Robinson carries himself on stage with the utmost confidence, allowing him to keep his dedicated fan base at the sold out O2 Ritz in Manchester jumping and singing throughout his entire performance.
We Move, Gurnaik Johal’s debut short story collection, is set in the London district of Southall, famed for its large South Asian population, especially of Punjabi background. Think Bend it Like Beckham, with hundreds of shops boasting the best Indian food, clothes, jewellery and more. Naturally the narratives centre around various members of the immigrant population and how they have made their lives in England.
Johal’s exploration of his characters’ hidden lives is what is most exciting. He rightly subverts cultural stereotypes and his audience gains a deeper understanding as a result. What dark secrets does the local Indian’s cook have, who you thought was the most straightforward man around? What about his famous chef daughter, or her newly religious sister?
In three cleverly interlinking stories, each titled Chatpata, Johal explores with a keen eye what really occurs beneath the actions of those with otherwise outwardly conventional lives. At the end of the second story, Chatpata: Ahankar, Aman observes her closet gay Dad cooking and ironically wonders, “If only she could have a simple and straightforward a life as him.” Johal sneakily winks at us readers as we know things are not this way.
This is not the only time someone is comparing their life to that of a family member. Take The Red River, which ends with mother, Renu and her son, Karan playing, and her feeling “how happy she was that he could be so loud, that he would never know quietness like she had.”
Johal is interested in the intersection between the lives of different generations in immigrant families and the stark contrast in their experiences. Aman may run a high-end dinery in New York but her parents are former farmers from rural Punjab who struggle with her swanky menu. In the final story, We Move, Lata casually drinks wine and dances with her Mum, Meena, and friends, but when Meena does the same twenty years ago, she is forced into an abusive arranged marriage.
The immersion of many of his stories into the world of British Indians is bold and fruitful. Johal speaks their language, he doesn’t shy away from casual mentions of their backstories and interestingly doesn’t translate words like ‘kuzhambu’, ‘nani’ and ‘apneh’, which had even me, as a first generation Indian, googling definitions. A lesser writer would have done so. It is up to us to find out what these words represent, for in We Move’s Southall setting, these words are used as easily one would say ‘fish and chips’, ‘tea’ or ‘football’.
This acute insight into people’s lives is not found in all the stories however, and that is a significant downfall, for this is what makes We Move. Johal is guilty of writing too much at times and saying too little, and in certain stories like The Piano and Freehold, it seems there is not much beyond the surface.
The most brilliant story in the collection is the first one, Arrival, which won the coveted Galley Beggar Press short story prize in 2021/2022. Arrival is subtle, sweet, and stunningly crafted. In less than five pages, Johal shows how Divya leaving her jilted lover has unexpected consequences for Chetan and Aanshi’s boring, suburban life. They are galvanised into adventurous holidays, cooking exotic meals and trips to IKEA. The decline of Divya’s relationship paralleled with Chetan and Aanshi’s growth is beautifully rendered by Johal, who is expert at exhibiting the tiny quirks and irregularities that those who have been together a long time cherish. Arrival is short story writing at its finest.
Johal in only 23 and has released a strong collection. His next book, a novel, is set in India and is assessing the impact of the mythical river Saraswati on its surrounding population. He has also made a Spotify playlist containing tracks mentioned across the stories. In We Move, you’re given the ingredients to enter Southall and explore. A sentimental, talented and fastidious writer, it will be interesting to see what more Johal has in store for us.
Formed in London in 1992, Sleeper quickly became one of the biggest British bands of the nineties – with eight top 40 singles in the UK and three top 10 albums across the decade. After reforming in 2017, the group are now set to tour their 1996 platinum-selling album The It Girl, including a date at the O2 Academy here in Leeds on the 22nd of April. Ahead of the tour, I spoke to songwriter, vocalist and guitarist Louise Wener to get more of an insight into the history of the group and their current tour.
