very much of 2022, but everything starts from a place of historical research.”

The set is a reproduction based on pictures of the 1930s club, with the costume, choreography and music undergoing a modern 2022 twist. Stepping away from the traditional theatre settings and doing away with the fourth wall between performers and audience, there’s a sense of proximity, bringing everyone together, that is to be cherished. As part of the set for this production, there’s a little corner of the stage dedicated to the outside world, so that the visitors to the Monocle can see for themselves the difference between the outside and the inside world. The contrast is stark.

A visit to the Monocle is thought-provoking, creating bridges and eradicating walls between different communities, but it’s also a lot of fun. “It’s a fun, party kind of celebration. That it is cabaret allowed me to address the sense of entertainment that is missing from contemporary dance in general, or at least the way people may think of contemporary dance as an art form.”

So step back in time to discover a more forward-thinking approach to others – and come and join the celebration!

In February, The Monocle is performed at Gosforth Civic Theatre, Newcastle (Saturday 5th); Darlington Hippodrome (Thursday 10th); Alnwick Playhouse (Friday 11th); Hartlepool Borough Hall (Saturday 12th); Middlesbrough Town Hall Theatre (Wednesday 16th); Queen’s Hall Hexham (Thursday 17th); The Fire Station, Sunderland (Saturday 19th); The Witham, Barnard Castle (Thursday 24th) and Dance City, Newcastle (Saturday 26th). www.rendez-vousdance.com

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LISTINGS

THE BEST OF THE REST...EVEN MORE ALTERNATIVE MUSIC, THEATRE, COMEDY, ART AND FILM TAKING PLACE THROUGHOUT THE NORTH EAST THIS MONTH TUESDAY 1ST FEBRUARY ST. JAMES INFIRMARY

Idiosyncratic pop talent // The Engine Room, North Shields

WEDNESDAY 2ND FEBRUARY IDLES

Passionately political and darkly comedic rockers // O2 Academy, Newcastle

THURSDAY 3RD FEBRUARY A LIGHT EXCHANGE

Exhibition by local artists Dot Steel and Eileen A Saunders. Runs until Wednesday 2nd March // The Exchange, North Shields

AMY THATCHER & FRAN KNOWLES

Progressive melodies, jigs and reels.

Support from Sarah Heneghan // Cobalt Studios, Newcastle

BUT WHERE ARE YOU REALLY FROM?

Programme of short films by mixed heritage filmmakers // Star & Shadow Cinema, Newcastle

ELAINE PALMER

North East-based melodic country artist.

Supported by HJM Bradshaw, Gem Andrews and Katie Grace // The Engine Room, North Shields

FEATURED //

Muscle + Q&A

Wonderfully weird black comedy taking a trip into the heart of the male psyche (and shot in Newcastle) // Tyneside Cinema, Newcastle

FRIDAY 4TH FEBRUARY BONBONS CABARET

Glitter-fuelled, foot stomping, pant wetting cabaret! // Middlesbrough Town Hall

DONUTS

Hypnotic dance show by Extended Play, inspired by 90s and 00s sitcoms // Dance City, Newcastle

ENDLESS DANCE

Nick Kennedy’s artwork playfully parodies science, sharing its aim to unearth truths about the natural world and our relationship with it. Runs until Friday 11th March // Platform A Gallery, Middlesbrough

HOSTILE

Documentary focusing on the UK’s complicated relationship with migrant communities // Star & Shadow Cinema, Newcastle

ONIPA

Afrofuturism with added groove and fire!

Supported by Bert Verso // Cobalt Studios, Newcastle

THE BUG CLUB

Tight-knit masters of super-charged riffs, with humour and pathos aplenty // The Cumberland Arms, Newcastle

SATURDAY 5TH FEBRUARY BIG MOUTH COMEDY CLUB

Featuring Carey Marx, Sally Anne Hayward, Simon Wozniak and MC Matt Reed // Middlesbrough Town Hall

CAT RYAN

Lyrical art rock. Supported by Palma Louca and Aley V // The Globe, Newcastle

VIGILANCE STATE

Dystopian electronica. Supported by DJs Astro and Prism // The Engine Room, North Shields

SUNDAY 6TH FEBRUARY DON’T GO GENTLE

Documentary about rock band Idles // The Georgian Theatre, Stockton

JOHN FRANCIS FLYNN

Singer and multi-instrumentalist whose work centres around traditional and folk material from Ireland // The Cumberland Arms, Newcastle

PIT PONY

Thrilling fuzz rock. Supported by Fast Blood // The Engine Room, North Shields

MONDAY 7TH FEBRUARY EXAMPLE

Singer, rapper, producer and chart topping artist // O2 Academy, Newcastle

NOISY

Energetic up and coming rock band // The Cluny 2, Newcastle

FEATURED //

Professor Brian Cox: Horizons

Join Prof. Brian Cox and comedian Robin Ince on a cinematic journey about our origins. Also on Tuesday 8th // The Globe, Stockton

TUESDAY 8TH FEBRUARY ABIGAIL’S PARTY

JASON COOK COMEDY CLUB

TV names, daft guests and surprises. Also on Saturday 5th // Customs House, South Shields

Mike Leigh’s hilarious take on middle class suburban values // People’s Theatre, Newcastle

KAYLA PAINTER

ABBIE FINN TRIO

Composer, producer and sound artist // World Headquarters, Newcastle

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Live jazz // The Forum Music Centre, Darlington

WEDNESDAY 9TH FEBRUARY JANE WEAVER

Experimental synth wanderer. Supported by Lucy Gooch // The Cluny, Newcastle

TAPEWORMS

Rock, pop, synth and shoegaze from Lille // Bobik’s, Newcastle

THURSDAY 10TH FEBRUARY DRAG ME TO LOVE

Drag, theatrical storytelling and pop anthems. Runs until Saturday 12th // Live Theatre, Newcastle

JACK DOBSON

Local indie songwriter. Supported by Conor Michael and Chris Norris // NE Volume Music Bar, Stockton

NOBLE DAN

Distinct hip-hop artist. Supported by Soul’d Out, Endem and DJ Radius // The Forum Music Centre, Darlington

RAUL KOHLI

Captivating North East comic // Laurel’s, Whitley Bay

RHOD GILBERT

The successful comic presents his new show, The Book of John // The Globe, Stockton

TIM DALLING

Singer, accordionist and all-round musical maestro // The Globe, Newcastle

FRIDAY 11TH FEBRUARY BRIGHT LIGHTS

Celebrating young artists from Sunderland.

