NARC. #192 March 2023

HOLY MOLY & THE CRACKERS

TRUNKY JUNO

BROOKE BENTHAM

HENRY ROLLINS

TYNE TO STAND UP… AGAIN

9—26 March

32 HOLY MOLY & THE CRACKERS

Mera Royle talks camaraderie, creativity and collaboration with Newcastle’s vibrant folk-rock outfit, who are set to release their delightfully fresh-sounding new album, Solid Gold

At the time of writing, a combination of events out of my control and a rookie/silly error from me (that has gradually snowballed) has meant that the chances of getting everything submitted before deadline day are slimmer than the bright-eyed, bushy-tailed me at the start of my NARC. editorial adventures would have liked.

That said, I am writing to you from the past and unless the person reading this is my biographer who is browsing my Google Drive for content for 2083’s best seller, you probably have something resembling a NARC. Magazine in your hands. Therefore, by hook or by crook, I’ve made it work.

My six weeks or so at the helm of a good chunk of the mag (Claire, who is taking a much-needed holiday, was still managing the reviews as only someone with her super powers is capable of running the whole thing) has been a hard but worthwhile experience. As you peruse the many pages (fingers-crossed) of super-cool cultural content, wondering why I have replaced most of the full stops with semicolons or repeated copy on pages 37, 46 and 53, then please take comfort in the fact that we have a team of talented writers that are passionate and committed to shining a light on all that’s great and good in the region… And nothing, not even an overstretched, incompetent me, can get in the way of that. It’s been an absolute pleasure working with them and I thank them all for their hard work.

Editor in Chief

Claire Dupree info@narcmedia.com

Editor

David Saunders Website

David Saunders

narcmagazineonline@gmail.com

Creative El Roboto

Advertising

Claire Dupree info@narcmedia.com

Stay social, connect with us

NARC.magazine

@narc_magazine

@narcmagazine

NARCmagazineTV

Cover Image

Craig Newton

Live Photography

Tracy Hyman / Victoria Wai

Contributors

Jake Anderson / Tom Astley / Jade Mia Broadhead / Jonathan Coll / Laura Doyle / Mark Grainger / Lee Hammond / Gus Ironside / Lizzie Lovejoy / Ben Lowes-Smith / Robert Nichols / Evie Nicholson / Michael O’Neill / Ikenna Offor / Adam Paxton / Niamh Poppleton / Helen Redfern / Damian Robinson / Elodie A Roy / Mera Royle / Steve Spithray / Dawn Storey / Leigh Venus / Robin Webb / Jennifer Wilson / Maria Winter / Cameron Wright / Matt Young

VISIT US ONLINE WWW.NARCMAGAZINE.COM

PREVIEWS

4 HIGHLIGHTS

Skimming the cream of March’s events

6 MARCH PREVIEWS

Live shows from Rozi Plain, Young Father, Napalm Death, Sfven, Death Valley Girls, No Age, The Pharcyde, The Go! Team, Iceage, Black Shape, Suede, Lisa O’Neill, Alison Cotton, Marc Bird, God Is War, Rachel Baiman, DIzraeli, Father John Misty, Roe, Skinnyman and Fuzzy Sun; comedy courtesy of John Kearns at The Witham, Ivo Graham at Hullabaloo, Michelle de Swarte at The Stand and Troy Hawke at O2 City Hall; there’s exhibitions from Jim Moir at The Biscuit Factory and Deep Horizons at MIMA, theatrical productions include Kin at Northern Stage, Love It If We Beat Them at Live Theatre, MAD(E) at Arts Centre Washington and so much more!

52

Reports from the front row of The Murder Capital, Pit Pony, Benefits, Mogwai, Warm Digits, The Lathums, SLUG and more

55

Featuring The Symptoms, Denis, Evsy, Trust The Ravens, Cafe Magrana

56

Reviews of local singles and EPs from The Woven Project, Coral Snake, The Dawdler, The Ilfords, Scott Wilson, Lost Lot, Holly Rees and many more

59

Featuring Sleaford Mods, Kele, Dutch Uncles, H. Hawkline, Deerhoof, The Hold Steady, slowthai, Xiu Xiu, Death And Vanilla and more

62 MIXTAPE

Kelly Edgar from Felt Nowt picks some of her favourite tracks ahead of the Tyne To Stand Up... Again fundraiser

Next Issue Out 29th March

PREVIEWS

MARCH’S MIX OF CULTURAL WONDERS FEATURE AN IMMERSIVE FOLK MUSIC EXPERIENCE, AN EPIC EVENING OF HARDCORE, A POLITICAL PROTEST IN THE FORM OF DANCE AND SO

MUCH MORE.

MUSIC

ART & LIT UNTIL 23

JUVENILE JAZZ BANDS EXHIBITION

In partnership with The Tish Murtha Archive, The West End Women and Girls Centre are bringing Newcastle-born social documentary photographer, Tish Murtha’s Juvenile Jazz Bands photographs home to Elswick. Her work documented working-class life in the North East and will no doubt bring back memories for some.

www.westendwomenandgirls.co.uk

MUSIC FRI 3

HERB, HOP & FOLK

Herb, Hop & Folk at Great North Museum, Newcastle is an immersive cultural experience of food, drink, craft, foraging and music which aims to bring you closer to the history of the North East. Enjoy the hauntingly beautiful Noize Choir to experimental melodic sounds from musicians and composition students and staff from Newcastle University. www.greatnorthmuseum.org.uk

FILM TUES 7

IRIS PRIZE 2022

There were a huge variety of movies screened at 2022’s Iris Prize LGBTQ+ Film Festival, which showcased stories from around the world. Tyneside Cinema will be screening some of those that were best in their category, as well as an introduction from Berwyn Rowlands, the Festival Director of the Iris Prize.

www.tynesidecinema.co.uk

COMEDY

SAT 18

LIBRALIBRA

Describing themselves as a ‘chaotic postmodern Frankenstein’s monster’, Brighton’s LibraLibra draw influence from art-pop and punk to create some truly exhilarating music. The DIY collective will be bringing their reflective hook-laden bangers to Zerox, Newcastle and those seeking fun and/or inspiration should make sure they’re in the front row.

www.libralibramusic.bandcamp.com

SAT 11 JACOB HAWLEY

Award-winning comedian Jacob Hawley brings his critically acclaimed show BUMP to Alphabetti, Newcastle. Expect witty discussion about mental health, social class, drugs, antipasti, and whether he is ready to be a father, in what the British Comedy Guide described as ‘an impeccable hour of man and mic stand-up’. www.jacobhawley.co.uk

MUSIC SUN 12

HALF DEAF CLATCH

Promoters Down By The River will be living up to their names as they host their monthly Sunday afternoon soiree at Stockton’s The Georgian Theatre, situated by the banks of the Tees. Bringing the sounds are the slidestomp-blues machine that is Half Deaf Clatch and folk artist Alistair Gordon.

www.downbytheriver9.com

MUSIC SAT 18 & SUN 19 / SAT 25

UNITY FESTIVAL

Come together for Skimstone Arts’ UNITY Festival, a three-day programme of events to celebrate humanity, nature and social action, taking place at Preston Park Museum on Saturday 18th and Sunday 19th March and Ouseburn Community Centre on Saturday 25th March. Enjoy some free live music, performances, exhibitions, creative workshops and outdoor trails.

www.skimstone.org.uk

MUSIC TUES 21

HOT GARBAGE

Toronto’s psych outfit Hot Garbage bring their unique sonic soundscapes to Little Buildings, Newcastle for a midweek blast of fuzzed up post-punk inspired rhythms, shiny metallic melodies and groovy guitar gorgeousness. Joining them are Pink Poison with their playful, yet demonic, brand of blues.

www.hotgarbagemusic.bandcamp.com

Image by Alfie Bungay

ART & LIT

COMEDY LUCY PORTER

Everyone’s favourite TV and radio comedian, Lucy Porter, brings her brand new stand-up show to The Witham, Barnard Castle. Wake Up Call is a show about revelations, realisations and epiphanies of all sizes and covers a load of random subjects, including bin collections, cats, school fair booze tombolas and the Scottish Enlightenment. www.lucyporter.co.uk

THURS 23 AMRA SHOBAI AIKHANEY (WE ARE HERE)

Black and minorities women-led community arts project Sangini marks 20 years of engagement with women from all walks of life through arts, culture and heritage, with an exhibition at Arts Centre Washington. The work follows their story, which has been interpreted in a unique way courtesy of Sunderland Women’s Art Group.

www.sangini.co.uk

STAGE

STAGE SAT 25

WE THE QUEERS

Queer arts group Bordello Collective curate their all-star night of cabaret at ARC, Stockton which features some of the finest queens the UK has to offer. On the bill is Liverpool’s art-house witch and high duchess of beige, Pretentious Dross, alongside lip-sync specialist Quiches Lorraine, the multi-talented SKANKII KANDL and the zestful MONARCHY. www.bordellocollective.com

MUSIC

MUSIC

FRI 24 HOT HOUSE

To celebrate its tenth anniversary, internationally renowned company Richard Chappell Dance bring their new show, Hot House, to Dance City, Newcastle. Featuring music inspired by Chinese, Indian and European classical music, the performance is a passionate response to frustrations felt by many regarding the current political climate. www.dancecity.co.uk

SAT 25 PEST CONTROL & TS WARSPITE

If you like your rock music intense and undiluted, then head to Conviction Records and Flat Four Records’ night of hardcore punk at The Lubber Fiend, Newcastle. Mosh to Leeds Thrash metal outfit Pest Control, Manchester punks TS Warspite, Leeds noisemakers Fate and North East bands Spit and A Life Less Ordinary. www.convictionrecordsuk.bigcartel.com

THURS 30

CERAMIC AND SUNBEAM

Newcastle craft beer bar & events space, Mosaic Tap are putting on a night of indie delights featuring two must-see up-and-coming acts. Newcastle’s Ceramic play a vibrant blend of 70s glam, 80s New Wave and modern post-punk. Joining them is Whitby’s Sunbeam who perform anthem indie with an electro-acoustic twist.

www.instagram.com/ceramicband

STAGE THURS 30 / FRI 31

TOO MUCH WORLD AT ONCE

Northern Stage plays host to Billie Collins’ new coming-of-age production about a boy who transforms into a bird on his 15th birthday; his sister, who notices that all the birds have gone missing, and their mum, who tries to stop the house from falling apart. Intriguing stuff.

www.northernstage.co.uk

MUSIC FRI 31

THE UTOPIATES

This Feeling’s band to watch in 2022, The Utopiates, drop by Independent, Sunderland. Their sleek, electro-tinged indie sound, soulful vocals and incredible live show make this a not-to-be-missed event. Throw in the fact that Newcastle alt-indie outfit Kites will be there too and this becomes a dead-cert for your diary.

www.theutopiates.com

Image by Meline Gharibyan

Image by Jack Thomson

EVENTS OH BONDAGE UP YOURS! @ NEWCASTLE UNIVERSITY

Words: Claire Dupree

Newcastle University’s series of INSIGHTS public lectures are designed to provoke and stimulate conversation, and the event in celebration of International Women’s Day on Thursday 9th March will cover key ideas in the

history of the fight against the oppression of women.

Provocatively titled Oh Bondage Up Yours!, Dr Hannah Dawson from King’s College London leads a discussion around the history of feminism, taking audiences on a whistle-stop tour from Christine de Pisan’s City of Ladies – a groundbreaking work for its time, written in 1405, which made a significant argument for women and their capabilities when misogynist male writers were the norm – to the feminist utopias of today and well-known thinkers like Mary Wollstonecraft, Sojourner Truth, Virginia Woolf and Angela Davis. Topics covered along the way will include women’s struggle to be

seen as rational human beings, the yearning for education, the value of women’s work and the problem of violence against women, as well as the feminist movement which is riven by division between women. The lecture is free to attend, but pre-booking is required. Dr Hannah Dawson is also the editor of intersectional treasure trove The Penguin Book of Feminist Writing, which gets a paperback release this month.

Oh Bondage Up Yours! takes place at the Curtis Auditorium at Newcastle University on Thursday 9th March.

www.ncl.ac.uk

Dr Hannah Dawson

31 JULY – 12 AUGUST FREE RESIDENCIES

Six days of rehearsal space and expert advice at Sage Gateshead this summer for musicians, bands, music producers, rappers and singers of all styles.

Apply by Monday 27 March, 5pm sagegateshead.com/summer-studios

Image by @vogonlaundromat

MUSIC

DEATH VALLEY GIRLS @ CLUNY 2

Words: Matt Young

If you’re into scrappy rock’n’roll riffs, cosmic lyrics and a fair sprinkling of mysticism, and let’s be honest who isn’t, then you’ll need to head to Cluny 2 in March to catch LA-based punks Death Valley Girls who’s raucous and riotous new album, Islands in the Sky, is out now via Suicide Squeeze Records.

The quartet have been building upon the successive energy and great vibes each of their three previous albums have garnered. With their mix of anthemic reverie, proto-punk riffs, earworm melodies and bouncy potential, they literally invite you to sing-a-long, celebrate life, love and mystery. The swirl of grooved-out riffs and hazy beats coming at you in waves from the stage.

The newest record is by far their most infectious and exuberant. The foursome freely floats within the new age aesthetic, but they don’t take anything for granted, rocking hard and taking the lead to earn themselves that inner peace of mind. At the heart of the band’s songwriting and sound is a sincerity and willingness to connect, something existing fans thoroughly appreciate and newcomers can feel welcomed into and grasp onto as everyone joins the communal dance.

Join in the fun with Death Valley Girls at Cluny 2, Newcastle on Thursday 2nd March www.deathvalleygirls.bandcamp.com

STAGE LOVE IT IF WE BEAT THEM @ LIVE THEATRE

Words: Helen Redfearn

Written by Rob Ward and directed by Bex Bowsher, Love It If We Beat Them is a new political drama that explores a time of significant change in the identity of North East communities and perfectly captures a moment in recent history that defines who we are today. A Live Theatre production in association with Emmerson and Ward Productions, the play is a powerful blend of football, politics and the labour of love.

In Spring 1996, Kevin Keegan’s Newcastle United are riding high in the Premier League. Tony Blair’s New Labour are gathering pace. Hope is in the air and victory seems within reach. Len, a long term hard left activist, decides to run as a candidate for local Labour MP, but the arrival of Victoria as front runner throws a spanner in the works.

As tensions rise on and off the pitch and loyalties are tested, the winning team will be decided in an explosive head-to-head challenge. Containing strong language and themes of child loss, this two hour play is suitable for anyone over 14 with a passion for football, politics or simply a curiosity about the recent local history that has shaped our city and communities.

We love it if we beat them, that’s the truth of it. Losing is no fun at all.

Love It We Beat Them is at Live Theatre

Newcastle from Thursday 2nd - Saturday 25th March www.live.org.uk

ART & LIT MODERN MAKERS @ THE BOWES MUSEUM

Words: Maria Winter

From Saturday 11th March, the Modern Makers exhibition will give visitors to The Bowes Museum a chance to witness the profound production process behind the world of art creation. Recognised for its unique collection of artistry, the historic gallery has inspired creatives from The Northern School of Art in Teesside to display their visionary expertise for all to view.

By featuring a range of alluring artwork via collections of drawings and film, visitors can expect a deep dive into the background of the developmental processes from the initial design to the final product. These exceptional pieces evoke a 21st century response to one of the most poignant fine and decorative arts collections in the country.

If you are curious to discover the next generation of talented artists, or simply want to enjoy the multifaceted wonders of art that this exhibition can offer, then a trip to the Bowes Museum awaits.

The Modern Makers exhibition takes place at The Bowes Museum, Barnard Castle from Saturday 11th March to Sunday 18th June. www.bowesmuseum.org.uk

Death Valley Girls by Neto Velasco

MUSIC SUEDE @ O2 CITY HALL

Words: Ben Lowes-Smith

A reformed and rejuvenated Suede take their ‘punk record’ Autofiction on tour this Spring. Having reformed in 2011, they have since amassed a catalogue of new material that far exceeds standard preconceptions based on what a reformed band has historically tended to produce. Four albums into their second incarnation, they ooze as much glamour and vitality as ever.

Described as one of Brett Anderson’s most personal records, Autofiction takes a balls-out, direct and succinct approach in its emulation of a band in a rehearsal space. The cinematic companion piece to the record, Autofiction: A Short Film (created in collaboration with Suede and directed by MrMr Films founder Katie Lambert) explored the complexities of memory, the perceived truth, communication

and anxiety in human relationships.

Boasting Coming Up-era keyboard player Neil Codling in the line up for these headline shows, the band’s appearance at the O2 City Hall promises to be a barnstorming statement of intent as much as a trip down memory lane.

Suede perform at O2 City Hall on Friday 17th March.

www.suede.co.uk

MUSIC TIRED OF FIGHTING @ THE STUDIO

Words: Jake Anderson

An unsung hero of the North East local scene is Hartlepool. Home to some great venues such as The Studio, which will be host to Newcastle’s Tired Of Fighting.

The emo-punk trio are set to stimulate the senses with their explosive and impassioned brand of music and riotous, instrument-

thwacking live show. Their last two singles, Hollow and Chocolate, are dynamically very different, demonstrating how the band will tug heartstrings one minute and cause the heart to race with exhilaration the next.

Joining them on the night will be The Dead Heroines and High Tide. Dead Heroines describe themselves as ‘not indigenous of this planet’ and have an out-of-this-world grungy alt-rock sound. Their single Hooks in Me is an earworm of a banger that will likely stay with you long after the night is done. High Tide are a Hartlepool-based band with an indescribable sound. Mostly because their only available track online is a teaser for an upcoming project called Nobody’s There, but if there’s one thing the teaser shows is that the band will be showing off their crisp electric guitar-led tunes. Tired Of Fighting, The Dead Heroines and High Tide perform at The Studio, Hartlepool on Saturday 25th March.

www.linktr.ee/tiredoffighting

Suede by Dean Chalkley

COMEDY MICHELLE DE SWARTE @ THE STAND

Words: Jennifer Wilson

I first saw Michelle as Natasha, a woman tortured by a baby (yes, really) in the HBO comedy/horror show ‘The Baby’ last year and my shallow mind definitely thought she must have been a model at some point. I was right.

However, she has also been a cleaner, a reporter, a writer and a cat-sitter amongst other things. Jobs aside, she has had some colourful relationships along the way, including a rather destructive one with drugs. Michelle’s show Moved covers the ups and downs of her life, of which there have been many, and how to start again when you are on the cusp of 40. Things do thankfully seem to be more ‘up’ these days.

Born in South London, Michelle moved to New York as a model and became involved in comedy. She then turned to acting, starring in

Netflix series The Duchess and an episode of Amazon’s Backstage with Katherine Ryan, which shows what goes on behind the scenes at a stand-up club.

Michelle still maintains that her funniest moment was falling on her arse on a Gucci runway during her time as a fashion model. After seeing her comedy talents however, I know that is definitely not true.

Michelle De Swarte takes the stage at The Stand, Newcastle on Saturday 11th March. www.instagram.com/michelledeswarte

Michelle De Swarte by Matt Crockett

ART & LIT JIM MOIR @ THE BISCUIT FACTORY

Words: Laura Doyle

You may know him best from Big Night Out, Shooting Stars, Randall & Hopkirk (Deceased), and many more… But all of those ventures were done under his stage moniker Vic Reeves. There’s more to Jim Moir than the chaotic persona which has graced our screens for decades - ever since the rise of the alternative comedy circuit.

If you didn’t know, Jim Moir channels his most surreal energy whenever he puts paintbrush to canvas. Don’t believe us? See for yourself as The Biscuit Factory hosts Hot Buttered Mattress: an exhibition of Jim Moir originals throughout the month. It always feels extra special when someone puts on a show on home turf and the Darlo local feels nicely at home at the Ouseburn venue.

Moir’s take on characters from popular culture, both real and imagined, takes centre stage for this round. Splatter in some ornithological takes (because Jim loves a bird or two - see his 2021 publication fittingly

entitled Birds) and you have a display to remember.

Expect surrealist, expressionist, and downright fantastic pieces from one of comedy’s most alternative minds. After all, nobody sees the world quite like Reeves, and this exhibition more than proves that.

Hot Buttered Mattress exhibits from Saturday 4th March to Sunday 2nd April.

www.jimmoir.com

MUSIC ENGELCHEN @ SEVENTEEN NINETEEN, HOLY TRINITY CHURCH

Words: Lee Fisher

In her five years as a solo artist, Sunderlandborn Alison Cotton has released a steady stream of excellent, distinctive music for all the right labels, including Bloxham Tapes, Clay Pipe and latterly Rocket Recordings. Her music, usually processed and performed on viola and harmonium, as well as her own voice, is rich in atmosphere and a sense of place. Often long-form, it’s a wonderful

combination of folk tropes and drone approaches (“Shirley Collins meets Pauline Oliveros”).

Her latest project sees her back in her hometown to perform Engelchen (‘little angels’) at Seventeen Nineteen in the Holy Trinity Church. Engelchen is a new work that explores and pays tribute to the lives of Louise and Ida Cook, two sisters from Sunderland who rescued 29 Jews from the Nazis. The work also takes in what Cotton learned from local refugee charity North East Rise and speaking to modern-day immigrants. The performance will also involve a talk about the sisters by Professor Angela Smith (as part of her Rebel Women Of Sunderland project) and a poetry reading of a work by Hilaire and Joolz, read by local residents. And to acknowledge the Cook’s love of opera, which was the impetus for their involvement in rescues, a gramophone will play their favourite opera singers.

Engelchen takes place at Seventeen Nineteen - Holy Trinity Church, Sunderland on Saturday 11th March

www.alisoncotton-uk.bandcamp.com

Bird Colour Wheel by by Jim Moir

STAGE AS WE RUN WE BECOME @ ARC

Words: Laura Doyle

What’s your preferred method of protest?

