CLUB
COMEDY
MAY 2014
LIVE
Presents
FILM
FRIDAY 2ND MAY — BEDROCK:
JOHN DIGWEED 4HR SET 10PM : £12 SATURDAY 3RD MAY — MOON HARBOUR SHOWCASE:
MATTHIAS TANZMANN / DAN DRASTIC 10PM : £12 SUNDAY 4TH MAY — GOLD TEETH BANK HOLIDAY SPECIAL:
CLUB LISTINGS friday 2nd may
Revolver
60s Pop, Motown, Rock & Roll — 11PM / £3 ----------------------------------------------------------------------------------------SATURDAY 3rd may
Girls on Film
{A prince Special} ’80s Electronic dance pop of the highest order 10PM / £3 ----------------------------------------------------------------------------------------friday 9th may — Bare Bones
Belle & Sebastian
TODDLA T TAKEOVER 11PM : £8
DJ Set 10PM / £5 ----------------------------------------------------------------------------------------saturday 10th may
WEDNESDAY 7TH MAY
----------------------------------------------------------------------------------------friday 16th may
ALBERT HAMMOND JR 7.30PM : £12.50 16+ FRIDAY 9TH MAY
GOO Indie, BritPop, GRUNGE — 10PM / £4.50
UPTOWN Disco, Boogie, Funk, Wedding Bangers — 10PM / £3
-----------------------------------------------------------------------------------------friday 17th may
Revolver
THE HANDSOME FAMILY 7PM : £12
60s Pop, Motown, Rock & Roll — 11PM / £3 ----------------------------------------------------------------------------------------friday 30th may
FRIDAY 9TH MAY
----------------------------------------------------------------------------------------saturday 21st may
JUICY PRESENTS...GET BUSY: BASHMENT SPECIAL! 11PM : £3 SATURDAY 10TH MAY
THE JON SPENCER BLUES EXPLOSION 7PM : £18.50 SATURDAY 10TH MAY
SHIT ROBOT / PBR STREET GANG 11PM : £10 FRIDAY 16TH MAY — JUST SKANK 4TH BIRTHDAY PARTY:
DJ HYPE / MC FUNSTA 11PM : £8 SATURDAY 17TH MAY
THE NANKEENS 7PM : £8 SUNDAY 18TH MAY
GARTH MARENGHI’S DARKPLACE 3PM : SOLD OUT MONDAY 19TH MAY
NICK MULVEY 7PM : £10 TUESDAY 20TH MAY
LA DISPUTE 7PM : £10 WEDNESDAY 21ST MAY
JASON ISBELL & THE 400 UNIT 7.30PM : £15 23RD MAY — DOT TO DOT FESTIVAL
PEACE / THE MIDNIGHT BEAST & MORE 3.30PM : £20 SATURDAY 24TH MAY — COVERT VS NO HASSLE:
ADANA TWINS / JOSH BUTLER 11PM : £10 SUNDAY 25TH MAY — BANK HOLIDAY : FREE PARTY
10 DJS BACK 2 BACK 10PM : £FREE MONDAY 26TH MAY
JIMI GOODWIN 7PM : £15 WEDNESDAY 28TH MAY
GROUPLOVE 7PM : £10 FRIDAY 30TH MAY
GOLD TEETH SUMMER CARNIVAL 11PM : £4.50 THISISGORILLA.COM
disco electronica 10PM / £8
POP POP CLASSICS, BOOTY SHAKING SMASHERS — 10PM / £4.50 WEEKLY CLUBS TUESDAYS
GOLD TEETH Hip Hop, Garage, House, Disco, Funk, Rock & Roll, Fruity — 10PM / £4
LIVE & EVENT LISTINGS : MUSIC HALL FRIDAY 2ND MAY
THE TWILIGHT SAD £11.50 : 7PM 18+
----------------------------------------------------------------------------------------SATURDAY 3RD MAY
THE RELAYS £7.00 : 7.00PM
----------------------------------------------------------------------------------------SUNDAY 4TH MAY
SAN FERMIN £9.00 : 7.30PM
----------------------------------------------------------------------------------------MONDAY 5TH MAY
BLOOD CEREMONY £9.50 : 7.30PM 14+
----------------------------------------------------------------------------------------TUESDAY 6TH MAY — WORD IN YOUR EAR PRESENTS
STUART MACONIE & MARK ELLEN Q&A — £10.00 : 7PM
----------------------------------------------------------------------------------------WEDNESDAY 7TH MAY
U P C O M I N G E V E N T S 2 0 1 4
• LIVE • CLUB
TOVE LO £8.00 : 7.00PM
----------------------------------------------------------------------------------------SATURDAY 10TH MAY
BADBADNOTGOOD £12.50 : 7.00PM
----------------------------------------------------------------------------------------MONDAY 12TH MAY
BO NINGEN £10.00 : 7.00PM
----------------------------------------------------------------------------------------TUESDAY 13TH MAY
TELEMAN £8.00 : 7.00PM 14+
----------------------------------------------------------------------------------------WEDNESDAY 14TH MAY
CHARLIE SIMPSON SOLD OUT : 7.00PM
----------------------------------------------------------------------------------------FRIDAY 16TH MAY
THE GRAMOTONES £7.00 : 7PM
----------------------------------------------------------------------------------------SUNDAY 18TH MAY
BERNHOFT + ONTZ £10.00 : 7:00PM
----------------------------------------------------------------------------------------TUESDAY 20TH MAY
MUTUAL BENEFIT £10.00 : 7:30PM
----------------------------------------------------------------------------------------THURSDAY 22ND MAY
CLOUD NOTHINGS / CHEETAHS £9.00 : 7:30PM
----------------------------------------------------------------------------------------FRIDAY 23RD MAY
DOT TO DOT FESTIVAL £20.00 : 3:30PM 14+
----------------------------------------------------------------------------------------SATURDAY 24TH MAY
PHONEYS & THE FREAKS
(BONEHEAD) £7.00 : 7PM ----------------------------------------------------------------------------------------SUNDAY 25TH MAY
UNDEAD UNPLUGGED £10.00 : 7.30PM
----------------------------------------------------------------------------------------MONDAY 26TH MAY
GABRIELLA CLIMI £8.00 : 7.00PM
----------------------------------------------------------------------------------------MONDAY 27TH MAY
UPLOAD TOUR feat DAVE GILES SOLD OUT : 7.00PM
04.MAY SUB FOCUS / NETSKY / SHY FX / MATRIX & FUTUREBOUND / TCTS + MORE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
10.MAY GARETH EMERY PRESENTS DRIVE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
16.MAY MARCO CAROLA • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
17.MAY NEUTRAL MILK HOTEL
SOLD OUT
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
18.MAY NEUTRAL MILK HOTEL
SOLD OUT
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
12.JUL TAME IMPALA
SOLD OUT
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
29.OCT SAM SMITH
SOLD OUT
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
29.OCT SAM SMITH • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
----------------------------------------------------------------------------------------WEDNESDAY 28TH MAY
MARC FORD
(BLACK CROWES) £12.00 : 7.30PM ----------------------------------------------------------------------------------------SATURDAY 31TH MAY
THE VISITORS £7.00 : 7.00PM
THEDEAFINSTITUTE.CO.UK
ALBERTHALLMANCHESTER.COM INFO@ALBERTHALLMANCHESTER.COM f: /ALBERTHALLMANCHESTER t: /ALBERTHALLMCR
Photo: Elinor Jones
P.10 Mr. Scruff
P.18 Lenny Abrahamson on Frank
P.32 JONZO - Bauhaus Designerei Print Fair
P.48 Fatima
May 2014
I N D E P E N D E N T
C U LT U R A L
J O U R N A L I S M
Issue 14, May 2014 Š Radge Media Ltd. Get in touch: E: hiya@theskinny.co.uk T: 0161 833 3124 P: The Skinny, Second Floor, Swan Buildings, 20 Swan Street, Manchester, M4 5JW The Skinny is distributing 24,680 copies across Liverpool and Manchester, a wide range of advertising packages and affordable ways to promote your business are available. Get in touch to find out more.
E: sales@theskinny.co.uk All rights reserved. No part of this publication may be reproduced in whole or in part without the explicit permission of the publisher. The views and opinions expressed within this publication do not necessarily represent the views or opinions of the printer or the publisher.
Printed by Mortons Print Limited, Horncastle ABC verified Jul - Dec 2013: 24,680
Editorial Northwest Editor Film & Deputy Editor Events Editor Music Editor Art Editor Clubs Editor Comedy Editor Deviance Editor Fashion Editor Food Editor News Editor Theatre Editor Travel Editor
Lauren Strain Jamie Dunn Laura Howarth Dave Kerr Sacha Waldron Daniel Jones John Stansfield Ana Hine Alexandra Fiddes Jamie Faulkner Bram E. Gieben Alecia Marshall Paul Mitchell
Production Production Manager Designer Sub Editor
Amy Minto Thom Isom Kristian Doyle
Sales/Accounts Northwest Sales & Marketing Manager Sales Executive
Caroline Harleaux Issy Patience
Lead Designer
Maeve Redmond
Company PA
Kyla Hall
Editor-in-Chief Sales Director Publisher
Rosamund West Lara Moloney Sophie Kyle
Printed on 100% recycled paper
4
Contents
THE SKINNY
Contents Up Front
06 Albert Hammond Jr. gets philosophical in Hero Worship: plus Skinny on Tour, Shot of the Month, Stop the Presses, Online Only, and yr usual big swingin’ BALLS.
08 10
12
Heads Up: Open page. Copy all these events to your diary. Go. Sharing a cuppa with Mr. Scruff reveals a man of huge musical wisdom, yet humble about it: “Regulars will have far more knowledge about records outside of my periphery,” he says on the eve of the 15th anniversary of his clubnight Keep It Unreal, “which is why I’ve always had a problem with DJs who refuse to take requests.”
15
16
Brody Dalle checks in on the eve of the release of her debut solo album Diploid Love.
17
As Nine Inch Nails' latest incarnation sets sail for the UK, Trent Reznor says he can’t afford to look back.
19
21
22
25
30
Frank, the new film from Lenny Abrahamson, isn’t, despite appearances, a biopic of much-loved Oh Blimey Big Band frontman Frank Sidebottom. We find out this isn’t the only expectation the director has upended. Author Emma Jane Unsworth on her inspirations for rambunctious second novel Animals, and how Manchester influences her writing. Vertical Scratchers’ John Schmersal – “a man you’d lend your car as readily as your ears” – gets distracted by a hummingbird while discussing his craft. Ahead of Liverpool’s Physical Fest, an enlightening introduction to the world of physical theatre; plus, Nick Bagnall explains why Simon Armitage’s script for The Last Days of Troy made him finally ‘get’ Homer and why Lily Cole is perfect as the face that launch’d a thousand ships. A look ahead to Cornerhouse’s summer exhibition Better the Rebel You Know, from controversial performance artist Clifford Owens in his first UK show.
14 SCOTT & CHARLENE’S WEDDING
JULY 21 THE JAYHAWKS
LEAF W/ BAM!BAM!BAM!
NIGHT & DAY W/ BAM!BAM!BAM!
THE KAZIMIER W/ EVOL
THE KAZIMIER
35
Food and Drink: Burger porn (hmmm) and some sexy, sexy bread. And all your latest Food News.
JUNE 03 LINDA PERHACS
38
Travel: Why being attacked by a shark on holiday can sometimes be the best thing to ever happen to you.
04 NIGHT BEATS + DJ AL LOVER
SEPTEMBER 26 - L’POOL INTERNATIONAL - 27 FESTIVAL OF PSYCHEDELIA
05 FUTURE ISLANDS
NOVEMBER 04 THE WAR ON DRUGS
39
Deviance: We hear from a trainee dominatrix, and one writer considers if cool UK Christians are any less homophobic than angry US ones.
Review 41
Music: Meet this month’s New Blood Låpsley, who makes sweet bedroom pop and joins the vanguard of Liverpool musicians helping challenge the city’s musical identity. Plus reports from FutureEverything and Ex-Easter Island Head’s Large Electric Ensemble show, the latest albums, and the month’s gig and festival highlights.
48
Clubs: Fatima discusses family both at home and in the studio; DJ Charts come from Francis Inferno Orchestra and Nuits Sonores, plus the month’s highlights.
51
Art: We enter David McLeavy’s Funhaus – like its Pat Sharp-hosted near-namesake, it's a real crazy show where anything can go; and Bruce Nauman’s work is the latest in the ARTIST ROOMS series.
52
53
54
Film: Reviews of the swan song from Studio Ghibli legend Hayao Miyazaki (The Wind Rises) and Jia Zhangke’s stunning, and stunningly violent, exploration of modern-day China ( A Touch of Sin). Books/DVD: Cute as a button lefty Owen Jones looks forward to his Rebel Rant at Liverpool’s Writing on the Wall festival; The Wolf of Wall Street comes to DVD, as does Billy Wilder’s blistering satire Ace in the Hole. Theatre: It’s taken 123 years, but it looks like British theatre is now ready for Frank Wedekind’s Spring Awakening, plus previews of (remor) at Physical Fest and HOME’s inaugural site-specific programme.
55
Comedy: This month’s Spotlight falls on Rachel Fairburn, whose influences include serial killers and Elvis.
vens of British fields. Lovely.
56
Listings: So. Much. Culture.
STILL MORE FESTIVALS! Here’s the lowdown on the free street art happening at both LightNight and Chorlton Arts Festival this month.
63
Competitions: Win a night out at Belgrave Music Hall in June, including food, drink and a gig of your choice; plus, win tickets to Liverpool’s X&Y festival.
Our series on this summer’s festivals
May 2014
JUNE 22 PARQUET COURTS
22 TOM HICKOX
26 decamps this month to the muddy ha28
Fashion: A shoot with our pick of the Liverpool School of Art and Design (LJMU)’s Fashion Design graduating class.
MAY 13 SCOTT & CHARLENE’S WEDDING
Showcase: New risograph print, design and illustration studio JONZO are open for business.
32
As they unveil fourth album Luminous, The Horrors’ Faris Badwan and band consider the paradoxes at the heart of their success. Jon Hopkins discusses blowing off Cambridge to brew up Pot Noodles and his brand of pioneering techno.
18
Lifestyle
LEAF
LEAF
THE SHIPPING FORECAST W/ FREAK BEAT LIVE THE KAZIMIER
AUGUST 28 ST. VINCENT 02 ACADEMY W/ DHP
CAMP AND FURNACE
O2 ACADEMY W/ LIVERPOOL MUSIC WEEK 2014
06 - EINDHOVEN PSYCH LAB - 07 EFFENAAR, EINDHOVEN THE NETHERLANDS
TICKETS AVAILABLE ONLINE: TICKETWEB / SEETICKETS / TICKETLINE IN PERSON: PROBE RECORDS (SCHOOL LN) & THE BRINK (PARR ST) FOLLOW ON1TWITTER: @HARVEST_SUN The Skinny May 2014_Layout 22/04/2014 16:01 Page 1@LPOOLPSYCHFEST
NEW GIGS ANNOUNCED –
TOUMANI & SIDIKI DIABATÉ Tuesday 27 May St George’s Hall Concert Room
The finest Toumani collaboration I have heard since his classic work with Ali Farka Touré.’ (5 stars) The Guardian
CATRIN FINCH & SECKOU KEITA
Wednesday 8 October St George’s Hall Concert Room‘
‘A really intriguing collaboration... a beautiful album.’ Mark Radcliffe, BBC Radio 2
BELLOWHEAD
Monday 10 November Liverpool Philharmonic Hall
‘Dazzling reinvention of tradition.’ The Guardian
JOHN GRANT
WITH THE ROYAL NORTHERN SINFONIA
Saturday 22 November Liverpool Philharmonic Hall ‘Grant’s rich voice dovetails beautifully with the silvery synths.’ NME
liverpoolphil.com Liverpool Philharmonic Hall Box Office 0151 709 3789
Media Partner
Contents
5
Editorial
I
’m starting to think it might be easier to organise a festival than to organise myself to go to a, or indeed any, festival. Seriously, they are everywhere and everything – the proliferation is vertiginous, the decisions complex and immobilising; there are big ones, small ones, some probably entirely within your head. I think you might even be a festival; I’m pretty sure I myself am a festival. In fact I kind of hope I am a festival, because then I don’t have to pick one, I can just chill. Festivals. Still, the team here have continued in their valiant attempt to select highlights in various – ahem – fields, from music to art to theatre. The former this month looks ahead to Parklife by speaking to atmosphere manipulator Jon Hopkins (who also plays at Sound City and Beacons), and offers a round-up of the summer’s events for the more outdoorsy and less hayfevery among you. Fittingly, the section’s interviews boast headliners to match, taking in the Horrors on new album Luminous, Distillers/Spinerette’s Brody Dalle striking out on her own, and Nine Inch Nails’ Trent Reznor. As well as getting tactile with Clifford Owens and his instruction/interpretation-based performance, Art takes a swatch at the programmes for LightNight – Liverpool’s one-night illuminated celebration of creativity and community – and Chorlton Arts Festival, while Theatre explores the multi-disciplined Physical Fest; hell, even Books is at it, catching up with op-ed fixture Owen Jones, who appears as this year’s ‘rebel ranter’ at Liverpool literary fest Writing on the Wall. Elsewhere, degree show season is beginning to come into focus. In Fashion, we’re excited to bring you a shoot showing off garments by members of this year’s graduating class within Liverpool John Moores University’s School of Art and Design – keep an eye on our website for follow-up Q&As with the featured designers – and, staying in Liverpool and with LJMU, the Showcase introduces JONZO, a new risograph studio and print facility set up by alumni Lottie Brzozowski and Rachel Davey, whose illustrations you may recognise from these very pages. We’ll be looking more closely at the Northwest’s classes of 2014
in upcoming issues – in the meantime, please do get in touch with your tips and events. Hey if you can’t be bothered to go to a festival, you could always go and vote. (Please note, you may vote even if you are going to a festival.) In voting as in festivals, you often get to stand in a queue for a period of time clutching a piece of paper, except this particular piece of paper bears on it the mark of your own conviction instead of a picture of some grass and a few people in tank tops, and you probably stand more chance of getting your voice heard at your local municipal facility than in a field at three in the morning asking the guy in the next tent to stop yelling “cabbage!’ while tripping in his sleep. It’s the UK local elections and the European Parliament elections on 22 May, and there are some pretty dodgy billboards all over the place at the moment. Just a heads up. Now: positive things! THANKYOU for coming to our first birthday party last month, we had lots of fun with you all. Thanks too to the artists: Patterns, WYWH, John McGrath, Wet Play, Scenery Records and Ninetails; the caterers, Liverpool Organic Brewery and Cuthbert’s Bakehouse, and the venue, The Kazimier – you were all absolutely boss. If you’re a really eager beaver and are reading this on the day of publication, there’s time to come on down to a lil’ Beacons festival warm-up party we’re co-hosting with, well, Beacons, at The Deaf Institute, Manchester, on Wednesday 30 April – it’s free, from 6pm, with DJs, goodies, the opportunity to win Beacons festival tickets, and to pick up the new issue of this magazine hot off the press. But, er, you’ve already got it. Bonza. This issue of The Skinny was brought to you by you, for doing all of the interesting things you do. Cheers to that. [Lauren Strain] ON THE COVER: Mr. Scruff, by Elinor Jones Elinor is a Manchester based freelance photographer specialising in Music and Portraiture.
In Music we failed to squeeze in this lot: Loop frontman Robert Hampson discusses his 23 year hiatus from the music scene; Dillinger Escape Plan’s Greg Puciato lifts the lid on longincubating super quartet Killer Be Killed; we make a behind-the-scenes visit to Tuff Love’s new video, starring one Josie Long; and our sister paper pays its respects to much-loved musician Robbie Cooper. www.theskinny.co.uk/music Critically acclaimed and loaded with festival accolades, director Anthony Chen shares his theories on his debut Ilo Ilo’s success. www.theskinny.co.uk/film We kick off our Liverpool Biennial coverage; plus, GOLD, an exhibition in the Hunterian in
Glasgow, looks at that most beguiling of metals – we inspect Au’s place within the art of recent decades. www.theskinny.co.uk/art Alasdair Gray, elder statesman of Scottish art and letters, tells us about his quasi-autobiographical collected essays Of Me and Others, and why you’ll need to read his novels to find the sexy bits from his past. Plus the latest book reviews. www.theskinny.co.uk/books House legend Derrick Carter speaks to our sister paper ahead of his appearance at Glasgow’s Riverside Festival, and we’ve a Q&A with John Roberts ahead of his live set at Sankeys on 30 May. www.theskinny.co.uk/clubs
Jock Mooney - www.jockmooney.com
The Skinny on Tour
Special thanks to Scruff himself for the hand drawn type!
Kristyna Myles at Threshold Festival, Liverpool, Sat 29 Mar, by David Howarth
Chat
Eyes to the website
www.elinorjones.co.uk www.elinorjones.tumblr.com
Shot of the Month 6
Online Only
This month’s Skinny-reading traveller is a right ol’ perv. They may claim they’re visiting this city for its stunning architecture and world class museums and galleries, but rather than admiring paintings by Rembrandt and Vermeer, or visiting the loft where that diary-writing Belieber used to live, they were trawling the city’s seedier side of town. The photo above is the only one that was publishable, quite frankly.
If you know where they’ve been holidaying, you could win a copy of The Book of Unknown Americans by Cristina Henriquez, courtesy of our pals at Canongate. Just head along to www. theskinny.co.uk/about/competitions and tell us where they are for your chance to win. Competition closes midnight Sun 1 Jun. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Full T&Cs can be found at www. theskinny.co.uk/about/terms
THE SKINNY
Hero Worship As Albert Hammond Jr. prepares to play Liverpool Sound City, he tells us about his early experiences at Sunday school, the awe and wonder of the universe, and his admiration for atheist firebrand Christopher Hitchens
I
used to read a lot of music biographies, people like Johnny Cash. I like reading about how they look at life – that can be exciting. But it’s not like there’s a single person I look up to in music – there are so many little influences, it’s almost like you have a family of people to look up to, rather than just one. Some of those people changed my life, over the years, and without them, I wouldn’t be who I am today. But the people who have influenced me the most, certainly in the last few years, have had nothing to do with music. Both Christopher Hitchens and Richard Dawkins would be people who have definitely influenced my thinking. From a young age, I didn’t know how to express my thoughts on religion. When you heard Christopher Hitchens speak, he was just so smart – listening to him was like watching an amazing athlete. You were just in awe. He was always so calm – nothing got him emotional, he was too smart. When I saw him talk, he was speaking
about either Thomas Jefferson or Benjamin Franklin. How he related everything really spoke to me. At the time I was figuring out my own views about the universe and stuff like that, having thoughts about life, and just wishing people would spend more time thinking about that kind of stuff, rather than believing in religion – just imagining what we could accomplish. It’s just a more modern approach – religions now are so dated. What I was most impressed with, in the talks given by both Hitchens and Richard Dawkins, was their lack of hatred towards things. The way they explain something when debating with religious people was entirely without anger – they would just explain things very calmly, using factual evidence. It always seemed like, in those debates, the smartest people in the room would say, ‘Well, we know a little bit.’ And the people who weren’t as smart were like: ‘We know everything.’ That kind of thinking just excites me – it
inspires me. It helps me to think about what I want to talk about, what I want to say. It leaves me very curious; and I have no answers for that curiosity. That’s the excitement of being alive. It’s the start of a new journey. I’ve never really considered myself spiritual or religious. I’ve always looked up to the stars in more amazement than I could feel about spiritual ideas. That’s been the case since I was five, and attending
Sunday school – they couldn’t answer any of my questions. They kept on telling me to be quiet. All this amazing, beautiful stuff in the universe, and there’s just one explanation? It all seemed so weird. Albert Hammond Jr. plays Liverpool Sound City on 2 May, Liverpool Cathedral, 9pm alberthammondjr.com
CALL FOR SUBMISSIONS: Calling all printmakers: neo:print fair is now taking submissions for its inaugural event. Deadline is 16 Jun. For details and to apply, head to www.neoartists.co.uk/printfair2014.asp. neo:gallery22, The Market Place, Bolton, www.neoartists.co.uk
Manchester gets its first non-profit sewing cafe in May, STITCHED UP. ‘What’s a sewing cafe?’ we hear you cry. Stitched Up’s aim is to ‘inspire people to adopt a more creative and sustainable wardrobe.’ Located in Chorlton, it will be a space where like-minded people can share sewing skills and resources. So quit buying those cheap garments made by children in developing nations and put a patch on your old pants! Launches 15 May, 517 Wilbraham Road, Manchester, with drinks and nibbles from 6pm and music by Kingbee Records. www.stitchedup.coop Developed by dot-art and now in its third year, open submission selling event LIVERPOOL ART FAIR kicks off 23 May (running ‘til the 26th) at The Gallery on Stanhope St in the Baltic Triangle, connecting local artists with new art buyers, with all work priced under ÂŁ2000 (there’s also the popular ‘under ÂŁ200’ section). Go browse and, hopefully, buy! www.liverpoolartfair.com, @LpoolArtFair, facebook.com/LiverpoolArtFair
BALLS.
Wandering around the Northern Quarter after dark can be entertaining enough on an average night, so NORTHERN QUARTER AFTER DARK should take it up a notch. Taking place 15 May, it’s a night that showcases the best of creative Manchester, with the area’s arts venues and galleries, shops and restaurants, pubs and bars participating in one big cultural mash-up. Events are still being announced, so keep an eye on @nqafterdark and www.facebook.com/ NQAfterdark for more details. BURY SCULPTURE CENTRE launches on 2 May with the fourth Text Festival, and its ambitions are made clear with the inclusion of an exhibition by internationally renowned artist Lawrence Weiner. Text Festival will also host the Londonbased Drawing Shed, a community writing and publishing project that develops throughout the run of the exhibition into an ongoing performance piece in the new Sculpture Centre. www.textfestival.com
TAURUS I predict you will get bummed by a monster on your birthday.
GEMINI Just say ‘nose’ to drugs!
with Mystic Mark
ARIES make your dog walking job easier CANCER To you create a dog centipede by stitchRifling through your girlfriend’s bag for ing together a dozen thoroughbred some filter tips you come across a tiny, canines snout to bumhole. It’s so much more half-empty pack of crow condoms. manageable than individual dogs. You only have to feed it once, only need one lead and only have LEO to bag up one easy-to-dispose of, concentrated In May you arrive at your meeting with turd-pellet. The only drawback is if it sees the cat BAE Systems to finally show top brass centipede you made last year it’s likely to go menwhat you’ve been working on in their tal and run off its leash. R&D lab for the last decade: Rat on a Stick. It’s a rat you found, tied to a stick.
May 2014
Screenfields
Is there any better way to spend a bank holiday than (moderately) partaking in some beer or cider? STOCKPORT BEER AND CIDER FESTIVAL don’t think so – that’s why they’ll be pitching up in Edgeley Park during the end-of-month bank holiday (29-30 May) for one of the largest CAMRA festivals in the North of England. The festival promises to be more than just drinking: there’ll be live music at each session, plus there’ll be stalls, tasty grub and a cracking atmosphere. Head to stockportfestival.org.uk for full details – we also have a competition to WIN TICKETS, go to theskinny.co.uk/about/competitions to enter. SCREENFIELDS, Manchester’s open-air cinema, is back in Spinningfields this summer with a selection of much-loved movie classics, including Raiders of the Lost Ark (15 May), The Goonies (29 VIRGO You find yourself genuinely frightened by a story in the Daily Express about an infestation of Paedo-Wasps said to be making their way over to Britain from Romania.
LIBRA Thanks to the miracle of modern medical science it’s now possible to have that Jesus inside you surgically removed.
SCORPIO Your psychiatrist reassures you that feeling like an insect is a normal, perfectly natural human emotion.
SAGITTARIUS The last thing you remember before the car crash is an apparition of your
May), Stand by Me (24 Jul), Edward Scissorhands (31 Jul), Dirty Dancing (7 Aug) and Robin Hood: Prince of Thieves (21 Aug). We’re particularly excited about a special Skinny Sessions screening on 5 Jun of Some Like It Hot (turn to p. 52 for more information). Stretch out on The Lawns, grab a drink and watch a movie while the sun sets. Runs every Thursday, 8 May-5 Jun and then 17 Jul-21 Aug, ÂŁ3. Head to www.spinningfieldsonline.com for full details. GUERRILLA EATS are back with another tried and tested Street Food Party, pitching up at the Greengate Viaduct with foodie folk BarnHouse Bistro, BĂĄnh mĂŹ Booth, Dirty Dogs and many many more. Wear your stretchy pants. Saturday 17 May from midday ‘til late.
self turning to you and saying, “Have a dog’s birthday.�
CAPRICORN When you take a shit it sounds like you’re running a bath. Maybe try adding more fibre to your diet.
AQUARIUS Aim for the moon because if you miss you’ll die in the vast, cold emptiness of space.
PISCES You’re used to having wet dreams, but find yourself disturbed of late by the frequency of your wet nightmares.
twitter.com/themysticmark facebook.com/themysticmark
Chat
7
All shades of the electronic music spectrum are set to assemble in Kraak's gig space for Birkhouse Recordings' début Manchester showcase, inviting Jaedia, Inverchoulin, Huw Goodhead, Ben Nigel Potts and Daniel Ruane & Shay to take care of the soundtrack, with all acts performing live on the night. Kraak Gallery, Manchester, 7pm, £4 adv, more on the door
Now claiming the title of largest city-wide festival in the UK, Liverpool Sound City returns with 360 artists pitching up in 25 venues alongside a conference track delving deep into the inner workings of the music industry. Highlights include: Ninetails, PINS, Factory Floor, East India Youth and Courtney Barnett. Various venues, Liverpool, until 3 May, £35 day (£60 weekend)
Ninetails
Mon 5 May
Tue 6 May
Wed 7 May
Thu 8 May
Setting out to place Manchester bands firmly on the map, promoters Beta host their first all-dayer, fittingly titled The 1st Beta All Dayer, which sprawls out over Northern Quarter haunts The Castle, Gullivers, and Night and Day Cafe with emerging artists The Districts, Phox, Wet and more, all for a fiver. The Castle, Gullivers and Night and Day, Manchester, 4pm-midnight, £5
Memories of detention will seem tame in comparison to the plight facing the young Iranian boy of Willow and Wind, showing as part of the Cinema of Childhood season at Cornerhouse. Knowing he won't be allowed back in class until he mends the window he smashed, the boy sets about carrying a large pane across the countryside during a gale. Cornerhouse, Manchester, 6.20pm, £8 (£6)
Catch new and in-progress works at the Oldham Coliseum's First Break Writing Showcase, shining a light on theatrical talent from across the Northwest, with rehearsed readings of monologues and double bill productions, including Stuff from Dirty Laundry. Oldham Coliseum, until 10 May, prices vary
Holding the Word of Warning stamp of quality, and hosted in the confines of boundary-pushing theatre Contact, Works Ahead 2014 is set to showcase the future of contemporary performance and live art, with performances on the night by artists Lindsay Bennett, Paul O'Donnell and SheepKnuckle. Contact, Manchester, until 9 May, 7.30pm, £6 (£3)
The 1st Beta All Dayer
Willow and Wind
Works Ahead 2014
First Break Writing Showcase
Wed 14 May
Thu 15 May
The Texas via NYC jazz and funk outfit Snarky Puppy return to the Northwest, still essentially operating as a crazy talented super group with a rotating line-up of around 40 musicians built around band leader Michael League. With album We Like It Here in tow, they take to The Kazimier (also playing Band on the Wall on 13 and14 May). The Kazimier, Liverpool, 7.30pm, £15
Physically demanding dance piece Rites of War tells the story of two soldiers, serving 100 years and 3000 miles apart during WWI and in present day Kabul. Choreographer Darshan Singh Bhuller employs aerial dance, film, music and news commentary to explore individual experiences of war. The Lowry Quays Theatre, Salford, until 14 May, 8pm and 2pm (14 May only), £18
Emerging from a three year stint of colouring in – we joke! – the talented folk on MMU’s Fine Art degree programme take to the All Saints Campus for a grand unveiling of their work, with students working across a range of media, including painting, print, sculpture and time-based pieces taking part. Benzie, Grosvenor and Chatham Buildings, Manchester, until 25 Jun, Free
The Manchester leg of the nocturnal arts festival kicks off once more, with participating galleries and museums putting on a right song and dance until well past their usual bedtime – highlights from Manchester After Hours include What If? at the People’s History Museum and #hookedonmusic at MOSI. See listings for more details
Snarky Puppy
Rites of War
MMU
Wed 21 May
Thu 22 May
The longstanding Liverpudlian rockers Echo and the Bunnymen mark the end of their UK tour with a show on home turf, taking to the stage with their first studio album in four years, Meteorites. Their latest release finds the outfit on fine form with founding members Ian McCulloch and Will Sergeant still at the helm. Liverpool Philharmonic Hall, 7.30pm, from £26.50
Following her breakout performance of her latest album, Small Town Heroes at the Newport Folk Festival in 2013, singer/songwriter and banjo player Alynda Lee Segarra brings her country folk outfit Hurray for the Riff Raff to Manchester for a live show awash with her New Orleans vibing sound. Night and Day Cafe, Manchester, 7.30pm, £10
Sculptor Sokari Douglas Camp and writer/poet Jackie Kay will be in conversation for this University of Salford-led event, bringing together their creations and craft for Walking into New Vocabularies, with the aim of mixing and mingling their cultural contexts and navigating common ground with their chosen languages of expression. University of Salford, 6pm, Free, booking required
Echo and the Bunnymen
Photo: Joe Dilworth
Tue 20 May
Hurray for the Riff Raff
Photo: MMU
Tue 13 May
Photo: Louise Richardson
Mon 12 May
Lilicoptere at Manchester Art Gallery
Walking into New Vocabularies
Tue 27 May
Wed 28 May
Thu 29 May
Running concurrently with The Last Days of Troy and starring some of the same cast, 2011 Bruntwood Prizewinner Britannia Waves the Rules gets a world premiere staging. After joining the Army, young misfit Carl is taken to Afghanistan where the pressures of contemporary conflict wreak havoc. Royal Exchange Theatre, Manchester, until 7 Jun, 2.30pm and 7.30pm, £12
Unity Theatre founder George Garrett's first play is brought to the stage for a rehearsed reading as part of the George Garrett Archive Project and Writing on the Wall festival. Two Tides is a play heavily influenced by his hero Eugene O'Neill, and sees the drama play out in a Liverpool family's living room. Unity Theatre, Liverpool, 8pm, £6 (£4)
Katherine Blamire and Jessica Davies, aka Smoke Fairies, return to the Northwest with their latest studio album in tow – a self-titled gem showcasing their welltravelled friendship, spanning early school days to New Orleans and Canada. Catch them in a live setting as they share their delicate blues/folk sound. East Village Arts Club, Liverpool, 7pm, £10
Britannia Waves the Rules
8
Chat
Two Tides
Smoke Fairies
THE SKINNY
Photo: Joana Vasconcelos
Birkhouse Recordings
Photo: Sylvain Deleu
Lantern Theatre
Photo: Andrew Ellis
Original stories of moments in history are brought to life for this gripping look at dilemmas and compromise. Presented by students from the Workers’ Education Association acting course, Moments of Truth stands on the precipice of picket lines, examining the moment when principles and practicalities collide. The Lantern Theatre, Liverpool,until 30 Apr, 7.30pm, £4.50 (£3.50)
Photo: Steve Gullick
Festival season is upon us, bringing city-wide giants like Liverpool Sound City and smaller grassroots endeavours including SFTOC and Manchester Psych Fest. We also look forward to eating food in a field at Farm Fest, visiting some museums at night for LightNight and clubbing during the day at Secretsundaze.
Thu 1 May
Photo: Harry Furniss
Compiled by: Laura Howarth
Wed 30 Apr
Photo: Poto Studio
Heads Up
Tue 29 Apr
Sun 4 May
Mancunian clubbing legends Drunk at Vogue take their sweaty club night concept to Evolve in Salford, a rather fitting setting for their Gymnasium Party, promising a banging soundtrack chock-full of disco classics, along with hula hopping, gymnasts, drag boxing and gym queens. A trip to the gym just got a helluva lot more tempting. Evolve, Salford, 10pm, £10
For the second annual Warrington LitFest, fledgling writers will have the chance to rub shoulders with and gleam pointers from the likes of Helen Walsh, David Gaffney, Kate Feld and The Wild Writers as they host a series of workshops in flash fiction, epublishing, scriptwriting, blogging and more. Pyramid & Parr Hall, 10am6pm, £15 (£12) full day, £9 (£7.50) half day
Everyone’s favourite grassroots festival Sounds from the Other City returns with some carefully curated stages around Salford: this year expect a Volkov Commanders takeover, and secret extras, which you'll find only by following us (aye, @TheSkinnyNW) and our hashtag, #SFTOCSkinny, for drip-fed clues. Various venues, Salford, £18 (wristband) Sounds from the Other City
Sat 10 May
Sun 11 May
The Liverpool Art Prize returns for its eighth year, with the three shortlisted local artists competing for a cash prize and solo exhibition at The Bluecoat – this year Brigitte Jurak, Tabitha Jussa and Jason Thompson make up the shortlist. See the work on display at Metal and have your say in the public vote. Metal, Liverpool, until 21 Jun, Free
DFA Records' Shit Robot, aka Marcus Lambkin, takes to Gorilla's intimate archway venue for a night of clear cut boogie. After introducing the Shit Robot Show back in 2011, he's gone on to entertain crowds the world over with his live AV show, and tonight will be no exception as he's joined by PBR Streetgang, Will Tramp!, and Kiwi. Gorilla, Manchester, 11pm, £10
Those not running in the Port Sunlight Road Race can still enjoy a day out in the Wirral village as the Pillbox Vintage ladies pitch up with some retro goodies. They'll be setting up shop with a selection of clothing, accessories, jewellery, home wares and collectables, all handpicked and eclectic. Church Drive School, Port Sunlight, 10am-4pm, Free
Shit Robot
Pillbox Vintage
Sun 18 May
Mon 19 May
Liverpool’s version of Museums at Night takes the form of LightNight, with museums and galleries set to spill out into the streets and bring the city to life, with projections, a candlelit procession, a Japanese fire show, dancing and hacking workshops cropping up hither and thither. Various venues, Liverpool, see listings for full details
The Chicago-based rock'n'roller Ezra Furman takes to the road with his new band, the Boy-Friends for a Europe-wide tour. With his second solo album Day of the Dog in tow, we find the singer/songwriter on fine form in his post & The Harpoons years. East Village Arts Club, Liverpool, 7pm, £8.50
The Chorlton Arts Festival of music, comedy, art and performance pitches up for another year, with 150 events taking place over ten days, including this catch this exhibition by Bob Nancollis of the Smallest Sculpture Park in the World, as the artist opens his back garden to the public. Various venues, Chorlton, 16-25 May
Completing the lesser known holy trinity (pizza, comedy and free things), Another Comedy Night takes to Maguire's Pizza Bar on Renshaw Street for another free night of comedy, offering comics a relaxed place to trial material without pressure, invariably leading to much less shit comedy. Everyone wins! Maguire's Pizza Bar, Liverpool, 7.45pm, Free
Ezra Furman
LightNight
Smallest Sculpture Park in the World Bob Nancollis and fellow contributors
Photo: Ynos Productions
Sat 17 May
Photo: Leah Henson
Fri 16 May
Another Comedy Night
Sat 24 May
Sun 25 May
Mon 26 May
The Liverpool Art Fair returns with its tried and tested model of bringing together artists from Liverpool and the surrounding areas and introducing them to keen buyers in an unpretentious and welcoming setting. Without the usual extortionate prices, it's the perfect opportunity to pick up summat nice to spruce up those bare rented walls. The Gallery, Liverpool, until 26 May
Working alongside fellow creative folk Video Jam, Gizeh Records, Opal Tapes and Tombed Visions, Fat Out Fest pitches up, breathing life into Islington Mill for three days of art, music and general collaborative vibes. Get excited for Charles Hayward, Melt-Banana and Cut Hands. Islington Mill, Salford, 23-25 May, £30 weekend
The Wirral Food and Drink Festival returns, re-branded as Farm Feast and taking over Claremont Farm for two days of proper foodie fare – and some outlandish countryside pursuits. Expect food stalls, beer and cider, live music on the Livestock track, a sheep show, vintage village, and a futuristic barn dance. Claremont Farm, Wirral, until 26 May, £5 (£2.50)
A trip over the Pennines is in order for the inaugural run of all-day mini-festival Gold Sounds, pitching up at Brudenell Social Club and headlined by Ohio indie rockers Cloud Nothings, who'll be appearing alongside the likes of Sky Larkin, PINS, Joanna Gruesome, PAWS, and many, many more. Brudenell Social Club, Leeds, 1pm, £13.75
Liverpool Art Fair
Melt-Banana
Farm Feast
Photo: Mark McNulty
Fri 23 May
Sky Larkin
Sat 31 May
Sun 1 Jun
Mon 2 Jun
Final year students at the Liverpool School of Art and Design (LJMU) showcase the result of three years hard graft as part of a two week exhibition of architecture, fashion, fine art, graphic arts, interior design, popular music studios and product design, along with a catwalk show from Fashion Design students. The John Lennon Art and Design Building, Liverpool, until 13 Jun, Free
Manchester Psych Fest pitches up for its first outing, an all-dayer event headlined by eponymous psych band of the moment TOY. Throughout the day, they'll be sharing the stage with bands at the forefront of the psychedelia renaissance, including Richard Norris, Telegram and Manchester's own Ghost Outfit. Night and Day Cafe, Manchester, 5pm, £18
London's infamous Sunday daytime party is heading out on the road for a series of international dates. After hitting up Chicago and Berlin, Liverpool is set for a visit from the diurnal clubbers, Secretsundaze, with resident DJs Jamies Priestley and Giles Smith leading proceedings well into the, er, early evening. Kitchen Street Pop Up, Liverpool, see secretsundaze.net
We end the month in the company of anthemic rock outfit The Orwells, pitching up in Liverpool as they tour the UK in support of their second studio album, Disgraceland. The Illinois-based five-piece continue their quest of garage rock revival, all fresh-faced and full of rock'n'roller energy. East Village Arts Club, Liverpool, 7pm, £8
Liverpool School of Art and Design showcase
TOY
James Priestley
The Orwells
May 2014
Photo: Solen Collet
Fri 30 May
Chat
9
Photo: Ynos Productions
Brigitte Jurack - Just Wait for Me
Photo: Marcus Fischer
Fri 9 May
Photo: Richard Manning
Helen Walsh
Photo: J ory Lee Cordy
Drunk at Vogue
Photo: Jenny Lewis
Sat 3 May
Photo: Lee Baxter
Fri 2 May
Inside the Imaginarium He may enjoy a good pair of slippers and term himself an “old fart”, but Mr. Scruff is still innovating, with a new album and the 15th anniversary of clubnight Keep It Unreal on the way. He gives us an insight into his world of tea, tunes and potato men Interview: Daniel Jones Photography: Elinor Jones
M
r. Scruff is an out-and-out teahead, and a splash of milk into an accurately timed brew is most certainly his bag. He’s even got his very own cafe, Teacup, nestled in the heart of Thomas Street, Manchester, on the site of ex-record shop Vox Pop Music. It’s a quaint little place that serves up a host of loose leaf concoctions and scrumptious cakey things. It’s also where we manage to sit down with Scruff – who goes by the name of Andy Carthy by day – to pour over [woah! – Ed] the thinking behind new LP Friendly Bacteria, and to catch a glimpse of the unreal world that both he and his cartoons inhabit. “I enjoy the simple enjoyment of life,” says Carthy, flipping the multi-coloured sand timer that accompanies our teapots. “There’ll always be nerds and trainspotters, but you don’t need to have a massive knowledge of all the internal workings to enjoy tea, or music. This place is great to have a chat with your mates and get a bit of cake, and it performs that simple function well. We’ve got loads of different flavours because selection, like with music, depends entirely on the mood you’re in. In the morning you might want something really strong to get the gears going; in the evening, you might go for something a bit mellower, or something nourishing that you can feel is good for you. It all depends on mood.” So what mood has Mr. Scruff been in recently? Early samples from Friendly Bacteria mark a shift from the carefree glee of 2008’s Ninja Tuna, with a wealth of collaborations and more serious song titles than ever before. “The ingredients are different this time,” Carthy explains. “It’s got a different mood, lots of long sustained notes and interesting textures. There’s definitely a bit of a fog to this one. “The benefit of working with other people is that you can bounce ideas off them. There are quite a few songs with a chap called Denis Jones, for instance. He’s a good mate of mine who plays guitar and keys with loop pedals, and melds feedback with his vocals to create these cracking, scuzzy harmonies, in a way that I know I never could. He has a completely different set of musical references to me, but that’s just it: when I collaborate with somebody, I want the end result to be something that I couldn’t have achieved by myself.” The end result is that, compared to his previous efforts, Friendly Bacteria has a tough electronic edge all its own. It’s darker, moodier, and not as spritely in places, and captures Carthy’s inclination to create something “less daft” this time around. “You have to force yourself out of your comfort zone all the time,” he reasons. “I mean, what’s the point in trying to replicate your successes?” The hip hop approach is still there, but instead of stealing from a funk or soul record, Scruff has upped the ante on sampling himself playing percussion, or another musician playing
10
Feature
an instrument: “I’ve stepped away from using too many obvious samples and started chopping up more session material in Logic. What I suppose that means is” – he takes a slurp from his cup – “I’m looking for a sound that has the toughness and reliability of sequenced music and the unpredictability and vibrancy of live music. Somewhere in the middle.” Most of the material was recorded in bits and pieces at Carthy’s home studio, Jones’ house and the Manchester School of Sound Recording: “I’ve been pottering on it for about five years or so, and I think that’s because I’ve been doing slightly too many gigs. I also had a daughter three years ago, which is a big factor. I get up at seven with her, get to the venue to set up in the afternoon and not getting home ’til about four in the morning. Then do it again the next day!” he chuckles. “I’m an old fart now. In the end, Ninja Tune tapped me on the shoulder and said, ‘So, about this new album…’ which made me think, ‘Oh yeah, I forgot I was signed to you!’
“Usually, all I need is a nice bit of carpet and some comfy slippers and I’m good to go” Mr. Scruff
“It’s odd because I’m really technical when it comes to DJing but a lot more free and easy in the studio. If I’m excited about something in my head, I need to get it down quickly, even if it’s on a crap mic. The most important thing for me is capturing a performance there and then, and getting the mood right. You have to capture the energy that inspires a performance because it gives the music a context and an attitude. That’s also why I always try to record from the first take. If you over-think stuff, it can box people in; so, instead of describing exactly what I want musicians to do, I’d much rather let them feel their way into a tune and do what comes naturally to them.” It’s comforting to know that, given the vast range of intricate material found in his back catalogue, Carthy has always made a conscious effort not to strive for perfection, or to second guess himself: “I like bad notes,” he explains further. “I like stuff being a bit out of time, or out of tune. In the world of electronic production it is far too easy to make everything perfectly sequenced. A
Mr. Scruff
lot of those intricacies are actually based around something unexpected that happened very quickly. I’m more concerned with producing a song that feels as if it’s moving forwards, whether that’s a robotic, sci-fi, alien movement, or whether it’s some guy strumming a guitar and getting a bit more excited and as he moves through the tune. Either way, you have to be very wary not to neaten things up too much.” Outside of the studio, it’s less than a month until the 15th birthday of Keep It Unreal, a night that spawned from the launch party for Scruff’s 1999 debut album of the same name. Before that, Carthy earned his stripes playing all over Manchester: at various Electric Chair nights, Atlas on Deansgate and a weekly residency at Collider (formerly PJ Bells, now Matt & Phreds) playing with a live band. Once his tenyear tenure at the Music Box came to an end, Carthy decamped to Band on the Wall, where he’s
CLUBS
continued a monthly residency for the past four years or so. “We used to have quite a few guests too, more than now,” he admits. “Roots Manuva, Idjut Boys, Andrew Weatherall all played early on, but after a while I decided that it’d be fun to play all night myself. I like the progression involved in playing for six hours, and it’s not too bad on the legs. Usually, all I need is a nice bit of carpet and some comfy slippers and I’m good to go. Birthdays are an excuse to socialise a bit more than you would normally, but we won’t be wearing hats or anything. I don’t tend to jump around on stage, waving my arms in the air; my cartoons can do that for me.” Carthy explains that the potato men first appeared in doodling sessions during his time at high school: “The surreal, Python-esque humour has always been there. It’s nice to be able to create an imaginary world where you look up and
THE SKINNY
something freaky is happening. I spend a lot of time in my own little bubble anyway, so I think they live in that universe with me. There’s a humour and mischievous side to the drawings that provides a perfect illustration for my music, so it’s a great visual identity to have live.” Of course, MC Kwasi will also be on hand to ensure everybody is kept in good spirits: “I’ve known Kwasi for a good 15 years now,” Carthy remembers, “I really dig his demeanour as a host; he’s a Master of Ceremonies rather than an emcee. He doesn’t have a massive fat book of lyrics, but he makes people smile. Sometimes you go to a gig and there’s not a lot of conversational stimuli, other than the weather. Honestly, if it’s pouring down outside and people walk into the club absolutely sodden, Kwasi is the antidote.”
“The combined knowledge of music on any dancefloor, in any venue, far exceeds any DJ” Mr. Scruff
The prospect of business as usual means we can expect a veritable smorgasbord of jazz, soul, funk, disco, reggae, hip hop and house, along with plentiful smatterings of miscellaneous. “I don’t have a massive amount of rock stuff,” Carthy reveals, when pressed on what he isn’t likely to play. “Not too much punk, and the whole white noise-y new wave scene and all that. Of course, I have bought rock records in the past because, when it comes to sampling, the common element is drums. If it’s got drums in it, I’ll buy it: country records, folk records, soundtracks, kids’ records, you name it. You end up with a really weird, wacky and wonderful record collection, almost by default. “But, no matter how adventurous you are, you’re always going to be nervous about playing new things. You might play something when the doors open one month, next time you play it an hour later, and then three months later you’re playing it at peak time and wondering why you were so worried in the first place. Also, a lot of regulars will have far more knowledge about records outside of my periphery, which is why I’ve always had a problem with DJs who refuse to take requests. The combined knowledge of music on any dancefloor, in any venue, far exceeds any DJ. And, if something has triggered a connection in somebody’s head, I want to know why they made the link.” It’s that curiosity which has kept Keep It Unreal alive and kicking for 15 years. Carthy cites a 1937 record from electronic music pioneer Raymond Scott as the oldest tune he’s managed
May 2014
Mr. Scruff
to slip into a set – “reissue, of course” – and talks keenly on the topic of Scott’s think factory, Manhattan Research. “Old jazz tunes have a certain quality that modern music doesn’t have, so they give you another texture to play with,” he says, pouring the last drop of tea into his cup. “If a tune doesn’t have much low-end or high-end, great; the next song is going to sound twice as good because people forget all about those frequencies once they’ve been cut for a few minutes. All records can be made to sound different, or enhanced, when you play it next to
something else, especially old records.” Whether in the studio or the club, Carthy’s signature sound is undeniable, but it has always been nigh on impossible to pin down. Perhaps most intriguing is how Carthy is able to arrive at that sound through different means. There is no stock synth, agenda or method of doing things; instead, Mr. Scruff is a channel for music that contradicts itself, rendering mellow and aggressive styles together to incredibly versatile effect. Manchester owes so much to his unrelenting musical diversity: if nothing else, there
CLUBS
are very few musicians who have succeeded in bridging the gap between hip hop, good humour and slippers. Friendly Bacteria is out 19 May via Ninja Tune. The album launch party is at Band on the Wall, Manchester, 3 May, with Denis Jones and MC Kwasi, from 9pm The 15th anniversary of Keep It Unreal is at Band on the Wall on 7 Jun Mr. Scruff also plays: Blackpool Cricket Club, 25 May; Beat-Herder festival, 20 Jul; Kendal Calling, 1 Aug www.mrscruff.com
Feature
11
Strange Fascination As they unveil fourth album Luminous, we confront The Horrors to mine the paradoxes at the heart of their success
Interview: Jazz Monroe Photography: Trent McMinn
F
aris Badwan tracks an imaginary fly around his dilapidated nest of hair. At once bored, absorbed, teasing and tortured, he’s a man who scrutinises questions like a landlord inspects carpets. Throughout the day, Faris proves incapable of genuine laughter; instead, he wheezes. People might tell you the Horrors’ singer is a contrary interviewee, but this isn’t strictly true. Faris isn’t shy, bullish or even evasive; he’s just completely fucking insane. Terribly postured with wide, pinballing eyes, he seems to have invented a private game that nobody else can play. And in a way, he’s already won. He’s already won because this is his dream introduction. In the eyes of magazine readers countrywide, this is Faris Badwan. And it sort of is, and it sort of isn’t, and it’s that desire to mess with us – rather than the act itself – that makes him interesting. Who’s the man who high-fives crew members in the dressing room, creasing up as somebody coins the nickname “F-Dogg”? Who’s the gangling giant hunched in a lift, offering M&S Percy Pigs to bandmates? These exchanges remain hidden, because Faris, above all, is a man who covets ambiguity. “Things that aren’t pinned down in reality are cool,” he states, sequestered with The Skinny in a dressing room of London’s Hospital Club. “I like it when a guitar sounds like something else – I like anything you can’t pin down. And maybe the way I act is an extension of that.” His gaze skips across the ceiling, and he chuckles. “Or maybe I just spend a lot of time alone.” Of course, there’s nothing gravely wrong with this sort of deception. It’s an artistic tightrope walked by everyone from Thom Yorke to Britney Spears, and this is their logic: so long as you aren’t one thing to everyone, you can be anything to anyone. That ambiguity is The Horrors all over, and fourth LP Luminous is as alluring and nebulous as ever, like an impressionist depiction of supernovas tearing through cushy summer skies. Recorded in an old Hackney loading bay that’s become the band studio, the album’s trick is to marry sonic and lyrical obscurity while courting big pop on the side. It’s perhaps unsurprising that a band of such ambition can lack a certain grounding. In austere times, The Horrors remain unwavering advocates of escapism. But as with Faris’s wilful ambiguity – which allows us to subconsciously construct his personality – there’s a counterargument that what people want to believe is rarely what they should, and even less often what’s true. Isn’t now the time for engagement? “Yeah, but everyone shirks their responsibilities, don’t they?” responds Faris. “I think humans need escapism to survive. It’s difficult, because if you start thinking about the stuff you could try to change, you feel kind of impotent.” He uncrosses his legs. “We are a band of escapists, but escapism is also discovery, you know? That’s what making a record is. It’s unbelievable how many bands make the same record again and again. That’s like purgatory for me, the idea of that.” Album to album The Horrors have made cosmic leaps, and Luminous is no exception. If the sumptuous stylings usher out Primary Colours’ fresh, ragged experimentation, there’s a raw emotion to songs like knock-kneed waltz Change Your Mind that pierces the sparkly production. They demonstrate touching songwriting talents that, like the band themselves, insist maturity is an open door to new possibilities. Listening to Luminous, it’s pretty hard to dispute. One peculiar development is that, despite sounding increasingly marketable since
12
Feature
shriek-de-soleil debut Strange House, they still seem, at gut level, like a band of outsiders. Indeed, that an exquisitely produced indie band can retain cult status while scoring multi-million YouTube plays is either a shining testament to their subversion or, arguably, a sign that some of us register hype, marketing and physical appearance more viscerally than musical subtleties. Still, it’s true that every band has its cultural shadow, and the best – Bikini Kill, Nirvana, the Velvet Underground – covet concept and content equally. What’s interesting about The Horrors, though, is that more explicitly than even R.E.M.’s or Radiohead’s, their brand of ‘outsider’ music targets a universal audience. This means that while they reach from the outside in, their audience are, perversely, getting an enhan“Did you have dark circles around your eyes in kindergarten?” interjects Faris. He does this twice during our interview, and both times I’m momentarily stunned. Potentially? Do I now? “Yeah, but I’m not saying that’s a bad thing. But when I was a kid, the photo of me on the very first day at school, I had big black rings, almost like a panda. And I wondered if you might have had the same problem.”
“I like it when a guitar sounds like something else – I like anything you can’t pin down. And maybe the way I act is an extension of that” Faris Badwan
Oh. Not really, no. The thing with my eyes growing up was that everyone sort of assumed I was stoned. “Oh, I had that too. But I was never really that bothered. It didn’t, er. I didn’t... I mean, I also had grey hair on the first day of school. But what were you saying?” Well, I was trying to describe a sort of paradox, that you seem like outsiders reaching for something universal, but part of your fanbase are the direct inverse: they remain ‘inside’ the mainstream while using your music to manufacture a feeling of outsiderdom.
