Soul in the Machine – Saltmine Theatre

Let’s hope the spirit of George Williams lives on. For the founder of Christian social organisation YMCA could be speaking directly into the current zeitgeist. More specifically, his concern for the welfare and rights of ordinary workers in 1844 sounds fairly familiar to some of the observations arising out of the coronavirus crisis in the UK. Originally filmed in 2018, Saltmine Theatre may not have intentionally predicted that Soul in the Machine would strike this sort of chord two years on. But it certainly has a prophetic resonance now.

Much has been made of the poor pay and often inadequate equipment and working conditions of those who have come to be defined as ‘Key Workers’ during this pandemic. These issues existed way before the current crisis brought them firmly into the light. But they were only ever marginally and infrequently talked about in relation to the gig economy and government austerity. It seems that our consumer capitalist society was still quite happy to continue trundling along the lines of economic inequality. Until the coronavirus and subsequent lockdown restrictions brought everything to a major halt. Suddenly, those in the lowest paid and least valued roles were recognised as essential in the provision of our most basic needs and necessities. Those who were looking after our most vulnerable and at risk became our most important assets. They had been overlooked for so long. Now, they are uppermost in our thoughts. George Williams recognised this in his own context. Contending with the gruelling demands brought on by industrialisation, he sought to argue against the stresses and strains felt by his fellow workers in the name of productivity and profit. His determination to not only make life better for young working men but to provide them with an education and spiritual nourishment led to an organisation being formed that, still today, seeks to inspire, speak up for, and transform communities.

Such a huge feat, spawning from a humble vision, is perhaps what inspired Ben Kessell to play the main man with such animation and decency. He takes on the dual role of protagonist and narrator, ever active on stage as the show takes us through the story of George Williams’ life. He is joined by a fine cast of supporting characters on a fairly plain set that reminds me of the National Theatre’s 2015 production Jane Eyre. As a result, the actors have a degree of flexibility and physical improvisation as they travel across the wooden platforms, injecting liveliness into a narrative that moves swiftly along until the final fifteen minutes. Then, a defining dialogue between Williams and journalist Julia Davies (Alys Williams) exposes brilliantly the motivations, values, and beliefs that the former holds so dear. It is a well-constructed, excellently-argued, inspired piece of theatre that is worth listening to on repeat. Not least because it speaks into our situation today.

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We can learn a lot from George Williams. His vision brought lasting change and provoked positive action, first among the workers of Georgian London, and then beyond. Soul in the Machine can be a stimulus for us to reach for the same. A proper debate needs to be had about the longer term policies that continually undervalue the very people who at this moment are working on the frontline. Platitudes such as applauding the NHS, now a Thursday night ritual, are all well and good. But, like the hymn and few words that mark the passing of Morse, a character whose illness stems from his poor working conditions, it does nothing to challenge the systemic inequalities that led to his death in the first place. The institutional structures that contributed to the problem remain in place.

It feels like we are at a moment when real change could be possible. We may be hankering after some kind of ‘normal’. But it would be a mistake to return to the same. George Williams wanted to build something better. Soul in the Machine can make us believe that we can too.

Soul in the Machine is available to watch on YouTube for free until Wednesday 20th May 2020, and can thereafter be purchased here for a small donation.

Featured Image (C) Saltmine Theatre

Hers – A Short Film by Alexa Morden (with Katie Elin-Salt)

In Alexa Morden and Katie Elin-Salt are two actors determined to change the industry. Through their excellent podcast ‘The 98%’, they give a warts-and-all account of what the #actorslife is truly like. It is an insight that will prove particularly valuable to recent graduates; and for other creative types like me there is plenty to learn from and to relate to. More than anything, it brings a new-found respect for those pursuing this most fraught and fragile of “career” paths.

The creation of Hers by Alexa Morden springs in part from the difficulties of the jobbing actor. For anyone already familiar with their podcast, the idea of acting as a full-time profession is a distant dream for most. Thus, in response (and to quote Morden), ‘When the industry isn’t giving you lemons… grow your own oranges’. The result is this short film that is fresh, fragrant and ripe for watching.

Morden stars as Beth, a young woman who happens upon kindred spirit Laura (played by Elin-Salt) in the bathroom of a house party. They hit it off immediately through a conversation about online dating apps, soon finding themselves acquainted with one another on the tiled floor. What follows is a wonderfully frank scene, featuring full frontal dialogue that is smart, witty and well-polished. Some may consider the so-called ‘X-rated’ content here as being too much. Some would argue that it has been pulled straight from the Fleabag Scriptures. In either case, Hers feels fresh and raw (in spite of the ordinariness of its characters and its mundane setting) suggesting that such explicit conversation around women’s sexual experiences remains rare onscreen.

