NARC. #200 November 2023

ISSUE200

NOVEMBER23

SARAH JOHNSONE ERNIE RACHEL LANCASTER WAVES FESTIVAL CATTLE & CANE

FREE

RELIABLYINFORMED

PREVIEWS 4 HIGHLIGHTS

Some of the best events in November plus find out what’s online at narcmagazine.com

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ISSUE200

NOVEMBER23

FREE

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Live shows from Hilary Woods, Hector Gannet, Queens of the Stone Age, Peace, Teenage Fanclub, Mouses, Gazelle Twin and Calexico, plus Boundaries Festival, Songs From Northern Britain, Byker Grave Festival, PinDrop’s 13th anniversary and much more. There’s exhibitions courtesy of Tyne & Wear Youth Music Collective at NCA and (Re)Grounding at NewBridge Project; comedy from David Callaghan at Pop Recs Ltd., Rachel Fairburn at ARC, Eleanor Conway at The Stand, and Angela Barnes at The Witham; theatre shows Disciples and High Times & Dirty Monsters at Northern Stage, Unknown Realms at Dance City; Lumiere returns to Durham and Wintertide Festival to Hartlepool

INTERVIEWS 30 ERNIE

28 SARAH JOHNSONE

Teesside-born Newcastle-based artist Sarah Johnsone talks to Cameron Wright about finding her feet, discovering catharsis and defining her sound on her debut EP Welcome to our 200th edition! Aside from making me feel incredibly old, that statement also makes me feel really proud to have steered the good ship NARC. for such a milestone number of issues. Over the last 200 editions (and 17 years and 7 months), we’ve interviewed a whopping 1,756 musicians and creatives, and previewed and reviewed literally thousands more (please don’t make me count them).

As you’d expect, there have been highs and lows, successes and challenges. We’ve made it through credit crunches, brutal cuts to the arts, one threat of legal action (buy me a beer, I’ll tell you the tale), and a worldwide pandemic. We’ve also had the pleasure of watching regional artists flourish, told stories of resilience, passion and joy, actively nurtured and supported musicians and cultural practitioners through positive coverage and given them a helping hand to make them the best they can be. Our dedication to the region’s alt. music and culture scene has never wavered, and remains stronger today than ever.

There aren’t many certainties or constants in the job I do, except for one: our amazing team.

Over the last 17 years, I’ve been consistently astounded by our writers’ and photographers’ unwavering commitment, talent and support. They work – unpaid, I must add – for the sheer pleasure of bringing fascinating things to your attention, and without them NARC. would not exist. Specific thanks must also go to Vicky Markham, our head of creative since pretty much the beginning, and web editor David Saunders, for their never-ending enthusiasm and friendship.

So dig in! We hope you enjoy this 200th edition while we’re cracking on with issue 201. Thank you for reading.

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

Cover Image Chloe Dunscombe Live Photography Tracy Hyman / Thomas Jackson Contributors Liv Aldridge / Tom Astley / Jade Mia Broadhead / Caleb Carter / Laura Doyle / Lee Fisher / Nat Greener / Lee Hammond / Françoise Harvey / Jonathan Horner / Tracy Hyman / Gus Ironside / Thomas Jackson / Ben Lowes-Smith / Robert Nichols / Evie Nicholson / Michael O’Neill / Niamh Poppleton / Lily Pratt / Helen Redfern / Kate Relton / Damian Robinson / Elodie A Roy / Mera Royle / David Saunders / Dawn Storey / Linsey Teggert / Caitlin Thomson / Amelia Thorpe / Ali Welford / Aaron Woodier / Cameron Wright / Matt Young

VISIT US ONLINE WWW.NARCMAGAZINE.COM

31 CATTLE & CANE 32 HOW TO BUILD YOUR OWN RECORD PRESSING PLANT 33 CRYSTALQUEER 34 ST JAMES INFIRMARY 35 HOLLY & THE REIVERS 36 THIS IS MAKINA 37 WAVES FESTIVAL 38 THREE ACTS OF LOVE 39 RE:VULVA 40 TWAYN 41 RACHEL LANCASTER LISTINGS 42 LISTINGS

The best of the rest…

REVIEWS 45 LIVE REVIEWS

Reports of live shows from Hannah Peel, Max Cooper, The Young’Uns, Maius Mollis, Scott Hepple & The Sun Band and more

48 TRACKS

Reviews of local singles and EPs by Northeasterner, Speak For Yourself, The Happy Now?, Red Remedy, Crux, The Blytons, Oddo’s Gaze, Flatline, Rees, Andrew Johnson, Josh Ingledew and Gaydar

50 DEMOS

Demo reviews of Daniel James, Vulture King, The Almighty Zeros, Arez and Deafbed

51 ALBUMS

Featuring new releases from Rapasa Nyatrapasa Otieno, Steve Luck, Maria & James, Kerrin Tatman, Bas Jan, Baby Queen, Beirut, Tkay Maidza and more

54 MIXTAPE

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

Keeks McGarry from the Tyne & Wear Youth Music Collective talks about some of his favourite tracks

Next Issue Out 29th November

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PREVIEWS

MUSIC

NOVEMBER’S DIVERSIONS INCLUDE DIY POST-PUNK, QUEER RAVE, MESMERISING FILM COMMISSION, INTERACTIVE ART, FESTIVE SHOPPING IDEAS AND MUCH MORE…

MUSIC

MUSIC

SALT HOUSE

BADGER/MYE_TAAI Fresh from a short European tour, Newcastle’s

FRI 10

TUE 7

Having been a mainstay on the folk circuit for over 10 years, Salt House’s carefully honed sound is inspired by place, politics, landscape and wildlife, and the trio’s interpretations of both old and new musical worlds has seen them revered as exceptional talents and proponents of a rich Scottish folk scene.

Bishop Auckland Town Hall www.salthousemusic.com

MUSIC

dastardly DIY post-punk duo Badger return to home ground for a couple of shows alongside Dutch electronic rave punk pals Mye_Taai.

Also joining the furore will be grunge-infused post-punk/no-wave band Marginal Gains, genre-defying project $lick King and enigmatic Derby-based KEZ. Also on Saturday 11th at Zerox, Newcastle Pineapple Black, Middlesbrough www.theartfulbadger.bandcamp.com

ART & LIT

SAT 11

Sequinella

BEND & SHAKE QUEER PARTY RAVE EDITION Bend & Shake celebrate their second

anniversary of producing boundarypushing Queer parties. 11 DJs, including the likes of Sequinella, Awkward Black Girl, Samara, Amelia Leigh and L-ILY, will offer up a varied mix of genres, from techno and house to drum & bass, garage, Afro house, soul, funk and disco, along with much more.

World Headquarters, Newcastle www.sister-shack.com

MUSIC

SUN 12 GOTTS STREET PARK

Rising Leeds-based collective Gotts Street Park dazzled fans and critics alike with their recent debut album, On The Inside. The trio have been praised for their vintage soul meets alt. R&B sound, which has found fans among hip-hop and pop artists like Celeste, Kali Uchis and Yellow Days clamouring for collaborations.

The Cluny, Newcastle www.linktr.ee/gottsstreetpark

FRI 10

Izzy Price

THE LAKE POETS & THE YMP ALL-STARS Much-loved local songwriter Marty Longstaff performs alongside exciting up and coming talents Lottie Willis, Isabel Maria, Izzy Price and Lily Mac, all supported by the excellent Sunderland Young Musician’s Project.

The Fire Station, Sunderland www.sunderlandculture.org.uk

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SAT 11

YEVONDE: LIFE AND COLOUR An exhibition which showcases the

ground-breaking work of 20th Century British photographer, Yevonde, who was the first person in Britain to exhibit colour photographs and was known for her portraits which include some of the most famous faces of the time, including George Bernard Shaw, Vivien Leigh, John Gielgud and Princess Alexandra.

Runs until 20th April.

Laing Art Gallery, Newcastle www.laingartgallery.org.uk

ART & LIT

SAT 18

AYO AKINGBADE

Drawing upon the artist’s interest in history, place-making, legacy and power, artist, writer and director Ayo Akingbade’s exhibition comprises two new film commissions; The Fist delves into the deep-rooted politics of the Lagos-based Guinness brewery, the first to be built outside of Ireland; while Faluyi follows protagonist Ife on a journey tracing familial legacy and mysticism in ancestral lands.

BALTIC, Gateshead www.baltic.art

NOVEMBER HIGHLIGHTS

ART & LIT

FRI 24

JAMES CABANIUK There’s A Hole In The Bucket is a solo

exhibition from Manchester-based artist James Cabaniuk.

Cabaniuk works predominantly in painting, using it in a way similar to a personal diary; exploring themes around trauma, Queer identity and community. Through this way of working, they pull at various historical threads – including their personal past, shared communal histories, and the canon of painting. Runs until 20th January.

Slugtown, Newcastle www.jamescabaniuk.com

ART & LIT

SAT 25

NARC. E-ZINE The place to be for multimedia diversions, the 10th edition of our E-ZINE is online now, featuring exclusive videos, playlists, mini-documentaries, sound clips and much more Nightfall by Kev Howard Photography

WED 29 NIGHTFALL Stellar Projects’ stunning celebration of light returns to Middlesbrough, with an interactive art trail of beautiful art works, live music, performance, storytelling, artist-led workshops and street food, which will transform Stewart Park into a cosmic adventure playground. Runs until Sunday 3rd December.

Stewart Park, Middlesbrough www.nightfallfestival.co.uk

+ ALSO THIS MONTH… INTERVIEW: WALT DISCO We catch up with the Glaswegian new wave indie outfit ahead of their headline performance at Songs From Northern Britain at Stockton’s Georgian Theatre on Saturday 18th November

ART & LIT

BUNCH OF FIVES: CEITIDH MAC

CLOSED ENOUGH

The alt. folk singer and cellist tells us about their favourite music discoveries in 2023 as they release their brand new EP, Seabird

THUR 30

An exhibition of work by nine artists based in or associated with Iceland, which speaks of a sensitivity towards the comforts and shelters that arise through the imposing influence of Iceland’s weather conditions, but also to a poetics of things within and out of reach, and the reorienting of things near at hand. Runs until 16th December.

Vane Gallery, Gateshead www.vane.org.uk

COMEDY

OUSEBURN OPEN THUR 30 STUDIOS The winter iteration of Ouseburn’s weekend of FINGERS & FRINGE: A arty goodness offers a great opportunity for Christmas shopping for that awkward family NIGHT AT THE THEATRE member. 14 venues across the Ouseburn Valley will throw open their doors to show off the work of artists and artisans who make the area their home, with plenty of galleries, studios and hidden corners worth exploring.

Also on Sunday 26th November.

Venues across Ouseburn Valley, Newcastle www.ouseburnopenstudios.org

READ ONLINE

folk award winner brings his barnstorming band to Sunderland’s Fire Station for what promises to be a raucous night of feel-good music. Sam’s new album, Escape That, has been described as an honest and fearless expression of himself, featuring pop hooks and folk-infused instrumentation.

The Fire Station, Sunderland www.samsweeneymusic.com

VISIT THE WEBSITE FOR MORE EXCLUSIVE CONTENT

READ ONLINE

SAM SWEENEY BAND The Bellowhead fiddle player and BBC Radio 2

EVENTS

A night of laughter is guaranteed, as Jarred Christmas hosts a star-studded line-up of comedy pals including Darren Harriott, Sophie Duker, The Brett Domino Trio, Anja Atkinson, Jamali Maddix and Clinton Baptiste.

Tyne Theatre & Opera House, Newcastle www.tynetheatreandoperahouse.co.uk

READ ONLINE

THUR 23

NARCMAGAZINE.COM

INTERVIEW: 20 STORIES HIGH We catch up with the award-winning theatre company ahead of their performance of High Times And Dirty Monsters at Northern Stage on Friday 3rd-Saturday 4th November

READ ONLINE

MUSIC

WHAT’S ON

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PREVIEWS

Walt Disco

MUSIC

SONGS FROM NORTHERN BRITAIN @ THE GEORGIAN THEATRE

Words: Michael O’Neill Now in its tenth glorious iteration, Songs From Northern Britain has long established itself as an iconic addition to the region’s canon of all-dayer festivals offering a brilliantly

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refreshing and diverse who’s-who of fledgling and established acts across three stages in The Georgian Theatre, The Green Room and the Georgian Bar. A joint effort from the Tees Music Alliance and legendary promoters The Kids Are Solid Gold, Songs From Northern Britain is a further testament to how integral Teesside’s contribution is to the region’s creative landscape. It’s also an unbelievable steal at a mere £16.50 a ticket for the event on Saturday 18th November, considering the variety and calibre of acts on offer.

Headlining proceedings are exuberant glam goths Walt Disco, fresh from the release of

their debut album Unlearning, and preparing for a UK-wide tour supporting the almighty OMD. Joining them will be Scottish indie band Gallus, emotive sextet Mi Mye, DIY artist Swiss Portrait, electronic artist Linzi Clark, genre-blurrers Flat Party, alongside Russell Stewart, Rosie H Sullivan and Jam Tub, with more acts still yet to be announced. All in all, it’s an incredible line-up with something for everyone, and a completely exquisite banquet for live music lovers the region over.

Songs From Northern Britain takes place at The Georgian Theatre and The Green Room, Stockton on Saturday 18th November. www.georgiantheatre.co.uk

PREVIEWS

Suede by Dean Chalkley

BC Camplight

MUSIC

BC CAMPLIGHT @ BOILER SHOP Words: Dawn Storey Following a solo piano tour earlier in the year, BC Camplight heads out on tour with a full band to promote his most recent album, dropping in at Newcastle’s Boiler Shop on Thursday 9th November. BC – real name Brian Christinzio - is one of the most intriguing characters and interesting lyricists in music right now, wearing his heart on his sleeve through his music thanks to bold instrumentation and his absolute honesty about the human condition and battling his inner demons.

Despite his sixth LP, The Last Rotation of Earth, being inspired by the break-up of his nine-year relationship and his struggles with addiction and his mental health, BC’s live performances are renowned not only for his brilliant piano playing but also his entertaining interludes and humour. This will come as no surprise to anyone who already enjoys the wryly amusing moments in his songs, with his unexpected references to very British things like Dickinson’s Real Deal, Tesco employees and Homes Under The Hammer. Utilising his wit as a coping mechanism both in his life and his live shows, the Boiler Shop show promises to be a compelling and joyous evening, and you’re guaranteed to leave with one of his dazzling piano riffs lodged in your brain.

BC Camplight plays Boiler Shop, Newcastle on Thursday 9th November. www.bc-camplight.bandcamp.com

MUSIC

PINDROP CELEBRATE THEIR 13TH ANNIVERSARY

Words: Claire Dupree Hartlepool promoters PinDrop have brought thoughtful and inspiring gigs to Hartlepool (and often beyond) for 13 years now. Their shows have a folky and mellow vibe to them, and audiences are – as the name suggests – quiet and welcoming, giving the artists a chance to shine in often quirky and intimate venues.

They have a trio of great shows planned for November in Hartlepool, kicking off with country and gospel blues artist Tom Blackwell at The Owl on Sunday 5th November. A regular performer at PinDrop, Blackwell’s recent Regency Cafe album has seen him rightfully praised for heartfelt music, typified by plaintive vocals and expressive instrumentation. He’ll be joined by Teesside’s own bluegrass band The Alice Charmers and prodigious duo Finn & Jasmine Weatherill.

Wednesday 8th November will see a ‘pay what you decide’ acoustic showcase take place at Hops & Cheese featuring Kyle Cullen, Ian Harrison and more TBA. And finally, on Friday 10th November The Studio will play host to a special candle-lit evening of unusual sounds courtesy of Toria Wooff, a singular talent whose skills range from painting and poetry to storytelling. Expect a folk rock soundtrack which pays homage to the likes of Led Zeppelin, Alice Cooper, Joan Baez and Crosby Stills and Nash, shot through with elements of gothic romanticism and pagan tradition.

Support comes from songwriter and composer Andy Oliver and inspiring folk artist Drew Flanagan. www.facebook.com/pindropevents

COMEDY

RACHEL FAIRBURN @ ARC Words: Michael O’Neill Having been heralded as “the rock ’n’ roll star of British comedy” (by Rolling Stone, no less) Manchester-hailing comedian Rachel Fairburn may be familiar to some as the co-host of the iconic, darkly comedic true crime podcast All Killa No Filla (which recently hit a milestone 100th episode) and for her brilliantly acerbic and ruthless comedic talent. Following on from six previous tours, Rachel’s currently in the midst of a colossal UK tour for her new show, Show Girl, taking in a stop at Stockton’s ARC on Thursday 23rd November.

The show itself finds Rachel casting her acerbic eye over everything from your children to her (in her words) “pretentious new alcohol-free life” (accurate at time of writing). The plethora of glowing reviews the show has already attracted make it clear that Show Girl is a rip-roaring, side-splitting and uncompromising glimpse into everything from her disdain for people bragging about their air-fryers, to social divides and the trials and tribulations of ‘making it’ and sustaining a career on the comedy circuit. The consensus is clear: Show Girl is an unapologetically honest and relentlessly funny dive into what makes Rachel tick, and a milestone in the career of a refreshingly singular comedic talent.

Rachel Fairburn performs at ARC, Stockton on Thursday 23rd November. www.rachelfairburn.com

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PREVIEWS

Antony Szmierek by Alexis Panidis

STAGE

DISCIPLES @ NORTHERN STAGE

Words: Helen Redfern Disciples is a show created by those who identify as D/deaf and disabled. However, it is not a show about their disabilities. Led by poetry, Disciples is a joyful, dynamic performance that comes to life through a blend of music, movement, text and image. Themes include finding joy, faith and power, exploring what happens to the parts of ourselves that we are asked to hide.

This brand-new production from Scotland’s leading intersectional feminist theatre company Stellar Quines is devised in collaboration with five women and non-binary performers who identify as D/deaf and disabled. Poet/playwright and performer Ellen Renton explains why this show is so special: “It’s a rare and beautiful thing to be able to build a creative space with so many D/deaf, disabled and neurodivergent people across the cast and team. This is not a show about disability, but it will challenge preconceptions.”

Performed at Northern Stage from Tuesday 7th-Thursday 9th November, Disciples will be an intimate and tender experience for cast and audience members alike, looking to welcome those with their own experience of visual impairment, deafness and disability into the space to share in stories that are too often overlooked by theatre and dance. Each performance will have captions and audio description built in, as well as creative use of BSL performed by a member of the cast. In championing inclusivity and accessibility, the creative team and cast of Disciples join the voices of those working to break down barriers in the arts world and beyond.

At all performances the cast will be joined onstage by a community choir performing a new composition by Marie-Gabrielle Koumenda,

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allowing new voices to add to the performance, sharing their own experiences. Director Rachel Drazek and the performers will leave us questioning who gets to be the storytellers of our lives, whatever our lived experience.

Disciples is performed at Northern Stage, Newcastle from Tuesday 7th-Thursday 9th November. www.northernstage.co.uk

MUSIC

ANTONY SZMIEREK @ ZEROX

Words: Cameron Wright It’s easy to see why hip-hop artist Antony Szmierek often draws comparisons to The Streets’ frontman Mike Skinner, as he pulls from the same urban poetry that catapulted Skinner’s career. The two share an introspection and a penchant for cutting, candid honesty, as well as looping beats and a melancholic delivery.

Starting off writing novels, it was the performative aspect that captured Szmierek’s attention, and soon he had stepped onto the stage to deliver poetry, which became his music. After the release of his debut EP, Poems To Dance To, the crowds have been constantly growing for the performer, and his band have found their sound with every performance.

Audiences will have an opportunity to judge for themselves at Zerox on Friday 10th November.

Referring to their style as “UK dance, played by an indie band” there is a plethora of influences that bleed into both the storytelling and the nostalgic beats that encompass Szmierek’s sound. Mixing a euphoric hope with something broken and despairing, the contrasts and duality on tracks like Rock And A Calm Place or The Hitchhiker’s Guide To The Fallacy make Antony Szmierek deserving of the accolade of one of the brightest British lyricists of the next generation.

Antony Szmierek plays Zerox, Newcastle on Friday 10th November. www.linktr.ee/antonyszmierek

MUSIC

BYKER GRAVE FESTIVAL @ ANARCHY BREWERY Words: Laura Doyle A list of reasons to go to Byker Grave Festival could end at the creativity of the name alone – because just look at it. Thankfully, we don’t have to stop there! The North East extreme metal mini-fest returns for its 10th edition at Anarchy Brewery on Saturday 11th November for an especially juicy selection of delectably dark ensembles in celebration of the entity’s landmark anniversary.

The organisation, which has popped up at various venues across Newcastle since its first iteration, is a celebration and a haven for black metal bands and their fans. Top of this event’s roster is Scottish black metal artist Hellripper – brainchild of solo multi-instrumentalist James McBain – whose dark occultist-inspired thrash is not for the faint of heart (as the name should have already implied). Anglo-German death metal band Nightmarers and Tennessee grindcore group Knoll both get their Tyneside debut, while Implore, another batch of German metalheads, make a stop to say goodbye as part of their whirlwind festival farewell circuit, and local noise outfit Waheela open proceedings.