Mine’s always been a strongly worded letter - although that’s quite a stagnant activity. Maybe it’s time to breathe some new life into our political actions. Jennifer Jackson is experimenting with a new way to stick two fingers up to the patriarchy with As We Run We Become.

It’s about as interactive a performance as is possible, as Jackson invites her audience for a one-on-one running session around ARC Stockton. Her goal? Just to talk and travel together. Her work has long focussed on the female body and how it interacts with the world, and now she welcomes you to take up space alongside her for an exercise in… well, exercise. Is it a show? Is it a training session? Is it just gals shooting the shit with each other? You decide, because this experience is yours to build.

Book your pay-what-you-decide slot, dress for the occasion (some kind of trainers and clothes you can move in), and set the pace for your 40-minute session. It wraps up with a hot beverage and a cool-down chat with the artist post-workout, so if you’re looking to blow off the cobwebs and experience a new connection, this is an opportunity you might not wanna pass up.

As We Run We Become takes place at ARC, Stockton on Thursday 23rd March www.jenniferjackson.net

COMEDY IVO GRAHAM @ HULLABALOO

Words

Laura Doyle

Once upon a time, you couldn’t get moved in the British comedy circuit for Oxbridgeeducated white men. You just didn’t know it, because it was kept on the down low to better convey a “man of the people” persona on stage.

Nowadays, there’s thankfully a little more diversity as Old Etonians unthankfully tend to stick to politics. Nevertheless, Ivo Graham persists! Fret not, he’s more than aware of his prestigious start in life, and this generation appears to err on the side of apologetic whenever they’re cut from privileged cloth. But just because his parents were able to spend the same amount for one term of his schooling than you or I may never earn in a year, doesn’t mean that Ivo Graham hasn’t had his difficulties. Where better to vent about those than on a stage in ex-industrial hotspot Darlington?

Whatever the past three years of pranking, parenting or procrastinating have been like for Ivo, I’m sure there’ll be a dab or two of immensely relatable content in there. And let’s face it, he’ll still probably be a damn sight funnier than other comedians who have yet to achieve full self-awareness.

Catch Ivo Graham at Hullabaloo, Darlington on Friday 31st March.

www.ivograham.com

MUSIC LISA O’NEILL @ SAGE GATESHEAD

Words: Lee Fisher

Lisa O’Neill has been a brilliant and intriguing presence on the Irish folk scene for years now; a powerful live performer with a bunch of great albums (2018’s Heard A Long Gone Song on the marvellous River Lea label especially). But last month she released her Rough Trade debut All Of This Is Chance and it’s a game-changer. A strong contender for lots of end-of-year lists, an album rich in poetry and full of ambition, you get the feeling 2023 is the year O’Neill ‘does a Lankum’. So there’s a lot of excitement about her visit to Gateshead this month, towards the end of what’s likely to be a significant tour for her. It’ll certainly be interesting to see how she presents the music from All Of This Is Chance, blessed with rich arrangements and atypical instrumentation as it is. But of course, it’s all about that voice; a truly special and unique thing that doesn’t really have an equal in the folk scene or elsewhere. Support comes from Seamus Fogarty, an Irish artist of a similar vintage doing interesting things for Domino Records.

Lisa O’Neill performs at Sage Gateshead on Saturday 25th March

www.lisaoneill.ie

MUSIC FAST BLOOD @ BOBIK’S

Words: Jake Anderson

Friday 10th March will see Newcastle’s intimate indie-venue Bobik’s play host to three of the North’s favourite alt-rock acts Headlining are Newcastle’s ferocious punk outfit Fast Blood, who last year announced

their return from lockdown with their punchy paean, Pulling Teeth. If you like sincere and self-examining lyrics sung in a North East accent and backed with sonics inspired by nineties alternative and midwest-emo revival, then this is the band for you.

Supporting are electro-tinged garage punks Tiger Island. Emerging from the Leeds/ Wakefield divide in late 2021, the duo’s driving rhythms, hip-shaking hooks and PJ

Harvey-esque vocals will add an air of dirty disco to proceedings.

Super-fresh garage-psych trio Zudz complete the bill. Made up of familiar faces from the Newcastle scene, this band are reminiscent of bands like You Will Know Us By The Trail Of Dead and The Groundhogs.

Fast Blood, Tiger Island and Zudz play Bobik’s, Newcastle on Friday 10th March.

www.fastblood.bandcamp.com

Image by Steven Landles Photography

MUSIC GLASSHOPPER @ BOBIK’S

Words: Claire Dupree

There’s a lot to be said for ploughing your own furrow and creating music for the sheer simple joy of it. It’s an ethos that London jazz rock trio Glasshopper are proud to be following, and when everyone else seems to like the work you’re putting out it’s a bonus. Building their sound around melody and improvisation, Glasshopper’s saxophone/guitar/drums unit is spearheaded by composer, sax player and creator of sonic effects Jonathan Chung, who is joined by guitarist James Kitchman and drummer Corrie Dick, who together present a fusion of tight riffs, sonic experimentation and often surprisingly rambunctious wig-outs which traverses rock, folk and jazz genres effortlessly. Having sold out shows across the UK, and received reviews which extol their exciting and compelling electro-jazz sound, their forthcoming show at Bobik’s on Saturday 11th March will be a delight indeed.

Adding to the ‘must-see’ nature of the show, gig support comes from North East alt. folk ‘n’ drone artist Nathalie Stern, who makes a rare

solo appearance. Inspired by folklore, with a healthy interest in old folk songs, horror tropes and lo-fi textures, Nathalie’s synth-led sound utilises loops and drones to atmospheric effect, accompanying vocal harmonies are often as haunting as her songs’ subject matter, and her live shows are nothing less than mesmerising. Glasshopper and Nathalie Stern play Bobik’s, Newcastle on Saturday 11th March. www.glasshoppermusic.com

MUSIC FROM THE GLASSHOUSE @ SAGE GATESHEAD

Words: Claire Dupree

We do love to see a good collaboration, and this show at Sage Gateshead on Thursday 30th March has all the hallmarks of a great one. Knowledgeable and on-the-pulse curator? Check! Superb venue with great sound? Check! A mint line-up of North East artists? Ch...you get the picture.

The venerable BBC Introducing North East have teamed up with Sage Gateshead for an artist showcase as part of the venue’s From The Glasshouse series, which has been offering up exceptional one-off performances,

intimate sets and the occasional surprise guest in the cosy environs of Hall 2. The March event will see indie singersongwriter India Arkin offer up a pitch-perfect performance of her idiosyncratic soundscapes and intriguing lyricism, which is often confessional in tone. The songwriter was chosen by HMV to be the first signing to their revitalised vinyl imprint, and her innate musicality is charming and passionate. Also performing will be colourful four-piece The Peevie Wonders, who since their inception last year have really caught the region’s attention thanks to their kaleidoscopic sound which takes in tongue-in-cheek sleaze, exhilarating frenetic instrumentation and not a little bit of sass.

What’s more, the gigs run a ‘pay what you decide’ ticketing system, and there’s some comfy cabaret-style candlelit tables. One more act is TBC, so keep an eye on the venue’s website for updates.

From The Glasshouse presents India Arkin and The Peevie Wonders at Sage Gateshead on Thursday 30th March.

www.sagegateshead.com

Glasshopper

MUSIC FATHER JOHN MISTY @ SAGE GATESHEAD

Words: Jennifer Wilson

Father John Misty (real name Joshua Tillman) and his band will be playing the Sage Gateshead on Monday 13th March. The show is part of an international headline tour in support

of their fifth album Chloe and The Next 20th Century, the artist’s first new material since God’s Favourite Customer in 2018. The latest album displays a more hopeful tone than previous offerings and includes the single Funny Girl, a beautiful track that sounds like it is from the 1940’s with orchestral arrangements courtesy of Drew Erickson. My personal favourite ‘Goodbye Mr Blue’ is a charming track showcasing Tillman’s wonderful storytelling about mourning a beloved cat, with more than a nod to Harry Nilsson’s Everybody’s

Talking in the finger-picking and warm vocals. Tillman’s musical style falls under many genres and has been described as such, including indie, rock, folk, psychedelia and country. His smooth voice and witty lyrics translate extremely well live and will make this concert a real unmissable experience.

Father John Misty is on at Sage Gateshead on Monday 13th March

www.fatherjohnmisty.com

STAGE

MAD(E) @ ARTS CENTRE

WASHINGTON

Words: David Saunders

Suicide rates of young men are rising and to help find a solution to this tragic and devastating problem, our definitions of what it is to be a male in society today are having to be questioned. In response to this, Mandala Theatre Company has produced MAD(E), a passionate, exhilarating and uniquely theatrical commentary on masculinity and young men’s mental health.

Written by Sean Burn and directed by Yasmin Sidhwa, and based on the creative writing, spoken word and drama pieces from young men in Oxford, MAD(E) is an epic story of life, death, and everything in between. The production follows three lads in a hostile environment, one carries the ashes of his dead friend, one his worldly belongings that help him survive living on the streets and the other, the soil from the homelands from which he’s left.

The methods of how these characters think, feel and love are challenged by Beira, queen of winters and a mythical female shapeshifter, in the hopes of helping them fix the glitch in

their broken minds.

MAD(E) is a challenging and essential bit of theatre and should be seen by as many people as possible when it arrives at Arts Centre Washington.

Catch MAD(E) at Arts Centre Washington on Thursday 30th March. www.mandalatheatre.co.uk

ART & LIT BAY TALES @ PLAYHOUSE WHITLEY BAY

Words: Claire Dupree

Fans of sleuthing and suspense are in for a treat this month as crime fiction festival Bay Tales returns to Playhouse Whitley Bay on Saturday 4th March.

After enjoying a successful first year in 2022, the return of the festival will see a slew of bestselling crime and mystery writers joining the line-up. The hugely successful writer of Vera and Shetland, Whitley Bay-based Ann Cleeves OBE, has taken on the role of patron, and she’ll kick off the event with a keynote session alongside special guest, Northern Irish award-winning author Brian McGilloway,

which will be hosted by local crime writer Trevor Wood.

There’ll be a panel from publishers Simon & Schuster which will see Sunday Times and New York Times international bestseller Ruth Ware joined by thriller writer Jack Jordan and dazzling new writer Jo Callaghan, with crime fiction critic and commentator Ayo Onatade chairing the session.

In the afternoon, Penguin imprint Penguin Michael Joseph welcomes a panel including exciting thriller writer Lia Middleton, the Stephen King-approved author CJ Tudor, French writer Laure Van Rensburg, Richard and Judy book club favourite Alex North and moderator Abir Mukherjee, whose Raj-era crime novels have been him win plaudits aplenty.

Other notable appearances include author, journalist and broadcaster Jonathan Whitelaw, psych thriller writer Nasheema Lennon, the creator of forensic thrillers Lin Anderson, and award-winning writer and journalist Fiona Cummins, among many others.

Bay Tales takes place at Playhouse Whitley Bay on Saturday 4th March.

www.baytales.com

MAD(E) - Image by Stu Allsopp

COMEDY DAVID O’DOHERTY @ TYNE THEATRE & OPERA HOUSE

Words: Laura Doyle

Are we tired of hearing comedians talk about how hard they had it during lockdown? In the case of David O’Doherty, the answer is a resounding, “Nope!” If there’s one person who you can trust to spin the most depressing

episodes of his life, into semi-whimsical, semi-jazz ditties, it’s one of Ireland’s most beloved exports.

You may well have been lucky enough to see whoa is me at last summer’s Edinburgh Fringe - if you were especially lucky, you may have caught the one show on the entire month-long run that was interrupted halfway through by a fire alarm. It’s a good measure of an artist to see how they deal with the unexpected, and that night was barely diminished by O’Doherty’s repartee with venue officials as his audience sat in trepidation. O’Doherty does best in uncomfortable situations,

whether it’s during a potentially real fire drill, or sweet-talking his way out of a fine for drinking beer alone in a field in the dead of a winter’s night.

Hopefully, we’ll enjoy a disruption-free performance at the Tyne Theatre this time. As I’d really like to find out how David, Keybs The Keyboard, and his family dealt with the mental and physical isolation of 2020 without the added stress of being consumed by hellfire. Catch whoa is me at Tyne Theatre & Opera House, Newcastle on Monday 6th March. www.davidodoherty.com

MUSIC NAPALM DEATH @ BOILER SHOP

Words: Ali Welford

Blowing holes in eardrums and PA systems for over three decades, Napalm Death’s Campaign for Musical Destruction harbours a well-earned reputation among the most enduring (and punishing) roadshows around. Arriving at the Boiler Shop on Friday 10th March, this tour is far, far more than “Napalm

Death plus Support,” serving up a combustible collision between acts breaking boundaries in the worlds of underground hardcore and extreme metal.

Assuming, then, that most readers are already familiar with Birmingham’s most notorious grind trailblazers, what of the others inciting chaos on this year’s bill?

A legendary outfit in their own right, Providence, RI’s Dropdead have been active for roughly the same span as CFMD, proving influential to several strands of modern hardcore through lighting speed, imperious force and their advocacy of animal rights and environmental causes. From the frozen wastes

of Russia’s remotest frontier, Siberian Meat Grinder spit out a furious melange of crossover thrash, black metal, rap and more; supplemented by a side hustle in graffiti and all in the name of their mythological overlord, the Bear-Tsar! Finally, openers Escuela Grind are driving an intersectional progressive revolution from their base in Pittsfield, MA, promoting political change, positive vibes and inclusivity through ferocious assaults on gatekeeping and genre norms.

Napalm Death perform at Boiler Shop, Newcastle on Friday 10th March. www.napalmdeath.org

MUSIC MARC BIRD @ BOBIKS

Words: Ali Welford

From Sunderland, but now residing in Hebden Bridge, Marc Bird has an extensive CV in esteemed North East acts; from the much-missed Yellow Creatures to the short-lived yet similarly memorable Video Spring. Latterly, however, his considerable melodic gifts have been recalibrated as a solo artist, spawning the luscious lo-fi dream-pop sounds of 2020 full-length Bronze and an excellent follow-up in last November’s Parting EP. Self-written, self-produced and largely self-performed, these smart, generous guitar-pop gems are brought to life onstage by a dynamic three-piece backing outfit – two of whom will also provide support when Marc visits Bobiks, Newcastle on Friday 31st March.

A multi-instrumentalist in the band, Simon Clowes’ own work as May Days in Barcelona melds violin, analogue synth and guitar effects into absorbing loop-based collage of sound, pitched somewhere between baroque-pop and the more experimental fringes of post-rock. Guitarist Benedict Hawkin, meanwhile, has stepped up his own solo output in recent months, seeking inspiration from artists such as Stan Rodgers, Joni Mitchell and Joanna Newsome in a palette veering towards progressive alt-folk as opposed to his previous work under the guise of Moon Prince.

Three Yorkshire transplants and alumni of the Ouseburn-based Plastic Palace collective, joining forces on a nifty little Friday night bill. What better way to begin your weekend?

Marc Bird and friends perform at Bobik’s, Newcastle on Friday 31st March www.marcbirdmusic.bandcamp.com

MUSIC DIZRAELI: PART GOD PART LION @ COBALT STUDIOS

Words: Claire Dupree

Well known for his sonic experimentations and unique approach to music making, rapper and multi-instrumentalist Dizraeli will be making the Ouseburn Valley’s Cobalt Studios his home for a week of distilled exploration into new ways of creating.

The famously open and friendly folk at Cobalt are always keen to facilitate unique collaborations and interesting ways of exploring creativity, and after the artist performed at the venue last year it was clear they made a great partnership. For a week before Dizraeli’s performance on Friday 10th March, the venue will be home to him and three stellar musicians – drummer Ben Brown, synth player Joseph Costi and bassist Joe Downard – as they work on music for a brand new project entitled Part God Part Lion, which Dizraeli describes as “samurais sword fighting in the aftermath of hip-hop in an explosion of synthesisers and cinematic joy.” The musicians promise that the music they create will be hot off the press and unlike anything else you may have heard –describing it as “rebel music for broken times” – which will no doubt continue the artist’s exploration of hip-hop traditions with eclectic, and often folk-inspired, influences which dazzle with surreal humour and tales of struggle and redemption.

Dizraeli: Part God Part Lion is at Cobalt Studios, Newcastle on Friday 10th March. www.dizraeli.com

COMEDY JOHN KEARNS @ THE STAND/THE WITHAM

Words: Cameron Wright

Most will probably know John Kearns from his nervously endearing performance on Taskmaster, in which he captured the heart of the nation by awkwardly shuffling his way through challenges, with a unique and hysterical sense of existentialism and anxious neurosis.

Kearns’ The Varnishing Days tour is coming to Newcastle’s The Stand and The Witham in Barnard Castle in March and the show is a full demonstration of Kearns’ stage persona, which is very different to his more authentic run on taskmaster.

The comic, who is the only act to win both the Best Edinburgh Newcomer award and the Fosters Edinburgh Comedy Award the subsequent year, is known for his visually striking stage presence. Donning a tatty monks wig, false teeth and Woody Allen-esque glasses, Kearns squawks his way through a beautifully literate, self-effacing and often tragic routine that tackles life’s greatest issues. Wonderfully heart breaking, poetic and hilarious, John Keats is the act that other comics laud over.

For a comedy that is effortlessly singular, disarming and as thoughtful as it is foolish, look no further than the art of John Kearns.

John Kearns is at The Stand, Newcastle on Thursday 30th March and The Witham, Barnard Castle on Friday 31st March. www.johnkearnscomedy.co.uk

Marc Bird

MUSIC RACHEL BAIMAN @ THE CLUNY 2

Words: Claire Dupree

For an artist whose musical journey took her from the blues-soaked streets of Chicago to the country music mecca of Nashville at just eighteen, it’ll be no surprise that Rachel Baiman is something of a wunderkind.

The singer-songwriter, fiddle player and guitarist has cemented her position in a wide variety of roles, from session musician with the likes of Molly Tuttle, Kelsey Waldon and Caroline Spence to a live side woman alongside Kacey Musgraves and Amy Ray, and the musical polymath is a whizz behind the production desk too. While she may be well known in the bluegrass world as a supreme fiddle player –thanks in part to her work with progressive acoustic duo 10 String Symphony – her lyrics often take a more political and personal angle, with new album Common Nation Of Sorrow, released on 31st March, seeing the artist exhibit an anti-capitalist art folk style that she’s increasingly being celebrated for. Performing as Rachel Baiman ‘& Friends’ for the Cluny 2 gig

on Saturday 11th March, she’ll no doubt be in fine voice and high spirits. Also joining the line-up are the lesser-spotted Mush Collective, whose interesting collaborative approach to music making has recently seen them work with Turner Prize winning artist Lubaina Himid. Made up of long-term members Nicky Rushton, Sarah Van Jellie, Penny Callow and Bernard Wright alongside regular special guests, and encompassing a multitude of instrumentation which could include guitar, keys, bass, cello, percussion and harmony-filled vocals, they’re a joy to watch.

Rachel Baiman & Friends and Mush Collective play The Cluny 2, Newcastle on Saturday 11th March.

www.rachelbaiman.com

STAGE AND BREATHE / TO MAKE AN END IS TO MAKE A BEGINNING @ ARC

Words: Laura Doyle

Ever watch something on the stage or screen

and start wondering about how much work it takes to tackle the enormous feat of bringing such a creative idea to fruition? It seems like an insurmountable task. But it’s what students from the Northern School of Art aspire to do in their careers, and what they have done with a series of plays being staged at ARC Stockton as part of their Bachelor’s degrees.

The first, And Breathe, investigates the calm before and after the storm; perhaps those same breaths are taken before and after the curtain. To Make An End Is To Make A Beginning is another series of student-led productions, which fittingly serves as the culmination of their degree and explores the new opportunities that arrive with achievements.

Students having a bash at their own production in collaboration with working professionals sure beats being cooked up in a classroom day in, day out, right? Post-show discussions provide the chance for the audience to give feedback to the students on their work and progress. Giving an invaluable insight that should allow these students to grow to fruition and enrich their careers and their communities.

And Breathe is on Tuesday 7th March and To Make An End Is To Make A Beginning is on Wednesday 15th March at ARC, Stockton www.northernart.ac.uk

Rachel Baiman by Gina Binkley

MUSIC FUZZY SUN @ KU

Words: Cameron Wright

I’m Insane and Everybody Else Is Too is the latest EP from Stockport’s Fuzzy Sun. It opens with a single drum beat, laying down a very mellow foundation as a vocal harmony slips into the mix very gently, before guitars lurch the project into life. This contrast is what makes Fuzzy Sun stand out, as they aim to be both quietly introspective yet anthemic and loud. As the EP unfolds it is self-evident that the band cares about creating something new. Although the usual troupes of a young new indie release are there in spades, they are consciously not the only thing to discover on the release. With flavours of R&B and dream pop filtered into the mix, I’m Insane and Everybody Else Is Too carries with it a commendable sense of playful levity that is seldom found in a release so early in a band’s career.

Having already cut their teeth as support for a multitude of Indie heavyweights, including The Wombats, Blossoms and Two Door Cinema Club, the Fuzzy Sun boys have made a name for themselves. However, before they become everyone’s favourite new band, they recently announced they will be splitting after their current tour, making their KU show their penultimate one.

Fuzzy Sun play Ku, Stockton on Saturday 11th March.

www.fuzzysunband.com

MUSIC BADLY DRAWN BOY @ THE FIRE STATION

Words: Jennifer Wilson

Badly Drawn Boy (aka Damon Gough) is celebrating 25 years of music with a series of cosy gigs featuring music from his extensive back catalogue. His tour will see him stopping at The Fire Station, Sunderland on Monday 27th March.

