2024: THE BEST BITS // LUNGHORN // SADBOT // DAVID
VENN // SOPH // THE NORTHERN WINE GUY
HAPPy DRINKS!
available until 6.00pm, SUNDay TO FRIDAY
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CHOOSE FROM OVER 20 COCKTAILS TAGGED WITH THE 'CUBANA STAR' IN OUR DRINKS MENU FOR ONLY £7.00! PLUS...
>> House Spirit Double £7.00
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**DOWNSTAIRS BAR EXTENDED HAPPY OFFER**
We have extended all of the above Happy Drinks offers for a further two hours, until 8pm, Monday to Friday in the downstairs bar **only available in the downstairs bar
available until 6.00pm, SUNDay TO FRIDAY
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28: COVER
For our first cover of 2025, Sheffield’s beloved artist Pete McKee opens up about his most personal exhibition yet, The Boy with a Leg Named Brian. Reliving his childhood through nostalgic paintings, sculpture, and interactive installations, McKee shares the stories that shaped him.
18: 2024: THE BEST BITS
From new openings to unforgettable festivals, 2024 will go down as a certified belter for Sheffield. Dive into Exposed’s top highlights here, rounded off with a nosey at what’s coming over the next 12 months.
40: WITNESS STATEMENT
Lunghorn and Monqi bring raw emotion and haunting soundscapes to Sheffield’s music scene with their collaborative single, ‘Witness’. Last month, the rising artists spoke to Exposed about their creative journeys and turning vulnerability into art.
54: POETRY ON TAP
David Venn’s debut collection, Hell’s Angel Coffee Morning, serves up a blend of surrealism, humour and everyday anarchy. Chatting to Exposed over a pint in Fagans, David shares how pub life inspired his work and why poetry can be both funny and profound.
GAFFERS
Phil Turner (MD) phil@exposedmagazine.co.uk
Nick Hallam (Sales Director) nick@exposedmagazine.co.uk
Heather Paterson, Estelle Coulter, Kathryn Schoon, Heather Anne Swift, Zain Durrani, Mark Perkins, Charlotte Colley
THE BUSINESS STUFF
Exposed is published monthly by Blind Mice Media Ltd
Unit 1b, 2 Kelham square Kelham Riverside Sheffield S3 8SD
SLEEP TIGHT
Last month, Steel City metalcore legend While She Sleeps concluded a world tour with an intimate show at the Leadmill. “Grassroots venues are suffering, so it’s important that we keep returning to the rooms that once helped us,” lead singer Loz Taylor told Exposed.
Photo: @lili_takesflickis
CITY VIEWS
ESTELLE COULTER
“Sheffield? Is that near London?”, a question I’d received numerous times on results day. Sheffield was a city unbeknownst to many of my Northern Irish friends who were all set to stay in Belfast or go in their hordes to Liverpool, Glasgow and Newcastle. Many of them could not quite understand why I had decided –on results day – to go to university in a city I had never visited and could just about point out on a map.
I don’t know whether it was fate or the egoist inside me hell-bent on doing something different from my peers; either way, I had wound up in Sheffield.
As I drove through the peaks for the first time, the panic started to kick in. Knowing sod all about Sheffield, I remember remarking to my dad that it seemed a bit hilly – how naive I was then.
The warm attitude of the South Yorkshire people and the industrial feel of the city put me at ease and reminded me of Belfast. The first few weeks were a whirlwind of inductions, new faces and self-discovery. Nothing forces you to grow up quite like being 18 and alone in a new city.
It didn’t take long for this place to charm me, from the quirky Division Street to the peaceful Botanical Gardens, which was my refuge when I felt homesick or questioned my decision to come here alone.
As weeks and months went in, I started referring to Sheffield as ‘home’, much to my mother’s concern.
Maybe this was due to the parallels I had drawn between Belfast and Sheffield: the thriving independent food scenes, the music venues that called for a uniform of baggy jeans and a pair of Adidas Gazelles, the sticky pubs made
THE WARM ATTITUDE OF THE SOUTH YORKSHIRE PEOPLE AND THE INDUSTRIAL FEEL OF THE CITY PUT ME AT EASE AND REMINDED ME OF BELFAST.”
for working men and broke students alike.
A dander down Sharrowvale Road was like a slice of home; the community feel and independent bakeries, fishmongers and florists were reminiscent of my small Irish village. I quickly decided this was where I would live in Sheffield.
So while much about this city reminded me of the Emerald Isle, the differences also grew on me. I may have missed the sea air, but the rolling reservoirs of the Peak District were a welcome substitute.
Venues such as The Harley and Hopeworks became spots I’d frequent on the weekends, where friendships were forged and where my love for dance music evolved.
Drives to lookout points across the city became my favourite activity. The way the buildings seemed to stack on top of each other was a view I could never get bored of; looking down at this city from above made me feel a part of it.
Four years later, my strong Irish accent has (slightly) toned down, and I’ve adopted phrases such as ‘reyt’ and ‘eh up’. In true Sheffield style, I even find myself leaving words out of my sentences altogether.
I now laugh at those who have negative things to say about Sheffield –those who take this city at face value and fail to see that the magic goes far beyond the lack of fuss and grandeur, which became what I love about the place.
When I think of the day I will leave this city, I find my eyes welling up, so maybe I won’t leave, or maybe if I do, I’ll find myself back here someday. No matter what happens, Sheffield has become a part of my identity, and I will carry a part of it with me wherever I go.
1
THEATRE DIRECTOR
4
THE DIRECTOR IS THE BIG BOSS
Of course, sometimes we do need someone to be a leader, to make executive decisions and support a large group. But the main misconception about directing is the hierarchy of the role. The director often gets all of the credit. Making a play or film is a collaboration between a huge amount of very skilled people. I believe to be a good director you must be a good facilitator, because you are facilitating a lot of people, thoughts and logistics.
2
DIRECTING IS JUST TELLING PEOPLE WHAT TO DO/ WHERE TO STAND
Another misconception is that actors are just ‘walking props’. Sometimes an actor will come in with ideas for a role you never imagined, and then the rehearsal process is such a joy. The main thing I look for in an actor when casting, is what kind of person they are. I’m not interested in working with big egos. I look to work with people who I can see will be generous, good listeners and team players. Directing is so much about bringing together the right people, and that shows in the process and outcome.
EVERYONE IS AN ARTIST
3
We are all born with the abilities to be creative. Art, in a capitalist society, has become a commodity, and it is often goalorientated, ego-driven and monetised. So many of us reconnected with our creative selves during lockdown, because we had the luxury of time, and found making art nourishing. I hope we hold on to that. Making time to be creative, just for the sake of it, is so enriching to our lives.
ART IS COMMUNITY
I work with Stand & Be Counted Theatre, the UK’s first, leading theatre company of sanctuary. They shifted their way of working in response to observing the needs of their communities, and reacting to the political and social impact on refugees and asylum seekers.They provide thousands of people seeking sanctuary with regular, long-term making opportunities and events to ensure equality of opportunity. Their Soap Box Group for young adults is now a family. Everything about what SBC does has changed my working practice. I’m so glad I’ve finally found an organisation which genuinely cares for their community, and shares my passion for social change.
ART IS POLITICAL
5
Art can be a form of escapism, but it is also a form of expression; so much of it is a response to our lived experience. Many arts organisations are non-profit registered charities. When it comes to being challenging or political, many will support work about feminism, cultural diversity or queer rights. They will say they support Black Lives Matter or that they are deleting their ‘X’ profiles. Yet when it comes to supporting Palestinian human rights, so many have remained silent, hiding behind the veil of political neutrality. It seems some are ‘political apart from Palestine’ which exposes the boundaries of freedom in the arts. To me, art is political, art is activism, art is freedom of expression. By telling stories, offering alternative narratives, challenging people, reaching hearts and minds, we can have social change.
co.uk.
Nadia Emam is associate director at Stand & Be Counted Theatre and a theatre director. Find out more at sbctheatre.
MAY’S COFFEE & TEA
Tucked away on Broad Lane, just a stone’s throw from the bustle of Sheffield city centre, May’s Coffee & Tea offers a chilled haven focusing on speciality coffee and Asian-inspired delights.
When owner Calvin, who hails from Hong Kong, secured the lease earlier this year, he envisioned a space that celebrated both quality and community. “We invited a local joiner to craft all the tables and benches by hand,” Calvin told Exposed, “and we think he’s done a great job.” The result is a cosy, welcoming spot with some bespoke touches that lend plenty of character to the space.
Originally, the plan was to focus on serving traditional Chinese teas, but they soon realised Sheffield’s thriving coffee culture presented an opportunity. “We wanted to introduce people to the way we drink tea in China,” he explained, “but we also partnered with Cuppers Choice to serve some of the best coffee around. We’ve already got a stream of regulars that come in.”
While embracing the competitive coffee scene in Sheffield, they are also offering some unique brews. Their Yuzu Espresso Tonic, a refreshing blend of citrus and coffee, is a particular standout. “The yuzu balances the coffee’s bitterness perfectly,” Calvin said. “It’s a drink that surprises people – it’s fruity, light and perfect for warmer days.”
They also sell Chinese coffee beans available to take home, a rarity in the UK, which come with its own distinctive flavour profile. “These beans from Yunnan are incredibly fruity,” Calvin explained. “It’s something you won’t find anywhere else in Sheffield.”
The café’s menu reflects its roots, with a subtle Asian twist. Their crayfish bagel, spiced with Chinese flavours, has been a hit with customers. “We wanted to offer something different, something you won’t see in every café,” Calvin said, “and we like to think our food is really well priced; we offer a sandwich and drink deal to make it affordable.”
And let’s not forget the tea. May’s offers high-quality Chinese teas, sourced directly from contacts in mainland China. Served traditionally in small pots and cups, the tea is meant to be savoured over multiple brews. “Good tea doesn’t need milk or sugar,” Calvin noted. “It’s complex and delicate on its own.”
Located slightly off the beaten path, it provides a calm escape from the city centre’s hustle. “We’re a short walk from West Street,” Calvin said. “It’s the perfect spot to unwind.”
Looking ahead, there are plans to
make May’s stand out even more. To draw in more weekend visitors, Calvin is teaming up with a local artist to create eye-catching window art designed to pull in the punters – watch this space. “We want to make the café more noticeable and to widen our appeal,” he said. “Once people find us, they tend to come back.”