He nods, vaguely interested. “I think if you’re a music fan, you’re taking pieces of the things you like. I suppose we noticed that when we first started, because to a lot of kids who came to the shows, it was about backcombing your hair. Looking on those parts of the crowd is a bit weird, like looking out at tourists.” Does it bother you? “Well, not really. If I was performing to a roomful of me, it’d probably be the most boring crowd in the world, you know? It’d be people standing with their arms folded, trying to work out what the singer was doing.” He starts to laugh but stops suddenly, and wheezes. “You can’t make music for people exactly like yourself. Music is people piecing together the person they want to be.” At first this seems obvious; everybody knows popular bands excite people in myriad ways. But the more you think about it, the more astute it sounds. For a band sometimes criticised as shameless cratediggers, The Horrors elude pastiche because the final packaged result (which itself influences bands like Toy, Temples and Protomartyr) is unmistakably theirs. What Faris points out is that music fans are kind of the same: they seek out different music to better create a new personality. Still, if that’s the case, isn’t it odd that so many of us feel, however comfortably we occupy the collective western lifestyle, that who we truly are is something fundamentally ‘outside’ or apart? “Yeah,” Faris says. “But in some ways that’s a cool thing, because bands that enable that separation are the ones that changed the course of my life. It’s funny, because when you look at bands with a gang mentality, you want togetherness but also separation. You wanna be in with
MUSIC
these people yet to shove the rest aside. Those bands are important because they change people’s lives.” When the gothed-up rabble-rousers invaded the 2006 indie scene, few would have pegged them as life-changers – least of all The Horrors themselves, who in Faris’s words “just wanted to make a record because we were collecting records.” Nonetheless, it’s with this attitude that the band – to whom the present is “the most boring thing in the world” – build a musical future from the past. “When I was younger,” Faris recalls, “I thought to be in a band you had to have years of musical training, but when I got into music that involved hammering away at a guitar, I realised that spirit is what matters. That’s when I lost interest in [fame]. All the other stuff can follow. When you discover that kind of thing, you get so excited that everything else turns kind of grey.” Luminous, then, feels aptly titled: that ambiguous glow representing one passion replacing another. But for now, as The Horrors congregate by the lift in the Hospital Club corridor, the record’s as far out of mind as garage-rock, eyeliner and the adolescent vagaries of fashion. Well, sort of. “Is that a new leather jacket?” asks Rhyss, flicking Faris’s shoulder. “How many have you got now?” “Oh, about 15,” Faris grins, pulling out his Percy Pigs. There’s a hush as The Horrors chew sweets awkwardly, trapped between the future and past. “Doors opening,” declares a computerised female voice. It’s pretty hard to dispute. Luminous is released via XL Recordings on 5 May. Playing Field Day Festival on 8 Jun www.thehorrors.co.uk
THE SKINNY
LIVERPOOL’S INTERNATIONAL ARTS VENUE
WHAT’S ON www.thecapstonetheatre.com Spring Season 2014 Monday 12th and Tuesday 13th May, 7.30pm, Free Admission
FINE MESH Friday 16th May, 7.30pm, £10 (£8 concessions)
DARK INVENTIONS
Saturday 17th May, 7.30pm £11.50 (£10 concessions)
ROGER BEAUJOLAIS QUARTET
Saturday 31st May, 1.00pm Free Admission
LALGUDI GJR KRISHNAN AND LALGUDI VIJAYALAKSHMI Friday 13th and Saturday 14th June, 7.40pm, £11.50
THE MORGUE TABLE BOX OFFICE 0844 8000 410 www.ticketquarter.co.uk
May 2014
13
tickets
£20
PRESENTS
4 DAYS OF CUTTING-EDGE MUSIC IN THE MANCHESTER SUBURBS, PART OF CHORLTON ARTS FESTIVAL 2014
THU 22 MAY
John Smith plus support
£10/£8
Wilbraham St Ninians Church
FRI 23 MAY
Liam Frost plus support from
£10/£8
Wilbraham St Ninians Church
Bird to Beast
St Clements Church
Paper Aeroplanes plus support from £10/£8 Bells in the Birches
The Family Rain
£10/£8
St Clements Church
plus support
SUN 25 MAY
Lisbee Stainton plus support from
£10/£8
St Clements Church
Heath Common and Carol Grimes with The Lincoln 72’s
SAT 24 MAY 2O14
WITH
WINNER OF BEST METROPOLITAN FESTIVAL UK FESTIVAL AWARDS 2013
drenge • peace • real estate CATFISH AND THE BOTTLEMEN • JOSH RECORD THE MIDNIGHT BEAST • lAUREN AQUILINA KYLA LA GRANGE • THE PIZZA UNDERGROUND SAINT RAYMOND • lUKE SITAL-SINGH • WOLF ALICe INDIANA • COURTNEY BARNETT • EZRA FURMAN YEARS AND YEARS • HUDSON TAYLOR
WRISTBANDS ONLY £32
FULL INFORMATION AND INDIVIDUAL TICKETS ON SALE AT
chorltonartsfestival.com
@chorltonarts
AMBER RUN • RHODES • YOUNG KATO • SIVU • SLAVES • FRANK HAMILTON
ADAM BARNES • ALICE BOMAN • BARBAROSSA • BETTY WHO • BIG SIXES • CAVEMAN CHAMPS • CHARLOTTE OC • COUSIN MARNIE • DARLIA • DOLOMITE MINOR • DROWNERS EMILY AND THE WOODS • FAMY • FICKLE FRIENDS • FRED PAGE • FREDDIE DICKSON FYFE • GALLERY CIRCUS • GAVIN JAMES • GENGAHR • GEORGE BARNETT • GOD DAMN HERO FISHER • HORSE THIEF • JAMIE ISAACS • JAWS • JOEL BAKER • JOHNNY LLOYD JULY TALK • LA FEMME • LAPLAND • LAURA WELSH • LIFE • LIFE IN FILM • LOVE ZOMBIES LSA • MARIKA HACKMAN • MAXWELL JURY • MT ROYAL • NO SINNER • NOAH GUNDERSEN NORMA JEAN MARTINE • OSCA • PORT ISLA • RAMONA FLOWERS • SEAN MCGOWAN SOUTHERN • ST PAUL AND BROKEN BONES • STATS • STONEFIELD • SUNDARA KARMA SUPERFOOD • THE 45S • THE BOHICAS • THE ELWINS • THE HEARTBREAKs • THE JACQUES THE MINUTES • THE SCENES • THE TROUBLE WITH TEMPLETON • Tor Miller WE THE WILD • WE WERE EVERGREEN • WHITE LUNG • WONDER VILLAINS • YOUNG ROMANCE
• manchester - friday 23rd May • fb.com/dottodotfestival • #d2dfest • dottodotfestival.co.uk • alt-tickets.co.uk • 14+
14
THE SKINNY_126X314_May2014.indd 2
24/04/2014 11:30
THE SKINNY
Pot Noodles Master producer Jon Hopkins talks pot, instant snacks, and why David Lynch’s coffee isn’t all it’s cracked up to be
Interview: Jazz Monroe
on Hopkins is twiddling thumbs in the shabby waiting room of a popular London temp agency. He’s dressed to the nines in a new shirt and tie and freshly ironed cottons, which is odd, because everybody else looks like they’re auditioning to join the ascendant Arctic Monkeys. Hopkins is exceptionally agitated. He fidgets in his seat, alternately eyeing the door and his shoelaces with tick-tock consistency. It’s 2005, and London’s most dedicated producer has hit lowest ebb. In the next three years he’ll partner Warnersigned maverick King Creosote, step tentatively into film soundtracking, and co-produce 2008’s fifth bestselling album, but right now, Hopkins’ life isn’t technicolor so much as bled-out monochrome. It’s a tricky time for the producer: royalties from his 2001 debut, still trickling in thanks to a Sex and the City sync, are stuck buttressing its fruitless follow-up, Contact Note. Work is slow and pays poorly when it comes, the comfort of cheesy session musicianship is far behind (and, he suspects, beneath) him, and the 25-year-old is almost, almost tempted to pack his hefty kit bag and join the quotidian swarm. That’s why he’s here, hunched up and overdressed in the Office Angels waiting area, counting the Artex swirls. By the time Hopkins released last year’s Immunity, his globally acclaimed, Mercurynominated fourth album, his star was already lodged in the outer realms of pop history. Well established as Brian Eno’s protégé, he’d cemented a working relationship with Coldplay that continues to this day. But in times of “incredible poverty,” that waiting room wasn’t just a midweek stopoff; it represented escape, sanctuary and, ultimately, a well-lit path into a life of stability, routine and financial satisfaction. “Giving up music was never really a choice,” Hopkins reflects, catching rays on the roof of his Hackney home, “but that was the closest I came. I’d even taught myself to touchtype from a CD-ROM.” He pauses as an ambulance blazes in and out of earshot. “I just couldn’t do it. I walked out before the interview started. I said, I’d rather be poor. I spent years eating Pot Noodles every day. I dunno... Office Angels just felt like the wrong place to be in every possible way.” Needless to say, his resistance paid off fast. These days Hopkins packs 3000-capacity venues, soundtracks films for the likes of Peter Jackson and, if schedules match, chills with David Lynch (more on that later); and between grotty club shows, mystery projects and summer festivals including next month’s Parklife, the permanently hurried DJ is on track for another hectic year. “I can’t do anything else,” he claims, on adapting to constant propulsion. “I didn’t go to university, and I don’t have any other passions that could make me a viable living.” Not for the first time, Hopkins’ rocky relationship with the education system proved a gift to music fans everywhere. To the teenager, secondary school always felt like a seven-hour waiting room before the real work of home-computer sound experiments, and despite his burgeoning interest in Ravel and Stravinsky, Hopkins still despised the “rarefied and elitist” vibe at his weekend piano recitals. As he left compulsory education, so ended his classical aspirations – which wasn’t for want of opportunity. “I had an offer to interview at Cambridge,” he mumbles by way of explanation, faintly allergic to the subject, “but I didn’t go. I looked at what was on the course for music and it was learning how to write a fugue. A fugue is a 400-year-old form! That course might as well have
May 2014
Jon Hopkins
been unchanged since the 17th century.” Hopkins loves to downplay his youthful turbulence, but, dare we say, isn’t the casual act of blowing off Cambridge to brew up Pot Noodles and pioneering techno a career move that could scarcely fail to rank among the coolest ever? “I guess no one had ever just not turned up for an interview before,” he concedes, grinning. “I was quite proud of that.” Of course, that self-confidence was hardly unfounded. Even before the thrilling vindication of Immunity (and, to some extent, 2009’s Insides), it’s testament to his reputation that when Coldplay, in a creative funk after the formulaic X&Y, hired Brian Eno for its followup, Hopkins was the first man on speed dial. The band eventually used elements of Hopkins’ Light Through the Veins to open Viva La Vida, and seeing a song recorded in his bedroom trigger the eruption of a sold-out Wembley arena still ranks among his proudest moments. What followed, though, was dream-fulfilment of a more personal sort. It took the form of an audience with David Lynch, whose track I Know was remixed by Hopkins in a pairing Rob da Bank curated. “When I met [Lynch] the first time, when I was in LA, he gave me an invite to come say hello,” Hopkins recalls. “So when I did the remix, I had the amazing opportunity to sit in his house drinking a coffee. It was as good as you could hope!” His famous coffee? “No, the coffeemaker actually was broken, so he was very apologetic about the coffee. But the experience to chat, while it was only about 45 minutes, was incredible. I can’t imagine what it’d be like to make an album with him, but I’m happy with that amazing experience as it is.” Although neither knew it, he was soon to discover that the pair had something else in common. Hopkins first explored mind alteration while
clambering through clouds as a misty-eyed teen. He reflects fondly on the period, joking about his “cliché, anti-establishment” epiphanies but insisting that the stoner-logical process – “coming up with things, just being unable to act on them” – was valuable. That diagnosis increasingly bore out: as the viability of continued marijuana consumption dwindled, something about the goofed-down daze stuck.
“There have been very specific states of mind that I’ve tried again and again to recreate” Jon Hopkins
Rather than blazing on and risking burnout, unsociable adolescent synth nerd Hopkins began to pursue something similarly narcotic, namely the intoxicating hybrid of post-rock and techno that’s become his signature sound. Starting with early experiments on a Roland D-20 (purchased with winner’s cash from a competitive piano recital), the tentatively floating style hits a zenith 15 years later on Immunity track Open Eye Signal, a cross-current confluence where trembling synths ebb and glide in a sullen frenzy, seeming to transport the listener at several speeds simultaneously. This all pays lip service to his pursuit of meditative states. Inspired by the transcendent noodles of Mogwai, Sigur Rós and Talk Talk, Hopkins trafficked the resplendent textures
MUSIC
of post-rock in a propulsive techno undercarriage. Of the juxtaposition, he insists that “techno is really just a rhythm; it’s the canvas that you paint on, not the thing itself. And then the overall result is supposed to be purely heartfelt or emotional, some abstract communication. I don’t know what.” “There have been very specific states of mind that I’ve tried again and again to recreate,” he continues, pondering his musical raison d’être. “One really minor incident that affected a huge amount of my music happened in the car on this rainy, grim, dark English day, years ago, maybe 2000. I was the passenger, and the guy driving put on some Frou Frou demos. And my mind slipped into this bizarre hypnotic state caused by the windscreen wipers, which were going slightly out of time with the music, but sort of in time too. And the music ended in such a magical chord sequence that this one incredibly trivial thing actually triggered a lot of what I’ve tried to do since. I want other people to experience that as well.” At 21, Hopkins took a hypnotherapy course that he credits with many personal achievements since. As his workload of remixes, soundtracks and, in the gaps, new solo material escalates, he still sets aside half an hour daily for meditation. “Self-hypnosis and getting stoned are really the same kind of thing,” he muses, slowly drifting out the conversation. “They keep your thoughts simple, preferably of nothing at all. Then you can live entirely in the moment. David Lynch uses Transcendental Meditation in the same way, to be very in touch with that inner self without letting the nonsense thoughts of daily life get in the way. I like to let music come like that.” Jon Hopkins plays Liverpool Sound City, 1 May; The Great Escape, Brighton, 10 May; Field Day, London, 7 Jun; Parklife, Manchester, 8 Jun; and Beacons Festival, Skipton, 9 Aug www.jonhopkins.co.uk
Feature
15
Photo: Richard Manning
J
Love Buzz With her first solo release Diploid Love set to confirm her as an increasingly accomplished songwriter, Brody Dalle explains why the dual demands of family and music are a problem she’s happy to have
Interview: Gary Kaill
Brody Dalle
“O
h, I’m so sorry about that,” says Brody Dalle from her LA home, as screams and shrieks cause her to put the phone down for a few minutes. “I have a two-year-old and an eightyear-old and I had to step in. So, where were we?” Where we were, indeed are, is discussing the creative process, more specifically hers, and how it sparked Diploid Love, Dalle’s imminent solo album and arguably the best thing she’s put her name to yet. A distinctly more measured beast than the ragged punk rock of The Distillers, the band she formed in the late 90s after moving from Australia to the US, and yet a gutsier brew than Spinnerette, the post-Distillers outfit she made just the one album with, it smartly manages to splice the best characteristics of both. With Dalle now happily ensconced in family life with Josh Homme of Queens of the Stone Age, she reaches her mid-thirties as less of a firebrand, more of – certainly on the evidence of Diploid Love – a developed and developing artist. “I’ve always written my records in a particular way,” she says, when asked if these days she sees herself as songwriter first, performer second. “I’m not like Nick Cave where you go into the office and you sit down and you work from nine to five. I’ve never been that kind of artist. It just happens. You go through a phase when ideas come and they to start to flow through you. You can hear music all the time and you think ‘OK – it’s time to make a record.’ And I experienced that this time, but I have two kids, so you know…” Is Diploid Love more about the songwriting than the punk rock ruckus? “Yeah, definitely,” agrees Dalle, and goes on to explain just how it was stitched together over time. “It was made incrementally. So when I could sink my teeth into it, I really went for it.” It’s quite a cliché to assume that the artistic process can’t be pushed, that you just have to grab inspiration when it gets up in your face. “Yeah,” says Dalle, “but I think all songwriters are different. For me, it’s a phase thing. I’ll be in phase and out of phase. Then sometimes I won’t
16
Feature
want to pick up an instrument for like two years!” She laughs. “But, yeah, I’d like to get more Nick Cave about it. I like the idea of freeing up some time – because family takes up all my time – and going somewhere to sit and tinker on a typewriter. I do like a typewriter. I dunno, it just sounds really romantic to me.” It’s not easy to picture Dalle dashing back from the school run before heading off to her study. The wild abandon of the early Distillers records seems somewhat at odds with her life now. It’s hard to imagine her ever again writing a line like ‘If I was you I’d fucking hate me too.’ She’s not entirely convinced. “I don’t know,” she ponders. “It’s a different time. Maybe. I think that if I listen back to the first Distillers record and then the second and the third, I definitely think I’ve evolved. The lyrics on the first record make me cringe.” Really? “Yeah… There’s a song about Berlin [epic album closer The Blackest Years] I like. I like those lyrics, and the older you get, the more you know, the more you have more of those kind of songs. When you’re younger you might write just one.” Does she see herself as a figurehead? There’s a portion of her fanbase who admire her with a deep passion. “No!” Really? “Well, not really... I like it, I like the idea. It’s interesting.” Often, artists become hyper-aware of their impact or of their perception among their adoring legion, particularly, as is the case with Dalle, when that following is devout and loyal. She offers sober perspective. “I mean, look at Patti Smith. I found her really late in my life. Yeah, so when you get a woman like that, who has this legendary status…” She pauses to laugh again. “I don’t generally apply it to myself!” She ponders the debilitating effects of fickle fame and how it can drain the youthful purity of artistic ambition. Janet Weiss recently remarked in these pages that she was satisfied to have made a compromise-free living from music for so long, but worried that the new generation of female pop stars were more than ever constrained by the demands of the dollar – a very male dollar.
Had Dalle faced similar hurdles? She’s slightly taken aback at the quandary. “Whoa, that’s really intense,” she says, and stops to consider. “I don’t really have to deal with it. If you’re at a certain level in the music industry, there’s a lot of compromise. And usually it’s you who’s compromising. I’m really lucky because I was liberated from my record company [Warner Bros] and got to keep my record – the Spinnerette record. They let me walk away when they could have made it really difficult for me.”
“Sometimes I won’t want to pick up an instrument for like two years!” Brody Dalle
vocals, but to me they sound they’re really onto something. I was really excited to find them because the other day I was downloading some X-Ray Spex, all the old stuff I grew up with, but I’m always looking for new stuff. I guess you just have to search it out.” It’s there, though, right? “Oh absolutely. Totally. It’s totally there.” Sometimes artists struggle to shake off the glories of youth but Brody Dalle (a veteran of the scene at a mere 35) appears to be navigating the future by way of her past. Certainly Diploid Love makes a convincing case for a developing, maturing vision. Still, she’s good enough to indulge one more back catalogue query. The song Colossus USA from The Distillers’ self-titled debut contained a line that seems to encapsulate her there-and-back-again journey. In the song, Dalle meets someone who tells her to ‘Live in the world, not for gain.’ It’s an appealing epithet – is it one that still chimes with Dalle? “That was a guy I actually did meet,” she recalls. “He was, how do I say, a street person. He wanted some money and I told him I wasn’t gonna give him any. I could tell he’d been up drinking all night. So I took him into this café and bought him lunch. He was just a regular person. It was really trippy to see someone so dishevelled and dirty and smell so bad, and yet have all their faculties intact. Yeah, that’s gnarly, dude...” A lesson for us all, perhaps? “Yeah, definitely. It depends on what you’re trying to gain, you know? You could be trying to gain all kinds of things. I think that as long as you’re not trying to hurt or exploit anybody… If you’re trying to gain love or experience, those kinds of things, then that’s cool. It’s all about your intent. What are you here to do? If you’re here to create, whether that be a life or something that can help people; art, even, that’s good. If you’re here to destroy, well…” She tails off at the thought. “But I’m good, regardless. I’m in a good place now.”
“So since then,” she continues, “everything’s been on my terms. I haven’t really had to compromise at all. A little bit, but that’s normal. I’m signed to a label now [Caroline Records] and they’re music people; they love music. I’m the kind of artist who comes with everything. I’m the full package. There’s a lot of artists out there who aren’t really that and there’s a lot of bands who are, bands who know what they want. I think the more independent you are, the better. And if you are, you don’t have to compromise. You can just make it happen.” With the underground, if not the mainstream, allowing emerging female artists to grow at their own pace, is there a young new Patti Smith who speaks to Brody Dalle? She’s enthusiastic in response: “Yeah, I’m listening to this band Diploid Love is out via Caroline Records now called Dark Times. They’re from Oslo. Do you www.brodydalle.com know them? It’s rad, it’s raw. It sounds gritty and thrashy and the singer, she’s got these shriek-y
MUSIC
THE SKINNY
The Upward Spiral As Nine Inch Nails’ latest incarnation sets sail for the UK, Trent Reznor says he can’t afford to look back
eturning from a self-imposed five year sabbatical, which could have been the very end of Nine Inch Nails, today Trent Reznor is in mild mannered form, focused and seemingly a world away from the troubled prodigy who penned furious Gen X anthems like Gave Up and Mr Self Destruct. But in an era of rampant reappraisal, where landmark anniversaries for classic records are celebrated weekly while a holographic 2Pac can stalk the stage, it seems nothing’s ever really over in latter-day popular culture. With an Oscar on his mantelpiece to show for a handful of high profile gigs scoring David Fincher films with sometime collaborator Atticus Ross (their third, Gone Girl, has just been announced), there’s a sense that the versatile composer was out there playing the game since retiring the moniker in 2009. “There wasn’t a master plan to bring Nails back,” he says, staring down suggestions that the reprisal is some calculated deceit. “I needed to force myself into some unfamiliar territory and try to progress other projects I’d been talking about. It felt like that format of Nine Inch Nails, where we’d just got off a couple of solid years touring, I needed to force my hand and try something new – period. So I started a family, scored some films and worked with some other people on How To Destroy Angels. I unexpectedly found myself really very inspired by all of that and started seeing what some new Nine Inch Nails material might sound like. It felt strong, and I felt like there was a whole record in there. I accepted that and it became Hesitation Marks. Somewhere along the line somebody said ‘Do you want to play some shows?’ It seemed like it was worth trying that out – put a band together, start rehearsing and it felt good. I try not to get too bogged down with the things that I can’t control. Will people like me? I don’t know. Will people show up? Are they interested? I hope so, but I don’t know. I try to live up to my end of the deal and see what happens.” A cursory glance at behind the scenes footage of the band’s high-tech Tension tour late last year hammers home a clear sense that this ‘reactivation’ was no small undertaking. “We’re not the kind of band that will do a show here, then take six months off and play a handful of shows. We build a machine that can last X amount of time. In this case, we knew we’d be committing to a year of touring. Having done this a number of times in the past, what I realised is that when you build something that’s pretty production heavy – something specific that brings in theatrical elements or elements of video, almost like a film or a play where it starts in one place, winds up in another and there’s a kind of flow and a climax to it – the unexpected result of that as the performer is that it can start to fall into a routine. A lot of the spontaneity in terms of what happens during the show is gone – you know what’s gonna happen because you’ve done it 40 times. That’s something to be concerned about. How do you keep the ending exciting in the spoiler-based world of Twitter? So we try to treat each leg of the tour as a separate tour.” Inspired by the unconventional lodestar of Talking Heads’ ‘83 Stop Making Sense excursion, Reznor turned Nine Inch Nails into a rotating ensemble when it was time to head for the enormodomes. “With Tension, we went no holds barred, knowing it was a core audience coming into an arena to see us. ‘How far can I take that?’ So I expanded the band into an eight-piece, really went heavy on video and production integration and by the time we finished that at Christmas I
May 2014
felt like ‘hey, we’ve proved our point and I’m kind of tired of doing that.’” So what shape has the Nine Inch Nails live experience consequently taken for their imminent UK return? “What you’re going to see is a different thing,” says Reznor, keen to emphasise that this perpetual reconfiguration isn’t about cutting corners. “Now it’s a four piece band – much more nimble, less about deeply exploring the new album and more about the integration of an electronic and rock band and how far we can take that aggressively and also spontaneously. The shows we just did in Australia and South America were pretty bare bones – the show we’re building for your neck of the woods has much heavier production than that. It’s not the same as we did last year. The goal is that it’s exciting for us on stage and it’s exciting for you in the audience, and you’re not sure what’s coming.” Reznor offers prescient commentary on the plight faced by performing musicians in 2014. “I think that live music in general is suffering a bit, because aside from the EDM experience in the rave tents, the rock band suffers because there’s a lot of competition for your attention these days. There’s your phone, and whatever the fuck’s going on in that, and the various other options of entertainment platforms. If you’re going to invest your evening in me, then I want you to leave with a visceral experience, going ‘Fuck, well that was a lot better than watching it on my laptop.’”
“How do you keep the ending exciting in this spoilerbased world of Twitter?” Trent Reznor
Maybe it’s just the old-fashioned compulsion to thrill an audience that really lies at the heart of Nine Inch Nails’ rebirth. But there’s an immense pressure attached to designing a foldaway, state of the art, multi-platform roadshow that needs a reboot for every new continent it lands on. “It always comes down to the last couple of weeks, feeling like you want to kill yourself,” says Reznor. “It comes together but it never feels like it’s going to. I remember, before we started the Tension tour, Rob [Sheridan, long-term art director and collaborator] and I utterly defeated after being up for three days solid, looking at each other and me saying ‘I know it’s always bad before we leave, but this time for sure it’s the worst.’ He said ‘Yeah, you said that last time.’ And I’ll probably say it the next.” With no small number of casualties along the way, Reznor’s team sheet over the years has been one of the most remarkable in modern rock – whether he’s joined in the studio by Dave Grohl or Dr Dre, or taking to the road with Aaron North or Josh Freese. One returning personality who has frequently plugged into various incarnations of the band is perennial cyberpunk Robin Finck. Is he just harder than the rest? “What it is with Robin – and it really became clear through this whole period – stems from this: I’ve been doing this now for something like 25 years – which is hard to even comprehend from my point of
Trent Reznor
view. My fear is that it gets comfortable, that it feels routine, it becomes expected and it’s not progressing forward, taking risks and feeling unsure. What this can easily turn into is something that becomes a nostalgia show – y’know, ‘Let’s go see Nine Inch Nails and relive how we felt 10 or 20 years ago.’ I’ve been beating myself up over this.” Dismantling the past in an effort to move the band forward and match the scale of his evolving ambitions, Reznor carefully assembled a crew of virtuosic players hailing from various outside disciplines – most notably, occasional studio collaborator Adrian Belew (also an early accomplice of Bowie, Zappa and Talking Heads) and former Jane’s Addiction bassist Eric Avery – both of whom dropped out before playing a single gig. “When I started to put this band together for this cycle I thought ‘What if I really stir things up and bring in some people you wouldn’t expect and flip it on its head?’” he reasons. “What I found then was that Robin wasn’t a part of that initial rehearsal. I had really underestimated how valuable what he brings to the table is. It’s excellent musicianship and it’s also spirit. Singing those songs, looking over and not seeing or sensing him there wasn’t right. It was then I realised I’d very
MUSIC
much miscalculated this. The second he walked through the door it was like, ‘My bad – I fucked up here and it won’t happen again.’” Since having the plug kicked out while his supergroup was in mid-flow at the Grammys this past February (to which he directed a very public “heartfelt FUCK YOU” towards its producers), it seems Reznor’s latter-day dalliances with the red carpet might be on ice for a little while. So is this to be a short-term reprisal for Nine Inch Nails, or is another chapter already coming into view? “I’m looking forward to playing these shows, but if I could do what I want to do right now I’d walk in the studio and start writing an album,” he confesses. “I’m going to try and pull off some of that while I’m on the road. I feel reinvigorated under the umbrella of Nine Inch Nails and I feel like this is more of a fresh start than sweeping ashes around and trying to rearrange things. It feels pretty positive to me. Now, when we finish this touring cycle at the beginning of the fall, ask me again and it may be a different answer. But right now I feel pretty optimistic about where I’m at.” Nine Inch Nails play Manchester Phones 4u Arena on 25 May www.nin.com
Feature
17
Photo: Pete Dunlop
R
Interview: Dave Kerr
Frank Filmmaking So you’ve got Michael Fassbender, one of the biggest stars on the planet, in your movie. What do you do? If you’re Lenny Abrahamson, director of Frank, you make him wear an oversized papier-mâché head on his shoulders in every one of his scenes
Interview: Philip Concannon
I
t might seem perverse for a low-budget independent film to secure the services of a rising, recently Oscar-nominated star and then hide him behind a cartoonish mask throughout the movie, but Frank is not a film that makes conventional choices. Although the large head worn by Michael Fassbender in the film will look familiar to many viewers in the UK, Frank is far from the portrait of Frank Sidebottom that those viewers might expect it to be. Chris Sievey’s comic creation was a perpetually upbeat northern pop star who emerged as one of the most bizarre success stories of the 80s and 90s, but the Frank we meet in this film is a resolutely uncommercial American musician viewed as a visionary by the rest of his bandmates. Instead of taking us back in time, screenwriters Jon Ronson and Peter Straughan have brought Frank bang up to date, using him as the inspiration for a very 21st-century tale of fame, artistry and confused ambition. All things considered, Frank is likely to be one of the strangest films you’ll see at the cinema this year and it seems to indicate a departure from Lenny Abrahamson’s earlier films, all of which were set in Ireland and very much rooted in reality. The director, however, doesn’t see his latest as such a big leap from his previous work. “I think Frank and Adam & Paul share a stylistic link,” he told me, referencing his acclaimed debut film, “and even though Frank is more overtly a comedy than Adam & Paul, it has its darker or more poignant side. That shape where you can play along with this really pleasurable surface and then find yourself looking down into something much deeper seems to be a feature of both films.”
“The films I’m drawn to make are the ones that are very humane and possess a kind of unsentimental tenderness” Lenny Abrahamson
Having said that, Frank did present Abrahamson with one particular challenge that he had never faced before, namely the fact that his leading man’s face is obscured throughout by a large, round head with an ambiguous wide-eyed expression painted on it. This aspect of the movie did give the director cause for concern. “I used to think, what if we’re sitting in the edit a month after shooting the film and we look at each other and say, ‘Well, the head doesn’t work.’ I mean, that really could have happened.” Abrahamson and his production team spent a long time working out what this key prop should look like, and Frank’s head is different in small but crucial respects to the one worn by Sievey in his Frank Sidebottom guise. “The leap of faith I took was that if we designed the head right people would make an emotional connection to the character, and I think they have,” he explains, “People are very good at finding meaning in things, and in
18
Feature
Frank
fact they impose meaning on things if they can’t find it. Rather than closing down the expressive possibilities, it really adds to them and takes you into the territory you get with really great animation.” It wasn’t just Abrahamson who was venturing into unchartered territory with this character, though. Michael Fassbender has established himself as a remarkably talented and versatile performer since making his breakthrough in Steve McQueen’s Hunger, but by hiding his face Abrahamson essentially took away the greatest tool of expression that an actor possesses. Fortunately, Fassbender proved to be more than capable of adapting to these unique circumstances. “With Michael you’ve got someone who is so physically articulate and so good at adding the smallest tilt of the head, or doing something with the rest of his body or his voice, to create an incredibly rich character,” Abrahamson says. “I thought I would have to do an awful lot more work as a director to make scenes work with the actor’s face hidden. What I discovered was, if you just trust the scene and you work with the actor to find subtle ways to use inflections of his body and voice, he’s just there. The character just appears. You don’t feel you’re missing anything, and he’s no less expressive than any of the other characters in the film.” Abrahamson had to pay close attention to such fine details throughout the making of Frank, from the music (“Quite early on we decided that while the music was eccentric, experimental and
unconventional, it needed to be good”) to the way in which this unusual film should be marketed. A running gag in the film involves keyboardist Jon (played by Domhnall Gleeson) and his misguided obsession with social media, which prompted producers Film4 to create real-world Twitter and Tumblr accounts for the character. “Given that Jon’s tweets are the narration of the film, it was a lot of fun to create his account,” he says, “and actually it has been running for months. There’s a really rich backstory there and now it’s actually going to get even richer, because Jon is kind of going to go on the journey of the film and you’ll be able to see that reflected in his tweeting and blogging. In a nice way he’ll be able to point you in the direction of some of the musical influences that went into our creation of the band, and his YouTube choices will become more relevant. So there’s a nice bubble of interconnected content and material that adds to the experience of watching the film.” It’s a neat idea, but Abrahamson views social media as a double-edged sword and is keenly aware of its pitfalls as much as its benefits. “We’re all taught now that we have to be our own promoters and our own publicists, so people don’t just make things, they get out there and market it through social media,” he says. “Initially that was meant to be empowering and freeing because you could own that a little bit, you know, it wasn’t just about being signed to a record deal, you could get out via social media and do it yourself. But at the same time, those numbers
FILM
impose their own kind of tyranny. In Jon’s case, he’s somebody who confuses success with the numbers of hits and retweets and followers, so there’s a kind of quantitative metric these days of what counts as success.” Oddly enough, the fast-moving nature of modern media was made clear to Abrahamson just hours before we spoke on the phone, with the news of Brie Larson’s casting in his upcoming film Room being revealed on Twitter to his surprise. On the surface, an adaptation of Emma Donoghue’s novel is another film that presents a number of fresh challenges to the filmmaker, from working with a child actor in a confined space to capturing the book’s specific tone, but Abrahamson again suggests that it shares the same qualities that have distinguished his work to date. “Above all I find it very moving,” he says, “and I think the ultimate thing for me is that the films I’m drawn to make are the ones that are very humane and possess a kind of unsentimental tenderness. I make my choices in a very instinctive way, but I’m always drawn to something that I don’t quite know how to do and something I’m interested in exploring. You can’t know it completely at the beginning or there’s nowhere to go.” Frank is released 9 May by Artificial Eye Follow lead character Jon Burroughs on Twitter @JonBurroughs83 www.artificial-eye.com
THE SKINNY
Ladies Who Lunge Emma Jane Unsworth discusses her latest novel, “a filthy, funny story of friendship, love and animal instincts” set against a Rainy City backdrop
T
he first time I had a proper chat with Emma Jane Unsworth was exactly three years ago, at Manchester Literature Festival/Bury Text Festival’s subversive promenade literature event Station Stories, when the great and the good of Manchester’s writing scene, including Jenn Ashworth and Nicholas Royle, told tales about trains and travel. Unsworth was an audience member, listening in via headphones with her then boyfriend, Elbow frontman Guy Garvey, and I’ve since always thought of her as a bit of a glammed-up rock chick, all leather biker jacket and wantonly flowing locks. In her latest novel, Animals (published by Canongate this month), that side of her has materialised into protagonist Laura – except Unsworth is far nicer, and hopefully doesn’t have a best friend called Tyler. The novel follows the lives and loves of these two “wild” women as they egg each other on to a slippery slope towards oblivion, persistently getting drunk, endlessly taking drugs and constantly throwing themselves at the wrong kind of men. On the cover, Caitlin Moran describes Animals as “Withnail with girls,” which Unsworth says she was “very honoured” about, although she isn’t so keen on comparisons with the ‘ladette’ culture of a few years ago. “I see how these labels are useful for quickly capturing the mood, but I think we have to draw the line there, even with just one word, because otherwise there’s a danger of defining something as a carbon-copy of something masculine already in existence. Which isn’t
Interview: Sarah-Clare Conlon
particularly liberating.” In fact, Animals is much more than just a snapshot of modern minxes or, say, a knee-jerk kick in the pants to chick lit, and is chock-full of philosophising about art, love, science and religion. “I was interested in religion in Animals,” says Unsworth, “because I was interested in people living by rules that haven’t been given to them directly by the society they’re living in. Belief systems intrigue me. I’m a sucker for a regime but I don’t particularly like the idea of anyone telling me what to do, either. Science is more of a constant source of excitement and panic. I’d love to go back to uni and do a physics degree because I feel like I’m missing out.” There are also reams of references to art and literature. In the first chapter alone, we go from John Cooper Clarke to Ernest Hemingway via Edmund Spenser, while Laura’s surname is Joyce and Tyler spouts Chaucer to unsuspecting punters in the coffee shop where she works. I asked Unsworth whether this was a self-conscious decision. “In terms of Laura and Tyler, their friendship is forged through a love of poetry and that’s really all that holds them together a lot of the time. I also liked writing them as these pretentious drunks who went around quoting poetry – there was something extra bleak about that. In terms of me as a writer, I suppose I’m always wondering where, and whether, what I do fits in, so all that meta stuff is also me contextualising as I’m going along. But it isn’t random. The lines I’ve quoted are lines I love and want to share.”
each episode is given its own name, like in Don Quixote or something like that.” When Unsworth’s debut novel, the Betty Trask Award-winning Hungry, the Stars and Everything, was published by Hidden Gem in 2011, she told me she would be spending the summer editing the first draft of her second novel. Was that Animals? “It wasn’t Animals – it was another novel I wrote and then abandoned, even though I’d got to the second-draft stage. But it was just too bleak. And I like bleak, but this was too bleak even for me! My agent and friends were very tactful about it, but it needed to be set aside for a while really, so that’s what I did. Luckily, the idea for Animals started to come through, so I cracked on with that. I’m hoping to go back to the other one at some point, but I’ll need to change some major things about it. It’s about a boy in Rochdale who becomes obsessed with an orphan. Can’t imagine why it got everyone down.”
So were there any particular literary inspirations, contemporary or otherwise? “I read a lot of American writers and I really enjoy short stories. Sarah Hall is incredible and I’d give my right arm to write like her. In fact, take my left arm too. And my hair. But one of the biggest influences for Animals was The Last Werewolf by Glen Duncan. I’ve since read all his books and forced him to be my friend. His stuff made me braver, in terms of what I was prepared to examine morally, how deep I was willing to delve to work out what was really going on between the people I was writing about.” Unsworth explains the thinking behind her second novel’s name, which manages to sum up in one word the story of Tyler and Laura, who even describe themselves at one point as “savages”. “It was called The Rogue the whole time I was writing it, and I was incredibly attached to that title in a snowblind sort of way. Then the brilliant publishing director at Canongate, Francis Bickmore, reminded me of the Frank O’Hara poem Animals, which was so poignant in terms of what I’d been writing about that I instantly thought, ‘That’s my title!’” The chapters also have well-pondered headings (for example, ‘Near-death Experience in a Subterranean Bar’ and ‘An Inspiring Encounter that Causes our Hero to Sleep Under a Bush’); similar to the names of short stories, which Unsworth also writes. “Yes, I decided to give each chapter its own title because I liked the idea of riffing on a picaresque adventure story, where
“I liked writing them as these pretentious drunks who went around quoting poetry – there was something extra bleak about that” Emma Jane Unsworth
Both Animals and Hungry, the Stars and Everything are based quite prominently in Manchester, albeit with a few name changes (the Portico Library becomes the Georgian Library, for one). How important is place to Unsworth as a writer, and is the Northwest significant to her as a literary setting? “It had to be Manchester for Animals,” she says. “For a start, nowhere else in the world would put up with these two angry losers. Manchester’s very tolerant in that way. Changing place names (or not) is just a bit of superficial romanticising (or not) on my part. I’m not sure it necessarily denotes an easy transfer of the action. Using the Portico as an example: that kind of members’ library being a rare bastion of possibility for a wannabe writer with pseudoacademic leanings (like Laura) would only really happen in a large, grey-skied northern city.” So, what’s next on the novel-writing agenda? “At the moment I’m finishing the third novel, a chase story set around Scotland, about a woman who’s ruined her life and exiled herself in a campervan. She’s got a really bitchy wit and nothing left to lose, and that’s been a fun release after Animals, which was in many ways quite an anxious book.” We look forward to it. Animals is published by Canongate on 1 May
Emma Jane Unsworth
May 2014
BOOKS
Photo: Darren Hall
Its launch party takes place at Waterstones Deansgate, Manchester, on 1 May from 7pm, free but email in advance: events.manchester@waterstones.com www.emmajaneunsworth.com
Feature
19
20
THE SKINNY
Brain Box With Brainiac and Enon, John Schmersal embodied outside-the-box thinking. Kinks-inspired duo Vertical Scratchers squeeze back in
Interview: Jazz Monroe
here does John Schmersal live? It’s not the high-ceilinged lounge, salmon-coloured and cosy, where he presently entertains an LA friend’s goodwill. Nor the back of a tour van, festering in punk mythology. You imagine the singer gets by, modestly installed among relative comforts. But equally, you’d hardly blink if he retired to a large cardboard box under the Manhattan Bridge Overpass. “Well... I guess that’s all. Where are you based? We’re gonna be in Europe soon. Wait, have I talked to you before?” Schmersal, fidgety and eager, seems reluctant to end the conversation. “We’ve never met? Okay. You look familiar but that’s just part of me getting older I guess. Everyone starts to look familiar. Which is comforting. If it continues like this, the nursing home is going to be a great place.” Fortyish and tousled, Schmersal has hangdog eyes that dare you to underestimate him. He’s among indie-rock’s friendliest dudes, and a cursory analysis of his minor-legendary repertoire – from primordial synth-punks Brainiac, through Enon’s schizoid indie-rock and on to the Kinksian Vertical Scratchers – would diagnose a smoothly maturing career. That diagnosis is probably accurate. But with due respect, the generation-spanning songwriter doesn’t look mature. His physical appearance is resiliently adolescent. In passing, you suspect that this is not a born man but a Richard Linklater project canned in 1994. Certainly he’s good company – his conversational nous is warm and massive – but now and again you doubletake. The guy is cosmically unsettled. His atoms seem antsy, all heading different directions. It doesn’t help, of course, that he woke just an hour ago. “I feel like I’m allergic to LA,” he grumbles by way of apology, reluctantly activating webcam. “Christian [Beaulieu, Vertical Scratchers drummer] and his gal gave LA about a year,” he sighs, “before they decided they weren’t having it.” His tone betrays deep admiration of their foresight. Maybe his allergy isn’t to Los Angeles but to permanence. It was 2010 when the Toledoborn drifter –renowned in his native Ohio and later New York – left Philadelphia, a stronghold for gentrified-out Brooklynites. (The New York Times interviewed Schmersal for a 2005 article on Philly’s “Brooklynization”). He decamped to LA, a city for whose “terrible-sounding venues” he has little time and much vitriol. Nonetheless, it was one such venue where, during two days in 2012, Vertical Scratchers recorded their sweet, zinging zipwire of a debut. “Around the same time that Christian left,” he recalls, “I was recording this band, Crazy Band. So I said to him, ‘We’re recording at the Smell. You’re moving and we know these songs now. I think we should piggyback on this and record the songs.’” The Smell, the avant-garde and punk club that DIY duo No Age mythologised, wasn’t Schmersal’s first-choice. “If I like The Smell for anything, it’s because it’s bare bones. But recording there was a matter of convenience. That place is hilarious to me: it’s all the things that are awesome about any DIY space. It’s so dirty, there’s tons of cockroaches. Like, as I set up there’s zillions of cockroaches running around in that place. It’s a filthy downtown warehouse space that I’d expect to find in any city. It’s really a horrible place to be. But that’s also awesome.” The resulting record, Daughter of Everything, is the prettiest and most accessible of his career. Happily evoking Howard Devoto-era Buzzcocks, most of its tunes clock under two minutes. Schmersal, who contributes guitar, bass and
May 2014
Vertical Scratchers
vocals, sings with a meek, forgot-my-lunchbox yowl that riots over power-pop rhythms and trapdoor structures. It’s electric and goofy, the work of a cartoon band in a world of carelessly discarded banana peels. “It’s like a puzzle,” Schmersal says of the album. “I wanted something that looks simple and catchy, but has a story going on inside it. It’s kind of trite to compare yourself to the Beatles, the Kinks and the Rolling Stones, because they’re basically trademarks – I’m either pretentious for talking about them or not talking about them. But I fucking love the Beatles. Who shouldn’t be referencing the Beatles?” It’s cliché to praise artists resisting genresettlement (what serious musician doesn’t?) but Schmersal, like his touchstones, is perfectly unpindownable, a mother of reinvention. He helped immortalise 90s Dayton – along with Guided by Voices, whose Robert Pollard guests on Daughter of Everything – playing guitar in Brainiac; now, that band’s fanbase spans Death Cab for Cutie, Jeff Buckley, Muse, Nine Inch Nails and Future of the Left. After gaining a cult following on Touch and Go Records, the group were reportedly drawing Dreamworks’ attention when singer Tim Taylor died accidentally in 1997. Distraught but determined, Schmersal swiftly decamped to an old Masonic Temple where he recorded a four-track LP, Forget Everything, as John Stuart Mill. Soon after came Enon with Steve Calhoon and drummer Rick Lee, later of his improv-pop trio Crooks on Tape, though both were soon replaced. Schmersal, meanwhile, subsisted writing incidental music for Disney, Cartoon Network, MTV and Nickelodeon, and has sidelined since 2009 as Caribou’s tour bassist and back-up singer. For all the wanky neologisms his music attracts – art-punk, robot-rock, electro-spazz – it’s the feeble psych-pop tag that grates most. Enon sound less like hippies soundtracking
narcotic excursions than the drug daze itself, while Brainiac’s madcap synthpunk is more psychiatric than psychedelic. Now, rather than pushing further outside the box, Daughter of Everything sees Schmersal and ex-Triclops! drummer Beaulieu peek at the box’s blueprint, build a kickass bigger box and stuff in their plenitude of wicked wares.
“This album’s like a puzzle; I wanted something that looks simple and catchy, but has a story going on inside” John Schmersal
“There’s a sense in the world that there’s not a lot to be done,” muses Schmersal. “As often as you come across new genres and make up names for things, no one’s breaking the mould. So what was liberating about [Daughter of Everything] was that I’m not trying to break a mould. The Kinks, the Buzzcocks – those touchstones make sense to me. I wanted the attention span of the music, what’s happening in it, to be as concentrated as possible, like orange juice from concentrate in the freezer. The simplest piece that you can grab on to with the most nuggets within it, like a multivitamin.”
MUSIC
He continues: “There’s cool stuff happening in electronic music, but most of what I hear now, the bands are trying to brand themselves more than they’re trying to make an interesting album. One of my favourite recent records is Connan Mockasin’s Forever Dolphin Love. That’s one of the best records in the last five years. It’s a songwriterly-based album... hey, look at that!” He stops to admire a hummingbird out the window as his train of thought steams down the cliff face. “I guess I’m not paying much attention to what’s happening. But I am disappointed. I wish more people were striving to do something more than just write songs.” It’s buried, but close listeners won’t need help spying the subversion in Vertical Scratchers. As its title suggests, Daughter of Everything is a precocious brainchild whose ancestors span musical galaxies. It’s an unexpected stop on the Schmersal train that reveals a songwriter who’s homeless in the best sense, a cool wild breeze cross-pollinating musical graveyards, and his Midas touch sweeps from electro-pop to retro Anglophile rock. Still, in his company – massive, warm, all that – there remains a tingling sadness. It dawns that this man, with his quirks and beaming affection and admiration for hummingbirds – a man you’d lend your car as readily as your ears – is not, after all, quite as scatty as he looks; nor your best friend, rife for joshing. He is, rather annoyingly, a maverick. He dared, begged to be underestimated and you took the bait. After 40 minutes with Schmersal you feel you owe him something, are happy to give it. Indeed, here is a man you’d cheer on even as he nicked your TV. Not that he would, of course. John Schmersal is a class act, no matter what kind of box he lives in. Daughter of Everything is out now via Merge Records. Vertical Scratchers play Brudenell Social Club, Leeds, 7 May www.mergerecords.com/vertical-scratchers
Feature
21
Photo: Joseph Armario
W
Thinking Outside of the Black Box It’s time for Liverpool to make like Olivia NewtonJohn: let’s get physical, with Physical Fest Interview: Alecia Marshall Illustration: Caroline Dowsett
O
n 23 May, three men will hatch out of a gigantic egg, provocatively situated in the middle of Church Street. Posing as Neanderthals, the men will explore their contemporary surroundings, examine unsuspecting pedestrians and gradually piece together the dynamics of a world that has evolved as much as they have regressed. In reality, these sparsely dressed, guttural cavemen are inviting the general public into their world: the world of physical theatre. Welcome to Physical Fest 2014. Physical Fest is the only festival of its kind in Europe that specialises solely in physical theatre, attracting participants and artists locally, nationally and internationally. This year marks the tenth anniversary of its conception, to be celebrated with a palatable concoction of workshops, networking events, Q&As and, perhaps most importantly, innovative performance. But how many of us have experienced the radical nature of a physical theatre production? “Many people have a preconceived idea of physical theatre,” admits Elinor Randle, artistic director of both Physical Fest and Tmesis Theatre Company. “They assume they will not enjoy it – that it is difficult to understand and thus inaccessible.” A genre that relies heavily upon movement
and is known for its experimental opposition to the conventional narrative, “preconception” is the continued and unnecessary cross that physical theatre must bear. “It is a problem that I have struggled with personally,” confesses Randle. “[Tmesis] have toured extensively, both nationally and internationally, but it has become much more difficult to do so. Theatres are taking less risks. Suddenly a show that would have sold well before, despite being experimental, is difficult to produce.” It is perhaps this very problem that has prompted the programming of Physical Fest’s first ever Creative Conversation, hosted by performing arts network PANDA. Much in the style of Devoted & Disgruntled, Creative Conversations invites theatre lovers to participate in an informal debate surrounding an increasingly pressing question: How can we push the boundaries of artistic practice in an increasingly risk-averse climate? “Companies are reluctant to create experimental work,” says Randle. “All too often I am frustrated when I see things at Edinburgh [the Fringe] that everybody seems to rave about and I think are just really safe – people don’t want to be pushed anymore. Edinburgh used to be really exciting. There was a moment during my
last piece in which I felt tired and decided to do something more sellable… only to change my mind at the last minute. I do not want to be governed by that. How much do experimental companies have to compromise?” Despite her laments, Randle is optimistic and has plausible reason to be so: Physical Fest faces its tenth year of production and is attracting a myriad of attention. “Physical Fest is really growing each year and becoming well known internationally. I feel incredibly proud that Liverpool is a host city for this kind of work.” Supported by the Unity Theatre, Liverpool City Council, Arts Council and the Bluecoat, physical theatre is clearly a revered art. “Physical Theatre is not one particular thing but a host of sympathetic and conflicting influences: mime, circus, imagery, clowning, silence, sound, light, acrobatics, storytelling, music hall, variety,
puppetry, dance, the voice, the body,” explains Unity Theatre’s artistic director Graeme Phillips. “It can be narrative driven or entirely abstract. It can create whole and diverse worlds. At its best it can be jaw-dropping. Physical Fest allows audiences and artists to see and participate in a whole load of varied work from around the world, over an intense period of time.” With a programme encompassing both established and fresh work, appearing on stage, street and screen, Physical Fest epitomises the ‘something for everyone’ mantra. There is only one requirement: see something, experience the power of physical theatre first-hand. You will not be disappointed. Physical Fest 2014 takes place between 24-31 May at various locations throughout Liverpool www.physicalfest.com
Stories of Old Can history’s oldest narrative be revived for a contemporary audience? The involvement of Simon Armitage and Lily Cole is sure to help, right? Nick Bagnall discusses his latest production, The Last Days of Troy Interview: Alecia Marshall
O
nce upon a time, a mysterious, sightless poet – whom scholars believe was named Homer – embarked upon the composition of a vast, sprawling narrative, recorded entirely in dactylic hexameter. The tale was to be called Iliad: a narrative of gods and glory, of fate and wrath. Homer became the elusive founder of the epic poem and his Iliad a fundamental influence upon the arts and science of Western culture. The Iliad has a lot to answer for: its hungry battle scenes prompted the locking of swords between Brad Pitt and Eric Bana in Wolfgang Petersen’s Troy; its beautiful command of language inspired Madeline Miller to write Orange prize-winner The Song of Achilles; and its riveting characters provide the substance for new play The Last Days of Troy. Charging onto the stage in the guise of a visceral retelling from Yorkshire-born poet, novelist and playwright Simon Armitage, Iliad continues to cement its position as a literary masterpiece. Or so we may think. “[Illiad] is a gorgeous read, but I have thrown it out of the room. It is just not helpful anymore. Simon has given me what I need. He is a genius writer.”
22
Feature
So are the words of theatre director Nick Bagnall. The man behind The Globe’s innovative Henry VI trilogy, Bagnall knows a thing or two about epic narratives: “The plays that I gravitate towards are always incredibly challenging,” he says. “I like being on the floor with big epic things and The Last Days of Troy is no exception. It is quite a tricky one...” Tricky is an understatement. Spanning over 600 pages in most modern translations, with no fewer than 26 major characters, the Iliad is no easy text to grapple with, never mind condense into a mere two acts. “Simon has found a way of streamlining the narrative to make it really exciting and theatrical,” says Bagnall. “This is about dealing with the play; not the world around it. We could spend three weeks talking about one particular character in The Last Days of Troy because there is so much to be said. I’ve decided to leave all of that outside of the room and just deal with the beautiful words of the script.” But Armitage’s dramatisation is much more than beautiful: it is resonant. Through The Last Days of Troy, he considers how we are locked in the same cycles of conflict and revenge, of East versus West, and the same mixture of pride, lies
Lily Cole
and self-deception that fed the Trojan War. “It couldn’t be more relevant to a contemporary audience,” Bagnall stresses. “It is a deeply political play. Look at Syria, Libya: these places are still experiencing conflict. There are still thousands of innocent lives being lost because we go to war, for what is essentially decisions that we are not party to. That is what this play is: the first recorded war – only this war rages on for ten years and it is all to do with a man stealing a woman.” The woman in question is Lily Cole: international model and actress, with an estimated worth of £8.5 million. Her wealth seems important to mention in the context of her character, Helen of Troy, deemed the most beautiful woman in the world and thus the possession of Menelaus, a king of Mycenaean Sparta. Despite the recent controversy surrounding the trend of big names in theatrical roles (upon this, Bagnall
THEATRE
is quick to interject that Cole is treated the same as everybody else), Cole appears perfect for Homer’s femme fatale. “What is so exciting about having Lily as Helen is what she brings with her naturally. She is an incredibly beautiful creature. In Homer’s Iliad, Helen is a walk-on part, we only hear of her. What Simon has done – which is really incredible actually – is make her a major player.” Joined by 11 other major players, Cole will be premiering the play at Manchester’s Royal Exchange before it moves on to Shakespeare’s Globe at the beginning of June. Homer would be proud. The Last Days of Troy runs from 8 May-7 Jun at Manchester’s Royal Exchange Theatre before moving to Shakespeare’s Globe, London www.royalexchange.co.uk
THE SKINNY
T EMA EL. 0161 VISIT IL. CE 661 4 . WW NMA 201 W.M N@C ANC ERVA HEST NTE ER.C S.ES ERVA NTES .ES
Image: Megan Mandeville BA (Hons) Fashion Promotion with Styling
EXHIBITIONS
Join us at our degree show exhibitions and see our students’ most creative work in the fields of Architecture, Design, Fashion, Fine Art and Photography. All welcome – free parking and free admission
Private View Fri 13 June, 6 - 9pm Public View Mon 16 June – Sat 21 June, 10am - 6pm Guided tours available for industry Call 01772 894106 or book online: www.uclan.ac.uk/cf
@UCLanCF // #ds14 // www.uclan.ac.uk/cf
May 2014
23
“SUCH A BAD MAGAZINE” is an opinion Are you a reader? Would you give us your constructive and honest feedback on what we create and what we want to create? If the answer is yes, please consider becoming part of our ‘Shite or Right’ team. feedback@theskinny.co.uk or ask for Sophie on 0161 833 3124 @theskinnyNW
I N D E P E N D E N T
24
C U LT U R A L
/TheSkinnyMag
J O U R N A L I S M
Illustration: Hannah Bitowski
THE SKINNY
Let’s Get Together, Yeah Yeah Yeah Clifford Owens’ new exhibition at Cornerhouse deals with performance and participation in their most extreme forms. Curator Daniella Rose King and collaborator David Blandy talk us through Owens’ engaging and complex process
Photographs with an Audience (Miami): Push and Press #1-3 (2011)
Photographs with an Audience (Miami): Topsy/Turvy (2011)
‘T
his is an opportunity to take part in a completely improvised and unpredictable environment, where the level of individual engagement can be small or great. The event is likely to test boundaries and levels of risk, so please bear this in mind. Please note, not everyone photographed will end up in the exhibition.’ This was the call-out to participate, posted on the Cornerhouse website in 2013 – and the ‘improvised and unpredictable environment’ that the potential audience was invited into was convened by ‘ringleader and provocateur’ Clifford Owens, an artist based in New York and whose exhibition, Better the Rebel You Know, opens at Cornerhouse, Manchester, on 10 May. Amazingly, this is Clifford Owens’ first ever exhibition in the UK (in fact, in Europe), which could explain why Owens’ work is not necessarily on many people’s radars. With a background in photography, Owens has been working on the US performance circuit for many years and has shown at multiple Performas. It was not, however, until his major 2011 exhibition, Clifford Owens: Anthology, at MoMA PS1 in New York, that his work really began to gain worldwide visibility. Cornerhouse’s exhibition brings together work from the PS1 show, and has commissioned a new iteration of the Anthology project and a newly commissioned version of his photography project Photographs with an Audience. The exhibition is curated by London-based Daniella Rose King, and stands to be one of the most interesting things coming up in the Northwest’s – if not the UK’s – 2014 arts calendar. Held in October last year, Photographs with an Audience hosted around 20-30 people at Cornerhouse over two evenings for an experience in performance, provocation and imagemaking. Owens started the evenings socially, with beer, wine and conversation, slowly revealing snippets of information about himself (experiences of family alcoholism, drug use or relationships with partners) before turning the tables on his audience and asking them questions – “Who here has had an alcoholic parent?”, or “Who has taken cocaine?” Those that volunteer this information are then asked to be photographed as a group, and an image is made of this both connected and disparate group before the conversation moves on. Owens’ questions alternate between the light and the provocative, but all demonstrate his own
May 2014
interests – that of how groups or, sometimes, temporal communities are formed, how we perform our own truths or identities and categorise ourselves or are categorised by others. “The situation can be quite tense,” says King. “It’s quite powerful and can be tricky to know what you think about the performance or where you situate it, but the ideas are really at the heart of Clifford’s practice. He talks about how performance is a kind of gift economy, it’s always an exchange and the performer is so totally at the whim of the audience – they change everything: the atmosphere of the room and even the actual performance itself and what it turns out to be. I’ve been to a lot of performances where it feels like the audience is peripheral, they don’t really need to be there. This is very different. The audience can ask questions and take control of the situation entirely if they wish.” Audience reactions can be incredibly mixed. You only have to search online for Owens’ work to know what an emotionally charged response participants can have. One thing is clear: people want to talk about it, and during the event they can be very forward about delving into elements of their personality and history, which contributes to a sense of laid-bare, stark truth. “It’s surprising how generous and revealing people are about their character,” says King. “You’re always performing yourself in a way. There were moments in this performance where you thought, ‘What exactly am I doing here?’ But some moments are very tender and you can see this immortalised in the photographs.” Although Photographs with an Audience is sure to garner the most press attention – its local participants and provocative nature make for a great story – it is the ever-evolving Anthology that is arguably the more interesting and complex project. Anthology was first presented in Owens’ PS1 exhibition and consists of a series of performative suggestions, or ‘scores’, that he approaches a range of artists to write for him; he incorporates them and makes a certain number of live performance works, exhibiting both original score and documentation of the event. “The beauty of Anthology is that many of the artists he approached don’t work with performance,” says King. “It wasn’t about a literal kind of performance survey or anything; it was just about bringing in people that are part of a community that he’s a part of – the black artists’
Interview: Sacha Waldron
community in the States – and engaging in conversations that would spark other questions and conversations. The work deals with questions about how few examples of black performance art there are to be found in the mainstream – questions about the canon, what gets left out, what gets included and why.” The original PS1 show included the scores of 26 artists, including Coco Fusco, Senga Nengudi, Benjamin Patterson and Glenn Ligon (with David Hammonds). It was Kara Walker’s score, however, that caused the most controversy. Her instruction for Owens – ‘French kiss an audience member. Force them against the wall and demand Sex. The audience/viewer should be an adult. If they are willing to participate in the forced sex act abruptly turn the tables and assume the role of victim. Seek the help of others. Describe your ordeal. Repeat’ – has been much discussed in the press, and sometimes it is not necessarily grasped that it is Walker’s instruction and not, when performed by Owens, a predatory threatening act of Owens’ design.