The Bolton-bred artist has seemed an ever-present feature of the modern musical landscape and there will be plenty of material that he can choose from. He has released nine beautiful and eclectic albums since the millennium, including his Mercury Prizewinning debut The Hour Of Bewilderbeast, the much-loved About A Boy soundtrack to the most recent album Banana Skin Shoes, which is widely thought to be one of his best works. To mark such a special occasion, the beanie-wearing songsmith will be pulling out all the stops. He adds, “This coincides with my 25th anniversary as a recording artist so I’ll be playing songs from across my career, including favourites and some rarities and deep cuts. I’d like to think this is the tour I’d want to see if I was a long-time fan. Very much looking forward to it and hope to see you there.”   Badly Drawn Boy stops by The Fire Station Sunderland on Monday 27th March. www.badlydrawnboy.co.uk

COMEDY TROY HAWKE @ O2 CITY HALL

Words: Laura Doyle Comedy; social media; purple quilted smoking jackets; three things that could be used by someone for good or evil. Good thing they’re in safe and unexpectedly wholesome hands with 1930s throwback, TikTok sensation, and founder of the infamous Greeters Guild, Troy Hawke (c’caw, c’caw). He may not have quite worked up to moving out of Mummy’s home, but that doesn’t stop him dishing out heartwarming compliments and salient life advice to his audience and passers-by alike (hit up the Greeters Guild on socials if this trend has passed you by).

This winning formula has dealt Troy Hawke a good hand, with three years of sold-out national tours and Edinburgh Fringe runs under his regal satin belt and a whole lot more to come. To understand his latest stand up, Sigmund Troy’d!, may require a smidgen of psychotherapeutic understanding, as Hawke tackles the intricacies of our own personal saboteurs: the human mind. But Troy Hawke will never let a person feel anything less than their absolute best and, with a ticket price lower than the cost of an actual mental health professional, nabbing a seat to his show might be one of the better decisions you could make for your heart and your wallet.

Troy Hawke is on at O2 City Hall, Newcastle on Thursday 9th March

www.milomccabe.co.uk

Fuzzy Sun

STAGE KIN @ NORTHERN STAGE

Words: Helen Redfern

‘Who am I, and where do I belong?’ That’s the question posed by this evocative, provocative performance, Kin.

Award-winning internationally acclaimed physical theatre company Gecko presents Kin, a mesmerising story of desperation and compassion, inspired by the epic journey from

Yemen to Palestine that Artistic Director Amit Lahav’s grandmother Leah made with her family in 1932 to escape persecution and build a better life.

This is a tale for us all, at a time when the re-birth of community and acceptance seem vital to our survival. Artistic Director Amit Lahav believes we all have migration stories, whether we’re aware of them or whether they’re more distant, stating that ‘Migration is a facet of human existence’. In Kin, he has the opportunity to delve deeper into the complex mix of migration stories that make up who he is, concluding ‘We exist both where we’ve

come from and where we’re going.’ The destination is greater empathy. Gecko’s extraordinary ensemble of international devising performers bring their own experiences of migration, racism, empathy and home to this poetically intoxicating performance. Prepare to be moved to the core by the hypnotising beauty, compelling global soundtrack, and unbarred emotion.

Kin will be at Northern Stage, Newcastle from 1st-4th March.

www.geckotheatre.com

Image by Richard Haughton

Big Thief

Skinnyman Myele Manzanza

Father John Misty

Rhiannon Giddens and Francesco Turrisi

Ward Thomas

MUSIC NO AGE @ THE CLUNY

Words: Matt Young

Six albums and sixteen plus years into being No Age duo Randy Randall and Dean Allen Splunt have an obvious maturity and shorthand when it comes to taking their reductive sonic streams of consciousness on the road. Layering their oil and water sounds and ideas carefully amongst the fuzz and feedback. Punk but not quite. It’s usually been first thought, best thought and that’s hard to argue with given their longevity.

On tour in support of last year’s album, People Helping People, sees Randy’s guitar clouds pulse and radiate in the midst of skittering percussive beats and kicks, with Dean’s vocals taking a sparer approach. Far more introspective than previous releases and fully recorded solely by the band for the first time. It’s an insular experiment, or rather thirteen experiments, that should see fans getting their fair share of blissed warm vibes and expected fractured sounds of earlier No Age

incarnations, where they mix The Ramones with My Bloody Valentine in equal measure. Catching them live will definitely be a singular experience and an opportunity not to miss given that the band hasn’t toured these shores since 2018 and have limited their shows worldwide since then too.

No Age can be found at The Cluny, Newcastle on Monday 6th March www.noage.bandcamp.com

ART & LIT DEEP HORIZONS @ MIMA

Words: Jennifer Wilson

Deep Horizons is a new collaborative exhibition from the collections of David and Indre Roberts (the Roberts Institute) and Middlesbrough Institute of Modern Art. The exhibition has been developed through a series of conversations and ideas relating to excavation, from a host of impressive collaborators. Each with a unique perspective

and background and selected due to their experiences in relation to excavation. Curatorial collaborators include; broadcaster and actor Sir Tony Robinson, artists Liliane Lijn and Fiona Crisp, botanist Dr Greg Kenicer, Professor of Physics, Chamkaur Ghag, writer and academic Dr Julietta Singh and former Tees Bay Pilot Geoff Taylor.

The exhibition takes place from 10 March 2023 – 18 June 2023 at MIMA and the artworks include drawings, painting ceramics, sculpture, installation and moving images each exploring the theme of excavation with work from artists such as Bernd and Hilla Becher, Chiara Camoni, Ellen Gallagher, Theaster Gates, Emily Hesse, Lonnie Holley, Onya McCausland, Ana Mendieta, Paula Rego and John Stezaker.

Deep Horizons exhibits at Middlesbrough Institute of Modern Art from 10th March to Sunday 18th June at MIMA www.mima.art

No Age by Benjamin Clark

MUSIC SKINNYMAN @ SAGE GATESHEAD

Words: David Saunders

For the past couple of decades or so, UK hip-hop has grown and evolved into the award-winning, world-conquering genre that it is today. One of the godfathers of this rise is Skinnyman, who will be bringing his influential music to Sage Gateshead.

Growing up, the Leeds-born, London-bred artist immersed himself in the music that surrounded him and this sonic diet of reggae, dancehall and rap inspired him to pick up the mic. He signed to Talkin’ Loud and, after a slight delay due to a jail sentence, released his solo debut album Council Estate of Mind. The record, with its sharp observations and slick production, spoke to and for a whole generation of British working-class kids. Since its release, Skinnyman has worked with grime artists such as Wiley and Shystie, featured in a BBC documentary called Tower Block Dreams, supported The Streets at

Brixton Academy and even beat Eminem in a rapping contest at London’s Subterranea. Support on the night includes renowned MC and producer Blacksmith, who has collaborated with Skinnyman in the past, as well as the likes of Jeff Wooton (The Gorillaz), Hodgy (Odd Future), Dilated Peoples, Statik Selektah Carasel, Stamina MC and Dynamite MC. Joining him is underground artist and Skinnyman fan (aren’t we all), Holly Flo. Skinnyman is at Sage Gateshead on Friday 31st March

www.skinnyman.co.uk

Live Theatre, Broad Chare, Quayside,

stockton

MUSIC ROZI PLAIN @ STAR AND SHADOW CINEMA

Words: Ali Welford

Bristol-based songwriter Rozi Plain is an archetypal slow-burner; an artist whose deft, gorgeously pitched alt-folk steadily edges its way into listeners’ hearts, subtly chipping away and revealing fresh delights with each new spin. In a sense, her career has progressed in a similar vein, gradually building momentum and acclaim through a series of splendid releases for esteemed independents Fence, Lost Map and Memphis Industries.

It can hardly come as a surprise, then, that January’s Prize is her most celebrated, and arguably most rewarding turn to date. Typically understated, with beguiling flourishes occupying every nook, the new record reflects Rozi’s penchant for and pursuit of simplicity; its low-key, stripped-back numbers emitting a genial, endearing warmth and idiosyncratic sense of intimacy.

Its songs are sure to form the basis of an illuminating evening when she visits Newcastle’s Star and Shadow Cinema on

Thursday 9th March – a show which additionally offers a pair of enticing supports. Hot on the heels of her own enchanting early 2023 release, Glasgow-based Canadian L.T. Leif and her band parade Lost Map debut Come Back to Me, But Lightly’s beautifully arranged assemblage of dreamy folk and DIY indie influences; while local collective Cosys Ex’s intriguing fusion of Celtic traditional music, electronica and jazz will be showcased in a slimmed-down duo performance. Rozi Plain performs at Star and Shadow Cinema on Thursday 9th March. www.roziplain.co.uk

FILM TYNE VALLEY FILM FESTIVAL @ VARIOUS VENUES

Words: Mera Royle

The return of Tyne Valley Film Festival this March brings a not-to-be-missed mark in the diary for all fans of fantastic cinema. Over a ten day celebration, the festival will be screening films across the Tyne Valley, in a community-

driven curation which ranges from pre-sound 1920s classics to premieres of new releases. Whether it’s submerging into your seat and forgetting reality during the surreal, brand-new comedy-drama, Leonor Will Never Die by Martika Ramirez Escobar or revisiting childhood nostalgia in the Wizard of Oz in technicolour whilst getting your face painted for free at the bar, there is nothing this festival won’t bring to stop the influx of carefree joy, raging inspiration and whole-hearted passion for film-fanatic souls.

The festival also reaches out to a darkened corner of the world in a warm collaboration with Kids Movie Fest Ukraine on Sunday 26th March, treating audiences to a screening of the brilliant Ukrainian comedy, My Thoughts Are Silent, accompanied by a history of Ukranian cinema.

With creativity and connection at its heart, Tyne Valley Film Festival is a huge homage to the finest minds in film. All attendees are invited to relax and enjoy, whilst supporting this carefully curated, locally designed film extravaganza. Tyne Valley Film Festival takes place at various venues around the Tyne Valley from Friday 17th to Sunday 26th March.

www.tynevalleyfilmfestival.com

Rozi Plain

MUSIC ICEAGE @ THE CLUNY

Words: Adam Paxton

Iceage are something of an oddity. From their first record New Brigade through to their most recent offering Seek Shelter, the Danish group have continuously pushed their boundaries. Once known primarily as a punk outfit, they now sit uneasily between an ever-widening

array of genres and descriptors. Taking familiar, well-trodden genres and forms, then pushing them to breaking point so they become something at once recognisable, yet abrasive and challenging, has become the Iceage speciality.

This constant evolution does not mean that the performances of the group have lost any of the intensity and energy that helped rocket the Danes to cult status from almost day one. Those in attendance at the Fun Palace, on the

27th of March, will be treated to something arguably even more impressive than the raw intensity of the band’s early days. Faster, heavier, older numbers juxtaposed with more mature, developed and anthemic favourites classics like Shelter Song and Plowing Into the Field of Love will create a complete experience for fans of all stripes.

Iceage perform The Cluny on Monday 27th March

www.iceagecopenhagen.eu

Image by Kim Thue

MUSIC GOD IS WAR @ THE LUBBER FIEND/THE AUXILIARY

Words: Jake Anderson

Reading through the song titles of the God Is War back catalogue is like reading a serial killer’s diary, or something you’d see scrawled on the wall in blood in Silent Hill. Songs such as You Assumed I Was Weak And Now You Are There And I Am Here, On LSD At The Legion Of Doom and The Smell Of Your Enemies Fear Is Better Than Fucking pique your interest until you find yourself pressing play and being dragged willingly to unsettling places.

The LA-based post-industrial artist (also known as Mack Chami) is set to make the North-East his battleground and conquer The Lubber Fiend, Newcastle (Saturday 11th March) and The Auxiliary, Middlesbrough (Monday 13th March) with his hypnotic, ominous and intriguingly textured compositions.

The Middlesbrough show will feature support from Crown of Cerberus and BRB<voicecoil, as

well as a pre-show talk by Mack himself. The Newcastle show sees God Is War perform as part of the Yang all-dayer from labels Industrial Coast and Opal Tapes. The event will feature the same artists performing at The Auxiliary, alongside the likes of Filmmaker, Territorial Gobbing, Bishop, Burning Pyre, Real Terms and a whole load more.

God Is War will play The Lubber Fiend, Newcastle on Saturday 11th March and The Auxiliary, Middlesbrough on Monday 13th March.

www.godiswar.bandcamp.com

MUSIC NECC LEGENDARY SPRINGTIME PUNK WEEKENDER @ THE GREEN ROOM/ TRILLIANS

Words: Jake Anderson Roll up! Roll up! The North East Cosmonauts Circus is coming to The Georgian Theatre in

Stockton on Saturday 11th March, and Trillians in Newcastle on Sunday 12th March, to wow audiences with amazing rock ‘n’ roll attractions via their Legendary Springtime Punk Weekender.

Not only do these newly-formed, not-for-profit, local promoters want to showcase all that is good in the region’s DIY music scene, but they also have an emphasis on keeping it affordable in these cost-of-living-crisis times. Tickets for these shows cost a meagre £6 for the Stockton gig or £4 for the Newcastle one, which works out less than what a tub of Lurpak will set you back these days.

On the bill are Edinburgh-based purveyors of the raw and anthemic emo banger, Wrong Life, who released their self-titled debut album in February. Joining them are Oldham’s ‘idiotic ska-punk’ outfit Crash Mats, who write tunes about old-school gaming, wrestling and sausage rolls. Completing the lineup are Whitby’s piping-hot punk rock duo Panda Lasagne and lyrical alt-rockers, All Out Attack. NECC Legendary Springtime Punk Weekender takes place at The Green Room, Stockton on Saturday 11th March and Trillians, Newcastle on Sunday 12th March

www.facebook.com/necosmocircus

God Is War

MUSIC ROE @ TEESSIDE

UNIVERSITY STUDENTS’ UNION

Words: Cameron Wright

Self-described as the “Grumpy Multiinstrumentalist of Derry” it may shock listeners when they discover the gentle beauty of ROE. From glistening, twinkling electro-pop to stripped-back acoustic numbers, ROE is making excellent music for the new generation. Liberating tracks gush off her 2022 debut album that blends a freewheeling nonchalance with a real earnest call to arms for her audience.

With all the tracks that established ROE’s career, from her massively successful 2020 EP to her latest project, this grumpiness she calls out may not be automatically apparent with a fleeting listen due to the breezy and fun pop melodies. However, when you unpack the lyrics, it is all there. This bubbling unhappiness with the state of the world at the moment overflows and becomes this battle cry to the listener to take a stand and define yourself on

your own terms.

After supporting Snow Patrol’s Europe tour, ROE’s music has cropped up across Netflix and Channel 4 shows, she wowed audiences at Glastonbury and won an array of awards. For anyone interested in the next era of pop music, I implore you to swing by Teesside University SU and enjoy.

See ROE at Teesside University Students’ Union, Middlesbrough on Saturday 4th March.

www.roemusicofficial.bandcamp.com

STAGE THE ISLAND @ VARIOUS VENUES

Words: Helen Redfern

One of the most famous plays of the 20th Century, The Island has been seen all over the world. Set in South Africa in 1973 at Robben Island, the top security political prison where Nelson Mandela was held, the timeless tale of John and Winston is as relevant today as it was 50 years ago.

This 50th anniversary production of the play by Athol Fugard, John Kani & Winston Ntshona is brought to the region by Elysium Theatre

Roe

Company & Queen’s Hall Arts Centre, Hexham. With Ewen Cummins and Daniel Poyser as John and Winston, this rich, boisterous, funny, moving piece of theatre is a hymn to the human spirit and a cry for freedom everywhere. John and Winston are sharing a cell on Robben Island. They survive through a mixture of solidarity, laughter and defiance. It’s the two men’s sense of brotherhood that has kept them going for years.

Then John hears that he’s going to be released… And everything changes. Bringing this classic to a new generation of theatregoers is the perfect celebration of this 50th anniversary. Catch it in Hexham, Washington, Durham and other venues across the North for a reminder of how precious freedom is and all that we’re still fighting for 50 years on.

MUSIC SFVEN @ INDEPENDENT

Words: Matt Young

The line-up for this gig is one of pure pop joy. Leeds-based headliner Sfven is laid back and lo-fi, akin to the gentle organic sounds of To Emma-era Bon Iver. The compelling stories he tells are sketched out by charity shop instruments. It’s unsophisticated in some ways but there’s an intimate appeal that has you hanging eagerly on every syllable and guitar strum for more. The tenderness wins through and the care in how the music is delivered. With these Circuit events, Independent are keen to attract lesser championed but wonderful artists so audiences can discover their new favourite bands. You needn’t look much further than the two support bands for this, they are genuinely exciting regional finds. Trunky Juno hail from Durham but musically comes over like a 90’s European band who’ve learned pop music via the Americans. There’s a legitimate maverick streak and songwriting prowess at work here, churning out future classic bops for fun. Melodies and masterful lyricism are everywhere.

Kicking off the bill are Hartlepool’s Mt. Misery, a young band who’ve been building up their own buzz as they eke out sunny pop tunes à la Teenage Fanclub, The Shins or Belle & Sebastian. They have that glistening sparkle that radiates throughout their music.

See Sfven and support at Independent, Sunderland on Saturday 18th March www.sfven.rocks

MUSIC YOUNG FATHERS @ BOILER SHOP

Words: Ali Welford

If anybody still harboured doubts over Young Fathers’ place among the UK’s outstanding contemporary outfits, February’s Heavy Heavy must emphatically have put their questions to rest. Perhaps the Edinburgh trio’s most ambitious, immersive work to date, their first record in five years bursts with heart whilst teeming with experimental vim; an intense yet blissful headrush, hewn amidst radical anthemic alt-pop designs. It’s a bold yet wholly natural advancement, and crucially sounds like Young Fathers and Young Fathers alone; a palette whose scope and unique sonic makeup increasingly bears the hallmark of true greats. This fresh opus is merely the latest peak in a career that’s already brought a Mercury Prize win for debut full-length Dead and the Scottish Album of the Year gong for preceding EP Tape Two, not to mention widespread adulation for superlative subsequent efforts White Men Are Black Men Too and Cocoa Sugar.

Their brilliance isn’t confined to the studio, either. A captivating proposition, Young Fathers’ live shows marry explosive zeal and an electrifying flair for theatre, with Alloysious Massaquoi, Kayus Bankole, and Graham ‘G’ Hastings each commanding the room with their own distinct onstage charismas. Monday 6th March’s visit to Newcastle’s Boiler Shop promises an engrossing spectacle from an act at the peak of their powers.

Young Fathers play Boiler Shop Newcastle on Monday 6th March.

www.young-fathers.com

MUSIC THE PHARCYDE @ BOILER ROOM

Words: Cameron Wright 1992 saw the birth of The Pharcyde, and consequently an album which is now lauded as a hip-hop essential, Bizarre Ride II The Pharcyde.

With the debut and its follow-up, Labcabincalifornia, the band became trailblazers for alternative rap, merging jazz with their West Coast sensibilities. With J Dilla sprinkling his magic touch over the production of their second release, the band had pioneered their slick, classy sound that went on to influence a generation.

The albums smashed through taboos and offered a stark contrast to the wave of negativity that was emerging in the music scene. Flicking from racial profiling to masturbating, prank calls to gun crime, The Pharcyde we’re always one step ahead and doing it with a mischievous smile. Although there have been decades between then and now, these two releases are as crisp, affecting, funny and important as the day they were released.

On 22nd March, the Iconic Pharcyde members, Fatlip, Imani and Slimkid3 return to the stage, in honour of the 30th anniversary of their debut release. The trio will be churning out the hits, making this a not-to-be-missed show for any fan of the band, or indeed for any fan of rap music.

The Pharcyde perform at Boiler Shop, Newcastle on Wednesday 22nd March www.facebook.com/ThePharcyde

Sfven

MUSIC THE GO! TEAM @ BOILER SHOP

Words: Cameron Wright

In 2001 The Avalanche’s released ‘Since I Left You’ and the plunderphonic genre boomed. With the myriad of records that followed from an array of acts, very few captured the heart, passion and love of The Avalanches’ masterpiece.

In a genre that back instantly oversaturated it became impossible to stand out as a unique voice, or at least until The Go Team broke out. The 2004 debut is phenomenal. Thunder, Lightning, Strike plays with the unbridled euphoria of a superhero theme song, oozing power and pizazz and presence.

From then on, The Go! Team made it their mission to explore genres and constantly find new ways to present infectious and interesting earworms that gush with positivity, life and energy. As Ian Parton spearheads each new release he plucks from new terrain and pulls

together his own blend of twee indie, dance-pop bliss.

With their 2023 release, the band looked further out than ever before - exploring the globe and bringing forward an array of vibrant sounds from an eclectic mix of cultures. Regardless of experiment, they always sound unmistakably Go! Team and should not be missed.

Catch The Go! Team at Boiler Shop on Saturday 11th March.

www.thegoteam.co.uk

ENDLESSLY ENGAG ING ADAPTATIO NS

INTERVIEWS

HOLY MOLY & THE CRACKERS

MERA ROYLE CATCHES UP WITH TRUMPETER, VOCALIST AND GUITARIST CONRAD BIRD TO DISCUSS THE CREATION OF THE BAND’S NEW ALBUM AND THE PROGRESSION OF THEIR MUSIC IMAGE

BY CRAIG NEWTON

In a world where we are exposed and connected to music and influences from all over the world, it’s not too far-fetched to say it’s becoming increasingly harder for music creators to find ways to really, truly surprise us with something new. This is exactly what makes Holy Moly & The Crackers so special. Bursting onto the scene eleven years ago with their debut album, First Avenue, this band has consistently roared with eyebrow-raising originality, blending sounds and instruments across genres in an exciting, new equation. Their decade-long incumbent has

demonstrated they can time and time again create music which surprises and astounds, with each album different from the last, yet surmounted in energy, eclecticism and the raw, punky edge that has won them such a loyal and vocal fanbase. This streak continues with the release of their latest album, Solid Gold this March. An album of tight rhythms and woozy riffs, it beams with a newness that’s set to delight fans and enthral new listeners. I spoke with their trumpeter, vocalist and guitarist Conrad Bird to discuss their inspirations, as well as what it’s

MUSIC

been like as a member of Holy Moly & The Crackers over the last decade.