So, whether you’re checking out a potential new favourite or revisiting an old friend, Byker Grave Festival welcomes all interested in the decidedly darker realms of metal music.

Byker Grave Festival takes place at Anarchy Brewery, Newcastle on Saturday 11th November. www.facebook.com/bykergrave

PREVIEWS

Suede by Dean Chalkley

MUSIC

THE CHASE @ KU

Words: Lily Pratt Nottingham quartet The Chase are ready to electrify the stage at Stockton’s KU, with sounds which harness and magnify the gritty angst of Oasis and the famed harmony of The Beatles, when they rock up at the venue on Saturday 18th November.

Having performed at Isle of Wight festival and Truck, as well as supporting renowned bands such as the Kaiser Chiefs, The Chase are more than ready to be the main event. CLASH has even dubbed the band as “one to file alongside The Lathums in the UK indie resurgence.” Their most popular track, Death of Me, boasts over 139,000 streams on Spotify and their music can be considered to be an uplifting homage to their hometown roots. The past and present are ever prevalent within the music, and seem

to urge them to keep reaching for new heights.

Their latest EP Bonzo Bonanza, released in May, boasts solidly stirring rock tracks. Hunger and love are at the heart of their songs, and the band’s raw magnetism and earthy electricity underscore and accentuate the excellence of their sound.

The Chase play KU, Stockton on Saturday 18th November. www.thechaseband.co.uk

Dance into December with Live Music & Good Vibes Wednesday 15 November

A Certain Ratio

Wednesday 6 December

Gazelle Twin

Laura Misch Sample The Sky Tour

Friday 17 November

Suzi Quatro

Thursday 16 November plus Nat Sharp

Blazin Fiddles

Wednesday 22 November

This Is The Kit

Thursday 14 December Friday 15 December

Lanterns On The Lake

plus Gina Birch (The Raincoats)

plus ERNIE

Friday 24 November

The Wandering Hearts

YolanDa Brown

Friday 15 December

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PREVIEWS

Mouses

MUSIC

JAMES YORKSTON, JON THORNE & RANJANA GHATAK @ GOSFORTH CIVIC THEATRE

Words: Jonathan Horner On Friday 17th November, Gosforth Civic Theatre will host the mesmeric crossover of the musical worlds of Indian classical, jazz and folk. Our trio of tour guides on this epic trip are James Yorkston (one of the most “influential singer/songwriters on the Scottish folk scene”), Jon Thorne (best known as jazz double bass player with electro outfit Lamb) and Ranjana Ghatak.

Since 2016, Yorkston and Thorne have teamed up with sarangi player and vocalist Suhail Yusuf Khan for their Yorkston/Thorne/Khan project, having released three albums on Domino Records and toured Europe and India, receiving universal praise. Their appreciation of each other is evident in every note and every breath. In their intricate compositions, musical stylings meet and dance, trading the lead and switching steps seamlessly. Rolling Stone called their 2017 Neuk Wight Delhi All-Starsa “a game-changing masterpiece”.

Their 2020 album Navarasa: NineEmotions was The Guardian’s Folk Album of the Year.

James and Jon have now teamed up with Ranjana Ghatak who is hugely experienced in the classical and devotional Hindustani vocal traditions, as well as playing harmonium and tanpura. Expect new pieces exploring the beauty of sacred vocal music, and established work from the first three Yorkston/Thorne/ Khan albums all played with a new flavour and excitement, as the sounds of this new trio are explored.

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Yorkston/Thorne/Ghatak play Gosforth Civic Theatre, Newcastle on Friday 17th November. www.jamesyorkston.bandcamp.com

MUSIC

time you read this, you’d best not dither!

Boundaries Festival takes place at The Peacock, The Dun Cow and Sunderland Minster on Friday 24th and Saturday 25th November. www.boundariesfestival.com

BOUNDARIES FESTIVAL MUSIC @ VARIOUS VENUES, MOUSES LAUNCH NEW SUNDERLAND SINGLE @ TOFT HOUSE Words: Ali Welford Having rapidly established a niche among the North East’s boldest, most idiosyncratic annual gatherings, Boundaries Festival returns to set Sunderland’s music and arts scenes alight with its third edition. Taking over The Peacock, The Dun Cow and Sunderland Minster on Friday 24th and Saturday 25th November, this thrillingly offbeat weekender is tailor-made for deep divers and curious minds – the kinds of listeners who thirst for experimentation and relish the brand of challenging, truly independent programming Boundaries provides.

Each day offers a truly extraordinary breadth of performances – whether you’re inclined towards the free-flowing guitar and percussion ensemble Ex-Easter Island Head or crushing disembodied beats of Mun Sing (one half of Giant Swan); the hypnotic, evocative repetition of Haress or the skronking excess, fiendish noise and discordant wail of Sly & The Family Drone. Locale is no barrier either.

You’re just as likely to encounter local bedroom pop musician Competition as Canadian sound artist Crys Cole, Chinese alternative hip-hop duo Li Yilei and Joan Low or Australian guitarist Julia Reidy. Once again, the name Boundaries proves a misnomer – there really are none.

Tickets (available for the full weekend, individual day passes or Saturday night only) are running VERY low. If there’s any left by the

Words: Jonathan Horner Mouses are back! It’s been seven long years since the legendary, stomping, thrashing two-piece’s colossal debut, The Mouses Album. Newly released singles promise that the forthcoming album will be a white-knuckle ride. November’s single single, Nostalgia, is a sucker punch of distorted garage punk.

Clocking in at under two minutes, it’s a short, sharp fuzzy blast of frenetic punk rock – recorded DIY style in a bedroom and fuzzed up by the wonderful Rob Irish. This is De Stijl meets Pinkerton, with the lo-fi leanings of YUCK and the primal energy of Lightning Bolt.

At its lyrical core, Nostalgia deals with the feelings that surround the sugar-coated notions of nostalgia, tackling the trauma that stems from parental divorce at a young age.

The song is deeply personal, wearing its vulnerability on its sleeve, questioning feelings of loss, grief, guilt and ultimately shame in childhood naivety. Mouses will celebrate their return with a show at Middlesbrough Theatre’s Toft House. Anyone who has experienced Mouses live show will know they’d better bring their dancing shoes as Toft House will be rocking.

Mouses play Toft House, Middlesbrough alongside Kkett and Maeve & The Trains on Friday 17th November. www.mousestheband.com

PREVIEWS

MUSIC

QUEENS OF THE STONE AGE @ GLOBE STOCKTON

Words: Cameron Wright Queens Of The Stone Age may well be one of the biggest rock bands in the world, and now they’re coming to Stockton. For any fans of rock music, their gig at Stockton’s Globe on

Monday 20th November is essential.

In the decades since their 1998 debut, Josh Homme’s band have become synonymous for their sludgy, brooding rock tracks. With several albums now sparkling with the veneer of a ‘classic’ or ‘essential listening’ status, Queens Of The Stone Age brought their slacker, stoner rock hedonism into the mainstream and have spent 24 years exploring the genre, toying with ideas and ideals constantly to keep their sound fresh.

Headlining the biggest festivals across the globe, the Californian giants have been dominating stadiums for years, armed with

some of the biggest riffs of the century.

The band’s eighth album, In Times New Roman, was released this June after a six year wait, so Homme returns to centre stage.

A tumultuous few years for the frontman has seen his troubles funnelled directly into the record, with some of the band’s most introspective lyricism weaving between infectious riffs and pounding grooves; there’s a maturity underlying the band’s sound as they return to their classic, arena-ready roots.

Queens Of The Stone Age play The Globe, Stockton on Monday 20th November. www.qotsa.com

November

Hilary Woods (03) + Natalie Stern The Amplified (17) Sanctum Martha Tilston (18) (23) B-Ahwe + Frankie Jobling Ceitidh Mac: (24) EP Launch (30) Revulva +Bell Lungs cobaltstudios.co.uk

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PREVIEWS

Colleen Green by Drei Klibansky

MUSIC

COLLEEN GREEN @ ZEROX

Words: Michael O’Neill Since expanding from their former location in Central Station’s former ticket office, the almighty Zerox has gone from strength-tostrength, with their already iconic venue The Shooting Gallery proving to be a brilliant go-to destination for DIY, anything-goes gigs, further restoring some much-needed indie spirit to the city centre.

The line-up on Tuesday 14th November is no exception, with the always-dependable Wandering Oak offering yet another show of brilliantly eclectic and glorious tuneage, spearheaded by Hardly Art-signing Colleen Green. Hailing from Lowell, Massachusetts, Colleen has blazed a trail with her gloriously infectious lo-fi indie pop, with the likes of 2015’s I Want to Grow Up and 2021’s Cool (produced by Raphael Gordon, the iconic mastermind of The Strokes’ Is This It) earning a wealth of acclaim that has seen her tour the world over.

Support is unsurprisingly glorious with the gleefully primitive parallel-dimension glam stomping rock and roll of Rudi Betamax and The Samphires, whose grunge-influenced sound blends the raucous riffs of Pixies with the intricacy and depth of Big Thief to explore universal anxieties with a hefty dose of heavy instrumentation and harmonic splendour.

Colleen Green, Rudi Betamax and The Samphires play Zerox, Newcastle on Tuesday 14th November. www.linktr.ee/colleengreen420

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MUSIC

CHARTS AND GRAPHS RELEASE NEW ALBUM, POLTERGEIST II

Words: Gus Ironside Formed in Newcastle in 2021, Charts And Graphs are a tightly-wound punk funk outfit featuring singing guitarist Dan Greener, bassist Ross Mackay and Hugh Whitby on drums (for the purposes of this recording, as the band recently announced Whitby has left the band).

Their previous album No Dive Bombing Or Heavy Petting garnered critical praise and the group have been featured on BBC Introducing.

The trio cite post-punk touchstones Talking Heads, Devo and Gang of Four as key influences, along with more recent acts LCD Soundsystem and Snapped Ankles.

The opening track, Modern Trends, on new album Poltergeist II really ought to be all over BBC 6Music, with its chiming central guitar motif recalling Tom Verlaine’s early solo work.

New Choices mines early Talking Heads to great effect, while House Music nods to early rap and post-punk revivalists The Rapture.

Album centrepiece There Be Monsters is the kind of infectious dance punk that would have filled the floor of local indie discos in the mid-80s, bringing to mind cult Edinburgh post-punk pioneers, Boots For Dancing. Dan Greener’s choppy guitar and quirky, observational lyrics may be the focal point of Charts And Graphs, but with Mackay and Whitby keeping the bass and drums tight, uncluttered and understated, the trio’s playing is perfectly simpatico over the course of this fat-free 10 track album.

Charts And Graphs release Poltergeist II on 3rd November. www.chartsandgraphs.bandcamp.com

COMEDY

KELLY RICKARD @ THE STAND

Words: Mera Royle Reinventing crass humour and tickling ribs with her life’s tales, Kelly Rickard is taking to the stage with her debut stand-up show, Free As A Bird at The Stand on Monday 20th November. A comedian with superb wit and all the talent up her sleeve to help you giggle yourself silly, Rickard has formulated the perfect way to diffuse our tensions and bring light and laughter that puts our woes into perspective.

She regales her turbulent, hilariously relatable journey through motherhood and comedy in a show that displays her promise, determination and natural talent for all things daft. Despite being a newbie to the art of stand-up, this stunningly sharp comedian has prestigious awards to her name already, following her win of the Felt Nowt New Act of the Year award. Her story is formed following many years as a successful singer and actor, with an incredible knack for writing joke lyrics and playing comedic characters. Through this work, she discovered her calling lay in the joy of chatting to audiences about her life’s endeavours and making them laugh along the way. Free As A Bird showcases her skill for ice-breaking comedy that will leave you laughing through tears, cheering for an encore.

Kelly Rickard performs at The Stand, Newcastle on Monday 20th November. www.instagram.com/kelly.rickard_123

PREVIEWS

Image by Paul Knox

MUSIC

HECTOR GANNET @ PLAYHOUSE WHITLEY BAY/THE GEORGIAN THEATRE

Words: Gus Ironside 2023 started with a whirlwind of activity from Hector Gannet, the North Shields-based indie folk rock group having released their second

album The Land Belongs To Us to critical acclaim, played an eventful and memorable US tour and supported fellow North Shields phenomenon Sam Fender at St James Park.

With the wind still in their sails, the Aaron Duff-led group are embarking on their Last Smoke Before Sail headlining tour, kicking off with an already close to sold-out show at Playhouse Whitley Bay on Thursday 23rd November and including The Georgian Theatre in Stockton on Sunday 26th November.

With sterling support from The Early Purple at both shows, Hector Gannet are promising some new songs and alternative versions of old

favourites. There’s a timeless nature to the group’s songs, rooted as they are in past traditions, but always concerned with the here and now and the immediacy of the small, meaningful moments when we connect with our environment and those around us. These shows are sure to be very special and, going by past precedent, are likely to sell-out quickly, so don’t leave it too late to get tickets.

Hector Gannet and The Early Purple play Playhouse Whitley Bay on Thursday 23rd and The Georgian Theatre, Stockton on Sunday 26th November. www.hectorgannet.com

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PREVIEWS

This Is The Kit

ART & LIT

CAROLINE HARDAKER NOVEL LAUNCH @ THE LIT & PHIL

Words: Françoise Harvey North East poet and celebrated novelist (and former NARC. contributor) Caroline Hardaker will be celebrating the launch of her new novel Mothtown at The Lit & Phil on Thursday 16th November.

Published by award-winning indie publisher Angry Robot, Mothtown is a slice of unsettling literary horror that explores questions of perception and grief, with illustrations by former Children’s Laureate Chris Riddell. At the launch, Hardaker will be in discussion with fellow North East writer Sarah Davy, where they’ll be talking “moths, transformations, and all about storytelling” to a backdrop of eerie visuals from Chris Riddell, who’ll be streaming illustrations inspired by the discussion and questions from the audience.

Mothtown is Hardaker’s second novel – her first, Composite Creatures, was shortlisted for a Kitschie Golden Tentacle award, and chosen as a Best Book of 2021 for The Washington Post. She told me: “I’m so excited to see Mothtown unfurl its wings and make its way in the world. It’s a weird story, one that I was never certain would see the light. But it made it. And I’m so glad.”

The event starts at 7pm. Tickets are £5, or £10 for entry and a copy of the book.

Caroline Hardaker launches Mothtown at The Lit & Phil, Newcastle on Thursday 16th November. Check out the latest episode of our podcast My Writing Life with Fran Harvey,

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as she talks to Caroline about her creative process. Tune in via our E-ZINE at www. narcmagazine.com www.carolinehardakerwrites.com

STAGE

UNKNOWN REALMS @ DANCE CITY

Words: Kate Relton A dynamic collaboration between internationally acclaimed choreographers and ACE Dance and Music brings African culture to life at Dance City on Thursday 23rd November.

Unknown Realms explores universal themes of mortality, perseverance and hope in the face of adversity in a powerful double bill of contemporary dance choreographed by Serge Aimé Coulibaly and Vincent Mantsoe.

A multi-dimensional piece drawing expertise from a team of creatives, Unknown Realms features two starkly contrasting pieces performed by six dancers, accompanied by a sound world created by Andy Garbi and Yvan Talbot.

A timely and poignant double-bill intended to make audiences think, the first piece explores the idea of coming together to escape reality in a “last dance before an uncertain tomorrow”, while the second celebrates the power of nature and the sacred rituals we perform to honour it.

Unknown Realms takes place at Dance City, Newcastle on Thursday 23rd November. www.dancecity.co.uk

MUSIC

THIS IS THE KIT @ THE GLASSHOUSE

Words: Jonathan Horner The arrival of This Is The Kit at Gateshead’s The Glasshouse promises to be a special moment. There is an inevitability about the meeting of these two great British institutions.

As The Glasshouse’s grand halls feel warm and inviting, This Is The Kit manage to infuse their gentle melodies with an air of great significance.

This Is The Kit, the alias of Kate Stables, has been in existence since the ‘00s, when Kate moved to Bristol and started playing and collaborating with local musicians. “The aim is to have fun playing with people whose work I really like,” says Kate in her simple and direct fashion. She has continued her collaborative approach from her debut album Krulle Bol, with PJ Harvey’s musical collaborator John Parish, through her 2015 album Bashed Out, produced

by The National’s Aaron Dessner. Bashed Out received critical acclaim, and the album was picked as Guy Garvey’s Album of The Year for 2015 on BBC 6Music. Having caught the eye of Rough Trade, This Is The Kit signed up to the legendary label in early 2017. Three more critically acclaimed records followed with the Gruff Rhys produced Careful Of Your Keepers released earlier this year.

This Is The Kit will play The Glasshouse, Gateshead on Wednesday 22nd November. www.titk.cargo.site

PREVIEWS

Calexico by Holly Andres

ART & LIT

audiences to see how everything interconnects.

(Re)Grounding is at NewBridge Project, Newcastle from Saturday 18th NovemberSaturday 16th December. www.thenewbridgeproject.com

Words: Helen Redfern Co-produced by D6: Culture in Transit and Kyiv-based IZOLYATSIA, (Re)Grounding is part of the UK/Ukraine Season of Culture devised jointly by the British Council and the Ukrainian Institute. Initial plans for this ambitious project had to be halted due to the traumatic Russian invasion of Ukraine. The creative team reshaped the project, which was to have taken place in Soledar in the East of Ukraine, to invite Ukrainian artists to be in residence at D6’s studios at NewBridge Project in Newcastle.

With D6 curator in residence Lucy Nychai, artists Alexandra Clod (Krolikowska) and Karolina Uskakovych respond to the climate crisis by exploring the shared industrial past of the UK and Ukraine and its impact today. Having journeyed from the industrial landscapes of Eastern Ukraine to former coal mines and community gardens of the North East, the selected artists ask what must be done to bring about the drastic change needed to limit the increase in rising temperatures. The programme includes two research residencies and an exhibition connecting practice, heritage and communities between the UK and Ukraine.

We all know the climate crisis spans social, political and environmental injustices that must be addressed to achieve a sustainable future.

We see these injustices play out in Russia’s invasion of Ukraine, which is deeply affecting the people and place, destabilising global food and energy markets. We see the climate crisis most impacting people with the least resources to tackle it, caused by the global impact of the industrial revolution. (Re)Grounding invites

MUSIC

(RE)GROUNDING @ NEWBRIDGE PROJECT

CEITIDH MAC LAUNCHES NEW EP @ COBALT STUDIOS

Words: Jonathan Horner A new release from Ceitidh Mac is always something to celebrate. Her devoted fans are hungry for more of her unique brand of alt. folk and with her new EP Seabird she does not disappoint. She has a keen painter’s eye for the natural world and the poet’s knack for turning what she sees inwards and finding something profound in disturbed water or nodding sunflowers. These observations are mantric with the patience of James Blake, each repetition giving the words more weight as they settle on us. As expressive as Mac’s fluttering, breathy voice is her cello which acts as an extension of herself. She lays her expressions on a bed of warm analogue synth and punctuating drums. There is a sense of restless exploration in Mac’s music. This is reflected in her hectic schedule: an Italian tour, multiple festivals, a Sage residency and an EP in 2023 is an impressive haul. Mac started writing the tracks whilst away on the residency, and considering questions like ‘what is your urgency?’ and ‘why do you make music?’ she started to dig deeper into her reasonings, exploring her musical identity as a singing cellist.

Ceitidh Mac releases Seabird on 10th

November, she will celebrate the EP’s release with a launch show at Cobalt Studios, Newcastle on Friday 24th November. www.ceitidhmac.com

MUSIC

CALEXICO @ THE FIRE STATION

Words: Lee Fisher Calexico arrived just in time for that first, fertile wave of what we probably still call Americana, back in the late nineties alongside Lambchop, The Handsome Family and the like, and their unique blend of cinematic western soundscapes, classic songwriting and mariachi flourishes was absolutely thrilling (especially when they had a full mariachi band in tow for some dates).

Built around drummer John Convertino and guitarist/bassist Joey Burns – essentially the rhythm section for some of Giant Sand’s greatest records – Calexico are still going strong, but we can allow them something of a victory lap to celebrate twenty years since they released Feast Of Wire, probably their breakthrough record and a strong example of their country/soundtrack/Latin/rock fusion.

The UK leg of that victory lap only includes four shows but thankfully one of them is at Sunderland’s Fire Station on Friday 3rd November. We’ll get the whole of Feast Of Wire and some other career highlights and it’s bound to be a dusty desert rock blast. Support comes from Arizonan indie artist Brian Lopez.

Calexico and Brian Lopez play The fire Station, Sunderland on Friday 3rd November. www.casadecalexico.com

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PREVIEWS

Graham Shipcote & Adam Collerton, aka Jumpin’ Hot Club

MUSIC

JUMPIN’ HOT CLUB BOOK LAUNCH @ GOSFORTH CIVIC THEATRE

Words: Claire Dupree When you’ve got nearly 38 years of music promotion under your belt, brought some of the biggest Americana, folk, blues and R&B artists in the world to the North East, and played a part in celebrated festivals, what else is left to tick off the bucket list than to write a book?

