Fresh off the back of mod musical All Or Nothing’s successful first tour, actor-musician Drew-Levi is now preparing to release his debut album.
Tuesday night saw him play at Farringdon’s Piano Works; this suave and characterful music establishment provides the perfect platform for unsigned artists to showcase their songwriting talents.
Opening with a cover of Ed Sheeran’s A Team, Drew immediately demonstrated his craft over the piano; he taught himself to play after being inspired by Elton John, having briefly met him whilst being in the 2005 cast of Billy Elliot. His voice flowed gently through Sheeran’s famous folk ballad, his tone possessing a strength that was confident in playing around with the melody.
The singer-songwriter then went into an original song, What If, co-written with Devin Belle and David Thomas this uplifting pop number talks of seizing life’s opportunities. This contrasted greatly when the song that followed, Summer Fling, a soft, piano-centred beauty that created a vibe that, to me, felt as smooth as Ella Fitzgerald’s Summertime.
My personal highlight came when Drew played the title track off of his EP, Just Call. Again, Drew’s skills as a pianist are showed off in this beautifully layered song. As impactful as it was to listen to live, there are also many perks of listening online; percussion, strings and harmonies are delightfully put together to create this atmospheric number.
The set ended with another original, this time a rap-based song, Best British Single; a surprising end to his set, but ultimately one that demonstrated Drew’s versatility, freedom and ambition as an artist.
Even the most daring of TV shows rarely satisfies the dark humour that we relish in sharing in my house, until we found Uncle.
This beautifully British comedy drama thrives on finding the funny in any subject, no matter how improbable you think that might be, and it does so with charm, grace and wit.
With Nick Helm as Uncle Andy, the piece is already on steady shoulders with Nick comfortably bringing to life this loveable disaster of a man. However it is the close friendship between Andy and his teenage nephew Errol (Elliot Speller-Gillott) that is the show’s unique selling point, for me.
The pair maintains a beautiful symbiotic relationship that evolves effortlessly from series to series. The writing (Oliver Refson, Lilah Vandenburgh) is the perfect mix of gallows humour, cynicism and pure heart.
The show is formed of an unconventional family unit with Andy, Errol and Errol’s Mum Sam (Daisy Haggard) sitting at the centre, the tie filters all the way across Uncle’s unforgettable supporting characters: Sam’s ever-chirpy and all round sweet heart of a partner, Bruce, and his stepdaughter Tiff, Andy’s temperamental ex Gwen, her inked up bassist boyfriend, Casper and her Dad, Val; as well as plenty of other familiar faces. You can affectionately guess that they are as close off screen, considering what a wonderful, fucked up family they all make on it.
On its final series now, Uncle is a show that I will deeply miss. Not only for its interludes of great music and the surreal videos in which they feature, or for the talented cast and crew that help to bring us thirty minute doses of something real and special. I will miss Uncle for its spiky voice and the volume with which it would use to laugh at loss, heartbreak, drugs, love, young love, isolation, cancer, and in the last minute of each episode would it stop and whisper something profound.
Discovering new music is something I’ve always rejoiced in, and my 2017 got off to blissful start when I stumbled across a five-piece indie British indie band by the name of Blossoms.
Their self-titled second album has already received roaring success last year, topping the charts and keeping the number one spot for two weeks. These lads from Stockport, led by front man Tom Ogden, sure know how to make beautiful melodies…
The album is a vast selection of songs of varying paces, tones and sounds; make sure you purchase the extended edition to really get the full feel of the noise they can create. It begins with arguably their biggest hit, Charlemagne, an upbeat, synth-sounding pop number filled with raspy vocals that really draw you in. Tones become softer and deeper as you reach the likes of Getaway, a soothing song centred on the turmoil of letting someone go.
Blown Rose is the song that first introduced me to the band, a YouTube advert that finally led me to something worthwhile. The aesthetics of the video seemed reminiscent of Lewis Watson’s Stay, an eerie style shoot filmed at Hammerwood Park (former home of Led Zepplin) contrasting greatly with the fast-paced nature of the song.
By the time you’re over halfway through the track list, you meet melodious, lullaby-type numbers like Winters Kiss, Stormy and For Evelyn. The amazing thing is each song creates the same sort of feeling but in exceptionally different ways. Winters Kiss is centred on group harmonies; Stormy is an acoustic guitar driven piece whilst For Evelyn is showcased through the piano. I was taken aback by the richness of the range of Blossoms’ back catalogue, which is why the extended edition is all the more worth buying.