Key to the band, he tells me, is their closeness with each other. ‘We’re a family and that sticks you together like superglue.” Through creating, releasing and performing, music has given these musicians a closeness, a bond which runs deeper than friendship. Listening to their tracks, how the parts interweave and blend, the succinct timing and beautiful harmonies with no one overstepping the mark or drowning another other out, it is clear that their connection and understanding of each other is vital to how their music works together.

Conrad talked with me about the evolution of their music, and how it has reflected the different stages they have grown through during their 20s. “With First Avenue,” he says “We were making in the moment. We were new songwriters and in some way, I look at those songs and I can’t relate to them, they’re not technically ‘good’, but you know there’s an instinct there that brings its own magic.”

Their journey as a band has led them through huge periods of growth, with ups and downs, wild times and quiet times – a global pandemic will have that effect! – and now with the creation of Solid Gold, an album of reflection, maturity and emotion. “Solid Gold is a different thing, and in this moment, I feel like it’s our most complete album,” Conrad says. “You end up looking at yourself in the mirror – what do we feel, what we want to write about, what makes us who we are as a band and as individuals, what music moves us, how do we create a sound

that speaks to us. It was a natural, deeper process.”

The album takes the listener on a journey through upbeat, toe-tapping jives, driving and catchy choruses, to contemplative, folk-like acoustic numbers, like Come on Down, where the silky, spellbinding vocals of lead singer, Ruth Lyon will grip hearts with the captivatingly sweet chorus line, “Come on down/Down to the river we go.” Shimmering with spinetingling swing and confidence, the album’s title track, Solid Gold, evokes late-night groove with soaring harmonies and leaping rhythms, harking of neo-jazz merged with indie-rock power, true to the band’s eclectic nature. Towards the end of the album, Jamie Shields’ bass riff in My Money oozes with boldness and a laid-back, unapologetic charm, danced around by the vocals, percussion and guitar in a perfectly irresistible head-bopping number. No track sounds like the one before, and each arrangement decision is wholly original and hypnotic. I spoke to Conrad about their collaboration with two well-known legends in the world of mixing for the formation of Solid Gold, the Dutch sound engineer Wessel Oltheten and American producer Vance Powell. “It was almost the perfect iteration of the minimalism and soft touch of Europe vs the American monster-truck energy,” Conrad jokes, on the impact their influence had on the end result of the album. On Oltheten, Conrad told me about his guidance during the creative process. “He wanted to develop our sound. He said: “write the bass line, build a groove and let the vocals do the rest” He was very taken with Ruth’s voice and delivery and wanted us to give her that space to move and breathe.” And Vance Powell, six-time Grammy Award-winning record producer, is no small hand to have the help of. “He brought his own energy and gave the album fire” said Conrad. Through listening, it’s impossible to miss the expert and precise mixing style which has allowed this album to achieve a new lightness and freedom, displaying a definite progression from their previous releases. The end result swoons as a perfect record, a project of lyrical wit and eccentricity that listeners will surely cherish.

The album release comes with an announcement of Holy Moly & The Cracker’s biggest tour yet, with gigs in Germany, The Netherlands and the UK. Never straying too far from their roots, the band are also making a return to their hometown, the good and great Newcastle, for a concert at the Boiler Shop this April. I asked Conrad for his thoughts on this home turf performance. “I mean what is there to say but that’ we’re absolutely buzzing. We’ll be joined by some very good and old friends. It definitely feels like a celebration of the journey we’ve made so far. We want everyone who has shared that journey to be part of it.”

Holy Moly & The Crackers are releasing Solid Gold on Friday 17th March 2023 on Pink Lane Records. They play the Boiler Shop, Newcastle on Saturday 22nd April.

www.holymolyandthecrackers.com

SOLID GOLD IS A DIFFERENT THING, AND IN THIS MOMENT, I FEEL LIKE IT’S OUR MOST COMPLETE ALBUM

ANNA B SAVAGE

ALI WELFORD TALKS ABOUT PERFORMING, RELATIONSHIPS AND SOCIAL MEDIA WITH THE LONDON SINGER-SONGWRITER

A songwriter of rare poise and emotional heft, Anna B Savage’s upcoming visit to The Cluny ranks among the region’s must-see March events. Having emerged during the pandemic and played only a clutch of UK dates since, this month’s show represents a maiden opportunity for North East fans to experience the majesty of the Londoner’s craft in person. “I find it easier performing in front of strangers,” she states, on the prospect of swaying a new audience. “Obviously a crowd of 200 is a shit-ton of people, but I still feel like a completely anonymous person –even if it’s quite antithetical to the stuff I’m writing!”

Indeed, despite capturing hearts with the stirring catharsis of 2021 debut A Common Turn, the new record in|FLUX presents an even more probing exploration of inner tumult. A step-up in every sense, Anna’s second full-length was penned during and inspired by the process of therapy; a candid, deeply intimate account of the nuances and flaws of the human condition, centred around the relationships we forge and the psychological imprints they leave – for better and for worse.

“One of the annoying things about healing is that it’s nonlinear. It doesn’t come packaged up in a nice neat bow, and part of the difficulty is learning to live while experiencing lots of opposing feelings at the same time,” she notes. “That’s the magic and pain of having relationships with people – they affect you in completely different ways. They can be damaging, joyful and everything in between. It’s all about multiplicity, and part of growing is that realisation that things aren’t just black and white.”

Captured vividly across ten captivating vignettes, this ongoing quest to come to terms with her own psyche culminates in a broad array of tonal and thematic shades – from the lingering scars divulged on The Ghost, to Pavlov’s Dog’s sex-positive outlook and the joy the title track sources from solo contentment. It’s a delicate, occasionally juxtaposing balance Anna was keen to strike across in|FLUX, not least in retort to

I THINK SOCIAL MEDIA IN PARTICULAR HAS ENCOURAGED AND ENABLED US TO BECOME OUR OWN BRANDS, AND THAT’S SOMETHING I REALLY WANTED TO BUTT UP AGAINST

the opaque parades offered elsewhere.

“I think social media in particular has encouraged and enabled us to become our own brands, and that’s something I really wanted to butt up against,” she observes. “Brands don’t like change, nuance or grey areas: You can only be one thing, and you have to keep repeating that thing in different ways in order to succeed. It’s not only an unhealthy way for us to be - it’s not human.”

Nowhere is this progressive approach better embodied than on the album’s bookends. With its claustrophobic framing and repeated pleas of “stop haunting me,” aforementioned opener The Ghost is the sound of a songwriter grappling with the cyclic contours of mind and memory, seeking to wage war with her brain as opposed to comprehend its inner workings. That it was written more or less concurrently with opposite number The Orange – a song which treads similar thematic ground, but from an outward-facing position of acceptance (or “muted happiness,” as Anna puts it) – is not only remarkable, but testament to a writer who delights in the challenge of divulging her innermost conflicts.

With the album in the can, Anna’s next round of musical therapy promises to be more compelling still – and where better to conduct it than before a room of northern strangers?

Anna B Savage plays The Cluny on Monday 20th March. in|FLUX is out now.

www.annabsavage.com

TYNE TO STAND UP… AGAIN

LEIGH VENUS SPEAKS TO COMEDIAN CATHERINE YOUNG AHEAD OF FELT NOWT’S COMEDY GALA, TAKING PLACE IN AID OF RAPE CRISIS TYNESIDE AND NORTHUMBERLAND

Last year, Catherine Young found herself among a stellar line-up for the very first Tyne to Stand Up; a gala jammed to the rafters with a bounty of all-female North East comedians. With a pinwheeling career behind her (one straddling mental health work and singing in working men’s clubs) connecting with people has always been close to Catherine’s heart, and with Tyne to Stand Up… again on the horizon, she’s buzzing to be back bringing people together for a great cause.

“It tells people there is a community out here for them, and we need that audience as much as they need a show, it’s nothing without them, and people can feel they’re making a real difference because their money is going to something good.” That something good is Rape Crisis Tyneside and Northumberland. Taking place on International Women’s Day, all money from the show goes to the charity, with over 15 phenomenal acts (including Sammy Dobson, Lauren Stone, Anja Atkinson and Your Aunt Fanny) giving their time for free.

“You don’t often get an all-female line-up like this, and it feels special, it feels unique,” beams Catherine. “Everything about it is special. It’s a privilege to be part of it. When you think of the knock-on effect it could have on the charity, it’s beyond a privilege.”

For last year’s show, with just days to go and tickets nearly sold out, Catherine made her way backstage at Tyne Theatre and Opera House to check out the venue. Getting there early was a good move.

“The stage was huge,” she recalls, “And I’m glad I walked out onto it because what I didn’t realise is that a theatre stage set up for massive productions has a slight tilt on it, like when you step onto a waltzer and the floor is off. It would have been a surprise if I’d just walked out on stage in front of everyone and started falling towards them!”

Crisis averted and centre of gravity established, the winner of Hilarity Bites New Act of the Year 2019 soaked in the atmosphere as she readied herself for what was to become one of the highlights of last year’s comedy calendar.

“It was so atmospheric. All of the hundreds of thousands of people who’ve been there and laughed and cried, and been entertained. You can feel the energy of all that has gone before. It was lovely last year to see the amount of men who turned up with their wives and their daughters to support the night too. Everyone was in on it.”

Behind the scenes then and now is Felt Nowt; a not-for-profit organisation that aims to transform the North East comedy scene for audiences and comedians, taking comedy to communities that might not otherwise have access to it. With Tyne to Stand Up…Again, the blokes are taking a welcome backseat.

“We’re here to support women,” Catherine points out, “but we’ve got men working behind the scenes, male comedians working really hard as part of Felt Nowt. Obviously, they’re not allowed on the stage, but they’re there and they’re putting their backs into it. A lot of other male comedians from the area will be there, but they’ll need to be in the audience for once. And they’re happy to do it!”

Tyne to Stand Up… Again takes place at Tyne Theatre and Opera House, Newcastle on Wednesday 8th March. www.feltnowt.co.uk

YOU DON’T OFTEN GET AN ALL-FEMALE LINE-UP LIKE THIS, AND IT FEELS SPECIAL, IT FEELS UNIQUE

Louise Young, Lauren Stone, Estelle Anderson, Zoe

BARTHOLOMEW

“When I first arrived here, I began to wonder whether the music I make is too safe!” gushes Chris Bartholomew, a “wide-eyed outsider” still coming to terms with all that North East music has to offer. “I’ve found so many things which excite me: Wonderful venues like Cobalt Studios, organisations such as TUSK, people like Andy Wood who runs TQZine and Auntie Joy… There’s so much it’s almost overwhelming!”

Previously based in South London, Chris – who makes astral, exploratory electronic music under his second name – made the decision to move north during the initial COVID lockdown. House prices and being closer to family in Cumbria played their role; but there was a third factor which not only drove his and his wife’s relocation, it also provided the spark for Chris’ newest project.

“One of the reasons we chose Kenton is because it’s so close to Nuns Moor,” he reveals. “For the first six-to-eight months, I was out walking the dog on it every day – dodging cows; steering clear of golfers; just having a wonderful time! I’d seen bits of the moor on previous visits, but to live near enough to be on it every day felt like a real luxury.”

Indeed, having arrived in something of a creative rut (“I had no impetus,” he admits), it wasn’t long before an outline for the new record began to take shape. “Moorbound is about my relationship with the landscape rather than the landscape itself,” Chris explains. “When people imagine moorlands they often think of vast spaces and big panoramic shots with nobody in them, but I always felt energised and enthused when I was there. I know it’s a place where protests have happened in the

past, and the fact it’s owned by the Freemen of Newcastle, used for grazing and can’t be given to developers is such a bold statement. It feels demonstrative of a city that’ll stand up for itself, and that this place is more important than any buildings which could be put on it. It isn’t just an empty space – ideas were constantly emerging from my brain, and it had a real rejuvenating effect.”

True to this outlook, Moorbound is anything but the expanse for minimalism and desolation its title may suggest. Instead, listeners will find a record bustling with vim and life; an absorbing, expertly honed collage of acoustic and electronic sounds, rife with sweeping spectral motifs and joyful jazz flourishes.

“I’ve always written everything in software, but for this record I started picking up bits of hardware – synths, samplers,” Chris details, exploring his creative process. “Strings, sax and clarinet were other flavours I’d always wanted to involve in my music. Everything suddenly feels like it’s breathing when you introduce live instruments. I also went from writing in a structured, regimented way to something far more improvisational. It became a case of cutting out the best bits, rearranging, resampling and bouncing everything around until it became more distilled, with clearer intentions.”

Manifesting in an engrossing six-track odyssey, the results showcase Bartholomew as the region’s most effusive, sonically dextrous newcomer. “You always find your avenue,” Chris concludes, returning to his introduction on the local circuit. “Even so, I’ve been so grateful for all the support and encouragement people have given me since I came here – it’s been delightful!”

Moorland is released on Friday 3rd March. The album is launched with a show at Little Buildings, Newcastle on Thursday 9th March.

www.bartholomusic.bandcamp.com

ALI WELFORD CHATS TO THE ELECTRONIC ARTIST ABOUT HIS NUNS MOOR-INSPIRED NEW ALBUM

I’VE ALWAYS WRITTEN EVERYTHING IN SOFTWARE, BUT FOR THIS RECORD I STARTED PICKING UP BITS OF HARDWARE

TRUNKY JUNO

DAWN STOREY RECONNECTS WITH THE INDIE-POP MAVERICK TO FIND OUT ABOUT HIS UPCOMING EP

MUSIC

A lot has changed since I last spoke to Trunky Juno in the summer of 2021, so with a new single and tour dates on the horizon it seemed the perfect time for a catch up.

“That was around the time of Better Better - my last release with Young Poet Records,” he says, “so I was feeling pretty optimistic. I started work on my next single, we’ve been playing a lot of gigs, and I feel like somewhere along the way I became a wise old sage.”

Feeling older seems to be a current running theme. New single Death Metal Music laments kids playing said music “so fucking loud” as Trunky asks “don’t you all got homes to go to?“, which he says was partly inspired by nights out but also life in general.

“But rather than coming from a negative place it’s heavy with nostalgia,” he explains. “When I was 18, I used to think it’d be cool to sing in a band someday, and I didn’t finally do it until I was 24. I hid behind the drums and missed out on my teenage dirtbag moment, and here we are.”

Due to numerous influences and an already vast back catalogue, it’s difficult to know how to describe Trunky’s music to potential new fans. On the latest EP, he switches seamlessly from the raucous, up-tempo riot of Boys Like Me to the mellower, wonky synth-pop of Everything You Say and Do.

On first listen, this and Tidal Wave of Milk seems similarly upbeat yet, as with several Trunky songs, there seems to be a touch of melancholy underneath.

“Very true. I’m really interested in those in-between emotions,

TrunkyJuno by Will Creswick

different blends, and that feeling you get at the end of a great movie as the credits roll and you don’t quite know how you feel, but everything is different now.”

But if forced to choose the song which best sums up his sound, he picks Serial Killer Vibes. “And not just because I’m a serial killer (insert studio audience laugh here) - I also just think it’s got all the best bits of what Trunky is in a fun little song.”

Next on the agenda is a short tour comprising of London, Durham, Newcastle and Sunderland, where all but the Durham show will feature a full band.

“It’s going to be pedal to the metal rock and roll baby. We’ve bought some boxes and cables that let us turn two guitars into four, no more laptops. And I’ll be releasing two EPs - Death Metal Music followed by EP 4, which will either be loved by many, or loved by just me and Alex Mcarthur. Either is fine by us, but I do really hope people like it. I’m still very much trying to find my audience, but I guess it’s a learning curve. I came into this with zero connections, zero fans, and I wasn’t really a singer. So I was always going to mess up a few things along the way.”

Trunky Juno releases Death Metal Music on Friday 3rd March, Catch his solo show at The Old Cinema Laundrette, Durham on Thursday 2nd March and full-band shows at Bobiks, Newcastle on Friday 3rd March and Independent, Sunderland on Saturday 18th March.

www.trunkyjuno.com/

RATHER THAN COMING FROM A NEGATIVE PLACE IT’S HEAVY WITH NOSTALGIA

LÅPSLEY

I’M USING MORE LIVE INSTRUMENTS AND PUSHING THE BOUNDARIES OF POP. I THINK IT MAY BE TOO DIFFERENT FROM MY OLD WORK FOR SOME PEOPLE BUT ALAS WE GROW

AHEAD OF HER SHOW AT SAGE GATESHEAD, THE MULTI-TALENTED ARTIST TALKS TO JONATHAN COLL ABOUT HER RECENT ALBUM, SUCCESSES IN DANCE MUSIC AND TIME SPENT IN SOUTH AFRICA

Talented singer, songwriter and producer Låpsley touches down for a North East debut this March, during a tour that marks the next step on a near-decade-long career. Having burst onto the scene in 2014 aged just 17, the prodigious musician is already on the third album of a career which has spanned a range of genres and styles, but she’s not losing sight of her own sound “My sound is definitely pop, but it’s morphed over the years from the electronic and minimal space to include influences from the music I like to listen to, including garage, Afrobeats, Latin music and indie. There’s way more live instruments in this record than anything I’ve made before and suddenly I’m popping up on indie and alternative playlists. I don’t restrict myself to a genre as such”

Låpsley hit the mainstream of electronic club culture when the legendary DJ Koze remixed one of her earlier tracks, the incredible “Operator.” I love that remix! My A&R Will at XL suggested it, and I was so chuffed when DJ Koze was up for it. The song was a homage to my love of disco nights back in Liverpool. I don’t think anybody expected it to blow up like it did. I usually end my live show with Operator.”

The track helped to kick-start a career that would see her signed to Adele’s label XL, before embarking on a trip to South Africa to refine her latest project. “I initially went with an ex who was from there. I reached out to loads of producers and artists out there and just got in the studio as soon as I could. It’s resulted in lifelong friendships and unexpected collaborations. I love the

creative community there and the music coming out of Johannesburg.

The time spent in South Africa gave her the space to finish her latest album, Cautionary Tales of Youth, which was released on Believe in January. “It felt like the right time to work with a distribution company and there’s a different kind of independence that has felt achievable three albums in. It’s been a lot of work but I’ve enjoyed working with a new team. This album has stronger narratives and sonically it’s just so balanced (credit Lexxx the mixing engineer!). I’m using more live instruments and pushing the boundaries of pop. I think it may be too different from my old work for some people but alas we grow.”

Låpsley’s choice of venue, Gateshead’s renowned Sage, is equally considered, “good sound quality and intimacy is always something I crave and The Sage is so well-liked as a venue it felt like the right fit.”

It may be Låpsley’s first time visiting the region, but unlikely to be her last. Her future plans are typically ambitious with touring, festivals and production right around the corner” To be honest I’m already working on the next album! So hopefully it won’t be too much of a wait. I’m so excited for big festival season, I looooove a festival so keep your eyes peeled for updates on that.”

Låpsley performs at Sage Gateshead on Thursday 16th March. www.musiclapsley.com

END/FUTURE

CLAIRE DUPREE FINDS OUT MORE ABOUT THE SEASON OF FILMS WHICH CHALLENGES VIEWERS TO EXPLORE THE CLIMATE EMERGENCY

If the climate emergency wasn’t terrifying enough for you, Tyneside Cinema’s cheerily titled End/Future season will inspire genuine despair - but that’s precisely the reason you should attend, of course.

At the heart of the season, which runs from Thursday 9th-Sunday 26th March, are a series of three internationally acclaimed VR films which explore the future of humanity. Having premiered at Sundance Film Festival, Gondwana immerses the viewer in the world’s oldest tropical rainforest as live climate data impacts the virtual ecosystem to create a vision of what the forest might look like in 2090; On The Morning You Wake (To The End Of The World) plunges the viewer into a real-life end-of-the-world scenario as experienced by the people of Hawai’i who in 2018 received an official text message telling them they had 38 minutes to seek shelter before nuclear missiles hit the island; and at a time when Artificial Intelligence is starting to visibly impact our daily lives, the Tyneside Cinema commissioned To Miss The Ending explores what might become of us if we trust in technology to look after us after the end of the world.

End/Future will be an annual recurring programme for Tyneside Cinema, as the venue welcomes feature films, artists commissions, events and discussions which put the future of civilisation at the forefront of the conversation.

Andrew Simpson, Tyneside Cinema’s Head of Film, explains: “From environmental crisis and humanity’s impact on the planet, to rapid technological change, the end of the world, and

how we might bring about future utopias, the End/Future programme is a festival of ideas that uses film and VR to challenge how we see the world, explore possible futures and inspire discussion and collaboration.”

The programme will be split into three parts taking place across consecutive weekends. Life In A Time of Crisis (9th-12th March) will explore themes of climate anxiety, the impact of technology on our lives and climate change in the North East, with highlights of the first weekend including a screening of award-winning documentary Electric Malady, about a man allergic to the technology of the 21st Century, which will be accompanied by a director Q&A, and Finite: The Climate of Change, which looks at a growing alliance of climate activists based in Germany and the North East. Imagined Futures (16th-19th March) seeks to uncover how Hollywood charts the apocalypse, with a rare screening of science fiction classic Snowpiecer by Bong Joon-Ho, and meteorological disaster movie The Day After Tomorrow. The final part in the season, A Guide To Saving The World (23rd-26th March), envisages how art and cinema can envisage our collective future, with screenings including stirring documentary Dear Future Children which follows three young female activists, and Atomic Hope, which sheds light on the role nuclear power could play in decarbonisation.

Tyneside Cinema have also commissioned four new films from artists across the UK, which cover themes including water scarcity, ecological disasters, nuclear waste and the assumptions cinema goers face when viewing natural beauty on the big screen.