That’s exactly what venerable promoters

Jumpin’ Hot Club are launching this month; a definitive guide to their live music escapades since 1986, the book is crammed with mementoes and memories, over 150 photographs, news stories and reviews.

Graham ‘Shippy’ Shipcote reveals more: “I’d been meaning to do this book for a few years now. It’s faintly memoirish, because my DNA is far too attached, and a blustery mix-match of the Jumpin’ Hot Club’s nearly-thirty-eight-year musical history: who played, where and when, some quotes, various photographs of remembrance and lots of special memories. If I didn’t do it, nobody would.”

Of course, such a milestone can’t be a quiet affair, so they’ve enlisted acoustic blues pioneer Catfish Keith to soundtrack the book launch at

Gosforth Civic Theatre on Friday 10th November. Touted as one of the most exciting blues artists of his time, Catfish Keith’s foot-stomping deep Delta blues has seen him delight audiences the world over and netted him mighty acclaim, including 14 Grammy nominations, with numerous chart-topping albums under his belt. He’ll be performing two sets, accompanied by his trusty resonator guitar, while JHC’s Graham and partner-incrime Adam Collerton will be in conversation with Juan Fitzgerald, with a Q&A session included.

The Jumpin’ Hot Club book launch and Catfish Keith performance takes place at Gosforth Civic Theatre, Newcastle on Friday 10th November. www.jumpinhot.com

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PREVIEWS

Deadletter by Spela Cedilnik

MUSIC

DEADLETTER @ THE CLUNY 2

Words: Cameron Wright DEADLETTER are a really exciting band. The Yorkshire group have a litany of singles that all delightfully delve deeper into the specificity of the band’s sound.

If you were to take the scratching guitars and droll, drugged-up anarchism of The Fall and merged it with the infectious, looping grooves of LCD Soundsystem, you’d get close to what makes DEADLETTER so endearing.

With a self-aware penmanship that draws from Mark E Smith’s satirical fury as much as it does James Murphy’s humour and penchant for euphoric choruses, the band are making something that is as vibrant as it is noisy.

2022 EP Heat! captures the barrage of future indie hits that DEADLETTER have socked away already, armed with explosive climaxes and acerbic stabs of guitar, bass and saxophone throughout. With this catalogue of dynamic and

engaging post-punk tracks, it is no surprise the band have been making a reputation for their rapturous live shows; check out their highly marketable and modern twist on Krautrock and post-punk at The Cluny 2 Monday 6th November.

DEADLETTER play The Cluny 2, Newcastle on Monday 6th November. www.deadletter-band.bandcamp.com

ART & LIT

BOOKS ON TYNE @ VARIOUS VENUES

Words: Kate Relton Returning to Newcastle for its 11th year, Books On Tyne promises a programme of literary delights across the city from Saturday 18th-Saturday 25th November. In collaboration with Newcastle Libraries and the Lit & Phil, Newcastle’s annual book festival offers the best of the region’s fiction, non-fiction and spoken word.

Whether you explore the trailblazing female

writers of the 1890s with Decadent Women: Yellow Book, consider the history of selfies with Matt Colquhoun or experience a one-man performance of the Dickens classic A Christmas Carol, the festival offers something for every taste with a range of low cost and free events.

Among the highlights of this year’s programme include the latest release from Tyne Bridge Publishing, Speaking As We Find, a history of women in Tyneside industries from the 1930s-1980s, their stories told in their own words through interviews with author Caroline Barker Bennett.

Recognising the need to highlight a range of creative arts and talents through their platform, Books On Tyne reserve a space each year for the best in music writing, with this year’s slot celebrating The Art of Darkness – The History of Goth, an exploration of the origins and impact of goth music and culture, from journalist and broadcaster and musician John Robb. Check the website for more events.

Books On Tyne takes place at venues across Newcastle from Saturday 18th-Saturday 25th November. www.booksontyne.co.uk

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PREVIEWS

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PREVIEWS

Eleanor Conway by David Titlow

COMEDY

ELEANOR CONWAY @ THE STAND

Words: Michael O’Neill Eleanor Conway’s had quite the career so far, with her refreshing, brutally honest and uncompromisingly raw stand-up seeing her sell out three worldwide tours, amassing over 100 million online views and even bagging the prestigious honour of being banned from Tinder for life. Her gloriously side-splitting approach to comedy has been widely lauded as a breath of fresh air, with her shows regularly taking a frank and unflinching microscope to the complexities of sex, addiction and dating.

Her new show Talk Dirty To Me, which is performed at Newcastle’s Stand on Thursday 9th November, sees Eleanor further pushing the boundaries of societal norms, with the self-professed “child-free badass” going to task on the many all-too-common disparities in heterosexual relationships, tackling big questions (such as “are we really that far along

in the fight for gender equality?”, “Who really benefits from marriage and babies?” and “How can straight women finally negotiate equal pleasure in the bedroom?”) through the lens of her iconic wit. It’s a shame that these questions are still ones that deserve to be asked, however, I’m certain that Talk Dirty To Me will prove to be one hell of a manifesto for a world still in dire need of change.

Eleanor Conway performs at The Stand, Newcastle on Thursday 9th November. www.eleanorconway.com

MUSIC

NUHA RUBY RA @ STAR & SHADOW CINEMA Words: Laura Doyle If there’s a chance to get in on the ground floor of something that could go all the way to the top, take it. Atmospheric punk soloist Nuha Ruby Ra made it onto plenty of 2023 ones-to-watch lists, and the arrival of latest EP Machine Like Me validated such strong

opinions. Released back in March, it’s short but sweet, subdued but chaotic, and refreshes old school punk attitude with trance-like experimental (almost primal) beats. Since NRR has spent an awful lot of time bouncing from one international festival to the next this past summer, seeing a UK tour with smaller branches from their home in East London is reassuring: there’s still time to catch ‘em on their way up. On her first stop of the tour at Newcastle’s Star & Shadow Cinema on Tuesday 28th November, she’ll be joined by London-based Anglo-American duo Baba Ali. They’ll bring an entirely different tone for the evening, so don’t be surprised by their retrofit electro-punk disco vibe. You’re not stuck in a Nintendo 64 game cartridge, it’s just Baba Ali going all out on the synths again. The two together will either make for the most relaxing, chilled out experience ever achieved at a gig… or the most unhinged.

Nuha Ruby Ra and Baba Ali play Star & Shadow Cinema, Newcastle on Tuesday 28th November. www.nuharubyra.com

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PREVIEWS

Yuko Araki

MUSIC

BEN FOLDS @ THE GLASSHOUSE

Words: Cameron Wright Whether he’s performing as the frontman of the oddball 90s piano punk band Ben Folds Five, or in his equally as endearing solo guise, the twinkling keys have been a leather weapon in the hands of Ben Folds.

Folds’ career has been typified by a wry penmanship that added a sardonic and often bitter tinge to the otherwise euphoric sounds of the band’s ecstatic power pop, sarcastic lyrics are as playfully vulgar as they are irate and angry.

Over the years and throughout his solo career, Folds has proved himself as a thoughtful, delicate writer as well as a consummate musician. From the powerful to the poignant, Folds has written a litany of tracks that leap between genre, and he has written film scores, performed with the biggest orchestras in the world, collaborated with some of the biggest names in the industry and become the first artistic advisor to the National Symphony Orchestra. His performance at our very own venerated venue, The Glasshouse, on Wednesday 15th November, will be a real treat.

Despite the staggering highs of his career and the litany of accolades and achievements, the essential selling points of a Ben Folds show are the same as they were at the start; phenomenal musicianship and stirring piano compositions are emotive, raw and moving – Folds’ music communicates and touches with a dazzling clarity.

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Ben Folds performs at The Glasshouse, Gateshead on Wednesday 15th November. www.benfolds.com

MUSIC

YUKO ARAKI @ THE LUBBER FIEND

Words: Laura Doyle You’ve heard of J-pop and J-rock, now get ready for J-psychedelic-techno-noise-metal!

While the former two may be the more recognisable exports of the (obviously actually very rich and diverse) Japanese music industry, multi-instrumentalist and composer Yuko Araki is just one in a burgeoning genre of female-led post-industrial music makers breaking international ground.

Araki started out playing classical music on the piano before seguing into metal, and she now combines her traditional training with jazz, prog-rock and metal sensibilities in new experimental ventures to create her own kind of neoclassical music. After three releases (appropriately entitled I, II and The End of a Trilogy), she’s bringing new record IV to UK audiences, including a stop by one of Newcastle’s newest DIY venues Lubber Fiend on Wednesday 15th November.

With IV, Yuko Araki delves into new antithetical territory: in a genre known for its excess, she experiments with a new form of noise. Her minimalist approach pairs down her process to the absolute minimum needed to create maximum impact. The result is an abstract, rich, deep noise where no element fights for dominance, but all shine through together. And

with only the essentials to worry about, taking this music on tour should be such a breeze.

Yuko Araki plays The Lubber Fiend, Newcastle on Wednesday 15th November. www.yuko-araki.tumblr.com

STAGE

HIJIKATA, MON AMOUR @ DANCE CITY

Words: Kate Relton An event at Dance City on Friday 10th November pays tribute to Tatsumi Hijikata, legendary Japanese choreographer and founder of performance art Butoh. A striking solo dance piece created in 2019, Hijikata, Mon Amour sees Butoh artist Vangeline perform in an exact replica of Hijikata’s 1968 costume.

Symbolic of the evolution of art in Japan, and considered as a totem filled with stories, secrets and meaning, this historic costume was reimagined for modern audiences to mark the 60th anniversary of Butoh, an art form notorious for playing with the boundaries of the grotesque and absurd. Known for its vivid colour and powerful, controlled movement, Vangeline’s piece breathes new life into Butoh traditions.

As well as a visceral and thrilling performance, audiences have the chance to explore the work through a post-show talk with members of the company, the choreographer and staff from Dance City.

Hijikata, Mon Amour is performed at Dance City, Newcastle on Friday 10th November. www.dancecity.co.uk

PREVIEWS

LUMIERE - Signed Light by Martin Glover

ART & LIT

LUMIERE

Words: Dawn Storey From Thursday 16th-Sunday 19th November, Durham will again become a huge nocturnal art gallery as Lumiere returns to the city with over 40 light installations for its largest and most ambitious programme yet. Since 2009, the free biennial event has seen over one million people view 270 commissions, and this year it extends outside of the city too, with neighbouring Bishop Auckland playing host to four pieces, including one by internationally

acclaimed Spanish artist, Daniel Canogar at the Spanish Gallery.

Known for utilising the city’s architectural features, the 2023 festival will once again see Durham’s iconic cathedral, streets, buildings, bridges and river hosting artworks, even the loading bay in Prince Bishops Place gets in on the action, which this year will be taken over by a collective of British designers, technicians and poets.

With work by artists from 15 countries on show, some of the other highlights include Rumination, a collection of larger-than-life illuminated sheep sculptures made from junk by artist Dave Young; Signed Light by Martin Glover, five signs fingerspelling the word

‘Light’ in BSL; and Colourful Chaos by Emma Allen, where animated characters will tumble, climb and paint across the façade of Durham’s Masonic Hall.

Lumiere runs from 4.30pm-11pm each night (or in Bishop Auckland from 5pm-10pm), with tickets only required to enter Durham city centre during peak hours (4.30pm-7.30pm).

For the full line-up of installations, visit their website.

Lumiere takes place from Thursday 16th-Sunday 19th November throughout Durham. www.lumiere-festival.com

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PREVIEWS

Image by Annie Mitchell

MUSIC

HILARY WOODS @ COBALT

Words: Matt Young Do you fancy a mesmerising evening of ethereal music, captivating soundscapes, experimentation and brooding compositions?

Of course you do, and Cobalt has a stunning gig lined up on Friday 3rd November that meets those requirements and more.

Ireland’s Hilary Woods will be airing material from her trio of albums The River City, Colt

and 2020’s Birthmarks as part of a rare live tour. The opportunity to feel the tender and haunting magic of her music is not something easily overlooked or forgotten once experienced, so prepare to be transported into that realm willingly and wholeheartedly, and be spellbound by her beautifully crafted ambient folk soundscapes.

This gig is also notable for including one of our region’s most enthralling and exciting musicians, Nathalie Stern. Her acclaimed work, including the album Nerves And Skin, reaches out into the corners of improv, experimentation and folk amidst intricate guitars and deft, hauntingly poetic lyrics.

There’s a captivating mesmeric power to her music that’s both alluring and unsettling by turns. Together Hilary Woods and Nathalie Stern promise an evening of musical exploration and emotional depth that will leave you moved. Don’t miss this opportunity to witness two exceptional artists in one unforgettable performance for a night that will linger in your soul long after the last note fades into the night.

Hilary Woods and Nathalie Stern play Cobalt, Newcastle on Friday 3rd November. www.hilarywoods.com

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PREVIEWS

Gazelle Twin by Teri Varhol

EVENTS

WINTERTIDE FESTIVAL

Words: Claire Dupree As the winter nights draw in it can be all too tempting to stay huddled on the sofa, but those who venture out will be rewarded with events such as Wintertide, a weekend of magical art, music and entertainment which runs from Friday 24th-Sunday 26th November throughout venues in Hartlepool.

The historic Headland will be transformed by illumination, animation and sound, as the festival’s ‘Ignite’ theme sees public spaces revealed in new lights. Seven streets will be transformed into temporary exhibition spaces, with installations including a sound piece by electronic music pioneers A Man Called Adam, a quirky ‘glow stick knitting’ string of EL tape knitted jumpers, and three stunning light pieces on loan from Durham’s Lumiere festival, alongside sound pieces, poetry, dance and fire acrobatics. A community lantern parade encourages everyone to take part, and Fuzzy Bosom Maker’s Market in the town’s historic Borough Hall will please shopaholics.

Internationally renowned artist Alex Rigg’s contribution to the event has echoes of the Wicker Man, as he creates a towering willow structure which will be set alight at the festival’s end.

Music lovers will be kept enthralled by a genre-defying music programme which will see live performances take place in venues, pubs and clubs across the Headland. Check the website for full line-ups.

Wintertide Festival takes place at various venues in Hartlepool from Friday 24th-Sunday 26th November. www.wintertidefestival.co.uk

COMEDY

ANGELA BARNES @ VARIOUS VENUES

Words: Mera Royle In a cultural climate brimming with tips on self-improvement and ‘how to be the best you’, it can be somewhat second nature to us to feel like we’re in a constant juggling match with life’s shoulder-hunching demands. But amongst our good intentions and attempts at positive thinking, an unconventional voice of reason shines through. The extremely masterful comedian, Angela Barnes offers a new perspective with her hit stand-up show, Hot Mess, on how sometimes, in the balance of trying our best, things can go belly up.

Preparing to kickstart the latest leg of her UK tour, Barnes brings her wit and very amusing life tales to Northallerton’s Forum (Monday 27th), The Witham (Tuesday 28th) and Hexham’s Queen’s Hall (Wednesday 29th).

With post-feminist woes (the dilemma of slimming for her wedding in contravention of her feminist principles) and wisened, relatable content founded in intense introspection and intelligence, Barnes earns her place as one of the UK’s finest comedians and shows us why she’s a panel show favourite. Woven together through her side-splitting humour, she accomplishes a show that satisfyingly unites the threads of a 70-minute set and brings us closer to the real comedian at heart. This is a not-to-be-missed special about joy, sorrow, and the oftentimes brushed-over tribulations of living your best life.

Angela Barnes performs at The Forum in Northallerton on Monday 27th, The Witham, Barnard Castle on Tuesday 28th and Queen’s

Hall in Hexham on Wednesday 28th November. www.angelabarnescomedy.co.uk

MUSIC

GAZELLE TWIN @ THE GLASSHOUSE

Words: Lee Fisher Gazelle Twin – aka Elizabeth Bernholz – has long been one of the most exciting, original, bewildering artists in the UK, releasing a string of albums that always come with a complete change of approach and aesthetic (take the folk-horror explorations of Pastoral that saw Bernholz appearing in a warped Morris/hobby horse costume for live shows).

Whereas previous releases have been observational – satirical even – her new Invada Records release Black Dog is much more internalised, looking at fear, depression, the ‘black dog’ that lurks just out of sight for all of us. The lead single and title track goes hard on claustrophobic horror so – based on previous tours – whatever Bernholz has in mind for the live shows is bound to be exciting. Happily The Glasshouse is on the short itinerary on Thursday 16th November, and the magnificent Nat Sharp – visual artist, musician and body activist extraordinaire – is supporting, which is always something to behold.

Gazelle Twin and Nat Sharp play The Glasshouse, Gateshead on Thursday 16th November. www.gazelletwin.com

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PREVIEWS

Teenage Fanclub by Donald Milne

ART & LIT

the public at weekends throughout November and December following a launch event on Saturday 18th November. www.visitnca.com

TYNE & WEAR MUSIC/ YOUTH COLLECTIVISM MUSIC FROM THE 1980S & BEYOND @ NEWCASTLE TEENAGE FANCLUB CONTEMPORARY ART @ THE GLASSHOUSE Words: Kate Relton A new exhibition celebrating the legacy of Tyne & Wear Youth Music Collective opens at Newcastle Contemporary Art this month.

Featuring archive material from iconic music venues including The Bunker and The Station in Gateshead, Tyne & Wear Music/Youth Collectivism from the 1980s & Beyond tells the story of the teenagers growing up amidst seismic economic and industrial change, who took solace in the city’s vibrant punk scene.

A tribute to the trailblazers who fought to preserve the music scene for future generations, the exhibition is a chance to explore the history of bands including Total Chaos, The Reptiles, Model Workers and The Village Idiots. Featuring an incredible collection of video footage, photographs and memorabilia, the exhibition brings to life the electric energy of the time, and considers the enduring cultural impact seen in the North East music scene today.

Keeks McGarry, former singer with Total Chaos said: “This exhibition is an opportunity to revisit the incredible culture that emerged from the punk venues of our youth, honour the bands and performers who shaped our lives, and inspire a new generation of music enthusiasts.”

Taking place at Newcastle Contemporary Art’s High Bridge gallery, the exhibition opens to

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Words: Dawn Storey Everyone knows what to expect from a Teenage Fanclub show – polished musicianship, chiming guitars and a back catalogue brimming with such gems as The Concept, Sparky’s Dream and Ain’t That Enough. Similarly, referring to their latest release, Tim Burgess posted on X recently that “Teenage Fanclub sounding like Teenage Fanclub is exactly what you want from a new Teenage Fanclub album” – so hearing the band play their new songs live will also be a treat.

After more than 30 years on the road revisiting the same places, the Scottish indie legends (led by Norman Blake and Raymond McGinley, and now featuring Euros Childs since original member Gerard Love departed a few years ago) fancied a change, so this time around they are intentionally visiting venues which are (mostly) both seated and in locations they haven’t played before, with their North East date coming to The Glasshouse on Thursday 9th November.

Expect everything from the Bandwagonesque and Grand Prix classics right through to the more recent Endless Arcade and of course their newest LP Nothing Lasts Forever, an often melancholic but beautiful collection of tracks which demonstrate that, thankfully, Teenage Fanclub have no intention of hanging up their guitars or their songwriting pens just yet.

Teenage Fanclub play The Glasshouse, Gateshead on Thursday 9th November. www.teenagefanclub.com

MUSIC

WITHERED HAND & DARREN HAYMAN @ POP RECS LTD.

Words: Aaron Woodier Promoter Hapless Museum Worker and Pop Recs Ltd. present two of the UK’s finest singersongwriters, returning to the North East on Saturday 25th November for what promises to be a memorable co-headliner set for fans of their esteemed back catalogues.

Dan Wilson (aka Withered Hand) is a beautifully original songwriter whose work takes in grief, love and elation; the music of Withered Hand sparks a heartbreaking response in his devoted audience. Similarly revered are the compositions of Darren Hayman, both in his solo work and with cult band Hefner. Darren effortlessly weaves sorrow, pain and humour through his 20 albums.

Dan and Darren are also best friends, meeting in 2010 when Darren produced a mini album for Dan. After many years of sporadic shows together they found themselves sharing a cabin in a Norwegian fjord together earlier this year; the pair laugh easily together and wanted to share their best work and friendship with you on stage. Expect two headlines sets and some songs and chat together too, resulting in a unique occasion not to be missed.

Withered Hand & Darren Hayman play Pop Recs Ltd. Sunderland on Saturday 25th November. www.witheredhand.com www.hefnet.com

PREVIEWS

MUSIC

FOREST SWORDS @ THE CLUNY 2

Words: Matt Young Forest Swords, aka producer and composer Matthew Barnes, is renowned and respected for his unique blending of musical genres.

