Exposed March 2025

VERSE THINGS FIRST

HAPPy DRINKS!

available until 6.00pm, SUNDay TO FRIDAY

Treat yourself to a delicious cocktail or two!

CHOOSE FROM OVER 20 COCKTAILS TAGGED WITH THE 'CUBANA STAR' IN OUR DRINKS MENU FOR ONLY £7.00! PLUS...

>> House Spirit Double £7.00

>> Selected bottled beers £3.50 - Corona and Super Bock

>> Selected house wines £4.25 per glass or £18.50 per bottle. Choose from Pinot Grigio White, Pinot Grigio Rosé or Montepulciano Red

>> Prosecco - £22.50 per bottle

>> Sangria or Sangria Blanca £22.50 per jug

**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

Call in and chill out at the end of a hard day, unwind and soak up our relaxed Latino vibe whilst enjoying our ‘Happy Tapas’ deals. ANY 2 tapas dishes for £12.95 £5.00 off

OR ––

Fantastic value when you dine early. APPLIES TO ALL TABLES SEATED AND ORDERING BEFORE OR AT 6PM.

Please note our Happy Drinks and Happy Tapas Offers are not available on Bank Holiday Sundays

PA S RES TA URANT

LIVE MUSIC MARCH

EVERY FRIDAY & SATURDAY AFTER RACING

SATURDAY 17 MAY

2-8PM

£25PP • INCLUDES 2 FREE COCKTAILS WITH ENTRY

18:

POETRY IN MOTION

For this month’s cover interview, Heather Anne Swift caught up with Antony Szmierek, the former English teacher turned spokenword sensation. With his debut album Service Station at the End of the World about to drop, Antony reflects on his whirlwind journey from the classroom to the stage – and why he still sees himself as a teacher, just with a different kind of lesson plan.

9:

AWARDS SEASON

The Exposed Awards are back, celebrating the best of Sheffield’s food, drink, culture, music, fashion and more – and you get to help decide the winners! We’ve got the full details here.

14:

VICTORIA’S SECRET?

Exposed were treated to a tour of Victoria, the stunning new event space in Neepsend from the team behind The Mowbray and The Chimney House. Housed in a beautifully restored 1884 chapel, here’s what to expect from one of the city’s most exciting new venues.

40:

BACK ON THE BEAT

We passed the mic to Steel City hip-hop stalwart Kid Acne as he drops his latest record, TOTEMIC TEMPLATE – a feature-packed transatlantic collaboration produced by Spectacular Diagnostics that’s positively chocka with established rap talent.

GAFFERS

Phil Turner (MD) phil@exposedmagazine.co.uk

Nick Hallam (Sales Director) nick@exposedmagazine.co.uk

FINANCE

Lis Ellis (Accounts) accounts@exposedmagazine.co.uk

GRAFTERS

Joe Food (Editor) joe@exposedmagazine.co.uk

Ash Birch (Online Editor) ash@exposedmagazine.co.uk

Holly Dibden (Web/Socials) holly@exposedmagazine.co.uk

Lizzy Capps (Content Creator) lizzy@exposedmagazine.co.uk

Marc Barker (Design Dogsbody)

GI’ US A HAND PLZ

Heather Paterson, Holly Dibden, Heather Anne Swift, Zain Durrani, Mark Perkins, Charlotte Colley, Ella Acton

THE BUSINESS STUFF

Exposed

PHOTOS BY JAMIE LEE CULVER

YOUR VOTE COUNTS

Sponsored by the IPM Group, the Exposed Awards 2025 will be returning with its usual promise of live entertainment, delicious food and drink, late-night party venues and all the other bells and whistles that make it such a popular night out.

WHEN IS IT?

You can expect the usual big night craic taking place at 92 Burton Road on Thursday 15 May promoting the best of the local scene spanning food, drink, culture, fashion, music and beyond – with all winners on the night chosen by you lovely lot and our group of local judges.

HOW TO VOTE

Simply by scanning the QR code on this page, me owd. Please note that voting will remain open until 23 April. Once the votes are counted, we’ll announce the shortlist for each category and hand over to our judging panel.

MORE ABOUT THE NIGHT

Now a regular fixture at the awards, Chris Arnold will return on hosting duties and we’ll have some of Sheffield’s finest handing out awards throughout the night. Tickets are £45 (£25 standing) plus VAT, which includes entry to the event, drinks on arrival and food from some of the city’s finest street food traders – as well as plenty of live entertainment to get you in the party mood.

A VERY SPECIAL PERFORMANCE

Last year we had a local supergroup seeing things out with a superb Moloko cover. It’s a tough one to top, but we’ve pulled out all the stops once again and will have another Steel City ensemble performing live at the end of the night.

ON A LATE’UN?

The fabled awards afterparties will take place at a top-notch venue TBC. It might be worth booking the next day off work... don’t say we didn’t warn you!

IN A NUTSHELL...

What? Exposed Awards 2025 When? Thursday 15 May Where? Peddler Warehouse 'Ow Much? £45 seated // £25 standing*

Contact: nick@exposedmagazine.co.uk // 0114 2757709

*Tickets subject to VAT

CAST YOUR VOTE

Get stuck in and cast your coat for this year's event by scanning the QR code. Feel free to let us know who you're rooting for with the hashtag #ExposedAwards.

PHOTOS: ELLIE GRACE PHOTOGRAPHY

Rock N Roll Circus returns to Sheffield this summer, and organisers have confirmed that rock royalty Queens of the Stone Age are set to headline Wednesday 27 and Thursday 28 August at Don Valley Bowl. The band, who are only playing two UK dates this year, will be joined by special guests Viagra Boys, Fat Dog, Jehnny Beth, The Bug Club and So Good.

The festival, now in its third year, promises an expanded experience with more stages, circus performances and a reimagined VIP offering.

Tickets are on sale now at www.rocknrollcircus.co.uk.

3

Stages are on offer at Don Valley Bowl, showcasing a mix of world-class headliners and rising talent.

2023

The year Rock N Roll Circus debuted, with past headliners including Richard Hawley, Self Esteem and Noel Gallagher’s High Flying Birds.

1996

The year QOTSA formed in Seattle, Washington. Led by Josh Homme, the band has since released eight studio albums.

Located in the heart of Neepsend, Victoria, the latest creation from the team behind The Mowbray and The Chimney House, is a remarkable transformation of a once-derelict 1884 chapel into a premium event space. With a deep commitment to restoration, reuse and high-end design, the venue is redefining hospitality while staying true to Sheffield’s industrial heritage.

“This has been the ultimate reuse project,” says co-owner Sally Hubbard. “Our way – as with all of our buildings – is to use sustainable and thoughtful ways to tackle and raise vital awareness for topics such as recycling, reducing impact and re-use. We set ourselves the goal to design and build a space that radiates a feeling of doing good as well as a place that is, of course, beautiful and soulful.”

The venue is an architectural showcase of reclaimed materials, featuring restored antique Art Deco brass chandeliers, cinema and theatre lights, salvaged timber floors and roll-end fabrics used to reupholster seating. In total, over 85% of its custom furniture, fixtures and lighting have been crafted from reclaimed and repurposed materials.

The space is designed to inspire, offering a dynamic mix of events that range from private weddings to business gatherings, wellness retreats and music showcases. With a 500-guest capacity spread across multiple unique spaces, there’s a wealth of possibilities on offer.

At its heart, The Chapel serves as a breathtaking ‘Feasting Hall’, complete with a reclaimed mirror-clad altar and a Juliette balcony, making it an ideal setting for weddings and grand occasions. The Lodge, a space above the in-house

kitchen, offers a private retreat for pre-ceremony moments and interviews. The Clubhouse, a low-seated cocktail bar, shifts from daytime coffee spot to evening drinks lounge. Meanwhile, the expansive Courtyard plays host to outdoor weddings, antique fairs and music festivals, creating a stunning open-air setting.

Every detail has been meticulously considered, down to the tiniest historical touch. A Victorian tea cup was found bricked into a fireplace, and a scrap of an old prayer sheet with the words ‘be thou my light’ was discovered in a wall cavity. These finds, now preserved within Victoria, serve as reminders of

its rich past.

For the team behind Victoria, sustainability is not just a buzzword – it’s at the heart of proceedings. Having spent the last 18 years restoring three derelict buildings into vibrant spaces, their commitment to lowering impact is evident in every decision.

During Victoria’s transformation, the team made a conscious effort to work with Sheffield-based tradespeople and businesses, ensuring that most materials and expertise were sourced within a 10-mile radius. Original brick, timber and stone were restored rather than replaced, and a full roof of solar panels now powers the venue.

The venue also champions local independents, working with Sheffield-based suppliers such as Greystone Flowers, whose blooms are grown and cut just miles away from Victoria. The Wedding Club, a curated collection of local creatives, florists and designers, ensures that every event is infused with artistry and sustainability.

No expense has been spared in Victoria’s culinary offering, with a kitchen designed for ‘Spectacular Eating’. Led by Head Chef Emma TophillReed – previously Group Head Pastry Chef at The Pig Hotel – the kitchen prides itself on seasonality and provenance.

The food experience is diverse, offering everything from seated supper clubs and grazing tables to festival-style plates and brasserie dining. The addition of an outdoor fire kitchen further connects guests with the craft of cooking, bringing an extra dimension to the venue’s immersive dining experiences.

With its breathtaking interiors, deep-rooted history and commitment to hosting a wide range of events, Victoria is set to become an iconic Sheffield destination. Whether it’s for a wedding, a business gathering or a celebration, guests will find themselves stepping into a space that is not only visually stunning but with a clear mission statement behind it.

As Sally puts it, “If you can be sustainable, why wouldn’t you? We don’t believe in throwaway culture. Great materials are at the heart of great design, and therefore, beautiful interiors. Reclamation and reuse are more than just aesthetics – they create legacy.”

Paesani, meaning “people from the same place” is Crookes’ brand new family-run casual Italian restaurant.

With a wood fired pizza oven for all your pizza cravings & Pucce aka Apulian panini made of pizza dough.

Paesani 257-259 Crookes

Sheffield, S10 1TF

Tel: 0114 3278 241

Email: info@paesanisheffield.com

Welcome to La Bottega

In our Italian-inspired kitchen in Sheffield, our mission is to bring authentic and original tastes to your lunch and dinner experiences. With a focus on seasonally changing small plates, an impeccable wine selection, and curated events like paired tastings, we invite you to embark on a culinary journey through the heart of Italian cuisine.

Our goal is to share our passion with our community and create a welcoming space where people can come together to enjoy the simple pleasures of good food, good wine, and even better company.

INSPIRED BY TRADITIONAL FLAVOURS, WE OFFER A FRESH, CREATIVE AND ORIGINAL INTERPRETATION OF PUGLIAN CUISINE, IN THE HEART OF SHEFFIELD.

LOCAL, FRESH & AUTHENTIC

We use local independent suppliers as well as typical Southern Italian ingredients to create homemade sauces, authentic desserts and unique Apulian dishes that you won’t find in Italian chains.

9 LEOPOLD STREET, SHEFFIELD, S1 2GY INFO@GRAZIESHEFFIELD.CO.UK

OPENING HOURS

MON - THURS: 12PM - 9.30PM

FRI - SAT: 12PM - 10PM

SUN - CLOSED

These last few years have seen Antony Szmierek’s remarkable transition from dedicated full-time teacher in Greater Manchester to poet-meetspopstar, taking his heartfelt life lessons from the classroom to some of the UK’s biggest stages. Having previously played a mix of Sheffield shows, Antony is set to bring his blend of dance beats and spoken word back to the Steel City with one of his biggest headline gigs to date at The Leadmill on 6 March.