End/Future is at Tyneside Cinema, Newcastle from Thursday 9th-Sunday 26th March.

www.tynesidecinema.co.uk

THE END/FUTURE PROGRAMME IS A FESTIVAL OF IDEAS THAT USES FILM AND VR TO CHALLENGE HOW WE SEE THE WORLD

Dear Future Children

BROOKE BENTHAM

DAVID SAUNDERS TALKS TO THE SOUTH SHIELDS ARTIST ABOUT HER RE-EMERGENCE FROM LOCKDOWN AND HER FREEDOM-INSPIRED EP

In February 2020, South Shields songwriter Brooke Bentham released her debut album Everyday Nothing, which earned a load of rave reviews from every publication and radio station going. This was followed up by the more ambient follow-up Sunday Self and a covers EP, before a global pandemic stepped in to halt the momentum that would have undoubtedly seen Brooke continue to achieve great things.

With this disappointment and the world around her crumbling, Brooke struggled to find any inspiration for music. However, once some remnants of normality returned, she began reaching out to fellow creatives, leading to the birth of her upcoming release, The Caring EP.

“I slowly started trying to write again, trying to find people to collaborate with. My producer for the EP, Patrick J Pearson, asked if I wanted to do some writing at his beautiful studio in Devon and after that, we ended up recording my songs together. I’m really thankful to Pat for reaching out at a time I felt quite helpless, I’m not sure he knows that but it was a saving grace. He did an amazing job with the production.”

The Caring EP has added notes of Americana to Brooke’s eclectic indie sound and showcases her marvellous vocals talents, which are reminiscent of Lera Lynn and Sheryl Crow and textured with Feist-like harmonies. There’s also a real feeling of space and freedom throughout; from the opening track (and first single released from the EP) Over and Overwith its carefree lyrics and driving pace, to the wild rhythmic shuffling of Almost Heaven, to the ethereal chorus on Let Go, to the soaring country twang on Stop. If you close your eyes as you listen, you cannot help but picture yourself and a group of friends laughing and smiling as you’re being driven into the crepuscule tones of a dusky horizon on the back of a pickup

CARING IS MY ODE TO ROAD TRIPS, GETTING AWAY FROM LIFE, FEELING LIKE YOURSELF AND ENJOYING BEING ALIVE

truck. And, according to Brooke, there’s a reason for that. “The last few years have been full of road trips, camping, staying indoors. Caring is my ode to road trips, getting away from life, feeling like yourself and enjoying being alive. I wanted it to physically sound like that.”

To achieve this, Brooke took a more innovative approach in the studio. “The exciting part of this EP was realising that I could put whatever I wanted on it. The trumpets were so fun, I’ve always thought I had to stick to a certain formula when it came to what instruments to use.”

When asked what she hoped people would take away from the EP, Brooke adds, “I’d like people to listen to Caring and feel comforted that their life isn’t going in the direction they’d always wanted it to. To feel like you have no idea what you’re doing but it’s ok, everyone is figuring it out. I don’t know if you ever really do figure it out.”

With all the praise she received for her previous work and the first two singles she released from the EP, Brooke would be forgiven for feeling the pressure. Thankfully she’s taking it all in her stride. “I try not to think about it really, the great thing about having everything crumble is that you start to feel a freedom. If people like it they like it, if they don’t then nothing changes. Life is life.”

Brooke Bentham releases Caring on Friday 17th March. www.brookebentham.co.uk

Image by Kat Green

SHAME

DAMIAN ROBINSON CHATS WITH THE SOUTH LONDON ROCKERS ABOUT THEIR NEW ALBUM AND THE EVOLUTION OF THEIR SOUND

MUSIC

Damian Robinson chats with the South London Rockers about their new album and the evolution of their sound.

Known for being one of the hottest live bands around, it’s a genuine reason to be excited when Shame announces a UK tour. It’s a double reason to be excited when they release new material that’s banging, and clearly designed to be played live. Released in advance of their new album (Food for Worms), Shame’s recent singles ‘Six Pack’ and ‘Fingers of Steel’ contain those unmissable elements of the band’s make-up (hard, committed and truthful) whilst pushing their sound into new sonic territory. There’s real growth happening here.

“We certainly wanted this album to challenge us all when we made it, both musically and ideally” comments Charlie Forbes; Shame’s well-mannered, comedic, drummer. “The two singles are a good indication of what can be expected on the album, but there’s never a particular sound we’re aiming for or a defined ambition when we write, so there’s a mixture of sounds and styles on the record.”

Deciding to bring in uber-talented producer Mark “Flood” Ellis (Nine Inch Nails, Depeche Mode, U2) was clearly a statement of intent when looking at how they could challenge and push themselves; “There’s a risk for all bands that they start sounding the same the longer they’re around for, and we didn’t want that,

so we thought Flood could help,” continues Forbes. “If anything, even in the studio, we had one eye on our live show and were keen to have some songs with a different feel that could influence how we played live”.

Ah, the live show, perhaps the primary reason Shame crept into the pop consciousness in the late 2010s, complete with tales of punk intensity matched with comedic spontaneity. “We can’t wait to get back on the road and play these songs and play with a new energy. Songs like Six-Pack will be exciting to play as there’s a lot more harmony in it than other songs we’ve made and there’s a nice space in the sound. We tried to create space when we made the second album, but we ended up filling all of the space in, so with Food for Worms we made sure that we left the space”.

A UK tour and a new album are just the start for a rejuvenated Shame recons Forbes, “Yeah, we’re really excited to release the album then get out on tour. What’s good about the live show is that we have enough songs to mix the shows up every night which keeps the shows fresh and new for us and hopefully means each show can be even more unique and interesting for us all. We want to keep building up that list of songs so we’re keen to work on new material as quickly as we can. But first, we want to get out on tour and be as good live as we can be, if not better”.

A new album, a new intensity, and a new level of optimism for the future of the band; that’s a reason for us all to be excited. Shame play Newcastle’s Boiler Shop on Saturday 4th March. www.shame.world

Image by Pooneh Ghana

THERE’S A RISK FOR ALL BANDS THAT THEY START SOUNDING THE SAME THE LONGER THEY’RE AROUND FOR, AND WE DIDN’T WANT THAT

BERWICK FILM & MEDIA ARTS FESTIVAL

Believing that the moving image can transport a viewer from the increasingly fractured and perplexing world we live in to countless otherworldly realms, and offering a chance to gain a deeper insight and understanding of humanity itself, Berwick Film & Media Arts Festival finally makes its in-person return from Friday 3rd-Sunday 5th March, with a weekend of screenings and exhibitions which push the boundaries of genre, form and convention.

From the wildest jungles and the deepest oceans, to celebrations of queer communities, political portraits, cinematic protest, contemporary dance, indigenous stories and humanity on the brink; the programme is wide ranging and highly worthy of a weekend in the lovely walled town.

The line-up of films and exhibitions is extensive and eclectic, with highlights too many to list here. A snapshot of the delights on offer include the opening night UK premiere screening of Anerca, Breath of Life by Finnish father and son filmmakers Markku and Johannes Lehmuskallio, whose investigation into the lives of indigenous communities living in the Arctic Circle promises to be educational and enlightening.

The festival will host premieres aplenty, including world premiere outings for Egyptian artist Basim Magdy’s hallucinatory audio-visual dreamscape

FEARDEATHLOVEDEATH, which reminisces on the absurdity of death; Éiméar and Cat McClay’s A Mother’s Love

For Her Baby, which uses 3D animation and experimental prose to explore corruption and the Catholic mother and baby homes in Ireland; plus the European premiere of Angelo Madsen Minax’s Bigger On The Inside, a cosmic essay film and a deeply

moving work of trans embodiment. Further festival premieres include Ungentle, a reflection on the complexity of relationships between British espionage and male homosexuality; part political satire, part zombie stoner flick, Hello Dankness comprises pirated film samples to produce a warped suburban musical; Meriem Bennani’s sci-fi trilogy Life On The CAPS mixes live action and day-glo animation to explore immigration and state control; while Argentinian filmmaker Lucrecia Martel explores class, labour and gender violence in short film Maid.

Elsewhere, stories of under the radar communities include Nedarma, which focuses on the nomadic Nenet tribe of Siberia; Let Us Flow looks at the importance of ritual and community in the isolated mountainous region of Tusheti, North East Georgia; The Blue Mammy is a portrait of a deaf painter living in Lapland; Walter Saxer’s rarely seen 1987 documentary Sepa: Our Lord of the Miracles shines a spotlight on experimental open-air penal colony in the Peruvian Amazon nicknamed by inmates as the ‘green hell’; Wolf And Dog is a luminous ode to queer communities in the Azores; cine-poem Maputo Nakuzandza is a polyphonic portrait of Mozambique’s capital city; and closing film Arnold Is A Model Student features absurdist humour amid educational rebellion in Thailand. Also in the programme you’ll find explorations into modern science fiction, cult classics of punk culture, utopian lifestyles, alien-infused colonial horror, lockdown-inspired musings, social media nightmares, joyous drama, dire environmental warnings and liberating comedy.

Add to all this celebrations of new cinema, essential retrospectives, a varied programme of exhibitions across the town, as well as filmmaking and programming for young people, and you have an exhaustive and unmissable weekend which celebrates the joy of cinema.

Berwick Film & Media Arts Festival takes place at various venues in the town from Friday 3rd-Sunday 5th March.

www.bfmaf.org

THE MOVING IMAGE CAN TRANSPORT A VIEWER FROM THE INCREASINGLY FRACTURED AND PERPLEXING WORLD WE LIVE IN TO COUNTLESS OTHERWORLDLY REALMS

CLAIRE DUPREE HIGHLIGHTS SOME OF THE EXHAUSTIVE PROGRAMME OF FILMS AND EXHIBITIONS TAKING PLACE AT THE CELEBRATED FESTIVAL

T-B, L-R: Arnold Is a Model Student, Hello Dankness, Anerca Breath of Life, Wolf And Dog

AMY THATCHER & FRANCESCA KNOWLES

MATT YOUNG TALKS TO THE ACCORDION AND PERCUSSION DUO ABOUT THEIR NEW ALBUM AND THE PRESSURES CROWDFUNDING BRINGS

There’s a calm at work. You can feel it from the early stirrings of their song, This Town is Big Enough for Both of Us, as the duo’s unified, soothing vocalised oohs and the long breathing sighs of Amy Thatcher’s accordion bellows float over Francesca Knowles’ metronomic snare snaps and rimshots. As the instrumental crescendos into a final chorus of accompanying synths you’re being held tightly and reassured. It’s a beautiful introduction.

This song comes from the pair’s debut album together Emergency Of The Female Kind and as scene setting goes it’s a fine way to hear their musical collaboration working like a Swiss watch. Talking about the album together with Amy and Fran reveals there are big social, ethical and cultural themes throughout. Issues concerning women, as in title track Emergency Of The Female Kind, as well as motherhood in Anyway Back To Me are intertwined with wanting to inspire wider compassion for each other, (A Little More Compassion and Power To the Loser), as well as for society and its future (Start Giving a Fuck).

The album came about following lockdowns and the enforced downtime from playing with their respective groups. Amy reached out as Fran elaborates, “I had an email suggesting that I joined her new project…Amy had tunes already together that she had imagined drum parts on. So, we met up and started jamming and then just began adding instruments.” Amy adds, “We hadn’t played together before, and I initially thought a third person maybe involved too but between us we realised we really wanted to see what came out [of just us]”.

During their time together Amy’s project became more collaborative and each person played to the strengths of the other. They were reinvigorated around the thought of creating and playing their music live. They experimented with the initial musical ideas. “We would mess around just because we could.” Fran suggesting arrangements, both rewriting pieces, while

YOU HAVE TO HAVE TRUST AND FAITH IN YOUR OWN ABILITIES. IT’S NATURAL TO SECOND GUESS THAT PROCESS AT TIMES

recording sessions and coalescing the music, and themselves, into the sounds that have become Emergency Of The Female Kind. This mix, which at first glance may seem sparse and peculiar (accordion, drums, synths and occasional singing but with the creative freedom of mixing jazz, glitchy beats, lyrical folk styles and much more), results in intense, energetic compositions. Having partly funded the album using Kickstarter I ask whether that brings extra pressure to the mix, to ‘deliver’ an album. Amy partly agrees, but adds, “It’s like any art, you know, you have to have trust and faith in your own abilities. It’s natural to second guess that process at times”, and she’s equally sure that pairing with Francesca has allowed them both to, “Divvy out tasks that fit each other best.” Supporting and relying on each other has by osmosis found its way into the music, at the heart of so many themes on their album.

Whilst it’s clear the intent is to put female issues front and centre, they’re never hectoring, merely reflecting their own personal experiences and accountability. For the music itself, most importantly of all, there is a joyous humanity, pride in identity, playful disregard for genre definition and an inherent hope. Both Amy and Fran see more collaboration happening together in the future and as this album testifies that’s a very exciting prospect.

Amy Thatcher & Francesca Knowles release their album Emergency Of The Female Kind on Thursday 9th March, with a launch show at Cobalt Studios, Newcastle upon Tyne featuring support from The Rheingans Sisters. www.atfk.co.uk

Image by Georgia Claire Tyrie

KEVIN P. GILDAY

Spam Valley is an autobiographical performance based on the social and mental guilt of growing up working class but enjoying a very middle-class career path, something that might resonate with a few of us here. I pinned down writer and performer Kevin P. Gilday, taking a few minutes from his busy schedule, to find out the whys and wherefores…

“I wasn’t seeing my own lived experience reflected in the art I consumed, and I needed to address that. Whenever there was art about working class lives or culture it tended towards the extremes - severe poverty, addiction and gang culture. In my experience working-class living is boring. It’s slow and tiring and mundane. It’s designed to be. There were no shows about those of us who grew up in working class homes but don’t feel welcome in working class culture. I wanted to give a voice to that experience. To unpick the intricacies of it.”

Kevin is a multi-disciplinarian blending comedy, poetry and spoken word on Spam Valley but he told me it all starts out a lot less structured. “At the start of the process it’s all over the place. It’s just about what I want to say and how to get there in the most engaging, exciting way. The structure starts to emerge from asking those questions about what I want to say and why. Sometimes that’s a monologue, sometimes it’s a stand-up routine, sometimes it’s a spoken word piece. They’re all just tools in putting your point across.” And the working-class themes? “I write for connection. I want people to understand me and to understand themselves a bit better. You can’t just be a passive spectator at one of my shows - you need to think. This isn’t the kind of show that makes you laugh for an hour and sends you on your way. This is a piece designed to stay with you.”

For someone who has toured all over the world and at some of the biggest festivals and fringes I asked Kevin if it is important to keep performing at independent venues. “It’s all well and good sitting back in the knowledge that you’re a genius, just waiting to be discovered but in reality you need to get out there and bring your art to your audience. I think independent venues like The Stand are the places where risks are still taken, where the unconventional is programmed rather than just what is obviously popular - thank fuck for them I say.”

And with that, I just had time to ask what else we can expect this year from the perpetual creator. “As well as touring Spam Valley I’ll be [promoting] my latest book, Anxiety Music. Away from the stage I’ll be working on a new non-fiction piece and new music with my band Kevin P. Gilday & The Glasgow Cross. I’ll also be bringing back my community project Bank of Springburn, a pop-up arts space in North Glasgow in a disused bank, in association with National Theatre of Scotland.”

Spam Valley by Kevin P. Gilday is performed at The Stand, Newcastle on 19th March. www.kevinpgilday.com

I WASN’T SEEING MY OWN LIVED EXPERIENCE REFLECTED IN THE ART I CONSUMED, AND I NEEDED TO ADDRESS THAT

STEVE SPITHRAY TALKS TO SCOTTISH POET AND COMEDIAN KEVIN P. GILDAY ABOUT HIS NEW THOUGHTPROVOKING STAND-UP SHOW

LESLEY ROLEY

DAVID SAUNDERS FINDS OUT ABOUT THE JOURNEY THAT LED TO THE NEWCASTLE-BASED SINGER-SONGWRITER’S NEW ALBUM

Everyone loves a good comeback story, especially in music. Watching all those Hollywood movie biopics growing up, there’s something timelessly endearing about the rise, the fall and the hard road back to success. It’s not only inspirational but it adds substance and character to an artist’s body of work. When listening to Lesley Roley’s upcoming album, Time To Be, I was impressed by the quality of her songs and the ethereal beauty of her voice. However, the more I found out about the artist, the more I connected with the music.

As with many musicians, it was family influences that paved Lesley’s path to performance and influenced her style. “Growing up I was exposed to so much great music. But I was really drawn to Crosby, Stills and Nash. Their merged voices created a sound I’d never quite heard before. It was haunting.”

“My dad plays guitar, and me, him and my mam would always sit around and sing together when I was younger. My dad is a songwriter so we ended up writing together, turning my silly little ditties into proper songs.”

As she grew as an artist Lesley started out at busker nights before her talents had her playing at bigger and better places including the Royal Albert Hall, Nashville and, after sending off a homemade EP to a booking agent, a support slot on Don McLean’s UK tour. However, in 2019 things took a turn for the worse.

“I got laryngitis. My GP at the time told me that as it wasn’t getting any better and as I’d lost my voice, I might have throat

cancer, or nodules, and told me not to speak or sing at all until they could put a camera up my nose and look at my vocal chords.”

“Thankfully, all was fine but I had developed an imbalance of the vocal chords. When I started talking again it was causing further damage and for over 18 months I couldn’t do a gig or have a night of conversation without having to be on vocal rest for days afterwards.”

A speech pathologist friend got Lesley singing again and lockdown got her back into writing the songs that became the upcoming album. Originally it was to be recorded with a full band but it didn’t pan out and as a result Lesley’s vocal is front and centre, something that has led to a more soulful recording approach.

“Since I started having problems with my voice, my confidence in my singing ability has dwindled significantly. I’ve tried to channel the emotion of the song’s subject when I sing it.”

This heartfelt delivery and intimacy make for a captivating listen… From the tender folky tones of Wait, Wait, Wait about ignoring the doubts in your head, to the incensed melodies of Two Face, you can feel every note. And don’t get me started on the harmonies.

“I’m pretty obsessed with vocal harmonies. There’s something about a harmony. When it’s done well it gives me a shiver or can even provoke an emotive response. Simon and Garfunkel, Fleet Foxes, Fleetwood Mac...this is where I get lots of my harmony inspiration.”

Time To Be is great. The journey that Lesley has taken to get there enhances each song and makes their impact even greater.

Time To Be is released on Friday 31st March with an album launch at the Bridge Hotel, Newcastle www.lesleyroley.com

THERE’S SOMETHING ABOUT A HARMONY. WHEN IT’S DONE WELL IT GIVES ME A SHIVER OR CAN EVEN PROVOKE AN EMOTIVE RESPONSE

HENRY ROLLINS

Having inspired a generation of artists with post-hardcore outfit Black Flag in the eighties and nineties (most noticeably Mudhoney, Nirvana, and Soundgarden), punk rock icon and artistic polymath, Henry Rollins has since written books, produced Charles Manson’s acoustic music, starred in films (he’s brilliant as an immortal cannibal in He Never Dies) and is currently performing at venues around the world as a spoken word artist. His latest show, Good to See You, is back out on tour and stops at Whitley Bay Playhouse on Thursday 30th March.

After several years away from the stage, Rollins tells us about his choice to come back with this specific performance. “It’s always good to see any audience on any night. When it became clear to me that due to COVID, touring was not necessarily coming back, I figured if I was ever able to tour again, it would indeed be good to see them, perhaps more than ever and that has proven to be true.”

Audiences will no doubt be delighted to see the internationally renowned performer doing what he does best. But alongside enjoying his charisma and stagecraft, fans will also get to know more about Henry from the tales that he tells. “The content of all my shows are based on my personal experience. I’ve been doing performances of this kind since 1983. I like the medium of speaking as it’s an acoustic signal. It’s storytelling, like Folk

Music. It’s also incredibly direct and for me, that’s the primary appeal.”

His spoken word technique follows a narrative approach, guiding listeners from beginning to end with a relaxed style that can be comedic, provocative and always engaging. Although there is no doubt that Rollins could have used music to convey his message if he had wanted to, he’s at home on the stage regardless of the art form and prefers the solo approach during the creative process.

“Music was, in my case, always a collaborative pursuit. With that sometimes comes ego, politics, and whatever else. I grew used to that and accepted it as part of the process and maybe it even made the music better but never liked it all that much. Working on material for myself by myself suits me more. It passes or fails on its own. I’d rather work that way. The basic process is the same but without all the collaborative noise and expectation with making music, I think a bit more clearly.”

Good To See You sees Henry share stories from the brief pre-COVID period since the last tour and the months that followed. With this in mind, I asked if anything had changed for Rollin since the pandemic. “It is my first tour since lockdown, but I also know I’m 116 shows into the tour. As far as it is for me on stage every night, it feels like it was before the pandemic.” So it’s business as usual then… Punk AF!

Henry Rollins takes the stage at Whitley Bay Playhouse on Thursday 30th March.

www.henryrollins.com

IT’S STORYTELLING, LIKE FOLK MUSIC. IT’S ALSO INCREDIBLY DIRECT AND FOR ME, THAT’S THE PRIMARY APPEAL

LIZZIE LOVEJOY CHATS WITH THE FORMER BLACK FLAG SINGER TURNED SPOKEN WORD ARTIST AHEAD OF HIS SHOW AT WHITLEY BAY PLAYHOUSE

Image by Ross Halfin

TUSK NORTH 2023

AHEAD OF THE SECOND TUSK NORTH, LEE FISHER SPOKE TO TYNESIDE ARTIST AND TUSK ARTISTIC DIRECTOR MARIAM REZAEI ABOUT POSITIVITY, CHANGE AND STAMPING OUT ALL-MALE LINE-UPS

Despite being one of the most culturally significant forces in the city, Newcastle’s magnificent Tusk organization has had a period of upheaval of late, buffeted by austerity, ridiculous xenophobia around artist visas leading to cancelled shows and some significant changes in the team structure. But as the triumphant gigs they put on towards the end of 2022 showed, they’re emerging bloody but unbowed.