Listening to their album is an experience that I’m happy to immerse myself in over and over again; it’s well crafted, emotive and mood provoking; just as music should be.
With Blossoms, and any artist really, I urge you to go beyond listening to one song before you make a judgement. In a society that is so centred on everything being of a fast-paced nature, we’re getting quicker at skipping through songs thus allowing us to hear everything and appreciate nothing. When someone asks, “Who are you a fan of?” You’ll be able to name song titles rather than artists. Take the time to listen to someone else’s creation in its entirety and you might just find something you love.
This morning I found myself sitting in a cinema, waiting to be dazzled by La La Land, just over two hours later I left the screen, my eyes twinkling with specs of stars.
This modern day musical starring Emma Stone and Ryan Gosling as two creatives (an actress and a jazz musician) both with big plans but struggling to reach them. Inevitably Mia and Seb’s paths cross several times, and from there true love eventually follows; it sounds cheesy I know, but I promise you this beautiful body of work is the exact opposite.
Having seen one of director Damien Chazele’s previous films, Whiplash, I anticipated bold moves to be made in this contemporary piece. The aesthetics of La La Land are something to marvel over first of all, set in sun-drenched Los Angeles, the movie buzzes with bright skies, night lights and a sense of effortless cool with every move made. The script was slick and yet full of heart and soul, as Mia and Seb’s relationship endures blissful highs and painful lows. The story carries an ethereal quality with it, matching the sense of hyper reality created through the visuals.
Sebastian (Ryan Gosling) strolling the pier. Photo source: etonline.com
Justin Hurwitz’s score for the film is the next fundamental building block in the film’s artistry. The intricate melodies weave in and out the story, and provide the film with the purest sense of grace, shaping the piece wonderfully.
Ryan and Emma are flawless as a couple, and well shaped as their individual characters; not once did the film feel silly and frivolous, but rather was kept grounded by their tremendous skills as performers. I had to stare, my expression that of dumbfounded, at Ryan’s ability to play the piano, embodying all the skills of a true jazz pianist. Emma adds an adorable quirky refinement to Mia, her voice soft and mellifluous, taking the universal role of ‘struggling actress’ and making it refreshingly sincere.
Mia (Emma Stone) looking for her Rebel Without A Cause. Photo source: laineygossip.com
People didn’t burst into song every five seconds, nor do things work out as you might expect, there are many messages to be absorbed from La La Land and in it’s in the moments of silence that this musical really sings.
Sometimes the biggest ideas can be found in the smallest of spaces, and I was lucky enough to stumble upon one in the humble space of Theatre N16.
This Might Be It is an exploratory piece centred on the issue of loneliness, devised by Vantage Point Theatre; a company in its infancy made up of performers and artists from around the world, dedicated to questioning aspects of the life we lead.
Loneliness, and what it means to be lonely especially in this day and age is a subject that most only dare to scratch the surface but rarely make the centre of their work. The heavy connotations that stem from loneliness, made me wonder if seeing a piece dedicated to its exploration might be overwhelming to watch, but I found it to be further from that imagined truth than I thought possible.
The company of seven presented a variety characters and in turn different sectors of loneliness. The piece a series of situational snippets into the isolated lives of these people: a wife with a depressive husband, a man that can’t speak to women and another that fights to converse with a machine. The crosscutting was effectively used and allowed for a good balance between exploring the questions that lie at the core of feeling isolated and making light of areas like our collective social anxiety.
It was a liberating piece of theatre to watch, to be allowed to laugh at such at weighty subject matters whilst also stopping to look upon its repercussions made for the most interesting theatre experience I’ve had in a long while.
Not only is This Might Be It an impressive observational piece, but it’s a great mirror for self-reflection amongst the audience. I left Theatre N16 feeling more in tune with myself than I had in some time, I was suddenly more aware of my fear of being misidentified by others, because at the end of the day we all extend ourselves through conversation in the hope that others will see us for who we truly are, and that we won’t end up lonely.
I hope to see project grow and expand into the New Year, so it can reach more people. But for this week, I urge you to see it while it’s here and become a part of this much-needed conversation.
London-based singer-songwriter, Steve Dagleish’s second album, Yours For Eternity is presented as a love letter and inside the stories of the lost and the lonely. The songs are soaked in great sense of sentiment with Steve weaving a tapestry of wonderful characters together in the gentle sounds of this album.
The track list begins with Hello Son, a softly sung ballad filled with loving words from a mother to her child. The melody is intricate and free flowing, like a campfire song being sung at sunset. The tone shifts dramatically to Govenor of Sombrero, a stripped back a cappella track. The raw tones of Steve’s voice bring atmosphere and weight to this sea shanty-like tale of a father recounting losing his son to The Royal Navy; based on the history of Robert Jeffrey.