WORDS: HEATHER ANNE SWIFT

Signing into our Zoom call just minutes after announcing his place on the main stage of Manchester’s Parklife festival, Antony appears eager, if not slightly discombobulated, by his recent transition into stardom. “It was only a year ago, really, that I left teaching, so it feels quite quick!” he reflects. “We’ve been booked into loads of festivals this summer, including Reading and Leeds, which is mad!”

However, before he takes to the festival crowds, he has a debut album to release and a headline UK tour ahead of him. Service Station at the End of the World, released on 28 February, promises to be a multi-genre voyage exploring the deepest crevices of the human psyche – all in a vessel of upbeat, catchy dance tunes.

A songwriter and composer who transcends many genre and style constraints, Antony’s music is notoriously hard to pin down – but all the better for it. “It’s not quite an indie act and it’s not quite a dance act. It’s somewhere in between,” he explains. “It’s a good place to be for me creatively, but it’s also annoying in this world where everyone needs to put you in a box or things don’t go as well as they should.”

“I don’t really think people know where to put us. It’s like, would you put us on before Soft Play? Probably not. Would you put us on before a dance DJ? Probably not. It’s super hard to figure out where it goes, and I think, hopefully, the record will help to define it.”

As well as building on the momentum of his recent single releases, Antony is excited for the album to reveal new facets of his musicianship –and perhaps challenge listeners’ expectations of him as an artist. “From the singles that are out so far, I think there may already be an idea of what the project is. But I’m looking forward to putting out the B-side of the album, which is a lot more sad and introspective.”

In particular, Antony teases album B-side track ‘Restless Leg Syndrome’ as a strong display of his reflective, vulnerable songwriting. “An almost straight-down-the-line poem” with little to no musical distraction, it’s “super introspective and sad,” he admits, “and actually quite hard to perform without getting emotional.”

Originally a writer and poet alongside his career in education before transitioning into the music industry full-time, it’s evident that ▶

COVER: ANTONY SZMIEREK

▶ words and literature have always been at the heart of Antony’s work. “I’ve always written things down, I’ve always had the compulsion to create, I’ve always wanted to do stuff like that.”

After struggling to break into the publishing industry as a novelist, Antony eventually gravitated towards music as a creative outlet in his spare time. “I started doing the music stuff over the pandemic,” he explains. “It was just a way to keep myself busy, and then it all took off and just never stopped. Soon it became this fucking mental thing that I’ve had to figure out how to drive as I’ve been going 60 miles per hour down the motorway.”

And so, he became Antony Szmierek: English teacher by day, popstar by night. “I did Jools Holland on a Wednesday and then went in and worked the full day on Thursday and Friday. And I couldn’t tell anyone either. It was like living this double life that didn’t feel real.”

Though his ascent to larger stages and higher streaming stats has since forced him to step away from teaching, Antony’s passion for education lives on in his approach to music – something he refuses to let go of. “I don’t think I’d be as good at this without being a teacher. It largely informs the record, and I hope I don’t forget it. I don’t want to get three records in and forget, because it feels important.”

That background in education, while on the surface a far cry from his current reality as a full-time musician, has clearly prepared him for the stage. “When performing live, you are using the tools that you learn covering a science lesson to Year 11 on a Friday afternoon or whatever – there’s no more difficult audience than a supply lesson in a science lab.”

Alongside his crowd management skills, the artist also channels his teaching skills into his lyricism. He describes the content of his album as “sincere optimism – optimistic music with sad lyrics over it”, with which he hopes to inspire listeners in the same way his lessons once did. “I think the lyrics work in the same way. People find the same sort of solace and hope in the words – I’m still teaching now, in a way, hopefully.”

With such a varied number of passions, it’s no surprise that his influences span

across music, literature and poetry. “In terms of music, there’s so many!” he says, discussing the artists who impacted both his songwriting and stage presence. “I mean, you’ve got people like Alex Turner and Richard Hawley,” he adds, pausing to show me his Richard Hawley wind-up music box. “And I try to incorporate lots

WHEN PERFORMING LIVE, YOU ARE USING THE TOOLS THAT YOU LEARN COVERING A SCIENCE LESSON TO YEAR 11 ON A FRIDAY AFTERNOON OR WHATEVER –THERE’S NO MORE DIFFICULT AUDIENCE THAN A SUPPLY

of different bits, really. I always just wanted to be Alex Turner my whole life, and then a lot of dance music and electronic music found me in the last ten years.”

“Jarvis Cocker as well – his stagecraft has always been something that I’ve been really interested in. ‘Yoga Teacher’ [one of the album’s lead singles] is actually based on Jarvis Cocker – I always imagine him being the yoga teacher in the video,” Antony adds with a grin. “We actually tried to get him on the song, like seriously tried to get him on the song, but he’s obviously a very hard man to reach. I’d still love to get him on a remix or something!”

“All of those great lyricists, great northern storytellers are people I really look up to. And then my own influence in music has changed and evolved. I listen to a lot of electronic music now because I don’t like to have my thoughts hijacked by words when I’m trying to relax. I’m always thinking of words, so when I listen to music, it’s a lot of ambient stuff – and that’s just kind of made its way into the music.”

Once an English teacher, always an English teacher, Antony continues with no shortage of literary recommendations. “Obviously, there’s Douglas Adams,” he says, referencing The Hitchhiker’s Guide to the Galaxy, whose influence can be seen in Antony’s song of the same name. “I find his writing style very inspirational – he speaks up about really huge topics but in a really interesting and funny way, which is kind of what I always try to do.”

“With poetry, there’s a guy (who’s now actually a friend of mine) called Joe Dunthorne. He wrote the novel Submarine, which Alex Turner did the soundtrack for, and he’s just been a huge inspiration in his poetry. There’s also a queer Kiwi poet called Linda Burns, who I always recommend to people. Her poetry is just amazing – it’s very clever and cool and dry.”

This colourful collage of inspirations paints a vivid soundscape for Service Station at the End of the World, due to be released a week before his Leadmill appearance. It’s promising to be a knockout for one of the country’s most exciting lyrical pugilists.

6 March at the Leadmill. Tickets (£17) available from leadmill.co.uk.

Just around the corner from the Heart of the City, this new vintage store is quickly becoming a favourite spot for many in Sheffield. Based in a location steeped in vintage clothing history, Good Good Vintage is a place where fashion meets community. Co-owned by Jack and Suzy, the independent shop has evolved from a small online venture into a thriving brick-and-mortar business, bringing curated vintage pieces and a cool social space to the city centre.

The pair have taken the city’s vintage scene by storm, with a store that competes on an international level. It’s become a must-visit spot in the city centre for anyone with a love for vintage fashion. They started out in Sheffield by hosting warehouse open weekends that drew huge crowds and selling at markets to build a community. Due to high demand, they opened their store on Carver Street.

“People come into our store from far afield,” says Jack, “and it’s often a port of call for visitors to Sheffield.”

Good Good Vintage immediately stands out from other vintage stores – the quality is second to none, and it’s super affordable.

“Everything you’ll see is handpicked,” says Suzy. “We go once a month, usually to different locations in Europe, and literally hand-pick every single item. With 10 years’ experience, we cater for both men and women.”

Their stock includes everything from European designer labels, branded outdoor wear, and

American workwear to fun Y2K pieces. Prices start at just £8, with a huge range of affordable true vintage pieces alongside higher-end branded items like Stone Island and Prada.

“We price-check online, and then we always make it cheaper in the shop,” Jack explains.

“People want a good buy and it’s important to have something for everyone.”

The shop also organises regular stock drops, focusing on popular brands. “We’ll get loads of Burberry – like 400 pieces – and do a big Burberry drop,” adds Suzy. “And then Carhartt and Patagonia… these are very popular pieces and we get them in huge quantities.”

Beyond the fashion, Good Good Vintage has created a community-focused space. The shop isn’t just about shopping – it’s about bringing people together. “It’s way more fun being a physical store than online,” Jack says. “You get to meet people. It’s a lot more face-to-face, which is great.”

To enhance this, the store has created a small café space, open throughout the week

while also hosting events, DJs on Saturdays and live music nights. “We have live music, a temporary bar – it’s a really nice vibe, with candles and tables out,” Suzy says. These events, alongside the relaxed atmosphere of the store, make it a place where people feel comfortable hanging out, whether or not they’re shopping.

Jack and Suzy’s journey has taken them from London to Edinburgh, to Leeds, and now Sheffield, where they feel at

home among the city’s thriving independent scene. “It’s been an evolution into the shop we see today,” Suzy says. “We were sceptical – like, surely this won’t work, loads of overheads – but you just build confidence, and it’s been great. We did a pop-up here for a year to try it out before renovating.”

They’re also proud to continue the legacy of their store’s location, which was once Freshmans. “It would have been such a shame if it was turned into something else,” says Jack. “It’s been a vintage store since the 90s. The previous owner wanted it to stay a vintage shop, and we’re really happy to keep that going.”

Whether you’re after a one-of-a-kind vintage piece or just a welcoming space to have a brew, pop in and see the Good Good team at 6-8 Carver St. Open 7 days a week Monday to Friday from 11am to 5:45pm, Saturday from 10am to 6pm, and Sunday from 11am to 5pm.

@goodgoodvintagesheffield

TAILORED AND TASTY

Nestled amidst a run of independent businesses on Glossop Road, Assaje has brought an authentic taste of Italy to the city’s bustling café scene. With a strong focus on customisable food options, high-quality ingredients and a welcoming atmosphere, the café has made its name on the local foodie scene for itself since opening last October.

Behind the venture is Hugo, co-owner and a familiar face in Sheffield’s hospitality scene, alongside the team behind Caffè Tucci. Having met Stefano and Salvatore (Tucci) while working at Cubana Tapas Bar, Hugo was later approached to collaborate on a new café concept. The result was Assaje – a place where customers can enjoy Italian classics with a unique, madeto-order twist.

The name Assaje comes from Neapolitan slang, translated literally as “a lot”, and used to express something extra meaningful or special. “If you’re describing what someone means to you, and they mean a lot, you’ll use the word assaje to show that,” Hugo explains. That sense of ease and warmth runs through everything at the café, from the laidback atmosphere to the way customers are welcomed.

“We really take the time to chat with customers,” Hugo says. “It’s not just about serving food – it’s about asking how their day is going, making them feel welcome. That’s what makes a café special.”

A big pull for the punters has been the build-your-own options on sandwiches, salads and even pastries. Starting at £4, a focaccia base can be customised with a variety of Italian-imported cheeses, cured meats and fresh ingredients. There’s even the option to go all out with a stacked, premium sandwich.

Pastries follow the same ethos, offering plain croissants with the option to fill them with pistachio cream, hazelnut and white chocolate, wild berry and apricot, or Nutella. “People love the customisation aspect,” Hugo says. “Some just want a classic

filling, others go all in with the options. It makes things fun and flexible for everyone.”

A great Italian café needs great coffee, and Assaje delivers with Caffè Vero – an Italian roasting brand based in the Midlands. You can order all the classics, or try out one of their specials – whether that’s a pistachio latte, Brasiliano or Raffaello pick-me-up.

The café has already built a strong customer base in the area, attracting hospital staff, university students and local

workers – not to mention food influencers coming to shoot mouthwatering content. With its links to Caffè Tucci, many regulars have followed the team over to this new spot, knowing that they’re guaranteed the same level of quality.

Although currently focused on breakfast, coffee and lunch, the team has plans to introduce Aperitivo nights in the near future. The vision is to create an authentic Italian café bar experience, where customers can enjoy Sambuca, Spritz,

wine, cheese and small plates in a relaxed social setting.

“We’ve got a license to serve alcohol, and have beer on draught as well as cocktails, so we want to introduce a proper Italian after-work vibe,” Hugo shares. “Aperitivo is a huge part of Italian culture, and we’d love to bring that to Sheffield.”