Next up is the second instalment of Tusk North, the compact but bijou companion to the main festival which returns to the Lit & Phil on Friday 3rd and Saturday 4th of March. Last year’s inaugural edition was a huge success, with the Lit & Phil hosting excellent performances from the likes of Bad Amputee, Penance Stare, Apartment House and Kenosist. If anything, the line-up for Tusk 2023 is even stronger and artistic director (and Tyneside experimental motherlode) Mariam Rezaei is in a positive mood.

“The post-lockdown gig economy has changed quite drastically” she concedes “but TUSK powers on with a curious and cheeky spirit. We want to see new, mixed and adventurous line-ups. Tusk North holds something new for everyone coming along.” It’s long been the Tusk way that the only real organizing principle behind what gets booked is that they’re into it, and that still holds. “We love the music from all of the acts we’ve programmed - it’s as simple as that. We’re excited to see all of the acts at the Lit and Phil. There’s a unique power in acquiring and witnessing beautiful music in a gorgeous, historic and forward-thinking space. Collaborating with Newcastle University and The Lit and Phil library ties perfectly into TUSK’s ethos.”

Rezaei has some formidable and important ideas about how organisations should be programming festivals that are very much in effect here. “It’s important Tusk continues to put its ideas and hopes for the future of new music into action. We don’t sit and preach the need for change; we put it into action…

WE WANT TO SEE NEW, MIXED AND ADVENTUROUS LINE-UPS. TUSK NORTH HOLDS SOMETHING NEW FOR EVERYONE COMING ALONG

What’s the point in just programming the same as everyone else? Tusk has always worked hard to program both mixed and specific lineups and we hope we’re smashing some hierarchies and keeping it refreshingly mixed. I honestly don’t know how it’s still ok to have all male-lineups ANYWHERE.”

You can see that attitude reflected in a line-up that has the wonderful East Anglian recorder and violin player Laura Cannell, whose blend of early music and the avant-garde has been producing astonishing sounds for a decade or more, heading a Friday bill that also includes Nakul Krishnamurthy, Nagruska, Sgerbwd, David De La Haye’s Networking The Flight Of The Monarch (an intriguing blend of field recordings and networked live performance) and the debut appearance from The Agarfinger Inexperience, a new and potentially terrifying combination of local underground stalwarts Jonas Halsall and Shaun Thomas. Saturday is headlined by People Like Us (aka Vicki Bennett), the plunderphonic audio/video collagist who’s been blowing minds for three decades, performing Mirror. It also features the likes of Strange Digressions, Verbena Folk Ensemble and - for the second year - Edward George recording one of his remarkable Strangeness Of Dub shows. There’ll be artist talks with Edward George, Laura Cannell and Vicki Bennett too.

Tusk North takes place at Lit & Phil, Newcastle on Friday 3rd March and Saturday 4th March www.tuskmusic.org

L-R, T-B: Edward George, Laura Cannell, Girasola Dance by Angeles Zamora

BIG ROMANCE

STEVE SPITHRAY TALKS TO MELODIOUS NU-INDIE KIDS BIG ROMANCE ABOUT THEIR GENRE-BENDING DEBUT EP MUSIC

Big Romance are Dan (vocals/guitar), Greenup (guitar) and Louis (drums) and if they look oddly familiar that’s because they may well be to many in the know. Having only played their first live show last October I caught up with the Newcastle group over a digital burger to find out why. Dan: “We previously worked together as Deep.Sleep,” ah, there it is, “but over lockdown we took the opportunity to push the boundaries a little bit.”

So, is debut EP High On You the Big Romance’s big mission statement I wondered. Dan: “I think that’s fair to say, yeah! When we were deciding what tracks we wanted to include, we thought long and hard about what best represents us at the start of this journey. I think it really sets the tone for what’s to come.” Greenup: “[The EP] is quite diverse stylistically, we’ve got a synthy love song with a sample-heavy chorus, and a high tempo, guitar-driven indie tune with lots of hints to other genres in-between. For a ‘guitar band’ we do a lot of the formative stuff on a computer, it sounds a bit counterproductive, but I think [it] really helps us get into the nitty-gritty of the songwriting.” Dan: “We’re like a hive-mind when it comes to writing and are almost extensions of each other’s personalities.”

High On You, the track of the same name, was written about the pitfalls of internet dating and Dan told me it is important to

him that his lyrics come from experience that gives him the confidence to speak with conviction in the songs. “I think it really comes down to the fact that I can’t really write about things I don’t know about, so even just to personally connect to our [own] music I need to be earnest. I think everyone needs someone in their corner, who can relate to their circumstances and if even just one line in one song that I write can do that, then I know I’ve done something right. Writing is something we all actively enjoy so we’ve found ourselves penning a new demo, or at least a new idea at least once a week, usually at my house over a couple of beers and a Rustlers burger or two - Louis is mad for them.”

Now the band have hit the ground running with some live shows and an EP they aren’t planning on slowing down any time soon either. Dan: “We’re hoping to see a couple of festival stages this year and see as much of the country as possible. We’re back in the studio in spring to get EP two recorded and have plans to go away together to write EP three later in the year.” Greenup: “Basically as much writing, recording and gigging as possible.”

But I let Louis have the final word. “I can’t wait to show everyone what else we’ve got lined up for Big Romance [and] I’m still yet to get sponsored by Rustlers…” Right, I’m off to the One Stop, anyone fancy a burger?

High On You EP by Big Romance is released on Friday 10th March.

www.facebook.com/bigromanceband

WE’RE LIKE A HIVE-MIND WHEN IT COMES TO WRITING AND ARE ALMOST EXTENSIONS OF EACH OTHER’S PERSONALITIES

THE GROVE

CLAIRE DUPREE DISCOVERS NEWCASTLE’S NEWEST LIVE MUSIC VENUE

How many times have you seen one of your favourite up and coming bands announcing a tour only to be disappointed that the North East wasn’t included? That may be about to change, thanks to the opening this month of a brand new 400 capacity venue in Newcastle’s East End.

The Grove (tongue firmly in cheek, we assume) is located in a historic building between Byker and the Ouseburn Valley, and will place itself between snug venues like The Cluny and larger independent event spaces such as Boiler Shop, a gap that’s currently missing amidst the city’s event spaces.

Two North East music scene stalwarts, Charlie Dancer and Cole Gilroy, are behind the project. Having extensive experience both as artists as well as promoters and within the wider industry, the pair are ideally placed to deliver a venue which puts artists and audiences at the forefront of its ethos.

With an open music policy, and a desire to host “people’s memorable moments”, Charlie explains that they’re keen for the venue to be seen as a welcoming space for all. “The key thing is that we want to be a resource and asset to the region. We have great promoters operating in the city bringing touring artists to Newcastle - our hope is to support them in doing so by being that medium sized venue, with affordable hire rates and the technical capacities to host a higher calibre of artist. That means the right sized stage, the right spec of speakers and desk, and at a sellable capacity that would enable such promoters for the risk to be viable.”

Good news for your on-the-up touring band then, and local artists and promoters are encouraged to get involved too. In fact, two of the venue’s events during their opening week will feature popular regional artists - eclectic ensemble Dilutey Juice and enigmatic noise makers The Peevie Wonders have the

honour of being the first artists to tread the boards on Friday 17th March, while indie pop songwriter and producer Cortney Dixon and bedroom pop artist Cosial perform on Friday 24th. As well as hosting live gigs, the venue will be a multi-use space; situated within the walls of a historic stable building, with exposed steel, timber and engraved brickwork, the space lends itself to anything from wedding receptions and conferences to a place for workshops, craft and game events and exhibitions. “The very nature of the building feels very special - it feels intrinsically Northern and screams of old industry and the graft of those before us.” Charlie enthuses, explaining that an enclosed courtyard and roof terrace offer valuable outdoor space.

The venue opens on Friday 10th March with a weekend of DJs and food stalls featuring Kristian Atkinson (Zerox) and food from Fire & Dough Pizza on Friday, Night Dancing Crew provide the soundtrack for a day-to-night party on Saturday and there’s a doggy social on Sunday. Regular weekend pop-up food events featuring local traders and DJs are also planned, alongside drink and draw events, quiz nights and touring artists like alt. rock quartet The Clause (Saturday 25th March).

The Grove has been a project long in the pipeline, and the work undertaken to get it to its current position has been significant. Ultimately, Charlie and Cole are excited for the next phase. “The very concept of what we want to do feels a bit ridiculous and we both have moments of imposter syndrome but the reality is there isn’t the time for us to be self-congratulatory or feel smug - we have a mountain to climb to get it to the place we want it to be. We are mainly just really buzzing for everyone to come check our place out.”

The Grove is located at 1 St Michael’s Road, just off Albion Row and opposite Two By Two Brewery Tap Room, about 100m up the road from The Free Trade Inn.

www.thegrovenewcastle.co.uk

THE KEY THING IS THAT WE WANT TO BE A RESOURCE AND ASSET TO THE REGION

LISTINGS

THE BEST OF THE REST… EVEN MORE ALTERNATIVE MUSIC, THEATRE, COMEDY, ART AND FILM TAKING PLACE THROUGHOUT THE NORTH EAST THIS MONTH

THURSDAY 2ND MARCH

BEANS ON TOAST

The cult singer-songwriter performs his unique brand of folk as part of his UK tour // The Cluny, Newcastle

LETS’ ROCK ART EXHIBITION

Kurt Max was raised on Venice Beach California during the turbulent 1960s and began creating rock art in the 1980s. After relocating to the North East he continues to produce celebrity portraits // The Exchange Theatre, North Shields

NOMADUS

Mixing Thrash, Groove and progressive elements in metal. Support from Mortal Chains // Trillians, Newcastle

SUNDAY 5TH MARCH

KING KING

Energetic and dynamic British blues breakers // Boiler Shop, Newcastle

MARSEILLE

rock n roll band drawing influence from the 90’s Madchester scene and the 60’s Merseybeat. Support from Dayzies and Idle Hands // Little Buildings, Newcastle

TUESDAY 7TH MARCH

BEANS ON TOAST

The cult singer-songwriter performs his unique brand of folk as part of his UK tour // The Georgian Theatre, Stockton

WEATHERSHIP

Melodic indie-folk. Support from Nice Guy and Church, Honey // The Green Room, Stockton

WHITENOISE.

Teesside psychedelic indie-pop outfit. Support from Beatnik and Wingz of the Monkey // NE Volume Music Bar, Stockton

SATURDAY 11TH MARCH

BRIDIE JACKSON

Down By The River event to raise money for the Fight for Faye appeal. // Claypath Delicatessen, Durham

DELTASOUND

FEATURED

// The Future Is Queer

A night dedicated to showcasing the future of LGBTQIA+ talent. Featuring Michael T Ogilvie, MXYM, Gloria Love and Louis Chrisp. //Bobby’s Bar, Newcastle

FRIDAY 3RD MARCH

CREATURE

Metalcore for fans of Converge, ETID and Botch. Support from Shallow and Equitum // Little Buildings, Newcastle

DWELLINGS

Chris Haslam (GNOD, Holy Scum, Temple of BBV) brings their all hardware techno mayhem to Newcastle. Support from MDATA and Bishop // Lubber Fiend, Newcastle

MEGAN WYN

Indie-rock singer-songwriter. Support from Jen Dixon, Gaz Price, Common Courtesy // KU Stockton

MUSCLE MARY

The exhibition explores the intersections between bodybuilding and queerness. Until 1st April // Vane, Gateshead

SATURDAY 4TH MARCH

BURN THE VALLEY

Heavy melodic three-piece from Teesside with roaring guitar, melodic bass & pounding drums. Support from Beatnik + Guilty Pleasures // NE Volume Music Bar, Stockton

LEZ POP

A Multimedia Celebration of Lesbian Pop Culture // Star and Shadow Cinema, Newcastle

LIZZIE ESAU

A very special gig to celebrate International Women’s Day, also featuring Charlotte Greyson and Liz Corney // The Green Room, Stockton

SMALL TOWN KING

Indie pop band with clever guitar riffs and keyboard melodies // The Central Bar, Gateshead

WEDNESDAY 8TH MARCH

NEW PAGANS

Influential indie punks // The Shooting Gallery, Newcastle

THURSDAY 9TH MARCH

EMILY PAYNE

Emily Payne’s Sex Is Hard Work is an honest, thought-provoking comedy show and guide to the sights and sounds of sex work // The Cluny, Newcastle

PATRICK MONAHAN

Monahan’s show, Classy, sees the comic share observations on living his contemporary life alongside stories of his upbringing // The Stand, Newcastle

THE RHEINGANS SISTERS

BBC Radio 2 Young Folk Award winners and creators of full-hearted sounds. Support from Amy Thatcher & Fran Knowles // Cobalt Studios, Newcastle

ROB HERON & THE TEA PAD ORCHESTRA

Genre-bending band incorporating western swing, blues, country, rock ‘n’ roll and soul // The Witham, Barnard Castle

FRIDAY 10TH MARCH

LEE RIDLEY (LOST VOICE GUY)

A comedian who may not be able to talk, but he definitely has something to say, and his comedy will leave you speechless. Support from David Eagle and Danny Deegan // The Forum, Darlington

FEATURED // Stuart Buchanan

The Scottish contemporary artist exhibits his oil paintings, which feature figures set in richly textured colourful and ambiguous landscapes. Runs until 23rd April // The Biscuit Factory Newcastle

THE K’S

High-flying four piece, fuzz-pop band from Newton-Le-Willows // NX Newcastle

Newcastle’s Pre-apocalyptic electro grunge outfit Deltasound performs for one night only. Support from The Agency and Meiosis // The Cluny, Newcastle

EYECONIC

Single launch from one of the North-East’s finest rappers // Support from Too Common, Dan Swift and 97Renn // Little Buildings, Newcastle

SUNDAY 12TH MARCH

THE DREAM SYNDICATE

Iconic alternative rock band from Los Angeles. Support from The Rain Parade // Cluny 2, Newcastle

MONDAY 13TH MARCH

FUCKED UP

Canadian punk provocateurs Fucked Up bring their incendiary brand of music to Newcastle. Support from Big Cheese // The Cluny, Newcastle

TUESDAY 14TH MARCH

LOUISE YOUNG

An hour of stand-up from this local rising star // The Stand, Newcastle

SNAKE EYES

Anthemic grunge energy from Brighton’s grit-pop trio // Bobiks, Newcastle

WEDNESDAY 15TH MARCH

GIFT

Brooklyn’s psychedelic rock quintet perform their turbulent, yet gorgeous soundscapes. Support from Waves Of Dread and Scott Hepple and the Sun Band // The Cluny, Newcastle

THURSDAY 16TH MARCH

DAVE GORMAN

The man behind Dave TV’s hit show Modern Life Is Goodish as well as Googlewhack Adventure, is back on the road with a brand new live show, Powerpoint To The People // Darlington Hippodrome

FEATURED // Macbeth

Fusing live action with innovative video technology, imitating the dog brings their inventive style of storytelling to Shakespeare’s tragic tale of ambition, destiny and downfall. On until 17th March // Gala Durham

SARA PASCOE

Sara’s latest show, Success Story, chronicles her quest for fame from the age of 14 // Tyne Theatre & Opera House, Newcastle

THE UNIT AMA

Alternating between post-punk drive and controlled noise. Support From Olanza // Pop Recs Ltd, Sunderland

FRIDAY 17TH MARCH

EYAL EL WAHAB

A homemade junkyard band led by multi-instrumentalist Eyal El Wahab // Cobalt Studios, Newcastle

BURR ISLAND

Harmonious folk duo from South West England // Bobiks Newcastle

HILARITY BITES COMEDY CLUB

Featuring Noel James, Chris Brooker, Si Beckwith and MC Pete Otway // Bishop Auckland Town Hall

SHOE CAKE COMEDY CLUB

Featuring The Discount Comedy Checkout and Lois Mills // The Georgian Theatre, Stockton

SATURDAY 18TH MARCH

BILAL ZAFAR

Care from Bilal Zafars focuses on his year working in a care home for very wealthy people // The Stand, Newcastle

CLAVISH

British rapper from Stamford Hill, London noted for his signature flow on trap and drill beats // Newcastle University Student’s Union

LIBRALIBRA

Art pop collective // Zerox, Newcastle

SPILT MILK

Indie-rock from the Gateshead quartet // The Cluny, Newcastle

THE BABY QUESTION

Theatrical film exploring the narratives of women who are child-free by choice or circumstance, set in the world of a seventies

Top of the Pops-style chart TV show // Northern Stage, Newcastle

SUNDAY 19TH MARCH

BILLY SULLIVAN

Former The Spitfires frontman, turned solo artist // Independent, Sunderland

GALLUS

Ferocious rock from Glasgow // Zerox, Newcastle

GUN

Glaswegian rockers celebrate their classic songs in a new acoustic style // The Fire Station, Sunderland

TUESDAY 21ST MARCH

INTERACT FESTIVAL

Students from the BA (Hons) Acting for Stage & Screen at The Northern School of Art present two evenings of new, diverse and exciting work. Second date 23rd March // ARC, Stockton

WEDNESDAY 22ND MARCH

LUCY FARRELL

Sophisticated songwriter and creator of unconventional melodies // The Cumberland Arms, Newcastle

THURSDAY 23RD MARCH

BOB LOG III

Explosive party sounds crown prince of punk blues from Tucson, Arizona // The Cluny, Newcastle

CHRIS MCCAUSLAND

The top stand-up chats about life, family and more // Playhouse Whitley Bay

ROSELLAS

With a sound that gives a nod to the bands of 90’s Britpop // Bobiks, Newcastle

SCOTT LAVENE

Magical songwriter, with support from Bugman // The Engine Room, North Shields

FRIDAY 24TH MARCH

ALASKALASKA

Alt-indie freeform expressionists // World Headquarters, Newcastle

ARCHIPELAGO

A genre-defying trio of adventurous musicians, formed out of the North East’s creative musical underground. Support from BULBILS // Cobalt Studios, Newcastle

BURNOUT

A show from ShyBairn Theatre that exposes the burnout experienced by activists from marginalised communities alongside the burnout of our planet. Also showing 25th March // Laurels Whitley Bay

DIRTY SOUND MAGNETS

Psych Rock from Switzerland. Support from The Folding Desert // Anarchy Brew Co, Newcastle

DUNE RATS

Surf-rock sounds from Brisbane, Australia. Support from Beddy Rays // The Cluny, Newcastle

INTERDIMENSIONAL

An exhibition that focuses on the surreal and journeys beyond our imagination into the unknown. Runs until 15th April // ARC, Stockton

SESSIONS FROM THE PIT

An all-female lineup for Women’s History Month featuring Lola Simms, Ruby Aeron, Black Moss and Elle Longstaff // Carnival House, Southwick

THE LILACS

Indie-pop from Wigan. Support from The Avelles // Bobiks, Newcastle

SATURDAY 25TH MARCH

ESHAAN AKBAR

The Pretender is the debut show from the comedian seen on shows such as Mock The Week and QI // ARC, Stockton

GARRETT MILLERICK

The world’s angriest optimist // The Stand, Newcastle

NICK PARKER

Glastonbury folk artist with tongue-incheek lyrics. Support from Amelia Coburn. // The Globe, Newcastle

FEATURED // Paranormal Lit and Phil with GHOSTnortheast

Join the GHOSTnortheast team as they discuss all things paranormal at The Lit and Phil, with lead investigator Steve Watson discussing his books, Paranormal Newcastle and Paranormal Sunderland. // The Lit & Phil, Newcastle

TAKE BREATH

Melodic hardcore 4-piece. Support from The Throwaway Scene // Little Buildings, Newcastle

THEE GIRL FRIDAYS

Gey Hip! event featuring lo-fi garage/beat combo from Scotland // The Green Room, Stockton

SUNDAY 26TH FEBRUARY

LOS COYOTE MEN

Trashy garage-punk sound, and Mexican wrestling masks. Support from Thee Girl Fridays and THEE GATESHEADCOATS // Cluny 2, Newcastle

TUESDAY 28TH MARCH

ANGELOS EPITHEMIOU

The quirky comedian presents his new show, Can I Just Show You? // The Witham, Barnard Castle

FAUN

A fast-paced comedy and celebration of the queer community about youth and pan pipes - Runs until 15th April // Alphabetti, Newcastle

THE SWEARING JAR

Angharad Jones directs this award-winning bittersweet comedy filled with heartbreak, humour and songs - Runs until 29th March // Northern Stage, Newcastle

WEDNESDAY 29TH MARCH

CIRCUS

Newcastle rock ‘n’ rollers that play to be heard // Bobiks. Newcastle

THE OOZES

Queer-punk Londoners // Independent, Sunderland

TEECHER LEAVERS 22

John Godber’s breath-taking, breakneck comedy about education for the ‘haves’ and ‘have nots’ and a generation left behind. Also showing 30th March // Darlington Hippodrome

THURSDAY 30TH MARCH

THE OOZES

Queer-punk Londoners // Bobiks, Newcastle

FRIDAY 31ST MARCH

ME AND MY FRIENDS

Afro-infused grooves soaked in glorious folk harmony // Cobalt Studios, Newcastle

RIBBONS

A participatory performance with sewing machines, musician, dancer, and you // ARC, Stockton

WHITE ROSE

Four piece Indie Rock band. Support from Pink Rose and Ell Hemingway // The Forum, Darlington

WOOD BURNING SAVAGES

Provocative alt. punks from Derry, NI // Head of Steam, Newcastle

REVIEWS

THE UNIT AMA, TOO MANY THINGS @ THE THE LUBBER FIEND, NEWCASTLE (17.02.23)

Words: Lee Fisher

I’m all for early gigs but it did mean London duo Too Many Things didn’t get the audience they deserved. My notes say ‘Moon Duo covering Come but quaaludes’, which with hindsight sounds like bullshit but there’s something in it. Both of them are veterans from all the right sort of bands, with Marian tonight on vocals, guitar and boxes and Jem on keyboards and vocals. They remind variously of PJ Harvey at her blasted bluesiest, some scuzzy late seventies Bowery outfit, hints of psychedelia in the keys. It’s really involving and effective stuff, especially when Marian’s vocals take the lead.