The tour is primarily to celebrate the 25th anniversary of the groups most successful album The It Girl, the follow-up to the incredibly successful debut Smart. Louise described how The It Girl differed to their debut, saying, “We’d had success with Smart and we loved that, but I think we felt like this the one that was really gonna break us through to a different level”. The album certainly did break the band through to the mainstream, achieving four Top 20 singles in ‘Statuesque’, ‘Sale of the Century’, ‘Nice Guy Eddie’ and ‘What Do I Do Now?’. The band, though, were seemingly unaware of the extent of their success at the time; Louise recalled, “We were very much living in the moment in those days, but it was great! When you get asked to go on Top of the Pops and stuff like that, that’s when your parents go ‘my kids doing something proper’, but even when you’re in the middle of it you’re always looking over your shoulder to see what everyone else is doing – it was a very hypercompetitive environment”.
It is easy to see why that would have been the case, the mid-90s is viewed as a sort of golden age in British rock and indie music – with incredible bands like Pulp, Elastica, Oasis, Blur and Suede rising to prominence (among countless others). Asked about what that period in musical history was like to be a part of, Louise explained, “You have a much broader sense of that retrospectively but what was present was that feeling of…it felt very celebratory, like it was an explosion of guitar music and indie music – there was a feeling that anything could happen at that point – it was very joyful, I suppose”. Many music historians cite the rise of British guitar music, or what has been divisively referred to as ‘Britpop’, as a reaction to the grunge scene of the early 90s. “The demographic had shifted, people getting played on the radio that hadn’t previously”, Louise said of the rise in indie bands at the time, “Radio 1, specifically, opened up to guitar music. It’s the same with all movements, it’s just something that grows and catches and divides and becomes something”.
Due to the fact that Sleeper had supported Blur on their Parklife tour, as well as the fact they were making predominantly guitar music in the mid-90s, Sleeper have always been tagged with the Britpop label. The term ‘Britpop’ has divided opinions, with bands like Suede being quick to distance themselves from the term, “I couldn’t give a shit about it, it’s just something some journalist came up with”, said Louise of the ‘Britpop’ label, “I don’t know if like new romantic bands get asked the same question – how does it feel being new romantic? or how did it feel being grunge? It seems so specific to Britpop, it’s very strange to me. I don’t think any of us really care”.
One of the singles from The It Girl, ‘Statuesque’, in addition to a cover of Blondie’s ‘Atomic’ featured on the soundtrack to the iconic film Trainspotting (1996). The soundtrack is often hailed as a gold standard for indie film soundtracks – featuring the likes of Lou Reed, New Order, Iggy Pop, Pulp and, of course, Sleeper. According to Louise, though, it didn’t feel like such a momentous occasion at the time: “It was just a bit of fun and then obviously became this sort of cultural moment, I guess”. The film undoubtedly brough more attention to the band, and the track ‘Statuesque’ peaked at number 17 in the UK singles chart in 1996.
Now, 26 years later, Sleeper are back performing tracks from The It Girl to audiences across the country, “They take on a new life and a different kind of meaning because of the intervening years – the interval has made it something different so that’s what makes it feel wonderful to play them again”, explained Louise.
Sleeper are set to perform at the O2 Academy in Leeds on the 22nd April, tickets are available for purchase here.
A moment of silence for the ‘Fine Line’ era please. Harry Styles’ sophomore album, released just months before the pandemic, has flourished and thrived over the last two and a half years – sustaining us fans sufficiently, whilst garnering an even bigger audience for the star (a seemingly impossible feat). There were Grammys, feather boas, music videos of him… running?, along with many other glorious moments, however it’s time to bid farewell to this iconic album’s life, as Styles releases ‘As It Was’: the lead single from his upcoming album, ‘Harry’s House’.
At only 2 minutes 46 seconds, ‘As It Was’ is a shimmering ode to 80s pop, with wistful melancholic vocals dancing over a glistening synth. Styles contemplates, mourns and comes to terms with various forms of change, repeatedly declaring in the pre-chorus that ‘in this world, it’s just us, you know it’s not the same as it was’, through luscious vocal layering. Lyrically, it’s dark, and hyper-personal: the second verse alludes to a concerned phone call to Styles, asking ‘why are you sitting alone on the floor?’, and ‘what kind of pills are you on?’.