In a career tracking back over a decade, his uncanny sounding mixes of ethereal looping

melodies, choice samples and glitchy, jagged R&B and hip-hop beats have resulted in an acclaimed if sparse discography. His newest album Bolted is out now and the time taken to produce the fragile, organic sounds – almost six years – is well spent.

Performing at The Cluny 2 on Friday 3rd November, those lucky enough to dive into the whole Forest Swords live experience has all the makings of being a transcendent sonic event, as the visuals are as much on Barnes’ mind when composing and playing as the music itself, resulting in an immersive experimental,

ambient and electronic universe. If otherworldly storytelling and that tapestry of beats are your thing, grab the opportunity to witness his first live shows in over three years. There is guaranteed to be an innovative and evocative take on older tracks like Compassion, The Weight of Gold and Arms Out alongside new material from Bolted including recent singles Butterfly Effect and The Low. Forest Swords plays The Cluny 2, Newcastle on Friday 3rd November. www.forestswords.co.uk

stockton

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PREVIEWS

MUSIC

PEACE @ WYLAM BREWERY

Words: Cameron Wright I remember first hearing the jangling guitars and big choruses of Lovesick, from Peace’s 2013 album In Love. This exposure, and the infectious groove of Bloodshake, a cut from their 2012 EP, made a young me incredibly excited about this band.

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The tracks hinted towards a new flavour, in the early 2010’s there was a resurgence of jangle pop and those twee guitar sounds dominated the British indie scene. The sound of Vampire Weekend and The Vaccines were all the rage, but amidst that kind of over-saturation, Peace stood out. Their funky grooves, catchy hooks and almost childish giddiness made the big hits from the band register.

Ten years later, the music of Peace is still bouncing across the indie club circuit. And, with their first album since 2018, Peace return.

Dropping on 3rd November, Utopia offers something completely different. Promising to

be the band’s most ambitious release to date, Utopia aims to break from the defining blueprint that the band established years ago. Mixing in elements of folk and ambiance, Utopia is a revitalised and refreshing look at what the future of indie can be.

The band perform at Wylam Brewery on Thursday 9th November, with a nostalgic blast to the past a welcome treat for any like-minded indie fans!

Peace play Wylam Brewery, Newcastle on Thursday 9th November. www.facebook.com/peaceforeverever

PREVIEWS

Hafdis Huld

STAGE

HIGH TIMES & DIRTY MONSTERS @ NORTHERN STAGE

Words: Helen Redfern If you’re young and disabled or neurodivergent, how often do you see your story told on stage?

The sad reality is that the voices of young disabled people often go unheard.

With High Times & Dirty Monsters, that is about to change. Performed at Northern Stage on Friday 3rd-Saturday 4th November, the show shares the good times and the not-so-good times of being young and disabled in 2023.

This hard-hitting hip-hop gig theatre show has the rhythm laid down by amazing beatboxers, with compelling storytelling from the actors and great visuals from the dancers. Expect heavy beats, stunning visuals and full hearts. High Times & Dirty Monsters is sometimes sad, sometimes funny, and sometimes so surprising.

It’s raucous, radical and celebratory.

The show welcomes everyone, using creative captioning, integrated sign language and integrated audio description. However, the age guidance of 14+ is there for a reason: whilst the show is full of jokes, empowerment and feel-good moments, it also explores challenging themes around ableism, homelessness, substance misuse, financial difficulties and emotional trauma. The performance also contains strong language, gig level music, flashing lights and haze.

If you’re not young or disabled or neurodivergent, still get yourself along to see this performance. You’ll witness an amazing collective of actors, beatboxers and dancers presenting funny, raw and surprising stories of people just like them, people we know, people we need to listen to more and understand

better.

High Times & Dirty Monsters is performed at Northern Stage, Newcastle from Friday 3rd-Saturday 4th November. www.northernstage.co.uk

Hafdís Huld plays The Globe, Newcastle on Saturday 4th November. www.hafdishuld.com

MUSIC

DAVID CALLAGHAN @ POP RECS LTD.

HAFDÍS HULD @ THE GLOBE

Words: Matt Young The Globe’s cosy ambiance might just be the perfect backdrop for Icelandic actress and singer Hafdís Huld’s unique blend of folk, pop and indie sounds on Saturday 4th November.

Her hauntingly beautiful melodies will take you on a journey through her storytelling lyrics, evoking emotions you probably never knew you had. Her enchanting voice will touch your soul, leaving you breathless. These are not lofty writerly claims without merit, as she has a career which spans the world in its demand.

Huld’s beguiling voice and mesmerising presence in such an intimate setting presents a unique opportunity to enjoy her evocative lyrics and music that seems to have been plucked from the pages of a fairytale.

With her group of talented musicians it’s likely this show will dip into all corners of her extensive musical catalogue, with a repertoire that could be drawn from such critically acclaimed albums as her debut solo release Dirty Paper Cup, through Synchronised Swimmers and Home right up to the more recent Variations and Dare To Dream Small albums. This event promises moments of poignant reflection, spontaneous laughter and an opportunity to lose yourself in Hafdís Huld’s evocative melodies. Mark your calendar for this extraordinary evening, she’s only playing nine UK dates so it’s a rare privilege to have her in the city.

COMEDY

Words: Laura Doyle Comedy is best enjoyed with a dash of existential crisis. Just as life ain’t like a box of chocolates, love ain’t like choosing biscuits in the shop. Comedian David Callaghan makes this simile in a more poetic way, but his point is valid: you can settle for digestives over custard creams, but ‘settling’ for a person is much less appealing. His multi-award winning show Everything That’s Me Is Falling Apart has been all over – from the Edinburgh Fringe to London and Stockholm – and has received rave reviews wherever it goes. Perhaps its near universal acclaim is as a result of its universality: Callaghan explores life’s turning points; missed chances and lost loves that, as sadly many of us are unfortunate enough to experience, return to haunt us at the most inconvenient times.

At his Pop Recs gig on Friday 10th November, David Callaghan will be armed with a live camera, a miniature set and even a model train, to introduce us to those poor (hopefully fictional) souls who’ve had to live through awkward moments on our behalf. Hopefully their tales won’t be too familiar (TW for anyone who’s declared their undying love outside of the wrong house), but let them be a catharsis should any hit too close to home.

David Callaghan performs at Pop Recs Ltd., Sunderland on Friday 10th November. www.davidcallaghan.com

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INTERVIEWS MUSIC

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COVER FEATURE

SARAH JOHNSONE

TEESSIDE-BORN NEWCASTLE-BASED ARTIST SARAH JOHNSONE TALKS TO CAMERON WRIGHT ABOUT FINDING HER FEET, DISCOVERING CATHARSIS AND DEFINING HER SOUND ON HER DEBUT EP IMAGE BY CHLOE DUNSCOMBE In May 2021, Sarah Johnsone released her first single, Tonight.

Coming shortly after Johnsone started writing music, the song sounds like a perfect encapsulation of an artist who is fully aware of their sound and, thanks to its delicacy, honesty and serenity, the track pricked up ears and caught attention across the North. The gentle vocals captured a youthful, wistful aura that was matched by delicate acoustic guitar and plucky ornamentation. The vocals harked back to the music of a bygone era, from the likes of Amy Winehouse, Corinne Bailey Rae and the artists that influenced them, there was something nostalgic about Johnsone’s sound, which still managed to sound current and relevant.

As much as Tonight was a perfect encapsulation of the artist Johnsone was then, the two years of experience have fleshed out her sound in exciting ways, resulting in the release of her debut EP, Same Reflection But I’m Changed, this month. From making her way onto Spotify’s new music playlists, playing festival slots across the North and beyond, and getting tipped by BBC Introducing, it has been a transformative couple of years for Johnsone.

Now armed with a full band, her sound has evolved considerably. The swampy blues grooves of Down By The River showcases a dirtier, raucous sound, centring around a driving guitar riff and growing funk groove that is a complete contrast to the serenity of Tonight. Likewise, the euphoric indie rock of Sophia is endearing and bursting with life, thanks to an instantly infectious chorus.

“It’s difficult when someone asks me to define my sound. Saying something along the lines of ‘indie pop rock with jazz and blues inflections’ just seems too much of a mouthful, but it really is just the music we enjoy! I like playing what we play.” Johnsone says.

While sieving through her growing catalogue, it might not be instantly obvious what it is that links these cluster of sounds, but what underlines the tracks is Johnsone’s penmanship. There is a candour and honesty in the lyricism that zones in on the tribulations of modern life; her songs draw from Johnsone’s own experience, painting a detailed portrait of a young woman growing up and into herself.

Johnsone reflects on her work, saying it’s only with time that she fully understands the head space in which she writes. “It’s such a cliche to call songwriting a catharsis, but it really is. When things go wrong, it’s a real way of trying to understand it all. It’s only after a proper amount of time that I’m able to look back and see clearly what links the songs written in that period, what I was working through and what sadness I was battling.”

Same Reflection But I’m Changed is an amalgamation of the tracks that have been penned up to this point. The songs have been soundtracking the band’s live performances, with the

IT’S ONLY AFTER A PROPER AMOUNT OF TIME THAT I’M ABLE TO LOOK BACK AND SEE CLEARLY WHAT LINKS THE SONGS WRITTEN IN THAT PERIOD, WHAT I WAS WORKING THROUGH AND WHAT SADNESS I WAS BATTLING setlist constantly getting tinkered with. “They say audiences remember the start and the end of a gig, so we’ve been finding ways to strip back the middle and make that an experience in its own right, we want people to remember the twists and turns.”

She explains. “It’s been good evolving the sound and finding out what works, the live performances have really been what’s put us on the map, one opportunity always seems to lead to another and off the back of it you’re suddenly sat in a dressing room in Ronnie Scotts!”

Before this interview, Johnsone could be found on the Quayside of Newcastle, busking. Finding the outlet a relaxing experience, she plays a mix of songs from her own material to indulgent tracks which offer an intimate insight into the sporadic array of songs that have influenced and fed into her ever growing sound; from the cinematic boom of Elbow, to the subtle intimacy of Laura Marling, each of these artists leave fingerprints on the songwriter’s sound.

There is a very obvious hunger that shines out of the musician and her band, a need to throw themselves into every opportunity, soak it up and grow with each performance. Their next show, the biggest of their career so far, is a headline gig at Stockton’s Georgian Theatre. “It’s always been a bucket list, growing up in Stockton, I’ve always said I want to play it one day. It’s another in a series of ‘pinch me’ moments.”

With the band jolting into the limelight, they are now frantically excited to evolve and grow. Constantly expanding, maturing, adapting and evolving, there is a tangible excitement that flows out of their sound at all turns, as they sparkle with the flair of a band truly starting to discover what makes them special. “[Our sound is] constantly growing! We are constantly figuring ourselves out, honing in on what works and what we all identify with. My lyrics are becoming more of a story with each track, less about me and more about what I see, the band are constantly figuring out new ideas, be it riffs or sounds. We just seem to be getting closer and closer to our sound, which inevitably will just be whatever makes us this happy!”

Sarah Johnsone releases Same Reflection But I’ve Changed EP at The Georgian Theatre, Stockton on Friday 10th November. www.linktr.ee/sarahjohnsone

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INTERVIEW

MUSIC

ERNIE

Image by Ellen Dixon

I HAD TO BREAK A BIT OF A PAIN BARRIER TO GET TO WHERE I’M COMFORTABLE SHARING STORIES THAT ARE ESSENTIALLY DIARY ENTRIES

LINSEY TEGGERT TALKS TO JOE ERNEST ALLAN ABOUT THE CATHARSIS THAT COMES FROM THE RELEASE OF HIS DEBUT EP “It must’ve been awfully strange seeing your old friend look that way, you must think I’m awfully strange,” musician ERNIE wistfully remembers on Awfully Strange, the most recent single from his debut EP, Cold Cuts. A recollection of the Newcastlebased songwriter’s teenage years in a small Northern town, feeling like an outsider and struggling with his mental health around childhood friends, Awfully Strange demonstrates the sense of aching nostalgia that bonds all five tracks of the EP together.

“All the songs are set in the same bracket of time from my mid to late teens, and they all feature the same common themes throughout,” explains ERNIE (aka. Joe Ernest Allan). “I knew that I wanted to group them together as one EP, almost to bookend that chapter of my life and my songwriting for a bit of closure.”

Having previously fronted successful alt. rock four-piece A Festival, A Parade, the part-time chef and full-time singer-songwriter couldn’t help but feel he had lost some of his creative identity as part of the band, so the idea was always to keep his experience at the forefront this time around.

“Though I wrote most of the songs on this EP on my own in lockdown, I actually wrote the bulk of Awfully Strange when I was eighteen. I tried it out a few times with AFAP but it never quite worked, though I’m glad I held back and turned it into an ERNIE tune. Writing this EP, the plan was always that it would be for more of a solo project; I got that creative lease of life back and wanted something that was just mine.”

Though the creative ball remains in Joe’s court, ERNIE is still very much a collaborative project that perhaps wouldn’t exist without the input of a talented bunch of local folk. The EP features gorgeous backing vocals from rising local artist IMOGEN as well as the hotly-tipped Lizzie Esau and Brooke Bentham, and is produced by Blank studio’s Josh Ingledew (who also plays as part of the band) alongside the legend that is Thom Lewis (Sam Fender’s producer). The Cold Cuts EP is, very

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impressively, being released by EMI imprint Gravity Records.

“It came about through Thom, who is represented by Gravity and did some co-producing with Josh. Support from a label at this stage is incredible, it can make or break bands. Sometimes I worry about nepotism playing a part in how the first year has been, at one point I would have thought that I didn’t deserve it.

To have testimonials from people like Thom is incredible, but I believe in the songs. It’s given me a confidence boost after losing that creatively for a while.”

Of course, the tracks speak from themselves: Awfully Strange is perhaps the stand-out, the instrumentation swelling defiantly alongside every shared vulnerable memory. Hold Yr Horses is a mesmeric slice of indie folk with psychedelic flourishes, while Pink Headaches is dreamy and multi-layered, Joe’s characteristically brooding vocals floating comfortably alongside Brooke Bentham’s delicate backing.

Joe cites Frightened Rabbit’s dearly missed Scott Hutchison as one of his biggest influences, recalling how much of an impact Scott’s lyrics about his wavering mental health had on him as a teenager dealing with the same feelings. With Cold Cuts being such an honest and personal EP, it took a while for Joe to feel comfortable to put these songs out into the world as ERNIE, particularly given the stigma that sadly still surrounds men’s mental health.

“It was tough, I had to break a bit of a pain barrier to get to where I’m comfortable sharing stories that are essentially diary entries, but it’s weirdly cathartic. I hope people will pick up on and relate to it, particularly the idea of feeling stuck in a small narrow-minded town. I hope they feel like they’re not alone.”

ERNIE launches Cold Cuts EP on Friday 3rd November at Star & Shadow Cinema, Newcastle. He also supports Lanterns on the Lake at The Glasshouse, Gateshead on Friday 15th December. www.erniethechef.co.uk

INTERVIEW

CATTLE & CANE ROBERT NICHOLS TALKS TO JOE HAMMILL ABOUT THE TEESSIDE GROUP’S LUMINOUS NEW ALBUM

MUSIC

Teesside siblings Cattle & Cane are back and this time it is Golden. Joe and Helen Hammill and their Cattle & Cane gang are releasing their fourth album, Golden, this month and it promises to be a return to their musical roots for the indie folk and Americana band.

The news will come as a real delight to their loyal and faithful home crowd and should only serve to enhance their growing appreciation and support across the UK and well beyond. Lead songwriter Joe describes the sound as “closest to the first album”.

Chock full of instant classics, that initial long player called Home heralded an explosive entrance onto the North Eastern music scene when released in 2015.

“Golden is the most comfortable musically, it goes back to the roots, a little bit of country, and the acoustic music we got inspired by to start with.”

Joe continues: “It was written in the least amount of time out of all the albums. A lot of it was written during lockdown and recorded remotely in individual houses. It’s the first time we have done it like that. Normally we are all together in the studio, it felt more chilled out. Less time pressure.”

They are delighted by the results. “The songs are a little bit more mature. They are the strongest we have done.”

Although Golden was largely written during lockdown, the pandemic didn’t necessarily affect the mood of the album. “It is a positive album,” Joe says. “I felt like the pressure was off during lockdown; you’ve got to keep moving in music. I did enjoy the process.”

Joe delves a little deeper into the inspiration. “It was roughly at that time I met my future wife, and I was writing a lot of songs at that time. There is a lot of the early excitement of meeting someone and wondering what could this be – weirdly when I wrote Golden I always knew it would be for my future person.

WHEN I WROTE GOLDEN I ALWAYS KNEW IT WOULD BE FOR MY FUTURE PERSON. THERE IS A LOT OF POSITIVITY AND EXCITEMENT There is a lot of positivity and excitement.”

Produced by long-time collaborator and the band’s live bassist Luke Elgie, Golden is an album that also incorporates many writing collaborations which, due to the circumstances of the time, were conducted long distance over Zoom, although to this day Joe still enjoys working with other songwriters remotely in this way.

“I wrote a couple of tunes for this album with Beth Nielson Chapman, Beth’s one of the most incredible writers, she had that massive hit in the 90s This Kiss with Faith Hill and she is still amazing, she is constantly telling stories.”

Joe then revealed something of the process. “One of the sessions with Beth I had gone for a walk that day and I had this melody and just one line in my head, Come My Way. This was prior to meeting my wife I had that openness towards meeting someone, I hadn’t really felt like that before, like I am ready for something.

Beth is a master of bringing ideas to fruition and making a great little song from it.”

Always a thrilling live band, in Golden Cattle & Cane have a new harvest of outstanding songs to sweep the crowd off their feet.

Cattle & Cane release Golden on 17th November. The band play The Georgian Theatre, Stockton on Thursday 7th, Friday 8th and Saturday 9th December, with a further North East show at The Glasshouse, Gateshead on Saturday 2nd March. www.cattleandcane.co.uk

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INTERVIEW

ART & LIT

Image by Andy Lochrie

HOW TO BUILD YOUR OWN RECORD PRESSING PLANT

KATE RELTON TALKS TO AUTHOR STEVE SPITHRAY AND BUTTERFLY EFFECT’S STEPHEN GILL ABOUT A NEW BOOK WHICH LIFTS THE VEIL ON MIDDLESBROUGH VINYL MANUFACTURERS, PRESS ON VINYL A year after the first pressing machines arrived at Press On Vinyl in Middlesbrough, Steve Spithray’s latest book explores what it takes to build and run a record pressing plant.

Taking a look behind the scenes of Press On Vinyl’s first year in business, How To Build Your Own Record Pressing Plant is a tale of the highs and lows, the resilience, creativity and passion of its owners – David Todd and Danny Lowe – and their mission to create a sustainable business providing rare opportunities for indie musicians and artists.

A labour of love and a true local collaboration of North East creatives, Spithray’s book features eye-catching cover art from Rob Irish and is published by Butterfly Effect – a first for the record label.

“Steve wanted to release the book via a record label because of the subject matter,” says Butterfly Effect founder Stephen Gill. “I agreed if I could bring in my friend Fran Harvey – she’s worked in the book industry for a while and knows how to edit and design an amazing book.”

Inspired by the passion and ethos that built Press On Vinyl, both Spithray and Gill knew this was a project they wanted to shout about: “Press On Vinyl at its core is about being proud of where they come from,” says Gill. “It’s about treating everyone fairly and with respect, and make something I’m very passionate about – vinyl records.”

Spithray agrees: “I had literally just finished my last book and had promised myself some time off, but the next thing I knew I was pitching the idea in a half-built galvanics lab in a vinyl

PRESS ON VINYL AT ITS CORE IS ABOUT BEING PROUD OF WHERE THEY COME FROM 32

factory that was yet to press a single record. The characters involved and the ethos behind Press On Vinyl are a perfect fit for everything I am about, and what a journey they have been on.”

A rags to riches tale that rightly champions the wealth of creative and entrepreneurial talent here in the North East, How To Build Your Own Record Pressing Plant also holds a wider message of the vital importance of the arts. “Levelling up is as much about culture as anything else,” says Gill. “Other countries financially support musicians, small venues and promoters. We need to invest in our talent at grassroots level.”

They both agree that part of the problem lies in the rarely addressed inequality which prevents so many from accessing the arts: “There was talk of a 5,000 seat arena being built in Redcar but even rail and bus links to Middlesbrough and Stockton are appalling. For Teesside that is still the main obstacle,” says Spithray. “People will always create. The closure of Base Camp and the Westgarth Social Club were a hammer blow for Middlesbrough, but the rise of the counterculture underground in places like Pineapple Black and The Auxiliary prove there is still an appetite for the arts in Middlesbrough.

Build it and they will come (as long as public transport provisions are in place).”

Ultimately then, the driving force for everyone involved in How To Build Your Own Record Pressing Plant is the same: redressing that balance. Celebrating the thriving culture in the North East, and ensuring it is kept alive for generations to come.