With so many customisable options, it can be hard to know where to start. Hugo’s personal favourite is a focaccia filled with Caciocavallo (Italian smoked cheese), porchetta

(slow-roasted pork), friarielli (wild broccoli), and a drizzle of honey.

“It’s a proper Neapolitanstyle sandwich – smoky, savoury and a little bit sweet. It’s amazing,” he says.

Meanwhile, one of the most popular choices among customers is a focaccia with burrata, Parma ham, basil pesto, and San Marzano tomatoes. “That one’s a bestseller – people see it on Instagram and come in just to order it. There are classics on

offer, but the beautiful thing is, people can experiment and explore. Come and find the perfect combination for yourself!”

So, whether you’re after a perfectly made espresso, a stacked focaccia or a relaxed evening drink, pop down and let the Assaje team do the rest.

Location: 347 Glossop Road

Opening Hours: 8am – 5pm (evening hours coming soon)

Follow: @assaje_sheffield @caffe_tucci_sheffield

COFFEE SHOP INSPIRED BY CAFFE TUCCI

Sheffield’s first “build your own” focaccia and salad specialist

Fresh pastries and desserts // Beers, wine and Aperol Spritz

DELIVERY AVAILABLE

347 Glossop road S10 2HP // Insta: @assaje_sheffield

NEAPOLITAN

BREWING UP CHANGE

We’ve got some new neighbours across the square from our Kelham Island office, so it only seemed right that we headed over to welcome them to the area…

Not only will they be the closest coffee spot to our humble HQ, taking over the former home of Craft & Dough, but the even better news is that Groke Café comes with an admirable mission.

The brainchild of coffee industry veteran Tom Stentiford, Groke isn’t just another trendy spot for a flat white. It’s a café built on a foundation of sustainability, transparency and ethical employment – one that hopes to reshape the way hospitality works from the inside out.

“I’ve been working in coffee for over 10 years,” says Tom. “It’s a great job for travelling around, and I’ve met a lot of people coming up through the industry. But you can’t really go from being a barista to a manager to an owner – there’s a big gap there. The owners tend to come from the banking or investment world or have rich parents, and you just don’t get the chance to work your way up. That’s always annoyed me.”

His vision for Groke is one where employees are given the opportunity to grow within the

business, not just work for it.

“We’re trying to work out a pay scale where, if we hit targets, wages will be tied to revenue. If the business does better, the staff do better. There’s nothing worse than being understaffed, doing a massive day, knowing you’re bringing in loads of money, and still getting exactly the same pay. We’re going to be completely transparent about all of it.”

That transparency extends beyond pay. Groke is committed to an open-book policy where employees know what costs are, what revenue looks like, and where the money goes. “I don’t understand why café owners don’t share information,” Tom

continues. “Surely, if we were all together, we could make things better.”

The café’s name comes from an old Scots word that means to stare at someone while they are eating, in the hope that they will share their food. To ensure that level of food envy, the café will boast a food and drink offering built around sustainability, and a commitment to sourcing locally and seasonally.

For their house coffee, the café is partnering with ethical suppliers Extract Coffee Roasters. “I’ve worked with Extract on and off for ten years. They’ve got a very good, transparent, sustainable route

from farm to us. They were one of the first B Corp-certified roasters in the UK, and I’ve always had massive respect for how they do things.”

On the menu, expect an Antipodean-style brunch offering (though Tom explains that his chef isn’t a fan of the term). “We want to avoid the worst bits of brunch culture while keeping it exciting. We’re talking seasonal mushrooms from Seven Mushrooms, beetroot gnocchi and gluten-free chicken and waffles. And eventually, we’ll have focaccia sandwiches and seasonal cheese toasties. Watch this space!” @groke.coffee

CRAVE

A new café has opened on Ecclesall Road, offering a classic brunch menu with subtle influences from the owners’ native Turkey – and, of course, great coffee.

Crave, located on the stretch of units between restaurants Zaap Thai and Koko, is the brainchild of husbandand-wife duo Ilayda and Berke Aliyazıcıoğlu, who have brought their passion for food, family and good coffee to one of the city’s busiest streets.

“We’ve tried to create a cosy vibe, as you can see, with the colours and the design,” Ilayda explains. “A Turkish designer created it, and we wanted it to be an open space where people can spend time comfortably with their friends and loved ones.”

Crave’s menu is a mix of crowdpleasers and chef specials. “We first wanted to make a coffee shop, but that changed when we hired our chef,” Ilayda says. “We put some classic dishes on the menu, so that when people come here, they can find whatever they want.”

Expect brunch staples like eggs Benedict, a full English, veggie breakfasts, wraps, croissants and pastries. There’s also a daily soup special that changes depending on the chef’s inspiration.

But Crave’s Turkish roots subtly shine through. “Not everybody likes Turkish food,” Ilayda admits. “That’s why we want to make it simple. But from time to time, we will change the specials, as we want people to taste the best Turkish food.”

This includes Sujuk, a traditional spiced sausage served with eggs, alongside Turkish salads that can be eaten all day. “We are planning to add some Turkish pastries too, and everything is going to be homemade.”

A self-proclaimed coffee addict, Ilayda takes her beans seriously. “Our coffee is really good, from an Italian brand called Julius Meinl,” she says. “I think it’s really nice.”

As if on cue, a customer passing by interrupts the conversation. “The coffee is amazing,” they say on their way out, reinforcing the growing reputation Crave is earning among locals. Ilayda smiles, clearly pleased.

The couple’s path to running a café in Sheffield has been anything but conventional. Originally from Istanbul, Ilayda and Berke moved to the UK

two and a half years ago, looking for a better balance between work and family life. “My husband worked on the stock market, as well as some consultancy work, back home in Turkey,” she says. “And I was an export manager. It is totally different, yeah.”

With two young children, the demands of their previous careers weren’t sustainable. “My job required lots of travel in Europe and Turkey –sometimes for two weeks or a month. And with kids and family life, we thought that it wasn’t suitable for us.”

They first tested the waters in Sheffield’s café scene by running a small coffee shop in Nether Edge but soon realised they wanted something bigger. “We want to serve more people and a bigger variety of people, so Ecclesall

Road felt like the right choice.”

Crave is more than just a business for Ilayda and Berke – it’s a way to connect with their new home. “The first reason that we opened the café was because we don’t know anyone in Sheffield. We thought that it would be a good opportunity to meet new people and to get to know this community,” Ilayda says.

So far, the response has been positive. “People really like the atmosphere, and they especially love the coffee,” she says. “We have lots of five-star reviews and comments, and the aim is to be as consistent as possible so people know what they are getting from us.”

The space itself is warm and inviting, with a striking horse design feature that’s already caught the attention of Instagrammers. “When we chose this horse print, the designer said, if you’re using this, you need to carry the theme throughout.

“Now, customers take photos of it and put it on Instagram, saying this café has a massive, weird horse, but the coffee is great!” laughs Ilayda. “Honestly, when we wanted to open this place, I said I want a colourful, warm space because I think the weather is grey enough.”

The couple has big plans for Crave, including adding an alcohol licence and extending opening hours into the evening. “In three months, we are planning to get a licence,” Ilayda says. “We are also planning to extend the working hours to maybe 8 or 9pm so people can have drinks here too, like maybe wine and cheese evenings.”

For now, the focus is on consistency and quality. “We want to keep the standard. When people come, they know what they will get – same food, same great service.”

@crave_cafe507

The might Sheffield Beer Week is back from 10th to 16th March, celebrating the city’s renowned beer culture, thriving food scene and love for the great outdoors. Now in its 11th year, the festival brings together local breweries, taprooms, pubs and eateries for a packed week of events.

Indie Beer Feast: The Grand Opening Festivities kick off early with Indie Beer Feast at Trafalgar Warehouse on 7th-8th March. This independent craft beer festival features 17 breweries, plus natural wines, fine ciders and street food from Best Boy Bagels and Zaika-e-Pakistan. “The festival champions The Everyone Welcome initiative and offers a range of gluten-free, low-alcohol and no-alcohol options,” says festival founder Jules Gray.

What’s On?

Expect brewery tours, tasting sessions, and exclusive beer releases, with regular participants including Pangolin, The Crow, Abbeydale Brewery, The Harlequin, Triple Point, Beer Central, and many more.

Beer & Food Pairings: True North Brewing Co. hosts an International Women’s Day brew on 8th March, while venues citywide will serve dishes paired with local beers.

Guided Walks & Runs: As part of Festival of the Outdoors, SBW offers beer trails, pub tours and brewery history walks led by beer historian Dave Pickersgill.

Cultural Events: Hop Hideout and La Biblioteka present a reading with award-winning beer writer Adrian Tierney-Jones, while the University of Sheffield hosts ‘Place, Craft and Alcohol’ at Locksley Distilling, exploring Sheffield’s brewing heritage.

Special Brews: Little Critters and Saint Mars of the Desert unveil exclusive creations, while Mount Saint Bernard Abbey brings its Trappist beer to Hop Hideout.

Follow @SheffBeerWeek for updates and visit sheffieldbeerweek.co.uk for the full lineup.

TURNING UP THE HEAT

A brand-new dining spot has landed in Dyson Place, bringing bold flavours, wood-fired cooking, and a seriously inviting atmosphere. Six and a Half, the new restaurant from former Brocco on the Park head chef Leslie Buddington, opened last month and is already making waves.

The menu is all about big, seasonal flavours cooked over an open fire. “We’ve had a bespoke grill made, so everything – meat, fish, veg – is cooked over wood,” says Leslie. “I wanted it to feel like my kitchen, like people are coming into my home.”

There’s no single cuisine at play here – instead, dishes take inspiration from all over the world, keeping things simple yet bold. A standout is the one-kilo salt-aged porterhouse steak for two, cooked over flames and perfect for sharing. Small plates start at £7, and a three-course set lunch menu offers a more relaxed daytime option.

The drinks list is compact but carefully curated, with a selection of reds, whites, rosé, dessert wine, champagne, cava, and four cocktails – all designed to complement the food.

With 28 covers inside and 22 on the terrace, Six and a Half is an intimate space built around community. It’s open Wednesday to Saturday for lunch (12pm-3pm) and dinner (6pm-11pm), with Sundays to Tuesdays available for private hire. “

"We’ll also open for special occasions too – things like Mother’s Day or if there’s a Sharrow Vale market on," Leslie adds.

Reservations are open now, both online at dishcult.com or by calling on the number below.

@sixandahalfsheffield 0114 3483621

Dyson Place

Sharrow Vale S11 8XS

Crave Café is here with a friendly team, cozy atmosphere, handmade cakes, mouthwatering breakfast and brunch options, and great coffee, plus new recipes and specials every week!

507 Ecclesall Rd, Sharrow, Sheffield S11 8PR // Phone: 07873 249015 // Menu: cravecafe.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

Whether you’re here for the ale, the atmosphere, or just to see what all the buzz is about, The Ranmoor Inn is your new favourite hangout. Come see us soon!

330 FULWOOD RD, SHEFFIELD S10 3GD

FB: The Ranmoor Inn // Insta: @the.ranmoorinn

The Northern Wine Guy Services range from:

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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.

URBAN SPA: THE SCIENCE BEHIND THE CHILL

Sheffield’s wellness scene has been steadily evolving, but few places have made as much of an impact in such a short time as R1SE Urban Spa. Offering a mix of breathwork, hot and cold therapy, and red-light therapy, R1SE has quickly become a go-to spot for those looking to improve their physical and mental wellbeing.