Exhibition runs until 2nd April // Arts Centre Washington

PATRICK MONAHAN

Smart and funny observational comedy // Theatre Hullabaloo, Darlington

SHOE CAKE COMEDY CLUB

Featuring improv troupe The Discount Comedy Checkout and more // The Georgian Theatre, Stockton

SINDHU VEE

The acerbic and outspoken comedian presents her new show, Alphabet / ARC, Stockton

SATURDAY 12TH FEBRUARY ECHO & THE BUNNYMEN

The influential band celebrate their extraordinary 40-year career // Sage Gateshead

JARROD DICKENSON

Soulful Americana from a masterful storyteller // Gosforth Civic Theatre, Newcastle

LISTINGS LINDISFARNE

Local acoustic rock legends. Also performing on Sunday 13th // The Exchange, North Shields

NISH KUMAR

The host of the Mash Report presents his new show Your Power, Your Control // Gala Theatre, Durham

SUNDAY 13TH FEBRUARY CAL HALBERT

The North East comic presents his solo show, The Great Pretender // Laurel’s, Whitley Bay

CHRIS RAMSEY

LGBT+ HISTORY MONTH LECTURE

Lecture hosted by E-J Scott, curator and founder of The Museum of Transology // Newcastle University virtual lectures, www. ncl.ac.uk

WILD SPELKS

Melodic alt. rock from Newcastle // Bobik’s, Newcastle

SATURDAY 19TH FEBRUARY

Mimic and stand-up comedian works out what masculinity really means // The Stand Comedy Club, Newcastle

SOMETHING RHYMES WITH PURPLE

NE DONS

WEDNESDAY 16TH FEBRUARY HADDOCK & CHIPS

Janet Plater’s funny and heart-warming play about the power of community // Customs House, South Shields

KODO: TSUZUMI

Spectacular Taiko drumming troupe // The Fire Station, Sunderland

LARRY DEAN

Award-winning Scottish comedian // Sticky’s, Stockton

MICROFORMS

Exhibition by Lee Drew exploring recurring details found in nature. Running until Wednesday 23rd February // Shieldfield Art Works, Newcastle

THURSDAY 17TH FEBRUARY BEST OF NORTHERN

Four of the best Northern comics, including seasoned headliners and up and coming talent // The Stand Comedy Club, Newcastle

GLASVEGAS

Noisy Scottish indie rockers // Newcastle University Students’ Union

WILKO JOHNSON

Blistering rock ‘n’ roll legend. Support from John Otway // Playhouse Whitley Bay

FRIDAY 18TH FEBRUARY ED GAMBLE

Comedy capers from a master of the craft.

Also on Friday 25th February // Gala Theatre, Durham

LUKE KEMPNER

North Tyneside’s premier grime/rap duo.

Supported by Eyeconic and John Dole // Little Buildings, Newcastle

SET YOUR SIGHTS

Pop-power punk, with support from Tired of Fighting and One Million Motors // NE Volume Music Bar, Stockton

TEN EIGHTY TREES

Vibrant heavy rockers. Support from Hivemind and Holding Out // Independent, Sunderland

THE LANCASHIRE HOTPOTS

Kings of musical comedy // The Cluny, Newcastle

SUNDAY 20TH FEBRUARY CHATTY CHITHOUSE

KIT SEBASTIAN

Nostalgic pop duo // The Cluny 2, Newcastle

Contemporary blues artist // The Cluny, Newcastle Raucous, rude and reliably hilarious stand-up // Laurel’s, Whitley Bay Art rock/jazz crossover. Supported by Kate Bond // Cobalt Studios, Newcastle

FRIDAY 25TH FEBRUARY AHIR SHAH

A comedic blend of philosophical inquiry, personal examination and sweet gags // Gala Theatre, Durham

ANTI-NOWHERE LEAGUE

Punk rock delights // Independent, Sunderland

BAS JAN

Genre-blurring post-punk. Supported by Danica Dares // Cobalt Studios, Newcastle

CATCH 22 COMEDY CLUB

Featuring Mike Newall, Nick Crooks, Rob Deering and MC Danny Mcloughlin // ARC, Stockton

HILARITY BITES COMEDY CLUB

Featuring Steve Gribbin, Tom Taylor and Pete Otway // Bishop Auckland Town Hall

SATURDAY 26TH FEBRUARY

Humorous chat with comedian Simon Donald and special guests // Bobik’s, Newcastle

BENEFITS

MATT REED

BRAD ROBINSON

Masterful local comedian // The Stand Comedy Club, Newcastle

MONDAY 21ST FEBRUARY GLENN WOOL

An effortless funny hour of unsettling stories about settling down // The Stand Comedy Club, Newcastle

Issues-based music collective from Teesside // Head of Steam, Newcastle Acoustic artist launches his new album // Base Camp, Middlesbrough

DEATH BLOOMS

Liverpool nu-metallers // The Cluny 2, Newcastle

JOEL DOMMETT

The TV favourite presents his new show, Unapologetic (If That’s OK?) // Gala Theatre, Durham

TUESDAY 22ND FEBRUARY FEATURED // FEATURED //

Dragon

Thought-provoking fantasy about a child coming to grips with authority, featuring puppetry and digital animation. Until 12th March // Alphabetti Theatre, Newcastle

WEDNESDAY 23RD FEBRUARY SPONTANEOUS WRECKS

Newcastle-based comedy improv group // Bobik’s, Newcastle

HILARITY BITES COMEDY CLUB

Featuring Alun Cochrane, Stephanie Laing and Lee Kyle // The Forum Music Centre, Darlington

MIKE ZITO

YAATRI

Bass-heavy grimy punk and rock // The Cluny, Newcastle

Dramatic comedy about a daring heist of a department store // Royalty Theatre, Sunderland

The hit comedian brings her new show, Missus, to the stage // O2 City Hall, Newcastle

FUZZY LIGHTS

NOVA TWINS

AUDACITY

KATHERINE RYAN

SAMMY DOBSON

Robus folk rock. Supported by Mike Cotton // Toft House, Middlesbrough Little Theatre Atmospheric folk rock band // Bobik’s, Newcastle

MONDAY 14TH FEBRUARY

Acclaimed folk artist // Old Cinema Launderette, Durham

DUNCAN MCFARLANE BAND

Critically acclaimed local comic. (Also at Middlesbrough Town Hall, Friday 25th February) // Gala Theatre, Durham

Giles Brandreth and Susie Dent bring their infectious love of words to the stage // Northern Stage, Newcastle

JEZ LOWE

THURSDAY 24TH FEBRUARY BLEACH LAB

Heart-on-sleeve indie loveliness // Head of Steam, Newcastle

Martina Topley-Bird

The Tricky, Gorillaz and Massive Attack collaborator’s solo material explores themes of self-doubt, heartache and desire // Gosforth Civic Theatre, Newcastle

SHAPARAK KHORSANDI

The comedian presents her new show, It Was The 90s! // The Witham, Barnard Castle

SUNDAY 27TH FEBRUARY DAVE

Socially conscious lyrical rapper // Utilita Arena, Newcastle

ROSEANNE REID

Up and coming Americana star // Bobik’s, Newcastle

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REVIEWS

Teddy Thompson by Iam Burn

TEDDY THOMPSON, ROSEANNE REID @ THE FIRE STATION, SUNDERLAND (20.01.22) Words: Damian Robinson Roseanne Reid (daughter of the Proclaimers’ Craig Reid) starts off this evening’s fine double header with a lovely blend of Scottish folk and Americana country. Confident and poised, Reid’s set (including music produced by Teddy Thompson) is the perfect warm-up as she moves us through tales of personal achievement and regret.

Starting off his set with the lovely Delilah, headliner Thompson is a beacon of self-assurance, with his on-stage persona matching the heart of his songwriting style. Humorous, truthful, centred and needing no external approval, Thompson’s stage manner, alongside his songs, are equal matches of heartbreak-to-heartmake, assured-to-broken, humorous-to-serious in a style that sees him confident to tell you his innermost thoughts without regret or restraint.

Performing on acoustic guitar, Thompson’s set is supported by guitar whizz kid Zak Hobbs, whose blend of electric rock ‘n’ roll licks and Hank Marvin-styled solos lifts Thompson’s live performance into grand realms.

Stand outs Heartbreaker Please, In My Arms and What Now all achieve excellence through a combination of strong acoustic rhythm guitar, great melodic vocals and lovely drips of electric guitar from Hobbs. Pair those features alongside beautiful reinterpretations of his back catalogue and a compelling stage persona, and you have a lovely evening by a wonderful performer.