How To Build Your Own Record Pressing Plant is published on Thursday 2nd November. A Q&A hosted by Alex Niven will take place at The Bound, Whitley Bay on Friday 10th November. www.instagram.com/howtobuildyourown

INTERVIEW

CRYSTALQUEER

DAVID SAUNDERS TALKS TO LIZA BEC AND CHAINES ABOUT THEIR AUDIOVISUAL AND MULTI-SENSORY EXPLORATION OF LOCAL LANDSCAPES AND LIFE BEYOND THE GENDER BINARY

MUSIC

L-R:Liza Bec by Ben Hughes, CHAINES by Marie Sutter

IT’S REALLY A STORY OF HOPE THAT WE CAN ALL LIVE IN A MULTIDIMENSIONAL WORLD WHERE WE ALL HAVE INFINITE POSSIBILITIES FOR SELF-EXPRESSION I’ve read a lot of press blurb during my time at NARC. Magazine but none have captured the imagination more than CRYSTALQUEER. This sensory wonderland and collaborative commission from composers and multi-instrumentalists Liza Bec and CHAINES, taking place at The Glasshouse, Gateshead on Thursday 23rd November, says all the right (and seemingly random) things to pique my interest. It’s “part cyborg concert, part audiovisual installation, part video”, takes influence from the local landscape, celebrates “queer crystals” and creates soundscapes with dark, edgy synths, spoken word, electronically enhanced flutes and a roborecorder (a plastic recorder with a circuit board on it).

The pair first met at the Sage Gateshead (as it was then) Summer Studios music residency project in 2022. Liza was already a fan of CHAINES’ work before they met and the pair both really hit it off during their time there. After the residency had finished they individually discussed the possibility of a commissioned piece and so The Glasshouse, with their infinite wisdom, asked them to work on something together.

This creative collaboration began drawing inspiration from the architecture of The Glasshouse itself, as well as the landscape and history of the surrounding area, which birthed an intricate and inspirational project, as Liza explains: “I was entranced by the architecture of the building. To me, it represents a giant spaceship, a portal to multiple musical dimensions. After doing a little digging into the history of the area we found that Gateshead used to be Salt Meadows in mediaeval times, prior to the Industrial Revolution and the great fire which obliterated

the area. When building The Glasshouse, the architects decided to build the world’s very first ten-sided concert hall, where we will be performing this commission for the first time. So it seemed that the area had evolved from a flat, featureless crystalline space, through the machine era, into quite another – something complex and multidimensional.”

This then evolved further into a reflection of life beyond the gender binary, something that both artists really connected with: “There’s a really interesting short story called Flatlands which depicts how creatures living in a two-dimensional world might perceive interventions from a third dimension whose existence they have no concept of,” Liza explains. “As an agender person it often feels like non-binary identity is such a foreign concept to many people that you may as well be living in another dimension. Together with the compelling transformational narrative of the local area, it’s really a story of hope that we can all live in a multidimensional world where we all have infinite possibilities for self-expression.”

As the audio began taking shape CHAINES thought about visual and spoken word elements to create a magical experience.

“For a while I’ve been interested in how sound and images interact with one another – it’s what drove me to learn to code and start to make video games and video game music. I’ve been really inspired by Liza’s interest in ‘thin sections’ – super thin slices of rock viewed under a microscope with polarised light shining through them. The results are incredibly vibrant and colourful, so expect collages of paint and light with every colour of the rainbow!”

The results of Liza and CHAINES’ creative odyssey will be a feast for the senses and will no doubt leave those who immerse themselves within it feeling, in the duo’s words, “very dynamic and special”.

CRYSTALQUEER takes place at The Glasshouse, Gateshead on Thursday 23rd November. www.theglasshouseicm.org

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INTERVIEW

MUSIC

ST JAMES INFIRMARY

Image by Davison & Doncaster

IT’S VERY MUCH A ‘LET’S SEE IF WE CAN DO A (INSERT GENRE) STYLE PIECE’

WITH THREE ALBUMS OUT IN NOVEMBER, IT FELT LIKE AN OPPORTUNE MOMENT FOR LEE FISHER TO CHECK IN WITH THE ASTONISHINGLY INDUSTRIOUS ST JAMES INFIRMARY AND FIND OUT HOW THE ASHINGTON JOE MEEK IS FARING We last chatted to Gary Lang (who for our purposes is St James Infirmary, except when he’s not) back in 2020, when SJI was clearly flourishing, and that still seems to be the case, largely by tapping into a rich vein of understanding labels and musicians to keep the music pouring out of his Ashington base. The fact that there are three fresh albums being released in November tells its own story (although each is actually from the considerable SJI archives).

Much of the focus is on Artefacts, a self-released album that might be his/their strongest yet. As with most SJI music, it was largely unplanned. “Me and my long-time collaborator Mark Oliver decided to just book a couple of days in Blank Studios, invite along musician friends and their families and just see what came out of it,” Lang explains. “The initial idea was for it to be like some 70’s Christian/cult private pressing but it ended up being more structured although – aside from one song and a riff – nothing was pre-planned. It’s down to working with simpatico people like Richard Dawson, Nev Clay, the Tylers and my usual gang that something came out of it. Fun was the main goal, and that at least was achieved.”

The stand-out track on Artefacts, Cuddy’s Cave, has taken on a life of its own, an eternally evolving and expanding gem. As ever, it grew out of jamming. “The original piece was Richard [Dawson] and Mark [Oliver] doodling on guitars whilst I played some loops. Then Nev came in on another day, with his words already prepared, I threw on some faux folky sounds and my best Mo Tucker drums and there you go! Though it’s not quite the epic that Nev has since turned it into in his solo work.”

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The other two albums, Abandoned and As Well As Can Be Expected, are Americana and ‘motorik/riffy/freakout style’ collections respectively and this is typical of how SJI works, with Lang setting himself a brief – a style or genre, perhaps, as a template. He’s often talked self-deprecatingly about making pastiches. “I still have no claim to any originality in the work we do. It’s very much on a ‘let’s see if we can do a (insert genre) style piece’. Whilst the sounds that come out may not be anywhere near the source influence, it’s usually something that’s interesting.”

Much of Lang’s remarkable industry is driven by a sense of guilt, a need to create something every day (he works as an artist, filmmaker and all-round provocateur when he’s not recording).

As he admits, “I occasionally have problems with my mental health, and producing something solid and tangible helps to keep me grounded.”

Lang shows no sign of slowing down either. “By releasing a lot of older stuff this year, I’ve built up quite a backlog of stuff I want to get out and release, like a fatberg in a sewer.

Unfortunately a few of the labels I’ve released through in the past have closed down for financial or personal problems so I might have to focus more on self-releasing, but at least the slightly bigger profile SJI has developed will help to get the word and the noise out!”

St James Infirmary releases Abandoned (via Cruel Nature) on 24th November, Artefacts (self-released) on 1st December, and As Well As Can Be Expected (via Wormhole World), available now. www.stjamesinfirmary1.bandcamp.com

INTERVIEW

HOLLY & THE REIVERS DAMIAN ROBINSON TALKS TO HOLLY CLARKE ABOUT THE REIVERS’ LOVE OF DARK FOLK SOUNDS ON THEIR DEBUT ALBUM

MUSIC

The natural worry for live music fans, when you hear one of your favourite live acts is going to record music, is ‘is it going to sound as good recorded as it does live?’

Known for their ferocious live shows, Holly & The Reivers are an excellent live act; full of multi-part vocals, precise folk musicianship and lovely and interesting asides. If only in terms of capturing their energy, recording their debut album must have been a challenge.

“We were a bit worried when we went in to record the album,” confirms singer and guitarist Holly Clarke, who makes up the band with Merle Harbron (vocals, fiddle) and Bertie Armstrong (vocals, banjo), “but we also knew we could play well so we were pretty confident it would come out okay.” And come out okay it sure does.

Taken over 11 tracks, Three Galleys is a treat for lovers of the darker elements of folk. Accompanied by wonderful musicianship and stunning three-part-harmonies, the trio’s album tracks its way across some of the most iconic parts of folk, with each song breathing fully to capture the expanse of their surroundings – it’s like listening to a live Cormac McCarthy reading.

“The album’s an amalgamation of all of the elements we love about folk,” continues Clarke, “which for us means that it’s heavily into ‘folk horror’ aspects, so imagine the sound of The Wicker Man soundtrack which is creepy and eerie in places.”

Choosing tracks which fall into the ‘folk horror’ realm, Three Galleys has a deliberate narrative theme; songs such as The Bold Marauder and Walking Boss drawing out elements of protest and punk that are deeply rooted in the more defiant aspects of folk.

THE ALBUM’S AN AMALGAMATION OF ALL OF THE ELEMENTS WE LOVE ABOUT FOLK “For the debut record we’ve chosen songs we really believe in.

So songs like Bold Marauder are protesting war and Bleary Winter talks about lamenting the loss of England’s land. With the current times and ideas of war, and of the right to roam movement, we felt like these were good songs to not only showcase beautiful folk songs but also showcase messages that are still really vital today. Another song, Willie O Winsbury, is a 400 year old song about Queer love – again these are great pieces to connect with but also to show that there is still much to fight for and to be angry about.”

Whilst album launch dates are still being figured out (“we’re really keen to do some local live album dates but there’s a few things to still be worked out”), the trio’s talk has already moved on to album two and what comes next. “We feel like this is just scratching the surface of what we want to make, but we’re really happy with the record and want to create new atmospheres as soon as we can.”

In the meantime you have the options of either seeing Holly & The Reivers live or listening to them recorded – both options being equally as good.

Holly & The Reivers release Three Galleys on 15th November. www.facebook.com/hollyandthereivers

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INTERVIEW

STAGE

THIS IS MAKINA!

Joe Henderson

AHEAD OF A NEW GIG-THEATRE PRODUCTION AT THE CUSTOMS HOUSE, DAVID SAUNDERS FINDS OUT HOW MUSIC LOVERS IN THE NORTH EAST FOUND AN OUTLET THROUGH A SUBGENRE OF HARDCORE TECHNO My first experience of Makina came when I was 7-8 years old courtesy of a babysitter who used to play tapes (under the guise of New Monkey) during her childcare sessions. Since then, I’ve encountered it via the sounds being emitted from the open bedroom windows of wannabe DJs, during weary-eyed discussions of last night’s bangin’ beats in football changing rooms, and within the Jeanie Finlay documentary, Sound It Out. For those not in the know, Makina is a subgenre of hardcore techno that originated in Spain and came to prominence in the early nineties. It was adopted by the North East and became a much-loved genre of music. Gig-theatre experience This Is Makina! takes place at South Shields’ Customs House on Friday 3rd-Saturday 4th November and captures the raw energy of the music and the passion the region has for it. Set in the South Tyneside Town, the production invites audiences to embark on a thrilling ride through the pulsating beats of Makina music.

Deputy Director of Learning & Participation at The Customs House, Fiona Martin, tells us more about the show: “This Is Makina! will be set in the heart of South Shields and will be part theatre/part rave, and it will capture the vibrant essence of Makina, intertwining local stories with universal themes of identity, community and the power of music to unite.”

Written by actor and director Christina Berriman Dawson, the production will feature live DJ A.D.S., MC Drop Dead Fred and local performers, as Fiona explains: “The story will feature

IT WILL CAPTURE THE VIBRANT ESSENCE OF MAKINA, INTERTWINING LOCAL STORIES WITH UNIVERSAL THEMES OF IDENTITY, COMMUNITY AND THE POWER OF MUSIC TO UNITE 36

original music from the MCs who are part of the project, with the hope that some of them would perform live. This Is Makina! will also feature three South Shields performers in Joe Henderson, Jordan Mullen and Andrew Finnigan, with each bringing an authentic understanding of how this art form unites young people and communities.”

The narrative of the piece will be shaped by these young performers across weekly sessions to create: “a piece that they’re proud of and one that they are able to see themselves reflected in.”

This Is Makina! was developed in collaboration with Boundless Theatre’s creative associate Pav Christodoulou, who, as Fiona mentions, has experience in bringing music to the theatre: “Pav will be leading the rehearsal process once the final piece has been devised, working with the three performers in bringing the story to life. He has been engaged every step of the way and has immersed himself completely in all things Makina.

His practice really leans into fusing music and theatre together and shares our values in making this project as much for the participants as it is for our audiences.”

As well as being entertaining, Fiona points out how the production demonstrates how important theatre can be in highlighting scenes and engaging with local communities: “As a venue at the heart of the community, we know how important it is to represent the interests of the Borough, and for young people who are passionate about Makina, we wanted them to find a place here. Our creatives are passionate about telling the story of this art form and it is a pleasure to create theatre in this collaborative way with the future generation of MCs and Makina fans.”

This Is Makina! takes place at Customs House, South Shields on Friday 3rd and Saturday 4th November. www.customshouse.co.uk

INTERVIEW

FILM

WAVES

T-B, L-R: Everything Everything bigfatbig, Pigs Pigs Pigs Pigs Pigs Pigs Pigs

WAVES’ TRIUMPHANT RETURN IS SET TO HONE IN ON ECLECTICISM, NEW TALENT AND THE OUTRIGHT ENTERTAINING POWER OF COUNTER-CULTURE REPERTOIRE

MERA ROYLE UNCOVERS SOME OF THE HIGHLIGHTS AT SUNDERLAND’S ALL-DAY CELEBRATION OF MUSICAL TALENT Placing the North East at the forefront of the UK’s brightest and best talent, Sunderland’s hit music festival Waves returns to city venues on Saturday 11th November with a line-up that’s more electric than ever. In this third mighty return, music lovers can enjoy a whole day of discovering new music across eight venues in the city. In partnership with more local promoters and organisations, this year’s festival is focused on creating an experience that’s enjoyable for audiences and bands alike, thanks to a line-up of diverse and relatable artists. With up to ten hours of live performances to enjoy, there’s huge amounts to choose from, and far too much to do justice to here.

Of particular note, be sure to trample down the doors of The Fire Station to watch Pigs Pigs Pigs Pigs Pigs Pigs Pigs and their riotous, primordial grooves, braced to shower listeners in exuberant fury with the sound of their latest release Land of Sleeper. Or find local faves bigfatbig bringing their energetic, punk-emboldening raucous sound that has time and again made it big on hit UK radio stations, and solidified them as a band everyone wants to hear.

As the city’s premier grassroots venue, Independent will showcase exciting artists such as Glasgow natives Dead Pony, South Shields’ alt. rockers Camel Island and Twister, who bring expectation-defying, cutting-edge music that embraces the heart and soul of modern rock. Also performing here is one of the UK’s most intriguing viral pop acts, Deco, mixing classic songwriting with 80s synth pop, with a career spanning across sold-out shows to several award nominations and viral online videos. There’s also a chance to delve into noughties indie and Britpop reminiscences with four-piece driving force The Voyd, and also an appearance by North Eastern indie maverick Trunky Juno, performing his stash of masterful lyricism, warped sounds and bold ideations which define his off-kilter

artistry.

Also among the highlights are headliners Everything Everything, Manchester’s chart-topping pop-fuelled art rock outfit who have spent their years touring to tens of thousands with their boundary breaking sound and picked up several prestigious award nominations along the way, including two for the Mercury Prize, and five Ivor Novello Awards. Performing at The Fire Station, this not-to-be-missed band promises an almighty set of adrenaline-charged, ecstatic rock to leave audiences buzzing.

There’s explosive anticipation from emerging talents in the North East and beyond peppered throughout the line-up, include sibling duo ZELA, a hard-hitting alt. pop band who have burst onto the scene with a their imaginative Charli XCX meets Wolf Alice style, as well as dreamy, renegade sounds of the Lambrini Girls, singer-songwriter Patrick Gosling, Hartlepudlian newcomers Northern Hospitality, thrilling intelligent popsters Komparrison, the jazz-meets-indie pop of Sarah Johnstone and more.

In this carefully compiled line-up, Waves brings international, national and regional artists together, as promoter Ben Richardson explains: “There’s always been two major aims for Waves: to bring amazing talent into the city and to showcase the amazing talent that’s already here, and I think with this line-up we can tick both boxes.” Waves’ triumphant return is set to hone in on eclecticism, new talent and the outright entertaining power of counter-culture repertoire. Be there!

Waves festival takes place at various venues in Sunderland on Saturday 11th November. www.facebook.com/wavessunderland

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INTERVIEW

STAGE

L-R, T-B: Naomi Obeng, Laura Lindow, Vici Wreford-Sinnott

THREE ACTS OF LOVE KATE RELTON TALKS TO WRITER VICI WREFORD-SINNOTT ABOUT HER CONTRIBUTION TO A TRIO OF PLAYS WHICH EXAMINE PASSION, COMMUNITY AND TOLERANCE

We often talk about acts of kindness, but what about acts of love? How do we define love as individuals and show that love to each other?

A new work from a ground-breaking trio of female playwrights Laura Lindow, Naomi Obeng and Vici Wreford-Sinnott, explores the messy, complicated and colourful complexities of these questions through a trio of short plays at Live Theatre this month.

A world premiere showcasing three contrasting works performed by three extraordinary actors, including stage and screen actress Imogen Stubbs, and accompanied by live music from Me Lost Me (aka Jayne Dent), Three Acts of Love looks at the human experience from every angle – the beauty, the pain, the dark and difficult truths.

Writer Vici Wreford-Sinnott says the process of collaborating to create Three Acts of Love was a joy: “We all met and talked about what acts of love might mean to us, and it all kept coming back to how do we as communities let people who feel like outsiders, in? Are we suspicious? Do we have open arms? Does our generosity extend beyond our immediate circle? And why do we view people who are different to us as outsiders anyway?”

Though the three plays tell distinct stories, Vici says their finished pieces shared plenty of common ground: “Each act of the piece has different characters, different settings, but there are underlying connections, thematic coincidences and questioning narratives about the world.”

HOW DO WE AS COMMUNITIES LET PEOPLE WHO FEEL LIKE OUTSIDERS, IN? 38

Through their ‘Act of Love’, the three writers examine passion, community and tolerance through a different lens: a young woman running away to find connection and acceptance in a new place; a visiting lecturer with a dark and unexpected truth; a devoted fan, lost in obsession and revenge.

Passionate about telling the stories of people who often go unheard and misunderstood, Vici’s piece is the tale of a young neurodivergent woman’s search for family. “I’ve been proudly involved in the Disability Arts movement for 30 years,” says Vici. “The disabled people in our families, communities and workplaces are so often underestimated and yet have some of the most powerful, vibrant, funny stories to tell. I love surprising people and getting people to think about our humanity.”

Has that humanity been challenged or altered by the collective trauma we’ve experienced in recent years and how can we course-correct to build more welcoming communities? For Vici it’s about rediscovering the joy of nuance, the blurring of lines and allowing each other to be exactly who we are: “It’s been a time of huge transition for human relationships. I think we are encouraged to view the world as a series of opposites, polarised and binary: we can only be this or that. We forget about all the shades and colours in between. Social media was already incredibly powerful in our lives, but I think it’s seen the best and the worst of us. What has it done to our intimate and domestic relationships and interactions? Do we hug as often, do we shake hands with strangers, do we distance ourselves because subconsciously we feel less safe? We need more acts of love.”

Three Acts of Love runs at Live Theatre, Newcastle from Thursday 30th November-Saturday 16th December. www.live.org.uk

INTERVIEW

RE:VULVA

NAT GREENER TALKS TO AMY THATCHER ABOUT THE NEW QUARTET WHICH AIMS TO BREAK THE CYCLE OF UNDER-REPRESENTATION IN FOLK MUSIC

MUSIC

Many will know Amy Thatcher, Holly Clarke, Cathy Geldard and Janice Burns from their own folk musical endeavours, but the quartet’s new project, ingeniously titled RE:VULVA, takes a new approach to alt. folk sounds by reclaiming classic folk tracks and adding sparkle to their own millennial pop compositions.

Accordionist and synth/drum pad maestro Amy shared her perspective on the inspiration and goals behind the project: “There’s a big problem with a lack of female instrumentalists in instrumental folk music.” Amy highlighted the dual challenge of a meritocracy and a patriarchy in the music industry and it’s this combination of factors that has perpetuated gender biases and stereotypes and created a cycle of under-representation, which, in her words, “needs breaking in a big vulgar way.”

Amy talked about the unique challenges faced by women in the music industry, particularly the pressure to outperform their male counterparts. “There was always something intangible standing in our way, like we were never going to quite measure up, not quite nailing it, not quite as good as the boys.”

Amy emphasised the importance of visible role models for aspiring female artists, citing musicians like Karen Tweed and Kathryn Tickell as inspirations. She pointed out that these role models can impact the next generation of female artists: “They’re really creating a momentum for non-male artists right now, it’s really important that the rest of us pick up on that.”

Amy explained that the lack of representation – particularly on festival line-ups, which RE:VULVA are determined to challenge – has a huge impact on gender minorities aspiring to be musicians. “It’s just harder to aspire toward something which doesn’t exist in the same capacity.”