The accompanying music video is unsurprisingly, wonderful: clad in a sparkly, red two-piece, Harry prances and leaps around The Barbican in London (as a fan on twitter neatly summed it up: ‘If The Joker was yassified’). Despite some aesthetic incoherence, it serves as an effective visualisation of the song, with the images and production aligning gloriously after the bridge, as church bells elevate the final chorus and Harry’s dancing intensifies in a satisfying conclusion to the track.
The song is a subtle introduction to the star’s third album; not the boldest lead single, in comparison to 2017’s ‘Sign of the Times’, (when he kick-started his solo career with a lengthy piano ballad), or 2019’s ‘Lights Up’. It could perhaps be more suited to being an album track, considering its length and minimalism, however, it does serve as an indication of what’s to come from ‘Harry’s House’ in May, giving us a taste of the nature of the record.
Having broken multiple streaming records on Spotify and Apple Music, it is set to be the singer’s second UK number one this week on The Official Charts. Styles will debut ‘As it was’ live at Coachella in the upcoming weeks, where he is headlining the festival, and will kick off the second leg of ‘Love on Tour’ in June in Glasgow, which includes two sold out nights at Wembley Stadium. Additionally, Styles has two films set to be released this autumn: Olivia Wilde’s ‘Don’t Worry Darling’, and Michael Grandage’s ‘My Policeman’. To put it simply: in 2022, it’s Harry’s world, and we’re just living in it.
Cover image: BBC
‘I Know NIGO’…Fashion designer and Teriyaki Boyz DJ Nigo’s new collaborative album is relaying a statement beneath the crisp production and sampling by Pharrell and a bevy of others. Following his debut KENZO collection, as well as varied projects with Human Made, the fashion and music mogul’s sophomore album ‘I Know NIGO!’ dropped last week, stacked with features benefitting its communal title. Releasing under Steven Victor’s Universal-owned record label Victor Victor, it stands as his second musical output after his first album ‘Ape Sounds’ came out over two decades ago, which differs entirely in sound and scale.
With lead singles featuring A$AP Rocky, Kid Cudi, Pusha T, Lil Uzi Vert and even Japanese hip-hop group Teriyaki Boyz, it was clear that the 25th March would bring an eclectic album like no other, infusing various eras of hip-hop, R&B, drill, and pop elements, fine-tuned to Nigo’s specific taste. Other snippets of songs starring the late Pop Smoke, Pharrell, A$AP Ferg and Tyler the Creator, were previewed during his F/W ’22 KENZO show at Paris Fashion Week in January, giving us a glimpse of just how extensive the feature list would be.
‘Lost & Found’ by WANG$AP starts things off with A$AP Rocky on top of a sampled beat from ‘Three Kings’ by Slim Thug, prior to switching up into a sample of ‘Like a Boss’ for Tyler, The Creator to spit some signature braggadocio over. Track three, ‘Punch Bowl’, sees the return of legendary 90’s hip-hop duo Clipse, who folded just prior to member Pusha T’s solo career took off in 2010. Here, they reflect on their careers and touch on life as parents, “It’s baby seats back of the Cullinans”. The song ‘Remember’ by Pop Smoke has a clever sample flip of ‘Sound of a Woman’ by Kiesza, serving as the foundation for late New York rapper’s vocals. This is arguably one of his best posthumously released songs to date. Other standouts are Tyler, the Creator’s ‘Come On, Let’s Go’, which would fit perfectly on his recent rap-heavy album Call Me If You Get Lost, Pusha-T’s ‘Hear Me Clearly’ produced by Ye and ‘Arya’ by A$AP Rocky.
The eleven-track record isn’t without its faults, however. ‘Functional Addict’ by Pharrell, featuring Gunna is simultaneously strange and boring, and the guest feature brings absolutely nothing to the table. The Kid Cudi and Teriyaki Boyz songs aren’t bad, but they stick out like sore thumbs in the track list, sounding like extras they had left lying in vaults rather than tracks that were actually conceived in the framework of a collaborative project. ‘Paper Planes’, whilst having a punchy 808 melody and catchy hook from Pharrell is let down hugely by three lacklustre verses from A$AP Ferg, with weird one-liners like “God, I’m sicker than syphilis” scattered throughout.