I would expect nothing less from its two stars however, who to some extent play versions of themselves here. Their no-nonsense, tell-it-like-it-is approach to their podcast is reflected here in the casual flow with which this duologue is delivered. The film benefits greatly from their off-screen chemistry, which makes the friendship that blossoms between their characters onscreen all the more believable. They are well-suited, with Elin-Salt’s strong South Walian phrasing and expressive movement providing a nicely-balanced contrast to Morden’s softer tone and sharply defined actions. They have the makings of a very entertaining partnership. In the real world, of course, this is already a reality. But there is also something about these two characters that, at the end of the film, makes you want more of their company.

This may be a one-off piece. But Hers has the potential to be something much bigger.

Click here to watch the film*.

To find out more about The 98% podcast, click here.

 

Originally written for Get the Chance on 5th May 2020.

Featured Images (C) The 98%/Alexa Morden

In My Skin – BBC3 Series Review

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Don’t get me wrong. The first two episodes of Normal People were beautifully-crafted, and I am looking forward to watching the rest of the series. From this initial glimpse, I can see why it has received such high praise from critics and viewers alike. Whilst this show has been taking all the plaudits however, another BBC3 commission has been quietly going about its business. In My Skin may not have been given a privileged primetime slot on BBC1, but I would argue that its voice has been no less powerful than that of its highly-acclaimed stablemate. The series has just come to an end, hanging on a somewhat explosive cliffhanger that suggests a second series is already confirmed. If so, it is hugely deserved.

In My Skin has been misunderstood in some quarters as being about popularity. I don’t believe that to be the case. In the main character of Bethan (Gabrielle Creevy), I found someone not wanting fame or even attention. In my eyes, she simply wants to be liked. As a result, she spins a web of lies surrounding her family in order to paint her life as an alternate reality wherein everything is “normal” and she is “ordinary”. She tells these lies to Poppy (Zadeiah Campbell-Davies), an archetypal Miss Popular, not because she desires to be with the in-crowd. It is not status that Bethan seeks but a relationship. She fancies Poppy. Part of this coming-of-age drama is the exploration of one’s sexuality. This is done with such gentle understatement as to capture a truth very rarely seen in fictional portrayals. The heterosexist narrative that presents same-sex attraction primarily (only) in terms of the closet is instead replaced here with a delicate acknowledgement of her sexual orientation. It is neither a problem nor a revelation; a source of pride nor of shame. It just is. And there is something quite beautiful and refreshing about that.

Some people may sigh at the thought of another teen-focused drama. Yet In My Skin places a spotlight on a corner of the world still underrepresented on television. Writer Kayleigh Llewelyn has talked about ‘wanting to recreate accurately the Wales we knew’. She has praised the likes of Ruth Jones (Gavin & Stacey, Stella) for capturing the ‘warm, broad characters’ of her homeland whilst taking this further, into the realm of traditional kitchen-sink drama, presenting ‘the grittier side’ found in the nation’s working-class communities. For all that I have delighted in the TV dramas emerging from Wales over the last decade, I must concede that most of these shows have been middle-class in nature. In My Skin takes us to the coalface, as it were; to life on a typical semi-urban street on a Welsh council estate. It doesn’t shy away from the challenges of Bethan’s home life, but it is also shot through with plenty of humour. Her dad (Rhodri Meilir) is an alcoholic; her mum (Jo Hartley) bipolar. In her Nan, played wonderfully by Di Botcher, Bethan finds a warm, witty and supportive companion. Hers is a world that is very rarely seen, yet represents for many an everyday reality. This is what the BBC, when it works, does best. We take it for granted at our peril.

Kayleigh Llewelyn

The relationship between Bethan and her mum is the pivot on which the series rests. Hartley is astronomical in her representation of bipolar disorder, giving a performance of such magnitude as to believe she was the real deal. It shows in the accuracy and detail of her portrayal that she has taken on board everything that Llewelyn sought to put across of her own experience. For her part, Creevy presents an inner strength to Bethan that both masks an underlying fear and grows out of a persistent love for her mother. She reflects the vulnerability of her character at the same time as drawing out a steely determination within her. In their relationship, we see the pain, joy, frustration, anger, humour, and love that bind them. It is harrowing, heart-rending, and inspiring. It is what makes the series tick. But like many of its fellow comic-noirs (Fleabag chief among them), its supporting cast are so well-rounded as to add pungency to the show’s centripetal force.