RE:VULVA sees itself as a mascot for change, using a provocative band name to spark curiosity and encourage constructive debate. “It challenges conventional wisdom and sparks a bit of curiosity without resorting to personal attacks or

THERE WAS ALWAYS SOMETHING INTANGIBLE STANDING IN OUR WAY, LIKE WE WERE NEVER GOING TO QUITE MEASURE UP, NOT QUITE NAILING IT, NOT QUITE AS GOOD AS THE BOYS hate speech.” Amy says. They aim to be present and visible, providing young women with a path into the folk tradition.

In terms of systemic change, Amy emphasised the importance of diversity and inclusion programs, gender quotas, and awareness campaigns to level the playing field. She also called for an end to rhetoric that suggests gender balance is shifting the other way. Amy cited several successes in the industry, including initiatives like Queer Folk UK and PRS Women Make Music fund, alongside festivals like Women Are Mint and the DIY Ceilidh in Newcastle, which foster inclusivity and equality.

Underlining the importance of collective efforts to overcome the “bullshit politics” that hinder women’s music from reaching a wider audience, Amy emphasised the need to raise awareness through music and create unapologetic, fun and positive music: “We are creators and we try to do that to the best of our ability, hopefully promoting solidarity and turning some heads on the way!”

RE:VULVA’s commitment to addressing gender inequality in the music industry is not just about challenging the status quo, but also about inspiring a new generation of female musicians and pushing for lasting change. Their passion for music and their mission to break the cycle of under-representation in folk music is a welcome and vital contribution to the industry.

RE:VULVA play Cobalt Studios, Newcastle on Thursday 30th November, with support from Bell Lungs. www.revulva.org

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INTERVIEW

MUSIC

TWAYN

WE ALWAYS STRIVE FOR HONESTY IN OUR SONGS, EVEN IF IT LEAVES US FEELING VULNERABLE

CLAIRE DUPREE DISCOVERS HOW THE TEENAGE TWINS’ SONGWRITING TALENT HAS LED THEM TO INTERNATIONAL ACCLAIM AND HONEST INTROSPECTION ON THEIR DEBUT EP One of the joys of discovering an artist in their relative infancy is in witnessing their growth as they find their identity. The trajectory of North East-based 18-year-old twins Twayn over the last couple of years has been pretty remarkable; their delicate, harmony-drenched pop style has seen them placed in the top 10 of the Song Academy Young Songwriting Competition 2022 (SAYS22), perform in Nashville at an international competition (at which they came second out of 22,000 entries), secure funding from Help Musicians and, this month, release their debut EP, Cupid Isn’t Real.

Hannah and Grace kickstarted their songwriting together during lockdown (although Grace remarks that she’s always been a keen writer), and as Hannah’s skills on Logic Pro grew the duo formalised their songwriting partnership in 2022, resulting in a much more collaborative approach.

Obvious touchstones for their sound would be Taylor Swift’s sassy relationship sagas, Olivia Rodrigo’s biting drama and Self Esteem’s introspective self-awareness, but their relatable lyrics and harmony-fuelled sound also finds influence in the likes of The Carpenters, Wilson Phillips, Haim, Ward Thomas and Tors, who they recently supported at The Cluny.

“Our discography up until now was written when we were still at school, so is focused on themes of things we observed such as peer pressure, friendship struggles and the challenges of social media.” Grace explains, with Hannah continuing: “We left school in June, are now 18, and full-time singer-songwriters, so this EP is talking about different things as we’re a bit older; it’s about dating, heartbreak and moving on.”

Such universal themes are presented through measured and mature soundscapes. The EP’s haunting opening track, Boarding Pass, features sighing vocals and understated synths,

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while stand-out song Criminal is full of lyrical twists and turns and quietly riffy guitars. On Love You And Lose You, a break-up song told from the perspective of the ‘breaker-upper’, nagging piano refrains give way to vocal gymnastics and plucky strings, with echoey vocals and textured instrumentation demonstrating a real depth to the duo’s songwriting, and perhaps offering an indication of their direction for the future.

“We always strive for honesty in our songs, even if it leaves us feeling vulnerable. In our previous singles, where we write about the struggles of friendships, we’ve been very open about the various themes so we wanted to carry that on in the EP.” Grace says, with Hannah agreeing that songwriting was a comfort to them during lockdown. “I just hope that others can take comfort from how raw our songs are if they are going through something similar.”

Their experiences at SAYS22 and in Nashville couldn’t fail to boost their confidence, but they’re taking everything in their stride. “I think it probably told us that there is lots of young talent out there, so the best thing we can do is to be true to ourselves and not to try to emulate others.” Hannah says. “I guess that gave us the confidence to have belief in ourselves and get the ball rolling. As a musician that can sometimes be the biggest challenge.”

For audiences, following the path of Twayn’s songwriting as they navigate friendships and relationships in all their messes and glory will be a rewarding experience; if their success so far is anything to go by, who knows where it might take them.

Twayn release Cupid Isn’t Real EP on 10th November, they play a free show at HMV, Newcastle on Saturday 11th November. www.linktr.ee/twayntwins

INTERVIEW

RACHEL LANCASTER MATT YOUNG TALKS TO THE NORTH EAST ARTIST ABOUT HER OTHERWORLDLY EXHIBITION

ART & LIT

Image by Kuba Ryniewicz

Rachel Lancaster is a painter and musician who’s been part of the fabric of the arts in the North East for many years, and in various forms. Hartlepool-born but long since relocated to Newcastle, she graduated both BA and MFA from each of the city’s Universities and has a slew of worldwide group shows and exhibitions on an already impressive CV. This month she prepares her new solo show at Workplace Gallery in Newcastle.

As an artist-led curatorial project, Workplace is renowned for supporting emerging artists, Rachel explains how she began working with the gallery. “Laura [Rachel’s twin sister and also a painter] and I had a joint show in Workplace in London and that went really well so they took me on as an artist.”

Contributing work to group exhibitions is one thing, but this exhibition is a completely new body of work, Rachel explains her process around figuring out how to use the space. “I try not to force things too much, I tend to select images I’m drawn to and then a theme often emerges out of that thought process.

Like music, there’s often a mood rather than anything else.” As explanations go this is very apt when you see her paintings up close, created out of “many, many thin layers of paint” giving them an otherworldly feel.

It’s in the edit, alongside the ethereal paint layers, that the intrigue of the images comes to the fore. They play with scale, they’re also coy sometimes about revealing too much, or just

I TEND TO SELECT IMAGES I’M DRAWN TO AND THEN A THEME OFTEN EMERGES OUT OF THAT THOUGHT PROCESS. LIKE MUSIC, THERE’S OFTEN A MOOD RATHER THAN ANYTHING ELSE

enough. “There’s a conversation to be had with the viewer.”

Rachel says. “Asking yourself, where am I? What’s this? And if you don’t ask yourself too many questions then it almost feels like it’s not working.”

Rachel explains about being met head on by her paintings.

“There’s been more of an appetite for painting in recent years, which is good.” Trends and vagaries of fashion aside the ‘physicality’ of Rachel’s paintings, their defined authorship, updating tradition and composition hold an inherent power.

The “intriguing, unsettling and ambiguous” nature of the images and editing process is lengthy. She explains: “It starts by taking literally hundreds of photos and that gets narrowed down…then I’m left with around a hundred and fifty, that then get narrowed down further. Working out which would be good images and would work together for this exhibition. It’s a gut feeling.”

As with all artistic endeavours there’s no empirical answer to why a thing is the way it is. It can be based on, as Rachel says further, “colours – that red would look great painted for instance. Or an atmosphere. I’ll also play with the crop of the image and find the best look, the potential mystery of it.” There’s also an entire, unseen charcoal drawing and planning process of the chosen images that allows more scrutiny and a last-minute omission if necessary.

Find out which paintings have made the cut and witness their tingling mystery in person.

Rachel Lancaster’s exhibition runs at Workplace Gallery, Newcastle from Saturday 25th November–Saturday 23rd December. www.rachellancaster.co.uk

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LISTINGS

THE BEST OF THE REST… EVEN MORE ALTERNATIVE MUSIC, THEATRE, COMEDY, ART AND FILM TAKING PLACE THROUGHOUT THE NORTH EAST THIS MONTH WEDNESDAY 1ST NOVEMBER

SUNDAY 5TH NOVEMBER

THURSDAY 9TH NOVEMBER

100 PEOPLE: A PORTRAIT OF COEXISTENCE

BABY QUEEN

DRIFTWOOD

A film-portrait of Shieldfield: dialogue between a diverse mix of residents and workers combine to tell an ambitious story of coexistence and everyday collectiveresistance // Star & Shadow Cinema, Newcastle

UNCANNY: I KNOW WHAT I SAW

Stories of modern hauntings, brought to life on stage through thrilling theatrical invention. Also on Thursday 2nd November // Northern Stage, Newcastle (Also at Darlington Hippodrome on Tues 28th)

Anarchic pop artist // Newcastle University Students’ Union

LOGOZ

Promoters North East Cosmonauts Circle present a rip-roaring show of punk rock from LoGOz, plus Bastard Face and The Underclass // Trillians, Newcastle

TUESDAY 7TH NOVEMBER ANGELA

THURSDAY 2ND NOVEMBER

Volunteer Girl Guide leader Angela goes on a voyage of self-reflection and discovery, via despair and disillusionment. Runs until Saturday 25th November // Alphabetti Theatre, Newcastle

FEATURED //

CAR BOOT SALE

South African cellist combines virtuosic performance with improvisation, singing and body percussion. Support from The Bantu Ensemble // The Boiler Shop, Newcastle

LET THEM EAT CRYPTO

Abel Selaocoe

LOU BARNELL

Award-winning vocalist, sound, and performance artist, supported by Emergence Collective // Cobalt Studios, Newcastle

WESLEY GONZALEZ

Eclectic and exciting British rock and roll // Bobiks, Newcastle Book launch for local author Peter Howson’s new book which explores how the blockchain scam is ruining the world // The Bound, Whitley Bay

WEDNESDAY 8TH NOVEMBER A CAT CALLED DOM

Alt. indie artist, supported by James Leonard Hewitson // Bobiks, Newcastle

Real life and fiction blur in this heartfelt award-winning fusion of animation and documentary filmmaking // Tyneside Cinema, Newcastle

FRIDAY 3RD NOVEMBER

BORN LIPPY 6TH BIRTHDAY

An intoxicating and mystical story about hope, love and belonging. Also on Friday 10th November // Northern Stage, Newcastle

PEARL & THE OYSTERS

Colourful cocktail of pop sounds, supported

by Faye MacCalman and Osaka Jo // The Lubber Fiend, Newcastle

SHREDD

Glaswegian psych/garage/fuzz band, supported by Abnorm and Grey Palm // Bobiks, Newcastle

FRIDAY 10TH NOVEMBER BUFFY REVAMPED

A fast-paced gem which presents the entire 144 episodes of hit 90s TV show Buffy The Vampire Slayer – funny, satirical and bursting with 90s pop culture references.

Also on Saturday 11th November // Northern Stage, Newcastle

HILARITY BITES COMEDY CLUB

Featuring Rob Mulholland, Carl Jones and Pete Selwood // Bishop Auckland Town Hall

OTHER HALF

Norwich alt. rockers head up a cracking line-up which includes Weekend Faithful, A Life Less Ordinary and Zilch Patrol // The Cumberland Arms, Newcastle

SATURDAY 11TH NOVEMBER

A BIT CRACK STORYTELLING

Spoken word, poetry and more from Scott Tyrrell, Cherry & Peesh, Akiba Azad and more // Cobalt Studios, Newcastle

BIG MOUTH COMEDY CLUB

BRAD FIELD

FEATURED //

DANIEL JOHNSTON DOUBLE BILL

Hugh Lupton tells The Hanging of a Mouse // Chillingham Arms, Newcastle A one-man funhouse of live drums, electronica, carnival organ and real-time visuals // Alphabetti Theatre, Newcastle

LAVIRE

Gateshead heavy alt. rockers, supported by Undertow and Tired of Fighting // NE Volume Music Bar, Stockton (Also Bobiks on Sunday 19th)

STANLEYS

Poignant indie rock songwriters, plus Keiran Bowe and The Avelons // Independent, Sunderland

THE STREETS

Mike Skinner and co present their latest album, The Darker The Shadow, The Brighter The Light // O2 City Hall, Newcastle

SATURDAY 4TH NOVEMBER COOPS

Exciting up and coming rapper // The Grove, Newcastle

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Gerry & Sewell

Sewell is physically strong, Gerry is small but crafty. Neither has attended school for a long time. Both are broke, and both love one thing, Newcastle United. An exciting adaptation featuring puppetry, live music and a purely belter tale of epic proportions // Live Theatre, Newcastle

HOTLINE TNT

The New York-based project of indie stalwart Will Anderson, described as “grungy pop music” and signed to Jack White’s Third Man Records // Bobiks, Newcastle

Featuring Mike Wilkinson, Gavin Webster, Danny McLoughlin and Louis Burgess // Middlesbrough Town Hall Two films featuring the amazing singer and songwriter Daniel Johnston. My Dinner with Daniel is followed by The Devil and Daniel Johnston // Star & Shadow Cinema, Newcastle

ELIZABETH LIDDLE

The respected local songwriter plays a special show // Star & Shadow Cinema, Newcastle

KISSKISSKILL

Powerful blend of rock, punk, pop and metal, supported by Proven Rituals and Goodsprings // The Globe, Newcastle

MUDDY LINE

MAN ON MAN

North East Folk Collective present a couple of great local folk duos, Muddy Line and Not Going Back // The Common Room, Newcastle

SILLY BILLIES COMEDY CLUB

REFUGEE FUNDRAISER BY LOVE MUSIC HATE RACISM

Indie rock distortion soaked in gay pop confidence // Zerox, Newcastle Cult comedy night includes performers Lee Kyle, Joby Mageean, Steve Drayton, Al Stevenson, Eppie Brilliant and hosts Jack & Sam // The Bridge Hotel, Newcastle

Featuring performances from The Crossings Band, Reali-T, Georgia May and Maria & James // Bobiks, Newcastle

LISTINGS SUNDAY 12TH NOVEMBER

SUNDAY 19TH NOVEMBER

MATT REED’S HA HARMAGEDDON

AMY GLEDHILL

ONELINEDRAWING

MOZART ESTATE

Generator’s answer to SXSW sees artists from the North East and South West to multiple venues. Catch the North East’s hip-hop artist Kay Greyson and and psych-pop experimenter Rubber Oh, Stroud’s alt. R&B artist Immi Dash, and Leeds-based avant-funk artist Hang Linton // The Cluny, Newcastle

WEDNESDAY 22ND NOVEMBER

RED REMEDY

Audience participation at its finest from the skilled North East comic // The Stand, Newcastle American songwriter and guitarist Jonah Matranga tours his most respected album yet // Little Buildings, Newcastle

The Girl Before The Girl You Marry is a show about resilience and dancing // The Stand, Newcastle Indie pop, plus special guests BMX Bandits and E’Spaniel // The Cumberland Arms, Newcastle

TANGERINE DREAM

Electronic music pioneers // Boiler Shop, Newcastle

WEDNESDAY 15TH NOVEMBER DECLAN WELSH & THE DECADENT WEST

Intelligent, relatable lyrics and catchy hooks // The Grove, Newcastle

KRAANIUM

Brutal death metal, supported by Swarms and Vulgar Dissection // Little Buildings, Newcastle

SOPHIE MCCARTNEY

WILLIE J HEALEY

Joyful indie songwriter // The Cluny, Newcastle

The comedian ventures into the perilous world of parenthood // Tyne Theatre & Opera House, Newcastle

THURSDAY 16TH NOVEMBER

THURSDAY 23RD NOVEMBER

BOB VYLAN

BLUE ROSE CODE

Outspoken duo whose sound embraces rock, rap, punk, dance and alternative sounds. Support from Panic Shack and Kid Bookie // The Boiler Shop, Newcastle

LIVING BODY

Double-drumming anti-capitalist indie pop band, support from Waves of Dread and Madeline Smyth // The Cumberland Arms, Newcastle

REYNOLS 30TH ANNIVERSARY EXHIBITION

Exhibition curated by TQ zine and Invisible City Records on the Argentinian experimental band. Runs until Saturday 16th December // Newcastle Contemporary Art

FRIDAY 17TH NOVEMBER TISH

Blending folk, Americana, jazz, soul and pop influences // The Cluny 2, Newcastle

SHOE CAKE COMEDY CLUB

Featuring superbly witty comic, Troy Hawke // The Georgian Theatre, Stockton

THE DECLINING WINTER

JADE HELLIWELL JEN DIXON

SATURDAY 18TH NOVEMBER

Talented local singer-songwriter and multi-instrumentalist brings her band to Stockton for her first headline show // The Georgian Theatre, Stockton

CLOSE LOBSTERS

PETER QUINN

Field Music

An exhibition of watercolour paintings capturing the colour and character of street life, by Royal Watercolour Society and Royal Scottish Society of Painters in Watercolour artist Peter Quinn. Runs until 27th January // Gallagher & Turner, Newcastle

ROMA

Dance theatre production which explores notions of belonging, nationhood and cross cultural identity // The Exchange 1856, North Shields

THE ORIELLES

MARTHA TILSTON

Lo-fi DIY indie band, supported by Warm Digits // Pop Recs Ltd., Sunderland

S&S FUNDRAISER

SATURDAY 25TH NOVEMBER

Silken voice and lyrics that inspire and captivate // Cobalt Studios, Newcastle Raising funds for the indie cinema, expect live performances from Fashion Tips, No Teeth, Zilch Patrol, Gonzo Dog, Muckle, Marginal Gains and Trunk // Star & Shadow Cinema, Newcastle

Improvised fun and laughter // The Central Bar, Gateshead

SUNDAY 26TH NOVEMBER BROOKE COMBE

Edinburgh-born vocalist and multiinstrumentalist // Newcastle University Students’ Union

POLYVINYL

Progressive South Tyneside five-piece // Bobiks, Newcastle

TUESDAY 28TH NOVEMBER

Bluesy rock and roll // Gosforth Civic Theatre, Newcastle

You supply the suggestions, they supply the laughs – literally anything goes! // The Stand, Newcastle

Multi-award winning UK country pop singer-songwriter // The Cluny 2, Newcastle

The Sunderland alt. popsters cast their minds back to their 2005 debut, with a show which features the original line-up of Peter and David Brewis and Andrew Moore to perform their self-titled debut and other hits. Also on Sunday 19th November // The Cluny, Newcastle

SPONTANEOUS WRECKS

THE SUGGESTIBLES’ IMPROV COMEDY JOYRIDE

THE DAVID TATTERSALL GROUP

FEATURED //

The indie band launch their new EP // Independent, Sunderland

HELEN BAUER

FRIDAY 24TH NOVEMBER

Scottish indie pop band, plus special guest Stuart Moxham // The Cumberland Arms, Newcastle

NExSW

Yorkshire’s The Declining Winter are purveyors of a unique form of pastoral pop taking influence from lo-fi, electronica and post-rock, FFO Talk Talk and Bark Psychosis.

Support from epic45 and The Last Path // Bobiks, Newcastle

A documentary tribute to the life and artistic legacy of North East photographer Tish Murtha, followed by Q&As // Tyneside Cinema, Newcastle The new project from David Tattersall of The Wave Pictures, supported by Faithful Johannes and Neocia // The Cumberland Arms, Newcastle

FEATURED //

CMAT

The alt. indie songwriter celebrates the release of her recent album, Crazymad, For Me // Newcastle University Students’ Union

Grand Supreme Darling Princess is a stand up show all about the women in Helen Bauer’s life // The Stand, Newcastle

JARROD DICKENSON

TALISK

Scottish folk band // Wylam Brewery, Newcastle

WEDNESDAY 29TH NOVEMBER KATE FOX: BIGGER ON THE INSIDE

The stand-up poet revives her spoken word theatre show which explores neurodiversity through the lens of Doctor Who. Followed by Q&A about the future of neurodiversity // The Lit & Phil, Newcastle

SETH LAKEMAN

West Country folk singer // The Fire Station, Sunderland

THURSDAY 30TH NOVEMBER AXEL BLAKE

The BGT winner brings his observational comedy and witty charm to Newcastle // The Stand, Newcastle

GCT IS CURIOUS

A night of fascinating performances, be among the first to experience brand new works in development by LGBTQIA+ artists based across the North East // Gosforth Civic Theatre, Newcastle

PENGUIN

Full of humour and beauty, Hamzeh’s extraordinary story traverses his Syrian village, the Za’atari refugee camp and his new home in Gateshead // The Fire Station, Sunderland

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REVIEWS

LIVE

Hannah Peel by Tracy Hyman

HEY COLOSSUS, LUCID SINS, CHEAP LUNCH, SINECURE @ THE LUBBER FIEND, NEWCASTLE (21.10.23) Words: Lee Fisher Since Hey Colossus were never going to be less than amazing, the night’s real surprise was Sinecure. They managed to sound like all my favourite nineties post-hardcore bands (even Ligament came up!), but brought a powerful use of dynamics and time signatures to what they did and seemed to impress everyone, especially when it transpired it was their first gig! Ones to watch. Next up were Cheap Lunch who started out as a decent but generic psych/noise rock affair but built up a furious head of steam and sounded absolutely huge by the end. In an effort to be a nicer person, I won’t dwell on Lucid Sins and their bloated seventies filth except to say that just because you can do something, doesn’t mean you should.