ADDRESS:
May’s Coffee & Tea, 76 Broad Lane, S1 4BT
SOCIALS: @mays_coffeeandtea
SPECIAL OFFERS
With students and NHS workers making up a large portion of their clientele, May’s offers a 10% discount to both groups.
SATURDAY 25 JAN 2025
THE MAGIC NUMBERS
£25.00, Doors 7:00pm
SATURDAY 25 JAN 2025
ania magliano
£17.50, Doors 7:00pm
wednesday 5 feb 2025 matt forde
£17.50, Doors 7:00pm
thursday 6 feb 2025
ahir shah
£18.00, Doors 6:30pm
tuesday 11 feb 2025 the tuesday club:
shy fx ft. rage
mr williamz (live)
charla green
£14.00/£16.00, Doors 11:30pm, 18+
tuesday 18 feb 2025
the wombats
£15.50, Doors 7:30pm
thursday 20 feb 2025 w h lung
£17.00, Doors 7:30pm
tuesday 25 feb 2025 the tuesday club: badger (in the wild uk tour)
£13.00/£15.00, Doors 11:30pm, 18+
wednesday 5 march 2025 submotion orchestra
£22.00, Doors 7:00pm
saturday 8 march 2025 the amy winehouse experience
£15.00, Doors 7:00pm
saturday 15 march 2025
ash sarkar in conversation
£21.50, Doors 6:30pm
thursday 20 march 2025 alabama 3
£30.00, Doors 7:00pm
saturday 22 march 2025 geoff norcott
£16.00, Doors 7:30pm
thursday 27 march 2025 overpass
£14.00, Doors 7:30pm
friday 28 march 2025
sambroso all stars: the buena vista
£15.00/£17.50, Doors 7:00pm
SATURDAY 12 april 2025
fleetwood bac
£19.00, Doors 7:00pm
SATURDAY 27 sept 2025 float along festival
£35.00 (early bird), Doors 12:00pm
SATURDAY 12 april 2025
Craig charles
funk & soul house party
£19.00, Doors 7:00pm
SATURDAY 6 december 2025 808 state
£30.00, Doors 7:00pm
Oof, what a belter! From foodie havens to festival highs, street art stunners to sporting heartbreaks, 2024 served up plenty of memorable moments. Grab a cuppa, settle in and have a nosey at some of our standout moments from the last 12 months
A FOODIE PARADISE
In May 2024, local foodies rejoiced as we celebrated the opening of Cambridge Street Collective, Europe’s largest purpose-built food hall. The expansive venue, part of the city’s £470 million Heart of the City regeneration scheme, spanning 29,000 square feet brought 20 hand-picked independent food partners to the city offering authentic cuisines from around the world, plus four bars and a rooftop terrace.
JOINING THE LEAGUE
Following the now-infamous Tramlines mudfest of 2023, the sun finally shone as 40,000 revellers descended on Hillsborough Park for a packed programme of live music, comedy and art. Headliners included Jamie T, Paolo Nutini and Snow Patrol, but it was Steel City synth-pop legends The Human League who stole the show. The sight of tens of thousands of Sheffielders belting out ‘Don’t You Want Me’ back at Oakey and co will live long in the memory.
THE PULSE OF PROGRESS
Sheffield’s game-changing heart of the city development continued apace throughout the year, with a number of significant addition to the city’s retail and hospitality scene. The Grade II* listed Leah’s Yard provided a new central hub for some of our favourite independent businesses, new shops on Pinstone Street upped town’s shopping offer, new additions to the bar scene include BOX and Radisson Blu opened a flagship hotel overlooking the Peace Gardens.
EUROS FEVER
So close … yet so far! Beer gardens across the city were packed with hopeful supporters who witnessed England reach their first-ever final on foreign soil, only to fall short of long-coveted silverware with a defeat to Spain. That said, there were memorable moments along the way – including an unprecedented penalty shootout victory – and Devonshire Green’s Fan City proved a hit, showing all the games throughout the tournament and hosting live music from local artists on its stage.
Photo: Matt Higgs
THE CIRCUS BACK IN TOWN
The Rock N Roll Circus made a welcome return to Don Valley in August, mixing some much-loved Sheffield talent such as Richard Hawley, Milburn and Bromhead’s Jacket with performances from The Divine Comedy, Becky Hill, The Coral, Pete Doherty, Jake Bugg and plenty more. Now fully established as a favourite on the local festival circuit, head to www.rocknrollcircus.co.uk to see who will be gracing the Big Top in 2025.
PUTTING ON A SHOW
It was another impressive year for Sheffield Theatres, which bade farewell to Artistic Director Robert Hastie but delivered another critically acclaimed programme. Highlights included an excellent adaptation of Arthur Miller’s ‘The Crucible’ at its namesake venue, an exhilarating retelling of the 1981 Oscarwinning film ‘Chariots of Fire’ and an acclaimed Steel City playwright’s take on Henrik Ibsen’s ‘A Doll’s House.’ Not to be outdone, the smaller Playhouse stage hosted some excellent intimate performances, including the stomping true-crime saga ‘KENREX.’
THE MOBOS ARRIVE
Back in February, Sheffield took centre stage as the MOBO Awards arrived for the first time, celebrating music of black origin across the UK and also showcasing some of the artistic talent in the Steel City. The main ceremony took place at Sheffield Arena and featured performances from the likes of Ghetts, Sugababes and Soul II Soul, while in the city centre a number of live performances, industry talks and cultural events marked the event.
AWARDS SEASON
If you’d allow us the briefest moment of self-indulgence, we have to say that this year’s Exposed Awards was nothing short of a veritable bobby dazzler. Hundreds of lovely people came down to Peddler Warehouse for a night celebrating the best of Sheffield arts, culture and hospitality sectors. The drinks flowed, the scran was excellent and we even a Sheffield supergroup of sorts treating us to an excellent Moloko cover to see the night out. Happy days!
Photo: Manuel Harlan
HOME IS WHERE THE ART IS
We love to ogle some local street art here at Exposed, and we were particularly impressed by this addition to the city centre – a sunning five-story mural by Sheffield-based artist Peachzz. We were so chuffed with it, we interviewed the artist for our July issue cover story.
THAT’S A WRAP
DocFest 2024 soared to new heights, drawing over 40,000 in-person attendees and showcasing 108 premieres from 57 countries. Highlights included Daniel Gordon’s Battle of Orgreave exposé, Strike: An Uncivil War, alongside a wide range engaging talks, interactive exhibitions and talent programmes that celebrated the unifying power of documentary storytelling.
Photo: Chris Saunders
PLACES WE REYT LIKE
We were spoiled for new openings in 2024, but here are a few that really hit the spot…
BAKERS YARD
Providing the caffeine kicks for the Exposed office, this gem in Little Kelham houses a busy micro-bakery and serves delicious speciality coffee.
@bakersyardbakery
RED BRICK MARKET
A wide range of independent vendors selling everything from vintage football shirts to rare vinyl has brought a huge buzz to this space on Clough Road.
@redbrickmarket_sheffield
BORGO
Taking its place on the bottom of Oakbrook Road, this traditional Italian restaurant inspired by the trattorias of southern Italy gave us a healthy dose of la dolce vita.
@borgosheffield
POCO
Located in the Stag Works courtyard, Poco is a new venture from the team behind piña. Opened in June, it offers a more intimate take on Mexican-inspired hospitality, featuring stunning cocktails in a refined setting.
@poco.sheffield
2323 COFFEE
Intimate coffee haven offering a personalised experience with a rotating selection of beans from global roasters – a “multi-roaster”, if you will.
@2323coffee
GRAPPA
This Italian restaurant has quickly become a standout on West Street, offering an authentic Italian experience with its cicchetti menu, swish upstairs restaurant and the largest grappa selection in the North.
@grappasheffield
BEST BOY BAGELS #2
Every’s favourite bagel-slingers upgraded to a larger gaff on Abbeydale Road, and they’ve been keeping those handrolled, freshly baked beauties rolling in swankier surrounds.
@bestboybagels
HALLAMSHIRE HOTEL
Blessed with a quirky vibe and superb sound system, this West Street bar has become a hotspot for live music, DJ sets and late-night boogies.
@hallamshire_hotel
GUT LEVEL
Situated on Chapel Walk, this queer-led DIY space and collective has been bringing an eclectic mix of grassroots DJ nights and community events to the table.
@gutlevelsheffield
THE STEAMWORKS
This vibrant 11,000 sq ft venue located between London Road and Bramall Lane, opened earlier this year, adding a fresh dynamic to Sheffield’s events scene.
@the_steamworks
Ten things we’re looking forward to trying out in 2025…
TRAMLINES
25-27 July
For the first time in the festival’s 16-year history, Steel City legends Pulp will headline the city’s biggest party, Tramlines. Jarvis and co. take the headline slot on the Friday and have curated the whole day, pulling in acts like Spritualized, Hot Chip, John Grant, Fat White Family, Baxter Dury and I Monster to join the party. Other big pulls across the weekend include Rotherham lads The Reytons, Brit-rock heavyweights Kasabian and BRITs winners The Last Dinner Party.
ROCK N ROLL CIRCUS
30 August
From one Sheffield legend curating a local lineup to another. Jon McClure will celebrate 20 years in the game with Reverend & The Makers by headlining a lineup consisting of an eclectic mix of legendary performers and rising stars, including Groove Armada (DJ Set), The Libertines’ Peter Doherty and Carl Barat, The Lottery Winners, Everly Pregnant Brothers, Harriet Rose and all-day clubbing experience Day Fever.
GET TOGETHER
17 May
Independent festival Get Together returns to Sheffield in May to celebrate
its fifth anniversary. Highlights include Mercury Prize winners English Teacher, BC Camplight, Sheffield’s The Moonlandingz and Nottingham’s Divorce. Set across Kelham Island’s seven stages, the festival also features DJ sets, top street food from Peddler and The Kelham Beer Mile.
KAPITAL
Early 2025
A huge Euro-inspired beer hall, Kapital, will open in Sheffield’s Heart of the City in the first halg of 2025. Spanning two floors, it features fresh imported Czech tank beer, continental cuisine, live entertainment, and an outdoor beer garden, offering Sheffield’s largest European beer selection. Created by the team behind Two Thirds Beer Co.
LICK OF PAINT FEST
Summer 2025
Sheffield’s first street art festival, Lick of Paint, launches next summer, led by artists Alastair Flindall and Megan Russell. Featuring 20-30 artists, live music, workshops, and a focus on sustainability and tech like AR art, it promises to transform urban spaces while uniting the community. Keep an eye out on @lickofpaintfest for more.