In My Skin is a complete and utter triumph. It deserves major plaudits too.

Click here to watch the full series.

Originally written for Get the Chance on 30th April 2020.

My Top 5 Showcase: Theatr Clwyd Shows

theatr clwyd

In the third part of my showcase series for Get the Chance*, I thought I’d share five of my favourite Theatr Clwyd shows in conjunction with their #TCTogether project.

Under Milk Wood

I have this production by Terry Hands to thank for falling in love with theatre in the first place. On a cold February night in 2014, I sat on the end seat in the front row of the Anthony Hopkins theatre and was transported to the wonderful world of Dylan Thomas’ famous drama. It featured an excellent cast of Welsh actors whose delivery of the language created a very vivid experience. I can still see the character of Polly Garter (Katie Elin-Salt) under intense spotlight, transfixed by her plaintive tones as she sang of lost love. A true ‘conversion’ experience for me.

Junkyard: A New Musical

Writer Jack Thorne has gone on to critically-acclaimed success with TV dramas like The Accident. This play came hot on the heels of the first in his National Treasure trilogy, and was every bit as good. Set in an adventure playground, it featured a rowdy group of teenagers led by the outspoken Fiz (Erin Doherty). Doherty led the company brilliantly, giving a pitch-perfect performance in a production that used lighting and music to brilliant effect. Emotive and funny, it shone a light on the overlooked corner of an urban landscape.

The Importance of Being Earnest

Anyone who has witnessed the annual Rock ‘n’ Roll pantomime will know that the costume department at Clwyd are a talented bunch. They excelled themselves with this production however, with costumes that were every bit as colourful as the spectacularly rich scenery. Oscar Wilde’s already witty script was brought to life hilariously by the physicality of actors Matt Jessup and Nick Harris in particular. Brilliantly funny, I don’t think I’ve ever had so much fun in a theatre.

Home, I’m Darling

Deservedly winning awards (Best Comedy among them), Laura Wade’s critique of nostalgia and domestication was a beautifully-constructed, well-acted and aesthetically-glorious piece. The bold and impressive scenery – effectively a life-size doll’s house – would have been enough to bowl you over. Thankfully, the acting talents of Katherine Parkinson and Richard Harrington, clearly in their element, brought plenty of humour and vulnerability to their lead characters. It made for a highly original, thoroughly enjoyable play.

Pavilion

I loved this play. Playwright Emily White’s debut is a modern Under Milk Wood, casting a sharp, satirical and dark eye on life in small town Wales. It featured an incredible array of performances from established actors and upcoming talent alike. The true genius of this production was in its realism; the way that White created drama out of the everyday and mundane. The cast brought it to life superbly. I cannot wait for it to be revived for the stage again already.

What are your favourites? Share them using the hashtag #TCTogether, where you’ll also find lots of creative ideas to do during lockdown @clwydtweets.

*Originally written for Get the Chance on 24th April 2020.

My Top 5 Showcase: Welsh TV Drama 2010-2019

Continuing this series for Get the Chance, here I select my top five Welsh TV dramas of the last decade. They are not necessarily chosen on the basis of popular appeal or critical acclaim. Instead, this is a personal list from which you are free to agree or disagree entirely. Let me know your thoughts…

Baker Boys

Broadcast in 2011, this series was my first proper encounter with Welsh TV drama. Set in a tight-knit community in the South Wales Valleys, it focused on the impact of the economic recession on its population, many of whom suddenly find themselves unemployed when the local bakery goes bust. Timely and relevant, Gary Owen & Helen Raynor’s series featured a who’s-who of Welsh acting talent, with Eve Myles (Sarah) and Gareth Jewell (Owen) heading up efforts to save the company and make it work as a co-operative.

Hinterland (Y Gwyll)

Starring Richard Harrington and Mali Harries, this crime drama was one of the first to find broad appeal outside of its nation’s borders. Running for a mere twelve episodes, Harrington played DCI Tom Mathias, a man whose troubled soul was reflected in the bleak and desolate landscape of its setting. In fact, the wild and mountainous terrain of Ceredigion was such that Hinterland/Y Gwyll was labelled as the original ‘Welsh noir’ (after Nordic counterparts The Killing and The Bridge).

