Issue 12 - CultureHUB

eclectic ni

C U LT U R E

HUB

WINTER

2017/18

FROM SALFORD TO PLUTO

RUSSELL WATSON SPECIAL: MENTAL HEALTH IN THE NI MUSIC INDUSTRY

PEAKY BLINDERS’

PACKY LEE INTERVIEW WITH AUTHOR, POET AND SPOKEN WORD ARTIST

HOLLIE MCNISH

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eclectic ni

C U LT U R E

HUB

Welcome to Issue 12, the Winter Edition of CultureHUB Magazine. NI’s arts and culture magazine, delivering forward thinking ideas and cutting edge articles.

Wishing you all a happy New Year! From the team at CultureHUB.

Editor: Anna Wherrett Marketing Director: John McManus Media Executive: Stacy Fitzpatrick Design: Anna Wherrett Assistant: Laura Canales Front Cover Photography: Helmi Okpara Journalists: Sharon Clarke, Michael Ferguson, Stacy Fitzpatrick, Cara Gibney, Tracey Hanby, John Patrick Higgins,Kevin Magee, Emma McKinley, Gemma McSherry, Joe Nawaz, Conor O’Neill, Gerry Walton.

Photography Credits: Tobias Alexander, Jim Cunningham, Vinny Cunningham, Jason Flood, Tremaine Gregg, Conor Kerr, Bernie McCallister, Brian Morrison, Mickey Rooney, Karen Storey.

CultureHUB Magazine Ltd. Merrion Business Centre Office 6a, 58 Howard Street Belfast, BT1 6PJ Tel: 02895 43 4060 www.culturehubmagazine.co.uk info@culturehubmagazine.co.uk

facebook.com/culturehubmagazine @CultureHUB1

CONTENTS ARTICLES

4 • CultureHUB Introduction 5 • Tony Walsh ‘Longfella’ - Poet for Hire 8 • Interview with Sarah McGuinness 10 • Tony Macaulay - Author and Peace Builder 13 • Packy Lee - Peaky Blinders 16 • Russell Watson -- From Salford to Pluto 18 • Mental Health in the Music Industry: Part 1 22 •Emily Dedakis - Freak Floods Project 24 •The Casting Couch 26 • Hollie McNish - Spoken Word/Poet 31• Gary Fahy - Punkerama Records 35 • In the Art of Belfast 39• Interview with Rebekah Fitch 42• John Patrick Higgins & Joe Nawaz - Stalemates 44 • Five Minutes with Strength N.I.A 45 • Almost Famous - The Maiden City, 1970 - 2017 48 • 11 Lombard Street - Regenerated Creative Space 50 • Americana Music - New Year Preview © CultureHUB Magazine Ltd All rights reserved. No part of this magazine may be reproduced or transmitted in any form by any means, electronic or mechanical without permission of CultureHUB Magazine.

Introducing CultureHUB TV W

elcome to the Winter Edition of CultureHUB Magazine. A magazine that prides itself on routing out cutting edge and forward thinking content from NI and beyond. We are also delighted to be celebrating the publication’s three year anniversary this December.

Firstly, we would like to welcome John McManus, the new Marketing Director to the magazine. John has a breadth of experience in diversifying brand strategies, previously working in Canada within this field. We are looking forward to integrating this expertise with the diverse skill-sets already within the publication.

As mentioned previously, our re-vamped TV show will be aired on NVTV. It is filmed monthly and presented by L/Derry’s Stacy Fitzpatrick. See www.culturehubmagazine.co.uk/tv-prog for the programme schedule. Like the magazine, the programme will look at topical, societal and cultural aspects of what’s going on in the North of the isle.

This is an addition to our multi-platformed publication, with creative, diverse and ever evolving ways of delivering content, across all media channels.

We are delighted to feature Ted Hughes Award winner Hollie McNish on the front cover, who will be performing at the 2018 Out To Lunch festival, along with Tony Walsh.

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On page 18 we have the first instalment of a four part series; Addressing Mental Health in the NI Music Industry. This series will run over the course of 2018. It is a huge canvas to cover. In this issue, we speak to Jonny McAllister of the band Warriors of the Dystotheque.

Jonny discusses his experience as a high profile DJ, working with some of the biggest names of the time, at the epicentre of the club scene. He opens up about the normality and pressures to take drugs whilst on this scene. Jonny describes the rollercoaster and the aftermath this lifestyle eventually led to and the complexed effects on his mental health.

We have our usual content cocktail of music, literature, theatre and art. We want to hear from you! Tell us what you think, are there subjects/genres we are missing? It would be great if you could review our magazine, either by email to: info@culturehubmagazine.co.uk, or our Facebook Page.

Wishing you all a happy New Year!

INTERVIEW

T O N Y WA L S H LONGFELLA - POET FOR HIRE

T

ony Walsh, also known as ‘Longfella’, is sharing a bill in January with Hollie McNish in the Black Box on Sunday 07 January, 2018 as part of the Cathedral Quarter Arts Festival.

However, he propelled himself into the national consciousness this year (May 2017) in the wake of the tragic Manchester Arena bombing. The performance of his own ‘This Is The Place’ in Albert Square provided much-needed solace to a shaken city, and a poem that had long since been commissioned by the charity ‘Forever Manchester’ took on a life of its own.

When asked about his feelings after such an event, it was clear that Tony won’t forget the reception in a hurry: “It entered the fabric of the community. It wasn’t about poetry. A bomb had just gone off 18 hours ago...

“I didn’t have time to be nervous. I realised that I had very few worries in comparison to those who had lost loved ones, and I felt very humbled.”

Describing himself as a “poet for hire,” Tony’s work has an evocative quality, and ‘This Is The Place’ acts as a greatest hits of sorts for the history of Manchester, celebrating its achievements, its soul, and he was surprised to be told the widely shared performance was trending fourth on Twitter. While Tony said he didn’t see it as a defiant piece, the reaction showed how Manchester “stood together collectively” and that it “reflected the mood”.

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On the poem’s viral performance, Tony said: “I actually took some lines out, but there were some moments of humour in a deadly serious situation. It was a very Mancunian piece. Like Belfast, Manchester has come back from terrorism.”

Tony in fact has roots on our island. His father is from Cavan and is “always welcome as an Ulsterman”. Tony himself speaks of Belfast very fondly:

“I love the place. I love the spirit and I love the people. The music scene is great and I think there are parallels between Manchester and Belfast.”

Tony has won plaudits from previous performances in Belfast. His punk-influenced rhymes earnt a standing ovation in the legendary Sunflower bar, something he admits is rare for a poet. One of his poems, ‘Teenage Kicker Conspiracy’ is a tribute to the late, great John Peel.

Avid Jo Whiley listeners on Radio 2 may be familiar with it. Good Vibrations founder Terri Hooley, a key part of the Undertones story and Belfast punk legend, certainly is:

“It was great to meet him. I was doing my tribute to John Peel and it ends on a reference to ‘Teenage Kicks’. We burst into a spontaneous rendition.”

As someone with a distinctive style, it was interesting to find out how Tony Walsh developed his voice. He made reference to Ryan Adams as someone whose prolific style inspires him, in particular the Stacks method, where Ryan opens a book at two random pages and stitches together lyrics from them. Tony crafts his work in his own way: “I start with a repeated phrase or line, a hook or a motif, a repeated refrain. A couple of lines form...

“It is a skill to be able to fit your message in with your rhythm. Rhyme and rhythm can pull you away from your message. I often get an ending and then work towards that.”

Currently on the agenda is This Is The Place: Choose Love, Manchester. Described by Tony as a “beautiful hardback book”, the distinctive yellow cover houses a collection of his work, including the ubiquitous ‘This Is The Place’ piece read in Manchester. It brings the poems to life in a design-led format, with contributions from, among others, the legendary designers Peter Saville and Kevin Cummins. The proceeds are going to three Manchester charities in response to this year’s terror attacks.

After that will be a spring collection of poetry called Work.

Life. Balance. This will be released on 01 March 2018 on Burning Eye Books.

For any aspiring poets, Tony had these words: “Take inspiration from others. Read a lot, get out and see live poetry. If you want to be a footballer, watch football. If you want to start a band, see bands. Find your own style.

There are a few dominant styles coming to the fore. How do you know where your writing sits if you don’t know where the bar is?”

He also alluded to the old Leonard Cohen quote:

“If I knew where the good songs came from, I’d go there more often.”

Tony Walsh’s debut in the Black Box will likely provide an electrifying experience to rival previous Belfast appearances. Get down for 3pm on Sunday 07 January 2018 for an hour with himself and Hollie McNish.

You might get inspired yourself.

Interview: Gerry Walton Photography: Tobias Alexander

Growing up with an appreciation of punk music, it has often become intertwined in his work and grown alongside his poetry. A “passionate advocate of rhyme,” tunes often come to him. His creative muse is not limited to poetry either. He has written some ten-minute drama shorts. While ruling out a long-form novel, you might see him on screen at some point, with kids films being a possible avenue.

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7

Sarah McGuinness Interview

S

arah McGuinness is on a mission. A music mission. The Emmy nominated British producer, director, composer and screenwriter has stepped into her seductive, strong and sassy musical alter-ego and released her debut album Unbroken in November 2017. The album marries both sound and vision with every track, accompanied by its very own mini movie, ultimately being more than just a video.

If you know Sarah McGuinness you will also know Sarah Townsend, she is one and the same and makes for a very intriguing combination. Sarah Townsend is her other guise, being the renowned movie director, producer and screenwriter for both TV and the big screen.

Sarah took time out from her busy schedule to talk to CultureHUB Magazine and to give us a personal insight into the lives of both Sarah McGuinness and Sarah Townsend.

Hailing from L/Derry, Sarah spoke of leaving the Maiden City in the late 1980s, which in her words was, “not a very fun time to be here for anyone” and headed to London and University study. Whilst she spends a lot of time away from Northern Ireland she tries to get back as often as possible to visit, especially at holiday times and is adamant that “nothing is better than a trip to the sea to calm down and reflect between intensive work schedules”.

Her debut album Unbroken was released in November 2017, is the culmination of a process spanning many years and as Sarah reveals, “between my many other projects”. She is absolutely thrilled to have got to the stage where her album is now in the public domain and is heartfelt in a feeling that all the hard work that went into the making of the album, shines through in the finished article.

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Producing Unbroken was the very talented Ed Buller, who has previously worked with a range of well know artist including Suede, Pulp and The Courteeners.

“I met him in the late 90s when he heard one of my soundtracks and said how much he loved it. We talked for years about doing something but it only became a reality in the last year or so, with great results.”

Musically Sarah immerses herself in the glamour and intrigue of the 50s and 60s silver screen. Her musical influences are unmistakable and include David Bowie, Amy Winehouse, Marvin Gaye, Van Morrison, Burt Bacharach but “most of all the inimitable John Barry”, who most famously composed the scores for 11 of the James Bond movies between 1963 and 1987. There is no doubting the feel of these varied musical influences in this debut album.

The first single from the album is ‘Glad You’re Gone’ and on first listen appears to have Bond Theme written all over it.

With a new Bond movie scheduled for November 2019 I asked of her thoughts on the possibility of the track being used. “Funny,” she continues: “Everyone says that about ‘Glad You’re Gone’, and yet there are other songs that I’d thought were more obvious contenders. The song ‘Miss You’ for example. Anyway, I live in hope, who knows…” Indeed.

The future for Sarah McGuinness appears pretty clear. She continues: “The idea is to complete all the videos for this album, so that each is its own story representing a different woman in a different situation that we all recognise, or perhaps aspire to, and to show them in styles that reference classic movies. The key difference is that the female character in each of these videos doesn’t suffer the usual fate i.e. is punished or bumped off for her feistiness, but instead she triumphs as on the old 1950s Pulp Fiction covers were the woman is always shown having made a decision, or killed someone, or runs off with the money and survived...

As for Sarah Townsend, her most notable works include the Emmy nominated documentary Believe, the inside story on Eddie Izzard and also the multi award winning Noma: Forgiving Apartheid, about the acclaimed stage and screen actress Noma Dumezweni, an Olivier Award winner, and famed for her portrayal of Hermione Granger in the West End smash Harry Potter and the Cursed Child. Sarah explained:

“It’s important to create stories that show a woman’s independence in a positive and fun light, as that is still a rare thing even now.”

“It is very gratifying to feel all the years of work you put in are recognised by other people because mostly if you are behind the scenes you are invisible. Getting the BAFTA short-list for my Noma documentary last year was a total surprise and pleasure. It’s great to feel you are part of such a committed industry.”

Finally I asked Sarah to put together her four dream guests for a dinner party, you will not be surprised to hear they are all women. “These lists are nearly always mostly men, aren’t they?” So, I await, who are the four? “J.K Rowling for her wit and political insight, Amal Clooney for her fascinating take on blending her brilliance on Human Rights law with femininity and self esteem. Sharon Osbourne for her intelligence and management skills. And finally Michelle Obama for her extraordinary experience, gravitas and grace.” It is safe to say this is a very formidable guest list and would be very welcome at Sarah’s house any time.

Sarah enjoys life both behind and in front of the camera. The Unbroken project has given her the “opportunity to combine my skills simultaneously and it will keep me busy for a while, one video at a time, now the songs are complete!”