NORTHERING, ADA GRACE FRANCIS @ BOBIK’S, NEWCASTLE (09.01.22) Words: Ali Welford Bobik’s regulars have had plenty of opportunities to catch Ada Grace Francis over the past couple of years, with the Edinburgh-born, Manchester-based artist having become something of a fixture. Certainly, this harp-only set is her finest I’ve witnessed to date; a sublime Sunday afternoon saunter, regardless of whether she’s interpreting the catalogues of Robert Burns and Joni Mitchell or showcasing a series of elegant originals. A Case of You naturally draws the loudest applause, yet it’s one of her own, the exquisitely slight Red Robin, that’s this illuminating performance’s most radiant moment.

By contrast this is my first exposure to rising duo Northering. Fortunately, novelty isn’t enough to mask the sense of a project gathering momentum, as

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Maius Mollis and Anna Hughes mark their inaugural headliner with a comprehensive round-up of their activities to date – from Porquin, the first song they performed together as part of their Newcastle University course, to fresh formative forays into writing as a pair. Their harmonies coalesce beautifully, yet on this evidence it’s sonic craft which sets Northering apart.

Upcoming debut single Ghosts is case in point – adapted from a Robert W. Service poem, Maius’s vocal and acoustic guitar are isolated expertly by Anna’s minimal amalgamation of droning harmonium and rumbling and crackling found sounds, united to suitably absorbing, spine-tingling effect.

Hushaby, a traditional lullaby honed with a chilling lute sample, likewise displays their skill in transcending folk’s more orthodox contours – hinting at a duo whose prospects as well as creative frontiers show few limits.

ROXY GIRLS, AMATEUR TREPANNING @ BOBIK’S, NEWCASTLE (14.01.22) Words: Ali Welford No matter how often you see them live or hear their records, Roxy Girls never lose their capacity to surprise. Tonight’s headline performance lasts little over 30 minutes, but that’s enough to pack in than more than some bands muster in three to four hours. It’s all but impossible to keep pace with their frenetic art punk nuggets. Even the likes of Responsibilities and Trials And Tribulations – by now staples in the Mackem quartet’s set – are chalked off in a blink-and-you’ll-miss-it gallop, while their penchant for absurdly swift, abrupt endings ensures their crowd is never afforded the time to settle. All the big issues are covered, from banging sandwiches and trips to Greggs to Takeshi’s Castle. Occasionally, numbers cut out at the precise juncture you realise you’re loving them – a frustration, or a contributing quirk to one of the North East’s most thrillingly unpredictable live prospects? I’d plump for the latter.

Having aired his eponymous debut from front-to-back at a clutch of 2021 shows, songwriter Ben Lowes-Smith uses tonight’s support slot as an opportunity to shuffle the Amateur Trepanning pack. It’s bassist Liberty Hodes’ first appearance as part of the backing ensemble, and it’s her looped lines which form the bedrock for these crunchy synth-infused gems, from Bowling Alone And Dying Alone’s winning one-two tonal contrast to Church Hall/Bingo Hall’s immaculately observed sketch of local gentrification. A delight however it’s ordered, it’d be a mighty shame were this lockdowninduced project to prove a one-off.

LIVE

Howl and the Hum by Tracy Hyman

HOWL AND THE HUM, EDIE BENS @ KU BAR, STOCKTON (19.01.22) Words: Tracy Hyman “The North East welcomes us like nowhere else does,” acknowledges singer Sam towards the end of the set, just before the two songs, Hostages and Godmanchester Chinese Bridge, that are always sure to give you that warm fuzzy feeling. It’s a special moment when everyone is connected in music, a chorus of sound, affirming how important live gigs are.

As part of the Revive Live series of shows The Howl And The Hum came to KU Bar with tour support Edie Bens, who declares that she is from London although originally from Wales. Edie is a young singer-songwriter, with a warm, gentle voice. Her folk-tinged melodic pop songs talk about life and past loves and a golf playing ex-boyfriend who drives an Audi. Who does that? she asks.

The Howl And The Hum are back to their original line-up, and as if to further demonstrate their self-proclaimed ‘miserable disco’ sound, a logo of sad disco balls are projected behind them as they brought their unique stories of Fiat Puntos and boy racers to the stage. Sam’s voice soars above the guitars and synths, lifting the songs, from the fast-paced and upbeat Hall of Fame to the slower sounds of the beautiful, delicate Sweet Fading Silver.

HOLIDAY IN TOKYO, ABNORM @ BOBIK’S, NEWCASTLE (29.12.21) Words: Jake Anderson Gigs were getting cancelled left and right, thanks to everyone’s least favourite acquaintance. But someone must’ve been listening to my prayers (for once). Leading off the night was Abnorm, opening with Gasoline, the hard-hitting punk-infused rock banger immediately overtook the intimate venue. Playing their newest singles allowed the band to meander back to a heavier pop focus, with songs like Everything Temporary being just as infectious as their studio versions, and which suddenly got everyone moving to the lively instrumentation.

Holiday In Tokyo used this gig to shine a spotlight on unreleased material, which gave the set a rockier edge to their normal indie pop sound. Opening with Sunset Sarsaparilla/Biggest Fan, the band established the tone well by

building on the already positive vibes. Carrying on into The Swing, which flaunted great guitar work and snappy drums, providing a great amount of danceability. Late Night Cooking also featured fantastic writing, delivered perfectly, and bringing a feeling of introspect to the set. Capping off the night, the band ended with Make My Day, and by this point everyone was dancing.

We all chanted the song’s earworm of a chorus, and by the time it was over we were chanting again: “One more song”.

VIAGRA BOYS @ NEWCASTLE UNIVERSITY STUDENTS’ UNION (16.12.21) Words: Cameron Wright The drunken, almost sultry aura of deranged hedonism that exudes from Sebastian Murphy the moment he strides onto the stage, encapsulates and exemplifies exactly the chauvinistic, punk lunacy that the Viagra Boys’ albums aim to dismantle and parody.

With their 2021 record, Jazz Welfare, becoming one of the genre’s defining releases, the crowd were ecstatic from the start. The project narrates the fall into debauchery and self-loathing that has been infamously reported and fetishised through the decades, and as the band prowl around stage, you can see why. Launching from song to song, the band command the audience with dictatorship levels of power and assertion, seldom seen by a band so early in their career. As that mastery of a crowd merged with the tight, driving rhythms of Toad and the anthemic choruses of I Ain’t Nice, it became increasingly evident that Viagra Boys have tapped into something special.

Heavily tattooed, shirtless and snarling, the band’s frontman was a forceful wave of uncouth magnetism. Delivering one of the night’s highlights, a searing saxophone solo brought the show to a deliberate halt, holding the audience in silence, until the thundering bass of Down In The Basement picked up and the band jolted into action.

With the storyline of the latest release being beautifully transposed to the stage, the band balance their self-aware caricature performances with the skill, bravado and charm to provide a truly electrifying show.

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LIVE

Firestarters Revue by Thomas Jackson

BILL BAILEY @ UTILITA ARENA, NEWCASTLE (20.12.21) Words: Helen Redfern En route to Normal. As if. There’s a palpable nervousness in this audience as we wonder if we should even be here. With a light touch, Bill Bailey reminds us how much we’ve missed the joy of shared live experience – and how to clap again! Affirming “It’s been a while, you’ve forgotten how to do this”, whilst delivering a slapstick performance of clapping all over his body, he prompts us to forget everything that’s wrong with the world for an evening, have some fun and connect with nature, music and each other in this fantastical world that he concocts before our eyes.