Keeping Faith (Un Bore Mercher)

When I sat down to watch Un Bore Mercher on S4C in 2017, I could not have imagined how big it would become. After its English-language version Keeping Faith was subsequently broadcast on BBC Wales, it became such a hit on iPlayer that it landed a prime-time slot on BBC1. The reason for its immense popularity was largely down to the juggernaut of a performance given by Eve Myles. She put in an emotionally-raw turn as lawyer Faith Howells, whose husband Evan goes missing, leading to the uncovering of a host of secrets that cast doubt on how well she really knew him. Myles deservedly won a BAFTA for her immersive portrayal.

Parch

Ok, so maybe I’m being a bit biased here, but despite the fact that I have a soft spot for TV vicars, this surrealist drama was still a hugely enjoyable and well-written series. I may have tuned in initially to follow the crazy and chaotic life of the show’s protagonist, the Reverend Myfanwy Elfed (played wonderfully by Carys Eleri), but I stayed because of the strength of the supporting cast. Writer Fflur Dafydd is masterful in creating well-rounded, fully formed characters, the effect here being a show that was full of heart.

Hidden (Craith)

Series one of this crime series featured standout performances from Rhodri Meilir (Dylan) and Gwyneth Keyworth (Megan). Series two brought us another excellent performance from rising star Annes Elwy (Mia). Holding it all together are Sian Reese-Williams and Sion Alun Davies, who play detectives Cadi John and Owen Vaughan respectively. They are chief investigators in storylines that reveal the killer early on. But this makes Hidden/Craith no less gripping, perhaps because of its intense focus on the personal lives of all its characters.

And I haven’t even mentioned Bang, 35 Diwrnod/35 Awr, Gwaith/Cartref, Alys…. Are there any others you can think of? What are your favourites?

*Originally written for Get the Chance on 19th April 2020.

Twinnie – Hollywood Gypsy

Twinnie-Hollywood-Gypsy

Instagram informed me that Twinnie was going live. It was an album launch party with a difference. With a sofa instead of a stage, and an audience loud with comments instead of cheers, the release of Hollywood Gypsy was being celebrated with a long since opened bottle of wine. Not quite the occasion she had in mind I’m sure, but an insightful tour through the album’s songs nevertheless. And what a set of songs they are. Each one is a hit record in its own right. Twinnie has really laid herself bare, pouring out heart and soul to create something that is deeply personal yet universally relevant. ‘Type of Girl’ feels like the perfect song to open up the album in this sense, for it displays the complex and often contradictory emotions that make for “the impossible job of loving me”. Twinnie spells it out immediately, pulling no punches with her honest and raw lyrics that continue into ‘Better When I’m Drunk’ and ‘I Love You Now Change’.

After ‘Chasing’, which continues the theme of romance and relationships, Twinnie then turns inward, to herself, with a title track that is simply spellbinding. Telling her story of “grow[ing] up in between two worlds”, she explores identity and family in such a compelling way, exuding a confident clarity that is captured most sharply in the final notes of a rousing chorus. ‘Superhero’ then turns the reflective mood up to ten with a sharp and shrewd commentary on the nature of love. Here, as well as in hit single ‘Social Babies’, which follows, Twinnie displays the kind of wisdom many of us can only dream of possessing. Her social commentary on our relationship with social media is particularly resonant, wrapped up in a catchy chorus that sticks in your head long after it’s finished.

‘Daddy Issues’ is without doubt the most country-sounding record on an album that is heavy on pop production. It doesn’t feel out of place though, perhaps because it continues the strength of storytelling and lyrical prowess to be found throughout this album. This is exemplified for me in a line from ‘Lie to Me’, a pure ballad that includes this gem: “Stare at the stars upon the roof/ While we dance around the truth”. Soaked in Twinnie’s captivating vocals, it is simply gorgeous. In fact, the whole album is. You would be hard pressed to decide on a favourite tune. As Twinnie herself admitted, it is like asking to choose between your children. Each one is different; each is special. We may not be able to share in the experience of a live set right now. But make no mistake – Hollywood Gypsy will still have listeners dancing around their living room. A very special debut album.

You can purchase Hollywood Gypsy here, or stream it on Spotify now.

Originally written for Building Our Own Nashville.