The HC6 hadn’t played Newcastle in eight years but hopefully this triumphant gig will get them back soon. I’ve pretty much run out of superlatives for what they do, their constantly evolving sound a reminder to most bands that inertia is death. There is nothing – NOTHING – quite like Hey Colossus in full flight as everyone locks in hard. The set covered a lot of ground (well, it is their 20th anniversary victory lap) and the new stuff – TV Alone especially – was as good as anything from further back. I guess they’ll stop finishing their sets with Trembling Rose one day, but tonight it was fucking magnificent and made me genuinely weepy.

HANNAH PEEL, FRANCESCA TER-BERG @ THE GLASSHOUSE (27.09.23) Words: Lee Fisher I hadn’t come across Francesca Ter-Berg before but she was a revelation and a delight. Using a simple set-up – cello and effects plus her expressive voice – her brief but lovely set touched on experimental contemporary classical and Yiddish music, perhaps not unlike Black Ox Orkestar. She was charming, informative company too. Oi Ihr Narishe Tsionistn – an early 20th Century Bolshevik anti-Zionist folk song in Yiddish – was both a highlight and an example of the sort of sources she’s drawing upon. Marvelous.

You could tell Hannah Peel was excited to finally play the material from her Pandemic-stymied Fir Wave album live, and her enthusiasm was as

infectious as the music was magnificent. Surrounded by what to these eyes seemed like a fairly modest set-up, it was remarkable what she was able to achieve. That box could summon up sounds drawn from Delia Derbyshire’s library album, this machine felt like it held the ghosts of Jarre and Vangelis, another unit made it sound like a black hole turning itself inside out. Throw in a beautifully-lit stage and Peel as the focus, sometimes dancing on the spot, sometimes gesturing like a wizard, and her run through the whole of Fir Wave was a delight (the title track was particularly lovely, especially the piano coda). Peel finished with two of her trademark music box covers – Sugar Hiccup and Blue Monday, joined by Ter-Berg – and deep cut Unheard Delia.

Really magical stuff.

HOWAY THE LASSES @ THE GLASSHOUSE, GATESHEAD (05.10.23) Words: Jade Mia Broadhead Anyone familiar with a resurgent Newcastle United women’s football team will have heard the lilting folk call-to-arms that is Howay The Lasses ringing out around Kingston Park Stadium. But tonight at The Glasshouse, the band named after the song prove that they’ve far more than one star player in their team. The band’s goal is to celebrate local women through history, and song titles are often named after their respective heroine, such as the dark dramatic brooding of Fiona Hill, or the anthemic sing-a-long new single about proto-feminist Mary Astell, writer of A Serious Proposal To The Ladies.

Singing about North East history, coal mining is of course a big inspiration and the four equally talented vocalists provide lush harmonies on the lullaby Coorie Doon and its tales of what happens when the night rolls in and the miner’s lamps are lit. Turning its attention to the children of the miners, The Collier Lass’ haunting balladry is tonight breathtakingly segued into The Flower Of Northumberland. An appearance from the Dark Skies Choir on both Howay The Lasses and The Women’s Engineering Society makes for an upbeat rousing finale to each of the two sets the band perform, and the audience leaves enriched by the most wondrous of folk music but also educated on some of our lesser celebrated local heroes.

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LIVE

Max Cooper by Thomas Jackson

MAX COOPER @ BOILER SHOP, NEWCASTLE (14.10.23) Words: Thomas Jackson As the venue plunged into darkness, and the white gauze stretched in front of the stage flickered into life, it was immediately evident that this was no ordinary performance. The convergence of Max Cooper’s sublime sonic tapestries with a staggering 3D projection spectacle, achieved with an impressive execution of dual-screen wizardry, promised a show that wouldn’t soon be forgotten.

Max Cooper, an alchemist of experiential immersion, doesn’t approach his craft lightly. His unparalleled capacity to orchestrate an allencompassing sensory deluge defies comparison. The synergy between sound and light generates a heady mix of emotions that prove almost irresistible. There’s a theory that flickering patterns of light can induce sensations similar to those triggered by LSD and mushrooms. After bearing witness to this performance, I might be inclined to agree.

When the harsh glare of reality returned to the Boiler Shop, and we shuffled out of the venue, a palpable sense of wonder lingered. This might not be a performance you want to see too often, but it is undoubtedly an experience that demands to be lived.

MAIUS MOLLIS, THE EARLY PURPLE, TWAYN @ THE CLUNY 2, NEWCASTLE Words: Tom Astley In front of an audience replete with Newcastle musical talent, Maius Mollis debuted as a full band at a sedentary, but no less enthralled, Cluny 2. The result was a carefully crafted, generous and vibrant set that, despite the self-professed penchant for ‘sad songs’, left a feeling of positivity and even solidarity, in these difficult times.

Ably supported by heartfelt heartbreak pop duo Twayn, and the masterful meandering folk-inflected poetry of The Early Purple, Maius Mollis took to the stage. The set began solo, songwriter Maisie Cowburn-Bannister sitting on stage with an acoustic guitar. The closeness of the open tuning, vocals that seemed to be winced into existence through delicate melodies that compliment, but never occlude the lyrics, made for a perfect beginning.

Maius Mollis’ lyrical content is unapologetically direct in addressing the

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sad, anxiety-inducing and the reflective. That they do so in such a poetic and yet relatable manner is testament to the songwriting. In this solo set-up, they shine as they stab at your own personal memories. As the rest of the band were applauded onto the stage, there was a question if this fuller sound would swamp the sentiment. The opposite was true. The dual electric guitars and subtle drums and synth added a richness and vigour, incorporating a gamut of positive emotions – hope, humour, anger, gratitude – to leave the audience smiling.

TEES FOLK @ GLOBE STOCKTON (22.09.23 Words: Robert Nichols Boasting a truly stellar line-up, bursting with homegrown talent, it was fitting that Teesside’s grandest venue held the celebration of Tees Folk.

Amelia Coburn has been performing solo since very young indeed, but this rising talent is increasingly switching her focus from interesting covers to her own intriguing compositions. The touching Please Go Gently dedicated to her late grandfather had the crowd firmly in her corner.

Originally from Middlesbrough, husband and wife duo Megson specialise in clever word play and tight harmonies. All the football fans in the audience immediately identified with taking a Longshot.

Kris Drever was the one outsider on the bill geography-wise, but his Scottish contemporary folk was welcomed into the fold. A highly accomplished band of musicians were marshalled by Kris on vocals and acoustic guitar. Notable songs included the tale of the scuttling of the German WWI fleet in Scapa Flow off Kris’ native Orkney.

Three times Radio 2 award winning trio The Young’uns have a fantastic knack of being quite hilarious and exceptionally moving, maybe even in the same wonderfully observed lyric. Yet mostly they are simply inspiring with their magical three-part harmonies, augmented on the night by the Globe Community Choir. They had everyone on their feet for the encore finale, Sit Down.

LIVE

The Bug Club by Tracy Hyman

THE BUG CLUB, ZUDZ @ GOSFORTH CIVIC THEATRE, NEWCASTLE (19.10.23) Words: Lee Hammond On the eve of the release of their second album, Rare Birds: Hour of Song, The Bug Club arrive in Newcastle in rather jubilant form. First up, however, are locals ZUDZ whose Americana-tinged brand of psych rock kick things off in excellent style. Summoning up quite a heavy sound, they certainly set the bar high.

Bounding on to the stage, The Bug Club open with Is This The Music You Like? I think the enthusiastic response they garnered answered that question for them. As they set about flying through a set of the old and the new, their hook-laden infinitely catchy tracks light this room up. My Baby Loves Rock and Roll Music gets an early airing and instantly has the entire crowd yelling it back at them.

The likes of The Fixer, If My Mother Thinks I’m Happy and It’s Art all attract a similarly ecstatic response from the crowd. Alongside these though, new tracks like Marriage, Rare Birds and Short And Round all shine tonight. Their infectious personalities are worth coming to see on their own, they truly know how to put on a show. Each track is played at speed as they cram in an impressive repertoire. The Bug Club are without doubt one of the best live bands around right now and tonight only sees them truly compound that statement!

ERLAND COOPER AND THE SCOTTISH ENSEMBLE, MIDORI JAEGER @ THE GLASSHOUSE, GATESHEAD (22.09.23) Words: Tracy Hyman Erland Cooper last came to The Glasshouse (formerly Sage Gateshead) last year with his score to silent film The Wind. Tonight, he brings Folded Landscapes and the sounds of nature in the form of birds, the ocean and the sky.

Midori Jaeger sets the tone for the evening with her delicate, soulful, jazz-infused songs. A stripped-back set features just her and her cello, pizzicato broken chords and strumming techniques provide the bass line frame for her impassioned vocals, not a bow in sight.

It’s impossible to relay the emotion and exquisite beauty captured within the music of Erland Cooper and the Scottish Ensemble, as they perfectly reflect the natural world around us and both its fragility and juxtaposing drama. From the opening reel-to-reel field recordings of birds, Folded Landscapes is brought to life. The delicate poignancy of the world around us, and somehow also a quiet hopefulness, expands into the room. Soaring strings and subtle piano interweave with a myriad of string techniques, inducing storms and cross-hatching winds

and patterns. As the gentle string refrains ebb and flow, they are interspersed by clips of Greta Thunberg and Simon Armitage, amongst others.

The decagonal room embraces both audience and performers together in an intimate homage to nature. Indeed, the audience become performers at Erland’s request as, phones aloft, we become a chorus of chattering gannets during Solan Goose; and later, the lights and microphones are turned off completely. It’s just before dusk and we are at sea. The creaking strings contrast the murmurings of birds as the storm slowly rises with the sun. Magical. Final song Spoot Ebb is stunning live in all its glory, the driving rhythm of the piano continuously pushes forwards, sweeping strings gliding over the top. Truly a memorable evening.

SCOTT HEPPLE AND THE SUN BAND, PINK POISON @ THE CLUNY 2, NEWCASTLE (22.09.23) Words: Liv Aldridge I think I have been hearing a lot of overproduced, lyrically pessimistic electronic music lately. This reflection comes after seeing the inverse embodied in Scott Hepple and The Sun Band at The Cluny, a set that churned out catchy melodies and songs.

Although I was still recovering from the raging harmonica-soaked blues garage punk of support band Pink Poison, a little disoriented by the stark shifts in genres between the support acts, my ears needed a second to adjust to the snappy collage of guitar riffs full of catchy soundbites with that twirling, wailing sound typical of the late 60s. The music radiated unpretentious optimism, veering more in the direction of pop than of folk. Hepple’s bright, clear vocals are refreshing and have a lot of room in the songs, and this prioritised lyricism was my favourite thing about the gig.

Drawing on the classic late 60s sounds of The Beatles and Neil Young, and melodic neo-psych like Ty Segall, Scott Hepple and The Sun Band bring the imprint of their 60s imagination into the present. I must admit, I was expecting something heavier and more experimental, but a confrontation with the catchy warmth of the songs left me with a good feeling and the mist of rain didn’t seem bad at all when we sprinted for the last train.

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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)

REES DREAMWAVE EP

GAYDAR CHRIST I NEED A PISS

Words: Caitlin Thomson The new EP, Dreamwave, by electronic artist Rees blurs genre expertly.

Driving basslines on the title track are complimented by juicy percussion, and a teasingly light countermelody muscles in on the action. Electric Body is made for sticky floors and morning hours in Berlin, sharp twists over snares dissolve into a spacey synth line, lulling before bursting with steady electricity again. The result is gorgeous full-bodied techno kissed by synth. On The New Beat, kick drums are licked by meditative flourishes before crumpling into rave shouts and acidic twists, while layered Eastern melodies glide over the distorted beat, like some kind of contemplative rave meditation.

Released: 24.11.23 www.facebook.com/reesmp3

Words: Michael O’Neill Gaydar have very speedily established themselves as a refreshing and brilliantly empowering power trio, with songs that are frenetic, fun and furiously honest. Christ I Need A Piss is a perfect introduction to their sound, which they state blends “elements of pure queer rage, danceable beats and punchy riffs”.

Atop a juggernaut riff and a gloriously taut beat, the song goes to task on the daily struggle that trans people face when using public restrooms, a struggle which has sadly and disappointingly been weaponised against the trans community for far too long. The song is a brilliant and urgent distillation of that rage, tackling puerile transphobic ignorance with uncompromising wit, refreshing fury and incredible songwriting. It’s a much-needed dose of reality.

Released: 02.11.23 www.gaydarband.bandcamp.com

JOSH INGELDEW FORGET IT

RED REMEDY LOST IN LOVE’S MAZE EP

Words: Michael O’Neill Forget It is an incredible masterclass in the rich results of marrying up solid songwriting to brilliantly forward-thinking and creative production.

Palm muted acoustic guitars and rich double-tracked vocals set the scene, before a sudden wash of glorious sound swallows us up and throws us back into a wonderfully warped and kaleidoscopic sound world which shifts aesthetics and sonics in a gloriously unpredictable manner.

It’s never cumbersome and heavy-handed, and every sonic shift is executed with purpose and grace. The variety on offer in these mere three minutes equals what some manage to pack into a full LP, and it demands (and deserves) repeated listening to fully appreciate the scale and grandeur of the glorious audio mix. Essential.

Released: 30.11.23 www.instagram.com/joshingledew

Words: Amelia Thorpe Enchanting and intimate, Red Remedy’s latest is a six-track emotional voyage through the intricacies of relationships, which is flawlessly woven into a magnificent web of lyrics and melodies. Rich in multi-layered instrumentation and soulful vocals, Lost In Love’s Maze is a powerful exploration of love and longing that perfectly showcases the acclaimed quintet’s growth and creativity.

From the ethereal opener that is Prelude, to the desperate WAIT, and catchy earworm This Could Work, each track tells its own story, painting vivid pictures of love’s rocky nature. The anticipated EP is the fruit of Red Remedy’s labour, filled with soul and sentiment, and it’s a testament to music’s ability to tell stories that resonate with and connect us all.

Released: 25.11.23 www.linktr.ee/redremedy

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THE HAPPY NOW? ON AN ISLAND ALONE/MISSTEPS DESIGNED

THE BLYTONS LIVING THE DREAM

Words: Amelia Thorpe Newcastle-based punk rock project The Happy Now? debut their gritty new soundscape in their latest double-A side. The single is a labyrinth driven by heavy and foreboding instrumentals, moody vocals and a metronomic rigidity, which all merge to create a unique sound that is as inescapable as it is captivating.

Split into two separate (yet seamless) tracks titled On An Island Alone and Missteps Designed, the bipartite sees the group experiment with and perfect their craft, which is influenced by the likes of Joy Division, Low and Lungfish. With deep-rooted ties to Newcastle’s music scene, each member has invaluable experience within their genre and their contributions have unified flawlessly to create an essential listen.

Released: 01.11.23 www.thehappynowband.bandcamp.com

Words: Niamh Poppleton 80s pop rock nostalgia hurtles through time to 2023 in The Blytons’ latest release, Living The Dream. Synonymous with the idea of blissfully living with your head in the clouds, the song kicks off with an upbeat guitar and drum duo that is reminiscent of a coming-of-age film soundtrack.

It discusses the ideal world we create through our childhood dreams and how, especially for those who have dreams of the arts, it is common to be told that having these goals is like depending “on fairytales that never end”. A vocal fusion of The Beautiful South and The Magic Numbers, Living The Dream is the perfect whirlwind for all of the realistic dreamers, as The Blytons describe themselves, out there.

Released: 03.11.23 www.theblytons.com

NORTHEASTERNER I BELIEVE

ANDREW JOHNSON DREAMS OF YESTERDAY

Words: Tom Astley Songwriter John Homer, under nom de plum Northeasterner, has produced a golden slice of classic country in new track I Believe. Homer’s vocal style here sits somewhere between the melancholic drawl of Morrissey and the crooning of Roy Orbison – high praise on both points of comparison for a voice that is perfectly suited to this track.

It is ably backed up by a production that is assured of its musical place, giving more than a tip of the ten gallon to the classic country and western soundscape. The acoustic guitar and piano parts shine, but the stand out sound is a beautiful lap steel guitar part, gliding glissando licks in between the vocal lines. A really well worked country track.

Released: 01.11.23 www.northeasterner.bandcamp.com

Words: Caitlin Thomson Andrew Johnson captures an essence of Britpop and 60s-style psychedelia in a guitar-driven ode to the past, definitively placed in a post-Brexit world. Like a contemplative acoustic Oasis or The Coral, lyrics are drenched in reminiscence that veer into repetitive sanctimony.

The pains of growing older in a changing world are captured in lines like “memories through cataracts don’t quite line up with the facts”. The simple melody has a hint of strangeness that provides relief, giving the track an intriguing hook. Still, Dreams Of Yesterday runs a little long, perhaps holding onto that dream for too much time.

Released: 10.11.23 www.andrewjohnson1.bandcamp.com

SPEAK FOR YOURSELF SHOOTING STAR

ODDO’S GAZE BURGER FLIPPING GIRL

Words: Tom Astley Speak For Yourself emerged as a collaboration between songwriters Marie Marx and McCormick, and melds musical styles successfully.

There’s a component of Born To Run-era Springsteen in the musical production, xylophone over expansive guitars. But in the duet vocals, the unremitting positivity of the lyrics and the melodic lines, it strays into the territory of contemporary musical (think Dear Evan Hansen).

The quality of the production is undeniably perfect; an anthemic wall of sound with soaring vocals, culminating in a face melter of a guitar solo.

The song itself runs exactly the structural path you expect it to, and there’s a real enjoyment in leaning into to it, eyes closed, and absorbing the perfection of the sound.

Released: 04.11.23 www.facebook.com/speakforyourselfband

Words: Matt Young This rollicking powerhouse of drum pummelling and rasping guitars is an ode to the debatable joys of burger flipping, and the pitfalls therein.

Coming on hard, fast and barely letting up throughout, vocalist and guitarist Victoria Slattery recites all the greasy narrative details with a suitably droll, almost cautionary tone. The other band members Lily (lead guitar), Michael (bass) and aforementioned drum monster Luke create an energetic musical maelstrom around her, like a swampy sleazy take on the B52’s.

This awesome foursome will be touching down at the Head of Steam on Saturday 4th November to celebrate the single’s launch, joined by Jupiter Strange and The Timewasters. Show up, support your local scene and prepare all your best sweaty dance moves.

Released: 04.11.23 www.linktr.ee/oddosgaze

CRUX DREAMSELLER

FLATLINE FLATLINE EP

Words: Niamh Poppleton In a compelling corner of music where prog rock meets grunge and punk, Crux’s last single Dreamseller was born. Heavy drums and loud guitar embellish the rage-filled message that flows between the chords.

Repeated throughout, “I want it my way or the highway”, has been perfectly twisted to convey Crux’s viewpoint on an issue that aligns with punk politics.

Overall, the track criticises the ‘profit over creativity’ mindset that has been adopted by the music industry and how music loses its emotional purity and integrity when strained through the shredder of societal view.

Similar in sound to Muse and the Arctic Monkeys, Dreamseller is an angst-filled, rock beat that the world has definitely been waiting for.

Released: 24.11.23 www.crux.band

Words: Matt Young Middlesbrough metalcore five-piece Flatline absolutely tear the roof off with their self-titled EP. The brooding synth opening of Nemiza, Behold keeps you on tenterhooks for a minute before the vocals launch full throttle. The chorus is melodic, soaring and anthemic. They segue into the guttural growling of This Thread of Life and Febrem Somnium widens the band’s sound even further before final track Break The Cycle, warning siren and all, hits with a pounding ferocity over the melodies that could finish off the faint of heart.

The EP is so epic it gets two launch gigs, firstly at Bobiks, Newcastle on Friday 10th November and then they’ll rip it up with a hometown show at Middlesbrough Empire on Saturday 11th November.

Released: 10.11.23 www.facebook.com/weareflatlineuk

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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: MATT YOUNG

DEMO OF THE MONTH

Deafbed – Drained

This collaboration between Guy Warnes (Waz Hoola) and Lee Dickson (Gerry Mandarin) sees the Blyth-based duo experimenting with melodies that have a sparseness and moody aesthetic, mixing field recordings, vintage gear and unique word building. What’s happening in Drained is difficult to pin down exactly, the otherworldly vintage glitches and tones evoke parts of Portishead. The languid lounge-core horror feeling drawn from the sardonic sounding vocals channel the likes of Tindersticks’ Stuart Staples or the equally worn-down Aidan Moffat from Arab Strap.