And let’s face it, no one could ever accuse Bill Bailey of being normal. That’s what we love about him – his absurd, quirky, eccentric way of seeing the world, like a medieval court jester who seems mad and yet speaks truth. He may be more mainstream now following his Strictly Come Dancing appearance, acknowledging this by striking the pose at every opportunity for all the Strictly fans in the audience, but the content of this whimsical show – which is deeply rooted in the shitstorm of the pandemic and politics – is far from conventional. The audience never knows what’s coming next – it could be anything from in depth exploration of hedonic (pleasure seeking) and eudaemonic (doing good/wellbeing) happiness, a total roasting of Coldplay’s hits or Bailey’s original Eurovision song offering – in French – about a mundane encounter between a boy and a bird!

What’s truly surprising is the range and exceptional talent of Bill Bailey’s musical skills. He’s not alone on stage; surrounded by a vast and diverse selection of instruments, he works his way through them all, exploring major and minor chords and different styles of music – his ragtime treatment of rock classics shouted out from the audience was my personal favourite – in his inimitable absurdist way. Classically trained, starting on the piano aged four, it is music that holds everything together for Bill Bailey, with his passion

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for heavy metal heavily indulged – his rendition of The Wheels On The Bus in the style of Kraftwerk is so ridiculous, it’s joyous!

Not simply a jester then, but a minstrel too, Bill Bailey proves himself an all-round entertainer, loving every minute of performing to a live audience and definitely in no hurry to leave the stage. None of us will ever take this for granted again.

FIRESTARTERS REVUE @ THE FIRE STATION, SUNDERLAND (17.12.21) Words: Damian Robinson Taking to the stage to open Sunderland’s stunning new multi-purpose live venue, Field Music – tonight going under the moniker Firestarters Revue (a collect-all title for themselves and their various collaborators) – showcase their musical brilliance with a show of such high standard that you feel sorry for anyone who ever has to appear on the same stage.

Showcasing the absolutely superb acoustics of the Fire Station, as well as its spacious stage setting, the assorted artists played a rollicking, eclectic set featuring ‘fire’ referencing tracks, and stunning funk grooves.

The highlights occur across the night, and included the return to stage of Martin Brammer, a bluesy version of Kasabian’s Fire by Faye Fantarrow, a spiky version of the Only Way Is Up, a kick ass Can I Kick It by Reali-T and a rollicking version of INXS’s New Sensation. Perhaps the real ‘wow’ moment comes with the collective’s Fire Medley, a combination of pieces including Arthur Brown’s Fire, The Prodigy’s Firestarter and an amazing version of Light My Fire with Frankie Francis channelling Jim Morrison.

It was an incredible night both in terms of music, goodwill and putting Sunderland on the map both for its home-grown sounds and in anticipation of the music that it can host in the future. Superb.

DEMOS WE WANT YOUR MUSIC!

IF YOU’RE AN UP AND COMING BAND OR MUSICIAN, AND WOULD LIKE YOUR MUSIC REVIEWED IN OUR DEMO SECTION, EMAIL A TRACK TO INFO@NARCMEDIA.COM AND TELL US MORE ABOUT YOURSELF! WORDS: LUKE WALLER

DEMO OF THE MONTH

DEMO OF THE MONTH

M4ss Production – Hometown Groove Punk has been political since its conception; whether anarchic, anti-establishment or just plain incandescent with rage, it has always taken its root in anger at the outside world. And M4ss Production, the brand new up-and-coming Gateshead-based punk band, seem to do precisely that with their single Hometown Groove.

Bosko Green – Streetlight

Since his 2018 debut, alternative rocker Bosko Green has released three albums, two live albums and now an EP, opened and championed by its title track, Streetlight. His discography has ranged from punk to rock to almost hip-hoppy lo-fi-type electronica, but all underlaid with his very own captivating sound – and Streetlight seems the natural culmination of it all. Bosko Green’s new track bears an unmistakably indie sound, with a characteristic concoction of buoyancy and melancholy; though his voice and the chorus’s accompanying synth line are bright and blithe, the song’s pensiveness glows through. The oscillatory mood conveyed by lyrics such as “Streetlight, it brightens up our conversation”, swiftly followed by “I really want to go…”, reclusing into another more downbeat verse makes for quite inspirational songwriting. www.boskogreen.bandcamp.com

Darren Wilde and New Dimensions – Nitewinds

If you think that you’ve seen and heard all that there is, but are unfamiliar with the name Darren Wilde and New Dimensions, then prepare to stand corrected. Self-described as an audio visual studio project, Wilde’s alt. pop/

Set into motion by the highest class guitar riff, the track has a fantastically classic, raw feel to it, taking the rage and rhythm of modern punk bands like Idles and adding quintessential dash of North East spunk. Fading out on the blissful psychedelic sound of a wah-wah solo done properly, the nihilistic screams of the chorus still ringing in the ears, Hometown Groove leaves the impression of a rebirth of the truly old-school, but without a hint of anachronism. www.instagram.com/music_by_m4ss

rock act is something quite different, and Nitewinds, released last April, seems to epitomise everything they’re about. Between the lyrics describing sensory overload “on a journey through the stars”, the bumpy bassline carrying us ever onwards, and the out-of-this-world music video – pun quite intended – featuring dancing aliens and an astronaut-edition Darren Wilde flying through the cosmos, not one single trick is missed.

And, when Darren’s done transporting you to places you never thought you’d go, he tells us, perfervidly, “Live in the moment!”

Mind-blowing, in all. www.facebook.com/ dewdimensionsdarrenwild

NTGB – Inertia

A dainty, bittersweet plucked ukulele line breaks the silence at the opening of NTGB’s track. Bass and drums kick in, a veneer of Hammond organ comes in to action, and the unmistakable hum of electric guitar builds the tension… until release into a bright love song about strong feelings leading the narrator to reckless behaviour. Filled with lively, playful guitar lines and jubilant brass parts, Inertia provides the uplifting feel that everyone sometimes needs.

NTGB, based in Sunderland, is a five-piece rock group formed by singer Gaz Brown and multi-instrumentalist Nick Thompson, who had been writing over lockdown. Having recorded two tracks, Inertia and Dirty Dreams, NTGB hope to release their first album later this year. www.nt-gb.co.uk

L93 – Getting Heavy

The first single of Newcastle rock band Electric Circus’ frontman Shaun Lamb’s solo side-project, going by the name of L93, is no disappointment. Far softer, but perhaps more sophisticated than Electric Circus’ debut single, Don’t Need (which was awarded demo of the month back in November), it features synthy basslines, a punchy saxophone part and glossy guitar tones. Something about the saxophone, earworm-ish chorus, and the exquisite harmony at the end of the guitar solo echoes Thin Lizzy’s Dancing In The Moonlight – which is more than a small compliment.

With lyrics describing getting back on track by cutting down on smoking, and devoting more time to dreams, it may be a fitting choice for those struggling with new year’s resolutions. www.lnk.to/ntN8Le

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TRACKS

ANTHONY PEARS WORLDWIDE EP Words: Lizzie Lovejoy If you’re ready to shed off the heavy air of winter, then take a listen to the experimental electronic EP Worldwide by Anthony Pears. Consisting of four bass-heavy dance tracks, you’ll not be able to resist moving to the beat.

Opening the EP, Amsterdam lets us know exactly what we’re in for. Anthony Pears gives us a different kind of dance music by mixing audio from very old TV programmes in with a classic pulsing bass beat. Continuing through the tracks, Bass Is Loud provides a darker and more intense soundscape, a pattern which continues throughout the release.

Even if it’s just you vibing in your own kitchen, these songs will make you feel like you’re enjoying a late night with your friends in the club.