But while ice baths and saunas have exploded in popularity, there’s still plenty of scepticism and misinformation surrounding their benefits. That’s where Tim Hughes comes in. An Anaesthetist, Tim isn’t here to sell you a magic cure, nor is he offering medical advice. What he is offering is a scientific perspective on how these therapies work, their potential benefits, and – crucially – how to use them safely. His journey from sceptic to advocate is one of personal transformation, resilience, and a deep dive into the fascinating science of the human body.

Tim Hughes never set out to become a wellness consultant. A Sheffield-based Anaesthetist with experience in anaesthesia for surgery, as well as intensive care, his work involves keeping people safe for their surgery and providing treatment for those who are critically unwell – far removed from the world of ice baths and breathwork classes. But after years of highstress environments, personal struggles with anxiety, and the mental toll of the pandemic, he found himself in need of something to help him cope.

“A friend first introduced me to breathwork,” he says. “She’d been through drug and alcohol addiction recovery and

swore by it. I thought it was ridiculous. It’s just breathing, right? How could that possibly make a difference?”

It turned out to be lifechanging.

Tim’s daily routine now begins with a 30-minute breathwork session before he starts his hospital shift. “It reduces my stress levels, helps my decision-making, and makes me a better doctor, father, and husband,” he explains. “The science behind it is fascinating. It’s the only automatic function of the body that we can also fully control, and by doing so, we can influence everything from stress responses to focus and recovery.”

His scientific curiosity soon extended beyond breathwork.

After suffering a cycling accident in 2024, which left him with a fractured clavicle and an impaired right hand, he was forced to take two months off work and re-learn basic motor skills. It was a frustrating, isolating period – until he discovered R1SE.

“I walked in, had a chat with Chris and Jen, tried an ice bath for the first time, and left feeling better than I had in months,” he recalls. “It was a rare moment of clarity.”

He became fascinated by the physiology of hot and

cold exposure, diving into the research of experts like Dr. Susanna Söberg and Professor Mike Tipton, both pioneers in cold water immersion and thermal therapy.

“I’ve read more scientific articles than I care to admit,” he laughs. “But the evidence is coming – regular cold exposure is likely to reduce inflammation, improve metabolic health and mental resilience, and even enhance recovery for athletes. Saunas, on the other hand, have been linked to improved cardiovascular health, better sleep, and stress reduction.”

His growing interest in the science behind these therapies led to an informal chat in the sauna with R1SE founder Chris, which soon turned into a collaboration. Tim now volunteers his time at R1SE, training staff on physiological principles, safety protocols, and best practices for maximising the benefits of the therapies they offer.

“I’m not here as a doctor

giving out medical advice,” he clarifies. “Anyone with medical conditions, for example heart disease, epilepsy, or high blood pressure should consult their GP before trying ice baths or saunas. My role is to help make sure R1SE is following best practice, that staff understand the science, and that clients are getting the most out of their experience in a safe way.”

That commitment to safety and education has already had an impact. Tim has helped R1SE establish defibrillator access, updated safety procedures for cold water immersion, and ensured all staff are trained to guide clients properly through the experience.

“There’s a lot of misinformation out there,” he says. “Some people treat ice baths like an extreme sport, but long-term benefits come from controlled, sustainable exposure – not pushing yourself to the limit every time. It’s about consistency, not endurance.”

As he continues his journey with R1SE, Tim is set to train under Patrick McKeown, a world-renowned breathwork expert, to become an Oxygen Advantage Master Instructor. The long-term plan? To make R1SE not just a place for clients to experience these therapies, but a hub for training other professionals in how to use them safely and effectively.

“I genuinely believe R1SE can set the standard for this industry,” he says. “And I love that I get to be a part of that journey.

R1SE Urban Spa is open now in The Nichols Building, Sheffield. Whether you’re looking to boost recovery, manage stress, or just feel the best you’ve felt in ages, their guided breathwork, cold immersion, and sauna therapies offer a scientifically backed approach to wellness.

And if you’ve ever wondered what an anaesthetist gets up to in his spare time – well, now you know.

TOTEMIC RHYMES

Steel City hip-hop artist and emcee Kid Acne is back with his latest record, TOTEMIC TEMPLATE (Edna & Friends Vol. 1) – a transatlantic collaboration packed with guests and produced by Spectacular Diagnostics. Featuring artists like Bez (Revival Season), Cappo, Cise Greeny, Dap Zini, Fatboi Sharif, Jehst, Juice Aleem, Junior Disprol, King Kashmere, Mike Ladd, New Kingdom, Sonnyjim and Vandal Savage, the album is another outing for an artist who’s been pretty prolific since breaking a 12-year LP hiatus with 2019’s Have A Word.

What began as a collection of collaborations quickly evolved into a fully realised album, he explains to Exposed over a brew in an S8 cafe. Acne initially saw the project as something separate from his core solo work, but as more tracks came together, things took on a life of their own.

“Because there’s a guest on every track, I wanted to sort of make a distinction between that and the official canon of solo albums,” he says. “But it actually came out sounding more like a full record than we initially intended.”

Some of the tracks had been sitting in the vault for a while, originally intended as B-sides. However, when discussing the project with others, it became clear that much of the material was strong enough for its own release.

TOTEMIC TEMPLATE features both familiar voices and first-time collaborators, bringing together artists from both sides of the Atlantic. UK rappers like King Kashmere and Sonnyjim sit alongside US underground legends such as Mike Ladd and New Kingdom. For Acne, securing certain guests felt like a full-circle moment, particularly with artists he grew up listening to.

“Getting Mike Ladd was a big deal for me, because Ladd and Juice [Aleem] –that’s who I was listening to as a teenager,” he says. “And New Kingdom as a group, their last album was in ‘96. They don’t really come as a pair anymore [Nosaj and Sebastian Laws], so it’s a significant thing getting them together on this record.”

Across the album’s 12 groove-heavy, old-school offerings, Jehst’s contribution on ‘I’m Right Here’ stands out as one of Acne’s favourites, particularly because it forced him to approach writing in a different way. “I let him pick the beat,

then he put down a long verse. I was like, shit, how am I gonna follow this? He started getting into topics I wouldn’t normally choose to rhyme about, so I kind of took his verse and flipped it and made it more internal.”

With so many guest appearances, the challenge was ensuring TOTEMIC TEMPLATE felt like a unified album rather than a disjointed compilation. Acne was mindful of how hip-hop records could sometimes lose cohesion due to excessive features.

“There was an era when you bought albums by groups or individual artists and that’s what you got. Then features started appearing, and albums would sometimes sound more like compilations,” he explains. “So I thought that if I was going to host a compilation album, it’s got to work from start to finish.”

Production played a key role in maintaining that consistency. Having worked with Spectacular Diagnostics since 2017, the pair have developed a strong working relationship, balancing spontaneity with a clear creative direction. Some of the beats date back years, waiting for a fitting moment or collaborator.

“Even a couple of these songs date back to 2017 in terms of production. They lay dormant for a long time until I either found the right guest for it, or I found the right verse myself.”

The next step is taking the new material for a spin in a live setting, including a headline show at Sidney & Matilda on 21 March. Performing a guest-heavy record poses obvious logistical difficulties, but he has crafted a setlist that pulls from his other albums with Spectacular Diagnostics – Have A

Word [2019], Null and Void [2021] and Hauntology Codes [2023] – giving him plenty of flexibility while keeping the energy high.

“We played in Manchester recently and got a good, tight half-hour set. So now I can start switching it up and adding new things,” he explains.

Reuniting with long-time collaborator and former Mongrels member Benjamin has been another highlight, as well as his former hype man Clev Cleverley also rejoining the party. The trio have a history of performing together across the UK and Europe, and getting back on stage with old pals has made the return to live shows even more enjoyable.

“It’s just so good working with them again,” he says. “You’ve got a lot of history and trust there. I was adamant that I didn’t want to be doing stuff from 15-20 year ago, so it’s all from the more recent body of work.”

Now that the fourth record in six years is dusted off, he is considering his next move. “We’ve cleared the decks now,” he says. “It’s not entirely from scratch, but there’s less in the archive to draw from, which is actually quite liberating. I’m now trying to lean into the mid-90s tempo a bit more – just pick things up a bit. Now that we’ve played live a few times, I’m realising that certain tempos work better in terms of energy. So I want to get more of that recorded.”

Ultimately, though, the goal is simple – to keep making music in a way that feels natural and authentic to him. “It’s been about getting out of my own way. I spent years second-guessing what other people might think or the outcome rather than just enjoying the process. It’s a bit like a return to form of my early youthful enthusiasm for hip-hop, but with some wisdom and life experience backed into it. I know what my lane is now, and that’s a good place to be.”

TOTEMIC TEMPLATE (Edna & Friends Vol. 1) is currently streaming on all platforms and available on limited edition vinyl. Kid Acne plays Sidney & Matilda on 21 March alongside Homeboy Sandman, Mr Thing, Dee Rock and Agent J Tickets (£10.50+bf) are available from Skiddle.

REVIEWS

WET MAN @ SIDNEY & MATILDA

WORDS: ASH BIRCH // PHOTOGRAPHY: OLLIE FRANKLIN

Sheffield’s answer to The Dare?

Well, no! Not quite. At least, not according to the (wet) man himself. But we’ll get to that.

Wet Man takes to the stage and begins awkwardly shuffling around (hroughout, it’s unclear if this is an act or simply his personality).

As he tests bits of kit in front of a massive TV screen looping Wheel of Fortune, the bloke standing next to me uses this lull to shout, “Fuck off, Wet Man!” I already know what sort of rowdy Saturday night crowd we’re in for.

I’d seen Wet Man once before, at Get Together when it was still held at the uni, and to be honest, after that daytime show in the grand Firth Hall setting, I didn’t quite get it. Fast forward a few years, though, and there’s a new EP, I Believe in Lizard Men, on the way – and it makes for exciting listening.

Somewhere between the insistent ’80s beats of local faves Cabaret Voltaire and the more melodic electroclash of acts like Crystal Castles or Ladytron, all knitted together with a sardonic

delivery akin to Viagra Boys’ Sebastian Murphy, it’ll deffo get you well riled up while you’re doing the washing up.

After a set-opening mix of Yorkshire Tommy Cooper-style stand-up and deadpan Jarvis Cocker-esque pathos, Wet Man launches into his latest single, ‘Lizard Men’ – a throbbing take on David Icke and conspiracy theories. As he gyrates, Wheel of Fortune is replaced on the TV screen by a spinning image of David Icke’s boat race. It’s all very surreal.

It’s at this point that I unexpectedly become the focus of the gig. He mentions that Exposed is in the audience. I keep quiet. He asks for Exposed to speak up. I sheepishly wave but continue my vow of silence. Luckily, Wet Man has a pair of dark Wayfarers on and can’t see my half-hearted wave, so he decides I’m not there.

He spends a few minutes digging me out for not turning up, suggesting I’ve probably gone to see Hot Soles in the other room. He then riffs on The Everly Pregnant Brothers’ bastardisation of Bob Marley,

given that the two bands now share a lead singer.

The gig continues with songs about Michael Barrymore’s pool party, while Exposed remains a recurring call-back. I’m still hiding, not daft enough to shout out to a man with a mic and get rinsed for five minutes. My mate threatens to reveal my whereabouts. Other audience members admit to speaking to me before the gig. Our photographer gets accosted.

“Are you Exposed? … I’ll expose you!” declares Wet Man.

I’ve positioned myself behind the tallest member of the audience. Safety.

So, what of the actual music? Well, as mentioned at the top of the review, there are some similarities between Wet Man and the indie sleaze of LCD Soundsystem covers act The Dare. They even look a bit alike.

Wet Man tells a story about discovering he had a doppelgänger. In a moment of weakness, he put up an Instagram poll asking his audience who they preferred: himself or The Dare.