The overall experience is like listening to a familiar but less played record, the quiet sibilance of the cymbals standing in for the prick and pop of the needle in its well-worn grooves. Drained easily manages to surprise, feel comforting and unsettling simultaneously and is a triumph of atmosphere. www.deafbed.bandcamp.com

Arez – TheRawDnBTapePt1 The adage old ‘write about what you know’ is always good advice and it’s particularly relevant here with hip-hop and grime MC Arez getting personal and reflective on his first release. With lyrics that focus on daily life, with its struggles, successes and learned lessons, Arez presents as a strong character led by a love of his music and on a journey of self-discovery. Produced by Westy, this single pulls the listener into the cool mix of minimal beats and synth chords as Arez narrates his tale which is to the point, effective and real without sounding bombastic. www.linktr.ee/arez

The Almighty Zeros – Imitation Disease

This is a whirling, riffing jaunt into the world of action rock! Right from the start it strums and lashes along with a gruff energy and sufficient grit in the wiry sounding guitars. The riffs oscillate over the crunching steady drums and while the vocals don’t stray too far repeating

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the songs title again and again, they fit the songs tone perfectly. If you like your rock music with a blues bent, fast and flurried, with growled vocals and battered drums and you’re a fan of Scumbag Millionaire, Nashville Pussy and that crowd, then you’ll find kindred spirits in The Almighty Zeros. www.facebook.com/thealmightyzeros

Vulture King – Flowers on the Pavement

There was a 90s heavy metal band from Sweden called Vulture King. They were fantastic, this isn’t that band. This band are proponents of what I’m classing rock and roll.

Harking back to the sounds of early rock/ classic rock, this Vulture King contingent embark on a tale of something lurking in the shadows; there’s an imminent threat that’s told in the form of chorused vocals and a little call and response motif. This unadorned, simply executed ditty passes by quickly enough but isn’t catchy enough to not feel a bit quaint. www.instagram.com/vulture_king_band

Daniel James – Kindle These Burning Flames Used as a verb, the word ‘kindle’ means to start or cause, usually in the case of a fire but if the flames are already burning is that still kindling? Or is it fuel? Semantics maybe, and not overwhelmingly important, but as I was asking myself this fundamental thought, I was met with a pretty rudimentary, dare I say slightly chauvinistic, aural wash of crooned rock. Kind of pseudo-Sinatra meets a Mediterranean Lothario.

Unless I’m missing an ironic meaning, some lyrics come across as pretty dated. Are we still calling women ‘baby’? While that sentiment might not chime with current mainstream attitudes, Daniel James does have a voice that reaches all the right notes, it just needs better material if he’s to emulate a more modern crooner like George Ezra, for example. www.instagram.com/daniel_james_music

ALBUMS 4.5 / 5 KERRIN TATMAN REQUIEM FOR A FADING WORLD (SELF-RELEASE)

4/5

RAPASA NYATRAPASA OTIENO JOPANGO (SELF-RELEASE) Words: Matt Young Jopango is a joyous exploration and documentation of singer, songwriter and multi-instrumentalist Rapasa Nyatrapasa Otieno’s journey around the world, but particularly focused on Kenyan heritage.

Accompanied with his nyatiti, an eight-stringed two-necked lyre instrument, he has sought to curate his experience inspired by Western Kenyan Benga musical roots. He’s been slowly releasing individual tracks since late 2022, Unite, O Nelly Benga and the song Jopanga particularly receiving praise for their look at deep-rooted traditional style.

Musically the tone is considered and intimate, the plucked strings and chords of the nyatiti chime like a meandering riverbed over which Rapasa narrates his tales. The songs feel intentionally minimal, there’s no doubt too that a great deal of respect and reverence is being paid to the Benga music that inspires Rapasa’s own interpretations and how that in turn becomes a new form of Kenyan musical tale telling.

Passing along the generational torch in many ways but keeping tradition at its core. Kibi Kibi is a tune given the freedom to ebb and flow, surging, sounding more enthused and employing more rhythms and voices, the contemporary vibe is palpable and vibrant.

Rapasa uses his musical practice, dance expertise and educator experience travelling from his Newcastle base to write on the road, forming fresh ideas originated in the home regions that inspire them. Rhythms and melodies are then distilled and reformed into what feels like an inspired mix of field recorded material and community inspired collaborations gathered from the many Kenyan villages on his journey, reflecting on the local issues, concerns and delights. As an album of engaging music, to otherwise unfamiliar Western ears like mine, there’s so much to delve into but it’s far from overwhelming.

It’s a rather mellow but very sophisticated album to appreciate and enjoy. There’s no doubt Jopango also serves an important purpose in keeping traditional Kenyan music alive and sharing as much as possible with non-African ears. A fascinating and engaging listen with so much invention and interest.

Released: 29.11.23 www.rapasanyatrapasa.bandcamp.com

ALSO OUT THIS MONTH Laura Veirs – Phone Orphans (Raven Marching Band Records, 03.11) // Jockstrap – I<3UQTINVU (Rough Trade, 03.11.23) // Vince Clarke – Songs of Silence (Mute, 17.11) // Kevin Abstract – Blanket (Video Store/RCA Records, 03.11) // Art Feynman - Be Good The Crazy Boys (Cooking Vinyl, 10.11) // Micko And The Mellotronics - Le Vice Anglais (Land Line Records, 17.11) // Jaakko Eino Kalevi - Chaos Magic (Weird World, 17.11) // Lonely the Brave - What We Do To Feel (Easy Life, 10.11) // Soars – Repeater (Pelagic Records, 17.11) // Zooey Celeste - Restless Thoughts (ATO Records, 03.11) // Haiku Hands - Pleasure Beast (Spinning Top, 24.11) // Ghost Woman - Hindsight is 50/50 (Full Time Hobby, 24.11) // Black Grape - Orange Head (DGaff Records, 03.11) // Dirty Nice - Surrenderland (Chiverin, 03.11) // Melody Fields – 1991 (Nudie Records, 10.11) // Plain White T’s - S/T (Fearless Records, 17.11) // Youth Fountain - Together In Lonesome (Pure Noise Records, 03.11) // The Sleeping Souls - Just Before The World Starts Burning (Xtra Mile Recordings, 24.11)

Words: Ali Welford Assembled over nine months as part of The Glasshouse’s Artist in Residence programme, Requiem For A Fading World is the culmination of local composer Kerrin Tatman’s multifarious talents. Recorded at June’s climatic Hall 2 performance, this live document sees their fantastical post-apocalyptic odyssey brought to life via a 13-piece ensemble and 19-strong choir – fronted by the voices of solo alto Jacqui Wicks (Mother) and solo soprano Emily Brown Gibson (Daughter). The conflict and philosophical divide between their central characters drives a stirring narrative, where classical, choral and folk elements swoon between towering bombast and stark devastation, all masterfully arranged and skilfully woven through a contemporary eco lens.

Whether the project develops further or this is to be its coda, the recording provides striking testament to a sprawling, momentous achievement.

Released: 23.11.23 www.kerrintatman.co.uk

4/5 STEVE LUCK BE CURIOUS (SELF-RELEASE) Words: Evie Nicholson Steve Luck’s Be Curious is an invitation to enter into isolated atmospheric landscapes and saturated emotional states. Most of the 12 tracks on the Newcastle-based contemporary classical pianist and composer’s album are less than three minutes long, but it doesn’t feel restless or discordant – most of the tracks feature undulating piano chords and sloping melodies that bleed into each other.

Blue Dot is a personal favourite and despite more upbeat tracks like Smile and Equinox, the album is overwhelmingly melancholic and sentimental. I listened to Be Curious whilst Storm Babet raged outside and it formed a perfect backdrop. But even better, you can see Steve Luck perform for free in his studio at 36 Lime Street in Newcastle on Saturday 25th and Sunday 26th November.

Released: 24.11.23 www.steveluck.com

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ALBUMS

4/5

4/5

4/5

MARIA & JAMES CHAPTERS (SELF-RELEASE)

HILARY WOODS ACTS OF LIGHT (SACRED BONES)

BABY QUEEN QUARTER LIFE CRISIS (POLYDOR RECORDS)

Words: Nat Greener The North East acoustic duo are set to release their debut album, Chapters. Hailing from York and Darlington, this body of work is a two-year labour of love, a musical journey through their shared life stages, offering listeners evocative melodies and thought-provoking lyrics.

Their genre-blending ability defies categorisation, with Chapters pushing boundaries and fusing rock and folk elements, ensuring broad appeal. They’ve even collaborated with Colorado’s award-winning alt. country artist Taylor Shae, a testament to their growing recognition. Maria & James believe music can deeply connect people, and this album is a reflection of their growth as artists and individuals. They give the album a proper launch at The Forum Music Centre in Darlington on Friday 2nd February.

Released: 25.11.23 www.linktr.ee/mariaandjames

Words: Matt Young Acts of Light, Woods’ third full length record, is a collection of experimental sonic excavations.

The instant you press play you’re transported elsewhere, jolted into a subterranean space where sounds resonate up close, disquieting and wild. The feeling of being in an alive, ever-changing scenery is somewhat unsettling.

The expanse of one’s listening is continually warped; Wife Mother Love Crow features rustlings, whispers layered over drones, like most tracks. Where The Bough Has Broken pulses and creeps slowly and the title track pushes its tendrils and textures out of the shadows briefly. Choirs, hypnotic dirges, strings and synths all ebb and flow into the consciousness. This is the soundtrack of rituals.

They’re masterful and almost forlorn compositions crafted with restraint and etched with enormous care.

Released: 03.11.23 www.hilarywoods.com

Words: Caitlin Thomson Baby Queen doesn’t shy away from sexuality, substance abuse and ageing with her own distinct sonic blend of grungy bubblegum.

Baby Queen is “crying at a party” in a stellar opener; a joyfully indulgent, SOPHIE-esque soundtrack for an existential crisis. The conversational style continues as sharp lyrical narratives are vocally layered. Baby Queen is all bravado and sardonic self-deprecation, somersaulting from one to the other. A desperately exuberant title track explores navigating your twenties: “it’s not a mood, it’s not a phase”. Self-critical I Can’t Get My Shit Together is doused in pitched keys and reverb, while Love Killer recalls Lily Allen’s debut, a bubblegum bop with deadpan lyrics. Standout Queer anthem 23 is rich with percussion, synth pop and soft realism.

Released: 10.11.23 www.babyqueen.world

4.5 / 5

4/5

4/5

BEIRUT HADSEL (BELLA UNION)

KIRK BARLEY MARIONETTE (ODDA RECORDINGS)

Words: Lee Hammond The much anticipated and welcome return of Zach Condon, Hadsel is an exceptional record that largely disregards genre. Opening with the title track, Condon’s voice is pitched against a beautiful orchestral backdrop providing an impressive start which he builds upon throughout the record.

Tracks January 18th and Stokmarknes have a much more electronic feel, whereas the latter part of Hadsel is more subdued, particularly on The Tern, where the delicately nuanced instrumentation is ever present but with a quieter atmosphere, before the record closes out with the superb electronic sounds of Regulatory. It’s a wonderful record and feels like a significant change of direction but such a welcome one at the same time. Arguably Condon’s best work to date.

Released: 10.11.23 www.beirutband.com

Words: Elodie A. Roy Marionette is Kirk Barley’s second solo album. It was intended as a collection of static images – nine self-contained landscapes (Landscapes was, incidentally, the name of his 2019 album).

The Yorkshire-born musician, now based in London, mainly works with field recordings and synths.

Visions of the rain, of a storm brewing: there is something at once vague and ominously strident about Barley’s music. Its mood reminds me a little bit of Harold Budd’s The Pavilion of Dreams – only faster and less contemplative.

Marionette also evokes Nala Sinephro’s oneiric, ambient jazz compositions. But Barley’s music is inhabited by a unique tension and sense of crisis – it is raw, occasionally dark, and discomfortingly real. Barley has seen the other side of the dream.

Released: 24.11.23 www.kirkbarley.bandcamp.com

MARNIE STERN THE COMEBACK KID (JOYFUL NOISE RECORDINGS)

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Words: Ben Lowes-Smith It’s been ten years since Marnie Stern’s last serving of histrionic rock music, The Chronicles of Marnia, was released into the world. Though in the intervening years motherhood has entered her life, her freewheeling, chaotic music remains wilfully youthful, though her personal circumstances and the world at large has changed a lot since 2013, the essence of her art has remained cryogenically frozen.

Astonishingly inventive guitar playing colours these odd, intensely melodic songs; lead single Plain Speak thunders along breathlessly, perhaps the one criticism of the record could be its sheer melodic relentlessness: each one is embedded with a Cardiacs-level of melodic busyness. It’s a tour de force from a true auteur who we are lucky to have producing music again.

Released: 03.11.23 www.marniestern.net

ALBUMS

4.5 / 5

4/5

3.5 / 5

BAS JAN BACK TO THE SWAMP (FIRE RECORDS)

KING CREOSOTE I DES (DOMINO)

Words: Robert Nichols Bas Jan marry DIY and indie ethics with the sweeping choruses of 80s Pet Shop Boys pop to produce an epic album of our times. They steer us through the minutia of modern life but keep a weather eye open to stories of women to inspire us.

A beautifully sculpted album that is in parts mystical, practical and mythical, we are transported from memories of a pre-crackdown Kowloon karaoke bar to musings around the unsung graphic designer of road and rail sign, Margaret Calvert, our literal guide to modern navigation. We cried a river at the tarot card reading while whistling a host of Bas Jan earworms.

Embrace the swamp and live the best life with Bas Jan. Released: 10.11.23 www.basjan.bandcamp.com

Words: Ali Welford For the casuals among us, I DES marks the first widely issued King Creosote record for a whopping seven years. There have been plenty of miscellaneous releases in the meantime, of course, but let’s face it – even Kenny Anderson himself probably struggles to keep track.

Regardless, in both quality and quantity, this new Domino venture has been well worth the wait.

There’s a maximalist ebullience incorporating vibraphone, synth, accordion and plenty besides.

There’s a 36-minute drone-based closer. And at the heart of it all, there’s Anderson’s uniquely emotive voice, nailing all its familiar, undiluted chords, whether contemplating the universe with optimism on Blue Marbled Elm Trees or our fragility within it on pensive standout Dust.

However you choose to consume the KC catalogue, I DES makes for a stellar addition.

Released: 03.11.23 www.kingcreosote.com

MATMOS RETURN TO ARCHIVE (SMITHSONIAN FOLKWAYS) Words: Lee Fisher For much of their 30-year career, Matmos have been setting themselves limitations. Albums have been recorded using sounds sourced from plastic surgery, a washing machine, even their own parapsychological experiments. The results are always witty, inspired, impressive and ridiculous.

But what’s less certain is how often you’d revisit them. This latest project sees them given access to the non-musical sound catalogue of the Smithsonian – a huge source of absurdly varied material – and as ever, while an initial listen is great, there are only a handful of tracks I’d return to. The glitchy twang of Injection Basic Sound is a real ear-worm, ditto Why?, but as entertaining as this album is as a collision of Dadaist collages and demented soundscapes, I don’t see it getting frequent turntable time.

Released: 03.11.23 www.matmos.bandcamp.com

4/5

5/5

4/5

TKAY MAIDZA SWEET JUSTICE (4AD)

RACHAEL LAVELLE BIG DREAMS (SELF-RELEASE)

HOTLINE TNT CARTWHEEL (THIRD MAN RECORDS)

Words: Caleb Carter For those in the know, Tkay Maidza has long been a bankable option for music high in both quality and octane: her Swiss Army sucker-punches bely a wicked heart, one cadenced between lycergic funk and sugary sass but always motorised at pulse.

I could get emotional over the bass permitted in Sweet Justice, a Goldilocks pop playlist absolving a year of peers neutered for TikTok or drowned by blowout. Veteran-confident and sharp, rallying producers Kaytranada and Flume further serrate her bangers in the redness of each sundown gauze; one shaky, one sour.

Described by the artist as a phoenix rise from personal revelations, Sweet Justice bites on account of her sheer verve, like crunching into an apple and finding a viper’s tooth.

Released: 03.11.23 www.tkaymaidza.com

Words: Ali Welford A remarkable, hitherto under-the-radar talent, Rachael Lavelle is blessed with a flair for offbeat storytelling and a voice whose majestic clarity borders on the supernatural. Vividly evoking pangs of isolation and existential weariness, these twin pillars manifest on one of 2023’s most spectacular debuts, in which the Dublin songwriter embodies a young, directionless woman seeking comfort, meaning, and above all purpose within the hostile confines of adulthood.

It’s a journey which takes in soaring ambient pop (Let Me Unlock Your Full Potential), taught, jazz-tinged minimalism (Eat Clean) and resplendent piano ballads (Big Dreams); each turn as playful, absorbing and spine-tinglingly executed as the last. This mesmeric dreamscape richly merits your attention – don’t sleep on it.

Released: 10.11.23 www.rachaellavelle.com

Words: Lee Hammond The second album from Hotline TNT feels like a record of two parts, the first of distorting heavy guitars and the latter more tuneful, all of which underpins Will Anderson’s distinct style of lyric delivery. At times Cartwheel borders on discordance, particularly on Son In Law, though this is where it reaches its peak.

It’s followed by a run of tracks like Out Of Town, Maxine and Spot Me, all of which possess a much more alluring quality, retaining Anderson’s vocal style which works a lot better on these brighter tracks. The latter part of Cartwheel is where the record truly shines, it comes alive and piques your attention with a sharpness that is lacking at the start.

Released: 03.11.23 www.hotlinetnt.bigcartel.com

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MIXTAPE WORDS: KEEKS MCGARRY

Punk in the North East grew out of anger and disenchantment as the rapid de-industrialisation of the area reduced opportunities for young people. It also acted as a catalyst that not only politicised young people but galvanised them into collective action and embracing the concept of DIY through the medium of music.

I was the singer in local punk band Total Chaos, and along with my brother Andi and Gaz Gray I was part of the core group who set up the Garage in Gateshead. I was also heavily involved in the initial stages of setting up the Gateshead Music Collective as well as the Station.

Newcastle Contemporary Art is hosting an exhibition which explores the legacy of The Garage, The Station and The Bunker in the early eighties. It will include photographs, posters, fanzines and other memorabilia and also feature an afternoon of workshops and discussions exploring how the young people involved were empowered to develop these venues (Saturday 25th November, 12pm-5pm). The exhibition opens on Saturday 18th November and continues on Thursday 23rd -Saturday 25th November, Thursday 30th November-Saturday 2nd December and Thursday 14th-Saturday 16th December.

BUDDY HOLLY BROWN EYED HANDSOME MAN Before I even heard of punk I had a substantial collection of vinyl – all rock and roll – slightly unusual for a teenager at the time, but this cover of Chuck Berry’s original has it all: shrill guitar, rumbling drums, a story in the lyrics and of course Buddy Holly’s unique voice.

BUZZCOCKS AUTONOMY My favourite punk band who, incidentally, paved the way for the ethos of DIY with the release of Spiral Scratch.

There isn’t a track on Another Music In A Different Kitchen that is not a classic, but the drums and whirring guitar, the build ups and the distinctive lead guitar on this just drive the song into your head.

KILLING JOKE FOLLOW THE LEADER Enough has been said about the impact the first Killing Joke album had when it was released. The whole sound re-invigorated the punk scene, but this

track with its monumental drums mixed for maximum impact and steroid-driven bassline is hard to beat.

THE CLASH CLASH CITY ROCKERS What’s not to like?! Dayglo 7 inch vinyl cover, pure punk guitar sound, the way the drums follow the chords in the refrain and clever, cheeky aspirational lyrics.

CULTURE TOO LONG IN SLAVERY A lot of punks in the 80s gradually got turned on to reggae and I was no exception. The Clash obviously helped, as well as exposure to Rock Against Racism gigs. Culture had all the things I wanted from reggae: bouncing basslines, background brass, myriad percussion sounds, beautiful harmonies and meaningful words. Roots!

BIG YOUTH COOL BREEZE/STOP THAT TRAIN This is my favourite reggae track. The

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original track by The Spanishtonians has been covered numerous times, including a version by Keith and Tex, but nothing matches this. The poetic voice-over of Big Youth, the hypnotic guitar, the little key changes, the patter of the bass… just stop that train ‘cos I want to get on!

THE PRODIGY WAKE THE FUCK UP It’s a wall of noise, but it’s got breaks, it’s fast but it’s tuneful, it’s got pounding drums but it’s mesmerising, it’s urgent but you can’t catch it, it’s got no lyrics but the track title says it all. If punk has a legacy, here it is.

FUNKY PORCINI LONG ROAD In stark contrast I listen to this when I need to empty my head. That lazy lazy sax, those drums just being dragged along behind their own beat and folding into the bass every now and then – definitely music to chill to.

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SPACE

IGNACIO LOPEZ

Fri 17 Nov

Sat 25 Nov

ART OF BELIEVING FLAMENCO

AN EVENING OF COMEDY

Sun 3 Dec

Sun 17 Dec

MUSIC FROM THE MOVIES

Thurs 1 Feb

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SHALAMAR

Wed 29 Nov

GUZ KHAN

Sat 20 Jan

DANIEL O’REILLY

Fri 9 Feb

01642 729 729 middlesbroughtownhall.co.uk