Interestingly, the CD release of ‘I Know NIGO!’ has been promoted massively by Victor Victor, with the CD pre-order bundles selling out in their thousands on his site. This is possibly a nod to Nigo’s home country Japan, whose people consume 70% of their music via CDs, with streaming services only accounting for 20% of music sales, much opposed to Western countries who over time have gradually abandoned the physical disc for streaming services like Apple Music, Spotify, Deezer etc.
Overall, I Know NIGO! is a fun mixtape-Esque DJ compilation album that isn’t much more than that. “Fun” normally isn’t the best way to describe an album but that is all this really is and that’s fine for what this album is trying to be. ‘I Know NIGO’ is a collection of tracks that express Nigo’s prominence in Hip-Hop culture as he curates a soundtrack that delivers on the message: “I Know Nigo,” even when some songs don’t land.
Cover image via Sneaker Spirit
The electric and lively show Spacey Jane delivered at the Brudenell was introduced with a prelude from the band’s supporting act, singer-songwriter Morgan Harper-Jones, who performed with just a guitar and her voice. The 23-year-old dazzled the crowd with a series of slow-paced yet vivacious heartfelt songs showcasing the raw emotion at the heart of her performance. During and in-between each song, her performance was embellished with witty banter which lightened the mood of the otherwise beautifully melancholy subject matter of her songs.
As the supporting act’s show came to a close, it was clear the crowd could wait no longer for the Australian band who would soon find themselves playing to a fully packed venue filled with fans who would had long awaited the band’s UK tour. Fans showed their support and enjoyment throughout the entirety of the show by singing along to every song, and jumping around in unison to every performance. The lighting only added to the electric and lively atmosphere as it switched between vividly shocking hues of blue to neon pinks and purples. The abrupt changes in lighting coincided with the eye-catching and vivacious movements of all members of the band who were stomping around to their music as much as the crowd were.
The indie foursome proved their musicianship and range with a series of tight-knit performances as they treated fans to loud, faster-paced hits to more mellow rhythmic favorites like ‘Booster Seat’. With their second album ‘Here Comes Everybody’ soon to release in June, along with a tour of the States, this Australian foursome promise there’s more to come yet.
Image credit: Bruce Baker
There have been a countless number of bands and artists that have come and gone over the years – perhaps releasing a few singles or a couple of albums here and there before dissolving and being swallowed up by the relentless marching of time. There is one band, though, that have seemingly been a constant fixture of pop and rock music since the late 60s, I am of course referring to Sparks. Originally formed in 1968 under the name Halfnelson, Sparks have undergone numerous reinventions, line-up changes, and have witnessed very varying degrees of success. The heart of the group, however, has been and will always be the brother Ron and Russell Mael – who have been playing together for over 50 years without growing to passionately hate each other (Liam and Noel, take notes).
After various pandemic-related delays, Sparks were finally able to get back on tour this year and their first post-lockdown English date saw them perform at Manchester’s Albert Hall to a long sold-out crowd. In lieu of a support band, Sparks treated the people of Manchester to a 2-hour set – no mean feat for two people in their mid-seventies, though it is perhaps less surprising when you take into account the fact that Sparks have 26 studio albums worth of material to fashion a setlist from. The brothers, along with their fantastic backing band, played a great selection of their biggest hits and fan favourites from their extensive discography, including two songs from the soundtrack to Annette, the 2021 Leo Carax film, for which Sparks provided the soundtrack. No strangers to the world of film (we won’t mention ‘Rollercoaster’ (1977) if you don’t), Sparks were recently the subject of a documentary, ‘The Sparks Brothers’, by legendary British director Edgar Wright and, as Russell told the audience in Manchester, are currently working on a musical film.