Emily Stands Strong sits on the list as a tribute to the life and work of Emily Hobhouse, a woman who challenged the reasoning behind the Second Boer War. The rhythmic quality to the song gives it a dark lullaby feel, the strength of the lyrics providing strong mental imagery for me as I listened to its words.
Lyric book accompaniment for Yours For Eternity Photo Credit: Grace Mitchell
The title track, Yours For Eternity, represents the heart of the album’s message for me. This tragic love song is rooted in a relationship between soldier Henry Coulter and his lover, Lucy Townend. Steve’s wonderful ability to create characters littered with such fine details, allows you to feel the reality of the distance present in this lost relationship. Marriage St./Road to Mary provides an instrumental link to our next story and allows Steve to show his flair as a guitarist.
The theme of distance is carried through into Miss Sweeney, the melody and tones more light-hearted but the message of the song no less dense with feeling. This song contains a favourite lyric of mine, ‘He sold his place in heaven for the world that Molly wanders’ an eloquent description of the strength of a parent. Benjamin Grey stresses the importance of love in a life consumed with trouble, another of Steve’s characters awakened through the wonderful sense of vulnerability in his lyrics.
The last four songs of the album felt the most intense, in terms of expression of feeling, for me it’s where Steve’s skill as a storyteller really reaches its peak. King of the Mountain tells the solemn tale of a lonely existence, a man who has everything material yet nothing substantial. Bring Down The Sky reminded me of my Northern roots, waves of nostalgia crashing over me through vivid imagery conjured by the lyrics.
Last Act at Bar 62, a quiet expression of one musician’s struggle to be heard, such powerful sentiments expressed in the softest of tones. And finally we end on my favourite track of the album, Waiting for the one, which like most songs on the album brings with it the sweet sense of home and one woman’s longing for different circumstances. Steve’s voice dances gracefully around the melody and left my mind walking through her story.
My heaven is on the ground when I reach your time…
The Paralympics, formerly the younger, overlooked sibling of the Olympics, but I think it’s safe to say that that is a perception that has finally been broken.
London 2012 firmly obliterated that view, sparking a new wave of support amidst the U.K; myself included. High on the spirit of the Olympics, I went straight to watching the Para’s instead of doing the routine job of only watching a few moments and then switching channels.
And in doing so, I found something wonderful.
I watched a nineteen-year-old Jonnie Peacock win gold in the T44 100m, I was delighted to watch Hannah Cockroft set two Paralympic records, and even more so when I found out she was a fellow Northerner! I remember my family and I screaming our support for Ellie Simmonds as she steamed through the 400m freestyle to shave a whole five seconds off the world record.
And I realised something so painfully obvious that it felt silly to admit, ‘Why the fuck hadn’t I been watching this before?’
These athletes, these superhumans are just as worthy of our support, so why did it take the Paralympics coming home for so many of us to realise it?
Disability is something I’ve embraced my whole life, growing up with my younger, autistic brother my family and I have never shied away from the realities of his condition. I remember my Dad giving me The Curious Incident of a Dog in the Nighttime to read in order to help me learn about the parts of my brother that I couldn’t quite understand as a child. When it comes to any form of disability, talking openly about it is key, my brother is the most amazing person I know, teaching me on a daily basis how to remain completely fearless in the face of adversity and to face it with a sense of humour.
So, whilst I was watching London, the fire inside of me now firmly ignited by the Paralympians, I simultaneously discovered a little, live show hosted by three comedic lads by the name of The Last Leg. The show struck me as a refreshing mix of emotive, inspiring content and a wicked sense of humour; both celebrating and finding the funny side of disability. It’s undoubtably played a huge part in both engaging the nation and sparking up more active support for the Paralympics, so to whoever commissioned the show you have my eternal gratitude.
Fast-forward a year, and my Dad, brother and I were down at Queen Elizabeth Park celebrating National Paralympic Day (a now annual event). This time I was able to meet some of our superheroes in person: swimmer Jessica Jane Applegate, heavyweight lifter Ali Jawad, sprinter/long jumper Olivia Breen and judoka Ben Quilter. I was overwhelmed with how grateful they were when we expressed our support; I felt a real inclusive spirit that I had never before experienced with sport, with everyone from the volunteers to the performers just radiating positive energy.