Released: 02.02.22 www.soundcloud.com/anthony_pears

JRM FEAT. KV$HNOODLE GET IT RIGHT Words: Michael O’Neill The explosion of singular and innovative artists and producers emerging from the North East’s rap scene in the last few years has been profound, and Get It Right is a brilliant representation of the diverse and refreshing sounds that have emerged in that time.

Acoustic guitars, 808s and floating hi-hats provide a bedrock for Blyth-hailing JRM’s fantastically melodic, heart-on-sleeve approach to Northern rap, with a brilliant guest turn from Kv$hnoodle. It’s raw, packing a lot of emotion and talent into a breezy two-and-a-half minutes that demands repeated listens.

The production fantastically serves the song, with the melodic backing vocals and the lo-fi atmosphere being a phenomenal fit to the heart-broken yearning within the lyrics. Essential.

Released: 27.01.22 www.linktr.ee/jrmne

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REVIEWS OF SINGLES AND EPS BY NORTH EAST ARTISTS. WANT YOUR MUSIC FEATURED? EMAIL NARCMEDIA@GMAIL.COM (PLEASE TRY TO GET IN TOUCH 8-6 WEEKS AHEAD OF THE MONTH OF RELEASE)

AXLS FAHRENHEIT 104 Words: Hope Lynes There’s nothing but pure synth goodness in the new AXLS track. Fahrenheit 104 is an ode to 80’s danceability with a modern vocal twist. With a backing track that will sweep you off your feet into a groove like no other, and an extremely catchy vocal piece that harmonizes into the synth background.

Lacing itself addictively into the listener, you can tell the sound was written with the purpose to dance.

With a soundscape of a modern The Human League and the pop vocals of Grimes, this electro piece caters for an audience looking for a fun audio escape. Energetic, funky and old school, Fahrenheit 104 is a classic in the making and showcases all the experimental band have to offer.

Released: 03.02.22 www.axlsmusic.com

EVE SIMPSON I CAN SEE A FACE Words: Hope Lynes Eve Simpson is taking the ‘new year, new me’ motto to the next level.

Admirably wiping her back catalogue for a fresh start, the singer-songwriter’s new track shows a rich maturity to her work. I Can See A Face speaks of a longing for escapism, from what we don’t know, but it seems as though Simpson is breaking free.

With a beautifully melodic tone, and vocals which are sad and humbling, her silky notes lace together a wonderful and well-produced folky track. The vocals reign throughout, delicate and layered to harmonised perfection, to create a loving atmosphere which leaves the listener feeling full. I Can See A Face heralds a mature and refreshing new start for the local artist, which I for one will be looking forward to seeing develop.

Released: 18.02.22 www.facebook.com/evesimpsonmusic

FIONA LIQUID THE NATION Words: Adelle Sutheran The Nation is a raw and frustrated account of current social injustices delivered satirically by eclectic artist Fiona Liquid, who sets the scene for this track. Having been conceived in lockdown, in context it all makes sense: heavy punk undertones and influences (ironically perhaps) seep from the track through out – from the snippet of God Save The Queen blasted out by a stand-alone electric guitar at the beginning to the ferociousness of the words being spat at you. Immersed in disappointment and disillusion, the tone is harsh, scratchy, the beats dark and repetitive – there is no joy here. I wouldn’t play this at a party but it’s a biographical synopsis of the view of the world for this artist.

Released: 04.02.22 www.facebook.com/fionaliquid

JAMES LEONARD HEWITSON STABLE Words: Michael O’Neill Arriving hot on the heels of last year’s fantastic Commercial Vibe EP, the latest release from Hartlepool’s finest is another profound evolution of his singular sound which explores the “low key madness of emotional unavailability, in the hope to make it all a little less frightening”.

The subject matter is brilliantly served by the unpredictable and thrilling left-turns that the song takes, with a taut and tense synth arpeggio and a breezy motorik drumbeat being the only constants in the gloriously shape-shifting arrangement which builds up to a noisy cacophony. All in all, it’s a welcome addition to a songbook that merges infectious hooks, relentlessly entertaining experimentation and a fantastic command of the craft. An essential listen.

Released: 18.02.22 www.jamesleonardhewitson.com

MARQELECTRONICA I THOUGHT I KNEW IT ALL Words: Michael O’Neill On a bed of bubbling synths, palm-muted guitars and insistent piano I Thought I Knew It All explores “anger and regret for losing something good” with a hauntingly evocative vocal that sounds like the result of feeding a dozen classic soul ballads and Pretty Hate Machine into an AI generator.

It’s marvellous and refreshing in its approach, with the distorted, raw vocal performance being a brilliant counterpoint to the rich, atmospheric production.

On paper it sounds like a jarring aesthetic mismatch, but in practice it makes for a compelling, singular and emotionally stirring experience, with the tense and uncertain arrangement being a perfect analogue to the heart-on-sleeve lyrics which are delivered in a bruised and raw soulful croon.

Released: 04.02.22 www.marqelectronica.com

SARAH LEILAH BROKEN GLASS Words: Steve Spithray If you break a glass and put it back together, can you ever fully repair the cracks? Sunderland’s Sarah Leilah (an alumni of We Make Culture’s Young Musicians Project) presents her debut single, Broken Glass. The plaintive piano ballad reflects on a past event that leaves our titular shards stored in a jar on a shelf.

Lyrical couplets like, “stars are burning out, light fades away”, and “we have our future, but the past is done”, lay down a romantic juxtaposition where the broken memory stored in the jar suggests a keenness to revisit in the future. A nice place to be. While the track is basic and forlorn there is enough in the delivery and lyrical content for us to keep a watchful eye on the talented youngster.

Released: 01.02.22 www.sarahleilah.co.uk

MOTEL CARNATION SWEET SEPARATION Words: Steve Spithray The blame for tropical indie lies squarely with Ibiza Rocks who turned the hedonistic Club Paradiso ethos into a bland off-the shelf pastoral version of itself and spawned a Years & Years in every town in the land. Luckily, Motel Carnation, who turn Temper Trap’s Sweet Disposition fully on its head by delving headlong into autonomy, decadence and rebirth on latest single Sweet Separation (see what I did there?), have no truck with dance music etiquette.

The Newcastle three-piece blend a classic Club Paradiso groove with a brooding tale of illicit hook-ups, social disconnections and burning the candle at both ends on Sweet Separation but, crucially, straight from the White Lies book of late-night indie which posits them firmly in the non-bland camp.

Released: 11.02.22 www.facebook.com/motelcarnation

HOLLY REES ENGLISH BAY Words: Lizzie Lovejoy Holly Rees tells us a too familiar tale of uncertainty on her new track – not knowing where you stand with yourself, or love. With a grungy vocal quality, purposefully straining at just the right points, and a stripped-back instrumental, English Bay is the kind of track I would put on both while driving through the dark, and with the windows down in the summer.

For the first 30 second of the song, there are only her vocals and a guitar, the sounds offering up a vague feeling of early 2000’s nostalgia, as Rees fills the track with a mix of great storytelling and confessional lyrics.

In spite of the intensive introspection, the song never becomes musically heavy. English Bay is a single that you could both cry along with or dance to.

Released: 04.02.22 www.hollyrees.co.uk

WILLIAM DENTON WILDE PARADISE LOST ON LEITH/DEBATABLE LANDS Words: Tom Astley Paradise Lost On Leith owes its inspiration to the sunshine of everyone’s favourite Hibee twins (with maybe a bit of John Milton thrown in as well).