“It’s surprising how generous and revealing people are about their character” Daniella Rose King
In a collaborative effort between Owens and King, 20 new scores, by UK-based artists, have been added to Anthology, and the focus of inclusion has shifted slightly. “We decided to expand the notion of black to a political black and allow for ideas of immigration, marginalisations and identity politics,” says King. A slight departure for Owens, this broadening out of Anthology allows for new and interesting voices to be added to the mix – including David Blandy, who is fully aware of his (some might say) problematic position of being a white UK artist contributing to a project that, at its core, is about the representation of black performance artists within the art canon.
ART
Identity, race and the post-colonial position have always, however, been part of Blandy’s work and it would be a loss to the project to not include him. “I think his work really justifies inclusion, in terms of how he works with identity, and I think it speaks to questions we are facing today of post-identity – which is the question of who does identity belong to?” says King. Blandy’s score consists of an instruction paragraph and long-list of dance names in chronological order, taking in everything from tap to voguing, Crip Walk to breakdancing. “I thought it would be the perfect opportunity to formalise an idea I’ve had floating around for a while,” says Blandy. “The score is called A Brief History of African American Dance. It was the result of several different thought processes coming together, thinking about the cultural history of African American dance, how it contains the history of the crossing, slavery, underground movements. But also about the appropriation of those forms by the white culture industry, from tap dancing to twerking; then there’s the cultural value of these artistic forms, never appreciated as ‘high art’ in the way avantgarde dance has been. I was thinking of a form of ‘answer piece’ to Tino Sehgal’s Twenty Minutes for the Twentieth Century.” Owens occupies a curious position within his work. He is at the centre of a constellation. Bringing so many different people and ideas into the mix, the world of his work seems a lot larger than himself – a factor that only strengthens the power of what he has to say, as he is both an agent and a conduit. Although the exhibition will run at Cornerhouse until 17 August, its most powerful and exciting element – Owens’ live performance of the scores – will occur over the opening days. This will be a unique opportunity to witness Owens in action and in quite an intimate setting. Now that Owens has made his first forays outside of the USA, we suspect he will be hungry for more – new audiences, new collaborations and new creative potential. Clifford Owens, Better the Rebel You Know, 10 May–17 Aug, Cornerhouse, Manchester Performance times are as follows: Thu 8 May between 6-7pm (Naomi Kashiwagi, Jack Tan); Fri 9 May during the exhibition preview from 6pm (David Blandy, John Akomfrah and Trevor Mathison, Godfried Donkor, Lynette Yiadom-Boakye); and Sat 10 May (David Blandy, Jack Tan, Lubaina Himid, Lynette Yiadom-Boakye) www.cornerhouse.org
Feature
25
A Field in England (or Scotland) O
ver the last three months, we’ve taken a look at some of the highlights from the European and international festival circuit, chatting to the likes of Warpaint and St. Vincent; and last month, we asked Factory Floor, Daniel Avery and others to talk us through the best of the UK’s showcase and ‘in the city’ festivals. This month, we come to the motherlode – the UK field festival calendar is more packed than ever, with events ranging from tiny, boutique shindigs tucked away in the grounds of country homes and farmers’ fields, to the spectacle of the big event festivals like Glastonbury and T in the Park, which offer starpacked, sprawling bills and epic, hedonistic tentbased adventures. In the past it was more than possible to do a round of the entire circuit, taking in Glasto and Reading down south before heading north for T. Attempting that now would leave most festival punters with empty wallets and sore heads – so the smart thing to do is pick which kind of festival experience you want. Small and intimate, with new bands to discover and quirky experiences to be had? Or gigantic and memorable, with once-in-a-lifetime sets from the world’s biggest bands? It’s all there for the taking, and The Skinny has narrowed down the options for you with the final part of our guide to this summer’s festival madness. The Pulse Festival (23-25 May, Sunnyfields Farm, Ipswich) promises a family-friendly festival, with pop-up restaurants, local ciders and beers, and two stages of bands, with crowd-pleasing stuff from the likes of Fun Lovin’ Criminals, The Correspondents and Mr. Scruff. The Parklife Weekender (7-8 Jun, Heaton Park, Manchester) boasts one of the best bills for a small festival in the UK this year. Big name headliners include Snoop Dogg, Foals, Rudimental and Kendrick Lamar, while a little further down the bill you’ll find Warpaint, Jon Hopkins, Tensnake and Chromeo. One of the undoubted highlights is a double-feature from Flying Lotus, playing as FlyLo and also as his hip-hop alter-ego Captain Murphy. Download (13-15 Jun, Donington Park, Derby), the UK’s biggest celebration of all things metal, also has a curiously retro slant to its bill this year, with Twisted Sister and Aerosmith leading the charge, presumably with the aid of Zimmer frames. There’s commercial fare from Linkin Park, Fall Out Boy and Avenged Sevenfold; straight-up darkness and gory excess from the likes of Rob Zombie and Opeth; hardcore from \ The Dillinger Escape Plan. Even Status bloody Quo are playing. All yer rock needs, um, catered for? Alternatively, there’s the smaller but arguably slicker Sonisphere (4-6 Jul, Knebworth Park, Hertfordshire) who welcome The Prodigy, Iron Maiden, Deftones and Metallica, as well as the likes of Mastodon, 65daysofstatic, and Therapy? playing their classic Infernal Love. On an experimental tip, Birmingham’s Supersonic (30-31 May, Custard Factory, Birmingham) sees the city’s Custard Factory venue taken over for a super-limited, 400-ticket showcase festival. Although not strictly fitting this article’s remit of field-based festivals, we would be remiss not to mention Supersonic due to its killer bill, this year featuring Swans, Matmos, Wolf Eyes and the KLF’s Bill Drummond, among others. Of course, the big daddy of the UK festival scene is, and probably shall remain, Glastonbury (25-29 Jun, Worthy Farm, Pilton). It’s safe to say Glasto is the ultimate ‘experience’ festival, at least by reputation, with its sheer scale, its after-hours entertainment and community
26
Feature
spirit making the place a pilgrimage for music fans, regardless of who is playing. Nonetheless, this year’s bill offers an embarrassment of riches, including high-profile slots for the likes of CHVRCHES and Mogwai, alongside everyone from Four Tet to Jurassic 5, and ESG to Interpol; from Kasabian to Skrillex, and from The Sun Ra Arkestra to Massive Attack. There’s literally something for everyone, so if you’re lucky enough to have a ticket, enjoy it!
Quartet and others. Also returning in Scotland this year is the warm, friendly, boutique experience that is Kelburn Garden Party (4-6 Jul, Kelburn Castle, North Ayrshire), which goes from strength to strength, and last year featured spoken word, a wandering brass band, and that rarest of festival treats, reasonably priced craft beer. This year’s highlights include Red Snapper, Dolphin Boy, and a who’s who of underground, roots and experimental music. The other enormo-festival worth checking out is the twin-headed hydra that is Reading & Leeds (22-24 Aug, Little John’s Farm, Reading, and Bramham Park, Leeds). Like T in the Park, the main stages are dominated by commercial pop, rock and indie, with the likes of Paramore, Blink 182 and Arctic Monkeys heading up the bill, but with a packed line-up, yet again there’s something for everyone here, with sets from Queens of the Stone Age, Vampire Weekend, CHVRCHES, Warpaint, Temples, Die Antwoord, and a few choice electronic and hip-hop acts including SBTRKT, Andy C, and Danny Brown. The Hop Farm Festival (4-6 Jul, Hop Farm, Kent) have an eclectic bill, with My Bloody Valentine, The Horrors, reggae legend Jimmy Unmatched in Scotland, at least in terms of Cliff and Dinosaur Jr. leading the bill – elsewhere scale, is T in the Park (11-13 Jul). The main stage you’ll find DFA-signed Afrobeat, hip-hop and plays it safe this year, as has become its custom, soul wunderkind Sinkane, The Presidents of the with sets from Biffy Clyro, Calvin Harris, Paolo United States of America, and Glasgow punk Nutini, Pharrell Williams, Elbow and the Arctic collective PAWS. Truck Fest (18-19 Jul, Hill Farm, Monkeys. But as always, there are some real Oxford) offer sets from White Lies, The Cribs and treats lurking in among the bill, with the return Peace, as well as party-starter Andrew W.K., Los of Soul II Soul, a bigger stage for CHVRCHES, DFA Campesinos!, Dan Croll and Deap Vally. analogue techno trio Factory Floor, Odd Future In London’s Victoria Park, the two-day, phenom Earl Sweatshirt, and the always-exceldance-oriented Lovebox (18-19 Jul, Victoria Park, lent Slam Tent, which this year promises Dave London) offers some exciting highlights – alongClarke, Carl Craig, Alex Smoke, Sven Väth, Julio side big-hitters like Chase & Status, M.I.A., Nas Bashmore and others. performing the classic Illmatic and Moderat, Scotland has several quality festivals on you can catch sets from Ninja Tune beatsmith the go aside from T these days – including the Bonobo, LuckyMe’s Joy Orbison, post-dubstep only festival which culminates in the ritual sacripioneers Mount Kimbie, and Brainfeeder mentalfice of a pagan icon, Wickerman (25-26 Jul), who ist The Gaslamp Killer. Mount Kimbie also pop have pulled some big names out as headliners up at the Farr Festival (18-20 Jul, near London) this year, such as Dizzee Rascal and Del Amitri. along with Hercules & Love Affair, Scuba, Daniel But it’s the Solus Tent we recommend, where Avery, Andrew Weatherall and others, providing a for the first time, Scottish hip-hop takes centre more boutique alternative to the more commerstage with Young Fathers and Hector Bizerk head- cial setting of Lovebox. Jabberwocky (15-16 Aug, lining, plus rising hip-hop/ R&B star LAW, and the ExCeL Centre, London) is a new venture from the cream of Scottish indie and rock including the folk behind All Tomorrow’s Parties, Pitchfork The Amazing Snakeheads, Tuff Love, Cairn String and Primavera – it’s bound to be an eclectic
“This month, we come to the motherlode – the UK field festival calendar is more packed than ever”
Words: Bram E. Gieben
highlight of the calendar, with Tri Angle’s Forest Swords, Warp’s Patten and James Blake providing electronic highlights, with Neutral Milk Hotel, Pissed Jeans, Liars and Kurt Vile representing the guitar-slingers. Happening at the same time, Beat-Herder (18-20 Jul, Ribble Valley, Lancashire) offer a similarly beats and bleeps-focused experience, with headline sets from 2manydjs, Mr. Scruff, Eats Everything and Happy Mondays. The increasingly popular Latitude (17-20 Jul, Henham Park, Suffolk) is headlined by Damon Albarn, Two Door Cinema Club and The Black Keys, alongside Mogwai, Lykke Li, Tame Impala, Julia Holter, and re-formed shoegaze pioneers Slowdive, among others. Like the Parklife Weekender, the Latitude bill is pretty monumental, so check online for details of who else is playing. Another excellent mid-sized outing is Beacons (7-10 Aug, Heslaker Farm, Skipton) with a lineup of searing quality, including Darkside, Action Bronson, The Fall, Hookworms, King Creosote, Girl Band, Golden Teacher and many others. Quite apart from that, Beacons has a tempting array of craft burgers, beer and coffee, and a diverse programme of arts installations and workshops and other creative pursuits on the go, making it a very tempting prospect. One of the UK’s best boutique festivals, the Secret Garden Party (24-27 Jul, Mill Hill Field, Huntingdon) features a paint fight, theatre, art, and ‘guerilla science’ – as well as an amazing bill headed up by Public Enemy, Martha Reeves & The Vandellas, and Morcheeba, and also featuring Honeyblood and The Amazing Snakeheads, among others. Kendal Calling (1-3 Aug, Lowther Deer Park, Lake District), another growing event which has managed to maintain its authentic, free party roots, features a few re-formed 90s stars like Suede and the Happy Mondays, as well as De La Soul, Frightened Rabbit, Augustines and others. BoomTown (7-10 Aug, Matterley Estate, Winchester), a four-day affair returning for its sixth year, divided into ‘districts’ with areas for kids, a specially built pirate ship, and many more weird and wonderful attractions, also features a decent line-up, with The Cat Empire, NOFX, Tinariwen, Eats Everything, and a wealth of indie, punk, dub, bass music and techno spread across its stages.
Beacons Festival
MUSIC
THE SKINNY
Photo: Nick Bojdo
We take a look at the wealth of experiences on offer on the UK festival circuit, focusing on the thriving and growing number of boutique outdoors festivals, and the big-top extravaganzas of T in the Park, Glastonbury, and Reading and Leeds
KJ IHQ GREEN MAN
POLNM BEIRUT C NEUTRAL MILK HOTEL C BILL CALLAHAN C CARIBOU C FIRST AID KIT C THE WATERBOYS C DAUGHTER C THE WAR ON DRUGS C ANNA CALVI C SHARON VAN ETTEN C POLICA C REAL ESTATE C KURT VILE & THE VIALATARS C NEKO CASE C PANDA BEAR C MAC DEMARCO C OTHER LIVES ANGEL OLSEN C SUN KIL MGN C SIMIAN MOBILE DISCO PERFORM WHORL C TOY C JONATHAN WILSON C HAMILTON LEITHAUSER C JEFFREY LEWIS & THE JRAMS C THE 2 BEARS C BOY & BEAR C NICK MULVEY C I BREAK HORSES C TUNNG C RY X C FRANCOIS & THE ATLAS MOUNTAINS C FRANK FAIRFIELD C MICHAEL CHAPMAN C TELEMAN C EAST INDIA YOUTH C SPEEDY ORTIZ C LANTERNS ON THE LAKE C FAT WHITE FAMILY C MUTUAL BENEFIT C STANLEY BRINKS C ADULT JAZZ C SAMARIS C WOMANÕS HOUR C WILLIAM TYLER C ZACHARY CALE C 9BACH C OÕHGLEY & TIDOW C SAMANTHA CRAIN C GEORGIA RUTH C GARETH BONELLO C MARIAM THE BELIEVER C MY SAD CAPTAINS C ALL WE ARE C FARAO C LAURA GROVES C HAPPYNESS C PLANK! C HOCKEYSMITH C HIGHASAKITE C ALICE BOMAN C FAMY C EAVES C MICHAEL A GRAMMAR C SONS OF NOEL & ADRIAN C WE ARE CATCHERS C THE RAILS C BABE C VALLEYERS C JOHN MOUSE C THE MAY BIRDS C PLUS MORE TBA
BEST MEDIUM SIZED FESTIVAL UK FESTIVAL AWARDS 2�10
May 2014
14Ð17 AUGUST GLANUSK PARK BRECAN BEACONS SOUTH WALES
Ð 2O14 Ð
TICKETLINE.COM/ GREEN-MAN 0844 888 9991 GREENMAN.NET
GRASS RGTS FESTIVAL AWARD UK FESTIVAL AWARDS 2�12
27
Go Toward the Light From fire shows to dazzle ships, LightNight floods Liverpool with luminous displays of creativity in May. We take a look at the programme Interview: Jamie Dunn
O
ne of our chief aims here at The Skinny is to shine a torch on the great creative events happening in the Northwest that might go unnoticed by those who don’t have an eagle eye on the region’s cultural scene. Liverpool LightNight, however, cannot be missed. Rather than hide its light under a bushel, on 16 May it releases it across the city, dazzling unsuspecting passersby with its multitude of happenings. Now in its fifth year, it has become a key event in Liverpool’s cultural calendar, bringing a wide range of the city’s artists and performers together for a luminous night of creative expression. “So many of these arts organisations are here all year round,” says Charlotte Corrie of Open Culture, the festival’s producers, “and LightNight is an opportunity for them to show themselves off to new audiences, try out some new things and just have a real play.” Liverpool’s architecture and civic spaces become metaphorical and literal canvases for the street events (all of them free) happening throughout the night. The Churchill Way flyover gets a photon makeover from 10pm as Friends of the Flyover invite lighting designers to transform the eyesore into a light installation, while over at Ropewalks Square, glitch artist Antonio Roberts turns the space into a digital control panel of dancing light. “Throughout the night people move between the various venues taking part,” says Corrie, “and that’s why we like to try and create some animation on the streets between those venues.” One of LightNight’s key sound and light animations, Sound Battle, will be on the move
throughout the night. The event sees The Kazimier art collective go head to head with The Harlequin Dynamite Marching Band four times at four different locations across the city (on Church Street, outside Tate Liverpool, outside Liverpool Metropolitan Cathedral and outside the Anglican Cathedral). “It’s a clash of sounds,” says The Kazimier’s artistic director Laura Brownhill, who’s heading up the project. “The band is split in two halves, with a central point that will be like a base station. Half of the band is drums, and the other side is horns.” Like many events throughout this year’s LightNight, Sound Battle nods to the centenary of the outbreak of the First World War. Using sound to light technology, the instruments are synced up to panels that link together to create a ‘dazzle ship’. One of WWI’s most curious and eccentric warfare techniques, dazzle ships were battleships festooned in a jazzy camouflage of elaborate geometric decoration that made their range, speed and headings difficult to estimate. “The idea is that the two halves perform a musical retort where they are battling against each other with sound, and there’s a whole light display that comes when each of the instruments make music,” explains Brownhill. “So when we come together as a complete group the panels that are surrounding our bodies and instruments all shape together to create the illusion of a dazzle warship.” The most heartening aspect of LightNight is that it encourages idiosyncratic partnerships: artists and venues that wouldn’t normally fit together find the freedom to collaborate
Harlequin Dynamite Marching Band
under LightNight’s creative banner. “Trying to use interesting collaborations is an important part of it,” notes Corrie. For example, PZYKSONG sees Liverpool Psych Fest let some of the leading names from the psychedelic underground set their anthemic drones and mesmeric strobes loose in the grand surroundings of Liverpool Anglican Cathedral, with choral singers lending support. “It’s a way to make people think about a space differently or engage with something absolutely new,” adds Corrie. “It might open their eyes to something that they didn’t know was on their doorstep. That’s one of our key straplines: ‘do something different on a Friday night.’” Scanning through the programme, there’s
plenty that’s different: from shotokan karate workshops to a candlelit vigil through the labyrinth that is Blackburne House. There’s also a late-night celilidh and a chance to see a fire performance from the Bring the Fire Project, who describe the event as “a cutting edge performance comprising live drumming, extraordinary fire costumes and installations with a mixture of stylistic elements taken from Japanese traditions.” LightNight, various venues, Liverpool, 16 May, 4pm-late. Most events are free www.lightnightliverpool.co.uk
Street Art Leafy Chorlton gets a splash of bold colour this month when several of the Northwest’s up-andcoming artists display work across the Manchester suburb during the Chorlton Arts Festival Interview: Rob Allen John Powell-Jones
I
f the sign of a good arts festival is the way its presence is felt by the people of the town or city that hosts it, then the coming ten days’ worth of performing and visual arts heading to Chorlton definitely has the key ingredient. Returning for its fourteenth year, the Chorlton Arts Festival has taken its responsibilities in both cultivating the careers of new artists, and ensuring their work is accessible to all, very seriously. Nowhere is this more evident than in this year’s Ascent outdoor visual art commissions. A simple enough concept, the festival team has handed the same 150cm x 60cm blank canvas to seven of the city’s most exciting young artists, promising to display their responses on Chorlton’s streets. It really is that simple, and the absence of a strict rulebook is intentional, offering each artist almost unlimited freedom. Rivca Burns, festival coordinator and Ascent curator, says: “Where many festivals
28
Feature
fall back on more established names, we wanted to engage with up-and-coming artists from the city’s thriving scene. We came up with Ascent, showcasing artists’ work on boards outside local bars, and devised a very loose brief – the only rule being that each artist has to use only primary colours, really keeping it simple.” Those artists include two members of Manchester’s Volkov Commanders performance collective, Aliyah Hussain and Anna Beam; character illustrator ARISU; graphic artist Alan Dalby; artist and DJ Michael Holland; and renowned screen-printer SAVWO, also known as John Powell-Jones. For Powell-Jones, it has been an opportunity to use ideas he’s been working on, but on a larger scale. “I have been given free rein to do what I want,” he says, “but have to be mindful that there will be families in the area. My boards will be inspired by many
of the graphic artists that I really admire, like Robert Crumb. Essentially, it will be a scene from a comic that I have been working on, making it really bright so that it stands out.” Being mindful of the accidental audience, exercising some level of restraint is something that Alan Dalby has also considered despite the finished work having to vie for attention outside busy bars like Electrik, The Beagle and The Spoon Inn. “I’d rather do something interesting than attention seeking,” says Dalby. “It would be bad to try and be eye-catching for the sake of being eye-catching. All of the work should naturally create attention anyway, given the fact they’re all being produced with limited, bold colours.” As happy as the organisers are to have people happen upon each artist’s work as they stroll Chorlton’s streets, there is an interactive twist in store to enrich the viewer’s experience. Burns
ART
explains: “People can collect a map from the festival hub at Chorlton Library and follow the trail, picking up an item left especially for them to find at each location. Bringing them back to the library, they will get the chance to assemble the items in a frame to make their own unique artwork.” In organising more than 130 events encompassing comedy, music, spoken word, digital practice and the visual arts, while ensuring that 80 percent of the events remain free of charge, Chorlton Arts Festival is certainly making the effort to ensure its lively – occasionally eccentric – local community feels at home in its company. The Ascent artworks will be on display at various locations around Chorlton during the Chorlton Arts Festival, which runs 16-25 May www.chorltonartsfestival.com
THE SKINNY
UNIVERSAL EVERYTHING PRESENT TRANSFORMER AT THE NATIONAL FOOTBALL MU SEUM, THURSDAY 15 MAY 2014. MUSEUMS AT NIGHT. Museum open 10am - 10pm Bar open 6pm Transformer lights up 8.30pm
May 2014
Free entry. All welcome. Bring your voice. nationalfootballmuseum.com Cathedral Gardens, Manchester, M4 3BG
@FootballMuseum
29
Graduating Class Ahead of Graduate Fashion Week, Liverpool John Moores University will play host to a series of runway shows, showcasing the work of graduates from the School of Art and Design’s Fashion Design course
Words: Alexandra Fiddes
Alicia Littler
Photographer: Nuala Swan www.nualaswan.com Styling: Alexandra Fiddes www.alexandrafiddes.co.uk Make Up & Hair Styling: Kimberley Dewar www.tinyurl.com/KimberleyDewar @Colours Agency Model: Kaitlin @Colours Agency Garments: Liverpool John Moores University Shoes: Topshop www.topshop.com
N
ow in its tenth year, Liverpool John Moores University’s much celebrated annual Fashion Catwalk Show will showcase the final year collections of some of the most promising fashion students in the Northwest of England. Fashion at LJMU is firmly established, with classes in dress and textiles introduced as early as 1936. In recent years the course has established a celebrated reputation, producing innovative and gifted designers who have gone on to
30
Lifestyle
secure a broad range of jobs within the international fashion industry. Offered within the School of Art and Design, the course has two pathways, Fashion Design and Fashion Communication, which work both independently and collaboratively for joint projects. The draw to study in Liverpool is underpinned by the city itself, which forms a creative platform for research and design development. On Thursday 29 May, the John Lennon Art and Design Building will play host to two catwalk events (6.30pm and open to the public at 8.30pm), showing the work of 15 new graduating designers. The inspirations behind the 2014 show collections are diverse, with influences coming from sources such as an abandoned mental asylum building, the concept of slavery and the contrasting atmospheres of light and dark. This year’s LJMU graduate catwalk show will also include mini collections by L5 students taking part in a live project with the leading worldwide suppliers of raw cotton, Plexus. And,
Olivia Iwediebo
after the runway event, there will be an exhibition of work by students of the sister course, Fashion Communication (see interviews carried out by the students with the designers featured in this spread online at theskinny.co.uk/fashion). Following this local presentation of Fashion Design collections, the students and staff of the LJMU Fashion course will make the journey down to London to take part in Graduate Fashion Week (GFW) – the world’s leading event for fashion graduates, where the collections from over 1000 graduates from the most significant and exciting UK and international universities will be seen by around 20,000 guests. GFW previous participants include some of the most renowned designers today, including Christopher Bailey, Stella McCartney, Giles Deacon, Matthew Williamson and Julien Macdonald. This year GFW will run from Saturday 31 May to Tuesday 3 June 2014 and will be held in the Truman Brewery, at the heart of London’s East End, for the first time. For those unable to make it to the big smoke,
FASHION
head to the Liverpool School of Art and Design degree show, which runs for two weeks from 29 May and will exhibit the Fashion collections (along with work from Architecture, Fine Art, Graphic Design, Interior Design and more). Check out The Skinny’s exclusive shoot with our pick of the Liverpool John Moores graduating class. Who do you think will be the next big thing? Liverpool School of Art and Design Degree Show, private view (all welcome) Thu 29 May, 5pm–late, with the Fashion Catwalk Show commencing 8.30pm, by advance booking: phone 0151 904 1216 or email lsad@ljmu.ac.uk Exhibition opens to the public 30 May–13 Jun, 10am-6pm, 12pm-6pm weekends Held at the John Lennon Art and Design Building, Duckinfield Street, Liverpool Olivia Iwediebo: @olivialou, Instagram: olivialou_2012 Charlotte Conning: @Charlottec_1993 Serene Papafio Instagram: misspapafio www.ljmu.ac.uk
THE SKINNY
Serene Papafio
May 2014
FASHION
Charlotte Conning
Lifestyle
31
JONZO J
ONZO is Liverpool’s first risograph print, design and illustration studio. JONZO is run by Lottie Brzozowski and Rachel Davey, one half designer and one half illustrator, the best of both worlds. We thrive off burgers, gin and glorious printed goods. We formed in 2013, at the end of our third year at Liverpool John Moores University. Having spent the entire year playing with this new toy, we decided we couldn’t live without a risograph. We bought the machine between us and quickly realised it would be great to turn it into a business and share it with the rest of Liverpool. It’s been a natural progression. We kind of fell into it but once we’d started we decided we wanted to go all out. JONZO is an opportunity for us to work together. Bringing together a design mind and an illustration brain has led to some really interesting ideas and very colourful work. Although we both do our own thing, it’s great to come together under an alias and produce some tasty treats. We love to get involved with the thriving Northwest creative scene, having sold at many InPrint fairs, including a fair at the Bauhaus in Dessau (we’re always up for a road trip), produced publications for Tate Liverpool’s Art Turning Left exhibition and most recently produced design work for arts and culture magazine The Double Negative. We ourselves would love to contribute to this rich scene by holding workshops, exhibitions and events, JONZO style! www.hellojonzo.co.uk www.hellojonzo.tumblr.com
Jazzy Envelopes (2013)
@hellojonzo
Pattern Postcard Detail (2013)
32
SHOWCASE
Baba Marta (2013)
THE SKINNY
Bauhaus Designerei Print Fair (2013)
Page Detail of 1+1=3 Publication (2013)
May 2014
SHOWCASE
33
FRIDAY
SATURDAY
01 02 AUGUST 2014 BRUTON, SOMERSET UK
PUBLIC SERVICE BROADCASTING HOT 8 BRASS BAND MELT YOURSELF DOWN COVES ALPINES EMILY AND THE WOODS BEAT Y HEART L AURA GROVES WE THE WILD JUS NOW SKINNY LISTER BEANS ON TOAST...
RALPH LAWSON DJ FOOD ROMARE LEO ZERO RICHY PITCH CHANNEL ONE SOUNDSYSTEM... P LUS MAN Y MORE, OVER 3 L IVE S TAGES, AND 3 T HEMED DJ T EN TS!
A SMÖRGÅSBORD OF ACTIVITIES IN NEW AREA — THE MILK Y WAY: T H E A N N U A L FA R M F ES T H AT C O M P E T I T I O N / D R AW I N G S A L O N S B Y A R T M A C A B R E / YO G A / P O P- U P C I N E M A / I M M E R S I V E T H E AT R E / S PA C E S TAT I O N D R ES S U P / S L A C K L I N I N G / S O N C A M É L ÉO N P E D D L E P O W E R C A R N I VA L / R A C E T O S PA C E / S C R E E N P R I N T I N G / S PA C E B O DY A R T W O R K S H O P S / S T O R Y T E L L I N G / K I D S A R T / H E A L I N G ZO N E & M O R E . . .
TICKETS £52.50 FARMFESTIVAL .CO.UK
IN 2 0 1 4 W E H O P E TO R A ISE £4 0 0 0 IN SU P P O R T O F O U R M A IN CH A RI T Y SEN D A C OW.
34
THE SKINNY
The Artisan Loaf Rises Just why is artisan baking suddenly so popular? Bakers and industry experts give us their take
T
he vast majority of the UK’s bread is made using the Chorleywood bread process, developed in the 60s as a method of rapidly producing loaves from lower-protein wheat using intensive mechanical mixing and additions that range from the common ascorbic acid (vitamin C) to the less recognisable L-cysteine and sodium stearoyl lactylate. Most supermarket loaves have minimal rising time, leading to poorer flavour development, are par-baked before they reach the store, and one slice of the white variety has a higher glycemic index value than a tablespoon of sugar. A triumph of efficiency over flavour and nutrition, then. It’s easy to see why artisan bread has seen a huge surge in popularity in recent years, with independent bakeries opening up across the Northwest and more people heading into their own kitchens to get to grips with baking. Record numbers are enrolling on bakery courses according to the bakeryinfo.co.uk and attempting to turn their hobby into a business. Sam Henley, one of the owners of the familyrun Baltic Bakehouse in Liverpool, believes that one of the reasons that breadmaking has become so popular is simply a case of availability and the public’s changing appetites: “We got involved in baking because there wasn’t any good bread in Liverpool; the only bread available was supermarket bread, which is very low quality. We wanted to eat good bread, but we couldn’t find anywhere
May 2014
Interview: Jamie Faulkner and Claire Reid Illustration: Nikki Miles
that made it so we decided to make our own. “The industry is doing well because people are fed up of eating crap – 98% of the bread in this country is factory produced crap, it has no flavour, poor texture and minimal nutritional value. The desire for something better naturally leads to seeking out a better quality product.” Based in Levenshulme, Manchester, Trove feel similarly. They have recently opened a commercial bakery and supply several of the city’s businesses as well as their own cafe: “We got involved as we wanted real, organic bread for our cafe. There was little supply in Manchester so we began making our own. There is a lot of interest in real bread but we reckon there would be more if people knew what goes into the bread that’s available in supermarkets. We need more support for the craft of real bread.” More info can be found at the Real Bread Campaign (@RealBread). The archetype of the baker has changed too. It’s no longer the preserve of either the older generation or generations-old family-run businesses: the rise of younger, hipper independent bakers has helped to make it seem more accessible to all. Just type ‘sourdough’ into Google Trends and you’ll see a steady rise in mentions worldwide from 2004 to an apex in early 2014. A sourdough hotel even appeared in London circa 2012. Bread is now seen as fashionable in a way it never was before and has moved far from the
simple ‘white or brown’ debate of days gone by. Now, it’s more like ‘sourdough vs rye’. Liverpool’s newest independent bakery, East Avenue Bakehouse on Bold Street, opened in March. Owners Jo Byers and Charlotte Jones believe that the resurgence is purely down to the taste: “We firmly believe that bread made from scratch every day in our bakery – baked with love and without all the nasties – just tastes better. There is nothing mystical about bread and no right or wrong. The simple things in life make us happy. Bread is a great staple in our diets. Crafted without additives by artisan bakers, it is good for you and tastes wonderful. Historically there is always a place for bread in our hearts and on our menus. It’s the original ‘go to’, and ‘go with’ food item.” Though artisan bread certainly ain’t cheap, that’s not putting people off. Demand is growing steadily thanks, in part, to information from the Real Bread Campaign and negative PR surrounding supermarket loaves. Paul Robinshaw of Macclesfield’s Flour Water Salt acknowledges that craft bread still isn’t for everyone but it can make sense from an economical point of view: “I know my bread isn’t for everyone, either from a price, flavour, texture or crust point of view. What I can guarantee is that my loaves stale slowly and they do not mould. A loaf bought from me on a Saturday would still be good for toast the
FOOD AND DRINK
following Friday.” Chris Young coordinator of the Real Bread Campaign, thinks the rise in popularity is down to people craving something more unique: “The rise of Real Bread seems to be running in parallel with a growing number of people reporting they’re sick of identikit industrial loaves, both metaphorically and in some cases physically. People are enjoying the chance to choose delicious, additive-free loaves from small, independent bakeries that are owned and staffed by other members of their local communities.” Although mass-produced or ‘plant bakeries’ still dominate the £3.6bn market (around 80%) there is certainly room for craft breads, which currently have around just 3% of the market (according to statistics from the Federation of Bakers), but as people become more discerning and crave something real and distinctive that figure is sure to rise. If you want to get kneading at home, are there any tips? We’ll leave you with Paul Robinshaw: “I think people don’t know how to make great bread and it’s actually very easy. We teach you to use your hands and take your time. People are intimidated by bread, I think a lot of the recipe books are unhelpful and confusing. Buy the best quality flour you can afford. Ditch the bread machine. Wetter the better.”
Lifestyle
35
Food News This month we’re talking preemptive festival shoutouts, turning your kitchen into a pharmacy, and National Eat What You Want Day Words: Jamie Faulkner Illustration: Kim Thompson
F
irst up: Grillstock. Bu, bu, bu, but that’s not in May?! Do you guys not read your press releases?! OK, you got us – and thanks for your concern – but think of this as ample warning that ‘the UK’s hottest BBQ and music festival’ is not all that far off. For a weekend in Manchester’s Albert Square you can drink Brooklyn, eat low ‘n’ slow-cooked meat, watch Hayseed Dixie and/or Vintage Trouble, see who gets crowned ‘King of the Grill’, and generally enjoy ‘southern hospitality’ oop north. On their website you can also sign up for the chilli and hot wings eating contests, where you can (potentially) win a prize and (definitely) irritate your colon. 28-29 Jun, @Grillstock, tickets on sale at selected venues and at grillstock.co.uk/shop Next, an actual event in May. Stockport Beer and Cider Festival, one of CAMRA’s largest events in the North, will be providing more beers and ciders than you can shake a hydrometer at; and the excellent High Peak Beer Company are curating the bottle bar list, so expect some recherché offerings. We’re not sure if the musical line-up will be familiar to our dear readers, but if cover bands and harmonicas do it for you then, well, you’ll be done. And getting over to Stockport is a good excuse to visit Lord of the
Pies (for pies, dummy) and The Magnet (for great beer at a fraction of Manchester city-centre prices). 29-31 May, Edgeley Park, @skbeerfestival, stockportbeerfestival.org.uk With two big events down, let’s look at two small but equally important things happening in Liverpool. First: Talking Eating Disorders (20 May, St. Georges Hall). We mostly harp on about food as if we all have a healthy relationship with it, but many of us don’t. TEDs sees doctors and experts debunking myths (there’s a talk called Men Get Eating Disorders Too), giving information about treatment, and providing solutions. Second: an Introduction to Kitchen Pharmacy
(20 May, tickets on Eventbrite). Before you say anything, no, it’s not some scally teaching you how to make the best meth in the Northwest with nothing but some out-of-date cream of tartar and an apple corer; it’s a workshop about making home remedies and learning the medicinal values of food instead. Usually we’d take a leisurely stroll through the remaining epicurean goings-on, but we’ll step it up a gear (and mix our metaphors) to get through some openings and other tidbits. Speaking of Epicurean, there’s a new beer shop on Burton Road in the well-to-do suburb of West Didsbury called just that (@EpicureanThe).
Elsewhere, Season Eatings, one of the best nascent supper clubs in Manchester, are cooking at the Northern Quarter’s Fig and Sparrow on 16 May. If tickets are sold out, keep an eye on their Twitter feed (@seasoneatmcr) for cancellations and upcoming events. And, lastly, we thought we’d mention a couple of awareness days in May that people almost certainly won’t be familiar with: Eat What You Want Day (11 May), which seems a tad insensitive to us (what if you’re allergic to or unable to procure a certain foodstuff, huh?); and National Escargot Day (24 May), when you can, like any other day, choose to eat pulmonate gastropod molluscs aka ‘snails’. Bon appétit.
Phagomania: Burger Porn Self-proclaimed “burger pervert” Mathew Ramsey shares his thoughts about porn, burgers, and the unexpected links between the two
A
ttention all burger perverts. Look at the pictures on this page, and prepare to make the kind of noise normally heard on a building site as a “lovely lassie” struts by. Then take a moment to reflect on the shame, and wonder just what your life has become. But relax, you are in safe hands, as fortunately for you a classically trained chef has been pushing at the very limits of burger porn. What is the limit? Is there a limit? What is ‘burger porn’? Allow Mathew of pornburger.me to clarify: “My goal in photographing these perversions is nothing short of attempting to induce both salivation and an erection.” That’s cleared that up, then. A one-man band acting as chef and photographer, Mathew has been getting through “this particularly brutal winter” by seemingly abstaining from regular porn and honing his talents in the kitchen. “There’s something cathartic about rolling up your sleeves, throwing on a vinyl, pouring a couple fingers of whiskey, and immersing yourself in the dark arts of hamburgery.” Dark indeed, but classy. Each weekly offering has seen the burgers go from strength to strength and nothing is out of bounds… foodwise. “One week it’s figuring out how to make a burger patty out of duck confit,” reveals Mathew, “and the next – making pâte à choux with emulsified foie gras and encrusting in potato chips.” They sure look good and they certainly sound good, but do they taste good? In fact, in an age where polished food photography roams in prevalence, is there a superficial falsehood in all
36
Lifestyle
these pictures? Do we see lots of great things but never taste or experience them? Is that the real reason why all this ‘Instagram your food’ bollocks is so annoying? For Mathew, it’s a no, but food porn does match up with the naughty stuff in some regards. He concedes: “The photographer in me is a firm believer in porn for porn’s sake. That said, the chef in me is all about integrity of flavour, which is why I’m actually making a lot of the ingredients from scratch and recipe testing as I go. There’s no reason why they can’t taste as good as they look.” Well that’s the spirit, but ‘spirit’ is a dangerous word in Mathew’s company. It seems so many of us are loving burgers; but, we ask, why burgers? Mathew responds: “Porn Meatloaf just sounds weird... But seriously, when a burger is done well, it can be both a spiritual and erotic experience... They’re a guilty pleasure, and I am a pure glutton for pleasure. Also, I’m pretty sure they’re my spirit animal.” And we thought we liked burgers. We pointed him towards spectacular French duo ‘Fat and Furious Burger’, whom we interviewed last year. Their experimental interpretations on what a burger can be became topical satire at points, albeit partially inedible, and they proclaimed them “the real food porn.” “In no universe can I see myself making a burger that I wouldn’t wrap my lips around,” Mathew retorts. Taking a closer look at the French site, he reflects: “I mean the thing about making 52
Interview: Lewis MacDonald
Mac Daddy
different burger fantasies, is that things are bound to get pretty weird. I’m looking forward to some fun collaborations with scientists, artists, and even a gelato maker.” Wow. So what else lies ahead on his road of hamburgery? Mathew has something big up his
FOOD AND DRINK
sleeve: “I will say there are plans for both a book and a porno mag where all the models are food.” Well slap our arse and call us Sally, we’ll sign up to that. www.pornburger.me
THE SKINNY
Distribution is what we do... Leaflets Magazines Posters 0151 708 0166 bookings@middledistance.org www.middledistance.org
WE BELIEVE THAT EXTRAORDINARY COFFEE AND ARTISANAL, TRULY FRESH, HANDMADE FOOD SHOULD BE AVAILABLE TO THE MANY! NOT THE FEW
May 2014
37
Shark Attack Thailand Words: David Wright Illustration: Alexander Jackson
What’s the backpacker circuit like for those who define themselves as ‘socially awkward’?
GREAT EXPECTATIONS For a lot of people a trip to Thailand would be something they would relish – the Full Moon Parties, the new friends, the crazy extreme experiences, the drinking, the exploring. The stories I could recount when I become old and boring could have been endless. For me Thailand was never going to be like this. I am someone more sociable people would describe as ‘socially awkward’. I like people but I struggle to become part of the group, I’m not good at small talk and it takes people a while to warm to me. I appreciate real friendships, interactions and moments. Perhaps I am a bit awkward. Sociable people seem to think this is something that needs to be fixed, that I need to make more of an effort to fit in, that I could try harder. This attitude does not help your confidence, and mine was about to be tested. I had gone to Thailand with Josh – not so much a friend, but someone I had worked with over the summer. We shared an abstract sense of humour while throwing Cornish pasties at customers in our summer job. He was in the local rugby team, mad for it (whatever it would be – he was mad for it) and I liked reading, thinking and dreaming. A week into our trip – on the paradise island of Koh Tao – Josh told me he was going to spend the rest of his travels with his new friends from the scuba diving course he had been attending. I had sensed pretty early on that I wasn’t being interesting enough for Josh to accept me as me in his new-found social group. I had started the week trying to fit in and taking part in their wild nights out. As the days went by I began to realise I wasn’t being me and I could not carry on like this. I started to sit on the sidelines – doing my own thing – but it felt clear that somehow this wasn’t enough. All I asked was that the one person I had come with would let me be myself but I guess this wasn’t possible. Josh had new travelling friends to impress. And so I was left to find my own way. FEAR Being on an island where everyone seemed to be making friends – and having just been dumped by the only person I knew for not being interesting enough – I felt the pressure of trying to fit in. So I decided to face my fear of group excursions and of being eaten by sharks – I booked myself on a snorkelling day trip round the Island. ‘Fuck it,’ I said to myself. An hour into the trip half of the boat fell seasick and literally abandoned ship leaving a less
38
Lifestyle
intimidating sized group of daytrippers. It was my kind of trip already. I participated in small talk with the remaining daytrippers before we moored up in a bay to do some underwater exploring. I did not feel particularly connected to anyone and did definitely not feel able to broach pairing up with anyone as that would involve a pretence of familiarity. My patience with trying to fit in was wearing thin. I faked an independent spirit, put on my snorkel and jumped into the water leaving my flippers behind. Who needs flippers I thought to myself – I have feet! THE DEEP BLUE SEA We would be seeing no sharks at this bay – the skipper had told us – just lovely fish. I didn’t look which way other people were swimming and I didn’t really care. It was time for me to head off in my own direction and explore. Going off and doing my own thing was going to be a theme of the rest of my travels. The further I swam away from the feeling I had to be making friends, having ‘mad for it’ experiences or bonding with people I didn’t really like – the closer I came to liking myself and enjoying being alone. Over my next week on the island I would discover secondhand book shops, bike hire, small wonderful conversations with strangers and sitting on the curb eating alone watching the world go by. The joys of exploring the island by bike to discover new beautiful places to read a book were endless. Stopping at little cafés or roadside food stalls – having a chat before heading off into the day – these moments were gentle yet made me very happy. BLOOD AND GUTS I had been swimming longer than I thought – daydreaming and following the colourful shoals of fish as they darted around me. I saw a huge rock rising up from the ocean floor. I thought it would be a good place to stop and rest my feet while I got my bearings. When I looked I appeared to be 100 or so metres from the boat. I felt a sudden pain as I moved on the rock for a better grip. The rock was covered in coral and it sliced through my foot. I looked down to see my blood clouding the water. The bleeding seemed to ease as quickly as it had begun. So I put my head underwater to carry on looking for fish. SHARK! EAT ME There, in the distance, I could see the shark. It
appeared to be circling and getting closer. The only thing I could think to do was to not take my eyes off it. It stopped about six meters away from me and looked at me. This shark was big. It must have been about two meters long, dark grey on top, fading to a lighter grey underneath. It had the build of a shark that eats people – wide and nasty looking. Its dark eyes were fixed on me. I am no expert but I reasoned it could do some damage. After all I was perched on a rock, submerged up to my knees – bleeding. It was big enough to try and eat me – I know, I’ve seen Jaws, Shark in Venice and every other shark movie. (Later, after studying extensive photos of all the shark species found in Thailand, I have come to the conclusion that it was a bull shark, probably. And yes – these have been known to eat people!) And I knew what it was thinking: ‘is the smell of blood the sign of a meal?’ One of the disadvantages of not being social enough to have already made ‘excursion friends’ is that I had no one I could shout to for some advice or to laugh with about my situation. I was on my own. I pictured the drama Josh would have caused – bleeding the incident for all it was worth and becoming the hero of the week. This was make or break for me. I could stay on the rock and scream for help or I could take this independent travelling thing seriously and swim for it. So that is what I did. Never has a swim seemed so lonely or so long. The further I got into the deep ocean between the rock and the boat – the more I began to doubt my wonderfully informed plan. I got back on the boat expecting my foot to be eaten just as I lifted it out the water. It wasn’t. I sighed. I decided to share my trauma with the first person I saw. “I saw a shark,” I told the boat’s skipper, with a degree of obvious relief. “Impossible – they don’t come here!” he replied, visibly angry that I had questioned the safety of his trip. I rolled my eyes to no one in particular and took my seat on the boat. For now I decided to keep what happened between the shark and me. LETTING GO My remaining week on the island was a solitary one. At first, of course, I had felt lonely. Everywhere I looked were groups of people having crazy fun and interacting. They made it look so normal.
TRAVEL
But once I removed myself from the places that made me feel alone – the bars, the ‘mad for it’ groups of people and the restaurants – I started to feel more comfortable in myself. The interactions I had with people were short but genuine. By the time I got to Bangkok, I was finding my feet as a solitary traveller. I found a tiny café run by the quirkiest two women. When I went for my morning coffee they would tell me places they thought I would like to go: the flower market, the park where everyone jogs round in the same direction, a bike tour… I would check in the following day to recount my day and get more tips. I booked myself on a day bike tour of the suburbs of Bangkok. When I arrived I discovered it was just me being taken on a tour by a Thai woman called Nok. No one else had signed up. I welcomed the chance to spend the day with just one person. We hit it off and shared moments of reflection as we cycled along rural tracks, next to waterways and explored banana plantations. We got to know about each other’s lives as we were intermittently laughed at by passing locals for being on a bike ride on such a hot day. Sitting outside a remote overgrown Buddhist temple, I decided to share something I’d kept bottled up all week: “I was snorkelling last week and I saw a big shark. I cut my foot and it came up close to investigate.” “Sounds scary.” “Yes it was kind of. But I don’t feel scared of them anymore.” “I’m guessing it didn’t try to eat you then.” The gentle connection we had on that one day felt as strong as some of the friendships I have taken years to build. HOLIDAY SNAPS Josh had a very different travelling experience to me. He had some amazing adventures, which involved getting drunk, making lots of Facebook friends, flirting with ladyboys and partying on a beach in the full moon. He loved every minute. If I had stayed with him, faked fitting in and become the person his group wanted me to be – I’d have felt lonely as hell. For a ‘socially awkward’ person like me travelling is difficult. There will be fewer group moments. There will be fewer friends. There will be fewer mad stories to tell when you get home. But I suspect the quality brief moments that are life-affirming will be just as plenty. I’m glad I did it my way. It was not easy. Finding your own way never is. Plus: I saw a fucking shark.
THE SKINNY
Learning to Hold the Whip
Words: Madame Olympia Illustration: Jayde Perkin
A dominatrix reveals what it’s like to inflict pain for a living
“I
s it appropriate to talk about your mistress in that familiar tone?” I ask, meeting the client’s eyes across the table. “Maybe not...” he mutters. I cut him off. “What ought you to call her?” “Goddess.” “Yes. You should.” I keep my gaze on his face, not moving. I feel very strong. “And how should I address you?” he asks quietly. “You may call me Mistress.” My mentor, Goddess Sophia, rejoins our table and I slip away, shaking with adrenaline. In the bathroom I let out a little scream. I’m laughing out loud as I stare at my eyes in the mirror; pupils dilated, breathing fast. I am wild with excitement at what I’ve just done. I am also slightly pissed. During my prolonged bout of unemployment, Sophia called and suggested I give Dominatrix-ing a try. Now here we are in a restaurant in the West End, having an expensive and boozy lunch with one of her regular clients. Sophia’s been doing this for ten years, and she’s known me since we were 13 – we were in church choir together – so she’s the perfect person to teach me. I’m giving orders to a wealthy man in his 50s, who calls me Mistress. When I reach for the flask of water on the table Sophia says, “Frank* will do that for you.” He stands mutely to pour my drink. I am completely addicted to this power, the knowledge that I can impose myself on this stranger. Later an elderly man will bend over the iron bed frame as I cane him. I hardly mark him at all, and am relieved to hand over to Sophia and let her show me how it’s done. When he’s gone, I’m frustrated; I want to try again – partly to improve – but also, I find I want to hurt him. In my own sex life I’m submissive and slightly masochistic, so it’s a shock to find I enjoy causing someone pain. My desire is to do with freedom, a wild will to test boundaries, to find the limits of what we can get away with together. It’s also a craving I didn’t know I possessed: to overcome the other person, affect them, to impress myself on to their behaviour and their skin. I don’t feel morally conflicted by it; this is something he wants and for which he is willing to pay a lot of money. Sophia doesn’t consider herself a sex worker, but many of the men who come here (it is overwhelmingly men) finish their session by masturbating to orgasm. To me, that makes it unmistakably sexual. But there is a significant difference between this and stripping or prostitution, where the dynamic is based on the illusion of intimacy and attraction between the client
and the worker. Beyond a brief chat before the session starts, the dynamic between Domina and client is held up by the separation between them. Although sexualised behaviour takes place, only one person is required to give anything of their own sexuality, and it’s not the worker. She remains aloof, in control; her inviolability, her allpervading authority is what the client is paying her for. So I find I’m not disturbed by the masturbation. Nothing is required of me save my studied disinterest. Being in the room with someone who is masturbating is exciting, but not sexually so – it is more a sense of breaking taboos. As he touches himself we trace the welts of his wellcaned skin with our fingertips and talk about how much we love caning men. I’m thinking, “I can’t believe I’m getting PAID for this!”
“It’s a shock to find I enjoy causing someone pain” And I am. I earn an exorbitant sum in one hour during my favourite experience of shadowing Sophia: a client who comes to us wanting to be tickled. He is blindfolded and bent over the furniture, tied up like a Christmas turkey. We spend the hour tickling him with soft little floggers, keeping our voices stern, but his giggles are infectious and Sophia and I grin at each other as we work. At the end of the hour we sit and rest our feet, clad in old Converse trainers (for which he has a fetish), on his torso while he masturbates. Once he’s showered and dressed he comes back in to say thank you before heading back to the office. It is 10pm. His handshake is firm and he makes the eye contact of an assured, socially adept man. This is a job that pushes boundaries – mine and other people’s – and shows me parts of myself I didn’t know were hidden. I don’t know if the boundaries will be too blurry for me to do it long term, but right now I know I want to meet my inner sadist again. And get better at using that cane. *not his real name
God Doesn’t ‘Hate Fags’ Anymore? Is the hip, young, welcoming face of UK Christianity any less homophobic than the headline-grabbing fundamentalists across the pond?
T
he infamous ‘God Hates Fags’ cult-daddy Fred Phelps died of old age last month. While not many people think it’s cool to picket someone’s funeral with signs such as ‘God Killed Your Sons’ and ‘God Hates Fag Enablers’, being gay is still a taboo among churches here in the UK. Even the ‘cool’ and ‘relevant’ ones have ways of dealing with the disorder of SSA (same sex attraction). They are just clever enough to know that coming across as a hateful loony is counterproductive. The rise of these fashionable clothing, ‘cool’ music making (if it’s ever ‘cool’ to sing about
May 2014
Jesus), meet-in-a-warehouse kind of Christians are what I’d describe as a new generation of fundamentalists. I didn’t come out to my church until I was safely out of their ‘care’. I had mentioned I thought I was probably not altogether straight to church leaders at one point, and I was told it was my mum’s fault and counselling would help. What she’d done I had no idea. My friend D had a full blown degaying experience at our church where he was set up with a girlfriend, told to change his appearance, had ‘manly’ events created around him where guys
Words: Sarah J Stanley hugged and got rough and tumbled with each other (which seems a bit gay, don’t you think) and of course he was to never hang out with anyone gay, ever. He was given xtian music and had to throw out his secular music. I saw this similar ‘therapy’ recreated in another two or three male friends. For me, I was told to give up all my friends outside the church, cut ties with any social networks online, give up my career because it facilitated ‘free thinking and obsessive behaviour’ and focus entirely on pleasing my husband at the time.
DEVIANCE
It was commonplace to make fun of gay ‘attributes’, gay people and even to get the odd sermon containing a story of someone having a ‘gay demon’ cast out of them. These were real things I saw and heard at church. So while churches here don’t sport ‘Fags Doom Nations’ signs, many still enforce strict gender roles, as well as misogynistic and homophobic behaviour to combat kids ‘turning gay’. And in a way that kind of fundamentalism is much more effective.
Lifestyle
39
A New Beat A rising talent on Liverpool’s music scene, last month Låpsley (aka Holly Lapsley Fletcher) became the inaugural winner of the GIT Award’s One to Watch prize. We caught up with her at the ceremony
Låpsley
T
he best music emerges from beyond the shadows, untainted by time or trends. Maybe this is why the world has been so sceptical about Liverpool music for such a long time – the shadow cast by the Merseybeat generation (and one popular quartet in particular) looms so large that anything other than chirpy, harmonydrenched guitar pop seemed anomalous to the region. There’ve been plenty of dissenting voices over the years, of course – for every Cast, there’s a Clinic – and the likes of Outfit, All We Are and Esco Williams represent the vanguard of artists challenging popular perceptions of what it means to be a musician from this particular city. Well, it’s about fucking time someone did. But wait! Here’s another hat tossed casually into the ring. Drawing from the same pools of artfully languorous melancholia as James Blake or Majical Cloudz, Formby-dwelling newcomer Låpsley appears set to win the hearts and minds of true believers everywhere, with nary a softpsych jangle to be found. Seventeen-year-old Holly Lapsley Fletcher has already found fans among the music press and at Radio 1, who’ve rather taken to the haunting sparsity of a certain track called Station. The disconsolate sigh of the vocal is pitted against another version of itself that’s been pitch-shifted down until it sounds like another voice entirely; indeed, it’s essentially the sound of Fletcher duetting with herself, and it’s utterly magical. Naturally, The Skinny thought it only right and proper that we should attempt to learn a
May 2014
little more, and dutifully spoke to Fletcher in the wake of her One to Watch scoop at Liverpool’s GIT Awards. “I’m not really fazed by it,” she says of her sudden popularity. “I put Station on the internet at Christmas time and then just left it. Although a lot of things are going on, I’m still in my room making music – nothing’s really changed.” Nothing? “Well, I’ve got a manager now. But I’m organised and I’m ready for it all.” It’s a confident approach that arguably belies her tender years, but then again this is effectively the beginning of her second life as a musician. Two years ago, she was writing and performing similarly downbeat acoustic ballads, of which there remains some evidence on her SoundCloud page. Strip away the signifiers of electronic music – the beats, the bleeps, the atmospheric texture – and the songs don’t feel worlds away from her recent work, but nonetheless it feels like a big jump. Where did the change come in? “Well, I listen to electronic music a lot, but I come from a background that’s quite classical – I play piano, guitar and oboe. I just wanted to make the sort of music I listened to, so I went on GarageBand and experimented.” Of the various Låpsley tracks posted online thus far, the aforementioned Station is certainly the winner. “I’ve been writing since I was 12. Songwriting is what I’ve always done, but I’m learning with every one. I wrote Station a few years ago on piano, and when I made the Låpsley project, I’d rework songs I’d already written – I
liked the contrast of having two different voices.” It almost feels like you’ve split yourself in two, we remark. Fletcher laughs. “When I first experimented with the idea of pitch shift, that wasn’t intentional. But obviously the story’s about another person; it’s their point of view.”