THE FARGATE TBC
Thornbridge & Co, a joint venture between Thornbridge Brewery and Pivovar, is opening The Fargate near Sheffield Town Hall as part of city centre developments. With over £1M invested in a bespoke interior, the pub will feature handcrafted oak panelling, leather seating, and outdoor space, offering a standout showcase for Thornbridge beers.
SENSORIA
2-5 October
Sensoria, the UK’s festival of film, music, and digital media, returns to Sheffield in October after a recordbreaking year with an audience increase of 25%. Highlights in 2024 included live performances, inspirational talks, SynthFest UK, and global collaborations, celebrating Sheffield’s vibrant creative culture across venues citywide.
JÖRO AT OUGHTIBRIDGE MILL
Nationally acclaimed restaurant JÖRO has relocated to a stunning renovated 19th-century paper mill at Oughtibridge Paper Mill on the edge of the Peak District. Opening 4 December 2024, the site feature its flagship restaurant, two bars, an outdoor BBQ terrace, guest accommodation, and SHÖP by JÖRO – a deli offering chef-selected produce. Keep an on our next issue for more!
NO BOUNDS
10-12 October
The innovative festival returns for its 8th edition from 10-12 October 2025, showcasing music, art, and technology across Sheffield. While it’s sad to see Hope Works close, No Bounds organisers have promise an even bigger and better event as a result. Expect international and local artists, exhibitions and installations, continuing their legacy of groundbreaking creativity. Tickets on sale in 2025.
SHEFFIELD COCKTAIL FESTIVAL 17 MAY
Sheffield’s biggest cocktail festival launches in May 2025 at Steamworks. From 2pm to 8pm, enjoy cocktails from 25 top bars, including Public, Bench and Pearl at Park Hill, plus favourites like Cubana and Picture House Social. Expect DJ sets, masterclasses, mouthwatering food and plenty of good vibes. Early Bird tickets (£20) are on sale now at sheffieldcocktailfestival.co.uk.
Looking for the perfect spot to unwind with friends, enjoy a fantastic pint, and soak in some genuine local vibes? Welcome to The Ranmoor Inn—Sheffield’s cosy, community-driven pub that’s got something for everyone!
CASK ALE HEAVEN / CRAFT KEG & DRAUGHT BEER / REFRESHING CIDERS / WINES & SPIRITS / PRIME LOCATION / COMMUNITY FEEL
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330 FULWOOD RD, SHEFFIELD S10 3GD
FB: The Ranmoor Inn // Insta: @the.ranmoorinn
COVER: PETE MCKEE
“EVERY PICTURE HAS A STORY”
WORDS: JOSEPH FOOD
While standing outside Weston Park Museum this morning, I noticed a queue of schoolchildren waiting to be ushered in. After teachers had admirably calmed the excitable rabble, a short silence ensued until one pointed at a poster promoting Pete McKee’s upcoming exhibition, which showed his Bath Time painting – a youngster being bathed in the sink of a 1970s kitchen – and shouted, "Ha! Look at that kid! Why's he having a bath in t’sink?” The peace was shattered again: loud peals of laughter and plenty of jostling to get a closer look as staff struggled to restore order.
I couldn’t help but think that something was fitting about that moment – how a piece from McKee’s new exhibition, The Boy with a Leg Named Brian, a collection inspired by the artist’s childhood and formative years, managed to instantly resonate with and spark joy in children born generations down the line. Of course, it could simply be the fact that a kid being plonked into a sink for bath time is amusing to most people – none more so than primary school kids – but I like to think there’s something else at play, highlighting how Sheffielders seem to gravitate to his work, right across the age divide.
Walking around the exhibition with the Batemoor-born artist, I recounted the experience. “That’s great,” he grins. “I’m trying to make it as friendly and kid-friendly as possible this year. A lot of artworks are quite low down so kids can see them properly. We’ve created a cartoon workshop, so kids can get involved and draw – it’s fun, beginner-level stuff. Each section will have something interactive, too, with everything from Space Invaders to a horse
ride inspired by one that once stood in Castle Market.”
The exhibition is split into five chapters, which guide visitors through distinct periods of McKee’s youth. The first, The Castle Market Years, honours the artist’s relationship with his mother before her untimely death when McKee was just seven. Reflecting on the conflicting emotions that arose while pulling this section together, he says: “It was cathartic. It was good to get some of it out of my system... There’s warmth in there, but there’s also sadness. The great thing about storytelling in art is I can recreate the times I had with my mum and even invent a few that I didn’t have.”
His characteristic blend of nostalgia, humour and heartstring-tugging takes on relationships with the people and places that built us is evident throughout. The exhibition’s name stems from a childhood pair of pass-me-down jeans from a relative, Brian, who’d duly stitched a patch displaying his name into the leg. “I had no option but to wear them,” Pete recalls. “So, when I went to call on a mate around the corner, his big brother answered the door, took one look at me and said, ‘What’s your other leg called?’”
Subsequent sections delve into life after his mother’s passing, the pastimes and adventures of childhood, an identity increasingly shaped through music, fashion and sport, and a deep connection to Sheffield that would endure well beyond his younger years. A particularly heartwarming touch is the inclusion of several pieces from Sheffield Museums’ collection –artworks he admired when visiting as a child, which provided him with formative forays into the world of art. “Me and my dad used to go to art galleries and he’d take me to Graves Gallery and Weston Park. Some of the pieces I saw influenced me and really stuck in my memory, so I wanted them in the show to pay homage to that as well.”
Continuing the mixed-media approach of his recent exhibitions – comprising paintings, sculpture and audio – another recurring theme is the weaving together of visual and written storytelling. “Every picture has a story,” he says. “Some of the newer works have really descriptive stories behind them, and I enjoy adding the writing part; it can be difficult getting that right. It would be great to see visitors to spend some time with them, to connect.”
However, the ultimate goal is for people to simply come along and enjoy the experience. “I just want everyone to have a really good time, spend some quality time in the exhibition and walk out entertained and happy. If they take some warmth from it, that’s job done.”
The Boy with a Leg Named Brian runs from 29 November 2024 to 2 November 2025 at Weston Park Museum. Tickets are free but should be booked in advance. Visit sheffieldmuseums.org.uk/mckee for details.
GRAPE EXPECTATIONS
After two decades in the high-stakes world of investment banking, Andrew Lofthouse made a bold career pivot that combined a deep passion and his Northern roots. Today, he is best known as The Northern Wine Guy – a Sheffield-based consultant, writer, events organiser and wine educator with a mission to make vino accessible for everyone.
“I’d done 20 years of investment banking, travelling the world, living in Australia, Dublin, Japan and London,” he tells Exposed. “But I didn’t want to be pigeonholed or a one-trick pony. I wanted to do something different, something I really loved.” That desire, paired with his burgeoning interest in wine fostered through visits to vineyards around the world, planted the seed for change.
Minds made up, Andrew and his wife started exploring the world of wine more formally. They earned their wine and cheese qualifications together, which included becoming certified cheesemongers and completing levels of the Wine & Spirit Education Trust (WSET) programme.
The couple purchased a retail unit in Devon and transformed it into The Wine and Cheese Loft, a
multifaceted space offering wine retail, tastings, a café and pop-up dining experiences. “It was a completely new business from scratch. We created a synergy of wine, cheese and hospitality that progressed very well.”
Despite its success, the idea of taking the business to the Steel City had an emotional pull. “We’d always been nomadic,” Andrew explains, “but Sheffield was the first place my wife and I met, and we still had friends and family up here. So, we decided to return to our roots.”
Relocating to Sheffield presented an opportunity to rebrand. “I couldn’t be The Devon Wine Guy in Sheffield –that wouldn’t make much sense!”. His newly named venture, The Northern Wine Guy, became an umbrella for a wide range of wine-related activities, blending consultancy, writing, organising and hosting events, and even
guidance on fine wine investing.
Andrew recently completed the studies for a WSET Level 4 Diploma, which will place him one level below the prestigious Master of Wine certification. “There are only around 315 Masters of Wine in the world, so this diploma will allow me to bring a high level of expertise to what I do.”
A key focus of Andrew’s work is demystifying wine and removing any pretence. “Wine isn’t just for people with big wallets,” he insists. “Whether you like a £3.99 bottle or a £109 one, it’s about what works for your taste buds. The city’s wine culture is bubbling away, with events like Sheffield Wine Week and winefocused venues thriving. It’s an exciting place in that respect and there’s plenty of potential.”
To tap into this, Andrew has launched a number of exciting projects. The Sheffield Table, a
collaborative dining and wine experience hosted at the Leah’s Yard gallery space, offers curated food-and-wine pairings on an 18-seater table that revolves around local producers. “Even the cutlery on the table is from Sheffield,” he says, “and the events have been getting some excellent feedback. We’ll be doing more next year; it’s currently mostly corporate bookings but we’re planning to open it up more to private bookings, too.”
He is also set to launch the Wine and Cheese Network, a monthly networking event combining business sponsorships with casual wine and cheese tastings. “Sheffield’s strength is its collaborative spirit and huge number of SMEs,” he notes. “This network will be a place for businesses to connect, while enjoying regionally themed wines and cheeses at local venues.”
The Northern Wine Guy Podcast Show sees Andrew speaking to industry experts about their favourite wines and he’s recently been writing exploratory articles on emerging wine regions, both in the UK and abroad, while continuing to work with Sheffield businesses to improve wine offerings.
“I help restaurants and bars build wine lists, train staff on serving and storing wine, and assist in designing wine menus to complement what they’re serving,” he explains.
For him, the key to success is breaking down barriers around wine and having fun while doing so. “The wine world can seem snobby, but it doesn’t have to be,” he says. “It’s about creating a space where everyone feels welcome to explore.”
The Northern Wine Guy Services range from:
• Wine Hosting Events UK-Wide - both Corporate Client and In-House alongside General Public Events
• Wine Writing for Drinks Publications
• Wine Cellar Builds - a personalised approach to building your own collection
• Personalised Wine Buyer - an individualised way of exploring wine at your own pace
• Wine Education - educational courses to give greater understanding around what is in the glass.
• Wine Podcasting - listen to ‘The Andy and Olly Show’ or ‘The Northern Wine Guy Podcast Show’ for wine related fun
• Hospitality Training - for staff looking to understand more with wine plus refreshing those wine menus
• Wine Judging - for competitions.