However, William Denton Wilde’s track veers off on a much different route than the windswept close-harmony country of the Proclaimers. Concrete and angular synths, machines and a vague menace stalk a track which offers shades of Kraftwerk and Joy Division. Co-A-side Debatable Lands is a fiercely political look at the factions and fighting that have made the last five years so fun! A scuzzy, somnambulant, distorted history from Twitter mobs and rivers of blood, to witch finders on the windswept moors. Together, they make an unnerving soundscape evoking the dirtier, unexamined lay-bys of modern Britain.

Released: 28.02.22 www.williamdentonwilde.bandcamp.com

FAST BLOOD PULLING TEETH Words: Tom Astley Fast Blood present a dose of powerful, heartfelt pop punk on their new track.

On first listen, Pulling Teeth sounds brash and confident, Abi Barlow’s vocals are belted in a strident Geordie lilt, the barrage of guitars unrelenting and defiant. But there’s a depth to Fast Blood’s work that other pop punk bands don’t reach; confessional, intimate lyrics which unfold to the listener like a love-letter gone wrong between an ‘I’ and a ‘You’ that really shouldn’t be a ‘We’.

The guitars strike that delicate balance of melodic clarity and overdriven power expertly. Digging into my personal mixtape stash, Fast Blood remind me of Ovingham’s finest China Drum, especially in the frenetic double time drum climax to the track.

Released: 28.01.22 www.fastblood.bandcamp.com

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ALBUMS

ALBUMS 4/5 KEELEY FORSYTH LIMBS (THE LEAF LABEL)

3.5 / 5

SEA POWER EVERYTHING WAS FOREVER (GOLDEN CHARIOT RECORDS) Words: Mark Corcoran-Lettice If the name feels vaguely familiar, there’s a reason for that: having decided to trim their name in advance of the release of their latest album as a rejection of parochial and imperial values – no British please, we’re humanists – the band now known as just Sea Power will be instantly recognisable to even the most cursory fan on Everything Was Forever.

Occupying an odd, almost extinct niche within the music industry, Sea Power survived hype by never becoming too commercial a prospect, outlived irrelevancy by sticking to their guns and with the support of a dogged, fanatical following, becoming that more recently extinct species of a genuine, beloved cult act. By the sounds of this record, that space in the margins of the mainstream seems to suit them just fine.

Much of the first six tracks feels like an enjoyable exercise in throat clearing, a run through of the assorted modes Sea Power have worked in over the years – the rural Galaxie 500 worship of Fire Escape In The Sea, sky-scraping post-rock on Two Fingers, or Doppelganger’s rambunctious post-punk – that makes for a fun precis of just what Sea Power are about, but not too much more.

Instead, the real heart of Everything Was Forever lies in its perversely backloaded end stretch: Folly’s fizzing synth pop is as immediate a single they’ve ever written, Green Goddess an exercise in rock music as all-consuming empathy and the album’s outright masterpiece Lakeland Echo, a Lake District hymnal that also serves as a warm tribute to dual songwriters/frontmen Jan and Neil Wilkinson’s late father.

For all of Everything Was Forever’s virtues however, it does serve as a slightly unwelcome confirmation that their more immoderate and playful side seems to have largely fallen by the wayside: unwieldy as it might have been, the brash ambition of an album like Valhalla Dancehall is missed here.

If not a statement of grand rebirth then, Sea Power’s first release under their amended moniker finds them continuing down their own distinctive path – one that any fellow travellers will always be welcomed down with a kindly embrace and some bracing refreshment.

Released: 11.02.22 www.seapowerband.com

ALSO OUT THIS MONTH Foxes – The Kick (PIAS, 11.02) // alt-J – The Dream (Infectious/BMG, 11.02) //Fatherson – Normal Fears (Easy Life Records, 25.02) // Empath – Visitor (Fat Possum, 11.02) //Weatherstate – Never Better (Rude Records, 11.02) // Spoon – Lucifer On The Sofa (Matador Records, 11.02) // Gang of Youths – angel in realtime. (Warner Records, 25.02) //Nordic Giants – Symbiosis (Kscope, 04.02) // SPINN – Outside Of The Blue (Modern Sky UK, 04.02) // The Body & OAA – Enemy Of Love (Thrill Jockey, 18.02) //Sun Cutter – S/T (Bronzerat Records, 25.02) // yeule – Glitch Princess (Bayonet Records, 04.02) // Superchunk – Wild Loneliness (Merge Records, 25.02) // Big Thief – Dragon New Warm Mountain I Believe You (4AD, 11.02) // Greta – Forever We’ll Be Dancing (W.A.S. Entertainment, 04.02) // Buzzard Buzzard Buzzard – Backhand Deals (Communion, 25.02) // Sally Shapiro – Sad Cities (Italians Do It Better, 18.02) // Bitch – Bitchcraft (Kill Rock Stars, 04.02) // Erin Rae – Lighten Up (Thirty Tigers, 04.02) //Johnossi – Mad Gone Wild (BMG, 11.02) //The Slow Show – Still Life (PIAS, 04.02) // The Delines – The Sea Drift (décor records, 11.02)

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Words: Ali Welford From the cast lists of Holby City, Casualty and Coronation Street to critics’ Album of the Year lists, Keeley Forsyth’s maiden foray into music proved one of 2019’s unlikely cult hits. A refinement of Debris’ stark and engrossing soundworld, Limbs tweaks its predecessor’s palette with spectral drone and pulsing percussion; a riveting sonic scene where each note is afforded its claim amidst asphyxiating silence.

By far the greatest source of intrigue, however, remains Forsyth’s voice; a ghostly, isolated presence whose sharp operatic tones are subject to fresh experiments in form and timbre. In fact, whereas Debris’ desolate minimalism sought instant impact, Limbs’ probing explorations of silence and space unfurl at their own pace – demanding more, yet richly rewarding the faith of repeat listens.

Released: 25.02.22 www.keeleyforsyth.com

4.5 / 5 CATE LE BON POMPEII (MEXICAN SUMMER) Words: Mark Corcoran-Lettice Throughout her career, Cate Le Bon has always had a gift for blurring the lines between the oblique and the obvious, between the impulsively chaotic and the cold-headedly pre-determined. These juxtaposing (yet never clashing) qualities come to the forefront of Pompeii, an elusive art pop meditation on emotional devastation that also doubles up as the most purely pleasurable album she’s released yet.

Doubling down on the smoother, purposefully misremembered eighties soundscape of Reward, where wiry guitars duel with billowing synth pads and saxophones roams the perimeters, songs like the elegantly bruised Harbour, the cryptic revelations of the title track and the genuinely brilliant Remembering Me feel like the thrilling, emotionally resonant culmination of Le Bon’s artistic project to date.

Released: 04.02.22 www.catelebon.com

4/5

4/5

4/5

ANIMAL COLLECTIVE TIME SKIFFS (DOMINO)

MODERN STUDIES WE ARE THERE (FIRE RECORDS)

ABIODUN OYEWOLE GRATITUDE (AFAR RECORDS)

Words: Cameron Wright Undeniably one of the most revered and essential indie bands of the 00s, Animal Collective became cult heroes, worshipped for the myriad of sounds, emotions and stories encompassed throughout their golden run of records.

With Time Skiffs, the whimsy is still present, yet the recklessness has matured into relaxation. Working to provide a safe heaven from the world, Animal Collective curate an immersive, free flowing album which consumes you as it drifts away aimlessly. For a record dedicated to its meandering, low-maintenance charm, Time Skiffs naturally loses direction on occasion but the rich, anodyne harmonies, transporting rhythms and alluring instrumentation all mould this album into a smile from beginning to end.