Featured Image (C) Twinnie

My Top 5 Showcase: Welsh Country Music Artists

Here at Get the Chance, with opportunities to respond to live cultural events curtailed by the current crisis, it presents an opportunity to showcase talent instead. As country music is one of my greatest loves, here’s my shout-out to five Welsh artists who are worth checking out…

Rosey Cale

To many, Rosey may be more familiar as a musical theatre actress, having starred most notably in Theatr na Nog’s production ‘Eye of the Storm’. However, she is also a talented songwriter, having released a series of singles which have all been very well received. What marks her music out is the vulnerability and honesty in the lyrics, which are often surrounded with an infectious pop-inspired sound. Her ‘Sunday Covers’ on YouTube are well worth checking out, with this one being a particular favourite of mine:

 

Eleri Angharad

On her website, Eleri’s biography states that she ‘blends traditional country music storytelling with catchy pop melodies’. Listening to her debut album ‘Earthbound’ though, I would say that she has also been influenced (whether consciously or not) by the folk music of her homeland too. It is the eclectic nature of her sound which makes the Swansea-based artist stand out from the crowd. Her single ‘Smokey Steel Lights’ is a case-in-point:

 

Megan Lee

For someone so young, Megan Lee has achieved an awful lot. Despite still being in school, this Wrexham-based artist is somewhat of a veteran musician, having already released a number of records as part of her family band Blue Genes. Now branching out as a solo artist, this girl has a very bright future ahead of her. Inspired by the likes of Alison Krauss and Cam, this original song is evidence of her burgeoning talent:

 

Bryony Sier

A prolific guitar picker, an inspired songwriter, and a versatile musician, Bryony is fast drawing the attention of many in the music industry. I loved her early stuff, infused with old-school Cash-inspired gospel, but her recent pop-produced singles retain an acute lyrical honesty that still manages to hit the spot. Check out her latest single ‘Merry Go Round’ to see what I mean:

 

Shannon Hynes

This Flintshire-born singer-songwriter already has a prolific track record when it comes to UK Country Music #1s. Her talent was recognised most recently at the ‘UK Country Music Spotlight Awards‘ when her single ‘Off Guard’ was nominated for ‘Song of the Year’. Blending traditional and modern country sounds, she may no longer be based in Wales, but she is certainly flying the flag for Welsh country music talent.

 

*Originally written for Get the Chance on 11th April 2020.

Bang – Series 2 Review

Bangtitlecard

After its acclaimed debut on S4C in 2017, it was surely only a matter of time before Bang returned to our screens. Over two years have passed since the first series, with writer Roger Williams wasting no time in getting down to business. A visceral opening scene throws us straight in at the deep end, posing plenty of intrigue. What follows is a well-plotted second season that melds the development of returning characters’ stories with those of brand-new faces.

There is no sign of second series syndrome, with Williams developing a strong central crime narrative that works perfectly well as a stand-alone. This means that there is no overreliance on the likes of Sam (Jacob Ifan) and Gina (Catrin Stewart), the brother and sister who were central to the show’s original run. Instead, the continuation of their storyline is just one of a number of other narrative strands – each fully rounded and complete – that tie together nicely. It is the tightly-crafted way that Williams weaves these strands and slowly draws them into a collective whole that makes Bang such a satisfying watch.

Sam Bang

The gun remains a potent symbol in series two, though its appearance is much more sporadic. It has shifted from being the singular obsession of one to being the shared object of many. Its presence is felt, but always underneath the surface in this latest six-episode run. The ramifications of its use, however, are potently displayed in the character of Sam. Still trying to come to terms with the death of his father by such a weapon in series one, we find him grappling with PTSD. Ifan does an excellent job of conveying Sam’s mental state; in fact, it is one of the most genuine onscreen portrayals I have ever seen. Most make clear what they are trying to do. Yet here, through a combination of fine acting, clever editing, choice camera angles, and pervasive music, the producers of Bang manage to capture Sam’s struggles so powerfully that I couldn’t help but be emotionally moved.

The domestic abuse by DI Morgan Riley (Dyfan Dwyfor) on wife Caryn (Hedydd Dylan) is no less affecting. Williams captures the subtle manipulation and invasive cruelty of the husband really well, causing me to turn away from the screen several times such was my discomfort in the face of his underhand brutality. In fact, this subplot became more absorbing than the central storyline, involving a serial killer enacting revenge for the rape of Marissa Clarke (Sophie Melville) ten years earlier. The bloodbath that ensues across the course of six episodes is fairly graphic. Yet it was the unseen mental and emotional scars inflicted on the show’s characters that had me reaching for the remote in distress.