Mortified when The Dare

won, he asked why. A woman replied online: “Because The Dare writes songs about drugs and kissing girls, while you write songs about Greek philosophy.”

Wet Man considers this before announcing, “This next one’s called ‘Plato’s Cave’.” And then, inevitably, he dives into a song about drugs and kissing girls.

The set is full of these musical punchlines, and while the tunes themselves can at times be a bit formulaic – much like Sleaford Mods (who haven’t exactly suffered for it) – they’re all incredibly danceable, and the lyrics are full of wit.

Once the queue for merch has died down, I approach Wet Man and introduce myself. He looks a bit sheepish, puts his head in his hands and apologises, explaining that he had a whole bit prepared and was going to bring it back around to how appreciative he was of the recent coverage from this mag.

I make my own excuses for not taking part, and we laugh it off – it’s been an interesting night!

Alt-folk aficionado Jim Ghedi is now firmly anchored back on Steel City shores, bringing with him a fresh outlook and an energised sound to boot.

The Sheffield-based musician left South Yorkshire for the west coast of Ireland just before the 2020 lockdown, where the relative isolation allowed him to take a deep breath, clear his head and, in his own words, “creatively reset”. Upon returning home, he began work on his latest album, Wasteland – arguably his most ambitious and emotionally charged work to date. It sees the artist exploring the modern world's bleakness while embracing moments of beauty when life throws them your way.

On the record, Ghedi is often intense, brooding and unafraid to ask vulnerable questions. A sense of disenchantment and detachment run through its ten songs, counteracted by shoots of hope and passion. “It’s about a place that you once knew, which was familiar, but now is unfamiliar,” he says of the album’s title track. “And your relationship with the sense of maybe losing a place or losing, you know, your sense of a place and tussling with that.”

Listeners familiar with Ghedi’s shtick will recognise a striking sonic evolution, moving away from his folk roots into a more expansive, layered sound. “The lyrical content needed something more band-driven and loud to deliver it,” he explains.

“Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range,

which forced me to use falsetto a lot – something I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements to sonically really push things.”

The album opens with ‘Old Stones’, setting the tone with an eerie, foreboding atmosphere. Proceedings begin delicately at first, with graceful vocals and deft instrumentation, before erupting into an explosion of noise. Subsequent tracks like ‘Wasteland’ and the stomping ‘Sheaf & Feld’ showcase this shift further – sweeping strings and crashing percussion brilliantly capturing both despair and resilience.

“I’m definitely taking a new direction on this album,” he reflects. “But ‘Wasteland’ in particular kind of covers this middle ground where it is electric and it is big, but it’s also soft, it’s melodic.”

As with previous albums –such as A Hymn for Ancient Land (2018) and In the Furrows of Common Place (2021) – he continues to use folk traditions as a lens to examine contemporary life. His working-class roots and relationship with Sheffield have always been central to his identity as an artist, and living in Ireland only made him feel closer to that. “Being out there made me want to own our own stuff more,” he says. “They’ve got all of their culture and music, and they’re so proud of it, they like play it to death… it’s inspiring. Sheffield’s got an incredibly creative DIY scene and music scene and history – let’s be more proud and loud about it, you know?”

Delving deeper into the record’s key messages, he adds: “There is a strong working-class narrative and representation both within the traditional and original songwriting on the album. It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

Among these is ‘What Will Become of England’, based on a recording by English folk singer Harry Cox taken from the Alan Lomax Archive, while ‘Trafford Road Ballad’, originally written by Ewan MacColl, tells the story of a northern dock worker who refuses to go to war.

“It’s about a lad who works on the docks in Salford, and the only chance for him to go and see the world is to go back in the army,” says Ghedi. “And he’s just basically like, ‘Fuck that.’ I’m not going to go and kill innocent people just for the sake of trying to travel.”

Despite grappling with some heavy themes, he insists Wasteland is not just about destruction but also optimism. “It explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”

Recorded over two years at Tesla Studios in Sheffield with engineer and producer David Glover, the album features a wide cast of musicians, including David Grubb (fiddle), Daniel Bridgwood-Hill (fiddle), Neal Heppleston (bass), Joe Danks (drums), Dean Honer from I Monster (synths), Cormac MacDiarmada from Lankum (vocals), Ruth Clinton

from Landless (vocals) and Amelia Baker from Cinder Well (vocals).

With Wasteland out now, Ghedi is preparing for a special homecoming show at Sidney & Matilda on 6 March, where he’ll showcase the album with a fullband performance.

Those attending the gig can expect something different from past performances: his shift to a fuller, heavier sound means a new kind of energy on stage. “We did a gig last year at Sidney’s, and half the audience were people who knew me for the folky stuff. Then we went into ‘Sheaf & Feld’, which is just a fucking slap in the face, really,” he laughs. “You could see half the crowd thinking, ‘What’s this?’ and the other half absolutely loving it.”

Despite the change in tone, he’s confident there’s something in the show for everyone. “There’s still stuff for people to grab onto… but there’s also something new in the mix. I just think, come and experience it. There’s so much going on in this city – just fucking go down, have a look.”

For Ghedi, the record represents both a culmination of his past work and the beginning of something new. “It feels like a completely open door now… anything’s possible, which is really exciting. I think this album is the closest I’ve got to the sound I’ve been working towards over the years. It feels like it’s at a place which most represents me.”

Jim Ghedi plays Sidney & Matilda on 6 March. Tickets (£15) available from fatsoma. com.

@jimghedimusic

PHOTO: @JAMBURRITO1 // WORDS: JOSEPH FOOD

THE LYRICAL CONTENT NEEDED SOMETHING MORE BAND-DRIVEN AND LOUD TO DELIVER IT.”

SKARLETT RIOT @ CORPORATION

Big-time Skarlett Riot fan, Gary, reckons he first saw them play a free entry gig at West Street Live, and he’s still got the signed jacket to prove it. Safe to say, this band has a committed fanbase – one that even came bearing an early birthday present for frontwoman Chloe Drinkwater.

Nottingham’s Phonix Lake have been the constant support for this UK tour, and they showed exactly why they’ve earned that spot. Emerging onto the scene in 2018, the four-piece bring a mix of melodic hard rock and metal that wouldn’t feel out of place alongside early Paramore – heavy, upbeat and full of energy (high kicks included).

The last time Saints Among Us graced Corporation’s stage was as special guests at the Metal 2 the Masses finale, and they were clearly buzzing to be back. Hailing from Doncaster, this lot blend ethereal elements with metal, creating a dynamic, engaging performance that set the night up perfectly.

The northern melodic metal fourpiece exploded onto the stage, marking the final leg of their UK tour in a way only they know how – big riffs, powerful vocals and an unapologetic presence that

had the front row packed before they’d even played a note.

Wasting no time, they launched straight into ‘Human’, setting the tone for a set full of commanding energy and sharp, polished musicianship. Chloe ‘Skarlett’ Drinkwater’s vocals cut through the heavy instrumentals with an effortless intensity, proving once again why this band’s reputation continues to grow. Their sound is a slick blend of melodic metal and hard rock, and last night, they delivered it with complete conviction.

Unsurprisingly, the setlist leaned heavily on their latest album Celestial, giving fans a live taste of their newest material. But it was the closing track, ‘Gravity’ – taken from their 2021 album Invicta – that sealed the night, rounding things off in style before the band made time for fans eager to grab signed merch and a photo.

With a line-up this solid, it’s no wonder Corporation was bouncing on a Thursday night. Skarlett Riot have once again proven they’re more than ready to take on the bigger stages, and with bands like Phonix Lake and Saints Among Us in the mix, the future of UK melodic metal is looking pretty strong.

PAUL HEATON

The Leadmill // 3 March // £20

The inimitable Paul Heaton graces the Leadmill with new tunes and certified classics accompanied by stripped down arrangements. Heaton is joined by the Scottish country-folk vocalist Rianne Downey for a matinee and evening show. leadmill.co.uk

SNAPPED ANKLES

Sidney and Matila // 11 March // £21.25

Ghillie suits and glad-rags at the ready: Snapped Ankles are set to electrify Sidney and Matilda with their bizarre blend of east-London post-punk and Norse mythology. Touring their most recent album Hard Times Furious Dancing, the band merge the cerebral and instinctive to immerse audiences in an atmosphere of Pagan-punk raucousness.

sidneyandmatilda.com

THE WAEVE

The Leadmill // 19 March // £22.50

The Waeve – Graham Coxon and Rose Elinor Dougall – have made waves since the release of their debut album in 2023. The duo, now on their second album (City Lights, 2024) and debut EP (Eternal, 2025), bring their fusion of post-punk and British folk-rock sound to Leadmill’s intimate Steel Stage.

leadmill.co.uk

HOT 8 BRASS BAND

Network // 19 March // £25

Drawing on the jazz heritage of their native New Orleans, the Hot 8 Brass Band have earned a reputation for generic versatility, blending funk, hip hop, rap and the New-Orleansean variation ‘bounce’ to create their trademark sound.

networksheffield.co.uk

ALABAMA 3

Foundry // 20 March // £34.50

Brixton-born cowboys Alabama 3 – best known for their track ‘Woke up this Morning’, featured in the opening credits of The Sopranos – bring their eclectic mix of country, blues, rock and acid house to the Foundry. foundrysu.com

THE HOOSIERS

Network // 22 March // £24

Celebrating 15 years of their sophomore release The Illusion of Safety, The Hoosiers bring their infectiously upbeat pop-rock chart-toppers to Network.

networksheffield.co.uk

WORDS & PHOTO: PHILIPPA REVITT

Sheffield was a pretty cool place to be if you were making music in the 90s. Warp Records were becoming successful, Pulp were gaining national recognition, Babybird went to number one and, on the back of several 80s bands, the city had attracted a bunch of talented artists and musicians who were making some seriously innovative music. Out of that creative mix came All Seeing I, who were, and still are, Dean Honer, Jason Buckle and Richard Barrett, aka DJ Parrot. For a few years, they had hits that sounded like nothing else around at the time, but after one album, they decided to follow different musical paths. Now, what’s this? Their only album, Pickled Eggs and Sherbert, is being re-released in various formats, including, for the very first time, vinyl. Our veteran music guru, Mark Perkins, got all teary-eyed when we told him, so we sent him to track down the guys to find out more.

I know enough about the Sheffield music scene in the late-90s to realise that everyone seemed to know everyone else who was creating music in the city at that time. How did the three of you start working together as All Seeing I?

RB: Dean and Jason were living together in a shared house but didn’t really know each other. Dean had to move all his stuff into his bedroom, as his studio had kind of disappeared, and he had the room above Jason’s. I was working with Dean and, with Jason working downstairs, we just kind of wandered into each other’s paths.

JB: I was always on the hunt in charity shops for records I could use, mostly for drum breaks. Sometimes you’d find the odd vocal that you could lift as well. I found a Buddy Rich record called ‘The Beat Goes On’, which I kept playing. It was really that one particular record that started it all. Parrot and Dean heard me playing it, came down, listened and thought, yeah, we could use that. That was the start of us all working together. RB: Then one day, we were working upstairs and heard the Buddy Rich song creeping up. We were both like, ooh, what’s that then? We sampled it, changed it into what people will remember as the All Seeing I version and, when we released it, everything went a bit daft.

Did it take long to come up with an album of material?

DH: Yes, it took about two years from that first hit single to work out what we wanted to do. We didn’t have any other tracks. We came up with an idea of doing an oddball, Sheffield-focused album and roping in Jarvis Cocker to help with the top lines and lyrics.

I can see how you managed to persuade Jarvis, but how did you get Tony Christie involved in ‘Walk Like a Panther’? I would have thought by the late nineties, not having had a hit for years, he would have stopped recording.