The chapter entitled Unbroken is the latest part of the story that is Sarah McGuinness but there is no doubt this story is far from finished.

INTERVIEW: michael ferguson

The album Unbroken

is available to order.

For further reading and

puchase links, visit: culturehubmagazine.co.uk/smcguinness

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tony y a l u a c ma Author & Peace Builder

LITERATURE Little House on the Peace Line

Paperboy

All Growed Up

Breadboy

INTERVIEW: Conor o'neill • PHOTOGRAPHY: CONOR KERR

T

ony Macaulay has rubbed shoulders with Royalty, met the hardest-of the-hard Belfast has to offer, stood in for Candy Devine at Downtown Radio on more than one occasion, contributed to NVTV, BBC Radio stations Two and Four, Downtown Radio and Radio Ulster as well as writing for the Belfast Telegraph. His first three books, Paperboy, Breadboy and All Growed Up have been translated to braille by prisoners in the Braille Unit of Maghaberry.

Given his busy schedule, it’s not surprising CultureHUB caught up with him as he waited to board a flight to the U.S. where he’s speaking at the Maryland Irish Festival. Tony talks about his recent book Little House on the Peace Line, Northern Ireland’s current political and social status, plans for the future and of course, his writing.

Kicking off with the latter, I ask him on his habits with the pen? Tony replies: “I’ve had a pattern over the last five or six years. I try to write once a week, it varies depending when I can do it. I like to write when I’m out and about, when I’m home in Portstewart I do a wee coffee shop tour going up the prom and I’ll write and go for a walk, then go to another coffee shop and write. I find walking is really good as I’m thinking things through. I travel quite a lot too, especially with the last couple of books, so I have written a lot at 30,000 feet on eight-hour plane journeys.”

I hone in on Little House on the Peace Line’s melancholic beginning and ask if his time at the 174 Trust kicked the optimism out of him or was it simply maturing as a human? “I think it was a mixture of both. I was idealistic and zealous about what I was going to do and wanted to change … I’m still committed to social change and peace building. What has changed is that difficult situations have made me more of a realist. I would call myself a ‘grounded optimist’. I’m still a ‘the glass is half full’ type of person.”

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Spoiler alert, look away now if you have yet to read the book! Chapter five ‘No Father of Mine’ details Macaulay’s father’s suicide, I ask if this event was one of the reasons his time with the 174 Trust was cut short? “I hadn’t really thought about that. That has been a defining moment in my life. I had to choose, ‘Was I going to survive this? Was I going to be a victim for the rest of my life?’ It’s something I live with every day. I did make a conscious decision that this wasn’t going to ruin my life. At the time I didn’t think it had any influence on how long I stayed at the Salt Shaker, I was so focused on my work with the young people it didn’t even cross my mind. It’s only looking back now I realise I was getting close to burnout. Unconsciously the stress, the process of bereavement added to the burnout; my health wasn’t great and that was maybe part of it.”

Macaulay graduated with honours with a Media Studies degree, did that impact his work? “One of the things I remember studying was communication theory, what’s important in any meeting is to know your audience. I’ve always applied that in all my work. Anytime I’ve applied for funding I’d be thinking ‘who’s my audience?’ It may be four people on a committee, but trying to understand how they might see an organisation like the 174 Trust and how I might word things, so I did apply that a wee bit.”

The epilogue tells of how Macaulay has kept in touch with some of the members of the club from way back in the 80s. I wonder how he thinks of their children’s future? “The members’ children are children of the peace. Their parents were children of The Troubles.

The members’ children have no concept of that awful experience of people dying every day, the security, army on the streets … unfortunately I think the children of today still experience division, of still being segregated, that does introduce insecurity and it’s not safe to be in certain parts of town at certain times.”

I’m still committed to social

change and peace building.

What has changed is that difficult situations have

made me more of a realist.

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tony y a l u a c a m continued

Author & Peace Builder

“I would love to us get to the stage when the peace walls come down and it’s the norm for someone to go to an integrated school and more integrated housing; the way it was before The Troubles. I think Northern Ireland is a great place to live and it could be a great place for children growing up.”

Given Macaulay’s Evangelical leanings and close relations with ‘the other side’, at times it’s palpable his work and his views are not widely accepted by more traditional Protestants, I ask him how his peers have received the book? “It’s difficult because I have readers of my books from all different backgrounds.

People who came from the same background as me really enjoyed the book but I was nervous of this one because it’s a bit darker; there’s more bad language.

People who read about me as a wee good living boy would come with me on the journey and maybe they were uncomfortable … It’s more challenging to read but they’re interested in that, the steps that I took, what happened to my father. To be honest I don’t know, but no one has had a go at me. I think I’ve changed over the years but I’m still very proud of where I come from.”

And the future? “I worked in the voluntary sector for about 20 years, then I opened a consultancy business working mostly with charities around strategies, research and peace building; but in the last five years I’ve been doing interim C.E.O work with charities that are in transition or crisis … One day last year I was working with the young unemployed in West Belfast in the morning, got on a plane and later was working with a senior executive of a bank in the City of London.

And, of course, I’m working on the next book.”

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PACKY

LEE PEA KY BLI NDERS sta r

he waiting’s over, Peaky Blinders has finally hit our screens; series three was re-run, many a couple/singleton and family sat watching hour after hour of the BBC 2 hit.

CultureHUB caught up with Packy Lee, one of the originals, who talks about the Travelling community, family, acting successes, missing the Oscars, accents, plans for the future and Santa’s favourite tipple.

Beginning with the kids’ drama at the Matt Albott Youth Club to watching a clip of himself on the big screen at the 2011 Oscars, Lee has led an eventful life. For those of you who’ve been living under a rock for the last four years, Peaky Blinders is a post WWI gangster thriller set in Birmingham. It tracks the gang and their enigmatic leader Tommy Shelby, played by Cillian Murphy, with Chief Inspector Major Chester Campbell (Sam Neill), hot on the gang’s heels. Packy Lee plays Johnny Dogs, a Traveller and gang associate, and as the seasons have progressed so has his part and character.

CultureHUB finds him in great form and his enthusiasm seems to know no bounds. “Peaky Blinders is massive in so many countries it’s unbelievable. It’s the best role I’ve ever played and Johnny Dogs is a great character, he’s got so much scope with the gypsy background. He’s a man of knowledge but also acts the clown and is very close to

Tommy. When Cillian and myself started doing this nearly six years ago I said ‘wouldn’t it be great if this goes on and continues to grow’ and now it’s happened it’s just brilliant.”

Those familiar with the show and Lee’s character will undoubtedly recognise his accent, Packy tells how it came about: “I was doing King of The Travellers at the time and that accent is a proper Traveller accent. It was mainly creator and screenwriter, Steven Knight who wanted something different”, Packy breaks into proper Traveller tongue, then continues: “I gave them that and they loved it, but they wanted something with more colour. They said, ‘can you do a bit of Cork with Liverpool, bit of Belfast with Dublin, just throw it into a bucket and make it different from what we’re doing’, I gave it a go and they loved it.”

Lee, with Traveller blood in his veins goes on: “It’s based on Rocca or Rokka, Traveller language, there’s different tones and words, it’s hundreds of years old.”

With plaudits coming from Snoop Dogg, Brad Pitt, the late David Bowie, the Kardashians and Jose Mourinho all fans, what does Packy think of such names knowing his work? “That’s all ok and well and I really respect the fan-base we have, but it’s what my family and friends back home and friends who have been in this business with me for a long time, like Ciaran Nolan and Gerard Jordan,, the approval of them and my wife and family is all I really need.”

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P EAK Y BLINDERS star

PACKY LEE As for being star-struck on first meeting Cillian Murphy, there was no problem there: “Gerard and myself were doing something for the National Theatre back when I was 17 and Cillian came along to watch; we just hit it off. I knew him before Peaky Blinders and know him better now. He’s a really private family man and I respect that. Sometimes when we’re on set I think ‘he’s been in Batman’ but he never talks about it. I just think to myself ‘I live in a weird world’.”

Peaky Blinders has everything from the gangsters to the

aftermath of the First World War, including the Suffragette movement, Russian connections, Winston Churchill… CultureHUB tries for a little insider info on season four: “Well I can’t give too much away, but of course there’s new characters, you wouldn’t believe the people trying to get a part now. If I was to audition now I don’t think I would have the same confidence or belief as the first time, the show has just got so big. This time I’m delighted to be sharing the screen with newcomers Adrien Brody (Oscar winner of 2002’s The Pianist) Aiden Gillen (Game of Thrones) and Charlie Murphy (RTE star of Love/Hate and winner of the Ireland Film and Television Award for best Actress in 2013 for Happy Valley). Season Four again sees a new director at the helm, Packy explains: “David Caffery, or ‘Caffo’ as all the cast call him. He’s from Dublin and it’s fantastic to work with him.”

Lee famously missed the 2011 Oscars where The Shore, in which he co-starred, picked up an Academy Award, but due to theatre commitments, Packy watched it at his home in West Belfast. “I was sitting in the living room when the clip came on, and then we won and they played the clip again. I was in it, only for three or four seconds, but it was great. All those prestigious people at the biggest award ceremony of the year!

It was brilliant, not just for me but for Terry George, the fantastic cast and the Northern Ireland film industry.”

With a wife and three children under 10-years-old how does he manage both physically and emotionally? “I’m providing for three wee mouths now, I’m not just doing this for fun. If it wasn’t this industry I’d be back cooking in the morning. If this has taught me anything, it has driven me to show my kids that everything is possible.”

With so much achieved is there anything more to aspire to? “I always wanted to see my name in lights in the West End and wanted to work with Jimmy Nesbitt and Conleth Hill’ – all boxes ticked. I suppose I still would love to work with Joe Pesci and Robert de Niro.

Next up is a collaboration with Ciaran Nolan and Gerard Jordan (interviewed and reviewed by CultureHUB last year) and Lalor Roddy, a great actor with too many awards to mention. We’re doing something; it’s a bit more TV than theatre but it’s going to be great.

Ciaran and Gerard are busy with their Christmas play The Terrible Tragedy of the Twinbrook Turkey, but that’s in the pipeline.”

Packy’s just finished shooting Caramel Winters’ feature film Float Like A Butterfly co-starring Lalor Roddy. Lee continues: “It was fantastic. It’s going to the festivals and it’s well backed. Going by the performances we gave and the story, we’re in for a nice surprise. Well, that’s what we’re hoping. It’s the story of a Travelling family in the 70s and their quest for a normal life.” Another Traveller role, isn’t Lee afraid of being type cast? “I’ve been offered three movies in the last 48 hours and not one of them is a Traveller. I’m very happy with what I’m doing and don’t care if I’m typecast, people have said that from I was 14 and I’m 36 now and doing well.”

And what are you doing for Christmas? “I’m doing what every father does; making sure there’s enough cookies, carrots, milk and whiskey for Santa. From last year Santa likes whiskey, and he likes it neat!”

So there it is, Packy Lee, Whiterock kid playing a blinder and future secure.

Just don’t put threat near his whiskey!

INTERVIEW: CONOR O’NEILL • PHOTOGRAPHY: CONOR KERR

RUSSELL

WATSON FROM SALFORD TO PLUTO

THE STORY OF AN OPERA UNDERDOG Interview: Anna wherrett • photography: Brian Morrison

S

alford, the city that graced us with an array of working-class heroes; Lowry, The Smiths, Peter Hook, John Cooper Clarke, Sean Ryder, footballer Paul Scholes, just to name a few from an exhausting list. It’s a city that seems to endlessly churn out bona fide legends, of every genre. The Northern Municipal has also given us Russell Watson, known to many as ‘The Voice’. CultureHUB was lucky enough to get a half hour chat with the international superstar. On meeting him, I was immediately put at ease; he is a genuinely down to earth bloke.

Russell is somewhat of an enigma. I was genuinely intrigued as to how someone from a staunch working-class, Northern background became a ‘classical-opera’ styled, international singing superstar; without classical training as a youngster.

Eager to find out what guided him to this path of prestige. So, Russell, where an earth did that voice come from? “It’s something that happened organically as a child. From the age of seven, my mum sent me to a lady called Miss Whitfield down the road for piano lessons, so that’s where my initial music interests began. From there, I started playing guitar, which then led to me singing, then singing and playing the guitar. Slowly the voice just developed over a period of time.”

Russell continued: “But it’s a fallacy, I have had lots of vocal coaching. I didn’t go to a music college in the initial stages of my career but I’ve worked with some of the finest vocal coaches on the planet.” Depicting the environment he grew up in: “In Salford, particularly the area that I come from – Irlam, it was football, football, football and more football.”

Reminiscing back to his childhood, Russell explained: “We weren’t encouraged to sing. I can only remember one school play, where I played a sheep. That was the height of my school acting and musical career as a youngster. Great starring role isn’t it? A sheep! Who would have thought, 30 years later, I’d be playing Parson Nathaniel on the stage in Jeff Wayne’s War of the Worlds, when I started off as a sheep.” I jokingly reminded him, it’s very Lancashire though.