Bang 2

Writer Roger Williams has not returned to Port Talbot in a hurry. This second series of Bang feels as much a labour of love as its first. It is another compelling story full of well-defined characters dealing with pressing issues. Returning fans will not be disappointed. And for those who haven’t yet seen it, I would recommend adding it to your isolation watch-list.

Watch the full series here.

Originally written for Get the Chance on 31st March 2020.

Featured Images (C) S4C

 

Laura Oakes – How Big is Your World EP

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It seems that as measures to halt the spread of coronavirus push us deeper into isolation, music is fast becoming a much-needed companion. Turning to streaming services is one way that fans are trying to support artists in the face of unprecedented gig cancellations, pressing repeat on their favourite songs in order to generate some form of income for their chosen musicians. Meanwhile, artists themselves are also encouraging their followers to purchase items from their stores in a bid to keep them afloat during this uncertain time. If I were to recommend one new music release for country types at the moment, it would be Laura Oakes’ EP How Big is Your World. I can guarantee that it will take your mind off the worries of the world with its infectious and relatable lyrics and highly-polished sound.

Many will already be familiar with opening track ‘Welcome to the Family’ but, even if you are not, its contents are so recognisable that you will become instantly acquainted on first listen. It represents a microcosm of distinct traits that are noticeable in every family, told in a concise and very catchy three minutes. ‘Better in Blue Jeans’ continues the clever musical arrangement with a tongue-in-cheek commentary on social mobility. Oakes is unwavering in her interrogation of her subject’s “undiluted, highfalutin” attitude, explaining in no uncertain terms that “I liked you better in blue jeans”. One imagines that this straight-up, no-messing stance is influenced by her heart-on-sleeve emotionality, which is most evident in ‘Learn to be Lonely Again’. It is not just the story behind this song that makes it especially poignant. Oakes’ voice is an example of deliberate understatement; always telling, simply conveying. She never allows it to belt out a powerful final note. This makes for simple yet affective songs, with confidence placed firmly in the lyrics, the instruments adding an extra gloss.

Final track ‘How Big is Your World’ is a song that I am constantly falling in love with, perhaps because it sounds like it should be on stage in a musical. The clear vocal delivery, meandering chorus, and wistful arrangement make this the perfect song to sit back and enter into reflective mode. On a day where further action is being taken to deal with coronavirus, it certainly helped me to be both in the moment yet mindful of the world outside. It reminded me of music’s ability to uplift us and comfort us. And by purchasing How Big is Your World, it’s good to know that I’m giving something of worth back, especially to such a talented artist like Laura Oakes.

Originally written for Building Our Own Nashville.

Charlotte Campbell – On the Southbank

charlotte campbell OTS

For anyone struggling to cope with isolation, may I prescribe Charlotte Campbell’s new album as the perfect tonic. The London busker’s latest release shines as bright through my stereo as the spring sun through my window. It is a light that is not so much warm and fuzzy; rather, it unburdens you of worry and anxiety. Its uplifting and joyous sound is a pleasant distraction from the rolling news and general strangeness of current times. Thanks to Charlotte’s gentle intonations, I am whisked away for a moment to the banks of the Thames, to a capital city that, though miles from where I live, suddenly becomes very real.

On the Southbank is deeply rooted in a sense of place. The title track evokes the hustle and bustle of the city, for example, whilst ‘Streets of London’ is akin to an audio descriptive tour. Campbell maintains a strong link to folk music throughout, but draws on other genres to display a vibrancy that is in keeping with the capital’s multiculturalism. A pop sensibility runs through many of her songs, though it is most keenly felt in ‘Over Again’ and ‘Songbird’. Meanwhile, ‘Sparkle’ and ‘Wildland’ are inflected with country. And ‘Jump’ includes a rap so rich in meaning that I might have to print it out and spend considerable time studying its content.

 

This straddling of generic borders whilst retaining a central sound makes for a series of beautiful musical arrangements. I did not so much passively listen to this record as actively dance along with it. The versatility of Campbell’s vocals means that every track sounds slightly different. She evokes a myriad of fellow artists, from Ellie Goulding to Molly-Anne. She is best described as an urban Kitty MacFarlane, embodying her surroundings such that her music and geography unite to create a very physical sound.

On the Southbank really does take you to the place of its title. It is a delightful space in which to lose yourself for a few moments, to relax in your chair and feel as if the world is as it should be. It may not be a world that is recognisable right now. But Campbell’s new album allows us to hold onto a picture of a reality that, God willing, will soon return.

Click here to stream the album, and purchase it here.

Featured Image (C) Charlotte Campbell