The Unit Ama are slowly surging back into life, scratching and blinking as they re-emerge into the light, with a new album imminent. They were astonishing, of course. After a palate-clearing burst of skronky improv, we got most of the new album and nothing else (because Unit Ama don’t look back). Tonight I’m really struck by the sinuous post-punk space in Jason’s bass. The Collector/Body Keeps The Score double whammy is breathtaking, and live the latter suddenly reminds me of Poptones (guitarist Steve says for him the new album is Marquee Moon, Metal Box and Calvary Cross, which seems about right). It’s a brilliant gig, over too quickly, and if there’s any justice, this is going to be a big year for The Unit Ama.

MOGWAI, BRAINIAC @ SAGE GATESHEAD (12.02.23)

Words: Ali Welford

It’s a quarter-century since Brainiac last played these parts; the untimely passing of vocalist Tim Taylor bringing about the cult Ohio outfit’s disbandment in 1997, mere days after performing at Newcastle’s Mayfair. Reformed and recalibrated, the quartet’s support slot illustrates precisely why they remain beloved by so many, jogging memories and converting fresh followers alike with its searing squall of squelching synths, vocal distortions and discordant riffage. Whether it’s due to the Sage’s typically flawless acoustics, Level 1 being converted to an all-standing area or this being Mogwai’s first North East outing in five years, the sheer immensity of tonight’s set feels overwhelming even by the Scots’ own lofty standards. Monumental

throughout, the highlights span their entire near three-decade career –from the emotional cacophony of New Paths to Helicon, Pt. 1 to Don’t Believe The Fife’s spectral electronics and inevitable sonic deluge; from latest riff-monster Drive The Nail to dusted-off doom rager Ratts of the Capital. And for all these volcanic surges, the moments of silence prove equally electrifying – exemplified by early classic Christmas Steps, a show of genuinely spine-tingling dynamic mastery.

The best Mogwai show our region has seen? ‘90s stalwarts probably won’t see it that way, but in my time, I can’t recall finer showing.

SLUG, JAMES LEONARD HEWITSON @ POP RECS, SUNDERLAND (18.02.23)

Words: Ali Welford

It’s difficult to overstate the love in the room for Ian Black, the self-professed “best-looking ginger man from Sunderland” whose first hometown show in five years doubles up as a de-facto album launch. There’s a tide of goodwill too for James Leonard Hewitson; playing in a three-piece outfit, the Hartlepudlian favourite offers a capacity crowd his very best, rushing through a potent gamut of guitar pop hooks, driven by an avid post-punk motor.

With the room sitting snugly in the palm of his hand, SLUG’s arrival sees Black turn Pop Recs into his own personal arena, rife with absurd costumes, rock star poses and the general glory of indulgence. “What you can’t do in talent, you make up for in show,” he gleefully announces; yet from the outset it’s clear his gifts extend far beyond self-deprecation.

SLUG’s most audacious turn yet, new record Thy Socialite! pitches the quintet in a stylistic nether zone between The Zombies’ sunshine pop and Spinal Tap’s gratuitous glam rock – a sound which ought to be an embarrassment, yet on the likes of Casual Cruelty and Instant Reaction winds up proving quite ingenious. Elsewhere, Black gets his “Grohl moment” on the solo acoustic Depends On What You Think Is Nice, plays Greasy Mind twice having deemed their initial rendition subpar, and succumbs to his deepest urges with Cut Of Your Jib’s shameless hair metal chug. Should it work? No. Does it? Absolutely! How? Who honestly knows…

Slug by Tracy Hyman

BENEFITS, BABA ALI @ THE EMPIRE, MIDDLESBROUGH (03.02.23)

Words: Damian Robinson

Laying down some serious artistic intent, primary support act Baba Ali burn up the Empire tonight thanks to a combination of performance art from frontperson Baba Doherty and funky guitarist Nik Balchin. Standing out with Bored and House, the duo succeeds by blending dark synths textures (reminiscent of Suicide) with sweet pop stickiness (think INXS and Duran Duran) in a unique mix of dance-pop. They put on an excellent live show and are a fine warm-up for North East’s answer to Black Flag, Benefits, who stalk and scowl across the stage with ferocious intent and message.

Standing out on the claustrophobic new release, Thump, Benefits’ performance works thanks to the interplay of spoken word and physical presence from frontman Kingsley Hall and the jazz drumming power of tonight’s guest drummer Cat Myers. Myers, in particular, is on fine form, lifting Benefits to new heights by providing excellent support to Hall’s poetic, unplanned, moments and allowing them to reach new expressions. Excellent.

THE MURDER CAPITAL, TRUNKY JUNO @ KU BAR, STOCKTON (02.02.23)

Words: Robert Nichols

The lights dim, shadowy figures take to the stage through a veil of whirling sirens, shrieking feedback and pulsing strobes. The murmuration of mounting excitement is pierced by whoops of approval. This is definitely an event not just another gig.

Just to underline it, BBC 6Music’s champion Steve Lamacq is here and has given us a rousing introduction. Lamacq has been broadcasting live during the afternoon, and across the street Radiohead’s Phil Selway is playing at the Georgian Theatre; Independent Venue Week has arrived in style.

Quirky County Durham performer Trunky Juno brings face paint and a little glam to proceedings. “I am not like everyone else” he sings, spicing up storylines with spiky guitars.

There is a certain menace to the big brooding baritone presence of James McGovern, who conducts the sonic assault from centre stage as The Murder Capital seize the night. A primal beat here, a shredding computer resonance there. Ringing, wailing guitars. An exhilarating sinister post-punk darkness envelopes the room. For Everything…For Nothing sees a tempo step up. A Chameleons-esque key changer. We are emotionally depth charged.

McGovern reaches for the ceiling and kicks out into the void, plunging into his waiting disciples in the broiling pit. “I always wanted it to be like this for us,” he growls. Again and again. Leading us his willing flock into a frenzied finale, Ethel. Exhilarating, energising, engrossing. Special, just special.

THE LATHUMS @ HIT THE BAR, MIDDLESBROUGH (07.02.23)

Words: Robert Nichols

The Lathums went back down the pub and back to their roots for this tour to showcase their second album, From Nothing To A Little Bit More. After a number one debut album, arena support slots with The Killers and Kasabian and even an appearance on BBC Breakfast, they have gone ever so slightly stellar. That meant Middlesbrough’s Hit The Bar was as rammed as an old school football terrace for the former Wigan-born college band. The only problem being that the low stage and standing room only meant the band was pretty much invisible to the majority of the crowd. But amazingly enough it didn’t really matter. A Lathums gig is such an uplifting experience. A joyful singalong with the ringing guitars of The Smiths, the chirpy melodies of the Housemartins and the inventive and often playful lyrics of Squeeze. A band they duly covered in the latter part of the set.

On paper this formula might sound so last century, but not when you can craft and deliver such enchanting songs with personality to attract several generations merrily singing along to the hidden players.

The Murder Capital by Tracy Hyman

TOM A SMITH, OVERPASS, KATIE GRACE @ THE ENGINE ROOM, NORTH SHIELDS (04.02.23)

Words: Damian Robinson

Making an early start at the sold-out Engine Room, it’s Katie Grace who gets things going tonight with a fine blend of gentle singer-songwriter moments. Demonstrating mature levels of composure for her 17 years, Grace is both focused and confident in her performance before passing over to the clearly excited Overpass for their principle support spot. Standing out with new single 3am, as well as the poppy On Your Own and Stop The Clock, the four-piece shine in their more upbeat moments and are ones to look out for on future touring dates.

Headliner Tom A Smith romps through an hour’s set with the type of enthusiasm often only seen by acts playing much larger stages.

Deliberate and focused, Smith and his three-piece band blitz through a variety of genres, though it’s the poppier Wolves, acoustic loveliness of Boltcutters and the Madchester bounce of Toronto which stand out tonight. Full of tricks and technique, Smith’s catalogue and confidence grow considerably; upcoming singles Little Bits and Weirdo are both proof of a potentially very bright future.

Even though Smith may not see it (he complains of a broken voice and pledges to rearrange the gig to make up for his off night), this a superb show for an artist with huge promise.

PIT PONY, NO TEETH, HAUNTED HAIR @ THE CLUNY, NEWCASTLE (03.02.23)

Words: Jake Anderson

Normally I’d say the health and safety risks while reviewing gigs are minimal, but after that toy horse handle hit my legs, I may never walk again. Which may sound strange out of context, but then again seeing the front-person of No Teeth ripping a hobby horse in half was strange... No Teeth were excellent, their sometimes sarcastic and humorous lyrics stood out in their barrage of post-punk and art rock, and the small additions to their ensemble make their set an engaging one (unless you’re a child’s toy, of course).

The other support act for the evening was Haunted Hair, a charming trio that made themselves instantly likeable through their stage banter. Their sound blended together electronic and hard rock, with each song upping the energy from the last.

Headliners Pit Pony band flaunted their indie rock sound perfectly,

adding fuel to the fire the support acts ably lit. The band ploughed through fan favourites and tested new material. Just That was my favourite track, as the lead guitar tore through the other instruments, in addition to the raging drums and the Jackie Purver’s commanding vocals, it created a performance that became a pummelling blend of head-banging garage rock.

WARM DIGITS, LARGE PLANTS, PARASTATIC, ME LOST ME @ THE COMMON ROOM, NEWCASTLE (04.02.23)

Words: Lee Fisher

It seems fitting that the magnificent Wandering Oak crew should celebrate their birthday (nine years of peerless promoting) by hosting a magnificent bash in this most magnificent of buildings. It’s weird to see the former Mining Institute mostly cleared of its busts and books, but there are still plenty of photos of dour looking gentlemen glowering down judgementally at Me Lost Me as she grapples with a faulty video feed. Her shows often feature some disobedient tech and she always handles it with grace and good humour. And every single time I see Me Lost Me live, her music has moved to another, even more sublime level. There seem to be more electronic flourishes now, hints of Burial or even Four Tet, and her voice is a constantly evolving thing of wonder. This was a truly beautiful set, and the rammed lecture hall went batshit in appreciation.

Upstairs, Parastatic were as good as I’ve ever seen them and the whole set – excellent visuals and lighting and impressive surroundings included – felt really special. I’m not sure if space-surf-krautrock is a genre yet, but Parastatic are the dons. They manage to turn some familiar elements – some Spacemen 3, some Neu, some New Order and the rest – into something new and exciting and they were clearly having a blast. Large Plants failed to make any real impact, I’m afraid – it felt hamfisted and joyless – but that didn’t matter because Warm Digits are here to make it all okay. From their ABBAtar jumpers to the stunning visuals, our intrepid duo have such an amazing attention to detail, putting on a proper show. It’s still a little odd to have them playing over the vocal tracks from the likes of Paul Smith, Sarah Cracknell and Holly Ross, but it works a treat and the instrumental tracks seemed especially thunderous too. Warm Digits were wonderful tonight, Wandering Oak is wonderful every night.

Pit Pony by Victoria Wai

DEMOS

WE WANT YOUR MUSIC!

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

WORDS: TOM ASTLEY

DEMO OF THE MONTH

Cafe Magrana – Wedding Season

Sounding like it has been recorded on the Metro with a dictaphone, Wedding Season by Cafe Magrana has a sort of Arctic Monkeys recorded by Daniel Johnston vibe to it. Getting past the lo-fi quality of the track is going to be tough for some, but on repeated listens there is a really good song in there.

The Symptoms – Dadoism

Dadoism by The Symptoms is a scuzzy classic punk rock track which barrels along at pogo pace for the entirety of the two-minute run time with hyperactive energy, then disappears again, leaving a happy glow in its wake.

There’s all the elements you want: throbbing bass, catchy riff and relentless drums, with lyrics that are hard to decipher, but a vocal that stands out from the crowd. The chorus is angular and weird, and like most punk, there’s enough intrigue past the three chords and brash noise to keep you listening as well as pogoing.

www.thesymptomsband.bandcamp.com

Denis – The Ups And Downs

If The Symptoms’ Dadoism is the extroverted ‘up’, then The Ups And Downs by Denis is a more introverted down. A carefully constructed mandolin loop of a piece that captures that hypnotic kaleidoscopic polyphony of the genre perfectly. Over a repeated foundation that fades in rather than beginning, new strands of melody appear then disappear, creating a

There is a referential shout out to a song – Angels by Robbie Williams, a staple of the jaded wedding DJ setlist – which stands out in a set of lyrics that gloriously sit just right on the edge of decipherability. The more I listen to it, the more I like it, which is why it’s the demo of the month for me.

www.cafemagrana.bandcamp.com

reflective, introspective soundscape. What separates this track from something all purveyors of the Boss RC-30 will have tried to play, recorded an undeletable bum note, then had to scrap the whole thing, is the use of mandolin. The higher pitch of the instrument gives it a sped-up tape quality which work excellently. It’s the sort of sound that deserves to be 20 minutes long, but Denis has paired it down to a radio-friendly three minutes. So listen to it seven times in a row.

www.facebook.com/denis.barkas.16

Evsy – Love Until We’re Dead

Love Until We’re Dead by Evsy is a heartfelt narrative of a song; just an acoustic guitar and voice lilting about love from a bedroom. The track makes a perfectly pitched ‘I remember that’ reference to two people dancing to This Must Be The Place by Talking Heads, but lyrics like “we’ll love until our hearts stop” have a maudlin lovesick aesthetic that is impossible not to find endearing. This singer-songwriter vibe is supported by some subtle reverse delayed chopped-up electric guitar noodles,

which really add an ethereal quality, and haunt the vocals. There’s some very weird field recording noises at the end of the track which have caught me out every time I listen.

www.youtube.com/@evsyboi

Trust The Ravens – The End

From the unapologetically home-made sound of Evsy, to the polished production of Trust The Ravens and their melodic emo-inflected metal track The End. The vocals especially are arrestingly dextrous, soaring seamlessly from the sincere falsetto of the verse to the scratchy screams of the chorus, both under expert control. The entirely contained distortion of the guitar is as tight as it gets, and the drums and synth strings round out an almost cinematic heaviness. It’s a perfect piece of production, but the song behind it has some real interest too. The rhythm of the intro guitar part is especially enticing and leaves you searching for beat one (before the drums introduction leave you in absolutely no doubt!)

www.linktr.ee/trusttheravens

TRACKS

REVIEWS OF SINGLES AND EPS BY NORTH EAST ARTISTS. WANT YOUR MUSIC FEATURED? EMAIL NARCMEDIA@GMAIL.COM

(PLEASE

TRY TO GET IN TOUCH 8-6 WEEKS AHEAD OF THE MONTH OF RELEASE)

THE WOVEN PROJECT 44

Words: Tom Astley

A lot has changed in the intervening twelve years between the writing of this ‘new’ track by the Woven Project and its eventual release. In fact, 2011 feels like another world, another galaxy. So there is something haunted about this track even outside its spectral electronics and sparse piano; a sound out-of-time, even out of place in its heartfelt poetry. It shares some of its joy-through-personal-pain cinematic quality with Elbow, the gruff powerful and tender lead vocals evoking something of Guy Garvey. 44 is a really arresting piece of music that is well worth a listen, offering a portal to an imagined past, or maybe an alternative present – one that is more melodic, more hopeful, despite adversity. A beautiful song.

Released: 03.03.23

www.linktr.ee/thewovenproject

SARA LEILAH TONIGHT

Words: Matt Young

This melodic piano-led song is, Sara Leilah says, the very first happy song she’s recorded and written. It’s fitting then that the lyric, told from the perspective of being in love but yet to experience it first-hand, is sung sweetly and innocently while the musical accompaniment shifts the melody around resulting in a very dreamlike feeling, like inhabiting a fairy tale.

There are groundswells of lush chords as the song progresses to its finish, right before the individually picked notes re-establish the main melody, that sound so endearingly hopeful they give you a joyful, smiling glow. It bodes well for any future happy songs, should they come, when they can be captured, crafted and delivered so perfectly.

Released: 10.03.23

www.facebook.com/saraleilahmusic

LOST LOT WE BUILT A HOUSE

Words: Gus Ironside

Previously known by the rather lengthy moniker Matt Dunbar & The Autonomous Collective, Lost Lot are a North East alt. country group comprised of Matt Dunbar, Jamie Mackay, Scott Dolan and Ben Lackenby. The band’s debut single We Built A House is a disarmingly sincere and open-hearted song that draws its inspiration from Dunbar’s personal experiences. Dunbar has a fine voice and the song itself has a timeless quality, almost reminiscent of The Byrds, enhanced by a crisp and direct arrangement and assured musicianship. The quartet will be holding a single launch at the Mosaic Tap in Newcastle on Friday 31st March, supported by Brother Joe. If this impressive debut single is anything to go by, Lost Lot are worthy of further investigation.

Released: 24.03.23

www.facebook.com/lostlotband

HOLLY REES MISSING OUT (AGAIN)

Words: Matt Young

Holly Rees’ tongue in cheek lyricism showcases the wry wit that marks Missing Out (Again) as the antithesis of tired break up songs, however, the underlying feeling is definitely one of sincerity. A guarded truth amongst the bravado?

This track began life in acoustic form but has since been remade as Rees has acquired a full band around her to give yet more punch and drive to her material. This link between her past and future is important as she moves from singer-songwriter to indie rock frontperson without losing that intimate, confessional tone and sense of fun. The band celebrate the single release with their first headliner of 2023 at Two By Two Brewery & Taproom on Sunday 5th March, so get along and see Rees rock out live.

Released: 03.03.23

www.hollyrees.co.uk

Lost Lot by Victoria Wai

THE DAWDLER TRACING SPIRALS EP

Words: Michael O’Neill

It should come as absolutely no surprise, even to those who’re only slightly acquainted with The Dawdler, to find that Tracing Spirals is yet again another phenomenal and awe-inspiring transmission from a truly gifted artist.

Opener Never Go Far is a spectacular introduction to the EP’s gorgeous, sprawling sound, where multi-tracked harmonies and reverberating fingerpicked guitars weave around atmospheric soundscapes that perfectly conjure up a sense of place and depth that is perfectly befitting of the raw, profound lyricism that is so perfectly served by the vocals. It’s emotional, unflinchingly honest, and incredibly powerful, achieving in a mere four songs something that some artists take an entire career to express. Essential listening.

Released: 31.03.23

www.linktr.ee/thedawdler

COWS LYING DOWN CHRISTINA IN ROCKET SHOES

Words: Michael O’Neill

We’re flung into the charming world of Christina In Rocket Shoes in medias res, with a chopped up chorus giving way to a wonderfully kaleidoscopic maze of a song, held down by a powerful, thunderous drumming that provides a perfect foundation for the frantic left turns the song provides.

I love the way in which the arrangement (which favours more acoustic instrumentation) carries a lot of brevity and force without relying too heavily on abrasion. It’s perfectly befitting of the confident and assured vocal delivery, supported by graceful vocals that glide so elegantly over the rich soundscape below. All in all, it’s one hell of a fun ride.

Released: 25.03.23

www.facebook.com/cowslyingdown

THE ILFORDS WINLATON

Words: Jake Anderson

The Ilfords have taken 2023 head on, following a particularly strong 2022 from the band after their self-proclaimed rebirth. The newest single from the outfit is Winlaton, which sees the band continue to refine their indie rock sound.

Exploring themes of disassociating, Winlaton feels like the band are inching ever closer to defining their sound, and this track maintains an anthemic quality that really suits them. Retaining its high energy throughout thanks to roaring guitar riffs and jangling drums, it’s well-paced and catchy. The stand-out moment is when the song de-escalates into its pre-chorus and bridge, offering the listener a pleasant breather before then launching into its passionately performed chorus.

Released: 17.03.23

www.facebook.com/theilfords

PETE BELL THE SANDS OF TIME

Words: Jake Anderson

Pete Bell reminds us of the fleeting nature of time on his newest single The Sands of Time, singing “the years slip away”, as well as “I will soon run out of time”.

This latest track sees Bell further explore his guitar-driven, folk-esque sound, radiating warmth with each chord of the instrument. On the surface, The Sands of Time seems simple, but listening attentively becomes a rewarding experience with the gentle bass line permeating through the drum-less track.

The instrumental is incredibly strong, but Bell’s lyricism is truly where the track shines. Time seems to be an issue that weighs heavily on Bell, resulting in an intimate and melancholic tune that’s well worth your time.

Released: 17.03.23

www.facebook.com/petebellmusic

ANTHONY PEARS WHITE JEZUS EP

Words: Gus Ironside

This four track EP is the first release by Newcastle-based producer Anthony Pears on his own label, AénT Records. Pears’ eclectic tastes come through strongly, making this EP – his third release since the start of the year – hard to pigeonhole.

Well-produced and atmospheric, the four tracks flow well together, evoking an intense late-night mood, combining elements of house, techno and even industrial music. The opening title track evokes the ambience of a ‘90s underground club night, while Lord Have Mercy has a hypnotic trance feel to it. In contrast, standout track Revolution is pleasingly reminiscent of Kraftwerk, while 5D concludes the EP with a rare Pears vocal over a trippy backing that harks back to late ‘80s industrial techno.