You would have thought this classical superstar was raised listening to the likes of Claramae Turner, Luciano Pavarotti; it seems not. Asking Russell what his choice of music was as a teenager, he answered simply, “The Jam”. That’s right, The Jam! Seems Russell and I share some common ground here.

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Russell explained: “When the Jam were out, 1977, the first single ‘In The City’ and then all the stuff from then on, it was an event! When the Jam released a record in the 70s, it was all about getting on the number 10 bus from Irlam to Manchester and buying a record … To be fair music was different back then, it’s when buying music and records really meant something. Over the last 15 years, the downloading ruined everything.”

Well, where, I’m wondering, did the classical influence come in? That was a completely different answer to what I had expected. Russell continued: “When I was a kid, when I was growing up, the household that I lived in, my Dad liked Jonny Cash and Dire Straits. My mum was into Cliff Richard and ABBA. I’d then go around to my Gran’s, she was always playing classical music. Schubert and Schumann ... I think the reason why my taste is so varied, is because I was introduced to lots of different styles of music from an early age.”

Tell me, I asked, was the big break ‘Nessum Dorma’ at the Manchester United Ground? Would you say that your life changed overnight? “It was 1999, that was the year that United won The Treble. There was a series of catalysts, it wasn’t just one thing. It’s funny, I remember when I started working in clubs in 1990. I Spent nine, nearly ten years singing in the clubs and working men’s clubs. There was an article written in 2000, just after the record had gone to number one in the UK classical charts. The article said, “Overnight Success” and I thought, that was a long night, nine to ten years! … There was the Manchester United thing, then I got invited to sing at the Champions League Final in Newham Stadium, in front of 92,000 people ... also the Paul O’Grady Interviews – the big season with him (that was fun), everything just catalysed ... almost like the planets lined up at that specific moment in time.”

Did it just snowball? Russell revealed: “The record deal, I didn’t have a manager at the time. I went in with this guy called Mick Balsky, he’s a bit of a musical entrepreneur. He said, ‘I’ll take you; just to say record companies aren’t signing anyone at the moment. I’m just letting you know, as you might be disappointed; this will be the first of a lot’. I did my bit, stood on the boardroom table, sang ‘O Sole Mio’ and there was a five-album record deal on the table when I got in.”

see the extended interview: culturehubmagazine.co.uk/13758-2/

russell watson is bringing his ‘Songs from The Heart’ tour to the ULSTER HALL, BELFAST on 01 february 2018 The story of an underdog is unfolding. I state, ‘this is a bit of a rags to riches story, isn’t it?’ “Well, the background I came from, my father was a welder at the steelworks. I see artists – crossover artists, trying to sell the same story. ‘Oh, I came from a working-class background’ and I’m like, you went to music college mate! There was never any point in my life where I thought, I’m not going to go to music college, but I’m going to be a big classical star! It didn’t happen like that. It all happened organically, capitalised from nothing, like lots of things. I was in the right place at the right time, with the right story.”

You have rehearsed with Pavarotti and sang for millions of people, what are the massive highlights? Russell rubbed his chin, “There’s been a few ... the gig I did for President Bush for 420,000 people in Washington was great ... The Pope, John Paul II ... they wanted me to perform for a private audience with John Paul II. Alright, so there are 3,500 dignitaries invited from the whole of Europe. Forty red robe cardinals in the Teatro and a 140-piece orchestra, also a choral section of 400 people. Then there’s me stood in the middle of it all; the Pope in his own private box and a television audience of 500 million. I was stood on the stage thinking, this ain’t private! I wonder what it’s like when it’s not private?! ” It’s no secret that Russell has experienced a life-threatening tumour. I asked Russell; would you say, that following your recovery, your approach to music changed? Russell contemplated: “My approach to everything changed.

Living what I live with is tough sometimes, but I’m alive and I won’t be defined by something that happened to me ... Sometimes, it’s difficult; some days are difficult, but I give myself a slap and get on with it and try to stay focused.

The second tumour nearly killed me. Anybody that has been in a situation where they have nearly died, a situation where their mortality has been threatened, will tell you that life will never be quite the same. You become in tune with mortality, you become in tune with a very fine line that we walk as human beings. When I was 16 and 17, getting on the number 10 bus, listening to The Jam, I never thought about death, ever. You start thinking more about your mortality as you get older, I think it’s because you see people around you slowly start to disappear; making you feel more aware of the fragility of life.”

Russell did the soundtrack for Star Trek: Enterprise (‘Where My Heart Will Take Me’). I asked, what’s all this I’ve read about NASA? Russell laughed, “We got a call from one of the top guys at NASA ‘Bert’. I do wind-ups and voices.” Russell impersonated, in an American accent, ‘My name’s Bert and I’m ringing from NASA’ (as you do). We’ve got the Pluto Probe that’s about to pass Pluto, it’s been travelling up there for 30 years, and we want Russell’s song ‘Where My Heart Will Take Me’ to be up to the satellite so we can break it up, which will make Russell’s the furthest ever voice from planet earth, ever.’ So, I was like ‘riiight’, and then we found out that it was real! We did a recording of it, and sure enough, they beamed my tune to however many hundreds of millions of miles from earth up to the Probe ... It was all over the news, ‘The Voice’ has been heard the furthest from planet earth in the history of mankind!” As far as CVs go, that is a impressive stud on the belt!

We conclude the interview with the question: if there were three things you could tell your younger self, what would it be? Russell exclaimed: “Don’t trust anyone in the Music Industry!” Am I allowed to write that? “Oh yeah, they all know! Get a group of people around you that you can trust.

There are people out there that you can trust; you’ve got to put your trust in someone, at some point. I think, that overall you need to make sure of that. Secondly, find somebody that not only you can trust, but that believes in you.

They HAVE to believe in you. Because if they don’t, they can’t sell you properly. Thirdly, and this is the most important one of all. If someone ‘says’ they are 99.9% certain, it means you’ve got no f*****g chance at all. If they say 50/50 then you’ve got a chance. But 99.9% means they are lying, it’s nothing at all. It’s this thing, artists being disposable; like trash when you stop selling records … I had a brain tumour, you’d expect a bit of support! But the phone just stopped ringing. I am then ringing people up and they are not answering the telephone. It’s disgusting, it was disgusting; I’ll never forget it. Every time now, every time I sell a concert tour out, every time I do an event; I won’t stop until something is done. It’s like, ‘I’m here again. I’m back!’”

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PART 1: THE DARK SIDE OF THE MUSIC INDUSTRY

INTERVIEW: STACY FITZPATRICK DISC JOCKEY: JONNY MCALLISTER Mental health problems are prevalent in today’s society. Almost everybody will know a person who has been affected in some in way. Nobody is immune to mental health illness/struggles. In this four part series we explore the dark side of the entertainment industry; the pressures, trauma and devastating experiences that can impact the lives of those involved. Beyond the confident masks lies a dark side to the glamour of being in the public eye.

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his issue tells Warriors of The Dsytotheque founder Jonny McAllister’s experience. How working as a prominent DJ descended into a dark world of drugs, depression and tragedy and how he has rebuilt his life; returning to his love of making music in a fresh form.

Following the death of his mother at the age of 11, Jonny discovered a love for music. Attending a Depeche Mode concert, he knew music was his future beginning by experimenting with instruments and making his own music until the dance music scene emerged leading to his life as a DJ. Jonny explained: “Around 1990 when the dance scene started coming in, I got into going out clubbing like everybody did. In 1992 I bought a set of decks and started DJing. I moved to England in 1998, started promoting and DJing and studied Music Production Technology in Coventry.”

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Jonny’s talent and passion for DJing led to him working with some of the biggest names in the club scene of the time, catapulting him into the centre of the industry: “We booked Leroy from The Prodigy for his first ever DJ set after he left the Prodigy. We got on really well. Leroy said to me ‘If you could put anymore of these together that would be really good.’ So I put together a tour and that continued on for three years. We became good friends and DJ’d together all across the world doing festivals.”

“On the very last night of our last gig, I had booked Phil from Orbital. Orbital had just split up and this was his first solo gig. And strangely, me and Phil got on really well that night. He said ‘You’ve worked a lot with Leroy ... do you think we could do what you both have done?’ I said, ‘Yes, I’m sure we could!’ And that went on for two and a half years to three years. In between that, we had tours with the Happy Mondays. So it was pretty crazy and a bit of a whirlwind.”

It would appear that the DJ life was perfect for Jonny yet the shadow side of the glamour began taking it’s toll:

really your friends, it was messy group that you were involved with. It’s hard to maintain real relationships of any form.”

“Being out Thursday, Friday, Saturday, Sunday and sometimes in two cities a night, two or three different countries a weekend maybe. No sleep and a bit of excessive partying obviously. Then you realise it’s Monday, and you’re home and ... you’re in a mess. And that’s when the darkness kicks in.”

Explaining thedid needhave for drugs continues: However Jonny one he genuine friendship, a fellow promoter caught in the destructive cycle: “That then became a necessity. You arrive in Germany,

Continuing he explains: “You’re in a dark place because you’ve just went from a high to a low. You haven’t had the greatest of sleep and you’re not doing well in general. You’re just a mess and you’ve got to be back on form in two days time. You’ve got to be back out there doing it again. Loads of partying and excessive drugs. And life just starts to slip away from you.”

Illustrating an example of Jonny’s DJ work schedule highlights the lack of reality in the club DJ life, showing how easy the escalation of recreational party drug use to functional necessity occurs: “Fly to Ibiza on a Tuesday, play Ibiza on a Wednesday; fly home on Thursday, arrive in England at 2am Friday morning, driving for an hour to your house, grab a pack of new records and clean clothes, get on a train to the airport and then fly to Germany to DJ there. Then to Italy the following day. Arrive back home in England on the Sunday. Then back to Ibiza on the Tuesday. That continued for 15 weeks.”

or somewhere like that He andwas youmy have gotfriend, to go onstage.

“WeItaly shared a house together. best the You’re getting paid money to go onstage. same age as me. And he was in the exact same placeThey as me.[the care ifthat youwe have no We sleep, We audience] both hateddon’t everything hadhad done. hadthey wenthave been stacking shelves, they have paid to come and see you. from loving it, to absolutely hating it.”

You’ve got a job to do. You can’t be standing looking bored, or unhappy so the is cocaine comes Or theinMDMA...

Jonny’s experience certainly notout. isolated the club music industry. Although there are individuals who can thenuse, thatan it’sexample barely even working it’s just and“It dobecomes resist drug to the extentand of this reason,throughout you’re doing his morewhole and more there for problem is atelling; timeand in more the ... and it’senvironment a slippery slope that isfrom the bottom industry in and England 1998 line.” to 2011, Jonny knows of only one DJ who did not use drugs of From needing drugs to bring the ‘ups’ to perform, when any form. rest time was essential counter effect drugs were needed: He clearly identifies when turned thestarted worse:doing “I was coming home onthings a Monday andfor just Ketamine...literally about ounce a week to try and “Around 2007 until 2011, theanDJ and promoting side ofcome it down from everything that was going on around me.” ... that started to slip away. I was starting to lose interest and it was starting to feel like a job. It started to get really bad Over time the drug use became ways of dealing with life: then. Drugs were taking a real grip ... like major addiction “And then. thenFor it those became out because problem nextblocking four yearsthings I was doing less and of because you more couldn’t lessrelationships and less work...and more and andhold moreanything drugs... down whatsoever, it was a case of ‘I just don’t want to know...

“I started not going out at all and barely moving around.”

Explaining the need for drugs he continues: “That then became a necessity. You arrive in Germany, Italy or somewhere like that and you have got to go onstage. You’re getting paid money to go onstage. They [the audience] don’t care if you have had no sleep, they have been stacking shelves, they have paid to come and see you. You’ve got a job to do. You can’t be standing looking bored, or unhappy; so the cocaine comes out or the MDMA.” “It becomes then that it’s barely even working and it’s just there for a reason, you’re doing more and more and more ... and it’s a slippery slope. And that is the bottom line.”

From needing drugs to bring the ‘ups’ to perform, when rest time was essential, counter effect drugs were needed: “I was coming home on a Monday and just started doing Ketamine ... literally about an ounce a week to try and come down from everything that was going on around me.”

Over time the drug use became a way of dealing with life: “And then it became blocking things out because of relationships ... because you couldn’t hold anything down whatsoever, it was a case of ‘I just don’t want to know. It was a vicious circle. It’s a wheel you can’t get off.”

An absence of genuine relationships and friendships makes the life of a DJ lonely. Jonny explains: “You see nobody except those that want something from you” he says, continuing: “You don’t have any real friends; you realise that, I realised that. You would have a group of friends but they were not

Revealing his thoughts at the darkest period he said: An absence of genuine relationships and friendships “If Imakes die now I don’t actually, I wish that I would the life ofcare. a DJAnd lonely.

Jonny explains: “You see because I want this tothose stop. It waswant painful.

It wasn’t enjoyable... nobody except that something from you” he says, continuing: “You don’t have any real friends.You realise that. I realised “I hated myself and I hated that. You would have a group of friends but they were not whatyourI friends, had let myself become.” really it was messy group that you were involved with. It’s hard to maintain real relationships of any form.”

“It just all came to a head in 2010. I decided I was coming home to Northern had enough.

I was taking a However JonnyIreland. did haveI’d one genuine friendship, a fellow break to reassess things.