We finally got to see what real gold and bronze medals look like up close! Jessica Jane Applegate (Left) and Olivia Breen (Right)Tom and I with Ali Jawad (Left) and Ben Quilter (Right)
This time, I was ready. Ready to wait the two weeks between the Olympics and Paralympics in anticipation, I had my favourite athletes this time round, people I wanted to watch, events I was desperate to see. The Last Leg, having now become a much-loved weekly show ensured the people were kept updated with everything Paralympics. This time, I watched the Paralympics with all the fire and passion that I hadn’t even watched the Olympics with. London had opened my eyes to all the incredible stories behind each athlete and the amazing wealth of strength that lies within people, to face what they have and come through to achieve so much more.
In my house we had soon established an enjoyable routine: get in from work, Paralympics highlights with Clare Balding, The Last Leg, then flick back to Paralympics Live until 1:00am. And it was magic. I laughed, I teared up and shouted my support once more; jealous of all the lovely supporters lucky enough to be witnessing it.
I still can’t describe the immense pride and love I feel having watched our superheroes go out there and kick some serious arse! I mean, this year we totaled more medals than London, we won gold across the board and finished in second on the medals table.
Although one Rio athlete that has really inspired me in a different sense is athletics star Liam Malone. After losing his Mum to cancer four years ago, Liam decided upon a goal big enough to drive him forward into the future. As well as being incredibly determined, he’s delivered some of my favourite moments of the games with his memorable interviews. After his spectacular 400m win, he was asked if he had firmly found his future in athletics and his reply has really stayed with me, “Not at all, I’m here to do as many experiences in life as possible.”
Liam winning his second gold medal of the games in the 400m T44 Photo Source: http://www.stuff.co.nz
To see someone achieve so much, and still have the courage and confidence to say that they will go on to conquer more mountains of a different kind, is remarkable to me. More often than not in this life, we are told to find the thing we’re good at and stick to it. But by embracing that notion, you stop yourself from finding out just how much you’re capable of.
The Paralympics is a true testament to finding your inner strength, testing it, using it and celebrating it. I am proud to call myself a supporter of the superhumans and I am beyond excited to be going to the World ParaAthletics Championships and make some real noise!
Ray Bradbury’s writing is as mesmerising to look at as the setting sun, each word dazzling and exciting to the eye, with more depth gained the longer that you look. Something Wicked This Way Comes was my first taste of Bradbury’s writing, and my was it a sweet one.
Ray recalls a moment of significance in his childhood, that inspired him to become a writer was an encounter with a carnival magician named Mr. Electrico who commanded him to “Live forever!” From then on the cogs of Bradbury’s brain began whirring on the subject of eternal life, and thus this beauty was born. A plethora of themes are explored throughout this book with the effortless poetic style of Bradbury’s hand. The way he writes is both unique and sophisticated, and once into the flow, I was completely immersed within this special tale.
William Halloway and Jim Nightshade, young friends firmly locked in a symbiotic relationship: William the limited and Jim the limitless. Set in small town Americana, a week before Halloween, the thirteen year olds witness a frightful presence sweep into the town in the form of Cooger & Dark’s Pandemonium Shadow Show. This sequence was when I first knew that I was reading something incredible. Bradbury’s description of the carnival’s entrance, told through the eyes of two fearful boys, peeping out round their houses in the dark third hour of a new day; what Mr Halloway refers to as “soul’s midnight”. Never had I felt more eerie and disturbed than reading how this carnival came into town…
Poster for Disney’s 1983 movie Something Wicked This Way Comes Photo Source: disney.wikia.com
The next day, the pair venture out to find that the carnival is not so frightening in appearance when daylight shines down upon it, but looks can be deceiving; a core notion of the novel. They help pull their dazed seventh grade teacher, Miss Foley, out of the Mirror Maze; her reaction a big enough warning to get them intrigued. Later that day Will has to come to Jim’s rescue after he succumbs to his curiosity, and as they roam the carnival unwatched, they begin to unravel its secrets.
Ray Bradbury sets up a beautiful gang of freaks within the carnival led by The Illustrated man (Mr Dark- visually my brain was crackling away like firecrackers every time Ray conjures his presence in the story) and his partner Mr Cooger. Their descendants an intoxicating blend of Dust Witch, Dwarf and Skeleton when reading, every freak felt razor sharp in my imagination, as Will and Jim unknowingly tangle themselves further into the carnival Bradbury readily ramps up the tension holding your hopes and heart quite comfortably in his hand.
As I mentioned before, the number of themes and the depths in which they are explored both baffled me. The nature of death and what lies ahead and the futility of worrying about it whilst breathing, the age old battle of wanting to grow up but not wanting to lose your youth, the feeling of nostalgia, belief and fear…the list of things to be gained from reading this novel is endless.