Released: 02.03.23

www.anthonypears.com

SCOTT WILSON SEEKING

Words: Niamh Poppleton

Folk singer and bedroom artist Scott Wilson is back with a new track: Seeking. An ethereal essence flows through the music’s angelic melodies and Scott’s wide vocal range. He takes listeners by the hand, guiding us along a tale of heartbreak and the difficulties of moving on from someone, when love remains – remembering what it was like when you were with that person and realising nobody fills that place in the same way.

Despite the negative connotations of heartbreak as a concept, Seeking discusses how we should, as Scott implores, “embrace the steps towards a new beginning”, and move on from the past. This one definitely grows on you with subsequent listens, and will indubitably find its way into your favourites playlist.

Released: 03.03.23

www.facebook.com/scottwilsonmate

SHIFTY NIGHTS KING’S WALK

Words: Niamh Poppleton

Shifty Nights’ nifty new tune, King’s Walk, passionately tells the story of their first rave. As the song begins we travel languidly down the street King’s Walk in Newcastle, building up a sense of anticipation through a repetitive drum-pad beat. We are quickly greeted by tribal chanting and a high hat, just as the 4/4 rhythm finds its feet. Soon this begins to change, with the first breakdown and the addition of rapid, heavy notes on the guitar, giving listeners the intense sensation of being within the rave itself. Shifty Nights has a “desire to get people on their feet” and King’s Walk certainly lives up to that dream. Guaranteed to have your head nodding, if you aren’t already dancing along to the beat.

Released: 03.03.23

www.soundcloud.com/shifty_nights

CORAL SNAKE SIX FEET UNDER EP

Words: Tom Astley

Teesside heavy rock trio Coral Snake’s new release Six Feet Under might sound like it evokes the more sinister shade of metal, but there’s plenty that’s melodic and upbeat in the band’s work.

The EP plays like a smorgasbord of heavy rock influences, all of them blending well into a whole that is expertly realised. There’s the shredding guitar solo with pinch harmonics and deft spiralling runs of Guns n’ Roses; there’s shades of Disturbed in there as well, especially in the snarled vocals in the bridge of opening track Into The Darkness; Lady Luck almost sounds like that other Teesside-headed serpent, Whitesnake; while the shouted backing vocals of Late Night Call have a Bon Jovi feel to them.

Released: 31.03.23

www.coralsnakeband.com

YMCA Northumberland

North View, Ashington, NE63 9XQ

1st April - 2pm & 6pm (6pm performance has BSL interpretation)

Burnley Youth Theatre Queens Park Road, Burnley, BB10 3LB

4th April - 7pm

Theatre Porto (formerly Action Transport Theatre), Whitby Park, CH65 6QY

5th April - 7pm

For more information and to book tickets visit: mortalfools.org.uk/flux

Suitable for ages 11yrs+ and adults

A FREE music and arts festival celebrating humanity, nature and social action.

Saturday 18 & Sunday 19 March, 10am - 4pm

Preston Park Museum & Grounds

Stockton-on-Tees

Saturday 25 March, 10am - 5pm Ouseburn Community Centre

Newcastle upon Tyne

To find out more visit: www.skimstone.org.uk/unity-festival-2023

figuring it out and fitting in; what makes you, you?

12 unique young voices come together on stage, to explore what it means to question your identity in a world that feels determined to put you in a box.

Flux is a contemporary theatre show devised and performed by Mortal Fools Ensemble Young Company, showcasing an original soundtrack, bold set design, and the incredible talent, insights and lived experience

ALBUMS

XIU XIU

IGNORE GRIEF (POLYVINYL)

Words: Jake Anderson

Despite the high praise I’m about to give this album, I cannot recommend it to most people. I’ve been familiar with experimental group Xiu Xiu, but delving into their discography is only a recent venture of mine.

Ignore Grief is a dark album. It’s an album that through intense spoken word, over a blend of experimental, industrial and classical pieces, made me feel isolated and alone. The band’s ability to tell a deeply troubling story is impressive, as it toyed with my flight-or-fight instinct.

SLEAFORD MODS UK GRIM (ROUGH TRADE)

Words: Ben Lowes-Smith

It’s ten years since Sleaford Mods’ brutal breakthrough LP, Austerity Dogs. Jason Williamson was a man screaming in the void and living on the precipice through shit jobs and nihilistic inebriation. Songs like The Wage Don’t Fit, Fizzy and McFlurry were righteous diatribes, beautifully observed and compellingly furious, taking aim at the correct targets, punching across and up, but never down. In the intervening ten years, it goes without saying that Williamson’s life has improved, he’s a family man and has found sobriety. Their last record, Spare Ribs, was something of a successful change in direction, with more sentimental songs like Mork And Mindy and an openness to collaboration, which is present here too. UK Grim attempts to return to the aesthetic and intent of their earlier work, with mixed results. Lead single UK Grim is an amusing and bile-flecked meditation on the state of things with some killer, laugh-out-loud funny lyrics. Elsewhere, Williamson’s ire is misjudged, D.I.Why takes aim at bougie punks in a way that doesn’t quite sit right, Tilldipper takes a concept that the band spent a line on in Jobseeker and spread it out thinly over three minutes. It’s the songs here that take risks that are the most satisfying; Apart From You is amongst the group’s more melodic compositions, Andrew Fearn’s production on Tory Kong is among some of his most original music. Florence Shaw from Dry Cleaning puts in a humorous and grim turn on Force Ten From Navarone, and I Claudius feels endearingly stream of consciousness. Melancholy centrepiece Don is among the best songs in the band’s canon. It’s really a records of two halves; where Spare Ribs sounded like a coherent statement of intent, UK Grim is considerably more hodge-podge, with some successful attempts at experimentation and some reasonable tedious retreads of old tropes, but given that Sleaford Mods diligently trot out a record every 18 months or so, it would be naïve to think that they deal in absolute consistency, and half a great Sleaford Mods album is better than nothing. Crucially, there are moments here where Willaimson’s rage sounds cartoonish where it once sounded vital, and he sounds most himself here when he isn’t ranting.

Released: 10.03.23

www.sleafordmods.com

ALSO OUT THIS MONTH

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) (Warp Records, 17.03) // Lana Del Rey - Did you know that there’s a tunnel under Ocean Blvd (Interscope, 10.03) // New Pornographers - Continue As A Guest (Merge Records, 31.03) // Willie J Healey - Bunny (Yala! Records, 24.03) // Kali Uchis - Red Moon In Venus (Geffen Records, 03.03) // Liturgy - 93696 (Thrill Jockey, 24.03) // Story of the Year - Tear Me To Pieces (SharpTone Records, 10.03) // DMA’s - How Many Dreams? (I OH YOU, 31.03) // YoshimiOizumikiYoshiduO - To The Forest To Live A Truer Life (Thrill Jockey, 24.03) // Louis VI - Earthling (HiyaSelf Recordings Unlimited, 31.03) // Ailbhe Reddy - Endless Afffair (MNRK UK, 17.03) // Jen Cloher - I Am The River, The River Is Me (Milk! Records/ Marathon Artists, 03.03) // Lichen Slow - Rest Lurks (Rock Action, 10.03) // The Veils - …And Out Of The Void Came Love (Ba Da Bing!, 03.03) // Robbie & Mona - Tusky (Spinny Nights, 10.03) // Fake Names - Expendables (Epitaph Records, 03.03) // Technology + Teamwork - We Used To Be Friends (Good Way Records, 17.03)

To listen to the album is to succumb to it, allowing the at times genuinely terrifying experience thrash you with harsh, heavy and ominous soundscapes. By the end of the album, I wanted to make art.

Released: 03.03.23

www.xiuxiu.org

3.5 / 5

KELE THE FLAMES PT. 2 (KOLA RECORDS/!K7)

Words: Jade Mia Broadhead

Bloc Party’s Kele Okereke has always used his solo work for his more experimental ventures and that’s the case again, with the layered loops and hyperactive beats of tracks like Reckless commonplace. It works more often than not like on the folksy funk of True Love Knows No Death and it’s lyrical observations on everyday life and the quite wonderful poppy Someone To Make Me Laugh which is Kele at his most heartfelt. But there’s too much filler here, like the repetitive No Risk No Reward whilst He Was Never The Same Again is half genius half frustrating annoyance with its attempts to put on record feelings of PTSD. It’s clever, but like PTSD, you don’t want to experience it again.

Released: 24.03.23

www.iamkele.com

Image by Ewen Spencer

H. HAWKLINE MILK FOR FLOWERS (HEAVENLY RECORDS)

Words: Ben Lowes-Smith

Milk For Flowers represents a real shift in H. Hawkline’s output. Previous release In The Pink Of Condition have presented his melodic ability with a certain spikiness and aloofness, whereas Milk For Flowers is the sound of Hawkline pulling back in for a fully-fledged hug.

The titular lead single is gloriously vulnerable and punctuated with a softer, more melancholy musical vocabulary. It’s when he really leans into this that the album shines; Denver is a gloriously minimal composition recalling the emotional magnitude of early Rufus Wainwright. The glistening, nocturnal Athens At Night feels like a woozy journey on a sleeper train, and the gorgeous It’s A Living recalls Randy Newman. Milk For Flowers is a gloriously sad and rich album that one could bathe in for days.

Released: 10.03.23

www.hhawkline.bandcamp.com

STEVE MASON BROTHERS & SISTERS (DOUBLE SIX)

Words: Robin Webb

Opening to gloriously dramatic waves of expansive synth may be an unconscious nod of respect to the late Vangelis, Mason’s fifth solo release is an optimistic and uplifting spiritual reckoning despite its infernal inspiration. Unapologetically political and yet globally joyful and defiant in the face of reckless chaos inflicted by leaders who should damn well know better, but are fully conscious of the psychonightmarish effects of their regimes and the repercussions felt through centuries of imperialist dogma and a fractious and destructive Brexit debacle.

The anthemic No More is a clarion call in Steve’s eyes, no stripping of names, there are people behind the rhetoric, as in track two he declares I’m On My Way. Look out!

Released 03.03.23

www.stevemasontheartist.com

KATIE GATELY FAWN/BRUTE (HOUNDSTOOTH)

Words: Robin Webb

Katie is the matron, the tunes are a self portrait of sorts of being a mother and existential observer of childhood burgeoning into adolescence, the harlequin is Quinn, her own newly born daughter as the beheld and the foreseen. A conflicted entanglement of roles for herself as the watcher and as the player/ protagonist in a role at once mercurial in loving awe and also doubtful at her new responsibility as a mother.

The album as a whole is a curious mixture of electronic experimentation and enigmatic avant-pop that strays occasionally into a heady paranoiac maelstrom, only to drop back again into subtle introspection as demonstrated in the co-title tune Brute, and is roundly the encompassing emotional narrative.

Released 31.03.23

www.katiegately.com

RON GALLO FOREGROUND MUSIC (KILL ROCK STARS)

Words: Elodie A. Roy

Ron Gallo released three albums on New West Records before joining Kill Rock Stars in 2022. He sounds harsher and more abrasively disillusioned these days. The guitars are louder, fuzzier and much faster too. There is a sentiment of urgency. Foreground Music chronicles the many crises of neoliberalism – solitude in the age of hyperconnectivity. Gallo sees it all so clearly. Yet there is humaneness beneath the sarcasm too – a guarded hopefulness shining here and there. I rather like the fact that he should be so erratically angry. Perhaps it’s the only way to be. Anger alone doesn’t make a good song – but Foreground Music contains a handful of minor hits, in the vein of early Beck and other punk collagists.

Released: 03.03.23

www.rongallomusic.com

DEERHOOF MIRACLE-LEVEL (JOYFUL NOISE RECORDINGS)

Words: Robin Webb

For a band that’s been around for 30 years it is indeed a miracle that this is the first album after 18 fabulously intricate releases that’s been put together entirely in a studio with a producer, namely Canadian Mike Bridavsky, designer of the No Fun Club studio, who asked the band to exit their usual self-assembly comfort zone and work with him.

The resulting collaboration is a collection of powerful, mathematically delicate constructions from a truly unique perspective; an added bonus, it’s delivered in Japanese, the native tongue of lyricist Satomi Matsuzaki, exploring themes of the miraculous found in the common and the everyday, oftentimes with a wry cynical edginess belying their true nature and fragility in their fascination.

Released 31.03.23

www.deerhoof.website

DUTCH UNCLES TRUE ENTERTAINMENT (MEMPHIS INDUSTRIES)

Words: Lee Hammond

The welcome return of Dutch Uncles sees them in exquisite form as title track True Entertainment bursts into life, immediately recalling a sound akin to their second album Cadenza. There is a perpetual groove that runs throughout, building as the record progresses. Tropical (2 to 5) is sure to make you tap your toes, whereas Poppin’ has an air of Franz Ferdinand about it.

This really is off-kilter pop music at its best, In Salvia feels a little more chilled out, but that groove is unrelenting. As a record it’s wonderfully cohesive as it builds towards closing track Dead Letter, compounding the brilliance of True Entertainment. A return to form from Dutch Uncles, you really couldn’t ask for more!

Released: 10.03.23

www.dutchuncles.co.uk

NICKEL CREEK CELEBRANTS (THIRTY TIGERS)

Words: Lee Hammond

This is an album that disregards genre; tinged with folk, bluegrass and Americana, Celebrants feels like a wild ride, undulating through themes and tempo, with callbacks peppered throughout, adding to the record’s charm. The title track is a huge affair, with Chris Thile’s mandolin shining against his vocal, yet the ever changing nature of the record sees Sara Watkins take over vocal duties on the likes of Thinnest Wall and inject a hefty dose of Americana into proceedings. Celebrants is a powerful and exciting record, coming to a crescendo with the riotous New Blood and then the wonderfully positive Failure Isn’t Forever. Nickel Creek show off incredible talents throughout these deeply textured songs that ooze passion - a truly exceptional album.

Released: 24.03.23

www.nickelcreek.com

ALTIN GÜN ASK (ATO RECORDS)

Words: Ikenna Offor

Feted for their indelibly assiduous grooves and effervescent verve, Altin Gün have long since displayed a proclivity for inventively refracting the traditional through a contemporary lens, delivering results nothing short of breathtaking. Awash with rapturous reimaginings of Turkish folk tunes, the Amsterdam-based sextet’s fifth LP is no different, though the jangly sensibilities here mark a departure from the synth-drenched sonics of both of its 2021 predecessors. Gracefully grounded in its innate traditionality yet brimming with patently modern vitality, Aşk roars to life, unleashing a propulsive barrage of Anatolian neo folk buttressed by unfettered psych rock and disco-adjacent flourishes in its wake. It all makes for a soul nourishing mosaic of enthralling soundscapes peppered with undeniable moments of pure gold. Long may it continue!

Released: 10.03.23

www.altingunband.bandcamp.com

2.5 / 5

THE HOLD STEADY THE PRICE OF PROGRESS (POSITIVE JAMS/ THIRTY TIGERS)

Words: Mark Grainger

Massive nights can’t last forever. That’s the lesson we have to take away from the last two albums from The Hold Steady. The young men who careened their way through parties with rock and roll swagger and a preacher’s diction are now settled into a quieter life and it doesn’t suit them.

After the flat Open Door Policy, the opening one-two of Grand Junction and Sideways Skull build up to an explosion of energy that comes loaded with promise that The Hold Steady have found the balance between being elder statesmen of the scene and still showing everyone a good time.

Released: 31.03.23

www.theholdsteady.net

SLOWTHAI UGLY (METHOD RECORDS)

Words: Ikenna Offor

“I’ve been lacking motivation / I need an intervention”, slowthai (aka Tyron Frampton) pointedly vents on Yum, the opener to his third LP – an odd divulgence, especially given both the Northampton MC’s prolific output, and near-constant tour runs. It’s made even odder by the fact that nothing on UGLY (U Gotta Love Yourself, acronymised), Frampton’s second album in just over two years, indicates that the clown prince of grime is in danger of burning out any time soon.

Both Selfish and the criminally short Fuck It Puppet reveal Frampton to have lost neither his innate inclination toward incisive reflexivity, nor deft penchant for aggro bangers – elsewhere, Falling’s lighter-waving anthemicism and 25% Club’s tempered croons deliver resonant jolts of emotionality. Intervention, shmintervention...

Released: 03.03.23

www.slowthai.com

DEATH AND VANILLA FLICKER (FIRE RECORDS)

Words: Robert Nichols

There is a hazy, crazy kind of dream pop ebbing its way across from Malmo, Sweden. The trio that make up Death And Vanilla light the fires and bend the sounds to craft tokens of enchantment. They weave a simmering, shimmering sound that floats effortlessly like a post-modern day Air, complete with atmospheres and ambience, lush electronica, vibraphone vibes, jazzy guitar, uplifting melodies and marvellous melancholia.

Across nine polished pop gems of songs Marleen Nilsson’s languid voice soothes. This is a pure pop medicine balm; shoegazing in the clouds. Except listen closer and those clouds are being spiked by sulphur. The dream is turning to nightmare in the house of mirrors... A tragical magical ride.

Released: 17.03.23

www.deathandvanillamusic.bandcamp.com

DEATHCRASH LESS (UNTITLED (RECS))

Words: Evie Nicholson

The opening track of Deathcrash’s new LP Less is misleading. For the first 90 seconds of Pirouette I almost thought the slowcore Cambridge band had broadened out into twee noughties rock with a play on A Certain Romance.

I was mistaken. The title of tracks, Empty Heavy, Dead, Crashed, don’t lie. They’re as melancholic as they sound. I hesitate in labelling the album ‘depressing’, as what makes Deathcrash brilliant is their ability to dynamically rise out of depressive melodies into moments of intense exhilaration. It’s hard and loud and quite literally crashing. This USP though could also be the album’s weakness. Sandwiched between two seven minute instrumental belters, Less sacrifices commercial listenabilty for minor arty experimentation.

Released: 17.03.23

www.deathcrash.com

MIXTAPE

WORDS: KELLY EDGAR

Kelly Edgar is a comedian who moved back to Seghill after twenty lost years in bands in London, and quickly emerged as one of the most distinctive new acts in the region in years. She won the Felt Nowt New Act of the Year 2020 and will be one of the acts at Tyne To Stand Up…Again! – the International Women’s Day stand-up gala in aid of Rape Crisis Tyneside and Northumberland, which takes place at Tyne Theatre & Opera House on Wednesday 8th March. Here, she talks about some of her favourite tracks… www.feltnowt.co.uk

RED FANG PREHISTORIC DOG

Every time I think I’m over playing in bands I listen to Red Fang and remember why I loved it. Nothing complicated, just fat drums, big riffs and a sense of humour. I didn’t realise until I had to make this list, but there’s quite a lot of overlap with music and comedy for me. I don’t really want to start another band, I just want to be in Red Fang. See also: Clutch.

BJÖRK DECLARE INDEPENDENCE

Björk is great, isn’t she? If a Björk could speak human, would we understand what it said? There’s nobody like her, she’s just so unbothered by convention. She’s truly collaborative and has so much respect for everyone she shares a stage or a studio with. In her podcast she talks about how horrified she was at the thought of being introduced as a ‘solo artist’ because there’s really no such thing. I wish more artists had that humility. She wouldn’t want to be, but I think she should be Queen. Can we have her as Queen please?

THOMAS TRUAX

THE BUTTERFLY AND THE ENTOMOLOGIST

I first saw Thomas supporting Bob Log III on tour. I was expecting a hyper night with toast and balloons and this lad comes out with all his beautiful sad songs. Oh God what’s happening? I just wanted to put my tit in someone’s drink and now I’m bawling my eyes out.

FAITH NO MORE THE CRAB SONG

One does not simply choose a single Faith No More song. I don’t know another band that’s had two so different but perfect frontmen. Yes, Mike Patton is made of sex but Chuck Moseley was legendary. What is he even on about? I like to imagine a little crab with a jaunty bow on her head and false eyelashes.

FKA TWIGS TWO WEEKS

Hnnnnngh.

ROLLINS BAND GHOSTRIDER

I discovered a lot of bands as a teenager

through film soundtrack albums like this banger from The Crow. Singles, Bill & Ted, Judgement Night, Hackers…fuck off, Hackers is GREAT. This song also makes me want to play the drums. And scream.

VENETIAN SNARES ÖNGYILKOS VASÁRNAP (SUICIDE SUNDAY)

I chose this one as it’s from one of his more listener friendly albums, and the Billie Holliday vocals are sublime. In the original song, Gloomy Sunday, Billie Holliday’s label said it was too morbid and made her add an extra verse explaining the suicide bit was all a dream. Actually that’s not the original song, her version was based on László Jávor’s song Szomorú Vasárnap (Sad Sunday), which was based on something even more miserable about war. This version is gut wrenching and beautiful and in 7/8 and I love it.

RUN THE JEWELS LIE, CHEAT, STEAL

These lads are intelligent, eloquent, political, proactive, funny and there’s an alternative universe out there somewhere where Killer Mike is president.

New Exhibition

DEEP HORIZONS

10 March – 18 June 2023

Deep Horizons starts with the topic of excavation and presents sculpture, drawing, painting, installation, ceramics, photography and moving image from the last 60 years. Developed through a series of conversations, the exhibition explores themes, including history and time, geology and land and the politics of how we record and understand the past.

Drawing together works from the collections of MIMA and the David and Indreė Roberts Collection, managed by the Roberts Institute of Art and is shaped by the knowledge and passion of a range of artists, academics and broadcasters, including actor and broadcaster

•

Sir Tony Robinson, artists Fiona Crisp and Liliane Lijn, botonist Dr Greg Kenicer, Professor of Physics Chamkaur

Ghag, writer and academic Dr Julietta Singh and local historian and former Tees Bay Pilot Geoff Taylor.

www.therobertsinstituteofart.com

@therobertsinstituteofart

Image left: Grace Pailthorpe, Salempics, 1936/37. Oil on canvas. Middlesbrough Collection, MIMA.

Image right: John Stezaker, Pair III, 2007. © The Artist.

Photo by FXP Photography