I really had to get off drugs Promoter caught in the destructive cycle: because they had taken control. So that had to change.”

“We shared a house together. He was my best friend, the “The Christmas of And 2010, saidinto friend, going same age as me. heIwas themy exact sameI’m place as me. home putting in place something I’mwent We and both I’m hated everything that we had done.where We had moving to sort my life fromback lovinginitJanuary to absolutely hating it.”out. I booked a trip to take all my stuff back home for the end of January.”

Jonny’s experience is certainly not isolated in the club As positive plans were in placethere tragedy Although are occurred: individuals who can music industry. and do resist drug use, an example to the extent of this “On 06 January, we [his friend] watched football at home. problem is telling in that throughout his whole time in the I was going to go to bed early and my friend said, ‘Right I’m industry environment in England from 1998 to 2011, having a bath. See you in a bit’. About and hour and a half Jonny knows only of one DJ who did not use drugs of any had passed and I hadn’t heard from him. I shouted on him form. and he never answered the door. I shouted again and he didn’t I ran down to things the kitchen there was He answer. clearly identifies when turnedand for the worse: water dripping through the roof of the kitchen. I just ran up 2007and until 2011, the anddown. promoting sidehim of it ... the Around stairs again smashed theDJdoor I pulled lose interest and it started to slip away. I was starting out that the bath, tried to resuscitate him andtocalled an ambuwas…starting to feel job.

It started to get had reallya bad then. lance and that waslike it. aHe was gone. He’d heart Drugs were taking real grip...like major addiction problem attack in the bath and adied.” then. For those next four years I was doing less and less and less work and more and more and more drugs. I started not going out at all and barely moving around.

started to remember this is how it was in the beginning, not how it turned out. I thought to myself, ‘You have to look at this clearly now; you took the choice to do what you did, not the music.’ Although the environment didn’t help, it was a key factor in the downfall.”

WotD are certainly a unique band. The four members compose their music described as ‘down tempo electronica with a serious jazz influence’ from different sides of the Atlantic; between Derry, Coventry, Toulon and New York City, they collaborate solely online and have never even been in the same studio.

“The real world isn’t a world you know much of, because you don’t see it. It’s just dark.”

Recalling the aftermath he continues: “Two days later he was buried. I packed a bag, lifted my laptop and flew home. I left everything behind; studio equipment, decks - everything. And I have never been back in England since.”

Afterwards, Jonny, as well as dealing with the death of his best friend also had to face dealing with his own addictions, rebuilding his life and health: “I spoke to a friend and said ‘I need a job, I’m coming home.’ He said ‘But can you work?’ I said, ‘I’m going to have to or I’m going to end up killing myself, or something’s going to happen. He got me and interview and I just worked for six months.Then I knew I needed to stop and take time out. It sort of helped me get through the first six months of what was happening.”

“Everything’s going really well. We’ve now had four EP’s released and the album is coming out in January. Now it’s coming to the point where everyone is saying ‘ Are you going to play live? So, after the album is released we are going to think about planning the New York guys to come here and have a six week tour.”

Their upcoming new album featuring two collaborations with indie heavyweights Pop Will Eat Itself already has been receiving major support on BBC 6 Music, Radio 1, RTE 2, ATL, Electric Mainline, KEXP. With life moving forward positively, Jonny reflects: “Nothing changes what happened in the past. As much as I pretend it’s all alright, it’s not alright, it never will be alright. But it happened and there’s nothing I can do to change it, only to better myself. And for the likes of people like my friend ... the best thing I can do is honour his name.

He would be happy now for what I am doing.”

“I’m still here. And I’m doing what I love. And I’m doing it now because I love it more than anything. My eyes are wide open this time. Things can only get better and don’t get me wrong I was very lucky to be doing what I loved. I’m truly grateful for life giving me the opportunity to have done what I have done in the past and really thankful for getting another crack at it with WotD but without preaching, anyone who’s getting involved in the scene just be aware of the signs and be careful.”

“But I never took another drug from the day I came home, and I’m home six years now. From doing drugs every five minutes for seven years, to doing none at all ... I just knocked it on the head and found some strength.”

On the process of recovery he says: “It took three years of solid torture. I’ve had a lot of therapy.

I have been treated for PTSD, severe anxiety, depression and there are still days when it’s hard. But what I have learned about myself, is that I have never gave in at all. I’m back into the music now and I’m doing it more for a love of doing it now. There’s no pressure on me, I can do it at my own pace and with people who can’t influence me.”

He founded his band Warriors Of The Dystotheque after a lot of self healing and avoidance of music: “I didn’t listen to music for about two years. I didn’t even have the radio on. I just blocked it all out because I had this thing in my head where I related music to my downfall. But one day I opened up my computer and just started messing about with a couple of beats - doing more and more. I

WotD’s new album Madness In The Method is available on vinyl from 26 January ‘18 in all major UK record stores and digitally worldwide, with pre-orders now available now via their facebook/bandcamp pages, Warriors Of The Dystotheque. Visit: culturehubmagazine.co.uk/wotd-health for the direct links and the extended interview.

Save the number in your mobile today!

Lifeline 0808 808 8000 is the free-phone crisis helpline for all ages across Northern Ireland, available 24/7 to anyone experiencing distress or despair. All calls to Lifeline are answered by qualified counsellors who will listen and give the immediate help over the phone and where appropriate link you into local support services, including Lifeline face to face crisis counselling, close to where you live.

Lifeline counsellors are experienced in dealing with many issues, including self-harm, depression, suicidal thoughts, anxiety, relationship break-up, trauma and many others areas that may cause people to experience distress.

Elizabeth Irvine from Lifeline said: “Sometimes the first call is difficult to make and we want to highlight, that if you are worried about a family member or friend, you can call Lifeline on their behalf. Our counsellors will support you to support the person in distress as sometimes we can be too polite, thinking we are intruding by noticing a loved may not be coping with a challenge they are facing. Lifeline can also arrange for follow up outreach providing direct help to loved one you are concerned for.”

“We are particularly keen to encourage mothers, sisters, wives and girlfriends to support the men in their lives who may be experiencing a crisis, to call Lifeline, as sometimes men find it more difficult to reach out for help.”

Elizabeth added: “Often we don’t recognise mood changes as risk factors for self-harm or suicide. Depression, anxiety and behaviour changes, including sleep problems, irritability and isolation are known suicide risk factors. We would like raise awareness about the signs to look out for and to encourage people to call Lifeline if concerned about themselves or someone else.

There is a common perception you have to wait until distress reaches a certain tipping point before calling Lifeline – we would encourage anyone experiencing distress or despair to call, you are not alone.”

Lifeline is free to call from all landlines and mobiles, please put the number into your phone today and have it saved for when you or a friend may need it in the future.

Lifeline 0808 808 8000

John Patrick higgins

22 Photo - Emily Dedakis: Street scenes from New Orleans 'powerlines'

meet writer/performer Emily DeDakis on the Saturday after nonsense commercial cultural imposition ‘Black Friday’ has descended on the city, and Belfast is reeling from the sheer tonnage of multi-bagged consumers. We can find no place for a chat until we stumble upon what appears to be the front parlour of a casino! Here all is calm and order and we are interrupted by nothing more jarring than Toto’s ‘Africa’ on repeat, which is, of course, no interruption at all.

We’re here to talk about ‘Freak Floods’, Emily’s ongoing text-sound collaboration. So ‘Freak Floods’, Emily?

What’s that all about? And who are you doing that with?

Una Monaghan. Una started a series with Moving on Music called ‘Jam Jar’ in which two artists, I think they were all female artists, would perform different sets, then there would be a conversation between them and then some sort of collaboration that happened live. Una and I had met through friends, she wrote to me one day and said: “I really fancy working with you. Do you want to be in ‘Jam Jar’ in September next year? I totally know that you’re not a musician but I think we could make something really interesting and I’d be curious to see what you did.”

We first sat down a couple of days after Brexit happened, it was the first time that we could actually meet as we were both travelling – I was in San Francisco, she was in Montreal.

How gloriously international!

Homesickness keeps me international! We were both really f****d off with Brexit and we both felt that we had been elsewhere while this massive thing had happened that had just left us stranded. And it reminded me of not being in New Orleans when Hurricane Katrina happened, and it reminded me of not being in Washington D.C. when my brother was missing: all of these things were going on and I was far away.

So it was this sense of being on the wrong side of the ocean that was the starting point.

So I ended up writing what turned into an essay. A lot of it was stream of consciousness and came out of anger and grief and wonder; many different things but all of them circling that idea of not being where you should be. And trying to imagine something that was slightly beyond your comprehension: imagining your home town when it’s under water!

How does it work? If I go to see the show what show do I see?

It started as this ten part essay, for some reason I kept getting the song ‘Ten Green Bottles’ in my head. It became a set text that meanders and connects three very different storylines. I worked with Maggie Cronin – she helped me figure out the line between where I wasn’t performing a fictional piece and where I wasn’t just talking as myself either. It’s slightly heightened, but still naturalistic.

Una is a beautiful composer, musician and also a talented sound engineer; she is really interested in improvisation. So

we use the words as the set passage that runs through the piece and she improvises on her harp with it. So we liked the idea of using the fact that I’m an American and she plays like an Irish-Trad harpist. So while I’m talking about funk and blues gigs in New Orleans, she’s playing an Irish hornpipe kind of thing. It’s a nice conceit because it encapsulates the sense of displacement you’re talking about: you’re talking about America but you’re over here.

A lot of the music is also more abstract: she has created sensors and patches that she uses to manipulate sounds. She likes to mash up electronic music with traditional. So as she’s playing the way her hands move effects the type of electronic effects that happen and as she is playing she has microphones that are learning things, so while she’s responding to what I’m doing, they are regurgitating sounds in different ways. So the musical aspect is slightly different every time. My performance is obviously different every time as well – I do sing some bits.

What bits?

Shall I give away the big ending?

No, don’t give away the farm! You want people to come and see it!

There’s a song that I sing which is a traditional U.S. song which has also become part of an English tradition. Most of the sections are my voice with Una performing harp. There is a solo harp section and there are bits where it’s only me just talking at you. There is this piece where it’s only me singing along with recordings of my voice and that is my Brexit moment!

When we did it at the Black Box, we also had video from the fantastic Conan McIvor. He saw our original performance and we started to collaborate with him on visuals for it and they’re just so perfect for the bigger performances. In fact, every time we’ve done it, it has been different. It has tremendous elasticity – we’re starting to realise that we might like to go elsewhere with it. I feel that it might really work for literature festivals and it might be a place where it lives because while it is a piece of music, it is very much a text. I suppose in my head it’s like ‘Facade’ – it’s a much less stylised version of ‘Facade’.

What’s ‘Facade’?

‘Facade’ is music by William Walton. There are two vocal performers, with words by Edith Sitwell. The music very intricately interacts with the voices so they are part of a score. It’s not an exact comparison, ours is much more free-form – but it’s that idea that there’s a vocal performer on stage with the text and performing as part of the orchestra. The voice is an instrument and in ours Una’s harp is also a voice. I keep saying I would love to hear a version where it’s just Una playing.

Without that American woman talking all over it?

Exactly.

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he media industry has come under the spotlight recently for all the wrong reasons. Repeated allegations of serious sexual harassment have been made against prominent members of the Hollywood elite, Harvey Weinstein and Kevin Spacey to name but two. Every now and again a major incident takes place, exposing a celebrity for not only overstepping the boundaries, but committing serious crimes. Many claim that is part of the scene, that actors, both male and female, have been playing the casting couch game since the film industry began. At what point does it become a non-consensual? At what stage does it become sinister and sleazy?

The idea of powerful men in the film industry exploiting actors has plagued Hollywood long before Weinstein. Film critic and historian Carrie Rickey stated: “The perils for women in Hollywood are embedded, like land mines, from an actor’s debut to her swan song.” He added: “Moguls like Harry Cohn reputedly wouldn’t cast starlets such as Marilyn Monroe and Kim Novak unless they auditioned in bed.” Why haven’t we moved on? Why does this behaviour continue?

I decided to look into the film and television industry in Northern Ireland, using various platforms, attempt to uncover if this practice is present in our media culture. The results were both shocking and heart breaking. I asked both males and females if they would come forward and share with me their experiences. Many came forward to tell their story, but also stated that under no circumstances were they to be named. I discreetly asked as to why this was, an echoing similar answer emerged, that these events happened decades ago and it uncovered a rather frightening common factor: they all feared for their careers. Much of the harassment they had endured had been known by other members of staff at the time and a blind eye was turned. So

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why would the present day be any different? In fact, many felt self-disgust that they ever allowed to let it happen in the first place. I also received statements such as: “I didn’t want to lose my job, or be talked about, or worse that people might think I deserved it.”

What also must be taken into consideration is the Northern Ireland culture. Whether it’s acceptable or not, at times, our humour can be quite inappropriate, dark and tongue-in-cheek. It’s within this humour that falls under the term ‘the craic’ where things are said, things are done.