“I don’t like the friction of being in a band. I’ve got my own ideas” Holly Lapsley Fletcher
As for the decision to split her own voice rather than employ a second vocalist, an explanation becomes clear as we delve further into her philosophies and feelings towards performing. “I don’t like the friction of being in a band,” she says. “I’ve got my own ideas and I don’t want anyone else to tell me ‘this is right, this is wrong.’ If I do it myself, there’s only me controlling it.” As it turns out, this element of control
MUSIC
Photo: Adam Johns
Interview: Will Fitzpatrick
amounts to a dreamily spacious and uncluttered sound. “It’s quite minimal. I like working with silence rather than adding things. It’s quite hard to listen back and decide, ‘Oh, I want that bit to be really stripped back,’ but then if I have something there, it has more of an effect.” There are, however, plenty of remixes on the SoundCloud page, indicating that Fletcher isn’t entirely averse to other people’s interpretations of her music. Quite the contrary, in fact, as she enthusiastically explains. “If anyone asks me if they can do a remix, I always tell them to send it! If I like it, I’ll repost it, then it’s just out there. It’s interesting to see what people come up with.” So working with other people is on the Låpsley radar then? She pauses, torn between discretion and candour. “Yeah, I’ve got some collabs in the summer,” she admits, “that should be good. But I’d love to collaborate with different producers really. Obviously James Blake would be the ultimate, but it’d be interesting to work with people of a different genre and see what came out.” As one might expect from such precocious talent, her songs do not sound like the work of one so young. Whether this is a commendable quality will depend on whether you believe pop music is essentially the domain of young people, but ultimately it does not manifest itself in the retromaniac too-old-too-soon-isms of, say, Jake Bugg. Instead, this music sounds graceful and assertive; confident in what it is rather than unsettled by what it aspires to be. The best kind of grown-up, basically. All the same, does she worry that people will focus on the fact that these songs have been recorded by a 17-year-old, as opposed to focusing on the songs themselves? “I don’t really have an opinion on it,” she says. “I just think… that’s my age. There’s a lot for me to learn, basically, and I think I’ve got potential. This is only the beginning.” She laughs. “Hopefully it won’t go downhill!” The latter seems unthinkable at this stage, but should it come to pass, Fletcher has other ideas. There’s a university course to be undertaken, should she choose to, and alternative ambitions to be fulfilled. “If I didn’t do music, I’d do geography. I’d love to be a journalist and write for National Geographic! But music is something that I couldn’t do without at all.” Another laugh, followed by a knowing muso-ism: “It’s a part of me, maaaan!” And that, essentially, is Låpsley: one young woman’s vision. Songs that evoke complex and subtle emotions, implicitly asking as many questions as they answer. Music with a firm grasp on the present, but an imagination that yearns enough to experiment and push itself. Really, what more do you want? It only seems fair that we ask the same question of Fletcher. She’s ebullient and unabashed in her response. “I want to be respected in the music industry. That doesn’t necessarily mean being in the charts, getting on Jools Holland, the Mercury Prize… they’re all good things. But I want other musicians to be like, ‘I respect that person, I really like their music.’” As declarations of intent go, this may lack the soundbite-friendly swagger of a Liam Gallagher, or the antagonistic rhetoric of a Nicky Wire, but it’s certainly honest. And if recognition is the ultimate goal, it would appear that Låpsley’s well on her way to accomplishment. www.soundcloud.com/hollylapsleyfletcher www.facebook.com/LapsleyMusic
Preview
41
Festival Watch
Gig Highlights Festivals make up the bulk of this month’s highlights, with Sound City and Fury Fest in Liverpool, Sounds from the Other City in Salford and Manchester Psych Fest all offering a host of gigging delights
Words: Chris Ogden
The latest local affairs, including Liverpool’s Slime City Festival and Baltic Block Party
T
Do Not Miss The Lost Weekend Islington Mill, Salford, 30-31 May
N
ot content just searing through our insides with their caustic horror-psych, popping up in mates’ bands or running a recording studio, Leeds-based five-piece Hookworms are now curating their own mini-festival, taking place in the suitably trippy environs of Islington Mill, home to Salford’s leftfield hivemind. At the encouragement of promoters Grey Lantern and wotgodforgot, MJ and crew have brought together a twoday programme featuring forbidding sounds from Manchester, London, Brighton and beyond – and will unleash their own melodic scourge, showcased on last year’s runaway hit LP Pearl Mystic, on both nights. Friday plays prelude to Saturday’s somewhat heavier programming, with Novella, Ultimate Painting and Sex Hands bringing as much light
42
Preview
Words: Laura Swift
S
o we’ve straddled Sound City, Sounds from the Other City, Fury Fest, Manchester Psych Fest and The Lost Weekend to the left already – what remains for Festival Watch, you may wonder? Well, would you believe it, there are more festivals. There will never not be more festivals. Offering an alternative to Sound City for those who can’t afford it or, y’know, just aren’t into it, Slime City Festival, hosted by Liverpool Duke St’s AIRspace and Post-Music, brings you the Harlequin Dynamite Marching Band, The Royal Wedding, Cavalier Song and Leather Cow on Friday 2 May, and a bigger bill boasting Cowtown Karen Gwyer and the suitably oozy White Blacula, among many others, on Saturday (3 May). Tickets are five quid beneath a railway arch at First Chop Brewing to his son Sidiki at the RNCM on 24 May (also at St for the weekend. Five quid for the weekend! Or £3 per day. Goo on then. Arm. Meanwhile, PINS scour Peel Hall for local George’s Hall, Liverpool, 27 May), and Scotland’s The chaser to the bank holiday weekend over post-punk girls like them, and Lee Gamble and gloomy shoegazers The Twilight Sad (2 May, Deaf in Manchester, meanwhile, is the 1st Beta AllKaren Gwyer lead the ever-rebellious St Philip’s Institute) play all of their accordion-lunged first Dayer on Monday 5 May, Beta being a night that’s Church in an AV rave ‘commemorating’ the album Fourteen Autumns & Fifteen Winters in Criminal Justice and Public Order Act 1994’. Let’s honour of its rerelease back on Record Store Day. been running at The Castle pub on Oldham Street for the last couple of years, offering free entry to hope there aren’t any repetitive beats involved. Finally, there’s a horrible dilemma in store those who like ’em on Facebook as well as a fuss(Those are just the programmed highlights – look on 22 May. Should you go for the pummelling free platform to emerging talent. Their first miniout for hashtag #SFTOCSkinny on Twitter for transcendence of Swans paired with Norwegian fest won’t be free, mind, but is still only a fiver, some special extras.) experimental voyeur Jenny Hval at Manchester and rounds up the likes of Francis Lung, Gymnast, Islington Mill are doubling up admirably Academy, the clear winner of May’s Gig Most Phox, Wet, and the searching folk noir of Skinny in May, not only acting as SFTOC’s central Likely to Spark a Quasi-Religious Orgy award? hub but also serving up The Lost Weekend, a Or, if you prefer something less wilfully torturous favourite Elle Mary – arraying ’em across three two night residency curated by Leeds psychedel- but equally confrontational, Cloud Nothings will venues, The Castle, Gullivers, and Night & Day. Sticking in Manchester, Chorlton Arts ic noiseniks Hookworms (30-31 May) – more be yowling their disaffected noise punk at Festival’s music strand brings a pick’n’mix of arton that below. It’s bound to be a groovy end the Deaf Institute on the same date. Speaking ists to the suburb between 16-25 May, including to the month. of the Academy, you still have the chance to Liam Frost, Paper Aeroplanes and John Smith, On the other side of the Irwell, the witness futuristic funk’s leading lady Janelle as well as a smattering of classical recitals and Manchester Psych Fest at the Night & Day Monáe (7 May), and Adam Granduciel’s The Café (31 May) looks to match Hookworms’ wriggle, War on Drugs (28 May), whose dreamy Americana live and acoustic nights hosted by bars Oddest, embracing the spaced-out in all its woozy splendrifts us down the highway of personal discovery. Dulcimer and Proof. With venues including St Ninian’s and St Clement’s churches, the festival dour with a line-up featuring the colourful TOY If all this splendour just makes you long to take has a casual, community feel that’s bolstered and two (yes, two) sets by Pete Bassman, former- to the open road, tents shoved in the back seat, by drop-ins and even a synthesizer workshop ly of seminal genre reps Spacemen 3, just to give in search of sun and music beating across a far(23 May, The Spruce Goose) – a how-to with Red even more atmosphere to proceedings. Lineage off field, try to be patient. Summer will be here Laser Records’ Kid Machine, among others, on seems to be a theme at the moment, as Malian soon enough. tutoring duties. kora legend Toumani Diabaté passes the torch This is a lot of standing watching bands with beers eh? Where do we dance?! The answer’s simple: at the Baltic Block Party, a collaborative effort by some of Liverpool and beyond’s best electronic promoters spanning venues across the Baltic Triangle with Boddika, Lone, Iration Steppas and more. Tenner tickets have sold out, but get on it quick for the £15/£20 price brackets. Finally, Manchester promoters Fat Out’s most ambitious Fat Out Fest yet sets up at Islington Mill 23-26 May, inviting Tombed Visions and Gizeh Records to augment a line-up that Cold Pumas already boasts Melt-Banana, Nisennenmondai, Nadja and Cut Hands. Video Jam lend a hand too, as they do weight – the latter Mancunians are Sealings’ anxious electronics (in their first show programming the spooky vaults of the fifth floor an especially fun experience, bringing jokes and in the North of England). Elsewhere, locals Mazes’ with silent films set to commissioned live pergenuine tunes to their keen-eyed slacker racket. allergic pop should keep bodies moving – or formances. With the Hookworms-curated Lost Meanwhile, Novella’s rough, beachy pop looks just if you’re totally strung out, which let’s face it Weekend at the Mill the weekend after, there’s the right amount of askance; and you may know you’re probably gonna be, you can contemplate the opportunity to see out May almost entirely Jack and James of Ultimate Painting better as two the infinity of space and time on a sofa at the cocooned in audio darkness. Who wouldn’t? of Veronica Falls, here giving their new project an back to the tiered, tessellating synths of Moon Slime City: www.facebook.com/taoAIRSPACE early outing. Gangs. Friday starts at 8pm and tickets are £8.50; 1st Beta All-Dayer: www.facebook.com/musicinbeta Saturday takes things up – or perhaps more Saturday kicks off at 5pm for £9.50, or you can www.chorltonartsfestival.com accurately, down – a notch, with Cold Pumas’ nab a weekend ticket for just £15. Props to the lurching paranoia, the lethal scree of Vision band and promoters for thinking big, but remain- www.balticblockparty.co.uk Fortunes’ fragmented rock, and Brighton’s ing discerning. [Laura Swift] Image: Flo Brooks
hings are starting to hot up nicely, at least as far as gigs are concerned. May looks very promising indeed with some eminent acts coming to the Northwest this month: Neutral Milk Hotel, anyone? Sadly those two nights at Albert Hall have long sold out and we’re not quite at the ‘tipsy on cider while wearing wellies’ stage yet, but there are a few indoor festivals to keep your thirst quenched for now. The party pre-drinks obviously start in Liverpool with Liverpool Sound City (1-3 May) offering absolutely loads of artists for you to gawp at over the May bank holiday weekend: 360 in fact, across 25 venues. Headlining acts include Jon Hopkins’ ambient IDM at Nation (1 May), Fuck Buttons’ alien electronica at the same venue the following day, and drunk-rock storytellers The Hold Steady at The Garage (both 2 May). There’s also space at the Zanzibar for Aussie avant-gardener Courtney Barnett (1 May), and Merseyside up-and-comers Bird and All We Are are scaling the Anglican Cathedral (both 3 May). There are so many performers that we can’t possibly list every one of them, so you’d better head over there and sample the diversity for yourselves. If not being able to catch all those acts makes you want to yell your throat raw, there’s always the punk and hardcore all-dayer Fury Fest at East Village Arts Club on 10 May, where anthemic New Yorkers I Am the Avalanche (also at Manchester’s Sound Control, 13 May) and dirty Brighton pop-punkers Gnarwolves are spurring the nodule-hammering gang chants. Incredibly this month, EVAC also finds a spot for Speedy Ortiz (19 May), the knotty indie quipsters making their Liverpool debut after a promising first UK tour back in February, along with Smoke Fairies’ bluesy folk harmonies on 29 May (also at Band on the Wall, Manchester, 27 May). Good going, guys. The Kazimier puts in a respectable shift too, giving the impressively-bearded Action Bronson the stage to assert his distinctive trashy hip-hop on 13 May before I Am Kloot’s John Bramwell’s wistful kitchen-sink acoustics on 17 May. Keen not to be outdone by Liverpool’s zeal, Salford’s Chapel Street hosts Sounds from the Other City for the tenth time on 4 May, piling bands into an assortment of venues along the strip. Japanese no wave three-piece ZZZ’s conduct their aural assault at student favourite The Old Pint Pot, and twangy minstrels The Travelling Band refashion Neil Young’s On The Beach tucked
www.fatout.co.uk
MUSIC
THE SKINNY
BELGRAVE MUSIC HALL LISTINGS CHILDHOOD
QUANTIC LIVE
LEEDS LOCK-IN
8/5/2014 – DOORS 8PM. £15
20/5/2014 – DOORS 8PM, FREE
BELGRAVE STREET FEAST & ART MARKET BEACONS FESTIVAL SPECIAL - 10/5/2014
DOUGH BOYS & RABBIT PORTAL PRESENT FOODLE 21/5/2014 – 7PM
BEATY HEART
WRECKLESS ERIC
27/4/2014 – DOORS 8PM, £7
10/5/2014 – DOORS 8PM, FREE
23/5/2014 – DOORS 8PM, £10
AND SO I WATCHED YOU FROM AFAR
BELGRAVE QUIZ – SHERLOCK SPECIAL
DAWSONS GRINDHOUSE CINEMA
28/4/2014 – DOORS 7.30PM, £7
11/5/2014 – 6PM, £2
25/5/2014 – DOORS 6PM, FREE
THE ILL HERBS
DAWSONS GRINDHOUSE CINEMA
SET ONE TWENTY LIVE
30/4/2014 – DOORS 8PM, FREE
31/5/2014 – DOORS 9PM, £5
11/5/2014 – DOORS 6PM, FREE
BALLET SCHOOL 2/5/2014 – DOORS 8PM, FREE
LIVE AT LEEDS 3/5/2014 – DOORS 11AM, £25
LIVE AT LEEDS AFTER PARTY
SONS & LOVERS + RACING GLACIERS + CITY OF LIGHTS + ALLY MCRAE
1 - 1A CROSS BELGRAVE STREET, LEEDS, LS2 8JP OPENING HOURS MONDAY: 12PM - 12PM TUESDAY: 12PM - 12PM WEDNESDAY: 12PM - 12PM THURSDAY: 12PM - LATE FRIDAY: 12PM - LATE SATURDAY: 12PM - LATE SUNDAY: 12PM - 12PM
12/5/2014 – 8PM, £6
THE GUILTY PARTY 16/5/2014 – DOORS 9PM, £TBC
3/5/2014 – DOORS 11PM, FREE
DAWSONS GRINDHOUSE CINEMA 4/5/2014 – DOORS 6PM, £FREE
LAYNES BRUNCH 18/5/2014 – 11AM, BELGRAVE MUSIC HALL
CLAWHAMMER FOLK CLUB
DAWSONS GRINDHOUSE CINEMA
7/5/2014 – 8PM, £2/3
18/5/2014 – DOORS 6PM, FREE
PINTS OF AMSTEL £2.50 TILL 7PM
25th & 26th July 2014 25th
26th
28-34 HIGH ST, NORTHERN QUARTER, MANCHESTER, M4 1QB
THERUBYLOUNGE.COM ★ @THERUBYLOUNGE ★ @CLASSICSLUM ★ CLASSICSLUM.COM APRIL 28 - MICAH P HINSON + guests BURIERS APRIL 30 - SHONEN KNIFE ‘OVERDRIVE TOUR’ + guests SMALLGANG + GOOD GRIEF MAY 1 - MOULETTES + guest KATE YOUNG MAY 3 - REMAKE REMODEL + MANCHESTER SCHOOL OF ART DAYTIME VINTAGE + ARTS FAIR MAY 4 - CLASSIC SLUM present WE HAVE BAND MAY 6 - CLASSSIC SLUM present CHERUB @ FALLOW MAY 6 - CLASSIC SLUM present COURTNEY BARNETT + guests HONEYBLOOD @ THE CLUNY, NEWCASTLE MAY 7 - ASHER ROTH MAY 8 - BEAR’S DEN + guests CHRISTOF MAY 8 - CLASSIC SLUM present CHERUB @ THE HEAD OF STEAM, NEWCASTLE MAY 9 - DELAYS MAY 9 - THIS FEELING featuring THE WATCHMAKERS + MAN & THE ECHO + DJ sets from THE CORAL + THE LAST PARTY MAY 10 - PHANTOGRAM MAY 13 - CLASSIC SLUM present HANK WANGFORD AND THE LOST COWBOYS + guests ASH MOUNTAIN + GREG LARKIN MAY 15 - CLASSIC SLUM present CHRISTIAN DEATH ‘CATASTROPHE BALLET 30TH ANNIVERSARY TOUR’ MAY 16 - THE NARROWS + FIRESUITE + TRIBAL FIGHTERS + IN VIOLET MAY 16 - CLASSIC SLUM present GRAMOTONES @ THE DEAF INSTITUTE MAY 19 - CLASSIC SLUM present JASON ISBELL & THE 400 UNIT + ERIN MCKEOWN @ THE CLUNY, NEWCASTLE MAY 19 - ARCHIE BRONSON OUTFIT MAY 21 - CLASSIC SLUM present JASON ISBELL & THE 400 UNIT + ERIN MCKEOWN @ GORILLA MAY 23 - CLASSIC SLUM present CROCODILES + guests VIRALS MAY 24 - DAVID R BLACK + guests THOSE ROTTEN THIEVES + PRE SLEEP MONOLOGUE + LITTLE AVIS MAY 25 - CLASSIC SLUM present THE RIPTIDE MOVEMENT + guests SUNLIGHTER + RYAN JARVIS MAY 29 - A NORTHERN CONTRIBUTION featuring SLYDIGS + WEATHERBIRD + THE INCREDIBLE MAGPIE BAND + MUTANT VINYL JUNE 4 - CLASSIC SLUM present EMA + guest COLLEEN GREEN JUNE 14 - SCOTT BRADLEE & POSTMODERN JUKEBOX JUNE 21 - GLASS ANIMALS JUNE 25 - HOLLY WILLIAMS
ADV TICKETS
The Feeling Finding Albert
JUNE 27 - XANDER & THE PEACE PIRATES JULY 2 - CLASSIC SLUM present THE PAINS OF BEING PURE AT HEART + guests FEAR OF MEN JULY 5 - THE BRILLIANT CORNERS + guests THE HAYWAINS + HORSEBEACH JULY 11 - CLASSIC SLUM present BONE-BOX (ACOUSTIC) + DAVID REDBRANCH @ FALLOW JULY 25 - A NORTHERN CONTRIBUTION featuring PUSHER + CLAY GARDEN + BLOSSOMS JULY 26 - CLASSIC SLUM present THE ECCENTRONIC RESEARCH COUNCIL featuring MAXINE PEAKE @ ISLINGTON MILL JULY 27 - MIKE DIGNAM AUGUST 18 - CLASSIC SLUM present PROTOMARTYR + guests DÉJÀ VEGA AUGUST 26 - ACID MOTHERS TEMPLE & THE MELTING PARAISO UFO SEPT 6 - TIGERSIDE SEPT 24 - CLASSIC SLUM present ANGEL OLSEN @ THE CLUNY, NEWCASTLE OCT 3 - BLACK SUBMARINE OCT 16 - CLASSIC SLUM present DANNY & THE CHAMPIONS OF THE WORLD + guests TREVOR MOSS & HANNAH LOU NOV 9 - ELECTRIC MARY EVERY 1ST SATURDAY - REMAKE REMODEL THE NATION’S SAVING GRACE OF ALTERNATIVE ROCK’N’ROLL EVERY 2ND FRIDAY - THIS FEELING - THE UK’S MOST ROCK’N’ROLL NIGHT OUT EVERY 2ND SATURDAY - POP CURIOUS? - IT’S POP MUSIC. PLAYED LOUD EVERY 3RD FRIDAY - DUSK TILL DAWN - A WILD NIGHT OF CLASSIC SLEAZE + HARD ROCK WITH A TWIST OF PUNK + METAL EVERY 3RD SATURDAY - HOWLING RHYTHM - 60s SOUL / MOTOWN / GRITTY RHYTHM & BLUES / FUNK EVERY LAST FRIDAY - HOLY CIRCUS - GARAGE / LO-FI / SOUL / REGGAE / ALT / PSYCHE / 60s
SPECIALS!
MAY 23 - PUMP UP THE JAM - SPINNING THE BEST DANCE TUNES OF THE 90’S MAY 24 - POP CURIOUS? SPECIAL FEATURING MICHELLE VISAGE MAY 31 - DANCE OFF! SWISS LIPS + REN HARVIEU AFTERSHOW PARTY
TICKETLINE: 0161 832 1111 / TICKETLINE.CO.UK / SEE TICKETS: 0870 264 3333 / SEETICKETS.COM AND OVER THE COUNTER AT THE SUPERB PICCADILLY RECORDS, OLDHAM ST, MANCHESTER
Alabama 3 Model Aeroplanes
The Amazing Snakeheads FESTIVAL SITE NEAR DUNDRENNAN DUMFRIES AND GALLOWAY 2014
May 2014
43
Album of the Month Tobacco
Ultima II Massage [Ghostly International, 12 May]
rrrrr
A growling, distorted bass hums, a pitch-bent synth wobbles, clashing live drums shudder and lurch. “RIDE,” commands a distorted, vocoder-destroyed voice, “RIDE, MOTHERFUCKER, RIDE.” If the third album proper from Pennsylvania native, Anticon beatsmith and Black Moth Super Rainbow founder Tobacco is a ride, it’s a goddamn rollercoaster. There’s an organic, crunchy, layer of distortion over everything, and with an over-clocked palette of synthetic, digitally-created beats and crackling, dessicated analogue riffs, Tobacco pulls off the trick of making these tracks sound like they were played by a kick-ass band.
Swans
Little Dragon
To Be Kind [Mute, 12 May]
Nabuma Rubberband [Because Music, 12 May]
rrrrr
Swans have consistently offered the most brutal of listening endurance tests with the maniacal Michael Gira spitting blood and venom at the wheel. This laudable commitment to extremity has its roots in the early 1980s downtown New York rock community but, on the evidence of To Be Kind, Gira and co. have thoroughly outlasted and outperformed their atonal contemporaries and honed their hostile grind into a sinewy and slinky onslaught of light and shade. The album displays much more diversity than its immediate predecessors; hear the brass-infused near-merriment of Oxygen, the skittering synths and chants of A Little God In My Hands, the accelerated chainsaw gang menace of opener Screen Shot or the seductive ambience of Kirsten Supine, replete with self-combustion outro. Despite the two-hour plus running time, Swans appear to be – gasp! – enjoying themselves; they’re still staring into the abyss but the abyss is no longer staring back. Anyway, never mind the length, feel and breathe the quality. [Colm McAuliffe] younggodrecords.com
rrrrr
rrrrr
Playing Manchester Castlefield Bowl on 10 Jul and T in the Park on 11 Jul
Watter
This World [Temporary Residence, 26 May]
rrrrr
Damon Albarn
Everyday Robots [XL, 28 Apr]
rrrrr
We never really knew Slint. New documentary Breadcrumb Trail goes some way to giving greater context to their brief history, suggesting that drummer Britt Walford may have been the mastermind all along, and its release coincides with the debut album from his first full-time project since 1991. This World actually resembles the work of his band mate more closely – Grails’ Zak Riles is audibly all over this record, concocting a beguiling mixture of murk and tension that’s as drawn-out and lusciously immersive. Seawater is the highlight, with sinister synth motifs coiled around a guitar mantra that eventually explodes into a glorious, yearning coda. Psych? Prog? Post-rock? Whatever. Small Business’ mountainous heaviosity leads unsuspectingly into wordless hymns of pastoral beauty. By the close, we’re transfixed by the fragility of Rachel Grimes’ lyrical dances across the piano; no longer focused on the who, what or why of this music, simply lost to its bountiful charms. [Will Fitpatrick]
Damon Albarn’s solo debut proper doesn’t feel like it labours under the weight of anticipation – the Blur front-man has already proved everything he has to prove with Gorillaz; on his work on the Dr. Dee libretto; with supergroup The Good, The Bad & The Queen; and in collaboration with Bobby Womack amongst many others. There is a comfortable, easy familiarity about Everyday Robots – the elegantly-constructed beats, produced by XL boss Richard Russell, are the perfect counterpoint to Albarn’s fragile voice. Albarn has never sounded better, in some ways; the nuances of his vocal performance are powerfully evoked here. The highlights – the subdued hip-hop soul of the title track; the piano, slide guitar and swooping drums of Hostiles; the sparse, melancholic balladry of The Selfish Giant – far outweigh the missteps (the plinky-plonky, overly whimsical Mr Tembo), making this a satisfying, intimate collection from one of the UK’s finest songwriters – a promising start to a new phase from an artist clearly revelling in his maturity. [Bram E. Gieben]
temporaryresidence.com
damonalbarnmusic.com
Alias
Mr. Scruff
rrrrr
rrrrr
Pitch Black Prism [Anticon, 26 May]
Friendly Bacteria [Ninja Tune, 19 May]
Heralding a switch from his MPC-based productions to the more synthetic sounds of the Native Instruments Machine, there is a certain linearity to the drum programming on opener Ghost Cloudz that almost makes you yearn for the offbeat cadences and analogue fuzz of Alias’ earlier work. Then Crimson Across It, featuring a feral, schizophrenic performance from Doseone kicks in, and all doubts are demolished, as Doseone spits in a terrifying array of voices over a low-slung, bass-heavy beat. The icy synths and minimal trap drums of Amber Revisions nod to witch house and post-dubstep. When Alias explores these ethereal realms in greater depth on Joseph Greenleaf Mornings and Vallejo’s Sapphire Views, the results are impressive. Indiiggo, with Therese Workman, is a claustrophobic, dubbed-out slice of electro-pop. Its closing tracks stroll through more Warp-like territory, with shades of BoC, Aphex Twin and Plaid, exploring familiar realms in a way that is uniquely Alias. [Bram E. Gieben]
This isn’t the Mr. Scruff album you’re expecting. Not that his bouncy, jazzy, cartoonish broken beat had lost its charm – but fans certainly knew what to expect. Here, Andy Carthy nudges them in subtler directions. Opener Stereo Breath is a dark, bass-driven slice of neo-soul, followed up with the drifting, piano-laced two-step of Render Me, both featuring the vocals of Denis Jones. It’s a lean, spare sound, with none of the nudge-nudge, wink-wink humour of earlier records. The wonky disco of Deliverance is more familiar, while Thought To The Meaning is almost a little too slick, borrowing from commercial folk and R&B. The title track is a delicious, Brainfeeder-esque dose of stoned synth-funk. Vocal contributions from Robert Owens and Vanessa Freeman explore smooth house and garage; the over-clocked, drunken house of What is a standout. Despite a few moments of over-polish this is a considered and appealing step to the left. [Bram E. Gieben]
anticon.com/artist/alias
mrscruff.com
Review
Indie Cindy [Pixiesmusic, 28 Apr]
nabumarubberband.com
rrrrr
44
Pixies
Perhaps to avert the crushing weight of expectation that comes with such a studio hiatus, the Pixies have been releasing this album in dribs and drabs for the best part of a year now, to mixed reception. However, finally presented as a single entity, Indie Cindy neatly fits into the Boston legends’ canon – in many ways the natural followup (after a mere twenty-odd years) to the experimental sound of their last studio album, Trompe le Monde. Running the gamut of familiar Pixies tropes, it’s hardly topnotch throughout. Ring the Bell is a melodic pop song that really should have been filed under ‘needs a lot more work’ and Snakes and Another Toe in the Ocean are mere pastiches of the greatness that went before. However, very loud/quiet opener What Goes Boom, the psychedelic rockout (AC/DC meet The Beach Boys) Blue Eyed Hexe and synth-rock oddity that is Bagboy add to the feeling that the finest Pixies album is really [adopts Alan Partridge voice] The Very Best of The Pixies, and the six standout highlights here (coupled with the delightful 13-track live set – worth buying on its own) make a strong claim for inclusion. [Paul Mitchell]
American Interior [Turnstile, 5 May]
gruffrhys.com
ghostly.com/artists/tobacco
The more layers Little Dragon shed, the more interesting their sound arguably becomes, with fourth album Nabuma Rubberband containing some of their sparsest yet most intoxicating work to date. It employs a palette broadly in-keeping with predecessor Ritual Union, yet here the parts add up to a more nourishing whole: shinier, funkier, more daring. Opener Mirror sets a slinky benchmark, leading with minimal components (slow, muffled beats; Yukimi Nagano’s supple vocals; sparkly, sporadic synths) before taking a subtle upswing. Both here and across the rest of the album, Little Dragon’s sound is simultaneously nostalgic and alien: on the one hand, influences from Prince to R&B production duo Jimmy Jams and Terry Lewis are liberally invoked, yet the band’s ambitions are kept resolutely future-focussed, never succumbing to the backwards-facing 80sworship that’s snared so many of late. Though the overarching restraint and precision might render Nabuma Rubberband too glassy and impersonal for some tastes, numerous others will find themselves transfixed. [Chris Buckle]
Gruff Rhys
Fresh from writing shiny electro-pop chronicling the life of Giangiacomo Feltrinelli as one half of Neon Neon, Gruff Rhys reverts to his own name to tell the story of an even more unlikely subject. American Interior, his fourth solo LP, is an enjoyable take on the fabled 18th century explorer John Evans, who left his native Gwynedd in a vain attempt to find a mythical tribe of Welsh-speaking Native Americans, drawing one of the first maps of the Missouri River along the way. Rhys retraced Evans’ tour of the American heartlands before entering the studio, and the musical influences are clear in the alt-country stomp of 100 Unread Messages, and the Muscle Shoals soul-tinged Liberty (Is Where We’ll Be). It’s all a long way removed from the pscyh-rock of the Super Furry Animals or the sleek Neon Neon, but this is a charming and at times fascinating album – as much a celebration of Americana as a legendary Welsh folk hero. [Chris McCall]
Eruption is one of the best pop songs of the year, buried under so much fuzz and grunge that it becomes a headbanging anthem. Video Warning attempts evokes scratchy VHS Manga soundtracks; Lipstick Destroyer is rabies-infected electro-house; Dipsmack is straight-up punk filtered through decimated techno, while Blow Your Heart melds shoegaze and Daft Punk, plundering the same realms of hyper-sexual neo-disco and cosmic P-Funk the French duo explore, but filtered through a grubby, trailer trash aesthetic that teams subversive, crotch-grabbing lyrics with steadily intensifying glitches and de-rezzed synths. Ultima II Massage will leave you feeling breathless, euphoric and drunk. This is hardcore. [Bram E. Gieben]
RECORDS
bis
data Panik etcetera [Do Yourself In Records, 5 May]
rrrrr
When bis split back in 2003 they left behind a small but special discography, topped by hyperactive early EP Transmissions on the Teen-C Tip! and tailed with 2001 LP Return to Central. But the separation never quite stuck (to fans’ delight); two years later they were back for a shortlived stint as Data Panik, and since then they’ve re-emerged intermittently to play shows and tease new material. Comprised of the fruits of various unused recording sessions, data Panik etcetera curates material from the Glasgow trio’s absent noughties, placing previously released tracks like Control the Radical alongside songs that are finding their way to interested parties for the first time. Careful remastering ensures these disparate components fit together seamlessly; individual tracks, meanwhile, deliver trademark energy and finely honed indie-pop melodies. data Panik etcetera is the sound of bis renewing their vows; here’s hoping they now feel like making up for lost time. [Chris Buckle]
THE SKINNY
Killer Be Killed
Brody Dalle
Lykke Li
rrrrr
rrrrr
rrrrr
Killer Be Killed [Nuclear Blast, 12 May] Killer Be Killed – a new collaboration featuring members of Soulfly, Mastodon and The Dillinger Escape Plan – intelligently splice furious thrash together with soaring melodies. Masto’s Troy Sanders, Dillinger’s Greg Puciato and Sepultura co-founder Max Cavalera each lay vocals down over a fierce barrage of speed riffs, complete with well-timed moments of respite. Face Down initially exhibits the most brutal aspects of Soulfly, but it’s not long before the group begin to explore less obvious routes. Lead single Wings Of Feather And Wax starts out fierce and commanding before Puciato’s voice enters the chorus and the pace changes entirely. What’s most surprising is the calm, floaty intro of closer Forbidden Fire, which breaks into a powerful final barge towards oblivion. Unlike many other “supergroups,”, KBK aim for the throat with every track. [Ross Watson] www.nuclearblast.de
Diploid Love [Caroline Records, 28 Apr] Much has been made of Brody Dalle’s transition from gobby punk reprobate to Hollywood mom. Jeez – what? A tattoo on her arm offering a friendly “fuck off” and they still let her drop the kids off for school? Someone get me Alice Cooper off the golf course! Rock ‘n’ roll ain’t what it used to be, kids! And for that let’s offer some thanks. Dalle has always been worth a look, whether it be for the acid splurge of her early Distillers material or the under-appreciated pop-rock of Spinnerette. Diploid Love, ostensibly her solo debut, marries attitude and craft. A strong supporting cast (Warpaint’s Emily Kokal, Shirley Manson) lend a hand but the songs (the breathless buzz of Underworld, the chill ballad I Don’t Need Your Love) stand up regardless. A Brody Dalle as fired up as ever but lucid and inspired like never before adds welcome brimstone to the rock ‘n’ roll firmament. [Gary Kaill]
I Never Learn [LL Recordings, 5 May] The final part of a thematic trilogy that began with 2008 debut Youth Novels, I Never Learn takes Lykke Li’s work a shade darker and a notch glummer – which, when you consider the exposed emotions in past highlights like Sadness is a Blessing, is saying something. Written in the wake of an evidently shattering breakup, its tone is forlorn, with Love Me Like I’m Not Made of Stone (“even though it hurts, even though it scars”) supplying its stark centrepiece. But there’s more to I Never Learn than bruised hearts and despondency. More often than not, lyrical fragility finds its counterweight in bold pop production, with a torch song like Never Gonna Love Again skirting T’Pau terrain (in a good way). As myriad film franchises testify, part-threes are rarely a trilogy’s pinnacle, making I Never Learn a highly impressive (if thoroughly woebegone) exception to the rule. [Chris Buckle] lykkeli.com
Wussy
Kate Tempest
Fatima Al Qadiri
rrrrr
rrrrr
rrrrr
Everybody Down [Big Dada, 19 May]
Attica! [Damnably, 5 May]
Asiatisch [Planet Mu, 5 May]
If there’s one area where US music has always excelled, it’s depicting the dark underside to the nation’s sunny exterior. Country music exposes the sadness, pain and conflict that ensues when you sell people an individualist manifesto as an attainable dream, neglecting to mention the price of its likely failure; ditto the slackers of Generation X articulated – albeit obliquely – the directionless haze left when the aspirational baby-boomers fucked up their future. The reason Wussy (Robert Christgau’s favourite band – © everything written about them ever) rule so hard is the unique way in which they conflate the two, their heart-on-sleeve Americana coated with layers of disorienting fuzz. Of their two equally-arresting vocalists, Chuck Cleaver’s the more vulnerable, as his cracked croon imbues the Yo La Tengo-esque To The Lightning with subtle drama. Lisa Walker, meanwhile, is pure romanticism encapsulated, making Home and the title track feel utterly irresistible. [Will Fitzpatrick]
Spoken word artist Kate Tempest’s debut is undoubtedly impressive. The storytelling of Marshall Law and Lonely Daze – gritty, intimate and confessional – is far more effective than her closest peers (Scroobius Pip seems arch and condescending by comparison). She effortlessly melds the personal and the political, an inspiring writer, subverting rap narratives and ‘hood tales with a sharp eye for human behaviour, always creating compelling characters and precise, technical rhymes. Not everybody is going to love it – the spoken word delivery, of which she is a master, isn’t always a comfortable fit for the bass-heavy beats of producer Dean Carey, and for fans of conventional rap music, the mixture of poetic delivery, hip-hop flow and half-sung choruses may be too strange a brew. But for those who have waited a long time for an artist to emerge from that scene and make a compelling document, Everybody Down sees that promise fulfilled. [Bram E. Gieben]
Kuwait-born Fatima Al Qadiri, first associated with the ‘vaporwave’ microgenre, reveals herself to be worthy of the hype on her Planet Mu debut. The dominant sound on Asiatisch is another microgenre, this time ‘sinogrime’ – a form of grime fixated on cartoonish, Westernised notions of what Asiatic sounds might be. Her work plays with notions of authenticity – the world Al Qadiri creates is China, but glossy; artificially clean, romanticised and synthesised. Szechuan’s digitally-recreated pan-pipes and shamisen are satisfyingly artificial. Wudang, with its snatches of Chinese speech, is similarly sparse, punctuated by smooth bass stabs. Many tracks sound not unlike video game music, presenting a digitised hyper-reality. The opener, a Chinese-language cover of Nothing Compares 2 U, is a welcome addition, making the familiar song haunting and strange. More engaging even than this clever, subtle album is the thought of where this ambitious, whip-smart producer might turn next for inspiration. [Bram E. Gieben]
wussy.org
katetempest.co.uk
soundcloud.com/fatima-al-qadiri
Bastard Mountain
Farewell, Bastard Mountain [Song, by Toad, 12 May]
rrrrr
Meadow Ghosts instantly paints a lush-yetdisturbing atmosphere which permeates throughout Bastard Mountain’s debut; solemn strings decorate the aural landscape, guitar notes ring out quietly and croaked male and female voices whimper in and out of sight. A quick glance at the group’s members reveals a number of talented players: Meursault’s Neil Pennycook and Pete Harvey both feature on the record, as does Sparrow & the Workshop’s Jill O’Sullivan. Reuben Taylor from James Yorkston & the Athletes also appears. In the spirit of Cold Seeds – the collaboration from a few years ago between members of Meursault, Animal Magic Tricks and King Creosote – Farewell, Bastard Mountain blends together sweet instrumentation with drawn out atmospherics. Like that project, it also contains songs written by specific members which were then passed to the others to interpret vocally. Despite the improvised nature, everything sounds like it was cut from the same cloth, and what we’re left with is a fully formed work which gloriously showcases the best elements of the individual talents behind it. [Ross Watson]
Kreidler
rrrrr
rrrrr
My Fear and Me [Baltic Records, 19 May]
ABC [bureau b, 5 May]
Bird fashion mood so deftly, securing their soundscapes to their own distinct and fascinating rhythm: bass and drums (toms trump snare) propel the songs. Adele Emmas’ flinty vocals, a voice uncommonly clean and free, give them definition and bite. Brooding opener Ghost has a flavour of PINS’ Eleventh Hour. Thvvv e Rain Song is an almost wordless, euphoric incantation. But it’s the pulsing I Am the Mountain, arriving part way through, that confirms the breadth of Bird’s intent. Hopefully, they’ll catch the same wave that Daughter did, another act who placed craft, feel and space before overt pop sensibilities to gain both identity and, with it, a loyal and sizeable audience. And as with Daughter, here’s a set of songs that reach for the dark side of your consciousness. Songs? They’re more than songs. They’re vast, haunted tableaux, earthy and primal. They’re dusky confessionals, a beguiling shadowplay that bruises, intoxicates and surrounds. My Fear and Me delivers on Bird’s early promise and then some. [Gary Kaill]
Düsseldorf’s Kreidler are two decades deep, combining drifting ambient soundscapes with complex yet understated rhythmic patterns and richly-textured electronic riffs. The production throughout is immaculate, and although their sonic sculpture is sparse, it is often involving. The drums are the main guiding element, with the melodic and bass sections following the shifting rhythmic patterns, but often, the focus on rhythm lets the rest of the compositions drift a little too easily, and the record passes by in a minimalist haze. Given closer attention, the polyrhythmic beats deserve praise, but overall, Kreidler fail to deviate convincingly from the template of abstract electronica laid down by Warp artists in the early 90s. There are shades of Autechre, Plaid and Clark, but with none of those artists’ groundbreaking approach to structure – despite the complexity of the drums, these tracks have a conventional, coffee-table sheen which is altogether too clean, and as a result, ABC feels somewhat half-finished in places. [Bram E. Gieben]
birdofficial.tumblr.com
ikreidler.de
WIFE
The Horrors
What’s Between [Tri-Angle, 26 May]
Luminous [XL Recordings, 5 May]
rrrrr
Perhaps the most accessible release so far from the unimpeachable Tri-Angle label, WIFE offers up his full-length debut, a gleaming, polished collection of glacial synth-pop and deep, meditative, ethereal R&B with truly staggering vocal production and some scintillating, considered songwriting. Like former Tri-Angle artist oOoOO, his approach combines washed-out synth-scapes and delicate vocal hooks. But there is a majestic sweep, a widescreen, cinematic ambition to James Kelly’s songwriting that reaches for the melodramatic narrative touch of early Nine Inch Nails, or the abstract torch songs of Japan. The Haxan Cloak, on production duties, lends a doomed, romantic feel; resonant and spacious. A sense of transcendental light warring with dark and claustrophobic gloom pervades, and the results are emotionally wrenching. Kelly is drawing on ancient choral traditions, deconstructed forms of electronic music spanning decades, but the songs are never difficult or over-cooked. What’s Between is nuanced, unhurried, and in places, quite sublime. [Bram E. Gieben]
Bird
rrrrr
When Brian Eno said My Bloody Valentine made “the vaguest music ever to be a hit,” he noted a group rejecting the mainstream/underground dichotomy to nail a fresh, nebulous and true angle on the human experience. That ambiguity lives on in Southend’s The Horrors, five eccentrics mangling their beloved early-electronic influences to make pop that’s vaguely magnificent and magnificently vague. Easily the most exciting recent band that could conceivably headline major festivals this decade, they consolidate the Psychedelic Furs-via-Hacienda stylings of 2011’s Skying for their fourth LP, which is gratifying enough to seduce fedora youths in a field without wholly sacrificing the experimental spirit. Songs like Sleepwalk and First Day of Spring sound like young hearts overflowing, resplendent and blue-sky vast, and though Faris Badwan sometimes annunciates with rigid formality, there’s a newly resigned, infatuated slur on highlights I See You and Change Your Mind that’s reassuringly human. [Jazz Monroe]
The Top Five 1 2 3 4 5
Tobacco
Ultima II Massage
Bastard Mountain
Farewell, Bastard Mountain
Damon Albarn
Everyday Robots
Watter
This World
The Horrors
Luminous
thehorrors.co.uk
soundcloud.com/wife
May 2014
RECORDS
Review
45
The Kazimier, Liverpool, 20 Apr
rrrrr
Liverpool-based group Ex-Easter Island Head are in a celebratory mood, having released two highly acclaimed minimalist records in the past 12 months. The most recent, Large Electric Ensemble, is something of a victory lap, which trades their mallets for an exhilarating, if slightly more on the beaten track, minimalist post-rock composition. Tonight, consisting of 12 electric guitars and percussion, the opening rings of a bell complement the shimmering stacks of tones that are more reminiscent of a cathedral organ than a large power chord. The singularly joyous nature of the piece is evident on the faces of the performers, who smile and nod consistently to each anticipated change in the course of the music. It’s at this point the majesty of the opening chords dies away to a resonant wash of harmonies, which unfortunately loses some of the ensemble’s momentum. Despite the serene respite, it’s a welcome departure when the rhythmic urgent middle section kicks in. Making the harsh snap from nebulous rings to grungy chord progressions,
the ensemble reawakens and notches itself up a gear for the final section, a sublime cacophony that demonstrates the band’s sheer playfulness. The spectacle of watching permanent members Benjamin Duvall and Jon Hering attempting to out-rock each other each side of the stage is a joy in itself. As the final chord rings out to rapturous applause, leader Duvall can barely contain his pride in finally bringing his group’s boldest composition home. Support has been handpicked by Ex-Easter Island Head, with ambient folk trio Trouble With Books providing a balance between familiar song sketches and esoteric noise and feedback. Feeding the celebratory side of the night is live techno act Lunar Modular, whose celestial melodicism and retrofuturist outlook has been sorely missed in Liverpool. However, almost upstaging the headliners is Richard Dawson, who is truly a one-of-a-kind singer. Interrupting himself constantly with absurd quips, Dawson is able to deprecate in a heartwarming way that adds gravitas to his brand of forlorn folk, recounting tales both bizarre and dark – often simultaneously – under a bed of Fahey-esque guitar work. A real treat of a night. [Jon Davies]
Tim Hecker / Julianna Barwick RNCM, Manchester, 1 Apr
rrrrr
For a festival concerned with all things digital, the organisers of FutureEverything couldn’t have put together a more innovative pair of musicians than Tim Hecker and Julianna Barwick. In the polite theatre of the RNCM, their processed soundscapes offer us two strikingly different interpretations of the future on what turns out to be an evening of contrast – between Barwick’s airy light, and Hecker’s oppressive darkness. Barwick shuffles on stage to the projected backdrop of a red moon, reminiscent of the cover of last year’s album Nepenthe. As she begins to construct her wordless hymns, looping her chants and layering keyboards to harmonise with herself, the anger of the moon begins to melt away, revealing itself as a rotating scope to the universe. With images of stars and nebulae twinkling slowly past our eyes, Barwick’s drones become celestial, a soothing mental massage full
of unfathomable space for imagination, flushing sorrow so far inward that it’s obliterated. It’s catharsis in reverse, especially during songs One Half and The Harbinger – her foot-taps echoing through the crowd’s awe-struck silence. Tim Hecker’s set offers no such human comfort, with him arriving in total darkness in a death robe and gridded mask, his figure a scarcely visible shadow behind his workstation. He moves straight into Virgins’ opener Prism, almost sadistically cranking up the bass thrum until the crowd feel pinned to their seats by the vibration. The technological power is terrifying, exhilarating, and no one applauds because it seems futile. Spending an hour trapped in Hecker’s nightmare realm, amid the warped organ, static and clanking, is like comprehending the workings of an enormous machine that humanity switched on and now can’t turn off. Being able to step back out into the Manchester night afterwards, surrounded by fleshy, imperfect people, becomes a blessing. [Chris Ogden]
Photo: Gary Brown and Manox Media
Mohebbi at Threshold 2014
Threshold Festival
Baltic Triangle, Liverpool, 28-30 Mar
rrrrr
Threshold, a multi-arts three-day festival now in its fourth year, is an integral date in Liverpool’s cultural calendar. With a vast and varied line-up Koreless of music, performance and visual art, skimming the programme feels like preparation for an exEvian Christ / Koreless / this technique. His compositions potentially lend pedition into an imaginative world deftly curated Lorenzo Senni / Visionist / TCF themselves to wild TR-808 rhythms underneath, by the city’s grassroots cultural scene. RNCM, Manchester, 29 Mar Despite the downpour of rain on Friday but instead he performs clinical exercises in rerrrrr straint. Senni’s monolithic synthesiser sequences night, revellers roam the industrial landscape of Despite little being known about upcoming oscillate from the claustrophobic to the ecstatic, the Baltic Triangle, hopping between the various producer TCF, his lush acousmatic composition with an insistent percussive tone as if imagining a venues offering up musical refuge from the bleak juxtaposed by gravelly digital decay has stunned outdoors. modern, Italo disco-inspired Steve Reich. audiences and got critics talking. Although Highlights include local four-piece Book The night, however, belongs to headliner influences from artists such as Tim Hecker and Thieves, who blizzard through a fierce set at Evian Christ. Accompanied by a visually arrestJóhann Jóhannsson are there, it feels like TCF ing backdrop of haze and dot matrix projections, Blade Factory with raw energy and dirty riffs presents a genuinely refreshing experience of while a 1950s film projection behind them adds Josh Leary’s performance is perfectly conceived listening, refusing to remain static for long, and a retro flavour to the atmosphere, and Natalie for the RNCM without losing the aggressive nawalking the line of ambient musique concrète and ture of his last release, Waterfall. Diverting heav- McCool, who provides a mesmerising perforsynthetic rave/death motifs with the ease of a mance over at The Baltic Social, demonstrating a ily from his usual live set, Christ’s performance producer who’s been crafting for years. derives from several moments found in his finest virtuosity that exceeds her years. After TCF comes Visionist, and while his Over in District, The Destroyers conclude work set to a dark cinematic backdrop, as if the talent is unquestionable it feels that with a lack audience is remembering disintegrated moments the evening in frenzied fashion. A chaotic orchesof a dancefloor the use of 2-step rhythms is flatly from seeing him perform at a club the night betra of jazz-infused gypsy folk, it’s impossible to received. It is a little disappointing, as much fore. Suitably closing the evening is UK bass pro- not be engulfed by their whirlwind of dancing, of his music possesses moments of minimalist oversized spacey balloons and upbeat energy. ducer turned ambient minimalist Koreless, who beauty, and in fact his performance only comes With the sun shining down on Saturday, spirprovides a delightful end of cascading melodies to the fore when moods are allowed to hang in its are high and the warehouses around Jamaica and an effervescent wash of deep audiovisual the air. Italian synthesist Lorenzo Senni excels at tones. [Jon Davies]
46
Review
MUSIC
Photo: Gary Brown and Manox Media
Julianna Barwick
Street have been treated to an artistic transformation, with street art and posters reflecting a retro-futurism theme. As evening approaches, a dash from the Nordic Church – where Moxie’s soulful harmonies fit the venue perfectly and play parallel to the impending darkness – takes us over to the Baltic Bakehouse where solo performer Invisible Alliance’s fusion of ambient, electronic and progressive rock with live guitar and sampling enraptures the small, crowded space. Over at 24 Kitchen St, space is the place as A Culture Less Ordinary host an evening of cosmological enchantments. The Part Time Heliocentric Cosmo Drama After School Club, curated by Paddy Steer, are a sight to behold in themselves: the big band, enveloped in gold from head to toe and wearing space-age headgear, offer a glittering performance, pouring out Sun Ra’s eclectic jazz numbers with such passion that the crowd is left speechless. Synth’n’drums duo Galaxians follow, with their infectious blend of house and disco heightening the party atmosphere. Sunday sees a more relaxed day of festival amusements, as Unit 51, the hub of the festival, plays host to the teaming up of Mellowtone and Farm Feast. Chilled out, summery vibes fill the air, and Beaten Tracks DJs provide the ideal soundtrack to an urban utopia. [Natasha Linford]
THE SKINNY
Photo: David Howarth
Ex-Easter Island Head
Photo: Gaz Jones
Ex-Easter Island Head
“A GODSEND TO THE MUSIC CIRCUIT” THE TELEGRAPH
BOOK NOW: 0161 832 1111
manchesteracademy.net MAY
31 MAY—15 JUNE
De La Soul Friday 2nd
THE MUSICIANS’ FESTIVAL...
Northside Saturday 3rd
UNIQUELY CREATED, PRODUCED AND PERFORMED BY LEADING INTERNATIONAL SOLOISTS AND CHAMBER MUSICIANS
Sam Pepper and Mazzi Maz Saturday 3rd Neon Trees Monday 5th Janelle Monae Wednesday 7th
CHESTER CATHEDRAL | CHESTER TOWN HALL
Martin Stephenson & The Daintees Thursday 8th
www.chestermusicfestival.co.uk
Jagwar Ma Saturday 10th The Clone Roses Saturday 10th Action Bronson Monday 12th Michael Franti & Spearhead Tuesday 13th Courtney Love Tuesday 13th Lit Wednesday 14th Capone-N-Noreaga & Onyx Saturday 17th
Do you want to join our team?
The Hoosiers Thursday 22nd Gigantic – Classic Indie All Dayer – Ned’s Atomic Dustbin + The Wedding Present + Chameleons Vox + CUD + The Sultans Of Ping + The Frank & Walters Saturday 24th
@TheSkinnyNW /TheSkinnyMag
Dodgy (Acoustic) Sunday 25th Illustration: Yvette Earl
J O U R N A L I S M
Fishbone Wednesday 21st Swans Thursday 22nd
Go to theskinny.co.uk/about/get_involved
C U LT U R A L
H.E.A.T. Thursday 19th Goldfinger/Zebrahead Thursday 22nd
Positions available in May
I N D EP EN D EN T
CASH – The No.1 Johnny Cash Tribute Saturday 17th
Escape presents CULMINATION – Marcel Woods/ TV Noise/ Harry Shotta Show Live/ Sandy B Live/ Paul Taylor/ Original Sin/ Whelan & Di Scala Sunday 25th The War On Drugs Wednesday 28th The Three Johns Wednesday 28th AWOLNATION Thursday 29th FutureProof Thursday 29th Francis Dunnery Band Friday 30th
JUNE Schoolboy Q Sunday 1st Mashrou Leila Monday 2nd The Polyphonic Spree Saturday 7th Pond Monday 9th George Ezra Thursday 12th The Pierces Thursday 12th The M’Goo Project + Misty’s Big Adventure Friday 13th Andy Jordan Wednesday 18th Brave Black Sea Wednesday 18th Jurassic 5 Thursday 19th Gareth Gates Tuesday 24th
LATER IN 2014 Ska Face Saturday 5th July Sebastian Bach Monday 7th July In Hindsight Wednesday 9th July Athlete Friday 1st August Anberlin Thursday 7th August The Magic Numbers Friday 12th September Azealia Banks Thursday 18th September Sleaford Mods Friday 19th September The Fray Friday 26th September Lewis Watson Monday 29th September Hopsin Friday 3rd October Miles & Erica Saturday 11th October Wheatus Wednesday 15th October Anti-Nowhere League Thursday 16th October Heather Peace Friday 24th October Katy B Saturday 25th October Y & T – 40 Year Anniversary Tuesday 4th November The Beat Friday 28th November
For full listings visit manchesteracademy.net
May 2014
47 SKINNY.61x314.MASTER.indd 1
15/04/2014 13:21
Personal Journey With Floating Points on production duties, Eglo Records key player Fatima’s long-awaited debut album, Yellow Memories, is a sumptuous listen. She discusses family, performance, and the importance of taking your time
Interview: John Thorp
Fatima
S
ince 2008, London’s Eglo Records, founded by Alexander Nut, has proved to be a diverse powerhouse for rich and soulful dance music, be it Funkineven’s nasty yet nice acid tracks and, perhaps best known of all, Floating Points’ fusion of soul, jazz and house that came out of nowhere at the label’s inception and still thrills today. But Eglo’s key proponent of soul – and it’s a term that’s almost inescapable for the label – has always been Fatima. Acting as an unofficial in-house vocalist for any Eglo producer looking to add a lyrical touch to their work, Fatima’s long history with the label has resulted in Yellow Memories, an intriguingly titled new album taking her to the forefront of productions that many lesser performers would simply find themselves lost in. “It’s Yellow Memories because my grandmother’s house is yellow and that house represents my childhood, my time growing up in Stockholm, the past, family and love,” explains Fatima, having just returned from a couple of frostbitten months in New York. “Plus,” she adds, “the colour yellow makes me think of the sun and I love light.” There is much light and colour throughout Fatima’s back catalogue, and although Yellow Memories, composed entirely of new material, is not without brushstrokes of regret or heartbreak, it remains an affirmingly positive listen as summer creeps in. The LP’s grandiose opening track, Do Better, swells with joy and optimism, and the mood continues while hopping from dubbed-out R’n’B to adventurously constructed, jazzier moments. The collaborative process for Yellow Memories has worked much like Fatima’s previous releases, in that the instrumental ideas of her producer inspire her lyricism and delivery. Like everything at Eglo, it’s a gentle and fruitful operation. “If somebody has something to say either way, then that can work,” she says. “We’re all in it
48
Preview
together, but sometimes you have to meet in the middle. Alex and Sam [Shepherd] are the label, and if there’s something they don’t feel, they won’t put it out, but it’s definitely not the type of label that tries to have a say in every single thing. What I like about it is the freedom.” Freedom and individualism are abundant throughout Yellow Memories, perhaps reflecting Fatima’s diverse background and taste, which has always fused popular influences with more flavoursome club styles. Born in Stockholm, Fatima resided there until the age of 21, when she moved to London and fatefully – thankfully – soon found herself at the city’s emerging FWD night, where she met Nut, and lost herself in the palette of emerging new sounds at the time. Having hopped between scenes, where does she feel the real genesis of her varied tastes lies?