RB: We were desperately trying to think of a singer we could use who was local, and we thought about him. But what we didn’t know was that by then, he was living in Spain. We put something in the Sheffield Telegraph saying, “Has anybody seen Tony Christie? We want him to sing one of our songs.” One of his relatives saw it and got in touch with him. We then sent a tape of ‘Walk Like a Panther’ over to him, and he thought it was terrible and threw it in the bin. Luckily, his son Shaun retrieved it and managed to convince him to do it. He wasn’t very happy about it. He was happy when we got on Top of the Pops, though. He was really happy. But he was no great lover of the song.

JB: We actually performed it on Top of the Pops two weeks running, with Tony one week and then with Jarvis the next. They were really keen to have us back, but on the condition that Jarvis would do it. Tony wasn’t very happy, though. It was quite unusual, as the song had actually gone down the chart. They bent the rules to let us on, as the songs they featured had to have gone up since the week before.

RB: I didn’t really understand the cultural differences between the side of the music business that Tony was involved in and the side that we were coming from. When we were first talking about it, I thought it would be like in the David Lynch film Blue Velvet, when Dean Stockwell is miming to Roy Orbison. But then you meet Tony and it’s all very chicken-in-a-basket, Batley Variety Club sort of thing. I don’t think that kind of vision was shared, so almost immediately, it all went a bit awry with him.

DH: It was more Bet Lynch than David Lynch! He’d had a lot of success in Germany at that time, on the schlager music scene, with its sentimental ballads and catchy tunes. That fame had taken him even further away from what we thought it could be. But he did the business when it came down to it in the studio.

Was there any desire to follow up the album with more music?

RB: I don’t think so. We felt it was over and wanted to move on. We were talked into doing a tour and, I can only speak for myself, but I wasn’t into all that.

Jason’s said before – and I think he’s right – we should have just been a singles band. We were never really a pop band that toured and made albums.

JB: We did get asked to do quite a bit of remixing other people’s stuff. Record labels thought they were going to get a version of ‘The Beat Goes On’ but with their singer on. Instead, they got a load of mad, electronic, garbled nonsense. We did about five of them – obscure stuff that never charted.

WE CAME UP WITH AN IDEA OF DOING AN ODDBALL, SHEFFIELDFOCUSED ALBUM AND ROPING IN JARVIS COCKER TO HELP WITH THE TOP LINES AND LYRICS”

How did you get to work with Britney Spears on her version of ‘The Beat Goes On?’

RB: She was a complete unknown over here at that time. She’d been doing the Disney show with Justin Timberlake. We liked what we’d seen of her at that point.

Is there any reason why Pickled Eggs and Sherbert is being reissued now?

DH: I’ve no idea really. There seems to be some sort of secret plot going on in the background.

JB: About five years ago, or maybe more, someone took on the old London Records catalogue and got in touch to say that they loved the only album we

ever made and wanted to reissue it. As it never came out on vinyl at the time, they asked if we could do that now. It was mainly their enthusiasm. We’re all pretty bemused by it, but if people like it, it’s all good. We’re all happy that it’s being made available again. Parrot has done some remixes, and it’ll be the first time on vinyl. Back then, it only came out on cassette and CD.

The videos for your singles were pretty groundbreaking too, and certainly got your music noticed.

RB: I think the video for ‘The Beat Goes On’ was what really made it a hit. It was Dawn Shadforth’s first music video and

got loads of airplay. At that time, she was just a friend who lived in Sheffield and was getting into making videos. She did such an amazing job on ‘The Beat Goes On’ that we asked her to do ‘Walk Like a Panther’ too. We shot it down at the old Castle Market with Tony Christie. She’s had a really good career since then, working with artists like Kylie, Oasis and Charli XCX, and has won loads of awards.

DH: Unlike us.

Pickled Eggs & Sherbet will be re-issued on 25 April as a fully remastered double vinyl and expanded double CD, featuring rare B-sides and new mixes.

CLAMS IN THEIR EYES RETURNS!

If you’ve ever found yourself wondering what it would be like if your mate Cal from the pub transformed into Kate Bush for one night only – or if a local legend could perfectly channel the energy of Iggy Pop – then Clams In Their Eyes is the event for you. Sheffield’s most chaotic tribute night is back for 2025, promising another unforgettable evening of DIY spectacle, passionate performances and all-out mayhem.

Taking place on 5 April, this year’s event will be held at Forge Warehouse – the perfect setting for the wild energy and immersive atmosphere that Clams In Their Eyes brings. With its top-tier sound system and ample room for dancing, it’s the ideal spot for a night of musical transformation and revelry.

Since its inception, Clams In Their Eyes has built a cult following in Sheffield’s underground music scene. What started as a one-off has evolved into an annual tradition, drawing fans from across the country who come to witness the city’s most dedicated musicians and nonmusicians alike pay tribute to their musical heroes. Past years have seen uncanny renditions of Prince, Madonna and even an eerily convincing performance

from a Michael Jackson lookalike.

The beauty of Clams is in its unpredictability. One moment, you’ll be watching a note-perfect Bowie tribute; the next, a squid-headed monster will be brawling a robot in a miniature cityscape. There’s a DIY spirit at its heart that keeps things feeling fresh, exciting and gloriously unpolished. No auditions, no pre-recorded vocals – just raw, unadulterated

entertainment and a touch of anarchy.

There’s nothing quite like it, and if you’ve never been before, 2025 is the perfect time to experience it. Whether you want to perform or just be part of the most supportive and electric crowd Sheffield has to offer, it’s a night that guarantees big laughs and big tunes.

For the performers, it’s a chance to step into the shoes of a star and live out their wildest

fantasies. For the audience, it’s an opportunity to witness some of the most creative, ridiculous and downright genius live performances the city has to offer. And for everyone involved, it’s a celebration of Sheffield’s thriving DIY music scene – a reminder that music is about having fun and not taking yourself too seriously.

With Clams In Their Eyes growing in popularity every year, tickets are likely to sell out fast. If you don’t want to be left outside wishing you were inside watching your mate absolutely nail a Bruce Springsteen impression, grab yours now.

Tickets are available from deliciousclam.co.uk. Follow @clamsintheireyes on social media for announcements, teaser clips and behind-thescenes chaos.

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

Not like us hip-hop / rap / r&b clubnight

£6.00, Doors 11:30pm, 18+

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 4 april 2025

lottery winners

£15.50, Doors 7:30pm

SATURDAY 12 april 2025

fleetwood bac

£19.00, Doors 7:00pm

thursday 17 april 2025 foundry x footprints jazz club:

K.O.G

£12/14/16, Doors 7:30pm

saturday 26 april 2025

Kiell Smith-Bynoe

£26.00, Doors 7:00pm

sunday 27 april 2025

razorlight

£30.00, Doors 7:00pm

sunday 4 may 2025

Beth mccarthy

£19.00, Doors 7:00pm

SATURDAY 13 sept 2025

antarctic

monkeys

£20.00, 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 ex:el live

£30.00, Doors 7:00pm

Sheffield’s Malah Palinka are carving out their own space in the local music scene with a genre-blending mix of jazz, funk and neo-soul. Exposed sat down with Evie (vocals), George (guitar) and Freddie (bass) to hear how their journey had a fairly unconventional start – formed through a mix of university connections, chance encounters and even a Tinder date gone wrong.

Malah Palinka’s seeds were sown when vocalist Evie had a vision for a neo-soul, jazz-influenced project and started recruiting, first bringing in drummer Tom and bassist Freddie, before posting on the Sheffield Musicians Facebook page. “It was a proper roll of the dice,” George says, “but we shared an interest in the likes of Hiatus Kaiyote and Snarky Puppy so were on a similar page. Thankfully, I turned up at Tom’s house, and it just worked.”

Keyboardist Ashly joined after finishing a music degree in Sheffield, and then came one of the more unusual recruitment stories. Tom happened to go on a Tinder date with Livs. There was no romantic spark, but by the end of the evening, he’d convinced her to join the band as a trumpet player instead. “And she brought Jay along too,” George laughs. “So technically, Tinder helped form the band. Things have moved around a bit since then – that’s part and parcel of a big band, but we’re currently settled as an 8-piece.”

From the start, the band wanted to blend jazz and funk with a more structured, song-based approach. “I think what makes us work is that we’re doing a lot of functional jazz stuff, but we’re cramming it into a pop format,” says George. “Perhaps there are other jazz bands who can play solos in circles

around us, but we write really fun songs.”

On that front, Evie brings a more instinctive, narrative-driven approach to the process. “I don’t have the same kind of music jazz theory background as some of the others do, so I write based on intuition and emotion. I’ll often come in with an idea, a story I want to tell, and we’ll build the music around that.”

The band’s DIY ethos also shapes their music, and they are currently selffunding their next album. “If we can do it ourselves at home, we will,” Freddie explains. “It saves money and gives us

more control over the process – but the other side is we’ll probably need another three or four grand to get it over the line.” ‘Baby Who Hurt You’, their most recent single, has already picked up nearly 25,000 streams and even landed a spot on BBC 6 Music. “It was at 4am,” Evie laughs, “but still, it’s technically national radio!”

Malah Palinka’s gigs are where they truly come to life. Their shows are highenergy, interactive and often a little chaotic in the best way. “Our last gig at Sidney & Matilda turned into a full-on dance-off,” says Evie. “There was this one guy just going for it at the front, and suddenly the whole section became a dance-off area. It was amazing. It’s fun to see people get a bit unhinged.”

“We’re getting better and better at making sure people have a good time,” George adds. “That’s the goal. We don’t want to come across as pretentious. It’s a party, and we’re just here to get people moving.”

Their first headline show at Yellow Arch Studios was a major moment and sold out without much effort. “There’s eight of us,” George points out. “If we all bring 20 people, that’s a full house.” Since then, they’ve played Tramlines – both on the official lineup and at fringe events –and are starting to get booked for more festivals.

While big mainstream festivals are on their radar, they see more of a natural fit in jazz and funk-focused events like Love Supreme, Manchester Jazz Festival and Mostly Jazz in Birmingham. “Those festivals feel more like our sort of  crowd,” says Evie. “People who are into jazz, but also just love to dance.”

Sheffield has long had a reputation for being dominated by indie and guitar-led bands, but that’s starting to change. The band have witnessed the shift firsthand, particularly through the growth of Footprints Jazz Club and the network of musicians emerging around it.

“Musically, Sheffield’s been seen in a certain way for a while,” George says. “It’s taken time, but we’re starting to see a bit more variety now – there are some great promoters like Dave Sheard of Footprints and smaller venues like Alder that are dragging things uphill. There’s a bit of a scene now.”

Once the album is finished, the band are planning a tour, hoping to take their energetic live show across the north. A bit closer to home, their next Sheffield show takes place on 20 June at Factory Floor – one to catch if you like your gigs packed, sweaty and full of impromptu dance-offs.

If that sounds like fun, we'll see you down the front...

@malahpalinka

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OH, BROTHER!

It’s been a good few years since Prefab Sprout last played Sheffield – 1985 at The Leadmill, in fact – so you could say their return is long overdue. But while frontman Paddy McAloon is still writing and making music, he suffers from Ménière’s disease and has a detached retina, meaning he sadly no longer performs live.

But hang on, what’s this? Martin McAloon, Paddy’s brother and the band’s bass player, is all set to rock up at Sidney & Matilda to perform all those Prefab Sprout classics once again. Just about the only person around here seasoned enough to remember that aforementioned Leadmill gig is Mark Perkins, so we sent him on a mission to find out what’s going on.

Some of the old Prefab Sprout songs are still some of my most-played tracks, even now. Have you been performing them for long?