I received numerous stories from actors, mostly female albeit some male, stating that certain directors would email them in the late hours. Those emails began with a friendly chat about the script, but then becoming personal; commenting on how pretty they were and if they ever wanted to meet for a one-to-one meeting they would only be too happy to oblige. One female actor said she deliberately played along and it became very sleazy, very quickly; he started commenting on her breasts, she told me she deliberately lied about an illness to get out of the film.

Actors have been manhandled on set and stage, directors would slap their behind and make lewd remarks in front of a laughing cast and crew. Apparently, this is ‘normal’.

Could you imagine if this happened in an office job or GP surgery? There would certainly be dismissals and hefty lawsuits that followed.

I think some of the saddest stories for the victims came from crew, who weren’t harassed, but saw it happen to others and did nothing. They now feel they should have said something but were too afraid of dismissal. The bottom line is a low moral standard is ‘accepted’. Cast and crew feel expendable and those who complied got the jobs.

I once heard a director refer to an actress as ‘a nobody’ and tragically that’s how some in positions of power see the cast and crew, as pawns: pawns they can play and no one can stand in their way.

As a writer and producer myself, I can recall being at a media event in London with some well-established names in attendance. A very loud, elderly, well-dressed man came up to me and put his arm round me and asked me what films had I starred in. I quickly disentangled myself and told him I was a writer and planned to make films. He threw back his head, laughed and mockingly said: “You are too pretty for that carry-on my dear.” Even back on home soil, I’ve had many producers act distastefully; my revenge is, as a woman, to be as successful as I can be, on my own merits.

A local female actor relayed her experience to me. A well-known producer followed her around in a bar and said to her: “You better f*****g sit with me and speak to me.” He then went throughout the bar critiquing other females. On one he remarked: “Yes, nice eyes, pity about her mouth.” Other stories reveal both male and female actors being dropped from films due to their reactions against unwanted advances.

I would love to reassure people that it won’t happen to them, that it’s a supportive industry but it’s not. It is cut-throat and it’s full of certain individuals who will use and abuse people because of their silence. That’s the problem and there-in lies the solution. No more ‘silence’!

With the #MeToo campaign, more and more are standing up and speaking out.

Maybe this will start a change in how actors are treated in the not-so-gentlemen’s club. Northern Ireland’s media

industry is similar to Hollywood in many ways. Firstly, we must recognise that it's not always viewed by workers as ‘real-life’. Primarily, we in the industry are creating a fantasy world of escapism for the masses so it can easily spill into the work ethics. The idea that it's ‘fantastical’ like children with paints or Lego, there are people in power are the same, only with money. Like petulant children they can abuse that power and use people for their own gain.

The area of abuse and inappropriate behaviour that exists in Northern Ireland is not black and white, unfortunately we have a grey area. As mentioned before, that grey area being the Northern Irish idea of humour and joviality, which we believe is unique to our culture. At what point do we accept a remark or laugh as antics? Through hearing the stories of actors, the studies I have pursued in anthropology, psychiatry and working in the industry, I can firmly say that it is never acceptable to cross personal boundaries or make anyone a pawn in your own goals. There is no excuse for those in authority who have touched someone suggestively or tried to get a person to do something they’re uncomfortable with, on the promise of getting a job. This happens, it is a fact. It is abuse plain and simple.

What we need is for people to stop being afraid of these abusers of power, and realise that they are not alone, or that this is an isolated incident. Speak up because you will be heard and supported. For those in power who have been involved in wrongful activities, they know who they are, your time is up; people realise this is not acceptable.

Sexual misconduct is not ‘craic’, it is abuse. Only when actors, crew, directors, producers and all involved with the business stand together will the ‘not-so-gentlemen's-club’ realise their days are numbered.

SHARON CLARKE 25

New season programme out now!

January to April 2018

4 5 M a i n S t r e e t , B e l l a g hy Te l : 0 2 8 7 9 3 8 7 4 4 4

w w w. S e a m u s H e a n e y H o m e . c o m

f the topic of poetry conjures up images of hot clammy classrooms during your GCSE summer exams, trying your hardest you remember just one of Shakespeare's 154 sonnets, then let Hollie McNish bring about your poetic redemption.

Hollie McNish is a force, to put it quite simply. An English author, poet, spoken word artist, mother, workshop innovator, BBC Woman’s Hour poet in residence, winner of the Ted Hughes Prize for ‘New Work in Poetry’ and not to mention, a graduate of Cambridge University, along with holding a masters in International Development and Economics. However, don't let this dazzling list of accolades and accomplishments alarm you, Hollie is very much a people’s poet, serving up quick rhythms and quirky rhymes in place of complicated stanzas and convoluted structures.

Her work explores heavily the theme of modern day motherhood, experiences around the shame of breastfeeding and the anonymity one feels once you become 'mum', but quite uniquely and most likely, why she caught the attention of the Ted Hughes panel.

Hollie uses these accessible themes to open up a dialogue around much broader, more political and weighty topics. Such as the Nestle Infant Formula Scandal, which saw Nestle launch an aggressive advertising campaign across Africa. Mothers were lured into purchasing formula milk and discouraged from breastfeeding, causing continent wide despair as formula fed babies are between 6 and 25 times more likely to die of diarrhoea and four times more likely to die of pneumonia than a breastfed child.

Another topic was the complicated relationship between Page 3-esque sexualised images of breasts in the media, and the discrimination many women face as a result of breastfeeding in public spaces.

Alongside her work on Motherhood, Hollie writes about issues such as immigration, the impact of social media and the younger generations desire for instant stardom in her poems 'Mathematics' and 'Famous For What' respectively. With so much to say, and with insight on topics as broad as the aforementioned, Hollie spoke with CultureHUB to discuss how she writes her poems, where her ideas come from, conducting workshops with teenagers and winning the Ted Hughes Prize.

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THE REASON I WROTE THE

BREASTFEEDING POEM,

‘EMBARRASSED’ WAS BECAUSE I WAS SAT

ON A TOILET FEEDING MY DAUGHTER FEELING LIKE CRAP ... OTHER MUMS WERE

EMBARRASSED TOO.

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"I didn't write poems because I'd studied poetry and wanted to carve something out onto the page, I wrote them as my diary, since I was about 10.” Hollie begins, “I just wrote them as I thought and spoke and in all honesty, I just don’t think in complicated language of a high register. So it wasn’t so much that I planned for my poems to be ‘accessible’, I didn’t even think I would be sharing them.” Hollie’s poetry remained unheard for many years, and it wasn’t until her mid-twenties, after graduating from Cambridge University that she started performing her poems in public spaces.

Working on such a broad range of topics, Hollie has no fear of addressing difficult and uncomfortable subjects; she uses swear words on occasion and doesn’t shy away from ensuring her opinions and those of her peers, are heard. At the same time, Hollie maintains a connection with her work; only writing about matters that are of interest to her, and that she has acquired personal experience or knowledge of.

“I get a lot of people email me to say ‘please will you write a poem about...’ mostly about either big political human rights issues or personal illnesses and I don’t do it. I feel awful but I don’t want to just start writing about things in a sort of falsely commissioned way about things I have no experience of.”

Hollie concludes, “ Its not why I write and the poems would be awful.”

“The reason, for example, I wrote the breastfeeding poem, ‘Embarrassed’ was because I was sat on a toilet feeding my daughter feeling like crap. And just before having my daughter, I’d been studying a part time Masters in Economics and Development - so I’d studied a lot about global trade issues surrounding food donations, one of which was to do with the

use of formula milk in disaster zones. So it was in my head already when I was then going through breastfeeding as a mother myself. I wasn’t going to share that poem either. I did a little CD of some motherhood pieces and didn’t put that in it because I thought no one would relate.” Hollie received such swathes of support upon releasing ‘Embarrassed’ that caused her to realise “other mums were embarrassed too at the time.” ‘Embarrassed’ has become an iconic poem from Hollie’s repertoire given it’s current and seemingly timeless content. The piece is available to watch on Youtube and has been shared across many platforms, including the BBC and The Guardian.

Platforms like Youtube, BBC Radio, TV and other less commonly used mediums for sharing poetry have enabled Hollie’s work to reach a broad and diverse audience. Something that’s noticeable about Hollie’s approach to performing is her awareness of her audience’s daily demands and needs.

“I wasn’t brought up in a big city, or near lots of theatres or poetry nights, and things like staged talks and arty poetry events can be really intimidating for a lot of people, myself included. So, for me, the platforms I share my work through are the places that I would’ve seen things before I started sharing my own work.”

Alongside her work as an author and poet, Hollie runs ‘Page to Performance’ workshops in schools which engage the youth with poetry and encourage an open space for exploring and performing their own works. Hollie’s poem ‘Famous For What’ looks at the issues facing many teenagers today; social media, body image, the widespread sexualisation and adultisation of young people.

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“The workshops leave me feeling more than optimistic. The only people who ever complain to me about teenagers tend to be people that haven’t actually spoken to a teenager since they were one. I think the teenage years are likely the hardest; puberty mixed with all day schooling, surrounded by thousands of other kids, all battling the same shit and drowned in adverts telling them what’s cool and what’s not, and what they should be feeling and thinking, then having all this sexuality coming out but not really knowing what the fuck to do with it and being told such conflicting advice. It’s shite!”

Hollie has worked across the country with teenagers from a range of different economic, social, religious and otherwise backgrounds, she states that “We act like those younger years are the best, our culture loves teenage models in adverts, films and songs about teen love etc. But to me, fuck it’s a hard time for so many kids.”

Hollie’s dedication to poetry as well as her overarching achievements, poetry programmes and publications were recognised when she won the Ted Hughes Prize for ‘New Work in Poetry’ in March of 2017. Speaking about winning the award and the impact it has had on her life since, Hollie told us that she feels “very emotional and proud that something written about motherhood has been given a literary prize, when for so long, anything related to motherhood or other female dominated topics like birth, periods, women’s bodies (unless they’re love sonnets written by men) has been seen as a market only for mummy ‘chick lit’ and often patronised genres.”

Whilst this award has brought her much attention as an artist and performer, she goes on to say that “practically it hasn’t made a massive difference to anything. I don’t charge more because of it for example! The only difference I did see for a while was that there was more likely to be people come to my gigs who’d never heard my poems, but who’d heard I’d got that prize.”

This additional more diverse audience brought added pressure as Hollie “wasn’t sure my potty mouth would go down too well with them!” But like everything else that Hollie touches, it seems to have turned to gold.

Hollie McNish will be appearing at the Out to Lunch Festival in the Black Box Belfast on Sunday 07 January. She will be performing poems from her new collection, PLUM, which is available in paperback from all good high street retailers as well as online.

Interview: Gemma McSherry Photography: Helmi Okpara

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T h e Vinyl frontier

T he Punk e r ama R e co r d s St o r y t’s no longer just nostalgia, it’s a thriving market once again. Yes, since 2013 there has been a huge resurgence in the sale of vinyl records. Last year saw the highest number of vinyl LPs sold since 1991. This year is on target for another needle crackling rise.

The deaths of some music world giants was a key driver in vinyl sales, as people bought records as mementos and works of art. When David Bowie dared to leave the capsule in 2016, he left behind the oddity as the best-selling vinyl artist of that year, with five albums posthumously featuring in the top 30.

The boom of digital streaming/downloading and the global phenomenon of Record Store Day has encouraged music discovery and it’s now that both older generations and younger generations are investing in something tangible.

Even supermarkets such as Tesco now stock vinyl, bringing an even greater demand on the pressing plants across the globe. Plants are reportedly struggling to keep up with demand, many of them still using the record-pressing machinery from the 1970s. With major labels again dominating the supply chain, smaller and independent record labels face longer lead times and higher costs for lower Volume editions.

So step back before the resurgence and discover the undercurrent of independent labels that kept the love of vinyl afloat.

Back in 2010, Northern Ireland’s own Gary F a y released the first vinyl LP on his newly formed Punkerama Records Label.Punkerarama 001 saw original Belfast punk stalwarts, The Defects, make it to wax for the first time since the 1980s.

This diverse compilation featured an A Side of anthems and

previously unreleased demos and a live B Side recording from Belfast’s legendary venue, The Pound. It was this LP that pioneered a host of eclectic releases spanning across the now seventeen years of Punkerama Records existence.

The Defects would prove to be a label main-stay with several releases including two new material albums Politicophobia (2013) and 45 Minutes (2015). Other noteworthy original Belfast punk bands have become label mates over the years too including The Outcasts, Rudi, Victim, Stage B, The Androids and Protex. But Punkerama wasn’t just living on the timeless appeal of these Northern Ireland punk greats but also bringing up and coming Northern Ireland talent to turntables around the world. Hard working local bands like Runnin' Riot, Hard Case, Buck Eeijit, Suckin Diesel, Pocket Billiards, No Matter and XSLF have all got a Punkerama I.D. and are in a catalogue of great company with the likes of punk giants U.K Subs and GBH. The Punkerama catalogue is fleshed out by a blend of LPs, EPs and CDs from The Fits, Paranoid Visions, War Iron, Stevie ZeSuicide, Charlie’s Harbour Rats, Broken Bones, Infa Riot and not forgetting the 2013 Christmas Charity release ‘A Merry Jingle’ by The Punkerama Allstars.

Nowadays, releases on Punkerama Records are as eagerly awaited with the same Christmas-like buzz brought around

by Record Store Day. 2017 has already been a great success, with sold out 7” picture disc releases of The Outcasts’ ‘Frustration’ and Rudi’s ‘Big Time’.