The Northern Wine Guy is also the creator of the ALL NEW ‘THE WINE AND CHEESE NETWORK’ in Sheffield, the last Thursday of every month a networking like never before. Tickets can be found on the website - order yours today.
TAPPED POTENTIAL
The team behind award-winning Peddler Market have announced they will be bringing a brand-new beer festival to Sheffield next month
Neepsend Craft Beer Festival will take place on February 28th and March 1st, with some of the most exciting craft beer brands on the market coming to the city.
Ben Smith, co-founder of the event, said: “Bringing a new experience to Sheffield’s craft beer scene is incredibly exciting because it’s something we’re passionate about.
“We have an exciting tap takeover at each Peddler Market from across the UK, as we love pioneering independent breweries that Peddler-goers may not have tried before, as well as championing some much-loved favourites.
“We’re very proud to launch Neepsend Craft Beer Festival and can’t wait to transform the Warehouse into the ultimate beer hall!”
The festival will host emerging, up-and coming breweries, alongside household names and local favourites, including Deya, Nottingham’s Neon Raptor Brewery and Peddler’s neighbours, Neepsend Brew Co. Neepsendbased alcoholic import company, Quality Ferment, will also take over one of Peddler’s bars, serving a range of craft ciders.
Alongside a diverse range of craft beer, festivalgoers can expect live music, DJs and, given the event comes from the Peddler gang, some of the UK’s best street food. Ticket holders will also receive a limited edition Neepsend Craft Beer Festival glass, a festival programme and a welcome drink, included in their ticket fee.
There will also be a range of fringe events taking place across Neepsend and Sheffield, featuring meet the brewer events, tap takeovers and brewery tours exclusive for festivalgoers.
The full brewery and event lineup will be announced soon at @ neepsendcraftbeerfest
SHAKING THINGS UP
Get ready to raise your glass on Saturday 17 May, as Steamworks hosts their first cocktail festival, celebrating the of Sheffield’s thriving drinks scene.
From 2pm to 8pm, punters can enjoy an incredible line-up of 25 top bars and some of the biggest names in the drinks industry for a day packed with cocktails and creativity.
Discover a line-up of Sheffield cocktail slingers, including Public, Bench and Pearl – all named in the Top 50 Bars in the UK – plus favourites like Barrowboy, Picture House Social, Cubana, the city’s new Chocolate Bar from Bullion and more.
Event organiser Dani Hill told Exposed: “We’re so excited to help showcase Sheffield’s incredible and ever-evolving drinks scene.
“With 25 venues coming together, this festival is a celebration of the city’s creativity and talent. It’s a chance to discover new favourites or revisit places you already love, while experiencing the best Sheffield has to offer.”
Whether you’re into spicy margaritas, fruity daiquiris or refreshing non-alcoholic creations, there’s something to please every palate – and it isn’t just about the drinks.
Visitors can choose from mouth-watering food from local legends like Bench and Cowboy Burgers, with options for vegans, vegetarians and meat lovers alike.
If cocktails aren’t your thing, there will also be beer from Guinness and Thornbridge, a curated selection of wines by Gills & Co and nonalcoholic options from soft drinks partners Red Bull, Franklin & Sons, Seedlip, Everleaf, Guinness Zero and Thornbridge, including expertly crafted zero-proof cocktails.
As well as the food and drinks, there will also be live DJ sets, and masterclasses and demos showing you how to perfect everything from Bloody Marys to Espresso Martinis.
Tickets are available now at sheffieldcocktailfestival.co.uk.
BREW-TIFUL BEGINNINGS
Bubble tea has taken the UK by storm in recent years, with a plethora of shops springing up across most major cities, including here in the Sheffield. But Chayu Tea Room, nestled on Boston Street near London Road, is bringing a distinct and authentic new twist to the trend. With a focus on fresh ingredients, handcrafted blends and unique flavour combinations, we found out how they're offering a taste of Asia unlike anything else you'll find in the Steel City.
Having opened just two months ago, Chayu Tea Room is already making waves. The owners, Wayne and Melodie – siblings originally based in Manchester – chose Sheffield for their debut venture, citing the area’s vibrant food scene and student-friendly atmosphere as key draws. “We saw this as a great opportunity,” Wayne explained. “London Road is a hub for food and drink, and we wanted to be part of that.”
Unlike many bubble tea shops in the UK, Chayu strives to deliver a more authentic experience and imports the majority of its stock from Taiwan. “A lot of bubble tea places focus on plain milk teas,” said Melodie, who devised the menu herself. “We wanted to do something different, like mixing fruity and milky flavours.” Standout creations include Matcha Blueberry, Matcha Mango and even a Studio Ghibli-inspired drink called Ghibli Summer, featuring avocado – a rare find in the bubble tea world.
Their dedication to quality doesn’t stop at flavours. All fruits are hand-punched onsite, ensuring freshness and an artisanal touch that sets them apart. “In most shops, fruit teas are made with syrups,” Melodie shared. “But here, everything is fresh – no shortcuts.”
For those craving something indulgent, the menu offers dessert-like options such as Oreo Brownie blends. Or, if you’re after something lighter, they also cater to a health-conscious crowd. “Customers can adjust sugar and ice levels, making it as healthy or as indulgent as they want,” adds Melodie. And for the chilly Sheffield winters, they’ve introduced hot teas and comforting options like the hot brown sugar Boba or a rich hot chocolate.
They also serve fresh coffees, including a unique orange Americano, and they’ve recently introduced crème brûlée as a small but decadent snack to pair with their teas.
“We wanted to create a space where people could enjoy a drink and a bite in a cosy setting,” said Wayne.
The space is perfect for sitting in and unwinding but the tea room also offers takeaways and delivery through Just Eat. With new menu items planned for release in December, there’s
always something fresh being brewed up.
For those unfamiliar, bubble tea originated in Taiwan in the 1980s and has gained global popularity over the last decade. Traditionally, it’s a combination of tea, milk and tapioca pearls, but modern versions incorporate a variety of toppings and bases.
The pearls themselves are made from tapioca flour, with a texture akin to mochi. Chayu also offers unique options like sweet potato-based drinks, which they say are especially popular among children.
“We’ve only been open for two months, but we always have new items lined up,” says Melodie.
“We want to bring something fresh to the menu, whether it’s new drinks or new snacks.”
The tea room is open seven days a week, welcoming visitors menu and enjoy a slice of Taiwanese culture here in Sheffield. Whether you’re a seasoned bubble tea lover or a curious first-timer, pop down and take a closer look for yourself.
Boston St, Highfield, S2 4QG
Sweet Christmas Add On
Add a crème brûlée for £1.50 when purchasing any boba drink. (Crème brûlée in its own: £2.50 each),
At Engin’s Bar & Grill, we invite you to embark on a culinary journey beyond the ordinary. Nestled in the heart of Handsworth, our restaurant is a hidden gem that reimagines the flavors of Turkey with a refined, contemporary twist.
A Symphony of Flavors from the Grill
Our menu is built upon the art of Turkish grilling, where centuries-old traditions are brought to life with modern craftsmanship. We also offer a variety of carefully crafted vegetarian our vegetarian dishes are as diverse and satisfying as our traditional offerings.
Hot & Cold Starters: A Journey Through Turkish Meze
Begin your experience with our exquisite selection of hot and cold starters. From velvety Hummus and creamy Cacik to crispy Borek and spicy Sucuk. Every bite promises to be a delightful discovery
Indulge in the Sweet Temptations of Turkish Desserts
No meal at Engin’s is complete without a taste of our legendary Turkish desserts. From the iconic, honey-soaked baklava to the delicate Turkish delight.
Sip the Finest Turkish Wines & Efes Beer
Our carefully curated drinks menu offers an exceptional selection of Turkish wines and spirits, from the crisp refreshment of a chilled Turkish white. to a glass of Efes Pilsen, Turkey’s renowned beer.
A Dining Experience Like No Other
At Engin’s Bar & Grill, we believe that dining is not just about food—it’s about experiencing the essence of Turkish hospitality. Come, Discover Engin’s – Where Tradition Meets Elegance.
Gingerbread Boba (go hot +30p)
Merry Matcha
£6.50 (cold only)
THE DARK HORSE
2 for £12 Cocktails
Monday to Friday 5pm till 7pm, Saturdays 8pm till 10pm & Sunday 12pm till 5pm
Coffee loyalty card
Buy 4 coffees get your 5th 25% off, 9 coffees get the 10th free
2 for £8 on Pints
Pints include Madri, Staroprahman, Pravha, Aspall, Salt Jute & Stones. Monday to Friday 5pm till 7pm
Lunch deal 12pm till 4pm
Burger and soft drink £11 same burgers and any soft drink
Sunday 12pm till 5pm Prosecco bottles for £18
Lunch deal 12pm till 4pm
Burger and a Pint £12 (Personal Cheesus, Baconator or Winner Winner Burgers. Madri, Pravha, Salt Jute, Aspall, Stones or any cask available)
Loyalty card
Pints buy 9 get 10th free on Molson Coors brands. Madri, Staroprahman, Pravha, Aspall, Stones, Blue moon, Salt Jute and Salt Huckaback
WITNESS STATEMENT
Joe Zain, the musician behind Lunghorn, and Monique Grimwade, the voice of Monqi, are two artists carving out their own lanes in Sheffield’s music scene. United by a shared passion for emotive storytelling and atmospheric soundscapes, the pair recently collaborated on ‘Witness’ – a single they discussed with Exposed last month, alongside their creative processes and some exciting plans for the future.
Words: Joseph Food Photo: @lili_takesflickis
Can you start by introducing yourselves and sharing a bit about your musical backgrounds?
JZ: I’m Joe Zain, also known as Lunghorn. My musical journey started in my teens, drumming and forming bands. Throughout my teens and early 20s, I played gigs around Nottingham and put on my own nights with my band. Over the years, I stayed active as a drummer playing in London-based bands. But during lockdown, I bought a guitar and began writing my own lyrics and poetry. Lockdown forced me to stop drumming in bands, so I channelled all my creativity into solo work. By 2022, I felt confident enough to record my first single. Since then, I’ve been working on my own music, and a lot of it is inspired by my journey getting sober, which gave me a fresh perspective.