“What I’m talking about is a broken thing, so why do I need to be perfect?” Fatima
“I grew up on a lot of hip-hop, a lot of R’n’B and soul music, which has inspired me, and that affected me in the way I sing, certainly,” she admits. “Most of the people on the label appreciate the older sound of different genres, but try and do something new with it, put on a little swing to it and create a balance of those things. I like anything from Missy Elliot to classic Soul Divas, and
Wu Tang, Busta Ryhmes, Madlib. I still think that’s dope music that never really fades.” Certainly, Yellow Memories has a timeless feel to it, having the sheen and the ‘little swing’ Fatima refers to of a modern production – but for all its flourishes, it has an understated vibe, the long track lengths of which won’t necessarily appeal to radio programmers outside of the likes of Gilles Peterson (then again, perhaps he’s the only radio programmer an artist such as Fatima might need). But with her easy and accessible tone, has she ever been tempted by the broader, ‘pop star’ role that could surely be available? “Well, nobody asked!” she laughs. “We didn’t pick the right sounds. It needs some big plastic synths! No, I don’t want to diss anyone that’s just doing their thing, but a lot of it is really braindead and cloned. And sometimes those people still do great music, so it’s a shame that they also have to do anything that lacks quality.” As a complete contrast, Yellow Memories has been a long time in evolution, including a time gestating in Los Angeles, with Fatima and Eglo sticking side by side throughout at an easy pace. Fatima’s compositions and ideals are designed to hold up to her own personal scrutiny. “It’s good to take time with things, not stress it, and you get to explore and find out what you really want to do – rather than just feeling something for one day, giving it some time to sit and then coming back to it to see if it’s really worthy. And it’s always been organic finding people to work with,” she says, “but I feel that now is definitely the right time to put it out. It’s so exciting to have the full, physical record in my hand, to put the whole album out there.” The lead single for Yellow Memories, Family, is a breezy ode to just that – with an understated video by collaborator Husky to match. But within the album, Fatima’s lyrics are perhaps more personal and direct than on previous material. The album’s finale – the bracing Gave Me My Name – is
CLUBS
a raw, piano-led track that concerns Fatima’s disillusionment in the wake of her father’s absence throughout her childhood. A seamless performer, her voice finally cracks in the song’s powerful last moments. “I used the first take, and it didn’t need to be perfect,” she reveals. “We did attempt to re-record it, but then what I’m talking about is a broken thing, so why do I need to be perfect?” Elsewhere on the album, Fatima has taken the force and detail of the production as something of a gauntlet. “On something like Do Better, the music is so full on that I needed to bring everything to it – so it’s cool to challenge myself, to get contrast, and hopefully do something interesting.” Eglo’s live band have long been a distinctive calling card for the label, taking full brass and rhythm sections to clubs and festivals and, in the process, elevating artists above the standard ‘live’ AV set accompaniment. Not for the first time, they’ll be joining Fatima on the road in support of Yellow Memories, expanding and refining her back catalogue. “I like being in the studio, but performing has always been special to me,” she says. Indeed, she is a confident (though never showy) performer – last summer seeing hundreds of bleary-eyed revellers at Beacons festival awake on a sunny Yorkshire Sunday to hear her dulcet tones. In clubs, fans and newcomers can expect a somewhat livelier, but varied performance. “The live show has structure, but there’s room for it to be free, to change sounds and speeds,” she says. “But there’s always four of us on tour and we do like to experiment with samples, for example – and some of it is already coming out great.” Yellow Memories is out 12 May via Eglo Fatima & The Eglo Live Band play Antwerp Mansion, Manchester, 3 May; The HiFi Club, Leeds, 4 May; and at Dimensions and Outlook festivals, Croatia www.soundcloud.com/fatimasoundslike
THE SKINNY
Clubbing Highlights The sun is shining, and what better way to celebrate than to pack yourself into a dark room with hundreds of sweaty punters who are all clambering furiously for fresh air Words: Jack Burns Illustration: Clio Isadora
T
his month kicks off with Groove Kitchen at the Roadhouse, who welcome veteran plate spinner Nik Weston on 1 May. Weston has been supported by the likes of Gilles Peterson and Jazzanova, and has put out over 100 releases on labels in the US, Europe and Japan. His own imprint, Mukatsuku Records, is also going strong. A day later and there’s a big night at Kraak Gallery as Lost Control bring in some hot Northwest talent – including Perseus Traxx, Asok and Acre – for a night of sure-fire carnage just off Stevenson Square. Cop a ticket for a fiver! There’s a bank holiday special on 3 May at Soup Kitchen, with two of the finest clubnights of recent years being represented. JG Wilkes, boss of Glaswegian powerhouse Optimo, joins Luke Unabomber of Electric Chair fame to curate a five-hour marathon of unadulterated revelry (£5). Over in Liverpool, bank holiday weekend gets going with mUmU on 4 May, who welcome the dynamic pairing of Marcel Dettmann and Ryan Elliott (£21). Avoiding all Star Wars puns, mUmU’s bank holiday parties have been legendary over the last few years, and the prospect of Elliott by day and Dettmann by night – over the course of 12 hours in two venues – is certainly an enticing one. Same day at The Garage in Liverpool sees Catherine Britton, aka Cassy, return to her homeland for one night only (£15). Cassy left England for Austria with her father in the mid-70s, before moving to Berlin in 2003 to rub shoulders with Ricardo Villalobos, Steve Bug and the Perlon crew. If that wasn’t enough, 4 May is also the date that Motion host Liverpool’s own John Heckle at Fallout Factory. Heckle has been DJing around the city from the age of 15 and is revered for his technical ability and affinity for hardware. Evian Christ and MssingNo are on offer in both cities this month, at The Shipping Forecast on 4 May (£7), and Joshua Brooks on 9 May (£6). Evian Christ first turned heads with his Kings & Them EP on Tri Angle, and since then he’s been roped in by Kanye West to aid production of his Yeezus record. MssingNo makes his Manchester debut fresh off the back of the huge XE2 last year on the fantastically named label Goon Club Allstars. They’ll be joined by Georgia Girls, who brings his jersey/grime-infused club sounds to the table. Back in Manny, Vice City appreciators Fever 105 provide shelter for Madrid groove-shark Rayko on 9 May (£6) at Odder. Rayko has been a leading light in the disco edit scene since 2008, the year he launched his magnificent Rare Wiri imprint. Expect an evening steeped in disco, funk
May 2014
and boogie. Over at Soup Kitchen on 10 May, the guys at meandyou. fly Dutch photographer and producer Nick Lapien over from the Netherlands to conduct his Metropolis live show. Lapien has steadily been gaining the attention of the underground with releases under various aliases, including Metropolis, Lapien and Napel, as well as in the group Artefakt. Atmospheric techno, electro and ambient are all on the menu for £5. A week later, and across the M60, fledgling Scouse clubnight Shake A Leg welcomes Mancunian mainstay Will Tramp! to The Shipping Forecast on 17 May. A versatile individual, Tramp has graced nearly every stage in the Northwest over recent years with his eclectic mix of house, disco and the occasional bit of cheese. Crowdfriendly party vibes aplenty for £5. But, if you’re based in Manchester, you may choose an evening with Aesthetic Audio don Keith Worthy instead. The Bohemian Grove residents will also be on hand to rattle the foundations of Islington Mill ‘til the early morn (£10). We’re very excited for Cutloose’s loft party on 24 May at the Roadhouse, which welcomes Idjut Boys for an intimate night of dub-heavy disco on a high-end system. All profits go to Pancreatic Cancer Research, so you’ll even feel good about giving away £10 for the ticket. Spaces are limited so it’s an RSVP-only affair – no tickets on door. The tail-end of the month also sees a huge line-up at Sankeys for the Selective Hearing x Dimensions launch party. Ostgut Ton collaborator and Berghain resident Ben Klock tops the bill, playing an extended three-hour set. Playing alongside the big man are Dystopian Records’ Rødhåd, Dial’s John Roberts with a live set, as well as Ukranian deep-house man of the moment Vakula (£10 adv). Elsewhere, Lauren Lo Sung and Sable Sheep join forces for Carpe Diem (which should really be called Carpe Noctem) on 31 May at The Boutique, Liverpool. Sable Sheep is part of Matthias Tanzmann’s Moon Harbour label and agency family following his recent debut Keep It Rough, which has garnered high profile support from tastemakers worldwide (£5). On the same day, Abandon Silence throw their fourth birthday party at the Kazimier, and it’s a big one. German duo Session Victim are to play a saliva-inducing live set, supported by the likes of Unkwn and the No Fakin’ DJs, all for less than a tenner (£9). So, there you have it. Whatever you end up doing, don’t forget to plan ahead – there’s plenty to chew over. Ticket prices are advance unless otherwise specified; some events may be more on the door
CLUBS
Preview
49
DJ Chart: Nuits Sonores Violaine Didier, booker-in-chief of Lyon’s premier dance festival Nuits Sonores, brings us a chart that best reflects the five-day party’s mentality
A
n urban dance festival that has taken place in Lyon, France, every year since 2003, Nuits Sonores is based on an ethos of continual renewal, aiming to push the boundaries of what it has achieved the previous year. There aren’t so many big headliners; instead, the bookers are forever on the lookout for lesser-known artistic talent to fill the five-day schedule. Saying that, there’s still a wealth of big names to keep the masses in motion, and this year’s selection of around 250 artists includes Kraftwerk in 3D, Darkside, Trentemøller, Four Tet, Laurent Garnier, Gold Panda and The Brian Jonestown Massacre. So it’s safe to say there’s something for everybody. We spoke to booker-in-chief, Violaine Didier, to ascertain the types of sound that permeate the Nuits Sonores ethos. Kraftwerk – The Robots [EMI] One of the most representative bands of what Nuits Sonores is. Three good reasons: first, we all love it; second, it’s the perfect mix between krautrock and electronic music; and third, it’s a wonderful vision of the future.
The Amazing Snakeheads – Here It Comes Again [from the album Amphetamine Ballads, Domino] We’ve invited so many wonderful bands since our sister program, Carte Blanche, kicked off 12 years ago. We choose a city and select musicians based on creative merit alone. The Amazing Snakeheads are booked this year [representing] Glasgow. Looking forward to seeing them on stage on 31 May! ESG – My Street [Soul Jazz] We at Nuits Sonores like this part of the musical history. New York no-wave has influenced a lot of bands on our line-up, like ESG (first show after so many years in Europe), James Chance and the Contortions (last show in France with the original line-up), Teenage Jesus and the Jerks, Alan Vega… Boss Hog – Winn Coma [Geffen] Jon Spencer is a frequent guest at Nuits Sonores, either as part of Heavy Trash or Boss Hog. We invited him to Lyon with Blues Explosion too and we love his universe, and all his friends like Matt Verta-Ray, Bob Bert, Jerry Teel, Kid Congo and the like.
Nuits Sonores
The Aztec Mystic – Knights of the Jaguar [Underground Resistance] This track was one of the first real anthems of the festival. Rolando himself played it in 2004, closing the festival; Laurent Garnier did the same thing in 2005. That show, his first at Nuits Sonores, became legendary and he has returned every single year since then. Caribou – Sun [City Slang] Dan Snaith aka Caribou is an artist that we really love, especially for his open mind and his love for creation. He actually curated a stage for us last year.
Photo: www.b-rob.com
Interview: Jack Burns
Einstürzende Neubauten – Silence is Sexy [Zomba/Rough Trade] Nuits Sonores love the madness of some bands like Einstürzende Neubauten. There are a lot of similar artists coming out of Germany, like Der Plan, Felix Kubin… Lost Sounds – I Get Nervous [Goner] An incredible garage band who never fail to put on a raucous show. Strong memories here, and what better way to pay tribute to Jay Reatard. Rest in peace, Jay. Nuits Sonores takes place in Lyon, France, 28 May–1 Jun www.nuits-sonores.com
DJ Chart: Francis Inferno Orchestra Eight selections from Melbourne’s one-man wonder
G
riffin James aka Francis Inferno Orchestra has been a part of WA’s burgeoning underground scene since 2010, alongside fellow up-and-comers Andras Fox and Tuff Sherm. Life down under has naturally spurred him on to knock out his own unique blend of slo-mo house via heavy-handed helpings of drum machine wizardry, and he has since gone on to set up his own label, BBW, with the help of fellow Aussie Tyson Ballard back in 2012. A steady stream of EPs has led to forthcoming LP A New Way of Living, which lands on Ballard’s Voyeurhythm imprint on 19 May. Sample-led tracks dominate the album, channelling the spirits of Dilla and Andrés I for guidance on the old MPC. Side A offers a dreamy start that carefully winds through interwoven styles, low-bit drums and fantasy pads. Side B reaches a climax on G.A.B.O.S – a title that should ring true to those who are fluent in prison lingo. Here, though, James serves up eight tracks that have had a supreme influence on his new record – a selection that highlights big time funksters War, not to mention one of the original sources for Dr Dre’s Next Episode...
50
Preview
Arthur Verocai – Sylvia [Luv N’ Haight] The album which this song is from, is one of those albums that I’m kicking myself for not finding sooner. Sylvia is the highlight of the album for me but the whole thing is just really special. Especially the strings, I’m obsessed with them. At the Drive-In – Rolodex Propaganda [Virgin] I’ve been an avid ATDI fan since I was around 12 years old and this one is from the last album before their infamous split. I’m not sure what else to write about this song: it’s so energetic and trippy, the band was a massive influence on me growing up, that’s for sure. War – The World is a Ghetto (Special Us Disco Mix) [MCA] This is one of my favourite songs to play at the end of the night, or well into the morning. It always puts a big smile on people’s faces. I just love how the chorus keeps coming back and doesn’t get boring for a second. An-i – Kino-i [Cititrax] For me this is track of the year, and I’m giving it that status because it’s the only song this year that had me sit back and say “holy fuck” on first
Francis Inferno Orchestra
listen. The energy in the song is so intense and, as a producer, I can’t help but be really curious as to how Doug Lee put this together, it’s magic! It’s definitely been influencing me a lot lately. Andrés – Vibe Zone [Mahogani Music] Anyone who has listened to my music could probably point out the influence Andrés has had on my own work, he is the perfect crossover of house and hip hop, I think. Vibe Zone is my favourite Andrés joint to date, from his first album Andrés I it shows how the art of sampling is done right. David McCallum – The Edge [Rev-Ola] Upon first listen you can hear where Dr Dre got his sample for The Next Episode, but I think that’s the worst bit of the song to be honest. The Edge is a beautiful composition in itself but I need to give credit to Bronze Nazareth’s use of it in Good Morning a Nice Hell because that shit is just perfect.
CLUBS
Panoram – Bad Request [Firecracker] This is from Panoram’s newest release Everyone Is a Door, out on Firecracker. I find the washedout pads and the general aesthetic of Panoram’s stuff really pleasing to the ears. Lately, every time I go and start working on a new song, I will go and listen to this album to get ideas on chord progressions. Young Marco – Suzaku [ESP Institute] This is from Young Marco’s upcoming album Biology and is my favourite track on the album. It’s so cleverly put together and has all the ingredients to make a superb dream dance ballad. He’s also an amazing selector and watching him play records is a real treat. A New Way of Living is out 19 May via Voyeurhythm www.soundcloud.com/fio
THE SKINNY
Photo: Roberta Schmidt
Interview: Daniel Jones
ARTIST ROOMS: Bruce Nauman The Harris Art Gallery & Museum, Preston, until 24 May
David McLeavy – Funhaus (2014)
David McLeavy: Funhaus
Toast, Manchester, until 6 May
rrrrr
Interactivity is at the centre of Funhaus, a solo project from Sheffield-based artist David McLeavy at Toast, Manchester – his first in the city. From the projects’ production to how visitors engage with it as an artwork, Funhaus feels more like a situation than an exhibition and McLeavy said that his time at Toast felt more like a residency than a straight install, with collaborative engagement at its core. Rather than having the Toast team and student helpers working towards his vision, McLeavy wanted them to have an active input in how Funhaus evolved. Filling the large space at Toast with an Activity World-style assault course, Funhaus is a playground for the art vanguard of Manchester. You can lounge in the foam pit or make your way through the wood and net to the red, yellow and blue balloons – colours synonymous with Mondrian and the Bauhaus movement. The structures alone do not function as art objects but exist as devices for an overall observation of interaction within a constructed space. McLeavy’s selected colour palette is not an
indicator of complex art historical reference but instead seems to be his way of saying, ‘This is art, but don’t just stand there looking at it.’ This tongue in cheek way of engaging people with his projects highlights the absurdity of human interactions in certain environments. At the beginning of the preview evening, only a brave few crawled through McLeavy’s structure, most clinging to the sides of the room, or at the bar. The most popular site became the bleachers. Unpainted and facing out towards the rest of Funhaus, the bleachers became a spot for those who wanted to observe rather than interact; they became audience for the evening’s entertainment. Showing least fear was a young boy who threw himself unashamedly into the balloons, smiling from ear to ear. His youth and ‘art innocence’ allowed him to interact with Funhaus without even considering it as an artwork. For him, it was just fun. That night, Funhaus enabled a loosening of inhibitions, but only after careful consideration about how silly you looked just standing there watching. [Ali Gunn] Toast is located on 6th Floor, Federation House, Manchester. Open by appointment: contact toastwillhost@gmail.com www.funhaus.tumblr.com
In 2008, art dealer Anthony d’Offay gifted his contemporary and post-war collection to Tate and National Galleries of Scotland in the form of the ARTIST ROOMS project. The 50 rooms, each a selection of an individual artist’s work, act as mini exhibitions – the emphasis taken off standalone ‘star’ artworks towards more concentrated presentations that can be reconfigured to any museum or gallery setting across the UK. The Northwest has already seen several of the ARTIST ROOMS come and go. Sol LeWitt’s colourful painted squiggly rainbow installation kicked off the series in 2009 at Tate Liverpool, which went on to show rooms from Robert Therrien (2011) and Martin Creed (2012). In 2010, Manchester Art Gallery played host to Ron Mueck, and in 2012 The Hepworth, Wakefield, showed Richard Long. Now it is the turn of Bruce Nauman’s room at The Harris Art Gallery & Museum, Preston, and there is less than a month left to visit the American artist’s exhibition of neons, video works and installations. In work produced between 1970 and 1990, Nauman explores the relationship between the body, communication and wordplay. Changing Light Corridor with Rooms (1971) is the centrepiece of the Harris’s ‘room’. It stems from Nauman’s dreams (or nightmares) of being trapped within an enclosed space – a corridor, just big enough for two people to walk through, is constructed of MDF boards in the gallery. A light switches on and off, in sync and then not. It
Bruce Nauman – from Studies for Holograms (1970)
leaves you feeling vulnerable, unstable and sometimes in complete darkness. Violins Violence Silence (1981-2) is a constantly changing neon work, forming a triangle of these three words that blink on and off in pastel coloured lights. The work alters the space by its use of light, and the viewer’s focus is drawn to one word, only to be replaced with another. Elsewhere is Violent Incident (1986) – a sculptural structure of multiple monitors presenting a more complex narrative, half comedic farce, half complex Beckett-like puzzle. The beginning of the narrative, which has the artificial air of a theatre workshop or play rehearsal, shows a couple dissolving into a cycle of farcical destructive violence. We want it to stop but are humoured by it at the same time, and that’s the thing with Nauman – he wants to play with his viewer, to piss us off and please us, to pleasure us and tease us. This exhibition is recommended viewing, regardless. [Sacha Waldron] Tue-Sat 10am-5pm, Mon 11am-5pm, closed Sun, free www.harrismuseum.org.uk
Sign up for the ZAP! Get a hand picked selection of the top ten events for Liverpool, Manchester and beyond delivered direct to your inbox, every Thursday morning. PLUS exclusive access to special offers and competitions. And the best part? It’s FREE! Head along to theskinny.co.uk/zap to sign up today @theskinnyNW
I N D E P E N D E N T
May 2014
C U LT U R A L
/TheSkinnyMag
J O U R N A L I S M
Illustration: Studio Monik
ART
Review
51
Photo: Bruce Nauman / Artists Rights Society (ARS)
rrrrr
May Film Events Eccentrics make up the bulk of this month’s film events, with a season of Studio Ghibli and their surreal worlds, Crispin Glover bringing the strange to FACT and Garth Marenghi’s Darkplace getting a resurrection... again. Plus the return of Screenfields A Touch of Sin
Words: Simon Bland & Jamie Dunn Frank
The Wind Rises
Director: Lenny Abrahamson Starring: Michael Fassbender, Domhnall Gleeson Released: 9 May Certificate: 15
Director: Hayao Miyazaki Starring: (English dub) Joseph Gordon-Levitt, Emily Blunt Released: 9 May Certificate: PG
Although it has been co-written by former Oh Blimey Big Band member Jon Ronson, Frank is not a biopic of Frank Sidebottom or his creator Chris Sievey. Instead, Lenny Abrahamson’s film takes the idea of a musician performing inside an oversized fibreglass head and spins off into completely fictional territory. We experience life on the road with Frank’s defiantly uncommercial band through the eyes of naïve keyboardist Jon (Gleeson), a man whose hunger for social media-driven fame far outweighs his creative abilities. By aligning us with this perspective, Frank raises the question of what artistic success truly is – maximum exposure, or the creation of something genuinely original and distinctive. As he has shown in his previous films, Lenny Abrahamson is a filmmaker with a nuanced sense of tone, and he handles the shift from surreal comedy to something deeper and more complex with a typically deft touch. Credit is also due to Michael Fassbender, who delivers a brilliantly deadpan performance that makes this oddball character a very funny but ultimately empathetic figure. [Philip Concannon]
From set-pieces with airborne dragons and gunships to having a literal flying pig as a protagonist, soaring into the sky has always been a recurring interest of master animator Hayao Miyazaki. Fittingly, his supposed swan song as a director, The Wind Rises, concerns itself with an aviation pioneer. The least overtly fantastical of his films, it’s a semi-fictionalised biopic of Jiro Horikoshi, chief engineer of key Japanese fighter plane designs in the 1930s. These planes would go on to be used by Japan during World War II, but to read Miyazaki’s avoidance of explicitly addressing this, until a nod in the coda, as some flattering endorsement of the machines’ legacy is to wildly misinterpret. Historical implications are pervasive throughout as bittersweet subtext, as Jiro’s pure devotion to innovation and inspiration leaves him naïvely blind to the consequences, both global and immediately personal, of how his passions are co-opted by other forces. The desecration of beautiful dreams is a ghost always lurking. [Josh Slater-Williams]
The Punk Singer
The Two Faces of January
rrrrr
rrrrr
rrrrr
Director: Sini Anderson Starring: Kathleen Hanna, Carrie Brownstein, Kim Gordon Released: 23 May Certificate: 15
rrrrr
Director: Hossein Amini Starring: Oscar Isaac, Viggo Mortensen, Kirsten Dunst Released: 16 May Certificate: 12A
Kathleen Hanna claims she started a band because no one ever listened to her. It’s safe to say that changed with Bikini Kill. The Punk Singer takes us back to the era when manifestos were spread in underground fanzines. Although renowned for her chameleonic success with acts as diverse as Bikini Kill and Le Tigre, and for her incredible lo-fi solo record, Julie Ruin, it is Hanna’s reputation as a feminist that forms the through line of her biography. Countless peers – musicians and activists – recount Hanna’s role in the formation of the riot grrrl movement, her inspiring presence, and the novel social experiment ‘girls to the front’, which saw violent mosh pits reclaimed as safe areas for women to attend gigs without being molested. Sini Anderson’s film doesn’t present its subject as an icon; instead it humanises Hanna and empowers its audience. It’s a perfect representation of one of the founding riot grrrls, who connected young women in disparate bedrooms with each other using ideas, ’zines, and record players. [David McGinty]
Patricia Highsmith adaptation The Two Faces of January is very much in the narrative mould of the author’s familiar brand of Mediterranean noir. Athens tour guide Rydal (Isaac) befriends the wealthy Chester MacFarland (Mortensen) and his wife (Dunst). He then aids them when Chester’s shady past sees the pair needing to flee the country. Money seems to drive parttime scam artist Rydal, but ulterior motives soon reveal themselves. First-time director Hossein Amini has respectable screenwriting credits to his name (The Wings of the Dove, Drive), and with this cast one would hope for a jazzy three-hander thriller. While a competently watchable affair, there’s some flimsy characterisation that these fine actors can’t quite embellish; Dunst in particular is saddled with an underwritten role. Isaac comes off best, although the tenuous nature of his devotion to this couple never quite convinces. He and Alberto Iglesias’ Herrmann-like score are the film’s highlights, but the overall piece doesn’t excel beyond being an ineffectual distraction – Mortensen’s recurring drunken sulking provides (possibly unintended) laughs. [Josh Slater-Williams]
Ilo Ilo
A Touch of Sin
rrrrr
rrrrr
A
s the long summer nights slowly creep in, the pull to the cosy darkness of the cinema auditorium gets slightly less strong. That’s why the return of Screenfields is such a godsend. Every Thursday, from 1 May ‘til 21 Aug (with a break in between for some soccer competition), The Lawns of Spinningfields become an outdoor cinema. The season kicks off with Back to the Future, and we’d encourage you to make it along every week, particularly on 5 Jun for Some Like It Hot, which The Skinny are hosting. Nobody’s perfect, although Wilder’s 1959 comedy is pretty close. This tale of two down-ontheir-luck showband musicians (Tony Curtis and Jack Lemmon) who dress up as dames and join Marilyn Monroe’s all-female band to escape the Chicago mob remains endlessly rewatchable and wickedly funny. Head down 5 Jun, grab a yellow deck chair and watch the sun go down with one of the greatest films of all time. Liverpool welcomes one of Hollywood’s most intriguing actors on 4 May as Crispin Hellion Glover brings his Big Slideshow to FACT. Best known for his work as the jittery George McFly in Back to the Future, Glover has made a career out of his inability to be pinned down. He’s in town to perform a dramatic reading of his books and screen It Is Fine! Everything Is Fine, an art film co-directed and funded by Glover, and often cited as his life’s work. Part two of a proposed trilogy, it’s written by and stars cerebral palsy sufferer Steven C. Stewart and follows his attempts to navigate his sexuality on screen, blurring the lines between fiction and reality.
Spirited Away
Director: Anthony Chen Starring: Angeli Bayani, Koh Jia Ler, Yann Yann Yeo Released: 2 May Certificate: 12A Exasperation drives the actions of the key players in Ilo Ilo, a film that is both a vivid portrait of recession-struck Singapore in 1997 and a subdued, bittersweet affair that retains a natural feel. When bratty ten-year-old Jiale (Ler) finally proves too uncontrollable for his over-worked, heavily pregnant mother Hwee Leng (Yeo), she and her husband Teck (Chen) hire a Filipina live-in maid, Teresa (Bayani). The child spitefully rejects the nanny, but affection and complicity eventually manifest, though the situations for the adults quietly worsen as each keep their turmoil to themselves. Teresa must secretly take a second job to help support her baby back home and Teck loses a fortune playing the stock market and hides his job loss from his wife, who becomes increasingly threatened by Teresa and Jiale’s growing rapport. Anthony Chen gives his impressively finessed feature debut ample breathing space, avoiding attempts to play down everyone’s aggravating traits and steering away from the conventional roads this sort of story could venture down, favouring instead a more nuanced approach. [Josh Slater-Williams]
52
Review
Director: Jia Zhangke Starring: Wu Jiang, Tao Zhao, Lanshan Luo Released: 16 May Certificate: 15 Three burning cigarettes are used as joss sticks by a killer in an indecorous prayer to his victims’ ghosts; just one of the remarkable moments in Jia Zhangke’s stunning new film. Four violent vignettes – all taken from real life news stories – are presented with a confidence that avoids any perfunctory final scene crossovers or catharsis. Within this documentary style, momentary flourishes are deftly interspersed: the auditory jolt of a tiger’s roar; an abused woman, slapped repeatedly with a wad of banknotes, adopts the poise of a wuxia heroine. Reality of China is even more surreal: backdrops of vast scarred landscapes are decorated with unfinished, disintegrating structures and a dilapidated Mao. But Zhangke is more interested in the present, where an increasingly atomised and unjust society creates an inhuman climate without outlet, forcing vicious retort. Controlled bursts of extreme violence, à la mode for the modern auteur, are in this case entirely justified. This major work is cinematic in scope but loses none of the provocative truth that defines Zhangke’s oeuvre. [Alan Bett]
FILM
FACT also continue their Studio Ghibli retrospective throughout May, with a bumper selection of the Japanese Disney’s greatest hits flecked throughout the month. You’ll know it’s started when pigs fly with Porco Rosso (3 May), followed by the sombre Princess Mononoke (10 May), fantastical Spirited Away (17 May), grand Howl’s Moving Castle (24 May), and kid-friendly Ponyo (31 May) finishing things off. And finally, Grimm Up North head to Gorilla to celebrate ten years of Garth Marenghi’s Darkplace (18 May). Expect a back-to-back marathon of this cult-fave TV show, topped off with a few special guests, including screenwriter and actor Alice Lowe and the man himself, Matthew Holness. And if you’re still itching to get creative, don’t miss Grimm’s all-day masterclass with El Mariachi producer Carlos Gallardo (5 May). This one-day event offers indie cinema advice and invaluable insight for producers looking to launch their big ideas.
THE SKINNY
Theatre of Blood
Ace in the Hole
Man of Marble
rrrrr
rrrrr
rrrrr
Director: Douglas Hickox Starring: Vincent Price, Diana Rigg Released: Out now Certificate: 15
Driven to suicide by bad notices, legendarily hammy stage actor Edward Lionheart (Vincent Price) has returned for a special comeback tour re-enacting Shakespeare’s bloodiest murders – with his critics on the receiving end. There’s lots of campy fun to be had with the “world’s greatest living actor” (Lionheart’s own words) demonstrating his flair for disguises and carving his way through an all-star cast, including Price’s future wife, Coral Browne. Diana Rigg is also terrific as Lionheart’s loyal daughter, who has a few secrets of her own. A reported favourite of Price’s, it’s not hard to see the film as his way of getting bloody revenge on the critics who had typecast him and refused to take him seriously as an actor. Arrow’s suitably lavish new release includes interviews and audio commentary from The League of Gentlemen. A macabre classic and a must-have for any horror fan. [Scott McKellar]
That Sinking Feeling
Director: Bill Forsyth Starring: Robert Buchanan Released: Out now Certificate: 12
rrrrr
‘The action of this film takes place in a fictitious town called Glasgow. Any resemblance to any real town called Glasgow is purely coincidental.’ So reads the disclaimer with which Bill Forsyth opens his 1980 debut. Like the director’s subsequent hits Gregory’s Girl and Local Hero, this story of disaffected youths planning the biggest kitchen sink heist in history is notable for the sincere affection shown toward its characters. Shot largely on location, Forsyth’s fairytale depiction of Thatcher’s Glasgow is utterly compelling, with the city’s neglected wastelands populated by a legion of benign eccentrics. Unfortunately, while his best work deftly balances pathos and humour, That Sinking Feeling is too irreverent to impress like his best work. Its amusing premise throws up few surprises, while scenes featuring young men in drag have dated badly. Still, the acned cast are brilliant throughout and it’s a joy to hear their regional accents (previously dubbed over for the American market) restored on this re-release. [Lewis Porteous]
Director: Billy Wilder Starring: Kirk Douglas, Jan Sterling Released: Out now Certificate: PG Perhaps the most cynical director of Hollywood’s golden age, Billy Wilder relied on a revolving cast of writing partners to sugar-coat his unsentimental treatises on the human condition. One-off collaborators Walter Newman and Lesser Samuels must have shared his prickly temperament, however, as Ace in the Hole stands as the purest expression of the Wilder’s caustic vision. The innocents found in The Apartment and Some Like It Hot are nowhere in sight as an electric Kirk Douglas plays fallen newspaperman Chuck Tatum. Exiled from New York City and forced to take on a dead-end job with the Albuquerque Sun-Bulletin, he conspires to claw his way back to success by building a media circus around a local trapped in a collapsed cave. As grotesque hordes of tourists descend upon the site, Tatum’s greed intensifies to unsettling effect in this savage and timely attack on an unscrupulous and corrupt press. [Lewis Porteous]
Director: Andrzej Wajda Starring: Jerzy Radziwilowicz Released: 12 May Certificate: PG Made in 1976, Man of Marble tells the story of fictional heroic Polish bricklayer Mateusz Birkut, and the young female film student, Agnieszka, trying to make a film about his fall from grace. Using a mixture of original documentary footage from the construction of Nowa Huta and other subjects of Poland’s early communist era, as well as the propagandist/inspirational music of Stalinist Poland, Man of Marble is quite daring in its deconstruction of these period films, which Wajda uses to show Agnieszka trying and failing to get the ‘truth’ of Birkut and what he stood for before and after his demise. Touching on late 20th century Polish history, the film (for reasons of censorship) skates around Birkut’s death, but it was a story that Wajda returned to in 1981 with Man of Iron, which depicts Birkut’s son Maciej’s subsequent involvement in the Polish anti-Communist workers’ movement and the death of his father in the shipyard battles in the 70s. [D W Mault]
The Wolf of Wall Street
Frankenstein and the Monster from Hell
Director: Martin Scorsese Starring: Leonardo DiCaprio, Jonah Hill Released: 19 May Certificate: 18
Director: Terence Fisher Starring: Peter Cushing, Shane Briant Released: Out now Certificate: 15
rrrrr
Like any Quaalude high, The Wolf of Wall Street depends on a certain degree of willing consumption, cerebral detachment and tenacity to be considered successful. A three-hour-long vulgarathon, it chronicles the rise, fall, and second coming of stockbroker turned motivational speaker Jordan Belfort (DiCaprio), while launching drug abuse, dwarfism (literally), vacant females and a bouffant Matthew McConaughey screenward. Its sundry euphoric moments defy such empty contrivances, though, and are instead found in the pitch-black exchanges between Jordan and his protégé Donny (Hill), and Belfort’s exquisite spasming when in the grip of some dodgy ‘ludes. Unlike comparable subjects Frank Abagnale, Howard Hughes, and Henry Hill, Jordan Belfort is depicted entirely without charm, which means Scorsese’s badfella is interesting only as his heady trajectory remains skyward. When his inevitable decline begins, a modern truism emerges: it’s impossible to care for a bent broker on a comedown. [Kirsty Leckie-Palmer]
rrrrr
This was the last of Hammer’s Frankenstein films, a return to the original franchise and star Peter Cushing following 1970’s ill-advised re-boot with Ralph Bates as the eponymous corpsebotherer. Given how tired and slapdash Monster from Hell feels, it’s probably best they stopped here. Cushing is reliably charismatic, his Baron now hiding out as in-house medic to a psychiatric hospital, but the sluggish plot involving a young protégé (the woeful Shane Briant) and a traumatised, mute, patient-cum-assistant (Madeline Smith) is pure bunkum. And when Frankenstein does inevitably get the sewing kit out and start fiddling with the inmates, his creation – resultant of the hands of a craftsman, the brain of a nutty professor and the rest of what seems like a Neanderthal they must have had locked-up for a very, very long time – is way too absurd to prompt pathos or chills. There’s some creaky charm to it all, but precious little else to recommend. [Chris Fyvie]
Rabble-rousing Liverpool literary festival Writing on the Wall this year has a focus on the First World War. Festival director Madeline Heneghan and this year’s ‘rebel ranter’, Owen Jones, tell us more Interview: Jonathan Barlow
T
Owen Jones
May 2014
he Writing on the Wall organisation has been running a literary festival in Liverpool since 2000, which takes over the city throughout May each year. More than 30 events are planned, including plays, readings and on-stage interviews, all of which will see hidden histories being unearthed, and radical activists being celebrated. New and local talent will be showcased alongside more established artists, writers and performers. This year’s run of the festival – subtitled ShellShock – marks the centenary of the First World War, and explores how our perception of it shapes attitudes to modern-day wars abroad and conflict at home, as well as asking how we went from A Land Fit for Heroes to living on Benefits Street. Writers, artists and commentators offering their own unique take on these topics include the likes of Irvine Welsh, Liz Carr, Seumas Milne, Helen Walsh, Phill Jupitus and Luke Harding. The festival’s signature recurring events are the Rebel Rants, which see a guest speaker presenting on contentious topical issues in the hope of provoking debate. This year, Owen Jones, columnist and author of Chavs: The Demonization of the Working Class, will be taking the stand to discuss the enemy within. “I’m interested in the threat to democracy from above,” says Jones, “in unaccountable
power in a kind of self-interested elite, which looks after itself and who look out for each other, who are interested in amassing huge wealth and power at the expense of society. That’s who we’re up against – an establishment that doesn’t put democracy and the wellbeing of the population first.” Jones, however, is not nostalgic for a time when the working classes enjoyed a better treatment or a more positive portrayal in the mainstream media. “Working-class people have always been attacked and demonised,” he says. “There’s never been a golden era. In the 1970s you had ‘militant trade unionists holding the country to ransom,’ that sort of thing.” He explains this marginalisation of trade unions ultimately contributed to an explosion in inequality. “The way of justifying that inequality is to say the people at the top deserve to be there and the people at the bottom deserve to be there too because they’re feckless, they’re work-shy. “It’s an attack on working-class identity,” he argues. “Once there was a sense of pride attached, but now it’s a case of everyone is expected to aspire to be middle class. It’s more ‘lift yourself up by your bootstraps’ – less of an emphasis on collective identity and solidarity and more on individualism. Also there are less working-class people in politics and media
DVD / BOOKS
– more barriers have been erected.” Events such as Writing on the Wall, Jones suggests, can offer a counterpoint to those trends. “It gives a platform to a broader range of writers and is different from the more metropolitan London focus of other literature festivals or events. The important thing is always the discussion and providing a forum for people to engage with issues to try and change things.” Festival director Madeline Heneghan agrees it is important to encourage active participation. “It’s not just about writers coming and reading their work and people passively absorbing that,” she says. “What were the lessons of the First World War? And what were the lessons that we need to consider as a global society?” Heneghan says the events that focus on the First World War and the discussions about contemporary politics have common ground. “What we expect all of the events to do is to key in to the debates around the First World War and how it should be remembered. Whether it was a glorious victory for Britain and the Allies or whether it was an abominable waste of life, that it was an imperialist war. I think that is an important debate to be had because how we remember the First World War impacts on how we view conflict today.” She is also keen to emphasise that the festival will not be a too solemn an occasion pondering heavy subject matter. “We’ve got Phill Jupitus and Tim Wells performing poetry. Also we’ve got a very unique event we’ve put together with Liz Carr called Funny Girls, with Rosie Wilby, who’s going to be supporting her.” Writing on the Wall festival, various venues, Liverpool, 1 May–1 Jun www.writingonthewall.org.uk Read our full interview with Owen Jones at www.theskinny.co.uk/books
Review
53
Spring Awakening
Liverpool Playhouse, 13-17 May In 1891 German playwright Frank Wedekind wrote Spring Awakening, a play questioning the sexual, physical and emotional difficulties faced by society’s younger generation. The world was not quite ready for so provocative a work. Revolutionary in both content and structure, Spring Awakening would wait 15 years for its first staged production – only for it to be banned immediately. In 1964 the National Theatre attempted to mount a full version of the play but was stopped after a row that came close to causing a permanent split between the theatre’s board and its creative team. The argument was led by Laurence Olivier, who believed the National had a duty to stage radical work and battled to get the play past the official censor. A compromise was reached with the deletion of some scenes, but the board of the National decided not to stage the play anyway.
The world is ready now. Led by artistic director Jeremy Herrin, theatre company Headlong has brought Wedekind’s definitive play about youth and sexuality bang up to date with the help of award-winning young playwright Anya Reiss (winner of both the Evening Standard and the Critics’ Circle Awards for Most Promising Playwright) and director Ben Kidd. Unnerving, entertaining and unashamedly dark, this revised version examines the exuberance, intensity and confusion of teenage life today. Following recent sell-out productions of new plays Chimerica and The Effect, and their remarkable reworkings of 1984, The Seagull, and Romeo and Juliet, Headlong are undoubtedly on a roll. Co-produced by West Yorkshire Playhouse and Nuffield, this promises to be a tremendous piece of theatre that will stay with audiences long after the curtain has fallen. [Alecia Marshall] www.everymanplayhouse.com
Photo: Tristram Kenton
Spring Awakening
(remor)
(remor)
St Luke’s Church, Liverpool, 27-28 May Physical Fest’s programme is predictably glimmering with theatrical treasures, and one such jewel is an 11-minute ‘locked room’ production from pioneering Spanish company Res de Res. Situated within the artistically fertile grounds of St Luke’s Church, (remor) encourages 15 disconcerted audience members to jostle, squeeze and huddle their way into an intimate, purpose-built prison cell. The brevity of the piece may prompt the misassumption that (remor) is an easy performance; unnecessary and inconsequential. This is not the case. It may seem a clichéd notion that good things come in small packages, but for (remor) the phrase is much more than mere cliché. The literality of the modest space mingles with the intimate subject matter to create a performance that is both confident and resonate. The premise is simple: a couple explore the disintegration of their relationship through movement. Fast sequences verge on being
animalistic, and at times acrobatic, while more measured moments see Marta Barceló and Joan Miquel Artigues navigate through the space with slow balances and touchingly pedestrian pauses. The primary theme is love, and it is visible in the movements of the couple as they fling themselves together, apart, and against the space in which they are confined. Dialogue is replaced by the venereal grunts of coupling and violence, the emotions of the duo constantly changing from frustration to arousal and all that’s in between. The candidness of the performance is undeniable. Written, choreographed, directed and performed by Barceló and Artigues, their ownership of the piece is clear in its execution. Initially premiered in Mallorca in 2011, the show won a Total Theatre Award for Best Physical & Visual Theatre at the 2012 Edinburgh Fringe and is a feature of Birmingham’s BE Festival in July. At just £3, you really have no excuse. [Alecia Marshall] Performances take place every 20 minutes from 5pm to 7.40pm www.unitytheatreliverpool.co.uk
Welcome HOME Manchester’s newest cultural venue announces a sitespecific theatre season, including Romeo and Juliet at Victoria Baths, that acts as a prologue to its opening Words: Alecia Marshall
I
n spring 2015, Manchester presents its newest cultural offering to the world: HOME, a purposebuilt centre for international contemporary art, film and – wait for it – theatre. Formed by the merger of two of the city’s most powerful arts organisations, the Cornerhouse and the Library Theatre Company, not one, but two theatres are promised within the centre, both intended as a playful platform for newly commissioned works. It is a chance for the Library Theatre Company to finally take the helm. For many years they had been situated in the basement of the domed Central Library. In 2012, they uprooted and began a campaign titled On the Move, a three year project consisting of work at the Lowry and the production of one site-specific show a year, but the allure of their own, more competent space remained. The company’s strength lies in their determination, and their consistently strong productions of challenging contemporary drama and modern classics have earned them a formidable reputation that extends beyond the city. It is hoped their new home (excuse the pun) will boost the company’s national and international reputation. With over a year to wait before doors open, HOME have devised an intelligent plan to gather momentum: a site-specific theatre programme to begin with almost immediate effect. Paving
54
Preview
the way for their opening theatre season, HOME’s artistic director of theatre Walter Meierjohann creates temporary homes throughout the city while introducing new production partners to the Manchester theatre scene. A site-specific programme is nothing if not exciting and Meierjohann has curated a veritable smorgasbord of theatrical treats. Opening on 10 June, Dublin’s multi award-winning ANU Productions present Angel Meadow, an immersive experience that explores the predominantly Irish Victorian slum that occupied Ancoats. Breathing life into an area of Manchester that was long ago forgotten, Angel Meadow causes the past and present to fuse until the real and the imagined become indistinguishable. Directed by Louise Lowe (one of the five founders of ANU), the production promises to investigate the history and culture of Irish immigrants. As with most site-specific theatre, comfortable shoes are essential for this stroll into the past. September brings a promenade production of Romeo and Juliet, though it is not the performance one may imagine. Meierjohann himself takes the reins as director and his imaginative rework of the classic play suggests he is flexing his creative muscles, showing himself ready for his new position. Located in the atmospheric emptiness of Manchester’s Victoria Baths, three
Victoria Baths
redundant swimming pools will be given the Ti Green treatment (the designer recently responsible for Royal Exchange’s critically acclaimed Orlando), while Macedonian composer Nikola Kodjabashia provides a completely fresh score. Described as a ‘contemporary fairy-tale set in the criminal underworld of Eastern Europe’, audiences are advised to discard everything they expect from the traditional Shakespeare, including the balcony scene. Perhaps Juliet will utter the famous lines atop a Victorian diving board. One can only dream. There is another chance to see David Greig’s The Events in October (although most of you will have hopefully caught it at the Liverpool Everyman a few weeks ago – a truly wonderful piece), while the Best of BE Festival represents
THEATRE
the best of contemporary European theatre and the re:play festival brings it back to Manchester, supporting the city’s fringe scene. There is little doubt that the Northwest is a current hotspot for the discerning theatre lover. HOME’s newly revealed programme and promised brace of theatres retain the excitement created by Liverpool’s newly built (and utterly gorgeous) Everyman. At a time when theatres all over the country face the prospect of closure and cutbacks, one cannot help but gloat at our luck. Angel Meadow runs 10-29 Jun. Tickets are available now. For more information concerning future performances, please consult: www.homemcr.org
THE SKINNY
Spotlight: Rachel Fairburn This month’s unflinching glare lands on Rachel Fairburn. A census taker once tried to test her. It didn’t end well... Interview: John Stansfield Illustration: Vicky Ledsom
I
t’s a good job that Rachel Fairburn is very funny, because she’d make one heck of a murderer. Her obsession with those darker souls among us may not come across upon first impression, but don’t judge a book by its cover. Instead, judge her by the colouring book she lovingly created. The one on serial killers. Getting ready for her first assault on the Fringe later this year with her show All the Fun of the Fairburn we sat down with Fairburn, Clarice Starling-style, to find out what makes her tick. Influences: “Horror films and Elvis Presley are probably my biggest influences. I don’t have any comedy influences really, my mum is a big comedy fan and I was always watching stuff like The Young Ones, Alexei Sayle and The Two Ronnies growing up. I loved Spitting Image as well. Obviously, I didn’t get all the jokes in the shows but would watch videos recorded off the TV for hours. My mum actually had to stop me watching The Young Ones as I started to repeat episodes off by heart. Not ideal when you are five.” First gig: “It was King Gong at Manchester Comedy Store, January 2008. I did three and a half minutes,
which is quite respectable for that bear pit. I was just glad I’d got my first gig out of the way.” Worst gig: “A pub in Barnard Castle a few years ago. I was playing to about ten people and a dog. They hated me. Although I think the dog was enjoying it. You know it’s a bad gig when the elderly man on the front row hurling abuse at you is the landlord.” Best gig: “Newcastle Stand last August. It’s a great comedy club and the audience enjoyed my stuff as much as I did being there. It was definitely a good gig as people were trying to high five me as I left the stage. I was very flattered but incredibly embarrassed as well. I get very easily embarrassed and try and live my life around avoiding feeling awkward. In fact, in hindsight, it ruined the gig. Put this as my worst gig!” Best heckle: “I once watched a comedian die so badly on stage that he ended up heckling himself. He was desperately clutching at straws to try and win the uninterested crowd back and asked, “Has anyone been to Telford?” As everyone stared in defiant
silence the sentence just echoed round the room, bouncing off the walls as if it was shouting back at him. Absolutely magical. And hilarious. I still laugh whenever I see a sign for Telford or hear someone mention it.” What would you be doing if you weren’t doing stand-up? “I think I’d probably be a criminal psychologist. I wouldn’t need the training. I’ve read almost every true crime book ever written. Even the trashy ones.” If you were on death row, what would your last meal be? And why are you on death row? “I’d probably have a chippy. I’m only there because I got complacent and slipped up.”
What’s the largest animal you think you could beat in a fight? No weapons. “A dog. I talk about it in my set. Come and see one of my gigs and all will be revealed!” Questions from April’s Spotlight Liam Bolton: What’s your favourite episode of The Simpsons? “So many to choose from. I have loads of best bits from various episodes. Monorail is a classic though.” Rachel Fairburn will be previewing her Edinburgh show All the Fun of the Fairburn at The Kings Arms, Salford, 8 May @RachelFairburn
Hope Place by Michael Wynne Directed by Rachel Kavanaugh
9 May - 31 May
Cast includes: Michelle Butterly, Neil Caple, Ciaran Kellgren, Tricia Kelly, Emma Lisi, Joe McGann, Eileen O’Brien and Alan Stocks
Box Office 0151 709 4776 everymanplayhouse.com
May 2014
Thanks to the City of Liverpool for its financial support
COMEDY
Preview
55
Manchester Music Tue 29 Apr
MATT AND PHRED’S BANK HOLIDAY SINGER/SONGWRITER SHOWCASE
THE DEAF INSTITUTE, 19:00–22:30, £12.50
MATT AND PHRED’S JAZZ CLUB, 20:30–00:30, FREE
BEN OTTEWELL
The Gomez singer and lead guitarist plays it solo, that unmistakable voice and talent for blistering guitar solos all well and in place. JOHN ABERCROMBIE + MARC COPLAND
BAND ON THE WALL, 19:30–23:00, £13 EARLYBIRD (£15 THEREAFTER)
A double headline show from jazz pianist Marc Copland and jazz guitarist, John Abercrombie. LITERATURE THIEVES (NATALIE MCCOOL)
THE CASTLE HOTEL, 19:30–23:00, £5
Folk trio hailing from Manchester, giving their latest single Waves that Weave a live outing. HANDS LIKE HOUSES (CROOKS + BENTLEY PARK)
SOUND CONTROL, 19:30–23:00, £7
Matt and Phred’s shine a spotlight on up and coming talent for a bank holiday special. PEN:CHANT (BEN MELLOR + LEONIE KATE HIGGINS + ANNA FREEMAN + ANDY CRAVEN GRIFFITHS)
THREE MINUTE THEATRE, 20:00–23:00, £5 (£3)
Manchester band Geddes Loom hosts a night of music, spoken word and comedy.
Fri 02 May
THE AMAZING SNAKEHEADS
ROADHOUSE, 19:30–23:00, £5
Glasgow-based rock’n’rollers gently imbuing their sound with a bit o’ garage blues. THE TWILIGHT SAD
THE DEAF INSTITUTE, 19:00–22:30, £12
Australian six-piece utilising an array of tecnhical effects, post-hardcore charm and lively stage antics.
The Sad boys get back on the live circuit, performing a set cherrypicked from their new album No One Can Ever Know.
ROADHOUSE, 19:30–23:00, £12
MANCHESTER ACADEMY, 19:00–23:00, £25
SOURVEIN
DE LA SOUL
Doom metal four-piece, marking 20 years of sound distortion and general destruction with a tour and a new EP.
American hip-hop trio hailing from Long Island, New York, crafting their own genre-bending blend of alternative jazz rap since 1987.
Wed 30 Apr
MANCHESTER ACADEMY 3, 19:30–23:00, £6
SHONEN KNIFE (SMALLGANG + GOOD GRIEF)
THE RUBY LOUNGE, 19:00–22:30, £11
All-female Japanese kawaii-punk noisemakers now an impressive 19 albums in, all incessantly cheery melodies and cutesy lyrical conceits. THE RAILS (BIRD TO BEAST + IAIN TILL)
GULLIVERS, 20:00–23:00, £6
Folk rock duo made of up singer/ songwriters Jamie Thompson and James Walbourne.
VANS WARPED TOUR: THE ACOUSTIC BASEMENT TOUR (GEOFF RICKLY + KOJI + ROB LYNCH + BRIAN MARQUIS) THE DEAF INSTITUTE, 19:00–23:00, £10
As a prelude to Vans Warped Tourrelated things to come, enjoy some acoustic lovelies courtesy of Geoff Rickly and more in some of the country's more intimate venues. ROMAN REMAINS (THE DIAMOND LIGHTS)
SOUND CONTROL, 19:00–22:00, £6
London-based electro-rock duo, made up of Leila Moss and Toby Butler or Duke Spirit.
BIRKHOUSE RECORDINGS (JAEDIA + INVERCHOULIN + HUW GOODHEAD + BEN NIGEL POTTS + DANIEL RUANE & SHAY) KRAAK, 19:00–01:00, £4
Birkhouse Recordings pitch up in Manchester with a showcase night of electronic music, with all performers playing live on the night.
Thu 01 May SHEARWATER
THE DEAF INSTITUTE, 19:30–23:00, £10
Jonathan Meiberg and co tour their latest LP, a polished collection of indie-rock songs that confirm Meiburg as a bit of a master lyricist. SMOKEY BLUE GRASS
TROF NORTHERN QUARTER, 21:00–01:00, FREE
An evening of live music and DJs spanning folk, Americana, rhythm and blues. MOULETTES (KATE YOUNG)
THE RUBY LOUNGE, 19:30–22:30, £10
Alt-folk outfit hailing from the South East, making music together since their teenage years. SUBURBAN LEGENDS
SOUND CONTROL, 19:30–23:00, £8.50
YAKAVETTA (CASTLE ROMEO)
Metal and punk outfit from Manchester, fronted by vocalist Nick Riley. ARC IRIS
NIGHT AND DAY CAFE, 20:00–02:00, £8.50
The Rhode Island pop outfit embark on a European tour in support of their debut album. THE LAZY RIVER JAZZ BAND
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Dixieland swing music influenced by the sounds of the 20s, 30s and 40s. WILD CUB
SOUP KITCHEN, 19:00–22:30, £7.50
Nashville-based indie pop four-piece, fronted by singer/ songwriter Keegan DeWitt.
0161 FESTIVAL (STAGE BOTTLE + ANGELIC UPSTARTS + STREETS OF RAGE) MOSTON MINERS COMMUNITY ARTS & MUSIC CENTRE, 12:00–00:00, £12
Musicians from all over Europe are set to assemble for this three-day festival for anti-fascism and anti-racism. LOLA COLT
GULLIVERS, 20:00–23:00, £6
London-based six-piece, taking their name from a 1967 Spaghetti Western.
Sat 03 May THE SWELLERS
SOUND CONTROL, 19:00–22:00, £7.50
Michigan foursome spreading their punk-rock joy where e’er they go. FACTORY FLOOR
ISLINGTON MILL, 22:00–03:00, £10
The DFA mainstays tour on the back of their self-titled debut LP, all analogue synths, live drums and intense disco downers – deftly stripping back their nu-disco punk framework into something leaner and colder. MAMMA FREEDOM
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Manchester/ New York natives with a penchant for moody, beat-laden funk, served up with soul-soaked lyrics. Album launch party. NORTHSIDE
MANCHESTER CLUB ACADEMY, 19:30–23:00, £15
Six-piece ska outfit hailing from Orange County, California.
The 1989-formed Manc lot take to the road as part of their reunion tour.
NIGHT AND DAY CAFE, 20:00–02:00, £5
All-female US-of-A rock trio, out touring their third LP – which sees leading lady and songwriter Dee Dee Penny updating the project’s key reference points by a couple of decades, taking things in a shinier pop direction.
THE TERRY LOGAN BAND (ARKHAM KARVERS + BI-LINGUAL + GALIVANTES)
Soul, blues and reggae outfit hailing from Manchester but residing in Hebden Bridge. SA MON DI + MERKI WATERS
BAND ON THE WALL, 19:30–23:00, £6
The seven-piece collaborative band bring their experimental blend of African high life music to the Northwest.
56
Listings
DUM DUM GIRLS (PINS)
ROADHOUSE, 19:30–23:00, £11
WILSON MINDS THE KING’S ARMS, 18:00–21:30, £5
Three-piece alt-rock bunch from the Northwest, showcasing their latest album on the night. LED BY THE LOST (UNO MAS)
MANCHESTER ACADEMY 3, 19:30–23:00, £6
Mancunian blues rock trio, made up of Adam, Chris and Greg. SAM PEPPER AND MAZZI MAZ
MANCHESTER ACADEMY 2, 19:30–23:00, £12.50
YouTube prankster Sam Pepper takes to the road with Mazzi Maz for their WDGAF Tour, whatever that means. THE RELAYS
THE DEAF INSTITUTE, 19:00–22:30, £7
Alternative ‘recession’ pop outfit hailing from the Northwest, fronted by singer/guitarist Adam Redmond. HIGHASAKITE
THE CASTLE HOTEL, 19:30–23:00, £6
The Norwegian indie pop outfit take to their road with their latest studio album, Silent Treatment. EMBRACE THE TIDE
KRAAK, 19:00–23:00, £TBC
Milton Keynes five piece navigating metal and hardcore influences. 0161 FESTIVAL (THE OPPRESSED + RED ALERT + ROTPM)
MINERS COMMUNITY ARTS & MUSIC CENTRE, 12:00–00:00, £14.50
Musicians from all over Europe are set to assemble for this three-day festival for anti-fascism and anti-racism.
SOUNDS FROM THE OTHER CITY 2014 (PETE HERBERT + RAINER VEIL + ROSIE LOWE + BERNARD & EDITH + ISLAJA + THOMAS TRUAX + THE TRAVELLING BAND + LEE GAMBLE + WERKHA + PLANK! + MISTOA POLTSA + PINS) VARIOUS VENUES, 14:00–03:00, £18
Everyone's favourite grassroots festival returns for its tenth year: this year expect a Volkov Commanders takeover, and top secret events, which you’ll find only by following us (aye, @TheSkinnyNW) and our hashtag, #SFTOCSkinny.
Mon 05 May NEON TREES
MANCHESTER ACADEMY 3, 19:30–23:00, £12.50
Utah alternative rockers brewing up a combination of slick pop hooks and sturdy organic rock, traversing the line between melodic and hardhitting as they go. BLOOD CEREMONY (SPIDERS)
THE DEAF INSTITUTE, 19:30–23:00, £9.50
Toronto ensemble whose distinct style of flute-tinged witch rock evolves from a marriage of occultinspired acid folk and vintage hard-rock riffin’. THE 1ST BETA ALL DAYER
NIGHT AND DAY CAFE, 16:00–00:00, £5
Beta are set to host their first all-dayer event, sprawling out over Northern Quarter haunts The Castle, Gullivers and Night and Day with emerging artists The Districts, Phox, Wet and more, all for a chuffing fiver. THE 1ST BETA ALL DAYER
THE CASTLE HOTEL, 16:00–00:00, £5
The Halle perform songs from a selection of spy movies, conducted by Carl Davis.
Beta are set to host their first all-dayer event, sprawling out over Northern Quarter haunts The Castle, Gullivers and Night and Day with emerging artists The Districts, Phox, Wet and more, all for a chuffing fiver.
Sun 04 May
GULLIVERS, 16:00–00:00, £5
THE HALLE: SPIES AND SPOOKS
BRIDGEWATER HALL, 19:30–22:00, FROM £17
WE HAVE BAND
THE RUBY LOUNGE, 19:30–22:30, £8
London electro-pop trio infusing their sound with a good dose of disco. THE RIFLES
THE RITZ, 19:00–23:00, £15
London indie-rock outfit on’t go since 2003, when principle members Joel Stoker and Lucas Crowther met at college, now touring their fourth LP.