Released: 04.02.22 www.myanimalhome.net

Words: Robert Nichols Another gorgeous album by the Scottish psych folk purveyors and surveyors of nature, mood and atmosphere. Sweeping strings flower into chamber pop harmonies centred around Emily Scott’s rich vocal seam. Voicing poetry in words and musical motion, notion and notation. Capturing and captivated by the passing of a weather event across a wild country, cinematic and dream-like.

This fourth long player sees Modern Studies opening up a more verdant account of themselves. Augmented by an occasional growling guitar and lashings of string interludes, the songs are instant and immediately accessible, shimmering, simmering, magically melancholic. But so, so uplifting. This is music hand-crafted to keep you warm on a cold February evening. I do love this band.

Released: 18.02.22 www.modernstudiestheband.com

Words: Ikenna Offor They say age invariably mellows you out, but on his rousing solo debut, Abiodun Oyewole has lost none of his trademark gravelly gravitas. Tempered with reflexive acuity, the Last Poets’ founding member’s mellifluous baritone still rings with the same clarity as when he coined that immortal refrain, “party and bullshit”.

Eschewing charged anthems for inclusive sermons that wed holistic poetics to vivacious beats, Gratitude plays largely to Oyewole’s knack for melding language and rhythm into a distinctly fluid entity. Sonically, the record wears its hip-hop nostalgia proudly – A Poem deftly interpolates the booming funk urgency of De La Soul’s Stakes Is High; elsewhere, Right Here Waiting recalls the wistful lilt of Dilla’s Time: The Donut of the Heart. Get familiar!

Released: 04.02.22 www.abiodunoyewole.net

5/5

5/5

5/5

PAN•AMERICAN ‎ THE PATIENCE FADER (KRANKY)

ROLO TOMASSI WHERE MYTH BECOMES MEMORY (MNRK)

YAATRI LUCID (SELF-RELEASE)

Words: Elodie A. Roy Pan•American’s guitar instrumentals have a grave, expectant dreaminess about them.

Something has happened, or perhaps something is about to happen. Not a word is spoken: there is no need for this. Mark Nelson doesn’t sing at all on his ninth solo album – every now and then a woman’s voice rises and sweetly fades away. Almost exactly in the middle of the record a creaky gate is pushed open, or gets shut forever. We’ll never know.

There are some rough edges, unresolved horizons – tentative melodies and ghostly, strident harmonica lines. The Patience Fader feels beautifully time-worn, like the tattered folk songs of Jandek, or the weather-beaten tales of Sherwood Anderson, Mark Nelson’s music comes from an ancient yet infinitely close place: it has a soul.

Released: 18.02.22 www.panamerican.bandcamp.com

Words: Laura Doyle All attempts to define Rolo Tomassi have failed to do the Sheffield five-piece’s anthemic, broadly metalcore sound any justice. The band is split by dichotomies, unafraid to explore and develop their sound from album to album, and even song to song. This latest record, which serves as the finale to the trilogy of Grievances (2015) and Time Will Die And Love Will Bury It (2018), demonstrates the best aspects of Rolo Tomassi. It flits elegantly from gut-churning hard rock melodies to world-building harmonies – and everything in between.

This methodology is epitomised in latest single Drip, which showcases Eva Korman’s vocal talents as the ethereal poignancy of her clean singing is punctuated by her screams’ caustic ferocity. Genre remains unwelcome and unnecessary.

Released: 04.02.22 www.rolotomassiband.com

Words: Laura Doyle It boggles the mind to think that Yaatri could be born from a city best known for its ridiculous one-way system. But while Leeds may be the stomping ground for this ambitious conglomerate, its inspirations come from much farther afield. Jazz in its original form was all about diaspora taking music from ancestral continents and making it their own – Yaatri continues this tradition by seamlessly blending modern composition with traditional instruments to create a sound that is out of time and forward-looking.

Debut album Lucid is the best of this melting pot, weaving an intricate global story through paradisical soundscapes. Yaatri presents an exciting direction for the future of music: one that respects and moreover champions cultural experience as a source of sonic innovation.

Released: 18.02.22 www.yaatrimusic.co.uk

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ALBUMS

4/5

4.5 / 5

4.5 / 5

BLACK COUNTRY, NEW ROAD ANTS FROM UP THERE (NINJA TUNE)

METRONOMY SMALL WORLD (BECAUSE MUSIC)

WHITE LIES AS I TRY NOT TO FALL APART (PIAS)

Words: Lee Hammond BCNR continue to push forward with this rapid follow-up to their acclaimed debut, For The First Time. The conventional is far from their remit, and the record features a sprawling collection of songs with a complete disregard for genre. From the upbeat Chaos Space Marine to the brooding Haldern, it’s impossible to pin BCNR down.

Despite its name, The Place Where The Blade Inserted is one of the most excitable tracks on the record, followed by Snow Globes which is packed with discordance and complexity. Each track has such stand-out qualities, yet is completely different from the next, which leaves it feeling less cohesive. There is no doubt though that BCNR continue to go from strength to strength.

Released: 04.02.22 www.blackcountrynewroad.com

Words: Michael O’Neill If the euphoric lead single It’s Good To Be Back had you thinking the seventh LP from the Brighton-hailing wonky pop connoisseurs was going to be business as usual, then you may find Small World to be a bit of a shock, with Joe Mount trading the everything-and-thekitchen-sink bombast of Summer ‘08 and Metronomy Forever for a more subdued, downtempo collection of slow-burners.

It’s a bold and refreshing sea-change from the usual Metronomy aesthetic, with the pensive Loneliness Is Always On The Run and the buoyant but anxious Love Factory brilliantly representing the LP’s introspective approach.

It’s more Tusk than Monster in the pantheon of “shocking genre left-turn LPs” and deserves the patience and repeated listens required to fully appreciate it.

Released: 18.02.22 www.metronomy.co.uk

Words: Stephen Oliver Every now and again, an album hits the sweet spot between sounding commercial and radio friendly but also has the personality of a more indie release. Through well crafted songs and a big sounding production, White Lies may have created an album that sees them reach an even bigger audience. From the funky bass lines in the opening track Am I Really Going To Die? to the rock-infused Roll December, there is a scale to the sound.

The three-piece have assembled a fine and coherent collection of tunes that have the hooks to turn them into ear-worms; it might be old-fashioned to listen to whole albums in original track order but this album deserves such attention.

Released: 18.02.22 www.whitelies.com

3.5 / 5

5/5

4/5

DREAMTIGERS ELLAPSIS (SKELETAL LIGHTNING)

JOHNNY MARR – FEVER DREAMS PT 1-4 (NEW VOODOO/BMG)

BINKER & MOSES FEEDING THE MACHINE (GEARBOX RECORDS)

Words: Tom Astley Post-rock collective Dreamtigers offer emotionally heightened, sincere soundscapes which are, at moments, sublime. Haunted, reverb-laden distorted guitars, growling bass, pounding drums and howling lead give a comforting palette over which vocals drawl in a tone redolent of Death Cab For Cutie. Cello and fingerpicked guitar add a folky sound, heard further in the 6/8 sway of opening track Six Rivers.

Stand out tracks are mid-album diptych I See The Future and For Sally, which capture the ecstatic timbral poetry of Godspeed You! Black Emperor, dream-like mantras building to emotional climaxes. However, this feeling is curtailed on a record where there are moments that are more soporific than dreamy.

To quote Jorge Luis Borges’ Dreamtigers: “A tiger appears indeed, but… far too fleeting”.