MG: I’m Monique Grimwade, a singersongwriter performing under the name Monqi. Growing up, I was always singing and writing songs in my head but I never saw music as a viable path – nobody I knew was a musician. When I came to university at Sheffield Hallam, I joined the Music Society, met inspiring friends and did my first open mic night at West Street Live. Lockdown gave me time to focus on music. I fell in love with somebody, and he taught me how to play guitar. It was very romantic, and he really encouraged me to just do it. Over the last few years, I’ve been gigging around Sheffield and released my first single earlier this year.
How did your collaboration on ‘Witness’ come about?
JZ: I had written the song and could hear parts for a female vocalist. I was about to advertise for one when I came across Monique’s Instagram. I heard her voice and thought, This is it. I reached out, shared the demo and asked if she’d be interested in working together.
MG: It felt like fate! Joe sent me the demo, and when I listened, I thought, This is
the type of music I already love. We met, jammed and I ended up writing the second verse and co-writing the third. It was such an organic process – we were just talking about our experiences and emotions and the song came together like a conversation.
‘Witness’ is a powerful song with a very raw and emotive feel to it. Can you tell us more about its themes?
JZ: I wrote it in the depths of winter 2023. It was based on a past relationship, and the lyrics started as a poem. It’s very vulnerable – almost like a confession – of feelings I’d kept buried for a long time. At the time, I was quite closed off and wasn’t associating much with people, so I had a lot of space to sit with my thoughts. The haunting sound came from how the song developed over time, with parts like cello and backing vocals being added. For me, it’s about being grateful for past experiences, even if they’re painful, and finding a way to express those emotions. MG: For me, ‘Witness’ feels like a conversation between two people, which is why it worked so well for Joe and me to write it together. The song took experiences that felt isolating for both of us and turned them into something healing.
Joe, how does making music as Lunghorn differ from your previous band experiences?
JZ: Being in a band is great – you get that buzz from gigs and working together – but there’s always a sense of playing someone else’s story or being part of a bigger machine. As Lunghorn, it’s my lyrics and my experiences, and I’m in the driving seat. I can take my time with it and make sure the music is as honest as possible
What does the songwriting process look like for you both?
JZ: It often starts with a lyric or a melody that comes to me randomly – sometimes
while I’m walking or just reflecting. I carry a notebook everywhere and jot things down. From there, I usually hum along with a melody until the lyrics start to fit. Sometimes I’ll write verses that sit unused for months, then suddenly find the right place for them in a new song.
MG: For me, it starts with poetry. I write down thoughts and feelings in a journal, and then I piece them together like a collage. Melodies usually come later. I’ve learned to be patient – sometimes a missing piece will just reveal itself when it’s ready.
What do you hope listeners take away from your music?
MG: Authenticity is key for me. By sharing my own story, I hope to give others permission to embrace their experiences too. Music and poetry can articulate feelings we can’t always express ourselves.
JZ: I want people to connect with the music emotionally. If it helps even one person feel less alone or understood, then it’s worth it.
Finally, what would a “perfect” year look like for you both?
JZ: A few solid gigs, another single and maybe a headline show. Long-term, I’d like to create a community around my music – put on unique shows, collaborate with local artists and foster a supportive space for creativity in Sheffield.
MG: For me, it’s about growing Monqi as a full band and exploring new directions with my music while connecting with other musicians in Sheffield. My songs feel a bit like skeletons right now, and I’m excited to see how they can grow with other musicians’ input.
Witness is out now on all streaming platforms, with a live version and video set to release in January. @lunghorn_ // @_monqi_
IF IT HELPS EVEN ONE PERSON FEEL LESS ALONE OR UNDERSTOOD, THEN IT’S WORTH IT.”
SADBOT
Sadbot is an indie-synthpop musician from Sheffield. Last month, the artist released dark-wave, sad synth tune 'Creature of Habit': think 80s classic War Games meets Black Mirror. We grabbed him for a chat to hear about some formative music experiences...
THE FIRST RECORD I BOUGHT…
It’s pretty hard for me to remember, but it was either Revolver by The Beatles or The Race for Space by Public Service Broadcasting. One a seminal pop album, the other an indulgent space prog album – this combination set the precedent for my taste in music pretty well, I’d say.
THE FIRST GIG I PLAYED…
In secondary school, I started playing with the lovely boys Harry Lyon and Charlie Yapp in my band RedFaces. Our first proper gig was at West St Live, curated by the incredible Mat Hume: a great show and a core memory. We weren’t *technically* allowed to be in there given our age, but I can assure you Mat didn’t know that...
THE FIRST SONG I PERFORMED…
I tell a lie: technically, the first “gig” I played was a primary school talent competition when I was around 8 years old. Despite me being able to play piano, the teachers fancied themselves as Simon Cowell wannabes and assembled a boyband that relegated me to *miming* backing vocals. We played ‘Goodbye Mr. A’, and it was dreadful. I was so embarrassed I didn’t play on stage for another 6 years.
A SONG I WISH I’D WROTE…
This is difficult, because I’m really bad for comparing myself to all the music I love. Whenever I listen to ‘Eventually’ by Tame Impala I marvel at how perfect a heartbreak song it is, and definitely wish I wrote that.
Sometimes, I have such a respect for a great, simple pop song – I wish I’d written “Baby One More Time” by Britney sometimes.
I FIRST FELL IN LOVE WITH MUSIC WHEN…
My parents took me to the Bakewell Music Festival in around 2012. There was a band that would later become one of my favourites called Goldheart Assembly. I’d loved music before, but seeing them play live… I don’t know - something just clicked: I stopped being so obsessed with Lego, and more obsessed with the idea of writing music.
A SONG I CAN’T GET OUT OF MY HEAD AT THE MINUTE…
‘Starburned and Unkissed” by Caroline Polachek. It’s such a beautiful song, and also has such a beautiful role in the
film I Saw The TV Glow - a wonderful, gut-wrenching, queer, analog horror film. There’s a great scene where the main character is walking down a 90s high school hallway in a long uncut shot to this song and it’s just amazing. Caroline’s vocals are both angelic and utterly devastating.
A RECORD WHICH REMINDS ME OF A SPECIFIC TIME AND PLACE…
‘Brown Study’ by Vansire. When I first got to chatting to my girlfriend (then, “just mates”) who I’d met on tour, she sent me a lot of music she loved and it slowly started to metamorphose my tastes. She lived faraway, and this song laments about a long-distance relationship. Whenever I listen to it, I’m reminded of these long distance chats we’d have whilst I was in a tour van miles away,
and the times when we weren’t talking but she was still all I’d think about.
MUSIC ALLOWS ME TO…
Illustrate the poetry I delusionally manipulate my life into. I don’t really believe in fate or anything, but I do think that we rationalise huge things that happen in our lives into these sort of “rhymes” and “chapters” – making a narrative out of the chaos. Music allows me to indulge in the faux poetry of my life, and pretend that it’s all a big story…
@_sadbot
THROWING SHAPES
2024 was a big year for The Octagon Centre, so we spoke to Nick Hopwood (Head of Performance Venues) to reflect on the previous year’s goings-on, as well as look ahead to even more gig-going and big shows already lined up for 2025...
Hi Nick. 2024 has been quite the year at The Octagon. How do you feel filling the need for a mid-size venue in the city has gone?
We’ve been building the capabilities of the venue and the team for a few years now, as we’ve been keen to get The Octagon back on the scene as it was in the mid-90s. Things started to take off post-Covid, as promoters were looking to secure venues for an expected surge in demand for live events. We were ready to fill that gap [left by the ongoing closure of Sheffield’s O2], and it’s been great to have played a part in keeping the tours rolling into Sheffield. Otherwise, they could have been lost.
Has the return of The Octagon as a major force on the city’s live scene meant that more touring bands have thought twice about skipping over Sheffield in the last year then? Yes, I think so. Our capacity of 1,800 for a standing music gig works well for mid-scale touring, and some promoters have taken a risk in routing certain shows to Sheffield they may not have otherwise, had there been a risk of not selling out a larger venue. The space feels great with as few as 1,000 fans in and never too cramped when sold out. It’s quite unique in that regard, and the artists seem to love it.
Do you feel like you’ve achieved your aim of supporting Sheffield’s independent music scene this year?
We’ve loved the local shows we’ve hosted, with home gigs from While She Sleeps, Little Man Tate, and Rosadocs, as well as regular December slots with Sheffield Beatles Project and The Everly Pregnant Brothers. There’s always a particular atmosphere at these shows, as
they bring the true Sheffield music lovers, which is great to see.
Looking back on the previous year, what have been some of your highlights or favourite moments from 2024?
The Courteeners gig was a highlight – it sold out in four minutes! Some other favourites of mine were Ocean Colour Scene, who did an amazing set and sounded as tight as they did in the Moseley Shoals days. Being from Manchester myself, it was good to see Happy Mondays supported by Inspiral Carpets and Stereo MCs. The Last Dinner Party were sublime, and I have to say, Confidence Man was a lot of fun.
It’s not just about the gigs either, as Performance Venues also run the diary at the University Drama Studio and Firth Hall. How have those venues fared in 2024?
The other venues have been really busy too. We host our curated music programme in Firth Hall, which balances really well with the more commercial offer in The Octagon. That programme presents a mix of folk, classical, world music, and electro-acoustic, as well as our student ensembles, so it’s quite eclectic. We like to think we’re becoming Sheffield’s very own Barbican Centre!
Looking ahead to 2025, what is the plan for the venues?
We’re expecting The Octagon to be even busier next year, as the diary is already starting to look pretty full. We’re hoping to do some work on updating and rebranding the Drama Studio too. It does so much more than just theatre shows now, so we’d like to reflect that in how we present the spaces.
What gigs and shows are you particularly looking forward to next year?
All of the team would give you a different answer to that one! Supergrass and The K’s will be great. I’m looking forward to Public Service Broadcasting and Postmodern Jukebox. We’ve got a lot lined up for 2025 that haven’t confirmed yet, but we’ll be announcing those next year, so there are some great gigs in the pipeline.
IN THE DIARY
• 21st Century Tennessee28th Feb
• You Me at Six - 3rd March
• Celebrating Celine - 13th March
• Taylor Mania! - 16th March
• The Lathums - 18th March
• The Mary Wallopers - 20th March
• Public Service
Broadcasting - 26th March
• Andy & The Oddsocks4th April
• Post Modern Jukebox30th April
• This Is Elvis - 1st May
• Supergrass - 12th May
• Lucy Worsley - 15th May
• Spell Songs - 16th May
• Brian Bilston & Henry Normal - 24th May
• Chris Hadfield - 17th June
• Saxon - 8th Nov
Tickets for all shows are available at: performancevenues. group.shef.ac.uk
A NATTER WITH…
CALVES IN THE DARK
Following a knockout show at Sidney and Matilda, Heather Anne Swift caught up with Rob Neal of Calves In The Dark to hear about the band’s next upcoming release.