So now with 50 releases under his studded belt, we caught up with founder, Gary Fahy, to find out how it all began and what’s next in store for Punkerama Records and it’s fan base.

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So, with an impressive repertoire now behind you, what drove you to produce your first record?

Besides the Punkerama catalogue, what’s your personal record collection like?

The main reason was to support and promote local bands. At the time there wasn’t a current local Belfast label as such and to be honest I needed a personal challenge at that time too. So with me being an impetuous idiot I launched straight in and started Punkerama. I am very protective of the local music and believe that more bands should release material on home grown labels; keep your music close to home and you won’t get ripped off!

My record collection is not what people might think. Everyone reckons its all punk but its not, its across genres and eras. I’m really into 12" singles especially extended mixes of 80s stuff like Simple Minds and Soft Cell but I’m partial to a bit of Metal especially Saxon, Judas Priest and AC/DC and of course the punk stuff in particular U.K Subs, GBH and The Damned. But then I also go as diverse as Nils Lofgren.

Throughout the years have you stuck with the same pressing plant?

I don’t consider myself as a record collector, well except for keeping all the number one serial numbers from each of the Punkerama releases.

No, I have used loads of pressing plants. I’ve experienced a whole mix, some have been great and some really awful. Some really expensive ones do a crap job and sometimes the cheaper ones produce amazing products. At times it can be a real pain with my biggest problem being the pressing plants get fully paid up front and it can take months before you get your product, does not seem fair or right to me!

What changes have you experienced about the record producing industry over the years?

The changes are very simple. Before the ‘Vinyl Boom’ hype by the major corporate labels, small labels were treated with respect as valued customers but now we are pushed down to the bottom of the queue. We don’t make them the same levels of money they are now getting from big labels.

Hey, but when the big labels have run out of stuff to reissue on vinyl no doubt the pressing plants will be begging for our business again.

The Defects seem to be a main stay for new material, what’s the special connection with them?

The Defects were a band I always loved (as of many local bands). I got speaking with Buck (Thomas Ian Murdoch – Lead Singer) and he said he had old live stuff and a host of demo’s. That truly got me interested and before long Buck and I really got into it and as they say ‘the rest is history’.

They are a band whom I call friends now and they keep coming up with great new stuff. They have released more on my label since they reformed than when they did back in the day. They seem happy to be on my label and they want me to release their new album.

I still say the new stuff is equally as good as their old but some fans don’t agree (but their opinion doesn’t matter to me, LOL). I love this band ... and of course I love all the other bands on the label too!

As well the anticipation of the record releases, your annual Birthday Bash is a date in the diary that is looked forward to not just for the surprise element of what bands will be playing but also, it’s for charity, tell us about that.

Well, I don’t know about anticipation on my releases, but my birthday charity gig is something I have been doing for a few years.

Basically, I wanted to do it so I could hear music, see friends and see my wife all in the one go. That’s much better than just doing the traditional easy option of going out for dinner. Every year the plan is to make it different and this year certainly is.

There’s a special one-off reunion from Belfast punk super-group SHAME ACADEMY (members of The Outcasts, Rudi and Stalag 17) supported by up and coming locals; Takers And Users, veterans Protex, my wonderful daughter Jaime Rachelle and my old friend Susan (from Killing Susan) who has started a gritty tribute band Cultess in honour of the troubadour Goth rockers, The Cult.

Oh and then there’s sir Terri Hooley to keep us all upbeat with his unique DJ performance. It’s a night of great music, fun and drinks in order to raise money for Starlight.

Starlight is a renowned charity that helps terminally ill kids with their last wishes. They are amazing and close to my heart. I’m a lucky one, yes lucky seven as I have seven kids and thankfully all of whom are in good health.

Belfast is always amazing for supporting charity and no better way than by our music. Its an honour to put on a gig for such a great cause! I’ve been so well supported in the last few years that I heard that one of the Snow Patrol guys couldn’t get in to my last one because it was sold out!

True or False? I personally don’t know, but I guess it just shows how popular my events are.

23

So what’s next for Punkerama Records, any new releases on the horizon?

Plenty going on, more trials and tribulations with the pressing plants. Next up is a solo 7”single release by Charlie Harper of U.K Subs and then the new album by our favourites, The Defects. It’ll be available on vinyl LP, CD and Download.

Also in the pipeline are a few seven inches namely picture disc releases of The Outcasts’ ‘Magnum Force’, The Defects ‘Brutality’, another U.K Subs and my daughter’s (Jaime Rachelle) EP called ‘The End Of The Rainbow’. After The Defects new album we’ll have a colour vinyl re-issue of the powerful Blood And Thunder album by The Outcasts. Well that’s the plan but as with everything its all dependant on funds. My label has always been very close to going under, so we will see how we go and maybe this time I’ll release that much needed Hit Record!

Finally, if there was one artist past or present that you’d love to have on Punkerama who would that be?

From the past it has to be the American band The Cramps, I was and still am a huge fan. From those that are still performing then there are two bands – local heroes Stiff Little Fingers and Scottish legends The Exploited. I don’t think I will ever have either but I’ll keep pursuing. I have had a few jokey moments with Jake Burns about it but he is always very diplomatic and avoids giving any commitment.

He’s a great guy and a real gentleman thus he always lets me down gently!

I’ve come close though by releasing a seven inch single by XSLF, featuring SLF originals Henry Cluney and Jim Reilly. I don’t think either of these bands or any band would be disappointed with the Punkerama product. So follow The Defects and together we can continue to punk rock the world! interview: Neil Trelford Photography: Bernie McAllister

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Exhibition Review

In the Art of Belfast An Insight into Both Sides of a Picture Frame Belfast’s Lisburn Road has a long tradition of being the hub of the city’s cosmopolitan vibe. Along with that comes the eclectic mix of culture, from exotic dining to boutique shopping and from model agencies to art galleries.

J

ust off the main hustle and bustle, on Capstone Street, you’ll find Belfast’s Frame And Picture Centre. It’s a family business that has prided itself for over forty years on a quality service to artists, the public as well as both commercial and art society worlds.

CHARLIE KENNEDY: The proprietor and expert picture framer whose affection for the art world has seen him open his workshop doors to provide an annual exhibition space for an eclectic mix of local artists. So on an autumnal November evening the compact workplace, in this hip location, provides a celebratory haven for a few of Northern Ireland’s distinguished artists: Hector McDonnell; Cara Gordon; Joanna Mules and Pat Hunt.

How did you first get into the picture framing business?

My father, being a lover of art, established the business in 1976 as an art gallery and framing workshop. Back then the framing was done by my good friend, Gerry Coe. Gerry is a professional photographer and in the early 1990s the gallery became his photography studio.

With Gerry focussing on his photography full-time, I took over the framing business after spending several years working in industry.

From a somewhat neutral perspective what do you see in terms of creativity from the artists in this year’s exhibition?

They all ooze positivity, they are constant and consistent but all with varied inspiration.

If there is one local and one historic artist’s work that inspires you, who are they and why?

It’s difficult to name only one artist in either category as I am inspired by many. But two artists that broke from traditional boundaries in the post war era would be top of my list. Locally, George Campbell who was renowned for his Irish abstract expressionism, Connemara landscapes as well as still life and figure painting. Also the British painter, Ben Nicholson, known for his abstract compositions, landscapes and still-life works is a favourite of mine.

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HECTOR MCDONNELL: Essentially a realist painter, is one of the finest figurative Irish artists of his generation. Best known for his observations of daily life he captures the mundane and ordinary with an extraordinary quality.

Hector was born in Glenarm, Co. Antrim in 1947 and was the youngest son of the thirteenth Earl of Antrim. Following his mother’s flair as an artist, he blossomed with education at Eton and Oxford. He then he went on to study painting in Munich and Vienna from 1965-1966. His travels enhanced his career as a painter greatly. In 1979, he was awarded one of the impressive awards in German Art, the Darmstadter Kunstpreis. Now with a distinguished career behind him, Hector still works and lives between Northern Ireland and New York.

Being a much travelled artist, do you see a noticeable contrast between your works and techniques when based in New York and Belfast?

I find New York a spectacularly inspiring place. Most of my work is concerned with the particular magic that people create in their environment or how they interact with the world around them. New York is the most wonderful place for observing life and I’ve never had a dull day there.

If there was one other artist’s work that inspired you, what was it and why?

Many artists inspire me. I regard painting as a form of conversation with other painters, alive or dead, from the Flemish painters Van Eyck and Bruegel to the household names of Cezanne and Van Gogh. In my younger days, I was fascinated

by Pop Art and by Freud, that lead me to always be ready for a challenge throughout my career. I’m always keen to see what others are producing and what I can learn from them.

Throughout your career you have shown in and visited many exhibitions, which would be your favourite and why?

Recently I went to the Bosch Exhibition in Hertogenbosch.

That was a moment of great wonder and excitement as were the Leonardo Exhibition in London and a Van Gogh Exhibition that I saw in New York.

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JOANNA MULES: Belfast-based multi-media, multi-style, multi-subject artist, inspired by a multitude of stimuli and unfettered by expectation. She is a talented artist and a designer producing portraits, book covers and posters, along with working as a print maker and illustrator. Her passion for the arts goes beyond paint and design as she attended Elmhurst Stage and Ballet School, founded by her Great Aunt. Despite really wanting to be an actor, it has been her artistic streak that has blossomed along with her great interest in music and is currently singing with the Belfast Philharmonic Choir and Bach Consort.

Having a legacy of nature infused works, how would you describe your current work?

I'm interested in the natural world in general, plants and living creatures, including humanity, so my ongoing series of writers reading to me from their work is portraiture from that point of view. My other main source of inspiration arises out of technique and materials, which my time teaching art gave me a real taste for experimenting with. So there is always a cross-fertilisation of idea and means of expression, the one informing the other. The exhibition of the first fifteen such pieces, ‘Read To Me’, toured NI Libraries a couple of years ago, and was the perfect example of that.

More recently I have progressed to working in three dimensions, following a stint doing stage design for an opera course in Portugal, and I have found a real satisfaction in bronze casting, often involving natural forms, indeed, but also with my hectoring hat on, trying to stimulate thought, promoting concern for the planet and its occupants.

What does 2018 and beyond have in store for you?

Lots more bronze casting, I hope. I would love a public commission or three. I feel ready to take on the challenge of something meaningful on a large scale to climb on or interact with in a fun way. I also have plans for an exhibition of mutant insects mostly made out of rubbish from our house, recycling the contents as a post-apocalyptic vision and Awful Warning.

Play is a serious business.

CARA GORDON: A native of Belfast through and through.

But having received a Bachelor of Arts from Newcastle University of Fine Art in 1984 her development as an artist was blossomed as a result of living in Spain. Renowned for her use of textiles collected during her travels provide the inspiration for the use of pattern in many of her paintings.

Many of her less ornate compositions depict fleeting moments or remembered events, transforming what is a momentary incident into an enduring image. Her portraits display the story beneath the surface of enigmatic expressions and with her instinct of capturing unexpected beauty buried in old walls, posters, papers and paintings, Cara has created some powerful and evocative images.

Being a much travelled artist, do you see a noticeable contrast between your works and techniques from when you lived in Spain and Northern Ireland?

Time and place have a massive impact on my work. The canvasses painted while living in Spain are concerned primarily with light and colour. They depict how colour changes with strong sunshine or with the changing light from morning through to evening.

On returning to Belfast I was influenced by not just the lack of light and colour but also the by the textures and layers of urban walls. This led me to ditch my usual materials of oil paint and canvas in favour of collaged paper, charcoal and acrylic. The monochromatic colour scheme of these works reflects the colour that I see in Belfast.

If there was one other artist’s work that inspired you, what was it and why?

There are so many and it’s difficult to choose just one but in recent times it has been Robert Rauschenberg, the American painter and graphic artist.

I love the improvisational quality of his work which looks like it’s connected directly to his brain and thought process. He uses so many different mediums, often in one piece and his works were constantly evolving as well as experimental.

Having recently won an award for ‘Fix You’ at this year’s Royal Ulster Academy of Arts, what was the motivation behind this piece?

A lot of my collages are concerned with the fact that our lives rarely develop in one linear direction. There are breaks and fractures of which we have to patch all the fragments up.

‘Fix You’ was a response to someone who was very broken and the desire to help put him back together again. It was an attempt to regain some of his former self.

PAT HUNT: A Belfast-based artist. Having graduated from Ulster University in 2003 as a mature student went on to teach third level education. But by 2013 she found her niche as an aspiring artist in painting, ceramics and bronze sculpture.

So Pat, how would you describe your current work?

My new work is inspired by the 'Conch Shell'. It is a magnificent natural object in a large spiral form with beautiful lustre surfaces. It inspires on so many levels including its symbolic use as a ceremonial trumpet in some religions.

So with the inspiration of the (shankha) conch shell, what does 2018 and beyond have in store for you?

I want to learn more of its symbolism. Breaking the conch shell symbolises the ‘Destruction Of Civilisation’. I'm hoping this beautiful juxtaposition will challenge my creativity in 2018 in all my works; painting, ceramics and hopefully bronze casting.