THE 1ST BETA ALL DAYER
Beta are set to host their first all-dayer event, sprawling out over Northern Quarter haunts The Castle, Gullivers and Night and Day with emerging artists The Districts, Phox, Wet and more, all for a chuffing fiver.
Tue 06 May
DUKE AND THE DARLINGS (ALASTAIR JAMES DICKIE)
KRAAK, 19:00–23:00, £6
THE CASTLE HOTEL, 19:00–23:00, FREE
Manchester’s alternative pop charmers launch their latest EP in a local craft brewery. THE JADE ASSEMBLY
SOUND CONTROL, 19:00–22:30, £6
Indie rock lot from Bolton, launching their latest single on the night. #MANCUNIAPRESENTS (ALEX BUTLER + THE OPALS + THE NINTH WATCH + HIGH HORSES + BEN JONES) NIGHT AND DAY CAFE, 20:00–02:00, £5
Local promoters and new music pioneers present their monthly showcase, this time headlined by Alex Butler and The Opals. GAMBLES
THE CASTLE HOTEL, 20:00–23:00, £6
Secretly Canadian artist, Matthew Daniel Siskin takes to the stage under his Gambles moniker. TANKCSAPDA
KRAAK, 19:00–23:00, £22
The Hungarian metal trio embark on a tour of the UK, taking in Manchester as they go. 0161 FESTIVAL (WHAT WE FEEL + LVCL + 210 + WASTED YOUTH)
MINERS COMMUNITY ARTS & MUSIC CENTRE, 12:00–00:00, £14.50
Musicians from all over Europe are set to assemble for this three-day festival for anti-fascism and anti-racism. LITTLE SPARROW
THREE MINUTE THEATRE, 20:00–23:00, £8
Launching her debut album on the night, Little Sparrow takes her folky sounds to a live setting.
The Cinematic Orchestra guitarist trying out new material in the realm of beats, electronica, classical orchestration and jazz.
NIGHT AND DAY’S LOCAL SHOWCASE (SUGARMEN + MAYFLOWER + DU DAUPHINE + TOM AND THE FAMILY) NIGHT AND DAY CAFE, 20:00–02:00, £5
Live music showcase, giving a stage to local up-and-coming performers. ASHER ROTH
THE RUBY LOUNGE, 19:30–22:30, £12.50
Pennsylvanian hip hop artist, best known for his debut single, I Love College.
JANELLE MONAE (CODY CHESNUTT)
MANCHESTER ACADEMY, 19:00–23:00, £26.50
The American psych soul songstress heads out on a solo tour before joining forces with Kimbra for an Australian tour. THE HOLD STEADY
MANCHESTER ACADEMY 3, 19:30–23:00, £17
Brooklyn-based indie rock outfit, frequently addressing themes of drug addition and religion in one fell swoop. TOVE LO
THE DEAF INSTITUTE, 19:30–22:30, £8
Swedish dirty pop musician, touring her debut EP Truth Serum. HIBOU
FALLOW CAFE, 19:30–23:00, £5
Surf pop outfit hailing from Seattle, all ethereal and lovely like.
Thu 08 May
FUTURE ISLANDS (ED SCHRADER’S MUSIC BEAT + KRISTIAN HARTING)
SOUND CONTROL, 19:30–22:30, £SOLD OUT
The mighty Future Islands do their badass new-wave pop thing, with funk-inflected lead singer Sam Herring likely growling his way through the set.
MARTIN STEPHENSON AND THE DAINTEES (HELEN MCCOOKERY BOOK + THE OLD TOWN QUARTET) MANCHESTER ACADEMY 3, 19:30–23:00, £16.50
British rockers fusing elements of rockabilly, show tunes and rootsypop into their mix.
London-based trio led by folkster Andrew Davie (formerly of Cherbourg). SYD ARTHUR
BAND ON THE WALL, 19:30–23:00, £6 EARLYBIRD (£8 THEREAFTER)
Young psychedelic pin-up from Canterbury, taking in Manchester as part of his mini UK tour. THE HANDSOME FAMILY
GORILLA, 19:00–22:00, £12
Musical collaboration between husband and wife duo Brett Rennie Sparks – still making lovely Americana-styled alternative folk tunes after some 20 years together. NEIL C YOUNG QUARTET
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
Grammy-nominated composer playing feel-good music. PANIC! AT THE DISCO
O2 APOLLO, 19:00–23:00, £22.50
American alternative rock ensemble of dapper chaps (aka they wear shirts and clearly visit the hairdresser a lot), formed by Brendon Urie and Spencer Smith 10+ years ago.
GIRL SWEAT (GRINT OUTS + THE ILL HERBS + SALFORD MEDIA CITY)
NIGHT AND DAY CAFE, 20:00–02:00, £5
Solo garage noise project of R.A. Gray, crafting pop-infused psych sounds reminiscent of a bad trip. HYSTERICS
THE CASTLE HOTEL, 20:00–23:00, £6
Hardcore punk outfit hailing from Olympia, Washington, embarking on a mini tour of the UK. GIRL FRIEND (BETE)
KRAAK, 19:30–00:00, £6
Manchester’s Girl Friend play a home town show on the back of the release of their latest single, Perfume. THE HALLE (CRISTIAN MANDEAL)
BRIDGEWATER HALL, 19:30–22:00, FROM £11
The Hallé orchestra perform pieces by Enescu, Prokofiev and Rachmaninov, conducted by Cristian Mandeal and with Sofya Gulyak on the piano.
Fri 09 May MCBUSTED
PHONES4U ARENA, 19:30–23:00, £35
You know that nightmare you had about Busted and McFly touring as one? Well it was real. Run for the hills! DELAYS
THE RUBY LOUNGE, 19:30–22:30, £10
Still riding along on frontman Greg Gilbert’s falsetto vocals, the English indie lot celebrate the 10th anniversary of their Faded Seaside Glamour LP. JOHN VERITY BAND
SOUND CONTROL, 19:00–22:00, £8
The Yorkshire-hailing guitarist of Argent fame takes his solo show out on the road.
LOST MAP SHOWCASE. (THE PICTISH TRAIL + TUFF LOVE + MONOGANON)
NIGHT AND DAY CAFE, 20:00–02:00, £7
The Pictish Trail (aka Johnny Lynch) takes to the stage for a live showcase evening as part of micro-label Lost Map’s partaking of a UK-wide tour, joined by label chums Monoganon and Tuff Love. QUANTIC + PAPER TIGER
JAGWAR MA MANCHESTER ACADEMY 2, 19:30–23:00, £12.50
Often two-piece, occasional three-piece, hailing from Sydney and making alternative indie music you can dance to. THE FRESH DIXIE PROJECT
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Five young lads from the South Easy, making hard-hitting, toetapping tunes. BADBADNOTGOOD
THE DEAF INSTITUTE, 19:00–22:30, £13
Post-bop, instrumental hip-hopmeets-jazz trio from Toronto, possibly in pig masks.
STANDING AND LISTENING (BLACK LEATHER JESUS + SMELL & QUIM + CON-DOM + SVARTVIT + BRUT + NOW WASH YOUR HANDS + ROASES + ERSTE MAI) GULLIVERS, 18:00–02:00, £6
The Dancing and Laughing lot take to The Castle for an evening of power electronics and experimental music. MCBUSTED
PHONES4U ARENA, 19:30–23:00, £35
BAND ON THE WALL, 20:00–23:00, £SOLD OUT
You know that nightmare you had about Busted and McFly touring as one? Well it was real. Run for the hills!
BUFFALO BROTHERS
GORILLA, 19:00–22:00, £18.50
Will Holland, aka Quantic takes to the stage with his 12 piece Quantic Soul Orchestra and his latest album, Magnetica in tow.
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Blistering otherworldly sounds from the Manchester-based outfit. CAVAN MORAN
THE CASTLE HOTEL, 19:30–23:00, £5
Mancunian folk musician and front man of These Eyes Are Cameras takes to the stage solo.
THE JON SPENCER BLUES EXPLOSION
The US-of-A alternative rock trio continue to champion their own raw and rhythmic sound to suitably fine effect. CATRIN FINCH + SECKOU KEITA
ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–23:00, £15
Sat 10 May
Welsh harpist Catrin Finch and Senegalese kora player Seckou Keita do their ever enchanting collaborative thing.
O2 APOLLO, 18:30–22:30, £37.50
THE KING’S ARMS, 15:00–18:00, £6
YES
The longstanding rockers return with original members Steve Howe, Chris Squire and Alan White. PURE LOVE
SOUND CONTROL, 18:30–22:15, £11
English-American alternative rock duo comprised of former Gallows frontman Frank Carter and exHope Conspiracy and Suicide File guitarist Jim Carroll.
THE SOUTHMARTINS
The Housemartins tribute act. PHANTOGRAM
THE RUBY LOUNGE, 19:30–22:30, £8
Organic meets lectronic duo hailing from Saratoga Springs, NY, make up of Josh Carter and Sarah Barthel.
BLIND MONK TRIO
Three Northwest musicians putting a fresh spin on the classic, chordless jazz trio format.
Brooklyn-based alternative lot led by composer Ellis Ludwig-Leone.
BEAR’S DEN (CHRISTOF) THE RUBY LOUNGE, 19:30–22:30, £8.50
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
THE DEAF INSTITUTE, 19:30–23:00, £9
SAN FERMIN
STUART MCCALLUM MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
BIG UPS (MISTOA POLTSA + THE HIPSHAKES)
Nerdy, punctual punk lot hailing from New York City, listing PHP and Perl among their band interests. SONS AND LOVERS (RACING GLACIERS + THE HIDDEN REVOLUTION)
SOUND CONTROL, 19:30–22:30, £6
Fresh off a tour with Ellie Goulding, this London-based four-piece head out on a month-long solo headline tour. CHERUB
FALLOW CAFE, 19:30–23:00, £5
Dancable electro-indie lot hailing from Nashville, touring their latest album, Year of the Caprese.
Wed 07 May THE KOOKS
THE RITZ, 19:00–23:00, £17.50
Tousled-haired Brighton scamps with a kit-bag of guitar-based pop offerings. FIGHT LIKE APES (WHALES IN CUBICLES + BAD GRAMMAR + SKY VALLEY FALL)
KRAAK, 20:00–23:00, £7
Back after a two-year hiatus with a new EP in tow and bringing their karate infused punk electronica to Manchester. CLEAN BANDIT
MANCHESTER ACADEMY 2, 19:30–23:00, £11
Eccentric young pups from London, building their sound on the instrumental core of bass, drums and strings, bolstered by a variety of budding vocalists. ALBERT HAMMOND JR
GORILLA, 19:30–23:00, £12.50
LA-based musician, best known as The Strokes guitarist and for being Albert Hammond’s wee lad.
THE SKINNY
Y KEY OPERATORS (DOUBLE FRET) MANCHESTER ACADEMY 3, 19:30–23:00, £6
Manchester’s very own indie dance outfit. JOLANGA (THE FEVERS + YOUNG + KINDEST OF THIEVES)
NIGHT AND DAY CAFE, 19:30–22:30, £7
Single launch party for the Mancunian quartet, showcasing their penchant for catchy pop hooks on the night. ROO PANES
FALLOW CAFE, 19:30–23:00, £5
The classical folk/pop outfit from London tour their latest EP, Land of the Living. THE HERO COMPLEX (ABSOLUTE ZEROS + GEORGE BOOMSMA + AFROTREE)
THE CASTLE HOTEL, 19:30–23:00, £5
Thinking Wishful present a four strong line-up, headlined by rock four-piece, The Hero Complex. YOU’RE A VISION
KRAAK, 19:00–23:30, £4
Watch the euro vision song contest in fabulous surroundings as the Kraak event space is decked out in flag bunting and loadsa dodgy costumes. LOS PECADORES (PLANTEGENET 3)
DULCIMER BAR, 20:00–00:00, £3 ADV (£4 DOOR)
Leeds based psych garage trio.
Sun 11 May JUDIE TZUKE
THE LOWRY: QUAYS THEATRE, 20:00–23:00, £25
The English singer/songwriter showcases songs from her new album, alongside classics spanning a three decade career. ACOUSTIC BHUNA (PAPA GUNS + MATTHEW GRAY AND THE AWFUL TRUTH + DBH + PAT CLARKE)
BAND ON THE WALL, 18:00–22:00, FREE
Genuis pairing of live music with homemade curry, making for a relaxed sorta Sunday. MCBUSTED
PHONES4U ARENA, 19:30–23:00, £35
You know that nightmare you had about Busted and McFly touring as one? Well it was real. Run for the hills! TORI AMOS
O2 APOLLO, 19:00–23:00, FROM £25
The American singer/songwriter and her mesmerising arpeggios fill the O2, crafting new material around unpredictable selections from her rich back catalogue. SLEEPWALKER’S STATION
THE KING’S ARMS, 20:00–22:00, FREE
A decade of band history is laid bare in this musical tribute. TAAKE (AETERNUS)
SOUND CONTROL, 19:00–23:00, £15
Norwegian black metal band, shredding sound since 1993.
Mon 12 May
BO NINGEN (YOUNGHUSBAND + THE SCENES)
THE DEAF INSTITUTE, 19:00–23:00, £10
Four Japanese Londoners adept at head-bending psyche-rock that manages to fit elements of kraut-rock, metal, hardcore and funk into its mix. ACTION BRONSON
MANCHESTER ACADEMY 2, 19:30–23:00, £16.50
The Queens rapper and former fire-flame gourmet chef (yes, really) raps about food’n’stuff. REVERE (DARKTOWN JUBILEE)
NIGHT AND DAY CAFE, 20:00–02:00, £6
London-based post-rockers built on a backbone of guitars, with divergent tendencies towards melancholic strings and synth domination. ETHAN JOHNS
THE CASTLE HOTEL, 19:30–23:00, £12.50
The acclaimed English record producer, engineer, mixer, songwriter, multi-instrumentalist and all-round talented chappie – and son of legendary producer Glyn Johns – does his solo thing. DRIVE-BY TRUCKERS
THE RITZ, 19:00–23:00, £18
Alabama Ass-Whuppin’ southern rockers, traversing the line between juke joint stompers and soulful ballads. IDIOM
SOUND CONTROL, 19:00–23:00, £6
Alternative metal outfit hailing from Exeter, known for sharing the stage with likes of DevilDriver, Skindred and Aiden.
May 2014
Tue 13 May
MICHAEL FRANTI AND SPEARHEAD
MANCHESTER ACADEMY 3, 19:30–23:00, £19.50
Genre-hopping Americans led by Michael Franti, blending hip-hop with funk, reggae, jazz, folk and rock. That do you? I AM THE AVALANCHE (MAJOR LEAGUE + TURNOVER)
SOUND CONTROL, 19:00–22:30, £11
Brooklyn punk-rockers formed by vocalist-cum-hellraiser Vinnie Caruana. SNARKY PUPPY
BAND ON THE WALL, 19:30–23:00, £17.50
With a rotating schedule of some 25 players, the US-of A collective share their unique musical enthusiasm for jazz-funk and world music. TELEMAN (GENTLEMAN & BABE)
THE DEAF INSTITUTE, 19:00–22:30, £8
London-based indie three-piece – formed from breakaway members of Pete and the Pirates – making nerdy chic indie music. PENTATONIX
MANCHESTER ACADEMY 2, 19:30–23:00, £16.50
Vocal quintet from Arlington, Texas, presenting a instumentfree brand of electronic pop.
HANK WANGFORD AND THE LOST COWBOYS (ASH MOUNTAIN)
THE RUBY LOUNGE, 19:30–22:30, £15
The English country and western singer/songwriter tour with his live band of players. COURTNEY LOVE
MANCHESTER ACADEMY, 19:00–23:00, £24
The former Hole vocalist, lyricist and rhythm guitarist does her solo thing – now rather impressively in her 49th year. CAMERON VALE
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
Diverse jazz outfit from Leeds, influenced by the likes of Polar Bear and Acoustic Ladyland.
Wed 14 May CHARLIE SIMPSON
THE DEAF INSTITUTE, 19:00–22:30, £15
The chap fae Busted, then Fightstar, braves it acoustically alone for your general displeasure. SNARKY PUPPY
BAND ON THE WALL, 19:30–23:00, £17.50
With a rotating schedule of some 25 players, the US-of A collective share their unique musical enthusiasm for jazz-funk and world music. IAN ANDERSON
PALACE THEATRE, 19:30–23:00, £28
The Jethro Tull man plays an intimate acoustic set, playing the music of Jethro Tull along with some of his solo repertoire. ECHO AND THE BUNNYMEN
THE RITZ, 19:00–23:00, £26.50
Still fronted by original member Ian McCulloch, the longstanding Liverpudlian rockers tour their first studio album in four years, Meteorites. TOURIST
SOUP KITCHEN, 21:00–02:00, £5 EARLYBIRD (£7 THEREAFTER)
London-based electronic chappie with a passion for field recordings and analog wizardry. MILEY CYRUS
PHONES4U ARENA, 20:00–23:00, FROM £47.50
The American popstress takes to the UK as part of her current world tour.
BORN OF OSIRIS (AFTER THE BURIAL + BETRAYING THE MARTYRS + BURIED IN VERONA) SOUND CONTROL, 18:00–22:00, £11
Progressive metal six-piece outfit hailing from Chicago, making a right old racket with six and seven string guitars. LIT (BLAME)
MANCHESTER CLUB ACADEMY, 19:00–23:00, £17.50
Alternative rock lot from California, known for their early 2000’s hit, My Own Worst Enemy. SCOTT AND CHARLENE’S WEDDING
NIGHT AND DAY CAFE, 20:00–02:00, £7
The impeccably-named lo-fi/ slacker pop outfit, touring with their latest album, Any Port In A Storm. FRAGMENTS TRIO
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
Jazz trio hailing from the Northwest, playing original songs navigating between highly structured and free styles.
THE HALLE (SIR MARK ELDER)
THE HAPPINESS SISTERS
PAUL HOLLYWOOD
BRIDGEWATER HALL, 14:15–16:00, FROM £10
BAND ON THE WALL, 20:00–23:00, £5
PALACE THEATRE, 20:15–22:45, £29.50
MAC DEMARCO (TONSTARTSBANDHT)
BERNHOFT (ONTZ)
Slacker rock multi-instrumentalist and artist hailing from Canada, formerly known as Makeout Videotape.
The Happiness Studio’s in house band play a selection of cover songs, all in aid of the HemiHelp charity.
A night of comedy, and er, baking, as master baker Paul Hollywood takes to the stage to share insight into his life, all while baking live.
Thu 15 May
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
THE DEAF INSTITUTE, 19:00–23:00, £10
TROF NORTHERN QUARTER, 21:00–01:00, FREE
ONE EYED JACK
The Hallé orchestra perform pieces by Bernstein, Copland, Ginastera and Gershwin, conducted by Sir Mark Elder. SMOKEY BLUE GRASS
An evening of live music and DJs spanning folk, Americana, rhythm and blues. ROOK AND THE RAVENS
SOUP KITCHEN, 19:30–22:30, £6
Alternative rock quintet from Manchester, making ballsy guitar pop sounds. NO GOOD BEATNIKS
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
A collective of musicians operating as a jam band playing around with distorted jazz and improvisation. CHRISTIAN DEATH
THE INDECISION
Ska and rocksteady outfit influenced by the sound of the 60s. THE CASTLE HOTEL, 20:00–23:00, FREE
One Eyed Jack launch their album, Rock in the Thatch on the night. BARBARA DICKSON AND RAB NOAKES
THE LOWRY: QUAYS THEATRE, 20:00–23:00, £22
The Scottish folk duo play a set of folk, classic pop and self-written favourites.
Sat 17 May CASH
MANCHESTER ACADEMY 3, 19:30–23:00, £10
THE RUBY LOUNGE, 19:30–22:30, £13
Johnny Cash tribute act.
CALAITA FLAMENCO SON ALBUM LAUNCH
Youthful jazz renegades and band of brothers; pretty much as authentic as you can get, without Sun Ra trumpeter Phil Cohran actually being their father. Oh wait, he is.
LA-based gothic death rock lot, offending followers of organised religion since 1979.. NIGHT AND DAY CAFE, 20:00–02:00, £5
Quirky flamenco outfit, launching their debut album on the night. SLOWLY ROLLING CAMERA
BAND ON THE WALL, 19:30–23:00, FREE
The latest in the Band on the Wall Recommends series sees sevenpiece cinematic outfit Slowly Moving Camera present their blend of trip hop and jazz. HUGO KENSDALE
THE CASTLE HOTEL, 19:30–23:00, £5
Singer/songwriter Hugo Kensdale takes to the stage with his folk pop sound, celebrating the launch of his EP. THE HALLE (SIR MARK ELDER)
BRIDGEWATER HALL, 19:30–22:00, FROM £10
The Hallé orchestra perform pieces by Bernstein, Copland, Ginastera and Gershwin, conducted by Sir Mark Elder. THURSDAY LATES
MANCHESTER ART GALLERY, 18:00–21:00, FREE
Explore the Manchester Art Gallery after hours with a live soundtrack from East India Youth and White Hinterland. Part of Manchester After Hours. THE MONTGOLFIER BROTHERS
CENTRAL LIBRARY, 18:30–20:00, FREE, BOOKING ADVISED
The Baroque pop trio Montgolfier Brothers fill the recently reopened Central Library with music as part of Manchester After Hours. #HOOKEDONMUSIC
THE MUSEUM OF SCIENCE AND INDUSTRY (MOSI), 19:00–23:00, FREE
Get to the heart of how musicians craft a hook with MOSI’s science game, aimed at identifying what makes music catchy. Also enjoy a silent disco and quiz as part of Manchester After Hours.
Fri 16 May
INME (THE RED PAINTINGS + OXYGEN THIEF)
SOUND CONTROL, 19:30–22:15, £12
Essex rock quartet chock with the emo drum syncopation and Bullet For My Valentine guitars that we’ve come to expect, touring on the back of their fifth LP. SANS
ROYAL NORTHERN COLLEGE OF MUSIC, 19:30–23:00, £12.50
A group of talented multi-instrumentalists, drawing on English, Finnish and Armenian folk music to create something pretty unique. SEMITT FALLS (G.R.I.M + MASK OF BEES)
HYPNOTIC BRASS ENSEMBLE
BAND ON THE WALL, 20:00–23:00, £18.50
THE NANKEENS
GORILLA, 19:00–22:30, £8
Four-piece indie outfit from Salford, led by two brothers. EMBRACE
MANCHESTER ACADEMY, 19:00–23:00, £19.50
The post-Britpop Yorkshire quintet take to the road for their first UK tour in seven years. NEUTRAL MILK HOTEL
ALBERT HALL, 19:30–23:00, £SOLD OUT
Leading lights of the fertile midto-late nineties breeding ground of Athens, Georgia – with legendary status bestowed on them after the monumental In the Aeroplane Over the Sea LP in 1998. S. CAREY (RUE ROYALE)
ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–23:00, £13
Justin Vernon’s Bon Iver collaborator and fellow Wisconsinite, Sean Carey, takes his new solo LP out on’t road. MAGIC: A KIND OF QUEEN
PALACE THEATRE, 19:30–23:00, FROM £16.50
Queen tribute act. THE TELESCREEN
SOUND CONTROL, 19:00–22:00, £8
The child of the 90s and X-factor bad boy Frankie Cocozza does music with his newly formed band. CAPONE-N-NOREAGA (ONYX)
MANCHESTER CLUB ACADEMY, 19:30–23:00, £20
East Coast hip hop duo riding the waves of their reunion years.
SLOW READERS CLUB (BALLERINA BLACK + UV)
ROADHOUSE, 19:30–23:00, £5
Electro/indie outfit from Manchester, churning out everything from catchy upbeat indie tunes to introspective ballads. NORTH WEST CALLING
THE RITZ, 12:30–22:00, £22
All dayer making Charlie Harper’s 70th Birthday, with live music from The Damned, Angelic Upstarts and more. DALE STORR
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Lincolnshire-hailing musician, heavily influenced by the sounds of New Orleans. CULTURES (PORTER’S FORCES + T J LEE)
THE CASTLE HOTEL, 19:30–23:00, £5
A three strong line-up presented by the Thinking Wishful lot.
KRAAK, 19:00–23:00, £3
Sun 18 May
THE GRAMOTONES
The religious collective of musicians and artists launch their new worship album.
Metal dubstep four-piece from Manchester, taking their wubtastic EP, I Know Bear Heads out for a live airing. THE DEAF INSTITUTE, 19:00–22:30, £7
Mancunian four-piece, drawing influences from the Northwest’s musical heritage to craft a Brit pop sound with a clear nod to the 60s. THE CARPENTERS STORY
PALACE THEATRE, 19:30–23:00, FROM £21
The Carpenters tribute act.
THE LOST (ANARCHY ALLSTARS + DE’NOVA + ONE KLICK NORTH)
ROADHOUSE, 19:30–23:00, £5
Four-strong line-up of local bands spanning punk and funk.
REND COLLECTIVE
THE RITZ, 19:00–23:00, £14
BARRY MANILOW
PHONES4U ARENA, 20:00–23:00, FROM £15
The Copacabana crooner plays the hits; we’ll do the hiding. NEUTRAL MILK HOTEL
ALBERT HALL, 19:30–23:00, £SOLD OUT
Leading lights of the fertile midto-late nineties breeding ground of Athens, Georgia – with legendary status bestowed on them after the monumental In the Aeroplane Over the Sea LP in 1998.
Norwegian retro soul musician self-described as making music that sounds like melted gravel with chocolate topping. Which is nice. HISS GOLDEN MESSENGER
SOUP KITCHEN, 19:30–22:30, £9
The North Carolina songwriter (aka M.C. Taylor) plays a set of his delicate and mystical country tunes. COREY HARRIS BAND
THE RITZ, 19:00–23:00, £11.50
BENJAMIN BOOKER
SOUP KITCHEN, 19:30–22:30, £7
Arriving in the UK for his first headline tour, Rough Trade’s latest signee takes to the Soup Kitchen basement with his eclectic mix of punk, folk and New Orleans blues.
Thu 22 May
CLOUD NOTHINGS (CHEETAHS)
THE DEAF INSTITUTE, 19:30–22:30, £9
BAND ON THE WALL, 19:00–23:00, £13
Dylan Baldi’s DIY project – which started life as lo-fi pop recordings done in his parents’ basement – now a fully-fledged live band.
MICHAEL BOLTON
SOUND CONTROL, 19:30–23:00, £7
Embarking on their first tour of the UK, the Corey Harris Band pitch up in Manchester to share their blues blended jazz. THE LOWRY: LYRIC THEATRE, 19:00–23:00, FROM £41.50
American singer/songwriter and winner of two Grammy Awards for best male voice. THE HALLE (SIR MARK ELDER)
BRIDGEWATER HALL, 19:30–22:00, FROM £10
The Hallé orchestra perform pieces by Bernstein, Copland, Ginastera and Gershwin, conducted by Sir Mark Elder.
Mon 19 May NICK MULVEY
GORILLA, 19:00–22:30, £10
The founding member of Portico Quartet does his solo singer/songwriter thing. ARCHIE BRONSON OUTFIT
THE RUBY LOUNGE, 19:30–22:30, £10
Alternative rock lot hailing from London, touring in support of their latest Domino Records supported relese, Wild Crush. H.E.A.T. + SUPERCHARGER
MANCHESTER ACADEMY 3, 19:30–23:00, £7
Melodic rock lot hailing from Sweden, erring on the glam side of metal.
Tue 20 May LA DISPUTE
GORILLA, 19:00–22:30, £10
Five pals from the Upper Midwest with a mutual passion for using music as a means to express and connect, taking their sound from blues to screamo as they go. MUTUAL BENEFIT
THE DEAF INSTITUTE, 19:30–23:00, £10
Music project of singer-songwriter Jordan Lee and his various gathered musicians, whom he collectively describes as ‘post-lunar buddha turds’, which is nice. KATY PERRY
PHONES4U ARENA, 19:30–23:00, FROM £39.50
The Californian popstress tours her second LP, pitching up in the Northwest for a couple’a live shows – mores the joy. ANDREW WOOD
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
Paino trio led by Andrew Wood, drawing influence from contemporary and classical jazz styles.
DECADE
Fresh playlists spanning pop-punk, emo and hardcore soundscapes. SWANS (JENNY HVAL)
MANCHESTER ACADEMY 2, 19:30–23:00, £18.50
NYC-based post-punk lot, built on Michael Gira’s affecting baritone, unprecedented levels of volume and oodles of sheer visceral bloody energy. SAM LEE AND FRIENDS
BAND ON THE WALL, 19:30–23:00, £10 EARLYBIRD (£12 THEREAFTER)
The Mercury Prize-nominated Sam Lee takes to the stage with his live band, sharing his pioneering contemporary folk as he goes. PICKERING WHITE
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
Country rock, blues and pop quartet hailing from Stoke-on-Trent. JESS ROBERTS
THE CASTLE HOTEL, 19:30–23:00, £5
The Lancashire-based singer/ songwriter of the country folk variety launches her EP on the night. CHORLTON WEEKENDER: JOHN SMITH (RACHEL DADD)
ST NINIAN’S CHURCH, 19:30–23:00, £10 (£8)
English folk guitarist and singer from Devon, doing his one man with a guitar thing to suitably fine effect. X.O.DUS (REUS + JANIE COHEN + ANDY BENN)
GULLIVERS, 19:30–23:00, £3
X.O.Dus launch their latest EP on the night, with suport from Reus, Janie Cohen and Andy Benn. THE HALLE + HALLE CHOIR
BRIDGEWATER HALL, 19:30–22:00, FROM £10
The Hallé orchestra and choir perform pieces by Brahms and Mahler, conducted by Sir Mark Elder.
San Diego garage rock duo made up of Brandon Welchez and Charles Rowell, touring their 2013 LP, Crimes of Passion. HOT 8 BRASS BAND
BAND ON THE WALL, 20:00–23:00, £SOLD OUT
PAUL HEATON + JACQUI ABBOTT
The former Beautiful South bandmates return to the stage together. SHREYA GHOSHAL
O2 APOLLO, 19:00–23:00, FROM £25
Derby-based alternative rockers built on the powerful female vocals of Tiggy Dockerty, bolstered by feisty guitar riffs and a powerhouse rhythm section.
The award-winning Indian playback singer takes to the road for a UK-wide tour.
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
ISLINGTON MILL, 19:00–02:00, £13 DAY (£30 WEEKEND)
STUART MCCALLUM
The Cinematic Orchestra guitarist trying out new material in the realm of beats, electronica, classical orchestration and jazz. JASON ISBELL & THE 400 UNITY
GORILLA, 19:30–23:00, £15
The former Drive-By Truckers chap continues to tour solo after leaving the group in 2007. FISHBONE (CLAY PIGEON)
MANCHESTER ACADEMY 3, 19:30–23:00, £15
Ska, punk rock, funk, hard rock and soul fusion outfit hailing from California.
THE LOWRY STUDIO, 20:00–23:00, £17.50
The singer/songwriter takes a break from his Show of Hands days to embark on a solo tour. CHORLTON WEEKENDER: LIAM FROST (BIRD TO BEAST)
ST NINIAN’S CHURCH, 20:00–23:00, £10 (£8)
Hailed as the UK’s answer to Bright Eyes, local boy Liam Frost blends delicious alt-folk melodies with heartfelt lyrics – all while navigating hefty subject matter. Playing a series of dates in his home town, with an extra date added due to demand. CHORLTON WEEKENDER: PAPER AEROPLANES (BELLS IN THE BIRCHES)
ST CLEMENTS CHURCH, 19:30–23:00, £10 (£8)
Acoustic alternative folkies from Wales, led by vocalist and songwriter Sarah Howells.
DOT TO DOT 2014 (PEACE + THE MIDNIGHT BEAST + REAL ESTATE + WOLF ALICE + COURTNEY BARNETT)
THE RITZ, 15:30–04:00, £20 WRISTBAND
The multi-venue all-day festival pitches up for another year, headlined by the alternative indie upand-comers, Peace, who describe their sound as ‘music to fuck you in the heart’, which is nice.
DOT TO DOT 2014 (PEACE + THE MIDNIGHT BEAST + REAL ESTATE + WOLF ALICE + COURTNEY BARNETT)
SOUND CONTROL, 15:30–04:00, £20 WRISTBAND
The multi-venue all-day festival pitches up for another year, headlined by the alternative indie upand-comers, Peace, who describe their sound as ‘music to fuck you in the heart’, which is nice.
DOT TO DOT 2014 (PEACE + THE MIDNIGHT BEAST + REAL ESTATE + WOLF ALICE + COURTNEY BARNETT)
GORILLA, 15:30–04:00, £20 WRISTBAND
The multi-venue all-day festival pitches up for another year, headlined by the alternative indie upand-comers, Peace, who describe their sound as ‘music to fuck you in the heart’, which is nice.
FAT OUT FEST (DRUNK IN HELL + NISENNENMONDAI + CHICALOYAH)
Working alongside fellow creative folk Video Jam, Gizeh Records, Opal Tapes and Tombed Visions, Fat Out Fest pitches up, breathing life into Islington Mill for three days of art, music and general collaborative vibes. DOUG PERKINS AND THE SPECTACULARS
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Four-piece outfit inspired by rock n roll legends, including Elvis Presley and Johnny Cash.
THE RUBY LOUNGE, 19:00–22:30, £6
TEMPLEBYS
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Contemporary soul and funk five-piece hailing from Preston, formed on the dancefloor during a Craig Charles club set at the Kendal Calling festival in 2009. TEMPLEBYS
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Contemporary soul and funk five-piece hailing from Preston, formed on the dancefloor during a Craig Charles club set at the Kendal Calling festival in 2009. PAOLO NUTINI
O2 APOLLO, 19:00–23:00, £29.50
The Paisley-born singer/songwriter tours his new album, Caustic Love. TOUMANI DIABATÉ + SIDIKI DIABATÉ
ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–23:00, £20
In a rare collaboration, genius of African kora music, Toumani Diabaté, performs alongside his son (and the instrument’s emerging star), Sidiki. DESPITE MY DEEPEST FEAR (LOCK & KEY + PORTRAITS)
SOUND CONTROL, 19:00–22:15, £4
London-based metalcore scamps formed in 2010 from the remnants of high school bands. KATY PERRY
PHONES4U ARENA, 19:30–23:00, FROM £39.50
The Californian popstress tours her second LP, pitching up in the Northwest for a couple’a live shows – mores the joy. GIGANTIC INDIE ALL DAYER (NED’S ATOMIC DUSTBIN + THE WEDDING PRESENT + CUD + THE SULTANS OF PING + THE FRANK & WALTERS)
MANCHESTER ACADEMY, 13:30–23:00, £25
All-dayer event awash with proper festival vibes; expect food, drink and loadsae indie bands, with Ned’s Atomic Dustbin headlining the weekend.
DOT TO DOT 2014 (PEACE + THE MIDNIGHT BEAST + REAL ESTATE + WOLF ALICE + COURTNEY BARNETT)
STORYTIME FESTIVAL (MAYBELLEEN + VINYL PECULIAR + THE MAMOSIANS + THE GOD COMPLEXT + FOURTH CIRCLE)
THE DEAF INSTITUTE, 15:30–04:00, £20 WRISTBAND
NIGHT AND DAY CAFE, 20:00–02:00, £3 ADV (£5 DOOR)
The multi-venue all-day festival pitches up for another year, headlined by the alternative indie upand-comers, Peace, who describe their sound as ‘music to fuck you in the heart’, which is nice.
JOSHUA BROOKS, 15:30–04:00, £20 WRISTBAND
CROCODILES (VIRALS)
THE LOWRY: QUAYS THEATRE, 19:00–23:00, £21.50
EVA PLAYS DEAD
STEVE KNIGHTLEY
Self-managed and self-financed Mancunian rock band playing a handful of show as a prelude to the release of their next album.
The York-based four-piece bring their brand of intelligent guitar music to a live setting.
THE RUBY LOUNGE, 19:30–22:30, £9
NIGHT AND DAY CAFE, 20:00–02:00, £10
KRAAK, 19:00–23:00, £5
DAVID R BLACK (THOSE ROTTEN THIEVES + PRE SLEEP MONALOGUE + LITTLE AVIS)
DOT TO DOT 2014 (PEACE + THE MIDNIGHT BEAST + REAL ESTATE + WOLF ALICE + COURTNEY BARNETT)
Wed 21 May
Soulful, country-tinged vignettes from Alynda Lee Segarra and her touring band, the Tumbleweeds.
LITTLEMORES + THE SAILMAKERS
Fri 23 May
New Orleans-based brass band playing authentic New Orleans jazz mixed with various world styles.
HURRAY FOR THE RIFF RAFF (SAM DOORES)
THE CASTLE HOTEL, 19:00–23:00, £4
The multi-venue all-day festival pitches up for another year, headlined by the alternative indie upand-comers, Peace, who describe their sound as ‘music to fuck you in the heart’, which is nice.
DOT TO DOT 2014 (PEACE + THE MIDNIGHT BEAST + REAL ESTATE + WOLF ALICE + COURTNEY BARNETT)
THE THIRSTY SCHOLAR, 15:30–04:00, £20 WRISTBAND
The multi-venue all-day festival pitches up for another year, headlined by the alternative indie upand-comers, Peace, who describe their sound as ‘music to fuck you in the heart’, which is nice.
DOT TO DOT 2014 (PEACE + THE MIDNIGHT BEAST + REAL ESTATE + WOLF ALICE + COURTNEY BARNETT)
PUB/ZOO, 15:30–04:00, £20 WRISTBAND
The multi-venue all-day festival pitches up for another year, headlined by the alternative indie upand-comers, Peace, who describe their sound as ‘music to fuck you in the heart’, which is nice.
Sat 24 May JOHN COOPER CLARKE
PALACE THEATRE, 19:00–23:00, FROM £16
More satirical and biting political verse, delivered in Cooper Clarke’s rapid-fire performance style – aka punk poetry at its finest. KIERAN GOSS
ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–23:00, £15
Leading Irish songwriter who’s penned tunes for the likes of Mary Black and Christy Moore.
Joint venue venture for Storytime Festival, spreading out over Antwerp Mansion and Night and Day with live music, performance, art and crafty stalls.
PHONEYS AND THE FREAKS (JONNY BROWN SOLO)
THE DEAF INSTITUTE, 19:00–23:00, £7
New collaborative project between founding Oasis member Paul Arthurs and singer/songwriter Alex Lipinski. FAT OUT FEST (TERMINAL CHEESECAKE + RUN DUST + BARBEROS + RAIKES PARADE + NAKED (ON DRUGS))
ISLINGTON MILL, 16:00–02:00, £15 DAY (£30 WEEKEND)
Working alongside fellow creative folk Video Jam, Gizeh Records, Opal Tapes and Tombed Visions, Fat Out Fest pitches up, breathing life into Islington Mill for three days of art, music and general collaborative vibes. MAD PROFESSOR
BAND ON THE WALL, 20:00–23:00, £15
The Prof takes y’all on a lesson in dub – dipping into his vast catalogue as he goes, taking in the rudiments of dub from early times to dubstep. DEMONS OF RUBY MAE
THE CASTLE HOTEL, 19:00–23:00, £TBC
The alternative folk duo tour their debut EP, Heliacal. MEADOWLARK
FALLOW CAFE, 19:30–23:00, FREE
Three piece folk outfit made up of Kate, Carl and Daniel, touring their debut EP, Three Six Five. SAMARPANAM (LALGUDI GJR KRISHNAN + LALGUDI VIJAYALAKSHMI + PRATHAP RAMACHANDRA + RN PRAKASH)
BRIDGEWATER HALL, 13:00–15:00, £12 (£10)
MilapFest present a carnatic violin duet and concert tribute to the life and legacy of violinist Lalgudi Jayaraman.
Listings
57
Manchester Music CHORLTON WEEKENDER: THE FAMILY RAIN (HEY BULLDOG) ST CLEMENTS CHURCH, 19:30–23:00, £10 (£8)
Bath-based band of brothers who had previous projects before embracing tropical indie-rock as The Family Rain.
Sun 25 May
STORYTIME FESTIVAL (THE FIRE BENEATH THE SEA + PEANUT GALLERY + CHASING TRAITS + YOUNG MOUNTAINS)
ANTWERP MANSION, 16:00–0:00
Joint venue venture for Storytime Festival, spreading out over Antwerp Mansion and Night and Day with live music, performance, art and crafty stalls. NINE INCH NAILS
PHONES4U ARENA, 19:30–23:00, FROM £30
The industrial innovators hit up the UK with their reassembled touring line-up, which sees Trent Reznor backed by Ilan Rubin, Alessandro Cortini and Robin Finck. THE RIPTIDE MOVEMENT (SUNLIGHTER + RYAN JARVIS)
THE RUBY LOUNGE, 19:30–22:30, £9
Irish rock outfit with a fondness for big riffs and even bigger choruses. WEDNESDAY 13
THE DEAF INSTITUTE, 19:30–23:00, £10
The Murderdolls frontman tours his a new project, Undead Unplugged, still heavily into the horror punk, natch.
FAT OUT FEST (MIKE O’NEILL + FARWELL POETRY + NADJA + LAU NAU + GUM TAKES TOOTH + SUTTEY AND THE END OF THE WORLDS)
ISLINGTON MILL, 14:00–02:00, £15 DAY (£30 WEEKEND)
Working alongside fellow creative folk Video Jam, Gizeh Records, Opal Tapes and Tombed Visions, Fat Out Fest pitches up, breathing life into Islington Mill for three days of art, music and general collaborative vibes. VENETIAN SNARES
SOUP KITCHEN, 21:00–02:00, £12.50
Canadian musician Aaron Funk takes to the stage under his Venetian Snares moniker.
CHORLTON WEEKENDER: LISBEE STAINTON (HEATH COMMON + CAROL GRIMES AND THE LINCOLN 72S)
ST CLEMENTS CHURCH, 19:30–23:00, £10 (£8)
English singer/songwriter and her trusty 8-string guitar.
Mon 26 May GABRIELLA CILMI
THE DEAF INSTITUTE, 19:00–22:00, FREE
Australian singer/songwriter taking in delicate hues of pop, blues and rock. JIMI GOODWIN
GORILLA, 19:00–23:00, £15
The Doves frontman goes it alone, playing tracks offa his debut solo album.
SMOKE FAIRIES
BLAIR DUNLOP
BAND ON THE WALL, 19:30–23:00, £10
BAND ON THE WALL, 19:00–23:00, £9
Katherine Blamire and Jessica Davies sing the blues.
Wed 28 May GROUPLOVE
GORILLA, 19:00–23:00, £10
Contemporary indie five-piece formed when band members Hannah Hooper and Christian Zucconi met and clicked in lower east Manhattan. THE WAR ON DRUGS
MANCHESTER ACADEMY 2, 19:30–23:00, £14
Sans Kurt Vile, fellow War founder Adam Granduciel continues to combines rock’n’roll classicism in the seventies AOR mould, all psychedelic and lushly-layed. MARC FORD
THE DEAF INSTITUTE, 19:30–23:00, £12.00
American blues-rock guitarist, formerly lead guitarist of The Black Crowes. PHRONESIS
ROYAL NORTHERN COLLEGE OF MUSIC, 20:00–23:00, £15
Jazz trio with members hailing from Denmark, the UK and Sweden, touring their latest album, Life to Everything.
The famously O.T.T. live merrymakers give their thirteenth LP, The Terror, an airing – an ambient and restless gem, which finds mainman Wayne Coyne providing the soothingly familiar vocal backdrop to a crescendo of crazy. NEW CITY KINGS
SOUND CONTROL, 19:30–23:00, £8
Alternative outfit hailing from Essex, touring with their debut EP, Change. THE UPLOAD TOUR (EMMA BLACKBERRY + BRIBRY + DAVE GILES)
THE DEAF INSTITUTE, 18:00–22:00, £SOLD OUT
Upload Tour, take three, bringing together a selection of underground artists that they reckon are leading the DIY recording scene.
58
Listings
SWISS LIPS
THE DANCEHOUSE, 20:00–23:00, £6
Mancunian quintet of the danceable electro-pop variety, fizzing along on Balearic-esque beats.
ABSOLVA (BABYLON FIRE + ASYLUM CITY ZOO)
SOUND CONTROL, 19:00–22:00, £6
Classic metal band hailing from Manchester, upholding the British tradition of twin lead guitars. THE VISITORS (INEGO)
THE DEAF INSTITUTE, 19:00–22:30, £7
Four-piece indie rock bunch from Oldham.
THE KING’S ARMS, 19:30–23:00, £5
Dynamic Edinburgh quartet riding along on 60s-tinged rock, dark beats and brooding electro cello. BEAR MAKES NINJA (KUSANAGI + SECRETAIRE)
THE BAY HORSE, 20:00–23:00, £4
Lincolnshire post-grunge indie rockers touring to support latest EP, Shouting At Bridges. THE MAGIC BAND
BAND ON THE WALL, 19:30–23:00, £25
Original members Denny Walley, Mark Boston and John French celebrate the music of the late Don Van Vliet (aka Captain Beefheart), sharing the stage with guitarist Eric Klerks and drummer Craig Bunch to re-visit the classic tunes with renewed fervour.
A NORTHERN CONTRIBUTION (SLYDIGS + WEATHERBIRD + THE INCREDIBLE MAGPIE BAND + MUTANT VINYL) THE RUBY LOUNGE, 19:30–22:30, £4
A Northern showcase headlined by Warrington outfit, Slydigs. GHOST TOWN
SOUND CONTROL, 19:30–23:00, £8.50
An evening of live music from a selection of country bands.
MANCHESTER PSYCH FEST (TOY + RICHARD NORRIS + TELEGRAM + THE UNDERGROUND YOUTH + GHOST OUTFIT)
NIGHT AND DAY CAFE, 15:00–03:00, £18
London’s TOY headline this alldayer event, giving Manchester the chance to revel in the broad spectrum of psychedelia, with Richard Norris, Telegram, Ghost Outfit and more rounding out the set list, along with DJs til late. ARIYA ASTROBEAT ARKESTRA
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
Leeds-based afrobeat outfit. DAWN LANDES (LITTLE RACH)
SOUP KITCHEN, 19:30–22:15, £7.50
Kentucky-born singer/songwriter currently residing in Brooklyn doing a mixed up folk meets rock meets pop thing.
HOOKWORMS: THE LOST WEEKEND (MAZES + COLD PUMAS + SEALINGS + VISION FORTUNE + MOON GANGS) ISLINGTON MILL, 17:00–03:00, £9.50
The Californian four-piece return to the UK, with their debut album, The After Party in tow.
The Leeds-based five-piece Hookworms return to Manchester to curate a series of nights in the intimate confines of Islington Mill.
THE RITZ, 19:00–23:00, £25
BRIDGEWATER HALL, 19:30–22:00, FROM £17
LEROY HUTSON (THE VALENTINE BROTHERS)
Legendary soul musician plays his full repertoire with a full band.
LEROY HUTSON AND THE VALENTINE BROTHERS
BAND ON THE WALL, 19:00–23:00, £25
Legendary soul musician plays his full repertoire with a full band. LOUIS LOUIS LOUIS
MATT AND PHRED’S JAZZ CLUB, 21:00–00:30, FREE
Fri 30 May
THE FLAMING LIPS
Sat 31 May
SOUP KITCHEN, 19:30–23:00, £8
COSMONAUTS
PHONES4U ARENA, 19:30–23:00, FROM £23.50
O2 APOLLO, 19:00–23:00, £32.50
ISLINGTON MILL, 20:00–03:00, £8.50
The Leeds-based five-piece Hookworms return to Manchester to curate a series of nights in the intimate confines of Islington Mill.
Thu 29 May
Toe-tapping classic swing outfit playing the music of Louis Prima and Ray Charles.
The X-Factor 2011 winners take to the road armed with the lowestselling winner’s single since 2004, Cannonball – hurrah.
HOOKWORMS: THE LOST WEEKEND (NOVELLA + ULTIMATE PAINTING + SEX HANDS)
KINGS BAND NIGHT (NOT COMPLETELY BLONDE + FRIENDS OF FRIENDS + THE STYLE SELEKTORS)
Tue 27 May LITTLE MIX
Touring in support of his second album, the folk musician and actor (best known for his role as the young Willy Wonka in Tim Burton’s Charlie and the Chocolate Factory) takes to the stage.
CABBAGE ALLEY
MATT AND PHRED’S JAZZ CLUB, 21:30–01:00, £5
A classic quartet serving up jazz, soul and blues. ONLY REAL
SOUP KITCHEN, 19:30–22:15, £5
London-based band of hip young pups, all lovingly lackadaisical via lo-fi production with half-rapped vocals. ONLY REAL
SOUP KITCHEN, 19:30–23:00, £5
London-based band of hip young pups, all lovingly lackadaisical via lo-fi production with half-rapped vocals. NEW KIDS ON THE BLOCK
O2 APOLLO, 19:00–23:00, FROM £35
Boston-based boyband of late 80s/early 90s fame, reformed as of 2007. PATCHWORK SOCIETY (SILVER STORY + SOCIAL ANEURYSM)
ROADHOUSE, 19:30–23:00, £5
Three-strong line-up headlined by Patchwork Society, the hardcore punk bunch from Manchester.
THE HALLE: WEST END MUSICALS
The Halle orchestra perform a series of west end musical hits, conducted by Stephen Bell.
Sun 01 Jun SIVERT HOYEM
SOUND CONTROL, 19:30–23:00, £10
Norwegian rock vocalist of Madrugada fame, now embarking on a solo tour. MUGSTAR
ROADHOUSE, 19:30–23:00, £7
Psych rock outfit hailing from Liverpool, navigating pschedelia, space and kraut rock as they go.
Mon 02 Jun
JILL AND KATE (SHAUNA MACKIN AND SCOTT LLOYD)
THE DEAF INSTITUTE, 19:30–23:00, £7
Country pop duo hailing from Nashville.
Liverpool Music Tue 29 Apr
BOB LOG III (THOMAS TRUAX)
MELLOMELLO, 20:00–23:00, £8 EARLYBIRD (£10 THEREAFTER)
The one-man blues punk dynamo and slide guitar legend that is Bob Log III takes to the stage, most likely avec crash helmet.
Thu 01 May
LIVERPOOL SOUND CITY 2014 (NINETAILS + EX EASTER ISLAND HEAD + COURTNEY BARNETT + VEYU + SO I WATCH YOU FROM AFAR + JON HOPKINS ) VARIOUS VENUES, 18:00–02:30, £35 (£60 WEEKEND)
Now claiming the title of largest city-wide festival in the UK, Liverpool Sound City returns with 360 artists pitching up in 25 venues across the city. Thursday highlights include: Ninetails, Clean Bandit, VEYU, The Wytches, PINS and Courtney Barnett.
Fri 02 May TOYAH WILCOX
ERIC’S LIVE, 19:20–23:30, £15
80s icon Toyah Wilcox performs a selection of songs from her 1982 album The Changeling, released some 30 years ago. Rescheduled date. IAN ANDERSON
LIVERPOOL PHILHARMONIC HALL, 19:30–23:00, FROM £26
The Jethro Tull man plays an intimate acoustic set, playing the music of Jethro Tull along with some of his solo repertoire.
ELEPHANT AND CASTLE (BOOK FOR SUNDAY)
O2 ACADEMY, 19:00–23:00, £6
SHELL DELIAH STUDIO 2, 20:00–23:00, FREE
Talented duo made up of Michelle Harris and Alex Dopierala, playing a contemporary take on R’n’B.
Tue 06 May PURE LOVE
EAST VILLAGE ARTS CLUB, 19:00–23:00, £11
English-American alternative rock duo comprised of former Gallows frontman Frank Carter and exHope Conspiracy and Suicide File guitarist Jim Carroll. SAM PEPPER AND MAZZI MAZ
EAST VILLAGE ARTS CLUB, 19:00–23:00, £12.50
YouTube prankster Sam Pepper takes to the road with Mazzi Maz for their WDGAF Tour, whatever that means. PARRJAZZ (MICHELSON MORLEY)
FREDERIKS, 20:30–23:00, £3 (FREE)
The weekly jazz showcase night pitches up in a new home on Hope Street.
Wed 07 May
MARTIN STEPHENSON AND THE DAINTEES (HELEN MCCOOKERBOOK)
O2 ACADEMY, 19:00–23:00, £16.50
British rockers fusing elements of rockabilly, show tunes and rootsypop into their mix.
Thu 08 May
MOULETTES (SALLY PEPPER + KATE YOUNG)
O2 ACADEMY, 19:00–23:00, £10
Alt-folk outfit hailing from the South East, making music together since their teenage years.
Fri 09 May
Californian sound engineer David Reep takes to the stage under an assumed name, serving up hazy, glitch-heaving electronic sounds as he goes.
SUBHUMANS (DEAD SUBVERTS + SEVEN CROWNS + 2 SICK MONKEYS + LUVDUMP)
VARIOUS VENUES, 16:45–03:00, £35 (£60 WEEKEND)
VIEW TWO GALLERY, 20:00–23:00, £6
LIVERPOOL SOUND CITY 2014 (SAN FERMIN + FUCK BUTTONS + FACTORY FLOOR + EAST INDIA YOUTH + DRENGE)
Now claiming the title of largest city-wide festival in the UK, Liverpool Sound City returns with 360 artists pitching up in 25 venues across the city. Friday highlights include: San Fermin, Harlequin Dynamite Marching Band, Fuck Buttons and Chloe Howl.
Sat 03 May FISH
O2 ACADEMY, 19:00–23:00, £22.50
The charismatic former Marillion frontman delves into his back catalogue, spanning an impressive 20+ years. UKTALENT SHOWCASE (BATZ INDA BELFRY, + ILLICIT + GRIME OF THE EARTH + PRESTIGE DE SANTOS + ROYZY ROTHSCHILD)
HEEBIE JEEBIES, 19:00–23:00, £4
Showcase event headlined by the Manchester-based female hip-hop collaboration Batz Inda Belfry. LIVERPOOL SOUND CITY 2014 (65DAYSOFSTATIC + JAGWAR MA + PUBLIC SERVICE BROADCASTING + BIG UPS + ALL WE ARE) VARIOUS VENUES, 12:00–02:30, £35 (£60 WEEKEND)
Now claiming the title of largest city-wide festival in the UK, Liverpool Sound City returns with 360 artists pitching up in 25 venues across the city. Saturday highlights include: Bird, All We Are, September Girls, Babe, Embers and Married to the Sea.
Sun 04 May THE SEEKERS
LIVERPOOL PHILHARMONIC HALL, 19:30–23:00, FROM £40
Australia’s first international supergroup hit the road, four-part harmonies, acoustic guitars and double bass all well and in place.
BLADE FACTORY, 19:30–23:00, £9
Hardcore and chaotic punk from the Wiltshire mentalists (two words very rarely used consecutively). QUIET LONER
London based singer/songwriter – otherwise known as Matt Hill – demonstrates the redemptive power of country music with his highly lyrical and politically-tinged folk. RICK WAKEMAN
LIVERPOOL PHILHARMONIC HALL, 20:00–23:00, FROM £45
Marking the 40th anniversary of its release, Rick Wakeman takes his concept album based on Jules Verne’s novel Journey to the Centre of the Earth, out on the road. EMBRACE
Mon 12 May SNARKY PUPPY
THE KAZIMIER, 19:30–23:00, £15
With a rotating schedule of some 25 players, the US-of A collective share their unique musical enthusiasm for jazz-funk and world music. DON WILLIAMS
LIVERPOOL PHILHARMONIC HALL, 19:30–23:00, FROM £35
STUDIO 2, 21:00–23:00, FREE
Talented young pianist from Liverpool, touring with his debut album, Ace.
Sat 10 May JOHN POWER
ERIC’S LIVE, 20:00–23:30, £12
The Cast and The La’s frontman takes his rock’n’roll solo project out on the road. KAZABIAN
O2 ACADEMY, 19:00–23:00, £10
Kasabian tribute act.
FURY FEST 2014 (I AM THE AVALANCHE + GNARWOLVES + MAJOR LEAGUE + TURNOVER)
EAST VILLAGE ARTS CLUB, 16:00–22:00, £15
Mixed-bag festival of posthardcore, metal, punk, and prog rock. Clue’s in the name. MICHAEL BOLTON
LIVERPOOL PHILHARMONIC HALL, 19:30–23:00, FROM £25
American singer/songwriter and winner of two Grammy Awards for best male voice.
JOHN BRAMWELL
THE KAZIMIER, 19:30–23:00, £15
The I Am Kloot singer/songwriter and frontman hits the road solo. DROWNERS
THE SHIPPING FORECAST, 19:00–23:00, £6
SPEEDY ORTIZ
THE WONDER YEARS (A LOSS FOR WORDS + STATE CHAMPS)
O2 ACADEMY, 19:00–23:00, £13.50
Pop-punk collective from Philadelphia, led by vocalist Dan ‘Soupy’ Campbell, and named after the American TV show that basically ruled our lives from 1988-1993. ACTION BRONSON
THE KAZIMIER, 19:00–23:00, £16.50
The Queens rapper and former fire-flame gourmet chef (yes, really) raps about food’n’stuff.
THE HOOSIERS (ARIANA AND THE ROSE)
EAST VILLAGE ARTS CLUB, 19:00–23:00, £10
Now trading as a four-piece, the London-based chaps showcase their pop-meets-rock musical wares. MCBUSTED
ECHO ARENA, 20:00–23:00, £44
You know that nightmare you had about Busted and McFly touring as one? Well it was real. Run for the hills!
SCOTT AND CHARLENE’S WEDDING
LEAF, 19:30–23:00, £7
The impeccably-named lo-fi/ slacker pop outfit, touring with their latest album, Any Port In A Storm. PARRJAZZ (VICTOR BROX)
FREDERIKS, 20:30–23:00, £3 (FREE)
The weekly jazz showcase night pitches up in a new home on Hope Street.