Driven by their sharp blend of punk and classic rock ‘n’ roll, Calves In The Dark are making a name for themselves in the local music community with their catchy tunes and electric stage presence. “We bring all the flair, all the tricks to our live performances as well as our music. We never want a dull moment – whether you’re listening to a song or watching a music video, we want you to be excited the whole way through.”
Self-described as ‘Sheffield Rock & Roll’, the band are proud to be born and raised in the Steel City. “One thing we don’t shout about enough in Sheffield is our music scene!” Rob says. He names Milburn and Arctic Monkeys among the Sheffield greats inspiring their sound, adding, “I like to think we’ve taken an accumulation of all those names and turned it into something Sheffield can be proud of.”
These influences shine through in their rugged soundscape of rhythmic guitar riffs, throbbing basslines, crashing drums and rebellious lyrics. Think Arctic Monkeys meets The Hives with a twist of dad rock!
Fans can tap into ‘Disconnected’, their gritty debut single with nearly 40,000 streams in six months, and ‘Get Out’, their chaotic and rhythmic follow-up. The band’s recent Sidney and Matilda gig was their best yet, says Rob: “It was packed and everyone was mouthing and singing along. That’s the most fantastic feeling.”
Recent live shows have allowed the band to test unreleased material and create hype. “People who see us have given great feedback on songs we haven’t recorded yet. If we had the money, we’d do an album – we’ve got the songs for it.”
Next up is ‘The Haggler’, hitting streaming platforms in February. A fan favourite at live shows, Rob promises it will “melt your face off”, highlighting the standout guitar work of 18-year-old Jude, who plays “like he invented guitar.”
A UK tour will follow early next year, culminating in a hometown headliner at Hallamshire Hotel in March. “Next year we’re going to take it over – everyone will know who we are!”
@calvesinthedark
REVIEW
KAT EATON @ YELLOW ARCH STUDIOS
WORDS: MARK PERKINS
Kat Eaton may be one of Sheffield’s bestkept secrets, but for how much longer? Her show at Yellow Arch was the perfect escape on a stormy Neepsend winter’s night, as we arrived soaked from torrential rain. The atmosphere was intimate, with a devoted crowd gathered to watch her and her band play their final show of the year before she and her husband, guitarist Nick, settle down to write songs for her third album.
Her songs cover themes of love and relationships but can also be brutally honest, drawing from her and Nick’s life experiences. They’re often thoughtprovoking, yet always with a touch of optimism. And let’s not forget the soulful, rocking bangers that get everyone moving.
The audience was treated to a rousing mix of her career highlights and a few cover versions. Her take on Count Basie’s 'Alright, Okay, You Win' was a perfect match for her voice, with its swinging beat and a chorus that had everyone joining in. Fittingly, she also performed Joe Cocker’s 'Feeling Alright'. While her blues-rock style nods to Cocker, she made the song entirely her own with her rich, soulful delivery.
She closed the evening with Tom Waits’ much-loved 'Come On Up to the House'. It’s the kind of song made for a singalong, giving the band plenty of chances to shine with instrumental breaks between verses.
It’s been quite a journey since Kat’s debut at The Crown in Totley, a gig she landed thanks to the support of Frank White. A major influence on her, White played a significant role in her early career. Kat has since earned accolades across the music world, supported acts like Jools Holland and his orchestra, and received her first radio play from none other than Terry Wogan on his Sunday show.
Even as she takes a break from her live schedule, Kat won’t be disappearing completely. She’ll resurface for a few lowkey acoustic gigs at The Greystones – a must-see if you can make it.
PHOTO: BECKY REITZ
SHEFFIELD BEATLES PROJECT @ THE OCTAGON
Cooking Christmas dinner while listening to The White Album is one of my favourite Christmas traditions (even if the kids don’t share my enthusiasm for it!), so what better way to get into the festive spirit than by heading to The Octagon to see The Sheffield Beatles Project play the seminal album in its entirety?
For the uninitiated, The Sheffield Beatles Project is a 30+ piece band made up of a selection of familiar Sheffield musicians who have, for around a decade, made a name for themselves as an interesting reinvention of the Beatles cover band. Unlike contemporaries, there are no mop-top wigs, or Scouse accents and they don’t just play the hits; they pick an album and play it in its entirety. The whole shebang.
This year’s proposition was to take on the 1968 Beatles classic, colloquially known as The White Album, playing every song (yes, including Revolution No. 9), in track order.
Which is no mean feat: The White Album is inarguably a weird album and therefore a tricky proposition for a project like this. Thanks to the varying narcotics influences the Fab Four were under at the time of recording, the record is a sprawling, indulgent (and brilliant) double album, made up of 30 tracks that are, quite frankly, all over the place in terms of style. Even on Christmas dinner duty, some skipping is required.
For example, the album bounces from the country ballad storytelling of 'Rocky Raccoon', to Ringo’s debut effort 'Don’t Pass Me By' (the less said, the better), to the monkeycopulating blues of 'Why Don’t We Do It in the Road', all in the space of less than ten minutes. Having not seen The Sheffield Beatles Project before, I was
intrigued to see how they would navigate this.
If that wasn’t enough, many of these songs were never performed live by The Beatles and were probably never meant to be. The Sheffield Beatles Project’s commitment to reproducing a like-for-like rendition of every song, with the added twist of four different singers (two male, two female) taking it in turns on lead vocal duties, is wholly commendable, if only for the scale of its ambition.
Before the performers take to the stage, we’re treated to a lighthearted, short video montage of the making of the ‘bloody long’ album, told by the Beatles in cropped interviews, as well as an
introduction to what we’re about to witness.
As the tracklisting dictates, we start proper with a raucous rendition of spy thriller 'Back in the USSR', and I immediately feel in safe hands. Belted out by Jack Weston, with backing from the other three lead vocalists (Teah Lewis, Laura James and Ad Follet), we’re off to a flyer.
The first hour, heading into the intermission, is made up of sides one and two, and we rattle through a singalong of 'Ob-la-Di, Ob-la-Da', before a moving rendition of 'While My Guitar Gently Weeps', where guitarist and founder Nick Cox crushes the solo, as well as 'Happiness Is a Warm Gun' and 'Blackbird', which both
bring the house down.
The seamless transitions between lead vocalists and musicians chopping and changing (shout-out to Phillipe Clegg’s rapid-fire bass changes) never leaves a lag as the album unfolds before us in a uniquely timeless fashion.
My highlight of the first half though was Teah Lewis’ country-influenced rendition of 'Rocky Raccoon'. This somewhat stripped-back moment in the set allowed the Sheffield singer-songwriter to shine, and it was beautifully delivered (and the synchronised dance routine at the end was a laugh!)
We’re halfway through then, and while waiting at the bar, there comes the realisation that there’s a LOT to come on sides three and four. I reckon these two are even weirder than their predecessors, so we’re in for some interesting choices in the second half.
Mercifully, 'Revolution No. 9' is restricted to a couple of minutes of madness and mind-bending overdubs as the penultimate track, and side three’s rocking run of tracks chugs along nicely.
But it’s a massive version of 'Helter Skelter', fabled as the invention of heavy metal, which steals the show. It’s my favourite tune on the album anyway (basic, I know), but it’s an absolute banger and Ad Follet fully destroys his larynx to do it justice. Commitment, indeed.
We end, predictably, with a sweet rendition of 'Good Night'. It’s a quiet moment to end on, so of course they’re back out for an encore. After teasing us with 'Temporary Secretary', McCartney’s attempt at techno, they abandon it in favour of a proper ending: a lovely festive singalong of 'Happy Christmas (War Is Over)'.
Can’t wait for next year, and Abbey Road, I presume?
WORDS: ASH BIRCH PHOTOGRAPHY: @JAMBURRITO1
The garden’s green, the concrete’s grey and the vodka’s as cold as the river that runs alongside me. It’s a fitting environment, for I’m sat in The Gardener’s Rest with Soph, an emerging Sheffield Producer and DJ whose genreblending mixes provide a concoction of gouging grit and meticulous melody. I caught up with Soph ahead of her debut Forge Warehouse, to talk all things juking, informed chops and multi-faceted stomping.
Words: Sean Johnson
A maestro of heavy bass electronic music, where bouncing footwork rhythms meets hard-hitting trap hooks, Soph is no stranger to musical mash ups.
“I grew up in a very musical household,” she tells me. “I’ve always been exposed to a really broad variety of sounds.”
“I’d say my own music is the result of a lifetime’s worth of music listening, all 26 years so far, even the non-dance, nonelectronic music I enjoy has shaped the way I make tunes.’
After moving to Sheffield in 2016 to study, Soph immersed herself in all the music Sheffield has to offer, frequently attending gigs and raves.
“I’ve always enjoyed going to see live music, and I’d been really getting into the rich culture of Sheffield’s music scene. I think that being so exposed to it and constantly being around other people who create music can really inspire you. And, y’know, there’s only so long you can sit back and listen until you think, ‘I’ve gotta do this myself!’”
“I’d played guitar and piano for years and messed about with GarageBand, but my music never really saw the light of day, and I wasn’t making or performing anything to anyone. I spent more time listening to music made by other people. Being around so many creative people in Sheffield really inspired me to put myself out there.”
Now an active producer and performer, armed with her USB and a brazen confidence to expose new sounds, Soph performs anywhere and everywhere within the Steel City.
“I’ve played Forge, Dryad Works, Plot 22, South Bank Warehouse and even a few free parties – those sets are always really fun.”
“Earlier this year, I played my first set in London with a label called Das Booty. They specialise in juke, electro, footwork – heavy bass music.”
“London was a dream. There were about two hundred people, dancing like nobody cares – nobody’s watching. It was the most magical thing, just standing at the back of the room, taking a breather and watching the crowd.”
“It was a really diverse crowd. And they were all there because they absolutely loved the music. It’s not something you always get with club nights, not all of them have that feeling when you step into the room – that vibe that it’s gonna be a good night. But this night did!”.