Released: 18.02.22 www.dreamtigers.bandcamp.com

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Words: Paul Jeffrey The genius musical polymath that is Johnny Marr continues his transition from the world’s greatest side-man into captivating solo artist with the release of Fever Dreams Pt 1-4.

Densely layered, beautiful arranged and exquisitely played throughout, Fever Dreams paints from a significantly weightier sound palate than previous offerings, adding synths, sequencers, drum loops and samples to Marr’s admirable vocals and inspired trademark multi-tracked guitars. Everything sounds taut, more urgent, and there’s genuine elation shot through these tracks that envelops the listener in a joyful noise.

With Fever Dreams Pt 1-4, the Manc maestro has dropped a record that comfortably sits alongside the best moments of his significant career…altogether rapturous, a monumental triumph.

Released: 25.02.22 www.johnnymarr.com

Words: Eugenie Johnson Across two albums together as well as other projects, saxophonist Binker Golding and drummer Moses Boyd have placed themselves at the cutting edge of Britain’s jazz scene.

Their third album, Feeding The Machine, sees them further pushing their own boundaries, setting the tone with the dynamic free-jazz of opener Asynchronous Intervals.

Honorary third member Max Luthert is also on hand with tape loops and electronics, peppering the record with tones that reach towards experimental and ambient territory.

It’s most stunning and notable on After The Machine Settles, where Golding and Boyd burst triumphantly through an opening, languorous electronic passage. Although often seeming on the edge of chaos, Binker & Moses continue to be completely in control of their dynamic creative vision.

Released: 25.02.22 www.binkerandmoses.bandcamp.com

ALBUMS

5/5

4/5

3.5 / 5

NIGHT SHOP FOREVER NIGHT (DANGERBIRD RECORDS)

LADY BIRD WE (ALCOPOP! RECORDS)

LOS BITCHOS LET THE FESTIVITIES BEGIN! (CITY SLANG)

Words: Damian Robinson Under any circumstances, but especially given the context surrounding its creation (severe grief and temporary retirement), Forever Night is an extraordinary accomplishment from an artist standing tall and proud in all his flaws.

Varied in tone, yet rooted in a blend of Sun Studios rock ‘n’ roll, opening trio of Forever Night, Slow Dancing and Let Me Let It Go, kick the album off with a pulsating country-glamstomp, all skilfully disguising wistful confessions about lost love and deep regret.

For all of the dance-floor fillers though, it’s the heartbreakers that hit the hardest; Just To Get Home standing out with Chris Issak levels of dark reflection. A visionary confessional record that succeeds because the artist seemingly doesn’t care what you think – he just needs to get things off his chest.

Released: 11.02.22 www.nightshop77.bandcamp.com

Words: Robin Webb This tight as fuck punk trio from Kent have busted out a more than competent debut that bubbles with irreverence and balls-out bravado, while also managing to channel Blur, The Small Faces and Oliver!

The first four tracks are blistering, original and as swaggering as any decent punk band these days should be. Then the track Individualism drops, its lyrics rally against being generic and yet it sounds like every noughties pop punk anthem aimed at the ‘kids’ – get the irony! The album is imbued with humour and sarcasm, remaining true, brutally honest and sorrowful, rawly acknowledging human emotion and loss in a brutal modern world full of contradiction and injustice. They’re gonna be cracking live, catch them when you can.

Released: 25.02.22 www.thisisladybird.co.uk

Words: Ali Welford It feels perverse to be reviewing Los Bitchos’ debut on so-called Blue Monday, and equally so that it sees release at the outset of February. Based in London, but with members whose origins span three continents, the quartet’s jubilant instrumentals source from a vast pool of sonic and cultural touchstones – from Peruvian chicha and Argentine cumbia to Turkish psych and Californian surf.

In a sense, the record’s laser-eyed focus is its greatest asset, successfully channelling disparate ingredients into an ecstatic score to the ultimate hypothetical funk-fuelled party western. Perhaps the most unfashionably early record of 2022, Let the Festivities Begin! nevertheless possesses a saloon busting, tequila guzzling strut fit to accompany those summer sessions you’ve fantasised of all winter.

Released: 04.02.22 www.losbitchos.com

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MIXTAPE WORDS: BOO FROM GHETEC

I’m Boo, an artist from Teesside. During lockdown I put all of my energy into producing music, I needed an outlet to express myself and found a cathartic release in music. I finally learnt how to mix my growing record collection and started putting mixes online for various platforms including Threads radio. I wanted a space where myself and others could DJ regularly, so I started Ghetec, which is set to launch this month. Its mission is to create fully sensory parties and a platform for boundary-less self expression. We will be pushing dynamic, forward-thinking electronic music in the region by bringing DJs to the city for their debut performances, whilst shining a light on under-represented local talent. We’re more interested in energy than genre and we’ll create more diversity through our bookings. A fully immersive dance floor, and a space that that is fun, carefree and safe. The Ghetec core DJs (a term we’re using rather than residents) are Annie Marron, Jacklyn and Boo. Our launch party is on Saturday 26th February at Cobalt Studios in Newcastle and we are bringing OK Williams for her debut performance in Newcastle with support from our core DJs. Expect a sensory journey into the faster tempos!

Here’s a few tracks that we’re currently enjoying. www.instagram.com/ghetecisback

ANETHA GEDO SENKI Anetha Is one of our favourites artists, with stand-out DJ sets, forward-thinking productions and her Mama Told Ya label, she’s always pushing the boundaries of club music.

Gedo Senki is pacey and hypnotic, building into a trance-like sky scraper with rich sound design, chopped up vocals and an evolving arrangement. This track transports you somewhere else. Where? We don’t quite know!

DJ SLUGO WOULDN’T YOU LIKE TO BE A HOE TOO A classic staple Ghetto house track which is the perfect mixing tool for any DJ! Sometimes less is more. This minimal track hits so hard due to its simplicity, pumping drums and iconic vocal. Guaranteed to get the dance floor moving, a Dance Mania classic.

JOHANNES HEIL GOLDEN DAWN After discovering this gem on Nina Kraviz’s Boiler Room, this record was purchased

straight away! A magic and euphoric record which feels like it belongs in another realm.

Golden dawn continues to build for almost eight minutes, with a pulsing bass line and synths which feel like shooting stars flying through infinity. Definitely looking forward to giving this one a spin at Ghetec!

JACKLYN NO FEAR Newcastle-based Jacklyn released No Fear on Acid Waxa last year. Written and produced in one afternoon, this soulful track is raw and emotive. It takes its inspiration and accompanying vocal sample from Nina Simone in a 1968 documentary where she is asked what it means to be free. No Fear has been circulating throughout the underground in recent months and captures the essence of what Ghetec is about.

BOO I SEE A HALO Written during lockdown, my debut release on Rat Face Records, is an introspective take on club music. Ethereal and hazy, I See A Halo

explores themes of desire and forgiveness through cascading synths, repeating vocals and rich sound design. This was the first track I finished and sang on, and sets the tone for what’s next! It’s raw, burnt out electronica and best listened to in the early hours!

LAUREN DUFFUS STIR FRY (XTRA) Lauren Duffus has a really unique take on production. Stir Fry was a stand-out track last year, it’s a melancholic anthem which you could imagine closing a party with. Her monthly radio shows on NTS have a similar magic and we are always waiting to hear more from her.

LSDXOXO DEATH RATTLE Death Rattle is the perfect party track, it’s uplifting and punchy with an instantly recognisable vocal. Sampling the famous dancehall track Head High (Kill Em With It) by Mr Vegas over breakbeat drums and stabbing synths. We are guaranteed to be playing some LSDXOXO at the Ghetec launch party!

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