The performance given by Sparks at the Albert Hall was second to none, with Ron and Russell delivering banger after banger with the ease and casual nature which can only come with over 5 decades of experience. Whether you’re more into Angst in My Pants (1982) or A Steady Drip, Drip, Drip (2020), there was something for every type of Sparks fan within this set – Ron even treated the audience to his incredible dance moves during ‘Number One Song in Heaven’, moves which would have put Fred Astaire to shame. A particular highlight, personally, was the inclusion of the song ‘Johnny Delusional’ from the 2015 collaborative album FFS, made with indie rock giants Franz Ferdinand. The collaboration, along with Sparks endless desire for musical innovation, are good indicators of what sets Sparks apart from other rock bands of their age group – Sparks could have stopped making music 40 years ago and would have still lived a comfortable life releasing greatest hits albums and doing occasional reunion tours, but instead they have insisted on remaining at the forefront of rock and pop music.
After a beautiful rendition of their greatest hit ‘This Town Ain’t Big Enough for Both of Us’, for which the band received a well-deserved standing ovation, Sparks returned to the wings before returning for an encore of ‘Suburban Homeboy’ – a cut from their 2002 album Lil’ Beethoven which has now been re-released featuring rare vocals from Ron – and ‘All That’, a song, which the band say, unintentionally summed up how they felt whilst being unable to perform throughout the pandemic. Perhaps not the most obvious choices for an encore, but they worked excellently none the less.
Travelling back up the M62 after the show, I reflected on what had been an unbelievably brilliant gig and took solace in the fact that, even after 50 years and 26 studio albums, Sparks remain one of the greatest and most fearlessly original bands to grace the airwaves. Long live Ron and Russell Mael!
After roughly two years of live music taking what felt like a never-ending hiatus, The Bunnymen’s show at the o2 Academy on 5th April would have been many of the audience’s first gig since before Covid – and what better gig to reintroduce oneself back into the live music scene with than the Liverpool legends we know as the Bunnymen.
The band first formed in Liverpool in 1978 whose early releases secured them their position as legends of the post-punk genre. Ever since then their evolving sound has proven its musical dynamism from rhythmic pop releases of ‘Songs to Learn to Sing’ (1985) to the moody melancholia that so characterizes the post-punk essence of their 1980 album ‘Crocodiles’. Although the band have proven their skill and versatility as musicians through their ventures into jazz, guitar pop and even psychedelia, they nonetheless stayed largely true to their post-punk essence at the academy with electric performances of their early releases.
Their fantastic ranges in sound and style were perfectly captured in the show as they dazzled the audience through consistently enigmatic performances ranging from well-loved post-punk classics like ‘Going Up’, to dabbling in jazzy undertones. Regardless of the genres the band meandered itself in, the atmosphere of each performance was consistently electric thanks to Will Sergeant’s skillful yet modest mastery of the guitar, which complimented Ian McCulloch’s unwavering, and insistent vocals. As well as performing many of their older and comfortably familiar releases, the band also treated the audience to a new song, ‘Brussels is haunted’, an upbeat number promising there’s more to come from The Bunnymen yet.
The babysitters have been booked, the Friday morning sick calls have been fully rehearsed, the hangover remedies have been pre-emptively laid out on kitchen islands. O2 Academy Leeds is packed with old-school ravers raring to go like it’s the last night of their lives. And why not? After all, this is likely the final chance they have to see Groove Armada perform a fully live show.
To celebrate a hugely successful 25 years since their debut, the dance legends are going out with a bang with a farewell tour. The duo, consisting of Tom Findlay and Andy Cato, defined the sound of the dancefloor for a generation alongside the likes of Basement Jaxx, Moloko and The Chemical Brothers. Throughout their genre-defying 8 album discography, they infuse floor fillers with flavours of trip-hop, funk and jungle to create music that is as at home in a sweaty house party basement as it is on a sun-soaked Ibiza beach. As sad it is to see them go, the crowd can’t wait to watch them leave.
As expected, the night’s setlist has its focus on the fan favourites rather than deeper cuts. With hits like ‘Look Me in the Eye Sister’, ‘My Friend’, and ‘Song 4 Mutya’ smartly starting proceedings, the room is invigorated from the offset.