Amongst a host of other DJs and acts who are redefining Sheffield’s electronic music scene, Soph has solidified her place as one of the city’s most exciting up-andcoming DJs.
“I’ve lived in Sheffield since 2016, and in that time, I’ve been exposed to all kinds of music. You have this wide variety of artists creating whatever they want. There are a lot of people involved in DIY and underground music scenes here. It creates a really interesting mix of musical ideas and I don’t think my own music would sound the way it does had I moved to another city.”
“Everybody here has such a different and unique angle; it makes me want to make something completely individual.”
“I think that Sheffield encourages artists to be non-conformist, to transcend the boundaries of expectation. I think it’s because you’re constantly exposed to fresh sounds. Knowing what you like, knowing what you don’t like isn’t necessarily helpful here; the music scene encourages you to look towards things with a more open mind.”
Community plays a pivotal role in shaping Soph’s musical world.
“My boyfriend, Sissy Green, produces his own music, blending pop and dance. He also plays bass in Drastic//Automatic. We make all sorts of music together and spend a lot of time working with other people collaboratively.”
“Recently, we worked with local rappers NorthernBwoy JxK and Surtees to release ‘Shoreham Boys’, an ode to Sheffield United. The track is based around an interpolation of ‘Meet Her at the Loveparade’, which is a track that the Blades walk out to at every home game.”
“JxK and Surtees even got to perform the track at the recent Sheffield derby day fanzone in Bramall Lane. It’s an incredible feeling knowing that a project I was involved with has been given such a massive platform”.
“I’ve also linked up in the studio with Syke Torrance, another amazing local rapper, and his producer Crane. It was the most incredible session! I picked up so many skills watching them work”.
“I definitely wouldn’t consider myself a lyricist, but spending time around rappers and lyrical creatives has given me a deeper appreciation for the attention to detail that goes into every bar. It’s hugely important for me to work with artists that create music that’s completely different to my own work. As an artist, I believe that you can learn more from stylistic differences than you can from shadowing people who make similar art to yourself”.
In November, Soph made her debut at Forge Warehouse, unleashing a set of hard-hitting stompers to a largely new crowd.
“Forge was bonkers! I was invited by Steel Dancin’ to close the workroom at their 8th event. It was packed out! It was a really good night, and it was a great experience getting to play the music I love to such an appreciative crowd.’
“I love playing to new audiences. I’m all about playing familiar tracks in an unfamiliar fashion, spinning bangers at breakneck speeds. I want to see people lost in the moment. Seeing people hearing a sample that they recognise in an entirely new context. I love serving up something unexpected.”
Soundcloud: @soph4tunes Insta: @sphwbb
CONFIDENCE MAN @ THE OCTAGON REVIEW
WORDS: ASH BIRCH PHOTOGRAPHY: JACOB FLANNERY
I’ll be honest, heading into the Octagon on Tuesday evening, I wasn’t in the best of moods. I know, boo-hoo for me, right? I’m not angling for sympathy here; I only mention because I don’t think the medicinal qualities of Confidence Man have been fully explored – it is simply impossible to feel bad while at a Confidence Man show!
“Does it make you feel good?” sings Janet Planet. Yes. Yes, it does, Janet!
The ambiguous Australians rolled their electro-pop ‘party of the year’ into Sheffield on a wet and windy Tuesday evening, and after an hour’s dancing to tracks that should require a permit they’re so catchy, all was once again
right with the world (I’ve even forgiven them for calling us Leeds… twice!)
I’ve seen Confidence Man a couple of times before, but it’s my friend’s first time. Ahead of the show, I’m excited to see her reaction and predictably, within
seconds of the opening bars of ‘Now U Do’, she’s lost in it all with the rest of us. Everyone is up for it. Everyone is dancing. It’s contagious.
What’s lovely about seeing them live is that you have no choice but to leave your pretensions at the door. There’s no posing, no chin-scratching or appreciative nodding along – if you aren’t grooving, losing your shit, you really don’t belong. It’s joyful. It’s fun. And it’s more than a little bit silly.
On stage, the four members have created their own surreal little world. From the vibrant visuals (shout out to the pigeons and badgers) to the synchronised choreography, risqué lifts and costume changes, vocalists Janet
Planet and Sugar Bones, along with their beat-making goth beekeepers, are so unique a proposition that it’s otherworldly.
You’d be forgiven for thinking that all the pageantry might detract from the tunes, but nope: they’re all bangers. Even the instrumentals, which allow time for the costume changes, never leave a lull, and older tracks like ‘Boyfriend (Repeat)’ and ‘C.O.O.L Party’ sit perfectly with tunes from the latest album 3AM (LA LA LA) Confidence Man are the most fun you can legally have and, for our money, one of the best live acts on the planet right now. I’m now off to start a petition to make them available on the NHS!
Sheffield snapper Benji Wilson (@jamburrito) has long been immortalising the city’s DIY music scene and each month for Exposed, he turns his camera on a selection of Sheffield-based artists for a photo diary showcasing some of his favourite live shots from the city’s best independent venues. For the January issue of the magazine, we’ve been taking a look back at 2024, so this month, he’s pulled out his fave shots from each month of the previous year...
January: Faint Paint
February: Lucy and Hazel at High Trinity Church
April: Any Old Iron at Sidney and Matilda
May: Femur at Delicious Clam
July: Drastic//Automatic at Shakelines
as I was away all of
• Faint Paint - To The End
• Femur - Watch Me, Watch You
• Life Aquatic Band - YOU CAN DO IT!
• Mouse Teeth - Rituals
• Monqi - Mariposa
• Pohl - The Whale
• Maximilian Tanner - Ego Death
• Any Old Iron - The Water
• Dusthouse - Mindset
• Good News - Orange Juice in the Shower BUY HIS BOOK... ORDER NOW AT
JAM HOT: SHEFFIELD TUNES FOR 2025
December: The Beatles Project at The Octagon
August: Dearthworms at Sidney and Matilda
September: Desired Effect at Delicious Clam
October: Julianna Day with Zebedee Budworth and Manon Mccoy at Samuel Worth Chapel
November: Life Aquatic Band at Sidney and Matilda
July (bonus
June): Nervous Pills at Sidney and Matilda
POETRY ON
David Venn’s debut poetry collection, Hell’s Angel Coffee Morning, blends surrealism, dry wit and a range of intriguing characters – from Barnsleybased cowboys to an Alan Bennett doppelgangers in biker gangs. Exposed sat down with David in Fagans, the pub that provided him with years of observational inspiration, to discuss the collection, his writing process and how he enjoys merging the anarchic with the everyday.
Can you tell us how Hell’s Angel Coffee Morning took shape?
DV: It’s years of sitting in pubs like this one, observing people. You’d get anyone walking through the door –painters, musicians, decorators, labourers, actors – and you didn’t know what kind of story you’d stumble into. I wanted to write something someone could pick up in a pub and laugh at.
There’s an anarchy at the heart of people. We’re deeply chaotic and the world’s mad, but we’ve got these things that keep us in line. The title Hell’s Angel Coffee Morning reflects that mix – something anarchic crossed with something suburban and genteel. I find that juxtaposition really funny. That juxtaposition is something that runs through many of the poems, I thought. DV: It’s a really important part of it. Most of the poems have symbols – something normal or suburban alongside something anarchic. That duality’s where the humour comes from. For example,
Barnsley, Tennessee is about a guy who walks around dressed up in full cowboy attire… but he’s from Wombwell. And the wonderful thing is – these types of characters do exist! Those contrasts really intrigue me, and I enjoy capturing them.
There’s a strong surreal element to your writing, but also a real love of humour. How important was getting that balance right?
DV: Definitely. I think humour’s important. I wanted something light-hearted and humorous. There’s enough going on in the world without me adding to it with a heavy tone. If you look at poets like Keats, his letters were funny. Ian Dury, John Cooper Clarke – they’ve got humour in their work. I didn’t want to write poems that batter people over the head with seriousness. I love surrealism because there’s freedom in it – nothing’s offlimits.
It’s been a heavy few years for everyone and surreal humour feels like a natural response to that. Surrealism, after all, came
out of the First World War. This book’s a bit of an escape, I hope.
Illustrator Helen Frank has provided some wonderful illustrations to accompany the book. How did you collaborate on those?
DV: Yes, we talked about how wanted illustrations that would pull symbols from the poems. They make the book a great visual object – something someone might want to hold and look at, not just read. I think there’s something lovely about print in that respect – people want in their hands to escape screens, I think, particularly these days. Of course, they also add an extra element to the stories themselves.
What would you like readers to take away from Hell’s Angel Coffee Morning?
DV: Honestly, if it amuses someone, I’ll be happy. I’d like the poems to feel like someone talking to you in a pub – telling you something surreal, funny or personal. Maybe an image will stick with them and pop back
I DIDN’T WANT TO WRITE POEMS THAT BATTER PEOPLE OVER THE HEAD WITH SERIOUSNESS. I LOVE SURREALISM BECAUSE THERE’S FREEDOM IN IT –NOTHING’S OFF-LIMITS.
FAGANS
Where the steel hammers smote, Like a low ‘E’ tremolo note, Where the Sheaf cascades wildly
Through a haunted Kelham Island, And Stan the last little Mester laid down his tools.
Where Richard sings about holding back the night,
It was there that I spent my green afternoons, In the corner there (left as you walk in).
Forever.
In that saloon,
Talking to Barbara and Tom,
Everything under the sun.
And what did I read sat there? Words, words, words
Which have since escaped me,
Flowing under the city, And following
The black river
Homeward
into their head when they’re doing something boring. At the end of the day, it’s meant to be enjoyable. Poetry doesn’t always need to be heavy – it can make you smile. That’s enough for me.
Is there a particular poem you’re most proud of?
DV: I really like Love on the Minimum Wage. It’s inspired by a trip to Scarborough – sort of romantic, but not quite. And the Alan Bennett poem, Alan Bennett’s Hells Angel Past started everything off for me – it’s the most surreal. Helen’s illustration for that one is brilliant too.
How do you know when a piece of writing is finished?
DV: I like poems that circle back to something or deliver a kicker at the end – that’s the important bit to finish on. That sense of circularity keeps it satisfying. I’ll sometimes start with the punchline in mind and work backwards from there.
What’s next? Can we expect more poetry from you?
DV: Yeah, I’ve got another small collection in mind. I’m thinking of calling it Fist Fight in the Buddhist Centre. It’ll have a similar tone – humour, surrealism and Helen’s illustrations again. I love the small press format. It’s not about money. You do it because you love it.