Mon 19 May EAST VILLAGE ARTS CLUB, 19:00–23:00, £9
US-of-A-hailing indie rock quartet, built up on the lo-fi output of singer Sadie Dupois.
Tue 20 May
ECHO AND THE BUNNYMEN
LIVERPOOL PHILHARMONIC HALL, 19:30–23:00, FROM £26.50
Still fronted by original member Ian McCulloch, the longstanding Liverpudlian rockers tour their first studio album in four years, Meteorites. PARRJAZZ (ALAN BARNES)
AUGUSTINES (NEON WALTZ)
HANK WANGFORD AND THE LOST COWBOYS
The English country and western singer/songwriter tour with his live band of players.
Fri 16 May REVERE
THE SHIPPING FORECAST, 19:30–23:00, £7.50
London-based post-rockers built on a backbone of guitars, with divergent tendencies towards melancholic strings and synth domination.
THE USUAL CROWD (INDIGO VIOLET + FACTORY) O2 ACADEMY, 19:00–23:00, £6
Four-piece outfit residing in the Wirral, playing an up-beat blend of rock and rockabilly.
Sat 17 May
GUNS 2 ROSES (SKID RAW + SURREAL PANTHER)
O2 ACADEMY, 19:00–23:00, £10
Guns N’ Roses tribute act.
NICOLE WILLIS AND THE SOUL INVESTIGATORS
ERIC’S LIVE, 19:30–23:30, £12.50
Finnish soul/rhythm and blues outfit, fronted by the mesmeric Nicole Willis. SMOKE FAIRIES
EAST VILLAGE ARTS CLUB, 19:00–23:00, £10
Katherine Blamire and Jessica Davies sing the blues.
Sat 31 May HOWLING BELLS
EAST VILLAGE ARTS CLUB, 19:00–23:00, £9
Indie rock outfit hailing from Sydney. THE RUTLES
O2 ACADEMY, 19:00–23:00, £20
The Beatles tribute act.
IAN PROWSE AND AMSTERDAM
EAST VILLAGE ARTS CLUB, 19:00–23:00, £12
The Cheshire singer/songwriter, who also fronts Pele and Amsterdam, does his solo thing. SAMARPANAM (LALGUDI GJR KRISHNAN + LALGUDI VIJAYALAKSHMI + PRATHAP RAMACHANDRA + RN PRAKASH)
THE CAPSTONE, 13:00–15:00, FREE
Wed 21 May
Sun 01 Jun
EAST VILLAGE ARTS CLUB, 19:00–22:00, £16
O2 ACADEMY, 19:00–23:00, £SOLD OUT
WHITE DEMIN
Bluesy, jazzy, garage-rocky Austinites, self-described by frontman James Patralli as attempting to turn abstract paintings and philosophical tracts into music. KATY PERRY
ECHO ARENA, 19:30–22:30, FROM £44
The Californian popstress tours her second LP, pitching up in the Northwest for a couple’a live shows – mores the joy. ROO PANES
LEAF, 19:30–23:00, £6
Thu 22 May
EAST VILLAGE ARTS CLUB, 19:00–23:00, £11
One-woman band riding along on Louisa Rose Allen’s resplendent synths, industrial percussion and by-turns-searing-and-soaring vocals.
The weekly jazz showcase night pitches up in a new home on Hope Street.
LEAF, 20:00–23:00, £10
BLUE ROSE CODE
FOXES
EAST VILLAGE ARTS CLUB, 19:00–23:00, £8
MilapFest present a carnatic violin duet and concert tribute to the life and legacy of violinist Lalgudi Jayaraman.
The classical folk/pop outfit from London tour their latest EP, Land of the Living.
London post-folk singer/ songwriter Ross Wilson does his thing – big on the Celtic lullabies and Caledonian soul – playing a special live band set to launch their new LP.
Thu 29 May
FREDERIKS, 20:30–23:00, £3 (FREE)
Wed 14 May
O2 ACADEMY, 19:00–23:00, £15
LIPA grad Silje hosts a launch party for her single, Be You!
Chicago based singer/songwriter, formerly of Ezra Furman and the Harpoons, now hitting the road solo.
Tue 13 May
THE TOM SEALS BAND
SILJE
EZRA FURMAN (SANKOFA)
EAST VILLAGE ARTS CLUB, 19:00–22:00, £8.50
American alternative rock ensemble formed in NYC in 2011, taking their name from Suede’s debut single.
EAST VILLAGE ARTS CLUB, 19:00–00:00, £4
The post-Britpop Yorkshire quintet take to the road for their first UK tour in seven years.
9 piece hip-hop act based in Manchester, led by MC, Dr Syntax.
The American country singer/ songwriter returns to Liverpool following a sold out appearance back in 2012.
NYC trio who do a rather fine line in anthemic indie-rock (formerly playing as We Are Augustines), due in no small part to frontman Billy McCarthy’s measured and majestic vocals.
O2 ACADEMY, 19:00–23:00, £SOLD OUT
THE MOUSE OUTFIT ERIC’S LIVE, 19:30–23:30, £5
PAUL HEATON + JACQUI ABBOTT
The former Beautiful South bandmates return to the stage together.
Mon 02 Jun THE ORWELLS
EAST VILLAGE ARTS CLUB, 19:00–23:00, £8
Raunchy flower punk from the Illinois-residing five-piece outfit, touring with their latest EP, Other Voices, bringing the fresh-faced rock’n’roll energy by the bucket load.
TOM HICKOX
LEAF, 19:30–23:00, £8
The London-based singer/songwriter tours his latest release, War, Peace and Diplomacy.
Fri 23 May LITTLE MIX
ECHO ARENA, 19:30–22:30, FROM £26.50
The X-Factor 2011 winners take to the road armed with the lowestselling winner’s single since 2004, Cannonball – hurrah. BURY TOMORROW
O2 ACADEMY, 19:00–23:00, £10
Touring with their latest album, The Union of Crowns, the Portsmouth/Southampton hailing five-piece bring the metalcore sounds to Manchester.
Tue 27 May
TOUMANI DIABATÉ + SIDIKI DIABATÉ
LIVERPOOL PHILHARMONIC HALL, 19:30–23:00, £20
In a rare collaboration, genius of African kora music, Toumani Diabaté, performs alongside his son (and the instrument’s emerging star), Sidiki. PARRJAZZ (SUEYO)
FREDERIKS, 20:30–23:00, £3 (FREE)
The weekly jazz showcase night pitches up in a new home on Hope Street.
Wed 28 May NATIVES
EAST VILLAGE ARTS CLUB, 19:00–23:00, £7
Hampshire-hailing pop-rockers formerly known as Not Advised. THE RIPTIDE MOVEMENT
O2 ACADEMY, 19:00–23:00, £9
Irish rock outfit with a fondness for big riffs and even bigger choruses.
THE SKINNY
Manchester Clubs Tue 29 Apr GOLD TEETH
THE DEAF INSTITUTE, 22:00–03:00, £4.50 ADV (£5 DOOR)
Legendary bad boy, mixed-bag night that invites use of the term ‘carnage’. STUDENT HOUSE
SOUTH, 23:00–04:00, £2
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
COMMON, 21:00–02:00, FREE
Common invite their buddies to take over the decks. WOO HAH
TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
New Saturday-nighter spanning old school, hip-hop, soul and funk. DIMITRI VEGAS + LIKE MIKE
Mumbo Jumbo and Listen Enjoy present a night of jungle themed beats, spanning garage and hip hop.
VICTORIA WAREHOUSE, 20:30–05:00, £27.50
WALRUS, 20:30–01:00, FREE
MR SCRUFF KEEP IT UNREAL (DENIS JONES)
CACTUS DJS
CactusMCR DJs delve into their collections to serve up some audio yet untold, with a mish mash of genres taking over the bar area.
Fri 02 May MELTING POT
TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
A new Friday-nighter offering up smooth soul and elevating disco. REVOLVER
MUSIC IS LOVE (BRAWTHER + DUNGEON MEAT + JUS-ED + JORDAN PEAK + ESTEBAN ADAME)
SANKEYS, 22:30–05:00, £10
SCOOT N SCOOP NORTHWEN SOUL NIGHT
Music is Love return to Sankeys with Balance Recording’s Brawther at the helm.
HORSE AND JOCKEY, 20:00–02:00, FREE
A night of Northern soul, the three DJs serving up the gems from 60s and 70s soul.
FEVER 105 (RAYKO)
ODDER BAR, 22:00–04:00, £7 EARLYBIRD (£8 THEREAFTER)
Tue 06 May
A night of funk, soul and disco. FACTORY SATURDAYS
GOLD TEETH
FACTORY 251, 23:00–03:00, £2
THE DEAF INSTITUTE, 22:00–03:00, £4.50 ADV (£5 DOOR)
Three rooms of commercial dance, indie and deep house, powered by funktion one sound.
Legendary bad boy, mixed-bag night that invites use of the term ‘carnage’.
FRI251
FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)
Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three. WITCH*UNT WEEKENDER
MOON HARBOUR SHOWCASE (MATTHIAS TANZMANN + DAN DRASTIC + PIRATE COPY) GORILLA, 22:00–04:00, £12
German DJ and producer Matthias Tanzmann brings his Moon Harbour label favourites to the Northwest for a showcase night, demonstrating the breadth of his label’s talent. MANBEARS
SOUND CONTROL, 23:00–04:00, £10
House and dance anthems all night courtesy of DJ Rick Parker. DEFECTED IN THE HOUSE (GUTI + NOIR + SAME DIVINE)
SANKEYS, 22:30–05:00, £10
House label Defected Records bring their In The House night to Manchester, headlined by the inimitable Argentinian producer, Guti. JG WILKES + LUKE UNABOMBER
SOUP KITCHEN, 23:00–04:00, £5 EARLYBIRD (£7 THEREAFTER)
Optimo’s JG Wilkes and Electric Chair’s Luke Unabomber take the helm for this bank holiday special.
Free entry all night
New Saturday-nighter spanning old school, hip-hop, soul and funk. SOCIAL BEAT
THE RITZ, 22:30–03:30, £5
New weekly club night taking the GoGo spot, relaunched as a house party mash up. FRI251
FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)
Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three.
MEANDYOU (METROPOLIS + JUNIPER + SJ LEWIS) SOUP KITCHEN, 22:00–04:00, £5 EARLYBIRD (£7 THEREAFTER)
The Manchester-based collective continue with their trend of hosting bang on house and techno nights.
SHIT ROBOT (KIWI + WILL TRAMP! + PBR STREETGANG)
GORILLA, 23:00–04:00, £12.50
Dubliner Marcus Lambkin takes the helm under his Shit Robot moniker, dropping disco boogie gold as he goes.
BLAQUE
BAND ON THE WALL, 21:00–03:00, £9
The deep house experience, with Crash DJs at the helm. DUBFIRE
SANKEYS, 22:30–06:00, £10
Seamless set from the Grammy award-winning Iranian recording artist, Ali Shirazinia, aka Dubfire.
Tue 13 May GOLD TEETH
THE DEAF INSTITUTE, 22:00–03:00, £4.50 ADV (£5 DOOR)
Beats, Bats & Beers Every Saturday — A musical outing soundtracked by House, Disco & Pop Obscurities TwentyTwentyTwo.co.uk
STUDENT HOUSE SOUTH, 23:00–04:00, £2
Legendary bad boy, mixed-bag night that invites use of the term ‘carnage’. 4pm — 3am
JUICY SPECIAL GORILLA, 23:00–04:00, £3
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
All party, no bullshit night of everything from classic hip-hop to disco and funk.
Wed 07 May
Hip Hop night playing the likes of Busta Rhymes, Cypress Hill and Public Enemy.
REASONS TO BE CHEERFUL
THE DEAF INSTITUTE, 21:00–01:00, FREE
New weekly event, with the ever-charming Duncan from Dutch Uncles taking to the decks for a vinyl only set of golden age pop and disco.
ROOT DOWN: HIP-HOP
SOUND CONTROL, 23:00–03:00, £1
BELLE & SEBASTIAN DJ SET
THE DEAF INSTITUTE, 22:00–03:00, £5
Deaf’s new monthly club night Bare Bones gets a big of a mega launch, with opening DJ set from Belle and Sebastian.
Free entry every Saturday May 2014
TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
SOUND CONTROL, 23:00–04:00, £12
&
The Witch*unt weekender kicks off, pitching boys against girls with a line-up spanning old-school hip hop, house and electro.
WOO HAH
Three floors of drum and bass celebrating 25 years of MC Flux.
S
KRAAK, 23:00–04:00, £10 WEEKEND
Common invite their buddies to take over the decks.
FABIO & GROOVERIDER WITH MC FLUX
S
Three rooms of commercial dance, indie and deep house, powered by funktion one sound.
SOUP KITCHEN, 22:00–04:00, £7
The Soup Kitchen crew play host to a special set from rhythmically inventive – and publicity-shy – producer, Maurice Fulton.
Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs.
T
FACTORY SATURDAYS
FACTORY 251, 23:00–03:00, £2
MAURICE FULTON
TOP OF THE POPS
MINT LOUNGE, 22:30–03:30, £2
S
MINT LOUNGE, 22:30–04:00, £2
Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs.
Ape and Metropolis go head to head for this bank holiday weekend special, a six-hour showcase headlined by Sub Focus and Netsky.
T
TOP OF THE POPS
ALBERT HALL, 20:00–04:00, FROM £20
Mixed-bag night of nu cosmic Italio, vintage avant garde disco and lo-fi rhythmic punk funk.
A
Monthly alternative club night offering an eclectic mix of rock, grunge, metal, hip hop, industrial and more courtesy of their resident DJs.
BANK HOLIDAY CARNIVAL (SUB FOCUS + NETSKY)
R
CLUB X OVER
THE RITZ, 22:30–03:30, £4 (£5 AFTER MIDNIGHT)
PUMPING IRON
COMMON, 21:00–02:00, FREE (£2 AFTER 10)
A
The gig and club combo night continues, with a three-strong line up headed up by rock, pop and soul duo, The Last Party.
A new Friday-nighter offering up smooth soul and elevating disco.
E
BAND ON THE WALL, 21:00–02:00, £4 EARLYBIRD (£6 THEREAFTER)
New weekly club night taking the GoGo spot, relaunched as a house party mash up.
FRIENDS IN COMMON
MELTING POT
E
XFM FIRST FRIDAY (THE LAST PARTY + PIXEL FIX + SHY NATURE)
THE RITZ, 22:30–03:30, £5
COMMON, 21:00–02:00, FREE (£2 AFTER 10)
B
Guest DJs on the decks, bringing you music from the past, present, and well, future.
SOCIAL BEAT
Fri 09 May TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
GORILLA, 23:00–04:00, £8
The Radio 1 DJ, Toddla T leads this May bank holiday special, serving up hip hop and garage bangers alongside the likes of Chimpo and Gold Teeth residents.
ALBERT HALL, 20:00–04:00, FROM £17
Bank holiday sunday special with Gareth Emery taking the helm for a night of electo/electronic/trance.
E
WELL FUTURE
COMMON, 21:00–02:00, FREE
DJ set from the musical mastermind, known for mixing a junkshop bag of sounds and bringing his beats to life with squiggly, scribbled animations.
TODDLA T TAKEOVER (MC DRS + CHIMPO + GOLD TEETH DJS)
JOSHUA BROOKS, 23:00–03:00, £5
GARETH EMERY
Electro swing night pitching up at Joshua Brooks with their toetapping sounds.
B
Manchester’s premier 60s party, now a bi-monthly reason to get excited. Expect 60s pop, garage, motown, rock’n’roll.
BAND ON THE WALL, 21:00–03:00, £12
KRAAK, 23:00–04:00, £10 WEEKEND
The Witch*unt weekender kicks off, pitching boys against girls with a line-up spanning old-school hip hop, house and electro.
B
THE DEAF INSTITUTE, 22:00–03:00, £3 ADV (£4 DOOR)
Belgian dance producer brothers Dimitri Vegas and Like Mike do their brotherly thing.
WITCH*UNT WEEKENDER
Mixed-bag night from local DJ ledge Clint Boon.
STUDENT HOUSE
SOUTH, 23:00–04:00, £2
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
Thu 15 May
REASONS TO BE CHEERFUL
THE DEAF INSTITUTE, 21:00–01:00, FREE
New weekly event, with the ever-charming Duncan from Dutch Uncles taking to the decks for a vinyl only set of golden age pop and disco. MURKAGE
SOUTH, 23:00–04:00, £3
House, hip-hop, grime and garage from the Murkage residents.
4pm — 3am TwentyTwentyTwo.co.uk
CACTUS DJS
WALRUS, 20:30–01:00, FREE
CactusMCR DJs delve into their collections to serve up some audio yet untold, with a mish mash of genres taking over the bar area.
Fri 16 May MELTING POT
TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
A new Friday-nighter offering up smooth soul and elevating disco. HUXLEY (CITIZEN + MEDLAR)
SANKEYS, 22:30–06:00, £10
MK-indebted house and garage enthusiast Michael Dodman, aka Huxley, serves up his usual fine mix of beats. WELL FUTURE
COMMON, 21:00–02:00, FREE (£2 AFTER 10)
Guest DJs on the decks, bringing you music from the past, present, and well, future.
Free entry all night
&
MINT LOUNGE, 22:30–03:00, £4 EARLYBIRD (£5 THEREAFTER)
FRIENDS IN COMMON
THE WALL STREET MASH (JENOVA COLLECTION)
CLINT BOON
SOUTH, 23:00–04:00, £5
CactusMCR DJs delve into their collections to serve up some audio yet untold, with a mish mash of genres taking over the bar area.
S
BALLOO’S BEATS
Mixed-bag night from local DJ ledge Clint Boon.
WALRUS, 20:30–01:00, FREE
CactusMCR DJs delve into their collections to serve up some audio yet untold, with a mish mash of genres taking over the bar area.
Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective.
Exhibit returns for a bank holiday special, with London DJ Tim green heading up the night,
S
Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.
CLINT BOON
SOUTH, 23:00–04:00, £5
CACTUS DJS
CACTUS DJS
T
FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)
Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective.
JAGUAR SKILLS
SANKEYS, 22:30–04:00, £10
London DJ Jaguar Skills does as he does best – restoring the genre of mash-up to its full glory via his skilled craftsmanship in the art of electronic cutting and pasting. In a ninja mask. As you do.
MINT LOUNGE, 22:30–03:30, £5 ADV (£6 DOOR)
WALRUS, 20:30–01:00, FREE
EXHIBIT (TIM GREEN + JUNIOR GEE)
S
F//CK
FUNKADEMIA (DAVID DUNNE)
MINT LOUNGE, 22:30–04:00, £5 ADV (£6 DOOR)
Sun 04 May
FUNKADEMIA (DAVE REDSOUL)
JOSHUA BROOKS, 22:00–03:00, £8
Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.
TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
T
Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.
Pink lady cocktails, disco balls, glitz and glamour – a monthly club night where you’re free to let your inner 80s child loose.
Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.
New Saturday-nighter spanning old school, hip-hop, soul and funk.
F//CK
A
COMMON, 21:00–02:00, FREE
GIRLS ON FILM
THE DEAF INSTITUTE, 22:00–04:00, £3 ADV (£5 DOOR)
Victoria Baths is brought to life through the night as Northern Soullovers pitch up with a springy dance floor in the pool.
Monthly club night tribute to 90s indie – expect Pulp, Nirvana, Suede, Smashing Pumpkins, Pixies and more.
FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)
Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms.
WOO HAH
R
STOP MAKING SENSE
THE RUBY LOUNGE, 23:00–03:00, £5 (£3)
A night of alternative rock’n’roll shenanigans.
FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)
GOO
THE DEAF INSTITUTE, 22:00–04:00, £3 ADV (£5 DOOR)
Common invite their buddies to take over the decks.
A
MURKAGE
SOUTH, 23:00–04:00, £3
House, hip-hop, grime and garage from the Murkage residents.
REMAKE REMODEL
F//CK
VICTORIA BATHS, 20:00–08:00, £10
Sat 10 May
Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.
E
Thu 01 May
Sat 03 May
RECORDED SOUL
Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.
F//CK FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)
B
Rapper and producer signed to Stones Throw Records.
EVOLVE, 22:00–03:00, £10
The legendary club kids Drunk at Vogue take their night to local gym, Evolve, with hooping performances, gymnasts, drag boxing and more.
NIGHT AND DAY CAFE, 20:00–03:00, £TBC
Niche club night pairing indieelectro/surf/psych DJ sets and live music.
STOP MAKING SENSE
COMMON, 21:00–02:00, FREE
Tri Angle’s Evian Christ presents his recent work, Duga 3, in a murky late night setting.
FRIENDS IN COMMON COMMON, 21:00–02:00, FREE (£2 AFTER 10)
E
JONWAYNE (METRODOME + SPARKZ)
SOUP KITCHEN, 19:00–04:00, £6
DRUNK AT VOGUE: GYMNASIUM PARTY
ANTICS (BEST FRIENDS + VELADROME + WEIRDS + A WINNING PAIR)
JOSHUA BROOKS, 22:00–03:00, £5 EARLYBIRD (£7 THEREAFTER)
STOP MAKING SENSE COMMON, 21:00–02:00, FREE
B
Three floors of varied music policy, from tech and deep hour in the basement to old skool hip hop on the middle floor.
Electonic music pioneer and head honcho at Bedrock curates the night, taking in cinematic soundscapes and tech growlers.
SOUTH, 23:00–04:00, £3
House, hip-hop, grime and garage from the Murkage residents.
CHOW DOWN + CODED RHYTHM (EVIAN CHRIST + MSSINGO + GEORGIA GIRLS)
E
BASS FACE
SOUND CONTROL, 22:30–04:00, £5
GORILLA, 22:00–04:00, £10
MURKAGE
B
Wed 30 Apr
BEDROCK (JOHN DIGWEED + PIRATE COPY)
Thu 08 May
Beats, Bats & Beers Every Saturday — A musical outing soundtracked by House, Disco & Pop Obscurities TwentyTwentyTwo.co.uk
4pm — 3am
DUSK TILL DAWN
THE RUBY LOUNGE, 23:00–03:00, £5 (£4)
Tequila drenched night of classic sleaze and hard rock – expect Aerosmith, Motley Crue and Misfits to name a few. UPTOWN
THE DEAF INSTITUTE, 22:00–03:00, £3 ADV (£5 DOOR)
A new night landing at Deaf, offering up the best in disco, funk, boogie and party classics. TOP OF THE POPS
MINT LOUNGE, 22:30–03:30, £2
Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs.
KALOPSIA (THE SUNDOWNERS + THE CORAL DJ SET + THE WAX COLLECTION)
NIGHT AND DAY CAFE, 20:00–03:00, £6
A new club night pitching up at Night and Day, headed by Manchester Psych Festival. FACTORY SATURDAYS
FACTORY 251, 23:00–03:00, £2
Three rooms of commercial dance, indie and deep house, powered by funktion one sound. MARCO CAROLA
ALBERT HALL, 21:00–04:00, £22.50 EARLYBIRD (£27.50 THEREAFTER)
The first techno showcase from Warehouse Project and Trof will see Marco Carola take the helm.
HUNTLEYS + PALMERS (AUNTIE FLO + ANDREW + JOHN LOVELESS) SOUP KITCHEN, 22:00–04:00, £6 EARLYBIRD (£8 THEREAFTER)
Goa-by-way-of-Glasgow DJ Auntie Flo (aka Brian D’Souza) takes to the Soup Kitchen for a late night live set.
Sat 17 May
HYPNOTIC BRASS ENSEMBLE
BAND ON THE WALL, 20:00–23:00, £18.50
Youthful jazz renegades and band of brothers; pretty much as authentic as you can get, without Sun Ra trumpeter Phil Cohran actually being their father. Oh wait, he is. REVOLVER
THE DEAF INSTITUTE, 23:00–03:00, £3 ADV (£4 DOOR)
Manchester’s premier 60s party, now a bi-monthly reason to get excited. Expect 60s pop, garage, motown, rock’n’roll. FUNKADEMIA
MINT LOUNGE, 22:30–03:30, £5 ADV (£6 DOOR)
Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective. CLINT BOON
SOUTH, 23:00–04:00, £5
Mixed-bag night from local DJ ledge Clint Boon.
FRI251
Fri 23 May
FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)
WELL FUTURE
Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three.
ONEFIVEEIGHT EXPO:03 (EXHIBITION)
COMMON, 21:00–02:00, FREE (£2 AFTER 10)
Guest DJs on the decks, bringing you music from the past, present, and well, future. HOUSE PARTY (MINT ROYALE)
KRAAK, 22:00–03:00, £8
KRAAK, 11:00–20:00, FREE
The Onefiveeight lot present their latest exhibition, inviting 25 photographers, illutrators, street artists and videographers to present a visual response to 25 pieces of music. Onefiveeight residents will then provide the soundtrack to the afterparty. ONEFIVEEIGHT EXPO:03 (AFTER PARTY W/ DENIS JONES + RUANE MAURICE + RAIKES PARADE + NOEL EDGE AND SEYMOUR)
KRAAK, 20:00–04:00, £5
The Onefiveeight lot present their latest exhibition, inviting 25 photographers, illutrators, street artists and videographers to present a visual response to 25 pieces of music. Onefiveeight residents will then provide the soundtrack to the afterparty.
Sun 18 May HAXAN
Returning to the stage for the first time in years, Mint Royale headline Kendal Calling’s infamous House Party night. TOP OF THE POPS
MINT LOUNGE, 22:30–03:30, £2
Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs. FACTORY SATURDAYS
FACTORY 251, 23:00–03:00, £2
Three rooms of commercial dance, indie and deep house, powered by funktion one sound.
Sat 24 May FUNKADEMIA
MINT LOUNGE, 22:30–03:30, £5 ADV (£6 DOOR)
Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective. CLINT BOON
COMMON, 16:00–00:00, FREE
SOUTH, 23:00–04:00, £5
Michael Holland and Boomkat’s Conor, dishing up radiophonic disco and film score techno.
Mixed-bag night from local DJ ledge Clint Boon.
Tue 20 May
COMMON, 21:00–02:00, FREE (£2 AFTER 10)
GOLD TEETH
THE DEAF INSTITUTE, 22:00–03:00, £4.50 ADV (£5 DOOR)
Legendary bad boy, mixed-bag night that invites use of the term ‘carnage’. STUDENT HOUSE
SOUTH, 23:00–04:00, £2
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
FRIENDS IN COMMON
Common invite their buddies to take over the decks. WOO HAH
TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
New Saturday-nighter spanning old school, hip-hop, soul and funk. FRI251
FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)
Thu 22 May
Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three.
THE DEAF INSTITUTE, 21:00–01:00, FREE
THE RUBY LOUNGE, 23:00–03:00, £15
POP CURIOUS?
REASONS TO BE CHEERFUL
New weekly event, with the ever-charming Duncan from Dutch Uncles taking to the decks for a vinyl only set of golden age pop and disco.
The American pop vocalist and host of RuPaul’s Drag Race, Michelle Visage headlines the latest Pop Curious? club night.
SOUTH, 23:00–04:00, £3
SOUP KITCHEN, 23:00–04:00, £5 EARLYBIRD (£7 THEREAFTER)
MURKAGE
House, hip-hop, grime and garage from the Murkage residents. STOP MAKING SENSE
COMMON, 21:00–02:00, FREE
Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm.
Beats, Bats & Beers Every Saturday — A musical outing soundtracked by House, Disco & Pop Obscurities
A MADE UP SOUND (SZARE + DAN HAMPSON)
Dutch producer A Made Up Sound, aka Dave Huismans takes to the intimate confines of the Soup Kitchen basement with his bass heavy, electronic sound.
B E A T S B A T S & B E E R S Listings
59
Manchester Clubs MONKEY JUMP (ANDY DYSON + MICK H) KRAAK, 23:00–04:00, £5
The rhythm, soul and boogaloo night pitches up for one of two nights in 2014, headlined by soul big-hitters, Andy Dyson and Mick H.
Sun 25 May NORMAN JAY MBE
TWENTY TWENTY TWO, 22:00–03:00, £10 EARLYBIRD (£12 THEREAFTER)
The inimitable Sir Norman Jay returns to 2022NQ following his appearance in March to deliver another Good Times set.
CULMINATION (MARCEL WOODS + TV NOISE + HARRY SHOTTA SHOW)
MANCHESTER ACADEMY, 20:00–04:00, £23
Manchester Academy-wide club night headlined by Dutch house DJ, Escape.
Tue 27 May GOLD TEETH
THE DEAF INSTITUTE, 22:00–03:00, £4.50 ADV (£5 DOOR)
Legendary bad boy, mixed-bag night that invites use of the term ‘carnage’. STUDENT HOUSE
SOUTH, 23:00–04:00, £2
The weekly student house and techno night returns to South, keeping you on the dancefloor till the early hours.
Thu 29 May
CHA CHA BOUDOIR SUB 101, 23:30–03:00, £5 (£3)
Cha Cha Boudoir host a big art party, complete with the usual mix of lipsyncing, dancing and glitter. HIGH FIVE MCR (KRYSKO + GREG LORD + FRENCHY + ADAM ROSS)
UNDERDOG, 22:00–03:00, £6
Charity club night raising money for Grace’s Place with back to back sets from The Warehouse Project and Zutekh residents.
Sat 31 May POP
THE DEAF INSTITUTE, 22:00–04:00, £3 ADV (£5 DOOR)
Pop classics in the music hall and glitzy girly disco in the main bar – all of which is designed to keep you dancing all night. FUNKADEMIA
MINT LOUNGE, 22:30–03:30, £5 ADV (£6 DOOR)
Mancunian nightclub institution – delivering a chronological history of soul on a weekly basis, courtesy of their DJ collective. CLINT BOON
SOUTH, 23:00–04:00, £5
Mixed-bag night from local DJ ledge Clint Boon.
BEATNIK (JACKIN HOUSE + CAUSE & AFFECT) JOSHUA BROOKS, 23:00–04:00, £7 EARLYBIRD (£8 THEREAFTER)
Bringing the undergrounds sound as per, with Jackin House on this months line up. CRAIG CHARLES FUNK AND SOUL CLUB (NICOLE WILLIS AND THE SOUL INVESTIGATORS)
BAND ON THE WALL, 21:00–03:00, £17.50 ADV (£20 DOOR)
SOUTH, 23:00–04:00, £3
DJ and actor Craig Charles will be manning the decks until 3am, playing his picks of funk and soul.
STOP MAKING SENSE
COMMON, 21:00–02:00, FREE (£2 AFTER 10)
MURKAGE
House, hip-hop, grime and garage from the Murkage residents. COMMON, 21:00–02:00, FREE
Common’s regular club-in-a-bar night of hipster bullshit, with Mr Seb Valentine, Benatronic & Luke Warm. F//CK
FACTORY 251, 23:00–03:30, £3 (99P CHEAP LIST)
Student Thursday-nighter, with resident DJs Steve Davies, Bill Murray’s Rock n Soul club, and Nicola Bear serving up anything from retro classics to electro mash ups across three rooms. SICK CHIRPSE
MINT LOUNGE, 23:00–03:00, £2
FRIENDS IN COMMON
Common invite their buddies to take over the decks. WOO HAH
TROF NORTHERN QUARTER, 21:00–03:00, FREE (£1 AFTER 10PM)
New Saturday-nighter spanning old school, hip-hop, soul and funk. FRI251
FACTORY 251, 23:00–03:00, 99P (£6 AFTER 12)
Student Friday-nighter, with mashups in room one, indie, funk and Motown in room two, and electro house in room three. LOWDOWN (KRAFTY KUTS)
SOUND CONTROL, 23:00–04:00, £10
The Sick Chirpse crew invite some special guests along to get your Thursday going.
Krafty Kutz offers up a retrospective of breakbeat during his three-hour set.
WALRUS, 20:30–01:00, FREE
KRAAK, 23:00–04:00, £6
CACTUS DJS
CactusMCR DJs delve into their collections to serve up some audio yet untold, with a mish mash of genres taking over the bar area.
Fri 30 May BLOCK PARTY
TROF NORTHERN QUARTER, 21:00–03:00, FREE
Another Mof Glimmers night, serving up block party essentials with free house punch ‘til it’s gone.
SELECTIVE HEARING (BEN KLOCK + RODHAD + VAKULA + JOHN ROBERTS) SANKEYS, 22:30–06:00, £10
The Selective Hearing bunch assemble with German techno DJ and producer, Ben Klock headlining the night. WELL FUTURE
COMMON, 21:00–02:00, FREE (£2 AFTER 10)
Guest DJs on the decks, bringing you music from the past, present, and well, future. HOLY CIRCUS
THE RUBY LOUNGE, 23:30–03:00, £4
Blissed out night of indie, rock, lo-fi garage and all in between; expect to hear The Smiths, Talking Heads and The Cure. TOP OF THE POPS
MINT LOUNGE, 22:30–03:30, £2
Get your weekend off to a great start with this healthy mix of dancefloor fillers and guilty pleasures served up by residents and guest DJs. FACTORY SATURDAYS
FACTORY 251, 23:00–03:00, £2
Three rooms of commercial dance, indie and deep house, powered by funktion one sound. PANTHER
MANCHESTER ACADEMY, 23:00–04:00, £7
Student-centric rave, serving up house, electro, chart and dance.
60
Listings
MADONNA AID
Channelling the spirit of the 1990 Blonde Ambition tour, Madonna Aid pitches up in Kraak with music, film, performance and Madgestyle makeovers.
Liverpool Clubs Tue 29 Apr DIRTY ANTICS
BUMPER, 22:30–04:00, FREE (£4 AFTER 11)
Messy Tuesday-nighter, bring your dirty shoes. JONWAYNE
Liverpool Clubs Thu 01 May JUICY
THE SHIPPING FORECAST, 23:00–03:00, £3
All party, no bullshit night of everything from classic hip-hop to disco and funk. TIME SQUARE
THE KRAZY HOUSE, 22:00–04:00, £2
Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese). GOSSIP!
GARLANDS, 22:00–03:00, £4
Student night with 5 rooms of music spread over 2 floors and occasional theme nights. SUPER RAD
BUMPER, 20:00–05:00, £TBC
MEDICATION
NATION, 22:30–03:00, £5
Long-running student night serving up three rooms of house, electro, chart and r’n’b – complete with visuals and occasional fancy dress. NO-WAVE SOCIAL CLUB
BROOKLYN MIXER, 21:00–02:00, FREE
Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.
NO-WAVE SOCIAL CLUB
BROOKLYN MIXER, 21:00–02:00, FREE
Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies. CLARK’S 90S RAGGA PARTY
THE SHIPPING FORECAST, 23:00–03:00, £3
JUICY
SWAG!
Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.
Fri 02 May
HORIZON BANK HOLIDAY SPECIAL (RADIUM + THE MELODYST + BIG WORM + SOUL DESTROYER + DISTURBIA + EXTREMIST + CONSPIRECY) O2 ACADEMY, 23:00–03:00, £14
The longest running hardcore event in the Northwest host a May bank holiday special.
Sat 03 May RAGE
THE KRAZY HOUSE, 22:00–05:00, £3
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes. BEDLAM SATURDAY
GARLANDS, 22:00–04:00, £10 (£5)
Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie the hostess with the mostess. OUT OF THIS WORLD
CHAMELEON BAR, 20:00–02:00, FREE
Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds. BOUTIQUE AFTER HOURS
BOUTIQUE, 00:00–06:00, £TBC
Liverpool’s only after hours night club, keeping the party going until the smaller hours. MEATMARKET
CAMP AND FURNACE, 19:30–02:00, FREE
New C&F event blending fine steak-based dining with disco beats.
Sun 04 May
CIRCUS (YOUSEF + DAVIDE SQUILLACE + NICOLE MOUDABER + THE MARTINEZ BROTHERS + HARVEY MCKAY + LEWIS BOARDMAN + SCOTT LEWIS)
EAST VILLAGE ARTS CLUB, 22:00–04:00, £22 (£20)
Circus resident Yousef is joined by Davide Squillace and more for the latest installation of the staple club night.
Wed 30 Apr An anything-goes affair – think indie, punk, ska, new wave, electro and more.
NATION, 22:30–03:00, £5
Long-running student night serving up three rooms of house, electro, chart and r’n’b – complete with visuals and occasional fancy dress.
CAMEL CLUB, 22:30–04:00, FROM £2
Tri Angle’s Evian Christ presents his recent work, Duga 3, in a murky late night setting.
KILL YOUR TV
MEDICATION
Clarks return with a night celebrating the golden eras of Jamaican music.
ABANDON SILENCE (EVIAN CHRIST + MSSINGNO)
BUMPER, 20:30–05:00, £2
KILL YOUR TV
BUMPER, 20:30–05:00, £2
An anything-goes affair – think indie, punk, ska, new wave, electro and more.
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests.
THE SHIPPING FORECAST, 19:30–23:00, £8
Rapper and producer signed to Stones Throw Records.
Wed 07 May
THE SHIPPING FORECAST, 22:00–03:00, £7 EARLYBIRD (£10 THEREAFTER)
Thu 08 May THE SHIPPING FORECAST, 23:00–03:00, £3
All party, no bullshit night of everything from classic hip-hop to disco and funk. TIME SQUARE
THE KRAZY HOUSE, 22:00–04:00, £2
Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese).
NO-WAVE SOCIAL CLUB BROOKLYN MIXER, 21:00–02:00, FREE
Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.
Thu 15 May JUICY
THE SHIPPING FORECAST, 23:00–03:00, £3
All party, no bullshit night of everything from classic hip-hop to disco and funk. TIME SQUARE
THE KRAZY HOUSE, 22:00–04:00, £2
SUPER RAD
BUMPER, 20:00–05:00, £TBC
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests. SWAG!
CAMEL CLUB, 22:30–04:00, FROM £2
Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.
TIME SQUARE
THE KRAZY HOUSE, 22:00–04:00, £2
Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese). GOSSIP!
GARLANDS, 22:00–03:00, £4
SUPER RAD
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests. SWAG!
CAMEL CLUB, 22:30–04:00, FROM £2
Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.
Sat 24 May RAGE
THE KRAZY HOUSE, 22:00–05:00, £3
GOSSIP!
Fri 16 May
GARLANDS, 22:00–03:00, £4
EAST VILLAGE ARTS CLUB, 22:00–04:00, £6
GARLANDS, 22:00–04:00, £10 (£5)
SUBSOUL (NO ARTIFICIAL COLOURS)
Student night with 5 rooms of music spread over 2 floors and occasional theme nights.
Shangri-La return with friends SubSoul to bring DJ Duo No Artificial Colours to Liverpool.
BUMPER, 20:00–05:00, £TBC
Sat 17 May
SUPER RAD
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests. SWAG!
CAMEL CLUB, 22:30–04:00, FROM £2
Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.
Sat 10 May RAGE
THE KRAZY HOUSE, 22:00–05:00, £3
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes. BEDLAM SATURDAY
GARLANDS, 22:00–04:00, £10 (£5)
Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie the hostess with the mostess. OUT OF THIS WORLD
CHAMELEON BAR, 20:00–02:00, FREE
Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds. BOUTIQUE AFTER HOURS
BOUTIQUE, 00:00–06:00, £TBC
Liverpool’s only after hours night club, keeping the party going until the smaller hours. MEATMARKET
CAMP AND FURNACE, 19:30–02:00, FREE
RAGE
THE KRAZY HOUSE, 22:00–05:00, £3
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes. BEDLAM SATURDAY
GARLANDS, 22:00–04:00, £10 (£5)
Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie the hostess with the mostess. OUT OF THIS WORLD
CHAMELEON BAR, 20:00–02:00, FREE
Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds. BOUTIQUE AFTER HOURS
BOUTIQUE, 00:00–06:00, £TBC
Liverpool’s only after hours night club, keeping the party going until the smaller hours. MEATMARKET
CAMP AND FURNACE, 19:30–02:00, FREE
New C&F event blending fine steak-based dining with disco beats. CHIBUKU SHAKE SHAKE (DUKE DUMONT)
EAST VILLAGE ARTS CLUB, 22:00–04:00, £18 (£16)
The Chibuku lot return for another outing, this time joined by the legendary Duke Dumont. WILL TRAMP!
THE SHIPPING FORECAST, 22:00–03:00, £5
BEDLAM SATURDAY
Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie the hostess with the mostess. OUT OF THIS WORLD
CHAMELEON BAR, 20:00–02:00, FREE
Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds. BOUTIQUE AFTER HOURS
BOUTIQUE, 00:00–06:00, £TBC
Liverpool’s only after hours night club, keeping the party going until the smaller hours. MEATMARKET
CAMP AND FURNACE, 19:30–02:00, FREE
New C&F event blending fine steak-based dining with disco beats.
Sun 25 May 303 (SLAM)
WILLIAMSON TUNNELS, 20:00–04:00, £12.50
303 presents a headline set from Slam, pitching up at Williamson Tunnels for an underground house and techno party – literally.
Mon 26 May UNI BAR
CAMEL CLUB, 22:00–04:00, FROM £2
Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.
Tue 27 May DIRTY ANTICS
BUMPER, 22:30–04:00, FREE (£4 AFTER 11)
New C&F event blending fine steak-based dining with disco beats.
The Mancunian boogie disco DJ takes a trip across the M62 for a night in Liverpool.
Messy Tuesday-nighter, bring your dirty shoes.
Mon 12 May
Mon 19 May
KILL YOUR TV
UNI BAR
CAMEL CLUB, 22:00–04:00, FROM £2
UNI BAR
CAMEL CLUB, 22:00–04:00, FROM £2
BUMPER, 22:30–04:00, FREE (£4 AFTER 11)
Messy Tuesday-nighter, bring your dirty shoes.
BUMPER, 22:30–04:00, FREE (£4 AFTER 11)
Messy Tuesday-nighter, bring your dirty shoes.
Mon 05 May
Wed 14 May
Wed 21 May
CAMEL CLUB, 22:00–04:00, FROM £2
BUMPER, 20:30–05:00, £2
BUMPER, 20:30–05:00, £2
DIRTY ANTICS
KILL YOUR TV
DIRTY ANTICS
KILL YOUR TV
Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.
An anything-goes affair – think indie, punk, ska, new wave, electro and more.
An anything-goes affair – think indie, punk, ska, new wave, electro and more.
Tue 06 May
NATION, 22:30–03:00, £5
NATION, 22:30–03:00, £5
Messy Tuesday-nighter, bring your dirty shoes.
THE SHIPPING FORECAST, 23:00–03:00, £3
All party, no bullshit night of everything from classic hip-hop to disco and funk.
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes.
Tue 20 May
DIRTY ANTICS
JUICY
BUMPER, 20:00–05:00, £TBC
GOSSIP!
Tue 13 May
BUMPER, 22:30–04:00, FREE (£4 AFTER 11)
Thu 22 May
GARLANDS, 22:00–03:00, £4
Student night with 5 rooms of music spread over 2 floors and occasional theme nights.
Motion welcomes John Heckle to the decks, with the versatile young house DJs incorporating three turntables as well as live jams on his Roland 707. UNI BAR
Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.
Student night with 5 rooms of music spread over 2 floors and occasional theme nights.
Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.
MOTION (JOHN HECKLE)
TIME SQUARE THE KRAZY HOUSE, 22:00–04:00, £2
Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese).
Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.
FALLOUT FACTORY, 22:00–03:00, £8
NO-WAVE SOCIAL CLUB BROOKLYN MIXER, 21:00–02:00, FREE
MEDICATION
Long-running student night serving up three rooms of house, electro, chart and r’n’b – complete with visuals and occasional fancy dress.
MEDICATION
Long-running student night serving up three rooms of house, electro, chart and r’n’b – complete with visuals and occasional fancy dress.
Wed 28 May BUMPER, 20:30–05:00, £2
An anything-goes affair – think indie, punk, ska, new wave, electro and more. MEDICATION
NATION, 22:30–03:00, £5
Long-running student night serving up three rooms of house, electro, chart and r’n’b – complete with visuals and occasional fancy dress. NO-WAVE SOCIAL CLUB
BROOKLYN MIXER, 21:00–02:00, FREE
Alternative indie and hip-hop night from the No-Wave bunch, expect the likes of Arctic Monkeys, Hot Chip and Pixies.
Thu 29 May JUICY
THE SHIPPING FORECAST, 23:00–03:00, £3
All party, no bullshit night of everything from classic hip-hop to disco and funk.
Staple student night with a mix of music across the three floors (think: rock, indie, alternative, dance and a sprinkling of cheese). GOSSIP!
GARLANDS, 22:00–03:00, £4
Student night with 5 rooms of music spread over 2 floors and occasional theme nights. SUPER RAD
BUMPER, 20:00–05:00, £TBC
A night of classic rad sounds spanning indie, rock, crunk and disco, with free gin and juice for the first 100 guests. SWAG!
CAMEL CLUB, 22:30–04:00, FROM £2
Student night with drinks offers and resident DJs providing the urban soundtrack to your Thursday night.
Fri 30 May
CHIBUKU SHAKE SHAKE (DUSKY + SHADOW CHILD)
EAST VILLAGE ARTS CLUB, 22:00–04:00, £16 (£14)
The Chibuku lot return for another outing, this time joined by Dusky, Shadow Child, Hannah Wants, Eton Messy, Second City, John McAndrew and Dot DJs.
Sat 31 May
CARPE DIEM (SABLE SHEEP + LAUREN LO SUNG)
THE BOUTIQUE, 22:00–05:00, £8 EARLYBIRD (£10 THEREAFTER)
The after hours club night pitches up at Liverpool’s Boutique with a host of international and resident DJs. RAGE
THE KRAZY HOUSE, 22:00–05:00, £3
Mixed-bag night spread out over all three floors, serving up indie, rock, alternative and dance tunes. BEDLAM SATURDAY
GARLANDS, 22:00–04:00, £10 (£5)
Extravagant and flamboyant club night complete with resident entertainers, including Foxy Grunt and Barbie the hostess with the mostess. OUT OF THIS WORLD
CHAMELEON BAR, 20:00–02:00, FREE
Opera House DIAL M FOR MURDER
VARIOUS DATES BETWEEN 6 MAY AND 28 JUN, TIMES VARY, FROM £10
Frederick Knott’s intense and darkly gripping thriller, famously filmed by Alfred Hitchcock, takes to the stage as part of its UK-wide tour. PRIVATE PEACEFUL
7–10 MAY, TIMES VARY, FROM £10
Based on the Michael Morpurgo novel, adapted for the stage by Simon Reade, following the last night of Private Tommo Peaceful as he awaits the firing squad at dawn, recounting his childhood in Devon and the love of his life, Molly. SEE HOW THEY RUN
29 APR – 3 MAY, TIMES VARY, FROM £10
The Reduced Height Theatre Company present the much-loved farce comedy, See How They Run, with all the twists and turns on the original, but this time presented by a cast who are all four feet and under. ANNIE GET YOUR GUN
VARIOUS DATES BETWEEN 16 MAY AND 24 MAY, TIMES VARY, FROM £10.50
Tony award-winning version of Irving Berlin’s classic musical, now with added Jason-bloodyDonovan.
Palace Theatre AVENUE Q
27–31 MAY, TIMES VARY, FROM £15
Sell a Door Theatre Company’s revival of the singalong tale of a New York street populated by an unholy comedic alliance of humans and puppets. ROCK OF AGES
VARIOUS DATES BETWEEN 3 MAY AND 10 MAY, TIMES VARY, FROM £10
80s-themed musical out on tour after five years on Broadway, following three years of ovationinducing performances in London’s West End. BEYOND THE BARRICADE
15 MAY, 7:30PM – 11:00PM, £20.50
A selection of West End/Broadway tunes, brought to the stage in a variety-style performance. PAUL HOLLYWOOD
PALACE THEATRE, 14:30–17:00, £29.50
Following their recent relaunch, Chameleon Bar presents an out of this world Saturday night, with guest and resident DJs taking care of the sounds.
A night of comedy, and er, baking, as master baker Paul Hollywood takes to the stage to share insight into his life, all while baking live.
BOUTIQUE, 00:00–06:00, £TBC
Royal Exchange Theatre
BOUTIQUE AFTER HOURS
Liverpool’s only after hours night club, keeping the party going until the smaller hours. MEATMARKET
CAMP AND FURNACE, 19:30–02:00, FREE
New C&F event blending fine steak-based dining with disco beats.
Sun 01 Jun
SECRETSUNDAZE (JAMES PRIESTLEY + GILES SMITH) KITCHEN STREET POP UP, 14:00–00:00, £TBC
The longstanding night (on the go for some 11 years) provides the usual haven for house and techno heads and party people alike.
Mon 02 Jun UNI BAR
CAMEL CLUB, 22:00–04:00, FROM £2
Long-standing student night, serving up a night of hip hop, r’n’b, funk and dancehall courtesy of residents, the RocRite DJs.
Manchester Theatre Contact
WORKS AHEAD 2014
8–9 MAY, 7:30PM – 10:30PM, £6 (£3)
Works Ahead 2014 is set to showcase the future of contemporary performance and live art, with performances on the night by artists Lindsay Bennett, Paul O’Donnell and SheepKnuckle. SPLIT BRITCHES: RUFF
28 MAY, 8:00PM – 11:00PM, £11 (£6)
Monologue performance by stroke sufferer, Peggy Shaw performing under the direction of long-time collaborator Lois Weaver.
MUCH ADO ABOUT NOTHING
VARIOUS DATES BETWEEN 22 APR AND 3 MAY, TIMES VARY, FROM £14.50
Shakespeare’s greatest comedy comes to the stage under the guidance of Maria Aberg, making her Royal Exchange debut, placing the emphasis on the importance of community and celebration as a pinnacle factor in the production. HUNGER FOR TRADE (BALANCE + THIS LAND)
1–3 MAY, TIMES VARY, £12 (£10)
An international and cross-border exploration of the modern food crisis, with This Land exploring the wide-spread land grab by big businesses, and Balance looking at a family as they crumble under the pressure of the mother’s international career. THE LAST DAYS OF TROY
VARIOUS DATES BETWEEN 8 MAY AND 7 JUN, TIMES VARY, FROM £14.50
Simon Armitage’s visceral retelling of Homer’s The Illiad makes its way to the stage for a world premiere, bringing the war between The Greeks and Troy to a brutal conclusion. MONEY... THE GAMESHOW
15–17 MAY, TIMES VARY, £12 (£10)
Claire Duffy’s interactive theatre piece, inviting audience volunteers to play a series of high stake games with £10,000 in real pound coins – demonstrating how the world’s economic system came close to collapse in 2008. BRITANNIA WAVES THE RULES
27 MAY, 28 MAY, 2 JUN, 4 JUN, 7 JUN, TIMES VARY, £12
The world première of Gareth Farr’s Bruntwood Prize-winning play, exploring contemporary conflict from the perspective of a young misfit returning from war a changed man.
THE SKINNY
Theatre Manchester Royal Northern College of Music PRAH
3–4 MAY, 8:00PM – 11:00PM, £12.50
IgnitionStage Theatre Company present a show about an impoverished couple in Hungary who are forced to question their identity and desires after winning the lottery.
The Dancehouse DOUBLE TROUBLE
10 MAY, 7:15PM – 10:30PM, £15
Jamaican comic play exploring relationships, disparity between the haves and have nots, and monogamy.
The King’s Arms LET’S SEE WHAT HAPPENS
3 MAY, 7:30PM – 10:00PM, £3
Improv from the members of CszUK – using audience suggestions a comedian will tell a story based on this, followed by imrpovised sketches from a troupe of actors. BEHIND THE BLINDS
18 MAY, 8:00PM – 10:30PM, £10 (£8)
Musical comedy following Richard and Isabelle as they host a party to meet the new neighbours (the audience). PLAYGROUND: A NEW WRITING SHOWCASE
29 APR – 2 MAY, 7:30PM – 10:00PM, £8
TAKING CHARLIE 28–29 APR, 8:00PM – 10:00PM, £12
Neil Warhurst’s dark comedy returns to The Lowry, recounring the real-life tale of the abduction of Charlie Chaplin’s body in 1978. HEART
22 MAY, TIMES VARY, PRICES VARY
Set between Durham and Tehran, an Iranian woman, her English husband and her Syrian lover experience love in all its complexity against the backdrop of the 28 Mordad Coup d’Etat in 1953. LOVEHURTSACTUALLY
8 MAY, 8:00PM – 10:00PM, £12
Fringe regular Monkey Poet presents the unofficial sequel to the hit film, Love Actually. THE C PROJECT
9–10 MAY, 8:00PM – 10:00PM, £12
Working Progress Theatre Company present a night of new plays by Manchester playwrights, all exploring the theme of The Big C. AWKWARD HAPPINESS OF EVERYTHING I DON’T REMEMBER ABOUT MEETING YOU
14 MAY, 7:00PM – 10:00PM, £12
Inspired by Milan Kundera’s Unbearable Lightness of Being and Pascal Bruckner’s Perpetual Euphoria, this visceral performance blends movement and music to explore intimacy and misunderstandings. BOY ON A BED
15–16 MAY, 8:00PM – 10:00PM, £12
Northwest theatre company Organised Chaos present a new play a driven runner and the artist who paints him. BEN HART
New works from UK and USAbased playwrights, performed and directed by local talent, taking on everything from light-hearted comedy and serious drama.
18 MAY, 8:00PM – 11:00PM, £12
5–6 MAY, 7:30PM – 10:00PM, £5
21 MAY, 8:00PM – 10:00PM, £12
NEXT DRAFT
A night of new writing with a cabaret twist.
WHEN THE RICH WAGE WAR, IT’S THE POOR WHO DIE
6–7 MAY, 8:00PM – 10:30PM, £5
A diverse selection of plays directed by John-Mark Reid, including Grapeshot, 5.56pm, and Heroes – all drawing on themes of destiny. BARBARA THE ZOO KEEPER
7–10 MAY, 7:30PM – 9:30PM, £8 (£6)
The first production from Write4TheStage productions introduces Barbara McDougal, who always dreamed of being a zoo keeper, but somehow manages to be inadvertently at fault when the animals in her care meet untimely deaths. ALL THE FUN OF THE FAIRBURN: WORK IN PROGRESS
8 MAY, 7:30PM – 9:30PM, £3
A work in progress show from Rachel Fairburn, exploring the melancholic genes she inherited from her family as she introduces darkly comic topics. REMOVED & DESTROYED
20–24 MAY, 7:30PM – 10:00PM, £10 (£8)
A black comedy set in the not too distant future when basic rights are a distant memory; watch as Ted Daniels loses his briefcase and is soon arrested for terrorism. #YOLO
27–28 MAY, 7:30PM – 10:00PM, £6
A touching story of unlikely friendship between two social outcasts. EMBRYO 84
30 MAY, 7:30PM – 10:00PM, £5
Mixed bag night that acts as a platform for performances currently in development – you’ll see anything from short films and comedy to poetry and bands of all genres.
The Lowry Studio
NT CONNECTIONS 2014
1–4 MAY, TIMES VARY, £5
Part of the National Theatre Connections programme – a series of plays developed by writers from the National Theatre Company and performed by youth theatre groups from across the UK.
May 2014
Fresh-faced magician Ben Hart best known for using magic to solve impossible problems turns the attention on himself. FROM THE CRADLE TO THE BIN
A Ship of Fools take a stab at society’s treatment of the sick and the old, as Mr Whitey is sent to a nursing home by his family. DIRTY OLD RIVER
24 MAY, 8:00PM – 11:00PM, FROM £10
Cabaret perfomance exploring the simultaneous loneliness and gloriousness of living in a big city.
The Lowry: Lyric Theatre FAME
6–10 MAY, TIMES VARY, PRICES VARY
New production of the highoctane stage musical, based on the Oscar-winning classic 80s film of the same name. LA BOHEME
14–17 MAY, TIMES VARY, FROM £27
Puccini’s romantic opera is brought to the stage by Opera North, setting the action in 1960s Paris, telling the tale of the doomed Mimi, dying of consumption while falling in love. THINGS WE DO FOR LOVE
2–7 JUN, 7:30PM – 10:00PM, FROM £19.50
Natalie Imbruglia makes her stage debut in Alan Aychbourn’s imaginatively staged comic drama exploring the complexities of love.
The Lowry: Quays Theatre NT CONNECTIONS 2014
1–4 MAY, TIMES VARY, £5
Part of the National Theatre Connections programme – a series of plays developed by writers from the National Theatre Company and performed by youth theatre groups from across the UK. OUR HOUSE 6–10 MAY, TIMES VARY, FROM £15
Musical comedy inspired by the music of Madness, telling a tender tale of life, love and heartbreak in mid-80s Camden Town. TEECHERS
30 APR – 3 MAY, TIMES VARY, FROM £21
John Godber’s modern classic comedy following three fifth form students using their end of term play to tell the story of an idealistic new teaacher joining the ranks.
RITES OF WAR
AN AUGUST BANK HOLIDAY LARK
13–14 MAY, TIMES VARY, £18
29 APR – 3 MAY, TIMES VARY, FROM £12
Physically demanding dance piece telling the story of two soldiers serving their country 100 years and 3000 miles apart: choreographer Darshan Singh Bhuller employs aerial dance, film, music and news commentary to explore individual experiences of war. LAST MAN STANDING
15 MAY, 8:00PM – 10:00PM, £16
Rising star James Wilson presents his energetic and athletic dance performance, exploring the universal themes of danger, the fragility of existence and the desire to survive. THE GONDOLIERS
21–24 MAY, TIMES VARY, FROM £20
Opera della Luna present a new production of Gilbert and Sullivan’s comic opera, chock full of toetapping tunes.
The Spread Eagle
THE RISE AND FALL AND FALL OF A NORTHERN STAR
16–18 MAY, VARIOUS TIMES, £8 (£6)
A one-woman show about MADchester icon, Tracy Star, written by Stella Grundy and directed by Ian Curley, told through creative use of space and through live music mixing. Part of Chorlton Arts Festival.