Not really. It all started as a lockdown thing. I was talking with an online group of Prefab Sprout fans, and they asked me to contribute a few songs and sing them live. I don’t think they knew I could play guitar, as I was the bass player in the band, but obviously, I knew the back catalogue. Even though I’m not really a singer, I’d said yes to them, so I thought I’d have a go. I was kind of thrown into it, but a few days later, I found myself playing some of the old songs live to an online group of fans.

thing and going to Nashville, but by giving it over to Visconti and the musicians he brought in.

Not long after that, I was with an old mate in Hexham and played some songs on one of his acoustic guitars. I started playing an old Prefab song called 'Appetite', from the Steve McQueen album. I asked him what he thought, and he said, “I’d give you a gig.” So it just went on from there. I’d always thought in the back of my mind that I could have a go but never did anything about it. Chatting to my mate and the online fan community made me realise I could do it.

Wasn’t Prefab Sprout just you and your brother to begin with?

There were originally three of

us. We had Michael Salmon on drums, who has sadly just died. We were all school friends – his sister used to babysit us, which shows just how long we’d known each other. I started playing guitar alongside Paddy, and on top of playing our own versions of T. Rex and Bowie songs, we started playing songs Paddy wrote.

We were very much influenced by the music people around us were playing at the time. We obviously heard lots of early Motown and The Beatles, but also more adventurous music like The Groundhogs and Frank Zappa. There wasn’t really much music on the radio – maybe on Radio Luxembourg – but it was the people you came into contact with who influenced you the most.

Over the 10 albums you’ve made since Swoon in 1984, Paddy’s songwriting has remained a constant, but the ‘Prefab Sprout sound’ has changed over time.

If we’d made those records at a different time, they wouldn’t have sounded the way they do. If we’d made the Steve McQueen album five years earlier, we would have had different influences. The radio stations would only play a certain ‘modern’ sound, so we adapted.

The tempos change, the technology is different, and having Thomas Dolby involved early on in our career was a huge influence on our sound. We played him raw versions of lots of songs, some of which we had stopped playing live because we were tired of them, and he chose the ones for us to record. Some of them were songs from 1976, when we were still at school, but they were his choices.

When we worked with Tony Visconti on The Gunman and Other Stories in 2001, we liked what he’d done with Bowie on Young Americans, where he brought in polished American musicians and singers. We made a different kind of country album by not doing the obvious

The 2003 album I Trawl the Megahertz wasn’t one I knew until recently, but when I heard it, it was a revelation. I’ve listened to it quite a lot since. Yes, it really was something different – not like anything Prefab Sprout had done before. There are classical orchestrations and spoken word sections, very much reflecting what Paddy was going through at the time as his sight was failing and he was writing songs in a different way. But being almost entirely instrumental, and difficult to fit into any specific genre, people couldn’t give it a label. No one knew where to play it. It didn’t fit on Radio 1 or 2, and Radio 3 would see the name Prefab Sprout and think, “'King of Rock ‘N’ Roll'? Why would we play them?”

It would do so much better today with streaming. It fits perfectly into a playlist for relaxation or jazz, and nowadays it would find its audience much more easily. It got no promotion because no one knew what to do with it.

When was the last time you and Paddy played together as Prefab Sprout?

It was in 2000 in Dublin. We were on a short tour, and obviously, we didn’t know it would be our last gig together. He’s not able to perform live anymore, but he’s still writing songs and recording them too. They’re just for himself at the moment, but if and when the time is right, he’ll let us hear them.

Martin McAloon will be playing Sidney & Matilda on 21 March. Tickets available from sidneyandmatilda.com.

Grief has a way of changing how we look back on the past. For filmmaker Dave McLeavy, it meant revisiting the life of his father, Mike, through the simple yet profound act of cycling. Dear Dad, McLeavy’s debut short film premiering at ShAFF, is more than just a tribute – it’s a heartfelt exploration of memory, loss and the deep bonds between a child and a parent. Through home videos, cherished memories and the comforting hum of two wheels on an open road, McLeavy has crafted a moving homage to the lessons and love his father showed him through the years.

WORDS: MEGAN POCOCK

Tell me a bit about yourself and how you got into filmmaking.

I grew up in Hull and moved to Sheffield when I was 18 to go to art school. Part of that was exploring sculpture, painting and lots of different areas within the visual arts. After that, I worked in various careers, predominantly in the arts and culture sector, as a contemporary art curator. I was organising exhibitions and running galleries, but I was never really making anything of my own, especially in film.

More recently, I took a bit of a diversion into charity work, where I rediscovered filmmaking. I started making short films for social media to help charities engage with people. This film was essentially born from that rediscovery.

Tell me a bit about the inspiration for the film.

The film I made turned out very different to the one I originally planned. I’m a keen cyclist, and that comes from my dad – his dad was a cyclist too, so it was passed down.

I started filming in 2023 when I set myself a challenge to cycle from one side of the country to the other. The idea was to create a film about endurance challenges and living with type 1 diabetes. Originally, it was about overcoming challenges through cycling. I filmed a lot of interviews with people around me, asking how they got into cycling. We recorded countless hours of footage for what was meant to be a 45-minute to an hour-long feature documentary.

By the summer of the following year, when I revisited the edit, I realised it wasn’t the film I wanted to make anymore. Instead, I created this 11-minute short film as a tribute to my

THE FILM I MADE TURNED OUT VERY DIFFERENT TO THE ONE I ORIGINALLY PLANNED

father. Losing one parent makes you want to honour those who are still here, and that’s what shaped Dear Dad

What were some of the challenges you faced in the process of making the film?

One of the biggest challenges was piecing together footage that was never meant to tell this story. It felt like ripping up a book and trying to create a new story from the remaining pages.

What I realised was that the interviews with my dad had a real authenticity because he didn’t know the film was about him. You almost can’t capture that naturally if you try again.

The other challenge was figuring out how to end it and how long it needed to be. Every time you add another element, you risk making the film longer and losing some of its rawness.

What is something that surprised you about the process?

When I used to make artwork, I always thought about how the audience would interact with it. This is the first time I’ve made something without considering anyone but my dad. And actually, I think it’s a stronger piece of art because I wasn’t trying to play to expectations.

The film explores love, loss and family bonds. What do you hope people take away from it?

I hope people come away with a deeper appreciation for the moments they share with others because nobody is around forever. Through the film, I wanted to highlight the relationships we admire and encourage people to spend time with loved ones – to say what they need to say while they still can. It’s that cliché of loss making you appreciate the people who are still here.

From a technical perspective, I also want people to see that you don’t need expensive equipment to make something meaningful. It’s not about the technical quality – it’s about the story.

What’s next for you as a filmmaker?

Are you working on anything new?

I’m working on another film focused on one person – an artist in Sheffield. I want to document the habits and brilliant peculiarities of someone who’s been painting for 20 years with mixed success. It’s about following their journey and capturing them on film.

I’ve been reluctant to rush into making something new because it’s important to find the right subject. I don’t want to feel like I have to create something just for the sake of it because that’s when quality diminishes. I want to take my time and make the right films.

Dear Dad is one of around 100 travel, adventure and extreme sports films showing at ShAFF between 21-23 March at Showroom Cinema. For the full programme and ticket information, head to shaff.co.uk.

FILMS | TALKS | WORKSHOPS | RUNS | EXHIBITORS | KIT SWAP | PARTY MARCH 21ST - 23RD 2025. THE SHOWROOM CINEMA

SPRINGING FORWARD

March has arrived, and Sheffield is brimming with LGBTQ+ events that celebrate community, culture and creativity. Here’s your guide to the must-attend LGBTQ+ events in Sheffield throughout March!

For those who enjoy live music, March offers several exciting performances.

RADMASH Spring Fundraiser (Sat 1 Mar) at Gut Level kicks off the month with a fantastic mix of live performances and activities. Gut Level LIVE: ddwy, Vera Sacra, Inner Totality (Sat 15 Mar) brings a dynamic lineup of local bands, while Classical Sheffield – New Music Ensemble (Sun 23 Mar) showcases classical music celebrating LGBTQIA+ composers.

Later in the month, Heather Findlay and Robyn Gair (Fri 28 Mar) at the Lantern Theatre promises a beautiful, intimate live music experience. Additionally, GL Presents: Tia Cousins, Sena, Gut Level DJs (Sat 8 Mar) is another must-attend event for music lovers.

Sheffield has plenty to offer if you’re looking for relaxed social gatherings. Trans Active Swimming (every Sat) at Heeley

Pool provides a welcoming space for transgender individuals and their allies to swim and socialise. Rainbow Minds (every Wed) at the Wellbeing Centre focuses on LGBTQ+ mental health, offering support and a place to unwind.

For food lovers, Gut Pleasers –Communal Meal (Wed 5 Mar) at Gut Level is a great chance to enjoy good food and great company. Meanwhile, Out Sheffield’s Endcliffe Park to Forge Dam Walk (Sat 8 Mar) offers a scenic escape into nature with fellow community members. Looking for relaxation? Breathe Easy (Mon 17 Mar) at Gut Level provides a calm social space to de-stress. If you enjoy creative activities, Craft Social (Wed 12 Mar) at Gut Level is the perfect opportunity to get hands-on with arts and crafts. Over 50s LGBTQ+ Group (Thu 13 Mar) at Weston Park Museum is a dementia- and

neurodivergent-friendly event tailored for older LGBTQ+ individuals. Later that evening, Cruise – LeatherDyke Bar Night (Thu 13 Mar) at Gut Level celebrates leather and kink cultures in a relaxed, inclusive setting.

If you’re in the mood for thoughtprovoking discussions, Sophie Lewis: Enemy Feminisms in conversation with Erin Maglaque (Wed 5 Mar) at The Victoria will explore queer theory and politics. Meanwhile, Folk Session (Thu 6 Mar) at Gut Level offers an evening of live performances in a warm, welcoming atmosphere.

For those who love to dance and party, Sheffield’s LGBTQ+ club nights and DJ events have you covered. Sassy Saturdays with DJ Brooke (Sat 8 & 15 Mar) at Malin Bridge Inn promises a high-energy night of music and fun. Over at Gut Level, Happy Endings w/ Marie Malarie + Residents (Fri 7 Mar) is set to keep the dance floor buzzing.

Drag fans won’t want to miss Drag Karaoke with Emma Maezin (Fri 7 & Sat 15 Mar) at The Ball Inn, bringing fabulous performances and singalong fun. For those looking to learn something new, FLAW DJ Workshop & Social (Tue 4 Mar) at Gut Level provides an inclusive, queer-friendly space to try DJing.

Comedy lovers will find plenty of laughs this month. Justina Seselskaite – Settled (Wed 19 Mar) at Steel City Comedy is a must-see stand-up show exploring themes of belonging and identity. Quacks (Wed 19 Mar) at Showroom is a supportive space for LGBTQ+ individuals to test out their stand-up skills.

Gut Level & Juno Books present T. Thomason’s Dirty Thoughts Tour (Thu 20 Mar), offering raw, authentic queer storytelling. Closing out the month, Ugly Duckling: Queer Experimental Comedy Open-Mic (Mon 31 Mar) at Gut Level is the perfect chance to see fresh LGBTQ+ comedic talent in a welcoming space.

For film lovers, QTIBPOC Cinema Club (Tue 18 Mar) at Gut Level screens films focused on queer and trans people of colour, followed by insightful discussions.

For something a little different, Rainbow Gamers (Sun 30 Mar) at Treehouse Boardgames Café invites the LGBTQ+ community for an afternoon of board games and fun.

That’s your lot for March!

Be sure to check out the latest updates and announcements on the Sheffield LGBTQ+ Events Facebook page.

Make sure to check out the latest event announcements at facebook.com/ sheffieldlgbtevents.

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The Moor or Kelham Island?

We have 2 places for you to try our Szechuan food, join us at our Restaurant on the Moor or at our new street food stand at Cutlery Works.