Hell’s Angel Coffee Morning is out this January on Ambitious Outsiders, with a launch taking place at Fagans on 1st Feb, 4-6pm. Signed copies are available from davidvennwriter. wordpress.com.
ARE YOUR EMPLOYEES AFFECTED BY THE £3 BUS FARE CAP INCREASE?
The £3 bus fare cap (from 1 January 2025) has been in the news a lot recently, following the announcement by the Prime Minister. The current £2 cap has almost become a flat fare for most bus users and can regularly be heard as passengers board buses throughout Sheffield and beyond. Throughout the cap and beyond, TravelMaster tickets remain great value for money. In fact, our busonly tickets are less than £3 a day* for our longer-term tickets.
TravelMaster tickets are a convenient way to travel and from 1 January 2025 will be simpler. We’re reducing our zones to either Sheffield or South Yorkshire to reduce buying confusion and enhance value for money. Day tickets are now available on our app as an m-ticket including as bundles of 5 for hybrid and part-time workers.
TravelMaster tickets are valid on all** public bus services in South Yorkshire. This means you can get on the first bus that turns up and have a variety of options to get you from A to B or C and back again. TravelMaster helps businesses by getting employees to work, clients to interviews, students to education and many other reasons for travel.
Since its introduction in June 2023, the TravelMaster app continues to grow in popularity. Starting as a convenient way to buy and load tickets to your smartcard, functionality has continued to evolve to include live bus times and 1-day m-tickets. Coupons issued to business are easily
redeemed via the app.
We are also proud to be launching a new Travel-Partnership with Kitlocker, winners of the unLTD Business Awards Best Company Culture. TravelMaster is looking to simplify the B2B offer, reducing complexity and maximising benefits for employees. Kitlocker employees will be able to access exclusive savings via the TravelMaster App, another great addition to the Kitlocker company culture offering. For employers of any size, we’re happy
to discuss our TravelPartnership offers with you for an easy-to-use discount scheme.
TravelMaster tickets are great for employee retention, attracting potential employees and improving your CSR rating. We have a range of tailored options for employers and always happy to talk to businesses about the benefits of public transport tickets. We know not every business is the same and if you would like to discuss what’s best for you drop us an email on sales@ sytravelmaster.com
* based on CityBus 28 day and Annual and SYBus Annual tickets.
** exclusions apply – see www.sytravelmaster.com for details.
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The Moor
Kelham Island?
MONTGOMERY THEATRE TO JOIN SHEFFIELD THEATRES
The Montgomery Theatre and Arts Centre has announced it will join forces with Sheffield Theatres from 2nd January 2025, marking an exciting new chapter for the iconic venue.
First opened in 1886, The Montgomery has long been a hub for young people’s engagement with the performing arts, hosting a diverse programme ranging from pantomimes to musicals, tribute bands, and community performances. Following an extensive redevelopment period, the venue now boasts improved accessibility, including lifts and ramps, ensuring a warm welcome for all audiences.
The theatre will operate alongside Sheffield’s renowned venues – the Crucible, Lyceum, and Tanya Moiseiwitsch Playhouse – under the management of Sheffield Theatres. Despite the shift in management, The Montgomery has assured audiences that its unique ethos and role as a creative
home for local schools and companies will remain unchanged. Existing staff will also retain their roles.
Linda Bloomfield, Executive Director of The Montgomery, expressed optimism for the future: “The charity’s new future, as part of Sheffield Theatres, will ensure The Montgomery can continue to be a home for children, young people and communities for many more years to come.
“We’re grateful to our funders, partners, audiences and participants for coming on this journey with us, and we can’t wait to welcome you back into the incredible 138 year old building in the new year, which is now accessible for the first time in its history.”
The partnership promises to strengthen Sheffield’s arts scene and secure The Montgomery’s place as a vital cultural landmark for generations to come. We're looking forward to what 2025 will bring!
CONTEMPORARY BRITISH PAINTING PRIZE
PERSISTENCE WORKS // UNTIL 11 JAN // FREE
Yorkshire Artspace hosts the Contemporary British Painting Prize exhibition at Persistence Works, showcasing works by 17 talented painters shortlisted from over 1,200 applicants. The exhibition celebrates diverse contemporary painting, featuring artists like Simon Averill, Ruth Bateman and Zavier Ellis. artspace.org.uk
BULL
PLAYHOUSE // 16-18 JAN // £12-£14
Mike Bartlett’s BULL, inspired by a Mexico City bullfight, explores workplace bullying with razor-sharp intensity. Celebrating a decade since its Olivier-winning London transfer, MESH Theatre Company brings this thrilling, savage play to Sheffield, offering ringside seats as three employees battle to save their jobs.
sheffieldtheatres.co.uk
PRIDE AND PREJUDICE* (*SORT OF)
LYCEUM // 14-18 JAN // £10-£46.50
Direct from its triumph in the West End, where it won the Olivier Award for Best Comedy and the Evening Standard Award, Pride and Prejudice* (*sort of) returns to Sheffield by public demand with its unique and audacious retelling of Jane Austen’s most iconic love story.
sheffieldtheatres.co.uk
WE CARRY IT WITH US
WESTON PARK MUSEUM // UNTIL 23 FEB // FREE
We Carry It With Us by Jeremy Abrahams features portraits of individuals who faced childhood bullying. Handwritten texts accompany the images, sharing how these experiences shaped them – whether by inspiring advocacy for equality, fostering self-acceptance, or reclaiming their identity. The collection highlights resilience and the power of embracing one’s true self.
sheffieldmuseums.org.uk
PUNK ALLEY
PLAYHOUSE // 25 JAN // £10
A wild joyride of live punk music, expression and high-energy dance. Join the Lazurr Tuts, a misfit band, in a vibrant, inclusive space to sing, shout and celebrate self-expression. Fully BSL/ ISL interpreted, it’s a show where every voice matters. Let’s make some noise –VIVA LA PUNK!
sheffieldtheatres.co.uk
ENDURANCE
PLAYHOUSE // 31 JAN-1 FEB // £12-£14
Jenni, a non-athlete, aims to conquer mountains, banking on her Bolivian DNA and Inca genes. Inspired by endurance sports, Endurance blends dance, theatre, and sports spectacle, exploring colonial legacies, warrior Bartolina Sisa, and women excelling in ultramarathons. It asks: how do we keep going when things get tough?
sheffieldtheatres.co.uk
EMMA BOTHAMLEY THROUGH THE LENS
How did you first get into photography?
Photography is something I’ve been interested in for as long as I can remember. My grandads and great-grandad were all into photography, so I’ve always been surrounded by cameras. As an only child, taking photos of anything and everything helped keep me occupied in my own little world. My first camera was a Fisher Price 35mm Easy Share – the red one with a viewfinder for each eye! My interest in photography turned into a serious hobby when I was 14. I then did a photography course at Norton College for two years.
After college, I got into motorsports and managed to photograph a few events, such as the British Touring Car Championship and a Formula E test day. I photographed these on behalf of a website called Carwitter. Sadly, my maternal grandad passed away in 2015, and the grieving process lasted way longer than I realised at the time. I lost a lot of motivation and self-esteem, which led me to lose interest in photography. Just as I started to feel like I was wanting to give photography another go, Covid happened. At the start of 2023, I was really fed up with the rut I put myself in, and I decided to give photography another try and began regularly sharing my work on social media.
Has your style evolved much since starting out?
I think my style with how I take a photo hasn’t changed much over the years; it’s more of an instinctive feeling. I always want to take a pleasing image and try and get the usual ticks in a photo: working the rule of thirds, leading lines, a clear subject, etc. I always use natural light. I’m yet to own a flash gun or studio lights.
My editing style has changed numerous times. I loved pumping up the saturation when I was a teen and then making everything HDR (high dynamic range), the type of HDR that makes photos look far too dramatic and fake. At the start of this year, I finally got Lightroom, and it’s the best thing I’ve done with my photography. Being able to tweak so many aspects and then be able to save them as a preset to apply to other photos is a game changer and a time saver.
Your photos predominantly feature urban and architectural scenes. What do you think drew you to these types of subjects?
The architectural side was more of an accident. The design of some buildings I seem to really like, and with that, I want to document the buildings I find interesting. Luckily, Sheffield has a wide range of architecture. Brutalism seems to be my thing; I go to Park Hill flats a lot, and the Moore Street Substation is so cool.
In terms of the urban side, it was a desire of wanting to show that Sheffield is actually a photogenic place. Street photography is the genre of photography I want to do more of, but it’s very challenging.
What is your favourite shot to date and why?
I would say the sunset shot from Meersbrook Park that I took in June this year. There was a couple sat on the grass. As soon as I walked over to get them in the frame, they had a loving moment, briefly resting their heads on each other whilst looking at the stunning view. I’ve taken many photos from Meersbrook, but I love the golden hour light, the view and the couple, for me, it makes the shot complete. Unless I get the
bucket list shot of the Northern Lights over Sheffield (which I don’t know if it’s possible with the light pollution), I don’t think I can better it.
The Christmas Market sunset taken at the top of The Moor last year is a close second. It was taken on a Saturday, and the day before there was such an awesome sunset, but I watched it from the office window.
I’m sure other photographers can relate to witnessing the best-ever sunsets but being otherwise engaged! Looking at the weather forecast, the next day was going to be a carbon copy. So, I went into town just before golden hour, and thankfully, the same fiery sunset happened again.
That’s the thing with the majority of my photos, I tend to remember the story behind them, so if the shot is a good one, it has a nice double meaning to me. I hope that doesn’t sound self-absorbed!
When are you happiest behind a camera?
I would say I’m at my happiest when I’m able to replicate something I envisioned in my
head. It doesn’t happen as often as I would like!
In all honesty, I’m always happy behind a camera. It helps me clear my mind and escape from life for a little while.
What advice would you give to budding photographers?
I’m still learning myself, but I would say my biggest advice is to get out there. I’ve said about the gap I had with my photography after my grandad’s passing, but really, I could have restarted a lot sooner if I hadn’t put a huge amount of self-doubt on myself and put thought into action.
Another tip would be to buy used equipment. With mirrorless cameras taking over, you can get used DSLRs for not that much, and the lenses that fit them are also good value. It goes hand in hand that you don’t need the latest and greatest gear to get results.
Lastly, don’t let social media numbers be a source of validation. Do photography for you.