Three Minute Theatre TUESDAYS AT TESCO’S
15–17 MAY, 7:30PM – 10:00PM, £7 (£5)
Emmanuel Darley’s monologue as translated by Matthew Hurt, exploring the relationship between transgenger Pauline and her father as they take a weekly trip to the supermarket. SMALL TALK
8–10 MAY, 7:30PM – 10:00PM, £7 (£6)
Fine Comb Theatre present a new play examining the damaging effects of gossip on offenders trying to rebuild their lives, their family’s and the wider community.
Liverpool Theatre Echo Arena
AN EVENING WITH JULIE ANDREWS
27 MAY, 7:30PM – 10:30PM, FROM £33.50
The star of screen and stage shares some rare insight into her life and career, taking to a reduced seating setting for a more intimate occasion.
Everyman Theatre HOPE PLACE
9–31 MAY, NOT 11, 18, 25, TIMES VARY, FROM £10
The world premiere of Hope Place – a specially commissioned piece written by Michael Wynne – which sees Maggie delving into a world of myths, memories and family secrets.
Liverpool Empire SINGIN’ IN THE RAIN
22 APR – 3 MAY, NOT 27 APR, TIMES VARY, FROM £10
The West End production of Singin’ In The Rain arrives, drenching audiences in feel good vibes with their fizzy re-telling of the first Hollywood musical making its way to the silver screen. Matinee performances also available. THE LION KING
VARIOUS DATES BETWEEN 15 MAY AND 5 JUL, TIMES VARY, PRICES VARY
A new play by Deborah McAndrew, set in rural Lancashire in the summer of 1914 – the threat of war looms as weary workers rest and celebrate Rushbearing Festival with singing, drinking and dancing. THIS MAY HURT A BIT
7–10 MAY, TIMES VARY, FROM £12
Stella Feehily’s new play exploring one family’s journey through the digestive system of the NHS, told with characteristic wit, tenderness and surrealism. SPRING AWAKENING
13–17 MAY, TIMES VARY, FROM £12
A re-working of the classic rock musical about the struggles of adolescence, exploring originally censored and currently controversial material about finding oneself sexually and emotionally, brought up to date with a careful adaptation by Anya Reiss. CATCH-22
27–31 MAY, TIMES VARY, FROM £12
Joseph Heller’s satirical tale set towards the end of WWII is brought to the stage under the direction of Rachel Chavkin.
THE PICTURE OF DORIAN GRAY
1–3 MAY, 7:30PM – 10:30PM, £8 (£4)
Oscar Wilde’s tale of passion and obsession retold by a vibrant young cast. A corrupt young man somehow keeps his youthful beauty eternally, but a special painting gradually reveals his inner ugliness to all. ALL SHOOK UP
13–17 MAY, 7:30PM – 10:30PM, £10 (£8)
Roaring musical comedy set in 1950s America, based on the music of Elvis Presley. HAPPY END
15–17 MAY, TIMES VARY, £SOLD OUT
Musical comedy pairing Chicago gangster Bill Cracker with Sister Lillian of Salvation Army.
Unity Theatre OH NO!
SPECIAL MEASURES
Comic physical theatre show from Fringe First winner, Jamie Wood, returning as part of PhysicalFest.
VARIOUS DATES BETWEEN 4 APR AND 3 MAY, TIMES VARY, £12
FEST LIVE
23 MAY, 8:00PM – 11:00PM, £10 (£8)
Comic play set in an ordinary school in Netherton deemed “failing” by OFSTED and placed under Special Measures while the teachers get up to snuff.
Five extracts presented by five companies for one night of physical theatre, interspersed with bouts from the comic guest compere. Part of PhyscialFest.
St Luke’s Church
30 MAY, 8:00PM – 10:30PM, £12 (£10)
REMOR
27–28 MAY, TIMES VARY, £3
An intimate play during which 15 audience members will share a cell in St Luke’s Church with a couple as they attempt to determine what caused the death of their relationship. Part of PhysicalFest.
The Kazimier FISHHEAD
8 MAY, 7:30PM – 11:00PM, £8
An original story from Reaction Theatre Makers, telling the tale of Tom and Lydia and their life by the sea, with only three characters and a perspex set setting the scene.
The Lantern Theatre MOMENTS OF TRUTH
29–30 APR, 7:30PM – 10:00PM, £4.50 (£3.50)
An evening of drama exploring moments in time when individuals are forced to stage a stand, developed and performed by students on the Workers’ Education Association Theatre Performance Course. MY MOTHER SAID I NEVER SHOULD
1–2 MAY, 7:30PM – 10:00PM, £12.50 (£9.50)
Classic play charting the ever turbulent relationships between mothers and daughters, presented as part of a double bill alongside The Caretaker (£15 for both shows). THE CARETAKER
3–4 MAY, 7:30PM – 10:00PM, £12.50 (£9.50)
Harold Pinter’s haunting play about a tramp taken in by brothers Mick and Aston and systematically punished, presented as part of a double bill with My Mother Said I Never Should (£15 for both shows). LOOT
21–22 MAY, 7:30PM – 10:00PM, £10.50 (£6.50)
Big Teeth Theatre present Joe Orton’s most famous play, a wild satire of detective fiction, once described as Oscar Wilde mixed with Monty Python. VERA VERA VERA
Liverpool Playhouse
25 MAY, 7:30PM – 10:00PM, £10.50
Vivienne Franzmann returns following her critically acclaimed play, Mogadishu, this time turning her attention to two women trapped in a rotting world, as one wants out and the other needs her to stick around.
Lively musical exploring the troubled mind of Doors frontman, Jim Morrison.
Royal Court Theatre
24 MAY, 7:30PM – 10:00PM, £9 (£8)
PESTS
THE END
29–31 MAY, TIMES VARY, £6 (£3)
31 MAY, 8:00PM – 10:30PM, £10 (£8)
Stage adaptation of the favourited Disney film, bolstered by suitably dazzling staging and elaborate costumes, masks and puppets. Matinee performances also available.
28–31 MAY, TIMES VARY, PRICES VARY
The Liverpool Institute for Performing Arts
Darkly comic play about a young man returning from war in a wooden box, and the fallout amongst his family members as they squabble over funeral plans. SOUTHSIDE CABARET
Burlesque performance hosted by Simon South, introducing magic, singing, dancing and a whole loada snappy dressing. PLAYS FOR TOMORROW
27 MAY, 7:00PM – 10:00PM, £5.50 (£3.50)
A showcase performance of new plays from new writers in the Northwest, presented by scriptwriter Julian Perkins.
OTHELLO
A physical theatre performance reinventing Shakespeare’s classic tragedy, fusing modern technology with ancient arts. Part of PhysicalFest. BESIDE THE SEASIDE
6–10 MAY, 8:00PM – 11:00PM, £12 (£10)
Teapot Tantrum take audiences on a fun-fuelled trip to the seaside, as Mags decides its time for a break and takes three new friends along for the ride. COTTON WOOL
20–21 MAY, 8:00PM – 11:00PM, £10 (£8)
During a search for what lies beneath the waves hitting their rain-lashed coastal town, two brothers are thrown into chaos when they come across a runaway girl, Harriet. DOUBLE BILL
24 MAY, 8:00PM – 11:00PM, £10 (£8)
Mary Pearson and Klowns present short versions of their new shows, exploring snobbery and the timeless theme of death as they go. TWO TIDES: GEORGE GARRETT
28 MAY, 8:00PM – 10:30PM, £6 (£4)
Writing on the Wall present a rehearsed reading of George Garrett’s first play – set in a Liverpudlian family home and influenced by his hero, Eugene O’Neill – part of the George Garrett Archive Project.
Manchester Comedy
Comedy BARREL OF LAUGHS (ROB ROUSE + IAIN STIRLING + STEVE ROYAL + MC JONATHAN MAYOR) THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. COMIC FX
ROYAL EXCHANGE THEATRE, 18:00–19:00, FREE
An evening of free stand up comedy, with this edition bringing Andrew Ryan and Rich Wall to the stage. PAUL CHOWDHRY: PC’S WORLD
THE DANCEHOUSE, 19:30–23:00, £14
Star of C4’s Stand Up for the Week returns with his new show, presenting his hard-hitting, unique take on modern Britain.
Sat 03 May
SARAH MILLICAN: HOME BIRD
O2 APOLLO, 19:00–23:00, £25
The self-effacing comic touches on everything from building your own treadmill, to the practicalities of an orgy. BARREL OF LAUGHS (ROB ROUSE + IAIN STIRLING + STEVE ROYAL + MC JONATHAN MAYOR)
THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. JERRY SADOWITZ: COMEDIAN, MAGICIAN, PSYCHOPATH
THE DANCEHOUSE, 19:15–23:00, £22.50
The defiantly un-PC comic – known for hating, well, pretty much everything – does his reliably offensive thing, most likely hating on gays and foreigners... Some more.
Sun 04 May JASON MANFORD
THE LOWRY: LYRIC THEATRE, 20:00–23:00, £25.50
The Manchester television comic, stand-up and all-round cheeky chappie does his solo thing. SARAH MILLICAN: HOME BIRD
O2 APOLLO, 19:00–23:00, £25
The self-effacing comic touches on everything from building your own treadmill, to the practicalities of an orgy. JERRY SADOWITZ: COMEDIAN, MAGICIAN, PSYCHOPATH
THE DANCEHOUSE, 18:15–22:00, £22.50
The defiantly un-PC comic – known for hating, well, pretty much everything – does his reliably offensive thing, most likely hating on gays and foreigners... Some more.
Mon 05 May
BEAT THE FROG (MC BARRY DODDS)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)
A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal! DEAD CAT COMEDY CRÈCHE
SANDBAR, 20:00–23:00, FREE
Tue 29 Apr
THE WORST COMEDY NIGHT IN SALFORD
THE KING’S ARMS, 19:30–22:00, FREE
A brand new comedy night for brand new comedy, offering comedians the chance to hone their craft in front of a friendly crowd (that’s you!).
Keeping expectations low with this night of open mic stand up, opening GEIN’S FAMILY GIFTSHOP BARGAIN BASEMENT up the stage to anyone willing to THE KING’S ARMS, 20:30–23:00, FREE give it go. New sketches and material drawing inspiration from misery and Thu 01 May human suffering. SARAH MILLICAN: HOME BIRD O2 APOLLO, 19:00–23:00, £25
The self-effacing comic touches on everything from building your own treadmill, to the practicalities of an orgy.
BIG VALUE THURSDAYS (ROB ROUSE + TONY SIMPSON + ROBERT THOMAS + STEVE ROYLE + MC JONATHAN MAYOR) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)
A Frog flagship event offering up four great acts for stonkingly great value.
Fri 02 May
SARAH MILLICAN: HOME BIRD
O2 APOLLO, 19:00–23:00, £25
The self-effacing comic touches on everything from building your own treadmill, to the practicalities of an orgy.
Tue 06 May
XS MALARKEY (EDWARD ACZEL + JOE LYCETT + ADAM RUSHTON + PETE PHILLIPSON + MC TOBY HADOKE) PUB/ZOO, 19:00–23:00, £5 (£3)
The rather ace comedy night continues with their Tuesday night shenanigans.
Wed 07 May THE SOS TV SHOW
THREE MINUTE THEATRE, 20:00–23:00, £5
The Superstars on Saturday bunch present an evening of silly character sketches.
Thu 08 May
BIG VALUE THURSDAYS (TANYALEE DAVIS + JAMES MEEHAN + JACK EVANS + MICK FERRY + MC PETE OTWAY)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)
A Frog flagship event offering up four great acts for stonkingly great value.
Fri 09 May
BARREL OF LAUGHS (TANYALEE DAVIS + KIRI PRITCHARD MCCLEAN + MICK FERRY + MC PETE OTWAY)
THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.
Sat 10 May
BARREL OF LAUGHS (TANYALEE DAVIS + KIRI PRITCHARD MCCLEAN + MICK FERRY + MC PETE OTWAY)
THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.
Sun 11 May
CHARLIE BAKER: BAKER’S DOZEN
THE LOWRY STUDIO, 20:00–23:00, £12
Stand up comic and acclaimed jazz musician takes his Baker’s Dozen show on the road.
Mon 12 May BEAT THE FROG (MC ALEX BOARDMAN)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)
A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal!
Tue 13 May
THE WORST COMEDY NIGHT IN SALFORD
THE KING’S ARMS, 19:30–23:00, FREE
Keeping expectations low with this night of open mic stand up, opening up the stage to anyone willing to give it go. XS MALARKEY (THOM TUCK + KIRI PRITCHARD-MCLEAN + ALASTAIR CLARK + EDDIE FRENCH + MC TOBY HADOKE)
PUB/ZOO, 19:00–23:00, £5 (£3)
Mon 19 May BEAT THE FROG (MC DAVID LONGLEY)
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)
A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal!
Tue 20 May
XS MALARKEY (JOHN HASTINGS + AL MCWILLIAM + JOHN LEBBON + MC TOBY HADOKE)
PUB/ZOO, 19:00–23:00, £5 (£3)
The rather ace comedy night continues with their Tuesday night shenanigans.
Thu 22 May
BIG VALUE THURSDAYS (TOM WRIGGLESWORTH + JOHN LEBBON + RED REDMOND + GARY DELANEY + MC TOBY HADOKE) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)
A Frog flagship event offering up four great acts for stonkingly great value.
Fri 23 May
BARREL OF LAUGHS (TOM WRIGGLESWORTH + FIN TAYLOR + GARY DELANEY + MC TOBY HADOKE)
THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.
Sat 24 May
BARREL OF LAUGHS (TOM WRIGGLESWORTH + FIN TAYLOR + GARY DELANEY + MC TOBY HADOKE)
THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. JIMMY CARR: FUNNY BUSINESS
THE LOWRY: LYRIC THEATRE, 20:00–23:00, £28
The hardworking comic tours his new solo show, packed with oneliners, stories and incisive musings on the human condition.
Sun 25 May QUIPPOPOTAMUS
FUEL CAFE, 20:00–23:00, FREE
Fuel’s free stand up night returns for another night of – let’s face it – slightly bizarre comedy. JOHN BISHOP: WORK IN PROGRESS
THE LOWRY STUDIO, 20:00–23:00, £15
The marketing director turned comedian take to the stage with some new material.
The rather ace comedy night continues with their Tuesday night shenanigans.
Mon 26 May
Thu 15 May
THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £3 (FREE WITH STUDENT ID)
BIG VALUE THURSDAYS (ALEX BOARDMAN + WILL DUGGAN + LOVDEV BARPAGA + SEYMOUR MACE + MC JAMIE SUTHERLAND) THE FROG AND BUCKET COMEDY CLUB, 19:00–22:30, £9 (£6)
A Frog flagship event offering up four great acts for stonkingly great value.
Fri 16 May
BARREL OF LAUGHS (ALEX BOARDMAN + CHRIS TURNER + SEYMOUR MACE + MC JAMIE SUTHERLAND) THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ.
Sat 17 May
BARREL OF LAUGHS (ALEX BOARDMAN + CHRIS TURNER + SEYMOUR MACE + MC JAMIE SUTHERLAND) THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. AUSTENTATIOUS
THE LOWRY STUDIO, 20:00–23:00, £12
The improvised comedy play spun in the style of a Jane Austen novel takes to the Northwest. GRUMPY OLD WOMEN
THE LOWRY: QUAYS THEATRE, 20:00–23:00, £23
BEAT THE FROG (MC DAN NIGHTINGALE)
A ten-act long heckle-fest inviting a handful of amateurs to take to the stage and try to Beat the Frog, and the audience decides who stays – brutal! SIDEKICK COMEDY
VIA, 19:30–23:00, £2
A monthly comedy gig offering an alternative to the usual comedy nights, offering a new take on the template with a nerdy-cool vibe. MILES JUPP
THE LOWRY: QUAYS THEATRE, 20:00–23:00, £17
The actor/writer/comic presents a night of eloquent ramblings, voicing his opinions on everything from hot drinks, bad balance, navigation and other people’s pants. JOHN BISHOP: WORK IN PROGRESS
THE LOWRY STUDIO, 20:00–23:00, £15
The marketing director turned comedian take to the stage with some new material.
Tue 27 May
THE WORST COMEDY NIGHT IN SALFORD
THE KING’S ARMS, 19:30–23:00, FREE
Keeping expectations low with this night of open mic stand up, opening up the stage to anyone willing to give it go. JOHN BISHOP: WORK IN PROGRESS
THE LOWRY STUDIO, 20:00–23:00, £15
The marketing director turned comedian take to the stage with some new material.
Popular grumpy ladies Jenny Eclair, Susie Blake and Kate Robbins air their gripes, complete with a free nagging masterclass and a brief Zumba demonstration.
Listings
61
Manchester Comedy Thu 29 May COMEDY AT THE KINGS
THE KING’S ARMS, 19:30–23:00, £3
An evening of live stand up comedy and a cake raffle, what’s not to love?
Fri 30 May
BARREL OF LAUGHS (BRENDAN RILEY + ANDY WATSON + JOHN WARBURTON + MARK OLIVER)
THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £16 (£8)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. JON RICHARDSON: NIDIOT
THE LOWRY: LYRIC THEATRE, 20:00–23:00, £22.50
British Comedy Award-nominated singleton and misanthrope explores the path to being a more easygoing person. JETHRO
PHIL NICHOL (PHIL CHAPMAN + JAMIE SUTHERLAND + MC CHRIS CAIRNS) THE SLAUGHTERHOUSE, 20:00–23:00, £15
Regular triple headline show, with three comics lined up to tickle your funny bone. BOILING POINT
HOLIDAY INN, 19:00–22:30, £8 (£4)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sat 03 May
JEFF INNOCENT (MARK NELSON + PRINCE ABDI + MC TOBY HADOKE)
COMEDY CENTRAL, 18:00–22:00, £18
Burly East End geezer and comic – could be mistaken for the bouncer – but more apt at delivering sharp witted social observations.
JAMIE SUTHERLAND (PHIL NICHOL + PHIL CHAPMAN + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–23:00, £17.50
Regular triple headline show, with three comics lined up to tickle your funny bone. BOILING POINT
HOLIDAY INN, 19:00–22:30, £10 (£5)
The Cornish comic legend Jethro takes his tales of the West Country out on the road.
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sat 31 May
Sun 04 May
THE LOWRY: QUAYS THEATRE, 20:00–23:00, £18
HOLIDAY INN, 19:00–22:30, £3 (£1.50)
THE LOWRY: QUAYS THEATRE, 20:00–23:00, £22.50
TERRY ALDERTON
Off-beat performer big on the physical comedy daftness. BARREL OF LAUGHS (BRENDAN RILEY + ANDY WATSON + JOHN WARBURTON + MARK OLIVER)
THE FROG AND BUCKET COMEDY CLUB, 19:00–02:00, £17 (£10)
Three top-notch comics, a sprinkling of Frog compere funnies and a late night disco courtesy of the resident DJ. JON RICHARDSON: NIDIOT
THE LOWRY: LYRIC THEATRE, 20:00–23:00, £22.50
British Comedy Award-nominated singleton and misanthrope explores the path to being a more easygoing person.
Sun 01 Jun
ANTWERP MANSION COMEDY NIGHT (SEYMOUR MACE)
ANTWERP MANSION, 19:30–22:30, £5
The Antwerp Mansion comedy night returns with the delightfully silly comic, Seymour Mace, known for his Marmaduke Spatula JON RICHARDSON: NIDIOT
THE LOWRY: LYRIC THEATRE, 20:00–23:00, £22.50
British Comedy Award-nominated singleton and misanthrope explores the path to being a more easygoing person.
Mon 02 Jun
GEIN’S FAMILY GIFTSHOP BARGAIN BASEMENT
THE KING’S ARMS, 20:30–23:00, FREE
New sketches and material drawing inspiration from misery and human suffering.
TESTING THE WATER
Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.
Wed 07 May THE LAUGHTER FACTOR
THE SLAUGHTERHOUSE, 20:00–23:00, £5 (£3)
A monthly event giving comics the chance to try out new material before the weekend shows – it helps if you think of yourself as a comedic guinea pig.
Thu 08 May
TANYALEE DAVIS (GEORGE EGG + LIAM PICKFORD + MC BARRY DODDS)
COMEDY CENTRAL, 18:00–22:00, £15
3’6” Canadian comic – favourite at the Edinburgh Fringe and regular on the oh-so politically incorrect I’m Spazticus. CRAIG CAMPBELL
THE SLAUGHTERHOUSE, 20:00–23:00, £15
Campbell returns with yet more of his yarn-spinning, full of whimsical personal tales and a unique ability to find humour in, well, anything.
Fri 09 May
TANYALEE DAVIS (GEORGE EGG + JUNIOR SIMPSON + MC BARRY DODDS) COMEDY CENTRAL, 18:00–22:00, £15
3’6” Canadian comic – favourite at the Edinburgh Fringe and regular on the oh-so politically incorrect I’m Spazticus.
KEITH FARNAN (STEVE HARRIS + CHRIS CAIRNS + MC NEIL FITZMAURICE)
THE SLAUGHTERHOUSE, 20:00–23:00, £15
Liverpool Comedy Thu 01 May
JEFF INNOCENT (MARK NELSON + SARAH BENNETTO + MC TOBY HADOKE) COMEDY CENTRAL, 18:00–22:00, £15
Burly East End geezer and comic – could be mistaken for the bouncer – but more apt at delivering sharp witted social observations. GLENN WOOL
THE SLAUGHTERHOUSE, 20:00–23:00, £12
Triple headline show with a delightfully hilarious line-up of circuit funny-folk. BOILING POINT
HOLIDAY INN, 19:00–22:30, £8 (£4)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sat 10 May
TANYALEE DAVIS (GEORGE EGG + JUNIOR SIMPSON + MC BARRY DODDS) COMEDY CENTRAL, 18:00–22:00, £18
3’6” Canadian comic – favourite at the Edinburgh Fringe and regular on the oh-so politically incorrect I’m Spazticus.
The Canadian-born, UK-living comic performs a special set of jokes cherrypicked from his personal favourites.
STEVE HARRIS (KEITH FARNAN + CHRIS CAIRNS + MC NEIL FITZMAURICE)
Fri 02 May
Triple headline show with a delightfully hilarious line-up of circuit funny-folk.
JEFF INNOCENT (MARK NELSON + PRINCE ABDI + MC TOBY HADOKE)
COMEDY CENTRAL, 18:00–22:00, £15
Burly East End geezer and comic – could be mistaken for the bouncer – but more apt at delivering sharp witted social observations.
62
Listings
THE SLAUGHTERHOUSE, 20:00–23:00, £17.50
BOILING POINT
HOLIDAY INN, 19:00–22:30, £10 (£5)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sun 11 May TESTING THE WATER
HOLIDAY INN, 19:00–22:30, £3 (£1.50)
Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.
Wed 14 May LAST TRAIN TO YUMA
THE LANTERN THEATRE, 19:30–22:00, £10.50 (£8.50)
Comedy show following two washed up child stars, now in their 30s and struggling to book the bottom spots on comedy club bills, with an offer a lifetime set to make or break them.
Thu 15 May
STEVE SHANYASKI (JOHN WARBURTON + CHRIS WASHINGTON + MC RAY PEACOCK) COMEDY CENTRAL, 18:00–22:00, £15
Eloquent young man making funnies out of everyday, mundane experiences. LAST TRAIN TO YUMA
THE LANTERN THEATRE, 19:30–22:00, £10.50 (£8.50)
Thu 22 May
ANDY ASKINS (GARY DELANEY + DANNY SUTCLIFFE + MC LOU CONRAN) COMEDY CENTRAL, 18:00–22:00, £15
Triple headline show with a line-up of circuit funny folk vying for your giggles, all guided by a top notch compere.
SO YOU THINK YOU’RE FUNNY? (CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–23:00, £5 (£3)
Fri 23 May
Sat 31 May
ANDY ASKINS (GARY DELANEY + CARL HUTCHINSON + MC LOU CONRAN) COMEDY CENTRAL, 18:00–22:00, £15
Triple headline show with a line-up of circuit funny folk vying for your giggles, all guided by a top notch compere. RICHARD MORTON (JUSTIN MOORHOUSE + CHRIS CAIRNS + MC NEIL FITZMAURICE)
THE SLAUGHTERHOUSE, 20:00–23:00, £15
Fri 16 May
Comic show poking fun at boyband reunions, as a forgettable boyband reuinte after 10 years and set their sights on making it big in Japan... this time.
COMEDY CENTRAL, 18:00–22:00, £15
THIS TIME WE COULD BE BIG IN JAPAN
THE LANTERN THEATRE, 20:15–22:00, £9 (£8.50)
BOILING POINT
HOLIDAY INN, 19:00–22:30, £6 (£4)
THE SLAUGHTERHOUSE, 20:00–23:00, £15
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
LAST TRAIN TO YUMA
ANDY ASKINS (GARY DELANEY + CARL HUTCHINSON + MC LOU CONRAN)
KEITH CARTER AS NIGE (DANNY MCLOUGHLIN + CAIMH MCDONNELL + MC CHRIS CAIRNS)
Keith Carter presents the lovable scouse, Nige, renowned for securing Liverpool the title of Capital of Culture, so they say. THE LANTERN THEATRE, 19:30–22:00, £10.50 (£8.50)
Comedy show following two washed up child stars, now in their 30s and struggling to book the bottom spots on comedy club bills, with an offer a lifetime set to make or break them. BOILING POINT
HOLIDAY INN, 19:00–22:30, £8 (£4)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sat 17 May
BENNY BOOT (TONY BURGESS + ED GAMBLE + MC RAY PEACOCK)
COMEDY CENTRAL, 18:00–22:00, £18
Aussie observational comic, known for having a giggle at his own gags.
DANNY MCLOUGHLIN (KEITH CARTER AS NIGE + CAIMH MCDONNELL + MC STE PORTER)
THE SLAUGHTERHOUSE, 20:00–23:00, £17.50
Triple headline show with a delightfully hilarious line-up of circuit funny-folk.
JASON MANFORD (JASON BYRNE + JUSTIN MOORHOUSE + STEWART FRANCIS + DALISO CHAPONDA + MC CHRIS CAIRNS) LIVERPOOL PHILHARMONIC HALL, 20:00–23:00, FROM £20
The Manchester television comic, stand-up and all-round cheeky chappie does his solo thing. LAST TRAIN TO YUMA
THE LANTERN THEATRE, 19:30–22:00, £10.50 (£8.50)
Comedy show following two washed up child stars, now in their 30s and struggling to book the bottom spots on comedy club bills, with an offer a lifetime set to make or break them. BOILING POINT
HOLIDAY INN, 19:00–22:30, £10 (£5)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sun 18 May TESTING THE WATER
HOLIDAY INN, 19:00–22:30, £3 (£1.50)
Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.
BOILING POINT
HOLIDAY INN, 19:00–22:30, £8 (£4)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Triple headline show with a delightfully hilarious line-up of circuit funny-folk.
Eloquent young man making funnies out of everyday, mundane experiences.
THE SLAUGHTERHOUSE, 20:00–23:00, £15
Crude comic par excellence, Rob Rouse is back on the road following the birth of his second child, for which the majority of his chat centres around, well... pretty much crapping and peeing.
The regular compere takes the headline spot for the night, bringing bags of charm and quick wit to the stage.
Comedy show following two washed up child stars, now in their 30s and struggling to book the bottom spots on comedy club bills, with an offer a lifetime set to make or break them. STEVE SHANYASKI (JOHN WARBURTON + ED GAMBLE + MC RAY PEACOCK)
ROB ROUSE (DAVE TWENTYMAN + CHRISTIAN SCHULTE-LOH + MC CHRIS CAIRNS)
Sat 24 May
COMEDY CENTRAL, 18:00–22:00, £18
Triple headline show with a line-up of circuit funny folk vying for your giggles, all guided by a top notch compere. JUSTIN MOORHOUSE (RICHARD MORTON + CHRIS CAIRNS + MC NEIL FITZMAURICE)
THE SLAUGHTERHOUSE, 20:00–23:00, £17.50
Triple headline show with a delightfully hilarious line-up of circuit funny-folk. BOILING POINT
HOLIDAY INN, 19:00–22:30, £8 (£4)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sun 25 May TESTING THE WATER
HOLIDAY INN, 19:00–22:30, £3 (£1.50)
Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.
Tue 27 May RED BASTARD
UNITY THEATRE, 20:00–22:30, £12 (£10)
The dangerous and seductive comedy monster arrives in Liverpool as part of PhysicalFest.
Thu 29 May
GEOFF NORCOTT (CHRISTIAN SCHULTE-LOH + MATT REES + MC DANNY MCLOUGHLIN)
COMEDY CENTRAL, 18:00–22:00, £15
Ex-English lit teacher turned comic, known for his high energy style, and for Occasionally Selling Out. BOILING POINT
HOLIDAY INN, 19:00–22:30, £6 (£4)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Fri 30 May
GEOFF NORCOTT (DANA ALEXANDER + BRENNAN REECE + MC DANNY MCLOUGHLIN) COMEDY CENTRAL, 18:00–22:00, £15
Ex-English lit teacher turned comic, known for his high energy style, and for Occasionally Selling Out.
GEOFF NORCOTT (DANA ALEXANDER + SEAN PERCIVAL + MC DANNY MCLOUGHLIN) COMEDY CENTRAL, 18:00–22:00, £18
Ex-English lit teacher turned comic, known for his high energy style, and for Occasionally Selling Out. CHRISTIAN SCHULTE-LOH (ROB ROUSE + DAVE TWENTYMAN + MC CHRIS CAIRNS)
THE SLAUGHTERHOUSE, 20:00–23:00, £17.50
Triple headline show with a delightfully hilarious line-up of circuit funny-folk. BOILING POINT
HOLIDAY INN, 19:00–22:30, £10 (£5)
New and established comics take to the stage (found upstairs at Holiday Inn Lime Street), for an evening of chuckles with their resident compere leading the way.
Sun 01 Jun TESTING THE WATER
HOLIDAY INN, 19:00–22:30, £3 (£1.50)
Showcase night for up-andcomers and undiscovered stars, offering a great value night out if you don’t mind being a comedy guinea pig.
Manchester Art Antwerp Mansion
BRIGHT LIGHTS, BIG CITIES
19–24 MAY, 9:00AM – 5:00PM, FREE
An exhibition of work from nine photographers, including John Davies and Allison McCaulley, exploring how a city finds life in the perceptions of its inhabitants.
Art CHRIS SHEN: FIRST STEP SHOWCASE VARIOUS DATES BETWEEN 10 MAY AND 13 SEP, 10:00AM – 5:00PM, FREE
The Manchester-based artist takes over the CFCCA stairwell with his innovative project exploring our day to day relationship with technology, encouraging the viewer to consider the impact.
Common
SAILING THROUGH THE TREES: CAROLINE DOWSETT + ALEX T. FRAZER
4 APR – 24 SEP, TIMES VARY, FREE
The latest exhibition to take over Common will see local illustrators and makers Caroline Dowsett and Alex T. Frazer tell the story of a man lost at sea and his heartbroken wife.
Cornerhouse
CORNERHOUSE PROJECT: PAOLA BAZZ
VARIOUS DATES BETWEEN 3 APR AND 13 MAY, TIMES VARY, FREE
Magazines and catalogues are transformed into complex collages, distorting and fragmenting the image depending the the viewers standpoint, in this solo exhibition by artist Paola Bazz. CLIFFORD OWENS: BETTER THE REBEL YOU KNOW
VARIOUS DATES BETWEEN 10 MAY AND 17 AUG, TIMES VARY, FREE
For his debut European exhibition, Clifford Owens will display existing work alongside two new commissions: a UK version of a piece he developed for New York’s MoMA PS1, and a participatory piece involving Manchester residents.
Display Unit next to Rackhams, Altrincham ALICE THROUGH THE LOOKING GLASS
21 APR – 22 MAY, 10:00AM – 5:00PM, FREE
An exhibition exploring the possibilities of the imagination, based on Lewis Carroll’s most famous story, Alice Through the Looking Glass, playing on audience perceptions of art.
CFCCA present a new exhibition curated by Ying Tan, focussing on new engagement systems in contemporary art and design, and opening up gallery 1 for artists and visitors to share ideas and develop ongoing, trans-cultural dialogues. THE TAKEAWAY: STANLEY CHOW
VARIOUS DATES BETWEEN 11 APR AND 21 JUN, 10:00AM – 5:00PM, FREE
For his first solo UK retrospective, Manchester-born illustrator Stanley Chow will present a collection of his childhood memories, taking viewers on an immersive trip down memory lane. TASH WILLCOCKS: MUNDANEADAY
15 MAY, 5:00PM – 7:00PM, FREE
For the Northern Quarter’s LightNight celebrations, artist Tash Willcocks will host a live demonstration of her interactive wall installation, as part of The Voice Currency exhibition.
THE TEMPORARY: RACHEL MARSDEN
6–10 MAY, 10:00AM – 5:00PM, FREE
As part of her three week research residency, curator Rachel Marsden will host an open studio, exploring the idea of temporary in art, architecture, design, music, sound and performance across China and the UK.
NEON BEASTS: JAMWAH
3–30 APR, 12:00PM – 11:00PM, FREE
Manchester-based illustrator Jamie Roberts unveils his first solo exhibition, presenting his surreal animal portraits – crafted using an innovative method of 2D digital sculpting – leaping off the walls of Kosmonaut in warm neon hues, and replacing the traditional idea of the hunting trophy with a radiating warmth.
MMU: Special Collections
A CHROMATIC REVOLUTION: THE SEARCH FOR AFFORDABLE COLOUR IN 19TH CENTURY BRITISH BOOK ILLUSTRATION
VARIOUS DATES BETWEEN 27 JAN AND 16 MAY, TIMES VARY, FREE
Exploring the world of 19th century book illustration, this exhibition looks at the techniques of the time, from half-coloured wood block printing, to the lush practice of chromolithography.
Manchester Art Gallery
HOME, LAND AND SEA: ART IN THE NETHERLANDS 1600-1800
24–23 MAY, TIMES VARY, FREE
A collection comprising over 50 paintings from the Manchester City Galleries’ 17th and 18th century Dutch and Flemish collection, including portraiture, landscapes and seascapes from Pieter de Hooch, Gerard ter Borch and Jacob van Ruisdael. A HIGHLAND ROMANCE: VICTORIAN VIEWS OF SCOTTISHNESS
20–1 SEP, TIMES VARY, FREE
29 NOV – 8 JUN, TIMES VARY, FREE
Imperial War Museum North
VARIOUS DATES BETWEEN 11 APR AND 31 MAY, 10:00AM – 5:00PM, FREE
Kosmonaut
30 JAN – 29 JUN, TIMES VARY, FREE
OSSIE CLARK, A BRITISH FASHION GENUIS, 1967-1977
VARIOUS DATES BETWEEN 4 JAN AND 3 MAY, 10:00AM – 5:00PM, FREE
THE VOICE CURRENCY
DATES VARY, TIMES VARY, PRICES VARY
The Onefiveeight lot present their latest exhibition, inviting 25 photographers, illutrators, street artists and videographers to present a visual response to 25 pieces of music. Onefiveeight residents will then provide the soundtrack to the afterparty.
Gallery of Costume
A retrospective of work by renowned British fashion designer, Ossie Clark, famous for his distinct cuts and for working with bold prints designed by his wife, Celia Birtwell.
Graduate Darius Chang Jui-Yu presents a showcase site-specific installation, taking over the stairwell.
ONEFIVEEIGHT EXPO:03
A collection of 19th century paintings and works on paper by Scottish artists is displayed alongside visions of Scotland by artists from England, exploring the changing view of Scotland and Scottishness over the past two centuries.
Centre For Chinese Contemporary Art
DARIUS CHANG JUI-YU: FIRST STEP
KRAAK
WOMEN AND INDUSTRY IN THE FIRST WORLD WAR
27 JAN – 31 JUL, 10:00AM – 5:00PM, FREE
An open air photographic exhibition of work by George Parham Lewis, revealing images of women during the First World War as they took on roles in industry during the conflict. FROM STREET TO TRENCH: A WORLD WAR THAT SHAPED A REGION
5 APR – 31 MAY, 10:00AM – 5:00PM, FREE
An exhibition of over 200 objects, photographs, diaries, letters and artworks from the First World War, revealing the lives shaped by the conflict. Marking the centenary of WWI.
Instituto Cervantes
UNCOVERING THE INVISIBLE: A PORTRAIT OF LATIN AMERICANS IN THE UK
20 MAR – 8 MAY, 9:30AM – 5:30PM, FREE
A photographic exhibition based on the work of Cathy MacIlwaine, bringing together portraits of Latin American individuals living in the UK.
ART FOR ALL: THOMAS HORSFALL’S GIFT TO MANCHESTER
An exhibition of nature-themed artworks from Manchester’s Thomas Horsfall collection, cocurated by local school children. JOANA VASCONCELOS: TIME MACHINE
15 FEB – 1 JUN, TIMES VARY, FREE
Portuguese artist Joana Vasconcelos brings over 20 of her large scale sculptures to Manchester following her success representing Portugal at the 55th Venice Biennale – she will also be presenting a new textile work. DAN DUBOWITZ AND ALAN WARD: CITIZEN MANCHESTER
22 MAR – 22 JUN, TIMES VARY, FREE
An exhibition of large-scale works exploring the re-development of Manchester Central Library, built up on the artists’ research into the city archives, photographs and from recorded tales.
SCULPTURAL FORMS: A CENTURY OF EXPERIMENT
13 MAR – 7 SEP, TIMES VARY, FREE
A three part exhibition – split into The Human Condition, Abstraction and Transformations – exploring the boundaries between sculpture, craft and design, and the ways the form has been re-invented over the years.
Manchester Jewish Museum FOUR FOUR JEW: FOOTBALL, FANS AND FAITH
VARIOUS DATES BETWEEN 18 MAR AND 21 SEP, TIMES VARY, £3.95 (£2.95)
An exhibition exploring the ways Britain’s Jews have taken to the beautiful game, tracing football’s roots from the 19th century to the present day.
Manchester Museum
FRAGMENTARY ANCESTORS: FIGURINES FROM KOMA LAND, GHANA
27 JAN – 5 MAY, 10:00AM – 5:00PM, FREE
The UK’s first ever officially approved exhibition of clay figurines made by the people of Koma Land in Ghana; with the the often fragmented figurines of two-headed creatures, birds and animals thought to be representations of their spiritual ancestors. FROM THE WAR OF NATURE
11 APR – 31 AUG, 10:00AM – 5:00PM, FREE
An exhibition exploring conflict and resolution in nature – from boxing hares to prowling wolves – challenging the notion that war must come from conflict.
National Football Museum
UNIVERSAL EVERYTHING
15 MAY, 8:00PM – 11:00PM, FREE
As part of Museums at Night 2014, media artists Matt Pyke (part of digital agency Universal Everything) will present an audiovisual installation on the side of the building, transforming voices into visual art.
Paper Gallery PAPER #13: JEMIMA BROWN: UNTITLED PROFILE PICTURES
VARIOUS DATES BETWEEN 26 APR AND 26 JUL, 11:00AM – 5:00PM, FREE
The latest exhibition from PAPER, inviting Jemima Brown to share her ongoing drawing project for which she presents drawings of her friends public Facebook profile pictures.
People’s History Museum
THE PEOPLE’S BUSINESS: 150 YEARS OF THE CO-OPERATIVE
12 OCT – 11 MAY, 10:00AM – 5:00PM, FREE
An exhibition exploring the vast history of The Co-operative, from their origins as the Co-operative Wholesale Society in Manchester, to their innovative branding. WHAT IF?
15 MAY, 5:00PM – 8:00PM, FREE
Explore alternative outcomes to historical events and look at what might have happened if the suffragettes hadn’t secured the vote for women, or if Thatcher had lost the 1979 election. Part of Manchester After Hours.
Piccadilly Place ART DREDGE
22 MAY – 2 JUN, NOT 26 MAY, 1 JUN, TIMES VARY, FREE
A group of artists, including Matt Sewell, Jason Heppenstall, and Donna Bramall present an exhibition of work created using found objects dredged from the Rochdale Canal. WHAT THE LIGHT WAS LIKE
25 APR – 6 MAY, 10:00AM – 5:00PM, FREE
An exhibition of works by environmental artist Richard Sharland, raising money for Manchester: A Certain Future and The Carbon Literacy Trust.
Salford Museum and Art Gallery RANDOM VISUAL POEMS: CHARLIE HOLT
5 APR – 6 JUL, TIMES VARY, FREE
An exhibition of work drawing influences from pop art and surrealism, and comprising cut and paste collages and digital montages inspired by Manchester and Salford.
The Holden Gallery WUNDERCAMERA
14 MAR – 9 MAY, WEEKDAYS ONLY, 10:00AM – 4:00PM, FREE
The gallery becomes the subject of the exhibition in this exploration of the nature of museums by 15 artists, looking at ways in which venues display their works and offering a glimpse behind the interaction between audience and museum.
THE SKINNY
The International 3 THIS SPACE WE ARE
VARIOUS DATES BETWEEN 29 MAR AND 2 MAY, 12:00PM – 5:00PM, FREE
For the first exhibition in International 3’s new Salford art space, a group of artists will present a collection of sculpture, sound, painting and performance exploring the participants, place and production of art.
The Lowry
IN THE FRAME: DANCE ON FILM
8 MAR – 27 JUL, TIMES VARY, FREE
OPEN FOR BUSINESS 23 MAY–3 AUG, TIMES VARY, FREE
A touring exhibition of work commissioned by Multistory and Magnum Photos arrives in the Northwest, with the artist assigned to the Northwest, Alessandra Sanguinetti, displaying a collection of photographs documenting contemporary British industry. COLLIDER
13 MAY–28 SEP, TIMES VARY, £7 (£5)
An immersive experience, transporting visitors to the Large Hydron Collider located at the CERN facility in Switzerland, offering a behindthe-scenes glimpse at the world's leading particle physics lab.
Releasing dance from the constraints of the stage, this exhibition of film work explores how The Penthouse visual artists, choreographers and SKIN dance companies can use moving 1–2 MAY, TIMES VARY, FREE image to capture the art form. The first exhibition from a newly JONATHAN YEO: PORTRAITS formed collective of third year 15 MAR – 29 JUN, TIMES VARY, FREE filmmaking students, exploring An exhibition of work by selfidentity, sexuality, and sensory taught, British portrait painter experience. Jonathan Yeo, bringing together his most famous subjects, includ- The Portico ing Helena Bonham Carter and Library Grayson Perry. The final work BEATRIX POTTER: BEYOND THE is shown alongside preparatory BUNNIES materials. 3–31 MAY, NOT 4, 11, 18, 25, TIMES
The Museum of Science and Industry (MOSI) COME CLOSER: WINNERS OF THE WELLCOME IMAGE AWARDS 2014
12 MAR – 7 SEP, 10:00AM – 5:00PM, FREE
An exhibition of images from the Wellcome Image Awards 2014 – from an x-ray of a bat, to a cross section of a flower bud – showcasing the scientists, medical professionals and image makers traversing science and art. #HOOKEDONMUSIC
15 MAY, 19:00–23:00, FREE
Get to the heart of how musicians craft a hook with MOSI’s science game, aimed at identifying what makes music catchy. Also enjoy a silent disco and quiz as part of Manchester After Hours.
VARY, FREE
Best known for her children’s book illustrations, Beatrix Potter was also an accomplished illustrator of of natural and archaeological objects, on display at The Portico courtesy of the Trustees of the Armitt Collection.
Liverpool Art
such as Drive and Psycho. Part of LightNight Liverpool 2014.
Baltic Bakehouse
ANTHEM FOR THE DOOMED YOUTH
16 MAY, 4:00PM – 11:00PM, FREE
A group exhibition by local illustrators, responding to WWI poetry and accompanied by a specially commissioned soundtrack. Part of LightNight Liverpool 2014.
Bridewell Studios HOME
16 MAY – 1 JUN, TIMES VARY, FREE
An open call exhibition inviting artists to submit work that explains what home means to them, with 2D, 3D and time-based pieces making up the mix as part of LightNight Liverpool 2014.
FACT
SCIENCE FICTION: NEW DEATH
27 MAR – 22 JUN, TIMES VARY, FREE
An exhibition exploring modern science fiction, inspired by J. G. Ballard’s landscapes of the future and underpinned by a narrative crafted by China Mieville, with video works, installations and a personal archive made up of open call submissions.
International Slavery Museum LAURA FACEY: THEIR SPIRITS...
31 JAN – 7 SEP, 10:00AM – 5:00PM, FREE
Jamaican artist, Laura Facey presents an exhibition exploring the cruelty of slavery and the transcendent nature of the human spirit, with her 2006 piece, Their Spirits Gone Before Them sitting at the heart of the exhibition.
BRUTAL EXPOSURE: THE CONGO 24 JAN – 7 SEP, 10:00AM – 5:00PM, FREE
A distressing exhibition of photographs by missionary Alice Seeley Harris, documenting her time in the Congo and exploring the brutality experienced by the Congolese people in what was probably the first photographic campaign for human rights.
Lady Lever Art Gallery TURNER
14 FEB – 1 JUN, 10:00AM – 5:00PM, FREE
A chronological exploration of JWM Turner’s life and work is presented in this exhibition of some 30 works by the landscape painter, pulled from across the National Museum Liverpool’s collections.
Merseyside Maritime Museum
SAIL AWAY: LIVERPOOL SHIPPING POSTERS
16 MAY – 1 JAN, 10:00AM – 5:00PM, FREE
An exhibition charting the evolution and design development in shipping posters between 1888 and 1980.
MOVIE CARS BY MARK HARRISON
16 MAY, 6:00PM – 9:00PM, FREE
An exhibition of paintings, drawings and prints by freelance Liverpool illustrator, Mark Harrison, celebrating cars from movies
LETIZIA BATTAGLIA: BREAKING THE CODE OF SILENCE
VARIOUS DATES BETWEEN 22 FEB AND 4 MAY, 10:30AM – 5:30PM, FREE
An exhibition of black and white photography by Sicilian photographer and photojournalist, Letizia Battaglia, made up of images from the mid 70s to late 90s, depicting a dark time in Italian history when the Corleonesi mafia held the country in its grip. EBB AND FLOW: A VISUAL CHRONICLE OF THE CHANGES WITHIN LIVERPOOL’S CHINATOWN
VARIOUS DATES BETWEEN 17 MAY AND 22 JUN, 10:30AM – 5:30PM, FREE
An audio-visual survey curated by Jill Carruthers, charting the history and changes seen within Liverpool’s vibrant Chinese community, the oldest of its kind in Europe.
Outpost OUTPOST PRINTS
16 MAY, 4:00PM – 11:00PM, FREE
Metal
Outpost host a live screen printing showcase, with pieces created for the Anthem for the Doomed Youth exhibition at the Baltic Bakehouse. Part of LightNight Liverpool 2014.
VARIOUS DATES BETWEEN 8 MAY AND 17 JUN, TIMES VARY, FREE
Sudley House
THE LIVERPOOL ART PRIZE 2014
And then there were three. Local artists Brigitte Jurack, Tabitha Jussa and Jason Thompson exhibit their work in hope of winning the prestigious Liverpool Art Prize.
20TH CENTURY CHIC: 100 YEARS OF WOMEN’S FASHION 6 MAR – 31 MAY, 10:00AM – 5:00PM, FREE
Museum of Liverpool
A collection of 12 evening outfits spanning 1900 to 2000, charting the changing role of women in society throughout this period, and how these changes were reflected in the fashion of the time.
27–21 SEP, 10:00AM – 5:00PM, FREE
10 APR – 31 JUL, 10:00AM – 5:00PM, FREE
APRIL ASHLEY: PORTRAIT OF A LADY
A exhibition exploring the life of April Ashley, the Liverpool-born Vogue model and actress and one of the first people in the world to undergo gender reassignment surgery.
Arena Gallery
Open Eye Gallery
ENIGMA
An exhibition of work by participants from the Merseycare NHS Trust, exploring ideas of identity and personal journeys or recovery.
Tate Liverpool DLA PIPER SERIES: CONSTELLATIONS
23 NOV – 31 MAY, 10:00AM – 5:00PM, FREE
An exhibition displaying ‘trigger’ artworks surrounded by groups, or ‘constellations’, of artworks from the same period. With the first floor open you’ll be able to see five ‘trigger’ artworks from before 1960, from artists including Picasso and Pollock. RICHARD HAWKINS: HIJIKATA TWIST
28 FEB – 11 MAY, 10:00AM – 5:00PM, FREE
American artist Richard Hawkins presents his first museum exhibition in the UK, bringing together new works that demonstrate his complex style of juxtaposing images and ideas. KEYWORDS: ART, CULTURE AND SOCIETY IN 1980S BRITAIN
28 FEB – 11 MAY, 10:00AM – 5:00PM, £8 (£6)
Taking words from Raymond Williams’ collection of essays, Keywords, as impetus, Tate Liverpool’s new exhibition explores parallels between shifts in language and culture.
The Athenaeum LIVERPOOL’S SECRET LIBRARY
16 MAY, 7:00PM – 10:30PM, £5
A sneak peek into Liverpool’s best kept secret library, with a rare set of French periodicals from WWI on display as part of LightNight Liverpool 2014.
The Bluecoat THE NEGLIGENT EYE
8 MAR – 15 JUN, 10:00AM – 6:00PM, FREE
A group exhibition curated by Jo Stockham, exploring the shift in the increasingly critical approach to technology, through print, sculpture, video and mixed media work.
CARMEL COLLEGE EXHIBITION 14 MAY – 1 JUN, 10:00AM – 6:00PM, FREE
An exhibition of work curated in response to the Negligent Eye created by students from Carmel College.
PRINT STUDIO ARTIST IN RESIDENCE EXHIBITION
19 APR – 11 MAY, 10:00AM – 6:00PM, FREE
The Bluecoat print studio’s artist in residence present an exhibition of existing work, and work crated during their two month residency. JUNIPER PRESS OPEN STUDIO
16 MAY, 4:00PM – 9:00PM, FREE
The Bluecoat’s letterpress family host an open studio as part of LightNight Liverpool 2014.
The Brink MAKE YOUR MARK
1 APR – 27 JUN, TIMES VARY, FREE
Taking the Brink ethos – what we make makes us – as a starting point, this exhibition will bring together creative recovery service users from across Liverpool to share their journey and make their mark.
The Cornerstone Gallery THE OBJECT PROJECT
27 MAR – 2 MAY, WEEKDAYS ONLY, 9:00AM – 5:00PM, FREE
Also known as At Home with Art in Everton, this project set out to create a dialogue between artists and Everton residents, with Lin Holland and Jane Poulton leading the research project alongside 17 households.
LIVERPOOL HOPE UNIVERSITY FINE AND APPLIED ARTS DEGREE SHOW
2–6 JUN, 9:00AM – 5:00PM, FREE
The final year students from Liverpool Hope University fine and applied arts degree programme present their work spanning painting, sculpture, jewellery design and ceramics.
The Gallery Liverpool LIVERPOOL ART FAIR
23–26 MAY, 11:00AM – 6:00PM, FREE
The annual affordable art fair returns to Liverpool, bringing artists and buyers together in an unpretentious and welcoming setting.
The John Lennon Art and Design Building LIVERPOOL SCHOOL OF ART AND DESIGN DEGREE SHOW
30 MAY–13 JUN, TIMES VARY, FREE
Graduates from Liverpool John Moores University take to the John Lennon Art and Design Building for a two week exhibition of architecture, fashion, fine art, graphic arts, interior design and popular music studios.
Walker Art Gallery
GRAYSON PERRY: THE VANITY OF SMALL DIFFERENCES
16 MAY – 10 AUG, TIMES VARY, FREE
Inspired by William Hogarth’s A Rake’s Progress, artist Grayson Perry created six tapestries to tell the story of class mobility and the influence of social class on aesthetic taste. PORTRAIT OF THE ENGRAVER
13 DEC – 30 JUN, 10:00AM – 5:00PM, FREE
The Wirral-born artist James Hamilton Hay is the focus of this exhibition of landscapes and city etchings, showcasing his life’s work after leaving the Liverpool School of Art and seeking the guidance of British Impressionist Julius Olsson. DOT-ART SCHOOLS’ ART COMPETITION
16 MAY – 8 JUN, TIMES VARY, FREE
An exhibition of work from the dot-art Schools’ art competition by primary and secondary school pupils from across Liverpool. Opens on May 16 as part of LightNight 2014.
Win a Pair of Tickets Win a Night Out at to X&Y Festival! Belgrave Music Hall!
The line-up for the 2014 edition of Liverpool’s X&Y festival (Fri 11 Jul, O2 Academy) involves Half Moon Run, Little Comets, Catfish & the Bottlemen, Lauren Aquilina, The Family Rain, Matthew & the Atlas, Stu Larsen, The Hummingbirds, and many more. Many other bands will be announced for the festival soon, with some of the most exciting breakthrough artists lined up to play. Festival organisers I LOVE LIVE EVENTS will also look to announce further artists as the festival draws closer. The stunning programme of live music will be complemented by a host of special guests, DJs and bands local to the Liverpool area. We have one pair of tickets to give away to X&Y.
To be in with a chance of winning, simply head over to theskinny.co.uk/about/competitions and correctly answer this question: Who ‘ran over’ Stone Cold Steve Austin back in the day? A) Mankind B) Hulk Hogan C) Rikishi Competition closes midnight Sun 1 Jun. Entrants must be 14 or over. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at www.theskinny.co.uk/about/terms For further information about X&Y festival and tickets:
The Skinny are pleased to offer a night out in Leeds thanks to Leeds' newest venue, Belgrave Music Hall and Canteen. The independent venue is spread across three floors including Leeds' most spectacular roof terrace and hosts regular live music, cutting edge club nights, quiz nights and film screenings, plus exciting food including Dough Boys Pizza and Patty Smith’s burgers. We have two tickets to a show of your choice in June up for grabs. East India Youth? Charlotte DC? Girl Band? Fucked Up? Not only that, but menu samples from Dough Boys Pizza and the soon to be re-launched Patty Smith’s burger menu, plus some drink to wash it down with!
@XYFestival
To be in with a chance of winning this scrumptious night out, simply head over to theskinny.co.uk/about/competitions and correctly answer this question: Which of these bands is not playing at Belgrave Music Hall in June? A) East India Youth B) Glass Animals C) The Stone Roses Competition closes midnight Sun 1 Jun. Entrants must be 18 or over. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at www.theskinny.co.uk/about/terms For further information about Belgrave Music Hall: www.belgravemusichall.com
www.ticketweb.co.uk/event/105235
May 2014
COMPETITIONS
Listings
63
black
white
187c
466c
CG - 10C
464c
355c
716c
BRAMHAM PARK, LEEDS
7690c
AUGUST BANK HOLIDAY
Scratch Logo Stacked
FRIDAY 22ND AUGUST
SATURDAY 23RD AUGUST
SUNDAY 24TH AUGUST
PARAMORE Scratch Logo Vertical
A DAY TO REMEMBER SLEEPING WITH SIRENS PAPA ROACH YOUNG GUNS TONIGHT ALIVE THE STORY SO FAR
JIMMY EAT WORLD DEAF HAVANA BLOOD RED SHOES CROSSFAITH HACKTIVIST
FOSTER THE PEOPLE THE HIVES PEACE DRY THE RIVER PULLED APART BY HORSES GNARWOLVES
\
CLOSING SET FROM:
THE HORRORS • THE KOOKS CLEAN BANDIT JUNGLE THE NEIGHBOURHOOD TWIN SHADOW
KLAXONS BOYS NOIZE BONDAX • BEN PEARCE BREACH • SNAKEHIPS ELECTRIC YOUTH
DIE ANTWOORD • DON BROCO CAGE THE ELEPHANT LOWER THAN ATLANTIS ROYAL BLOOD • MARMOZETS LONELY THE BRAVE
SBTRKT WARPAINT • TEMPLES TWIN ATLANTIC MALLORY KNOX DRENGE
ANNIE MAC GORGON CITY WILKINSON ALUNAGEORGE PLUS SPECIAL GUEST DUKE DUMONT
LIVE
ANDY C GESAFFELSTEIN THE GLITCH MOB BORGORE • ADVENTURE CLUB JACOB PLANT
LOCK UP
THE PIT
LOCK UP
GOGOL BORDELLO
JIMMY EAT WORLD
OF MICE & MEN
MÖNGÖL HÖRDE
BRODY DALLE
LIVE
ARCHITECTS
A WILHELM SCREAM • BABY GODZILLA • BASEMENT • DAVE HAUSE • EAGULLS • EVERY TIME I DIE • ISSUES • LETLIVE. • MARMOZETS NECK DEEP • PUP • THE FLATLINERS • THE FRONT BOTTOMS • THE SKINTS • THE WONDER YEARS • TOUCHÉ AMORÉ • SLAVES • WOVENWAR STAGE
AUGUSTINES
PALMA VIOLETS
BAND OF SKULLS
STAGE
DANNY BROWN | JOEY BADA$$
GIGGS
PUSHA T
ALSO JUST ANNOUNCED
BEAR HANDS • BIPOLAR SUNSHINE • CATFISH AND THE BOTTLEMEN • DARLIA • HUDSON TAYLOR • MARIKA HACKMAN • MAYDAY PARADE MERIDIAN DAN • P MONEY • THE DISTRICTS • THE ORWELLS OTHER ACTS ALREADY ANNOUNCED
CIRCA WAVES • DAVID RODIGAN MBE • HOZIER • I AM LEGION • KREPT & KONAN • LIZZO • THE FAT WHITE FAMILY • VIC MENSA • WOLF ALICE
WEEKEND AND DAY TICKETS AVAILABLE FROM: LEEDSFESTIVAL.COM | 0871 231 0821 SUBJECT TO LICENCE. BILL SUBJECT TO CHANGE