41 Boston Street, Sheffield, S2 4QF

Sweet Christmas Add On Add a crème brûlée for £1.50 when purchasing any boba drink. (Crème brûlée in its own: £2.50 each),

Gingerbread Boba (go hot +30p)

Merry Matcha £6.50 (cold only)

Cinnamon Boba £5.50 (go hot +30p)

Chocolate Strawberry £6.50 (cold only)

BRINGING THE HEAT

Tennessee Williams’ A Streetcar Named Desire is a play that has captivated audiences for decades with its raw emotion, explosive conflicts and unforgettable characters. As a new production takes to the stage at Sheffield’s Crucible Theatre this month, we spoke to Jake Dunn about stepping into the complex role of Stanley Kowalski.

A Streetcar Named Desire was first staged in 1947. Why do you think the play still resonates with audiences today?

I suppose, firstly, because of the obvious – Williams wrote something unbelievably brilliant and terrifying.

These characters feel on the edges of their skin in that New Orleans heat, and they live their lives radically opposing each other. That’s how the play starts. It only gets more insane from then on.

Stanley Kowalski is a complex and difficult character to play. How have you approached bringing him to life in this

production?

I don’t know, if I’m honest. I was surprised when I got to audition for the part, and even more surprised when I got the part. I hadn’t seen Streetcar before, so I didn’t have a relationship with it prior to rehearsing at the Crucible.

Before rehearsals started, I remember reading Williams’ memoirs, and then, for some reason, Stanley reminded me of Jackson Pollock, so I watched documentaries about him... I’m not sure why.

He’s not easily describable, so anything that felt restricting in a cerebral way, I’ve tried to steer clear of. Instead, I’ve focused

about how people choose to live their lives, the fictions they live by, and what happens when those fictions overlap with or oppose the truth.

Hopefully, we just share the story with you. That’s the goal on my end at least.

JOSH SAID EARLY ON THAT NO ONE IN THE REHEARSAL ROOM HAS TO TRY AND BE A GENIUS. WILLIAMS IS THE GENIUS. WE'VE ALREADY GOT THE GENIUS.”

on getting to a place of not thinking as we rehearsed scenes and trying to be as instinctive as possible.

How has Josh Seymour’s direction influenced your portrayal of Stanley and the production’s overall feel?

Josh said to me really early on that no one in the rehearsal room has to try and be a genius when we start. Williams is the genius. We’ve got the genius already. Let’s just play. I found that really useful.

Different productions emphasise a number of different themes, from class divide to mental health. What do you think this production brings to the forefront?

It’s so hard to know when you’re inside the play. I suppose Streetcar is a story

Stanley’s relationships with Blanche and Stella are central to the narrative. How have you and your co-stars developed these dynamics during rehearsals? By being kind to each other! But seriously, it is a heavy play. You want to keep that drama on the stage and be as deliberately kind and careful off stage, protecting each other as best you can. I feel very lucky to be acting opposite Jo [Vanderham, playing Blanche] and Amara [Okereke, playing Stella]. I’ve admired them both from afar for the last few years.

What do you hope audiences in Sheffield will take away from this production?

I feel spoilt getting to play this part at the Crucible, so hopefully, it’s as exciting for the audience to watch our show as it is for me getting the chance to do it!

A Streetcar Named Desire runs at the Crucible from 1-29 March. Tickets (£15-£43) are available online from sheffieldtheatres.co.uk or by calling the box office on 0114 249 6000.

A red cowboy boot taps rhythm, On a beer-stained sawdust floor, Since his woman done left him, We’ve seen him in here more and more. Because it’s £1.75 for a pint of Best and the bar staff know him by name, The jukebox only goes up to 1989 because all that modern shit sounds the same. And he’ll get his axe and harp out, When it comes to Friday night, He’ll play your requests if he knows them, Whilst the regulars clap in time. The pin badges on his leather waistcoat tell the story of his life, a dust up in every continent (where there’s gaps, he spent time inside) He wears a stars and stripes bandana, An earring of real gold, That he won after a knife fight in Bogota (well, that’s the story we got told).

‘Babe, I tell thee, I’ve travelled The Seven Seas From China to Waxahachie, And there ain’t no place in this whole damn world, Like Barnsley, Tennessee’

Taken from David Venn’s recently released collection of poems, Hell’s Angel Coffee Morning (@hellsangelcoffeemorning).

Signed copies available from davidvennwriter.wordpress.com.

Illustration: Helen Frank (@helen___frank)

FESTIVAL OF THE OUTDOORS 2025

1-31 March // Various Locations

As the days get longer, drier and warmer in Sheffield, it’s time to celebrate what it means to be The Outdoor City. This March, the Festival of the Outdoors returns with everything from large-scale international sporting events to guided walks to some of the world’s hardest bouldering problems. Get your thrill of adventure with canoe taster sessions, weaselling at Higger Tor, climbing at Burbage North, and stand-up paddleboarding along Sheffield’s canals. welcometosheffield.co.uk

ZOE LYONS: WEREWOLF

18 March // Playhouse

If life is a journey, Zoe’s has been full of potholes and detours – from diving with sharks to sharing a shed in Vietnam with a former health secretary (and discovering that MPs aren’t the only parasites to fear). Navigating happiness can be exhausting, but something has shifted – not menopause, but a real change.

sheffieldtheatres.co.uk

TOXIC

20-21 March // Playhouse

Toxic follows two queer people who “meet, fall in love, and f*ck it up.” Their intense bond offers hope, but past traumas seep into their relationship –sexually, emotionally, even physically. As they cling to survival, they must decide: does love mean holding on or letting go? sheffieldtheatres.co.uk

CLASSICAL WEEKEND 2025

21-23 March // Various Locations

Classical Weekend is back, ready for another vibrant celebration of Sheffield’s extraordinary music makers. From free pop-up performances to £5 concerts from the likes of Crescent Recorders and Karou Bingham at Upper Chapel, the festival is brimming with classical talent. classicalsheffield.org.uk

BANGERS

25-28 March // Playhouse

Tracks are spinning, and the night is still young. Two headliners weave together stories of love, sex and the power of music – all set against a backdrop of precarious lives in urban London. Featuring early noughties-inspired tracks alongside present-day R&B and garage, Bangers explores the highs and lows of two strangers struggling with their pasts while racing towards the future. sheffieldtheatres.co.uk

THOMAS FOWLER

Charlotte Colley sits down with Sheffieldbased artist Thomas Fowler to discover what drives his surrealist artwork and globetrotting ink paintings…

Could you tell us how you first got involved in art and any of your early artistic influences?

I’ve always been naturally drawn to art. When I was a kid, I was constantly drawing and sketching. I loved computer games, such as Warhammer, and always wished I could draw like that. It all led me to study illustration at Liverpool John Moores University, where I got into painting with ink. I always say I’ve been painting since 2011 because that’s when I started university.

A lot of your artwork seems to be inspired by travel. Does that come from your own experiences?

Definitely. I started travelling in 2015 when I went to Vietnam with a friend, and since then, I’ve been completely taken over by the idea of living abroad. It’s my main passion outside of painting, so I started teaching English abroad. I lived mostly in Thailand but worked in Taiwan for a few months over Covid, so a lot of the imagery I use in my artwork is inspired by Asia. I just love the aesthetic – there’s a very defined and recognisable style. When I was younger, I used to draw loads of samurais, and that still influences my ideas today.

Hybridity features a lot throughout your work. What is the purpose of combining different elements and creating abstract pieces?

I like to see things I don’t normally see in real life or interpretations done in a way that makes me think that’s amazing. In a way, it’s escapism. At the moment, I’m developing my visual language, but I’m drawn

to surrealism and art that makes people think, 'How’s he done that?' The narrative is typically surrealist escapism – things that are a bit bizarre. I just like creating feelings of wonder and amazement.

Your most recent project was your illustrative work for Postmodern Hustle, a story book by Sheffield writer Akeem Balogun. What was your favourite part of the process?

My favourite part was seeing my work printed and contextualised with a really good story – it looked so professional. It was a challenge because I had to interpret what Akeem was thinking without a reference, relying purely on my imagination, which is much harder to do. Since university, I’ve never seen my work published in that way, so seeing it in print was really satisfying.

What messages and values do you hope people take away from your artwork?

I want people to think that imagination is great and that being able to create from it is a valuable skill. Also, a lot of hard work and practice go into art and painting, so I hope people see that effort leads to great work. I want them to be impressed, to wonder, and to feel inspired to be imaginative. I also want to give people a sense of escape from reality – because reality can be quite hard, especially nowadays. Art is great, and hopefully, people feel inspired to try it when they see my work.

For my last question, what advice would you give to aspiring artists?

If you love art or the idea of it,

I’M DEVELOPING MY VISUAL LANGUAGE, BUT I’M DRAWN TO SURREALISM AND ART THAT MAKES PEOPLE THINK, 'HOW’S HE DONE THAT?'”

then I think you should go to university and do an art degree. For me, I love painting – not necessarily the art industry itself. I don’t get as much from art

as other people, but I love the process of creating.

If you want to be an artist, you have to be prepared to develop many other skills. You have to learn to be a businessperson, build a network, and, if you’re not naturally social, become more outgoing. You also need to learn how to use social media and market yourself – something I struggle with. My other advice would be to go into graphic design. That way, you can be creative, earn a paycheck, and still work on your personal art. Ultimately, you just have to know how to promote yourself and put your work in the right places – there will always be someone who likes your art.

@thomas.d.fowler

GHOST STORIES @ LYCEUM THEATRE

Those of a nervous disposition – or more specifically, an aversion to hideous forms leaping from darkened spaces – should be warned that Ghost Stories may not be the ideal theatre night out for them.

However, if jump scares and multilayered supernatural storylines give you a thrill, there’s ample reason to see a show that dominated the West End, broke records, toured the globe and inspired a well-received screen adaptation produced by Sheffield’s own Warp Films.

In the opening scene, the audience meets protagonist Professor Goodman (Dan Tetsell), who begins proceedings with an insightful lecture on humanity’s longstanding relationship with the paranormal. A committed and levelheaded sceptic, Goodman begins by convincingly explaining how those in power once used the fear of ghosts to control societies. He also delves into the psychology behind supernatural beliefs, demonstrating how people can be led to ignore rational explanations, allowing experiences of pareidolia – perceiving paranormal images or sounds in otherwise innocuous stimuli – to create the illusion of ghostly encounters.

As his self-assured and sometimes humorous presentation draws to a close, Goodman admits a vulnerability to the audience: despite his long career debunking ghost stories, three cases continue to haunt him. From here, we are transported into the chilling recollections of night watchman Tony Matthews (David Cardy), anxious teenage boy Simon Rifkind (Eddie Loodmer-Elliot) and wealthy businessman and expectant father Mike Priddle (Clive Mantle).

We leave the joviality of the lecture hall and, through clever set design, tension-raising lighting techniques and immersive sound effects – both subtle and bloodcurdling – are pulled into a trio of terrifying scenarios. As the dread grows with each scene, unfolding events grow ever more inexplicable, hinting that there is far more here for the increasingly disoriented professor to unpack.

All the cast play their roles incredibly well. Cardy, Loodmer-Elliott and Mantle each present strongly formed

characters that you can get a good measure of despite their relatively short stage appearances (the whole play is just 80 mins). Tetsell is particularly engaging, presenting a slick, composed performance to begin with before running the whole gamut of emotions as the play moves through its paces.

I’ll say no more at risk of spoilers –and if you’re going in blind to this show, you really want to remain in the dark for the full effect. That said, even if you know what’s coming, I can guarantee you’ll still get more than your fair share of jolts and shocks, eventually owning up to a slight sense of relief when the lights go back on and the nightmare is over.

4/5 JF