A glorious quote from a glorious book; Odd Thomas being its name.
It was first presented to me in its film form one restful evening on holiday, with the delightful Anton Yelchin firmly taking the reigns as its lead. As I watched on from my bed, I only made it through the first half, as my day of lying in the sun finally caught up with me and I succumbed to sleep. I got round to finishing the film, two years later on a flight over to America, after Anton’s tragic death- which if you know the story, then you’ll know that I was sobbing in front of my fellow passengers twice as hard as I should have been.
Back to the book, Dean Koontz creates the most refreshing of characters here: a twenty-year-old fry cook who sees the dead. However, this witty and loveable man is not limited to just seeing them, but also has premonition-like dreams and a unique power by the name of ‘psychic magnetism’; the ability to unknowingly come across someone you are looking for.
Our story takes place within the small town of Pico Mundo, California where the Mojave sun beats down upon you 24/7. Our fry cook awakes one night from a terrifying vision of a group of bowling alley workers lying atop one another, now corpses. The pace is kept fast as we weave our way through with Odd in the race to stop this disastrous event from occurring, little does he know what waits for him…
If you’re just about to fall head over heels for Odd, please do, but know that he is forever promised to sharp-tongued ice cream shop manager, Stormy Llewellyn (Koontz has a wonderful way with names.) Friends since childhood, Dean includes a beautiful motif of the pair visiting a fortuneteller as wandering teens and coming away with a card promising them an eternity together. Both characters are written with a delightful sense of wit and vulnerability, each decorated with a colourfully dark past, and from that stemming a vast wealth of strength.
The narrative is structured to present the story as Odd’s memoirs, if you will. Having Odd as the narrator allowed for some unreliable comments, but Odd being the overtly honest character that he is, always admits when something is invented rather than happening. Throughout the book, beautiful metaphors and imagery is scattered. When dealing with a subject as complex as death, and as fanciful as seeing the dead, Koontz approaches the weight of the subject with pure imagination and intelligence.
It’s thrilling and heartbreaking all within the space of just over four hundred pages, and if you end up loving this one like I do, then there’s six more that await you.
I first discovered this Cameron Crowe romance classic one restless night, I got to bed just before 11:00pm, originally having contemplated going to sleep instead of watching Say Anything, just for the sake of “getting an early night”. Well I’m glad I didn’t do that, because life was not made for early nights- it was made for exploration. And how can I explore a film if I’m asleep?
So I stuck the disc into the player, turned off the light and discovered something new. I found the film weirdly hypnotic from start to finish, you could argue that’s simply because I’m the same age as the protagonists; but while that is a key factor in my enjoyment of it, it is not the reason why I found it so entrancing to watch.
Say Anything shows awkwardness, and unashamedly so, as people we sometimes stumble and stutter over our words, make poor choices, say shit we don’t mean and are influenced too much by external forces; something that’s often glossed over in most eighties romance films. The plot is driven by our two leading teens: introverted planner Diane (Ione Skye) and hopelessly-confused-but-happy-about-it Lloyd (John Cusack).
Diane (Ione Skye) and Lloyd (John Cusack) sharing a laugh. Photo source: klling.wordpress.com
Diane is a careful rather than carefree character who cares for her family more than she does for herself. Skye brings a wonderful sensitivity to the role, keeping Diane coy and endearing to watch. Unlike Lloyd, Diane is a person who constantly sets herself restrictions and limitations. At the beginning of the film when Lloyd takes her out for their first “date”, before they even leave her Dad’s house Diane asks, “Is it ok if I can go home early?” A question that I’m sure nags on the mind of many from time to time, including myself, which opened up a window for me to relate and empathise with the character.
Lloyd is Diane’s dynamic opposite through and through, he makes no plans except for those in he sees in his immediate future, putting all his intensity and thought into those. Cusack is a firecracker to watch onscreen, injecting such a sense of vibrancy into the character; all of which contributed to the strong identity that is Lloyd Dobler.
The imagery throughout the film was poignant and sensitive, soft rain, a boombox and the sounds of Peter Gabriel is a real treat for the eyes and ears. The acting remains stripped back and sublime. Crowe’s writing keeps the whole film ingrained in human emotion and the tender exploration of it; the final scene remaining one of the most touching pieces of film I’ve ever watched.
So if you’re ever staring up at the ceiling, or out of a rainy window and you want to spend some time watching something brilliant, Say Anything is waiting.
The Saving Graces 