If there was one other artist’s work that inspired you, what was it and why?

Personally I admire and am influenced by artists whose work transcend me to unearthly places but bring everyone else along too. In particular, Marc Chagall, the Russian-French modernist artist, who said of his work 'Not the dream of one people but of all humanity’.

NEIL TRELFORD • photography: Gerry COE 37

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R E B E KA H

FI TC H Interview with Belfast-born alternative-pop songstress Rebekah Fitch, This enigmatic artist that has been building solid foundations for her musical success, which has seen the singer/songwriter firmly establish herself on either side of the water, in both the Northern Irish music scene and the North East of England.

Hi Rebekah, great to meet you. Starting off, could you tell me about yourself?

I’m from Belfast and nearly 22 years in at attempting to be an adult! I was away in Durham and graduated from my Music Degree. Three years living away, independent living, with great friends, I really enjoyed it.

Do you feel that it’s now time to start your own musical career? Do you feel perhaps, that you already started that long before going to college?

I don’t think I started before I went away, but I did record the best songs I have written to date. Whereas now, I have a consistent idea of the musical style and image I want to have.

This definitely came through whilst doing my music degree.

It’s not all about music all the time, what do you do in your downtime?

Well, I don’t have a lot of free time. I used to play Hockey, so I’d love to get back to that.

I’ve recently joined a new church, playing music and participating in church activities.

Can you give me an interesting fact?

Nobody used to know I played the flute, my primary instrument for my degree until I started playing gigs.

Which international artists would you like to be aligned with?

My influences would be great, strong female artists: Florence and the Machine, Lana Del Ray, Lorde, Sia and Lady Gaga. It’s kind of pop, with really, creative new ideas. I just love that.

And Local, Northern Ireland artists?

Roo - for her cool live shows; Beauty Sleep have great energy and Jealous of the Birds [Naomi Hamilton] is a great songwriter.

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What are your aspirations for your future?

A full-time sustainable music career, but at the same time, to have a balance. There are a lot of the compromises I will have to make to reach the point of where I want to go. You need to have that balance; I’ve seen people’s relationships that have suffered. What’s the point of having it all if you end up alone?

Do you ‘people watch’ for your songwriting?

Naturally, I would say no. It’s usually personal, but I think that’s the interesting aspect. I want to broaden and improve my own song writing; melodies come to me really easily.

Sometimes, I have to work really hard to concisely write the lyrics, in order to express my thoughts.

How do you find performing in different venues?

When it’s my own material, I would have the stage presence I normally would, as people are coming to watch me. When it’s a cover gig, it depends on the audience there. It’s very much about fitting in and how the audience is feeding back.

It’s a very male dominated industry, what ideas would suggest to help change that?

Shannon Delores O'Neill runs the ‘Girls Rock School’ putting on music sessions to teach girls how to play instruments. It encourages younger girls to play guitar and look

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at female artists, at influences; it helps in bringing up a new generation of women.

Another important topic which used to be a taboo subject is mental health. You have a song ‘Not myself’, tell me about it?

I have written quite a few songs about my own experience.

From wearing a mask for people, pretending to be normal, to a having a nightmare type fantasy of what it’s really like.

It’s cool that this is being focused on now, as I totally felt the stigma. People are becoming more open and brave about their own experience.

What other interests or concerns you would like to see yourself involved in?

In my songwriting, I like to write lyrics that challenge people to think, some of those have been more through the lens of my faith, from a Christian perspective. I allude to or bring in biblical references and do not shy away from bigger questions. That’s something I am extremely passionate about and it influences my songwriting.

What are your highlight personal achievements?

My music degree, I guess. Even going to networking events, as a self-managed artist feels like an achievement. I go on my own, having to meet people I don’t know, that can be a challenge. I have accepted that now and I just go for it.

What are your career achievements to date?

Getting playlisted and played regularly on Cool FM and FM104, that was a top one for me; not just a spot play.

Having my friends contact me to tell me they just heard me in the taxi. That was really cool!

Have you had any obstacles in your music career?

Getting more festival and support slots for bigger artists. Also, getting on Spotify playlists, but is something I am working on.

How do you manage promotion?

Facebook is my main one. Although I am on Twitter and Instagram as well. I should be everywhere. Social media is hard, you have to try just posting and not get stuck in scrolling the timeline. It’s important to find the balance and not get sucked into spending the whole day on it.

Interview: TracEy Hanby Photography: Tremaine Gregg

Find out more about Rebekah Fitch: culturehubmagazine.co.uk/rfitch

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John Patrick Higgins and Joseph Nawaz discuss their podcast Stalemates.

Joe: Who’d be a ‘Stalemate’?

John: Well there weren’t many applications for the position, so it’s us! We’re both writers, we’re both well shod and we both enjoy a snifter.

Joe is louder than John. Joe is louder than a blue whale looking to hook up in the Atlantic. But if you can get past the blast furnace of his volume you'll see another side to Joe: subtle, nuanced, sensitive and impassioned.

He has the soul of a poet trapped in the body of Tin Pan Alley hustler. Though he hates poetry. All types. Maybe a clerihew would be okay. Maybe.

He is always late.

John brings to Stalemates a rich brown voice and a stand-offish sneer. He is the elderly boy scout of Stalemates: always prepared, his note-books bulging with his alleged ‘fun’ facts, all written in his neat, boilerplate copy. He’s the English one. He probably wears tweed underpants.

He is always early. And that's despite Translink.* John: What does ‘Stalemates’ mean to you, Joe? Joe: ‘Stalemates’ means wonder, waffle and way too many Roxy Music references. It's a place and a period of time where John and I

remember to press record on one of our conversations, albeit a slightly prepped conversation (on John's part anyway - I'm too lazy, and rather pretend that it’s jazz, ‘man’).

Often we have conversations without an audio recorder rolling, and alarmingly the only difference seems to be less poetry recitations! I suppose this is a long-winded way of saying that Stalemates is John and I, the essence of our curious dynamic, as odd and as snug as a peep-hole cardigan. In fact, it’s our signature scent; Stalemates - Eau De To Let. Joe: Apart from dressing fancy for an audio medium, what – if anything – makes Stalemates podcast different?

John: It’s a dumb show for smart people.

Joe and I are sumo-intellectuals at best, but we keep it lively and informed. There is research. There are facts. There are light-bulb moments where we actually understand something in REAL time; though those are admittedly few and far between. It's not comedy per se (despite i-Tunes' draconian demographic banding) but it is funny. There are film and book reviews. There is also poetry. But don't worry - it’s not ours.

The show is ‘theme based’: each podcast has been about a different subject (so far we have done: Time, Old Skool, Plastic, The French and Halloween, amongst others).

We use that theme as a springboard to leap like linguistic salmon through an array of related subjects, usually returning like a dog to its vomit to Roxy Music! We also compile an always fantastic Spotify playlist but no one listens to that. Roxy Music does occasionally feature.

Stalemates is funny, clever, obscure, impassioned and often, seemingly accidentally, wise. Also there are many, many bad impressions and obscure film references. We think of them as Pokémon for wankers – you gotta catch them all.

John: How would you define the Stalemates' relationship?

Joe: Well, we clearly aren't interchangeable, which is a start. It’s funny how one slips into specific roles and ritualistic practices the moment a microphone is thrust in one's face. I guess I'm the loud, garrulous ‘Irish’ one, although I don't feel that Irish. And John is the high-brow, thwarted, slightly impatient English one (the English impatient in fact), although John's technically more Irish than me. That's the interesting thing about us, I think.

We're friends in spite of ourselves (two nesting egos!).

We're both not quite exactly what we seem, and we share a sense of displacement from our cultural surrounds.

That's not to say we're a pair of squares, daddio. Far from it - although I'm keenly aware that only squares would use the word ‘square’ or indeed ‘daddio’.

Joe: What’s your favourite Stalemates moment so far?

John: I don’t really understand podcasts. I don’t really understand anything that happened since the turn of the century; the one before last, actually.

Podcasts seem to be a pair of wallies in a shed talking badly recorded nonsense on a niche subject to three people.

Stalemates is the same but is, at least, well recorded. We are clear as a bell from John's nasal squeak and peals of girlish laughter to Joe's leg slapping that punctuates the show like a morse code message, as he subconsciously begs for rescue.

As for my favourite moment, well, the live Halloween special would be hard to top where I was called a wanker about fifty times through the window of the Black Box while I attempted to tell a ghost story. But we’ve just recorded our Christmas special where we go ghost hunting in an old rectory in Lisburn. I’m surprised I wasn’t repeatedly called a wanker through a spirit medium. That just seems to be the way it goes.

John: Joe, why should anyone listen to Stalemates?

Joe: Because if anyone does, that's a bonus for us. But seriously folks, they say a sign of madness is doing the same thing over and over again and expecting different results. And I'm proud to say that no two Stalemates episodes are remotely the same; so different listener results would be GREAT. Each episode is a cracked Fabergé egg, feathered with flights of fancy, wrapped in a little rumination, peppered with disagreement, pierced with the odd shaft of insight and very odd it is too!

We're never entirely sure exactly how they're going to end up when we press record, but they're never less than interesting. We don't slow down, or simplify, or condescend, we just talk. And it requires attention. It's smart and dumb and crass and profound all at the same time. And above all I think it's rewarding. And if you're still reading this, then you should really, really listen to Stalemates. I work in PR by the way...

*Full disclosure: John was in fact late to the photo shoot.

Photography: Karen Storey 43

Five Minutes with Strength N.I.A Strength N.I.A hail from L/Derry and are fronted by singer Rory Moore. Describing their music as ‘Werewolf Pop’; they use thick bass lines, organ and lovely beats to accompany Moore’s powerful voice. The music looks back in some ways, in a nod to the past, but it also has an intense ‘now’ feel to it. Their album Northern Ireland Yes was released in December 2017.

We took some time out with Strength N.I.A to see what is happening with the band at the minute. Here is what is going on in the world according to Rory.

Where does the inspiration to write and record music come from?

I wanted to write songs that I felt were interesting and honest, wanted to record music using a Panasonic video camera microphone. I don’t feel there is a necessity to pump endless sums of money into a recording studio and still believe that a person can record music in any way possible using any means possible. A good song is a good song and should stand up through any recording method.

What is happening in the world of Strength N.I.A at the minute?

The debut album Northern Ireland Yes was released in December on Vinyl, CD and Digital download. It is available through local independent record shops and on Bandcamp. The recent ‘Fund-It’ campaign was a great success and are very happy and privileged to be supported by everyone. We are also currently planning a UK and Irish tour in March 2018.

Who was your inspiration to get into music and why?

The Doors performance of ‘Light My Fire’ on the Ed Sullivan Show in 1967 was the catalyst for doing all things musical and performance orientated. It was such a beautiful sounding performance and I’d never seen humans generate such electricity in this way before. I wanted to be a human involved in electricity and melody.

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What is the best venue you have played in to date?

Also, and if there was any venue you could choose to play in, which would it be?

The best venue we have played was the Galway Mechanics Institute. It was an old boys social club with a vinyl floor.

When you play these kind of venues you are outside of the pop-scene hemisphere so there is no pretence; you gotta do what you do and do it well. I would like to do a tour of old boys clubs and associations. I feel that sort of challenge would improve our work.

What is the most challenging aspect of being in the band?

Being on stage, as I struggle with the dysmorphia and most of the time I feel inadequate.

If you had to choose,The Beatles or The Rolling Stones?

The Rolling Stones.

You are hosting the ultimate dinner party; you can invite four guests, living or dead. Who would they be?

When you ask for four guests you don’t expect to get a list of ten! So CultureHUB Magazine will choose and send out the invites and this is who will be there. *We hope Rory approves of our choices.

Nelson da Silva, Brazilian footballer who played for Derry City in the 1980s. American singer/songwriter Mark Sandman, frontman of Alt-Rock band Morphine. Shane Gallagher, guitarist with punk rock bands +44 and Mercy Killers and finally Myles Manley, DIY popster from Sligo. It should be quite a night.

There you have it. Five minutes well spent catching up with the enigmatic Strength N.I.A. And just for the record, it's The Rolling Stones - 1, The Beatles - 0.

Interview: Michael Ferguson

AN INTRODUCTION TO THE HISTORY OF MUSIC FROM THE MAIDEN CITY

1970 - 2017 Article: kevin magee / PHOTOS: Mickey Rooney, Vinny Cunningham, Jason Flood and Jim Cunningham

O

n 25 September in 1978, John Peel played The Undertones’ ‘Teenage Kicks’ twice in a row on his show.

There’s a myth that there was music in L/Derry before this, but you know what they say about myths... What followed was performances on Top Of The Pops, tours with major bands (including The Clash) and being signed to major record label Sire. Joseph Locke, Dana and the showbands aside, it was The Undertones that set the standard as to how success was measured. So, who else has or almost ‘made it’?