Three singers share the responsibility of vocals, switching out individually for each song. Saint Saviour, complete with a tartan kilt and pigtails like a rave-ready Pippi Longstocking, covers the stomping house tracks while throwing her body into theatrically poised shapes. Veba punches iron-lunged power into the duo’s soulful electronica. M.A.D. acts as the hypeman, MCing over breakbeats and bringing the vigorous energy of an after-hours party. Each vocalist excels in their own style and highlights the impressive breadth of Groove Armada’s sound. This variety is also what propels the show forward, sometimes in unexpected ways. M.A.D. filling the shoes of Gramma Funk on irresistible Big Beat anthem ‘I See You Baby’ was a particular delight.
After a night of bleeping synths and pumping four-to-the-floor beats, the call of a trombone signals the encore with the opening riffs of downtempo house anthem ‘At The River’. By the time the intro of show closer ‘Superstylin’ rolls around, the crowd are practically rabid.
This swansong may have been a no-frills affair but, by relying on the strength of their crowd-pleasing catalogue, Groove Armada were able to deliver a lively and consistent send-off. This armada may be on its twilight voyage, but this is how you dock for the last time in super style.
It’s been 15 years since the last professional UK production of Hedwig and the Angry Inch. With the media scrutiny of those who are gender non-conforming growing ever harsher and political rollbacks of LGBTQ+ rights cropping up left and right, it feels as though we need the smutty yet heartfelt musings of a genderqueer glam rocker more than ever. As Divina de Campo’s Hedwig proudly stands centre stage for the opening number, her fully extended denim cape emblazoned with the words ‘gender is a construct’, it becomes clear this production will be the antidote to contemporary toxicity.
Despite its humble off-Broadway beginnings and a box office bomb of a film adaptation, the musical has built a diehard cult following among Queer audiences akin to that of the Rocky Horror Picture Show. The story follows Hedwig, an ‘internationally ignored’ East German rock singer, who battles with the trauma of a botched gender-reassignment surgery she undergoes to escape her Soviet homeland. Abandoned by her husband in middle America, she starts a relationship with Tommy Gnosis, a young, inspiring musician who goes on to break her heart, steal her music and become a world-touring rock icon. We join Hedwig and her band, named after her scarred genital mound, as she performs on a tour that shadows Gnosis’ while retelling her tumultuous life story with witty candour.
For this gig, the entourage have pitched up in Leeds. Jamie Fletcher’s production cleverly tweaks the script (with nods to Richmond Hill and Roundhay Park) and the multi-faceted set design from Ben Stones is primarily a Working Men’s Club stroke Dive Bar. It is as impressive as it is charming that Fletcher has managed to marry the original show’s riotous camp with a self-deprecating Northern sensibility.
The main attraction is of course Hedwig herself. From the moment spotlight illuminates her at the back of the stalls, it is de Campo’s show. The Rupaul’s Drag Race UK runner-up struts down the aisles, pausing to bask in the audience’s rapturous reception. They nail the bravado and showmanship of a diva with delusions of grandeur but also capture Hedwig’s punk edge, gyrating, growling, and rasping for a rowdy 100 minutes. Racing through the script’s funniest lines, de Campo delivers the jokes with a lovable lewdness, occasionally deploying exaggerated Yorkshire tones to hilarious effect. They truly are the star turn.
Yet, as much as the rip-roaring rush of the show’s soundtrack is electrifyingly Rock N Roll, it is easy to get left in the dust. Lose yourself in the anarchy for just a moment and you run the risk of missing a lyric crucial to the plot. Though ultimately, the spectacle of de Campo slut-dropping in sync with a giant inflatable gummy bear is enough to render any confusion insignificant.
By the show’s end, de Campo has put to good use their well-known four octave range and has even squeezed in a quick cameo from the iconic red wig and silver dress. Hedwig’s regalia has been removed layer by layer as she bares herself to vulnerability both physically and emotionally. Fletcher’s production succeeds in stripping back the pretensions of gender, belonging, and ambition in a show that centres and champions those that do not conform. This musical is a tonic, albeit one that is bittersweet and fabulously dirty.