The Moondogs ran almost parallel to The Undertones, touring with them and gaining huge popularity in their own right. However, they did not match that status beyond Ireland. If being played on John Peel’s show was an early sign of success, then Bam Bam & the Calling who formed in 1983, repeated the feat a few years later. The group eventually toured with The Replacements, but like The Moondogs, didn’t get much further than local acclaim. The Replacements did however, give a guitarist and name to the next big thing that had emerged from L/Derry in 1984, the band That Petrol Emotion, who had already, the major record label deal and sell out tours. That Petrol Emotion wouldn’t gain the notoriety they deserved, but are still regarded as one of the most influential bands on the 80s/90s Britpop

scene. The group were way ahead of their time, mixing dance music with rock music.

Those who considered chart hits to be a sign of ‘making it’ would have to wait until 1993 for another success story, when D:REAM polluted the planet with single ‘Things Can Only Get Better’. Those with a finer tuned taste were themselves preparing to be the next big exports from the North West. The DIY ethic remained; towards the end of the grunge era and following the emergance of Britpop, Cuckoo and Schtum roused the interest of two of the biggest record labels in the world, Geffen and Sony. The two giants released both band’s LPs: Cuckoo’s Breathing Lessons and Grow by Schtum. They didn’t reach the stratospheric chart successes; both were solid albums that are worth (re)visiting.

Cuckoo recorded with The Psychedelic Furs and lost their sound. Schtum toured relentlessly (notably with Richey-Era Manic Street Preachers), the group then unfortunately disbanded while they were touring America. In this era, D:REAM - who’d latched onto popular music to give himself credibility, came back to haunt us.

The single ‘Things Can Only Get Better’ was re-released and used for the Labour Party campaign in the 1997 UK General Election; raising once again, the question of political influence affecting music. That aside, the one thing that we can take from L/Derry bands up to this point, is that timing is everything.

Bam Bam & The Calling

how it would be achieved, were about to change forever.

Bands could become popular without making records or playing gigs to gain popularity; people could go on TV talent shows (like Nadine Coyle eventually becoming a member of Girls Aloud) and success could be achievedthrough hype and social media popularity. In spite of the changing times, another local band The Whole Tribe Sings gathered popularity here in the 2000s and took it to America; touring relentlessly around a scene that included The Frames and Damien Dempsey.

Eventually, the constant touring and lack of attention worked against them. In 2001, Cuckoo’s Andrew Ferris set up record label Smalltown America (STA). He would spend the next number of years being in the vanguard of the local scene; instrumental in the promotion of bands from across Northern Ireland. Local accalim Fighting With Wire, who formed in 2003, gained the attention of contemporary Radio 1 DJs. Eventually, they were signed to Atlantic Records; continuing the L/Derry tradition of reaching a certain point, but not quite being lucky enough to break through to the masses, and eventually split in 2013.

THE WHOLE TRIBE SINGS

The Undertones and The Clash

Christian McNeill (Schtum) David Doherty (Lady J/ Derry DJ) *crowd

Paul McCartney/ Bam Bam & The Calling

Paul McCartney / Bam Bam & The Calling

After the rise of DJ culture, The Japanese Popstars became sought after remixers in their genre, notably working with Robert Smith of The Cure (‘Take Forever’) and remixing Beyoncé. Their acclaimed ‘We Just Are’ is still highly regarded in dance music circles. By 2008, bands were back to the drawing board; making new music and trying to reach people through the web.

The culture of electronic music/remixer had given birth to the modern day producer, notably Ryan Vail.

He has steadily built up an international reputation: with a wonderful live set, a number of EPs, collaborations and a wildly successful crowdfunder campaign for his debut album For Every Silence. This has become an stand-out example of success in the newly defined pop era, recently building a home recording studio.

The city’s historical timeline, of reasonably successful bands and a fierce independence, reshaped the approach of how artists work now. They have embraced the home recording techniques, and avail themselves of all the opportunities the internet and new technology throw their way. Wally, who played drums in Red Organ Serpent Sound/Whole Tribe Sings, now performs in L/Derry’s hugely popular Waldorf & Cannon. Christian McNeill, Paddy Nash and Decky McLaughlin have all released albums independently to loyal fanbases. The four musicians have toured with major acts to provide us with a new definition of success: steady album sales, pull in crowds - good turnouts at gigs, crafting themselves careers out of their musicianship; or at least be able to maintain a significant presence.

Christian McNeill (Schtum)

Four fifths of the That Petrol Emotion formed The Everlasting Yeah. They have used the Crowdfunder method for releasing their LP; which is intrinsically a way for fans to pre-pay for an album. This practice is now veering towards a suitable replacement for record labels; it was most recently employed by John Deery & the Heads, for their Nothing Permanent Lasts album.

THE WHOLE TRIBE SINGS

CUCKOO

Invaderband

So, what about young bands today? SOAK is signed to Rough Trade records and we’re currently waiting on the follow up to the critically acclaimed debut. Talking of debut albums, we eagerly await the Touts, also Woodburning Savages is on the horizon and that is sure to be a belter. So it seems that L/Derry has more great artists/bands now than in previous years, Ryan Vail, Lost Avenue, Cherym and The Barbiturates are proof.

WOLDORF & CANNON

Over the last four decades, the Maiden City has continued to churn out top-class artists. It has evolved into an alternative music mecca, throughout Ireland and beyond.

Our musical peers - from the 70s onwards, set the bar for the produce of exceptional music; both to be played and enjoyed. Those artists essentially, projected a spotlight on the ongoing deliverance of organic talent; carving the city’s unique alt-music identity.

Ryan Vail

11 LOMBARD STREET R E G E N E R AT E D C R E AT I V E S PA C E

Up above the hustle and bustle of the busy Belfast thoroughfare, 11 Lombard Street is tucked away just off High Street. With each of its three stories serving its own unique purpose. The building, erected in 1874 by local architect Thomas Jackson, is a creative hub for artists, designers, and musicians alike. It still boasts all of its original features thanks to the dedication of all involved to preserve and maintain this little piece of Belfast’s history.

N

o one is prouder of this than author and publisher Declan Hill whose non-profit organisation Belfast Urban Studios CIC (BUSCIC) occupies the first floor.

Passionate about the preservation of our city’s architectural landscape, Hill tirelessly fights to develop already existing buildings to provide access to educational employment and even housing opportunities for those most in need. If anything, 11 Lombard Street is proof of the fact that careful regeneration cannot only help in protecting our heritage and identity but can also enrich and revive our community through the creative use of these often abandoned spaces.

One of Hill’s projects Framework South, along with the Market Development Agency, is a discussion tool with a view to develop North, South, East and West Belfast together through careful urban planning for the benefit of the inhabitants of our city. BUSCIC is also taking part in a campaign to save the Boyne Bridge which is at risk of being demolished to make way for a new transport hub just off Great Victoria Street. This bridge, with it's origins in 1642 and later reconstruction in 1936, is an historic landmark which is unlisted and under threat.

Despite its involvement in these campaigns, BUSCIC receives absolutely no subsidy from the public or the City Council. In light of this, Hill has collaborated with ceramicist and recent Ulster University (UU) graduate Caitlin Carleton on a range of clothing, mugs and totes incorporating city landmarks and place names written in Ogham.

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All of the prints are meticulously handcrafted by Caitlin in their first floor office in Lombard Street and are then sold to support the ongoing role of this organisation in our city.

Following the original mahogany railing up the stone staircase we have Lombard Street Studios. This floor, originally made up of small offices, was established in 2016 by Trina Hobson to accommodate arts graduates, providing support, guidance and an individual studio space to aid in their development. It currently houses four contemporary visual artists (Trina Hobson, Daniel Coleman, Hollie Sloan and Jane Rainey) and local musician Peter Wilson. Again, this studio space receives no funding and relies purely on the artists working relentlessly, generating income by selling their work.

Nestled away at the very top of the staircase we have MFR Recordings; a veritable menagerie of all kinds of recording equipment and instruments boasting four live recording rooms, a mixing desk once used by The Beastie Boys and synths. Lots of synths. Simon Mateer saw the potential in this once abandoned run-down attic space in 2011 and has since, with some help from local musician David Holmes, acquired the equipment and the know how to transform it into a welcoming, cosy space capable of accommodating a wide range of genre spanning artists.

Having worked tirelessly over the past to develop the studio space and a reputation whilst also respecting the original architecture of the space, Mateer now looks towards further developments both physical and professionally. Coming out on high from his recent work with Noel Gallagher’s Flying Birds on his new album Who Built The Moon?, Mateer and his partner Jude plan start their own record label and expand MFR Recordings into the next building. This would provide a large additional practice space onto the side of the studio and potentially a new venue on the second floor that would bridge the gap by actively encouraging and supporting bands who are often not given an opportunity in existing venues around the city. With all of this in the pipeline, it’s sure to be an exciting couple of years for MFR. Everything from the open use of the practice room for music lessons and rehearsals to Mateer’s mentoring of aspiring sound engineers makes it evident that he’s sincerely devoted to the promotion of a creative learning culture rather than just providing a service.

With all of this hidden behind the big red door on Lombard Street it's a shame that, to those passing by, it appears to be just another door on another street.

Everything from the use of space to the inspiring dedication of all of its self-sufficient co-inhabitants to enrich, invest and contribute to our city is something that should be supported and celebrated. Their ‘Lombard Street’ exhibition, which will be held in Tivoli Barber Shop on North Street running from 14-20 December, will showcase the diverse groups’ creative output and provide an opportunity for us to support them with the continuation and expansion of this little gem in the heart of the city centre.

Emma Mckinley

AMERICANA R O O T S

It’s not going to be too long before we’re taking another cup of kindness yet.

You know the sort, the midnight-well-worn-festive-season-post-Christmas ‘Hooray’ to the end of 2017, taken for the sake of Auld Lang Syne. Bringing on the arrival of a cocky new year full of swagger, Christmas debt, jaded hope of local government and BREXIT. Yeoow!

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D

on’t worry. We can pace it. Before any of that kicks in, you can sport your new Christmas pants at QUB’s Speakeasy on 30 December where garage punk blues duo The Bonnevilles are launching the vinyl reissue of their Folk Art & The Death Of Electric Jesus album. “McGibbon’s songwriting is never suspect,” No Depression had to say about them.

“Influenced from those before yet soaked and steadily glazed in a brine of ‘cheap beer and Buckfast’.” They’ll have The Crossfire Hurricanes, The Groundlings and Electric Blue in support. You’ll be desperate to get out of the house by that stage of your Christmas holidays. Go!

and her learning of Appalachian music, this show I would suggest is pretty unmissable, apart from one key fact – author and musician Willy Vlautin is appearing at The Crescent Arts Centre on the same night thanks to No Alibis. Vlautin is the ex-front man of the much missed Richmond Fontaine, and founder of/guitarist with The Delines, who will hopefully be back on the road with their new album sometime in the near future. Meantime Vlautin has been working on his fifth novel, Don't Skip Out on Me, and he is coming to Belfast to play music from the soundtrack of that new book, as well as favourites from The Delines and Richmond Fontaine.

Ignore the rancorous intro to this piece though, because 2018 does have plenty to look forward to. There is so much going on out there in fact, that we have gigs of note running right through to early February, not least the Americana entries for Out To Lunch Arts Festival running this year from 05 – 28 January. There’s the deep mellow power behind the voice of country-soul singer/songwriter Yola Carter for example. And there’s another country roots inflected singer/songwriter, Texan Hayes Carll, who’ll be playing Out To Lunch with his own particular brand of straight from the hip, sharp songwriting.

Following that, Real Music Club brings American folk musician Sam Baker to the Wriggler Inn a few days later on Friday 02 February. Renowned for his bare expressive lyrics, half spoken, somewhat drawled, Baker’s songs speak through and beyond his recovery from a terrorist attack while travelling in Peru in 1986. He feels lucky to have survived and speaks of the need for us to reach out, to connect. Uplifting and pertinent, Sam Baker is a must-see.

The sibling harmonies of Tyler and Maggie Heath’s The Oh Hellos can be heard in The Empire on 26 January. Out To Lunch have strayed to this part of town, away from Cathedral Quarter, because a venue of The Empire’s stature is needed to host the numerous collective band members on stage. Interesting fact: The Oh Hellos last album, Dear Wormwood, is inspired by C.S. Lewis's The Screwtape Letters. “We kind of took the central device of writing letters to this tormentor.” Tyler Heath told the Music Times about the background of the album. “Then kind of ran off in our own direction with it.” Sounds like an interesting night.

There’s potent songwriting and polished old-time banjo-picking from African-Canadian Kaia Kater in the Black Box on festival closing night, 28 January. With a musical sound born from her grounding in Canadian folk, 50

Saturday of that same weekend offers up The Orphan Brigade on tour promoting their new Heart Of The Cave album. Glenarm’s own Ben Glover (now based in Nashville) is a founding member of this band, named after their 2015 project in which they spent a year writing and recording songs in Octagon Hall, Kentucky, reportedly the most haunted building in America. Their latest project for Heart Of The Cave brought them to caves underneath the Italian town of Osimo, which has a network of caverns and tunnels dating back to the Roman Empire which have been inhabited by people for endless reasons over the years.

From secret societies, exiled saints, and scared communities seeking shelter, Heart Of The Cave captures the essence of that underground world. Real Music Club brings The Orphan Brigade to the beautiful confines of Duncairn Arts Centre on 03 February. The band then travels to The Londonderry Arms Hotel, Carnlough for a performance on Sunday 04 February.

Cara Gibney