The Dark – Fuel Theatre/Ovalhouse Co-production

Everyone has a story to tell. The Dark is Nick Makoha’s story. His is a story of a childhood journey from his home in Uganda to the UK. It is a journey across a country that is under siege and extremely dangerous. It is a journey of survival, on a minibus bound for the border. It is a journey of a mother who desires a better life for her son. It is witty. It is thought-provoking. At times, it feels terribly real. As Makoha himself says, it puts ‘a face to the polarising words of refugee and immigrant’.

Featuring Michael Balogun and Akiya Henry in multiple roles, The Dark immerses you in the Ugandan culture of the 1970s. The brutality and oppressiveness of the Idi Amin regime is felt throughout. Yet this play is ultimately about the colourful characters whom Makoha and his mother meet along the way. Balogun and Henry inject such vibrancy into these people. They transition seamlessly between the different characters. It never gets confusing as to who they are portraying. Such transitioning is made even more natural by the excellent use of lighting, as well as their movement around the stage.

The set is simple enough. It features a cluster of chairs underneath a massive overhang filled with boxes and bags. This is clearly the minibus (or ‘mutatu’ in local parlance). In addition, an OHP screen and projector are to one side, keeping us updated on the times and locations of the journey. We also get to see some personal photographs of Makoha’s which flit onto the screen now and again. They act as a gentle and sobering reminder that what we are witnessing is a reconstruction of real events. This is what makes the final scenes in particular all the more powerful.

Although engaging throughout, it is in the final quarter of an hour that The Dark really grips you. With the border now well and truly in sight, the young Makoha and his mother have soldiers hot on their tail. But just as the chance of escape beckons, his mother must make a life-changing decision. It is incredibly tense. Positively gripping. But what makes it even more powerful come the end is the subsequent reaction of the UK border official towards the young Makoha. This final scene left me feeling frustrated and rather angry. And I think that’s what Makoha the writer is looking for. He wants to shake us out of our complacency. To remind us of the responsibility we have towards those who have had little choice but to leave their country of origin because of war and conflict. As such, The Dark is a timely play whose message we would do well to heed.

The Dark is Nick Makoha’s story. It is an important story for our time. It may have been made even more powerful if it immersed the audience into its world via the seats on stage. That’s where I felt I should be, compelled, as I was, by the performances of Balogun and Henry to join them on this journey. As it was, this one-act play still made an impact on me in the way that I think it was meant to. I just hope that it is seen by much bigger audiences than witnessed it here in North Wales. It is pertinent. A story that is much needed. There is a power and importance to this individual’s story that cannot be underestimated.

Originally written for Get the Chance on 28th January 2019.

Katy Hurt – Unfinished Business EP

It beggars belief how Katy Hurt remains unsigned. You would think that record companies would be queuing out the door for her signature. But if her second EP doesn’t turn the heads of music executives, their loss is our gain. Funded by the generous financial pledges of fans, Unfinished Business is a quality record, hitting the mark in every department. From the production to the lyrics, the music to the voice, it is a mini-masterpiece that deserves all the plaudits and recognition that are sure to come its way.

Combining the old with the new, traditional with the modern, Katy Hurt manages to seamlessly weave together two sounds that are believed by some to be diametrically opposed. The current debates around what constitutes “real” country music become rather superfluous when listening to Hurt. With a voice undeniably influenced by the first ladies of country – Parton and Cline among them – but with a desire to draw on the sounds of contemporary rock and pop, Hurt achieves the seemingly impossible on Unfinished Business – staying true to country music’s roots whilst embracing a more mainstream sound.

This is certainly the case on Drink, a low and steady opening track where a classic Country & Western sound is joined by a rock-fuelled chorus to create a very catchy song. Revved Up lands much heavier on the rock vibes. It is a song whose wheels dig in and kick up the dirt, leaving a trail of smoke in its wake as it drives down the highway at breakneck speed. But it never leaves its country origins behind. Similarly, whilst See Ya Later ventures firmly into pop territory, there remains, nevertheless, a distinct country influence. It is most certainly there in spirit if not in the body of the song. With a catchy beat and infectious lyrics, this easy-on-the-ear single deserved a much higher placing than #42 on the iTunes Country chart.

For anyone in doubt of Hurt’s true country music credentials, the title track and the hauntingly beautiful Natchez will set you straight. The former gently breathes on you, causing you to stop and simply be. It is utterly captivating, not least because of Hurt’s vocals. The care and tenderness with which she handles the words of the song brings its story to life in such vivid detail as to render it utterly compelling. Natchez has a similar effect, except here I was brought to tears. Hurt’s voice is deftly clear throughout, broken only by the odd shiver of harmonious pain. The song wraps its arms around you in a deeply emotional embrace. Its heartache is palpable. It completely overwhelms.

To not be affected in some way by the songs on Unfinished Business is surely a signal to get up and go and find your soul. They are filled with such feeling that one cannot help but be moved in some way. Together, they create a record that further announces Katy Hurt as an exceptional talent. It may only be the start of 2019, but Unfinished Business is already a frontrunner for UK Country’s record of the year.

Originally written for Building Our Own Nashville.

Stuart Landon – Outmanned, Never Outgunned EP

Released in amongst the sparkle and glitter of the Christmas season, Stuart Landon’s EP ‘Outmanned, Never Outgunned’ may have been missed by some. It is too good to let it pass by unnoticed however. If you’re preparing to pack away that festive playlist for another year, might I suggest replacing it with this fine record of country-rock from one of the UK’s best male vocalists.

There is a real ‘70s feel to the opening track ‘Midnight Man’. With a delectable guitar riff appearing throughout and a tinge of classic Garth Brooks in the overall sound, it is difficult to not fall in love with this song immediately. In fact, it is hard not to fall in love with any of the tracks to one extent or another on this EP. ‘Paradise’ is a wonderfully poetic piece, with a sweet sound that is particularly apt for this time of year – a piece of music with which to reflect on and look ahead to a new year.

One can’t help but notice the difference between Landon’s recorded material and his live performance. For instance, ‘I Can’t Take It Anymore’ is delivered with much less force here. The upbeat instrumentals juxtapose the soul-draining character in the chorus. As a result, the song takes on a lighter tone – a resigned sadness rather than embittered anger. Similarly, ‘Three Days’ finds him singing in much lighter and smoother tones. This is in contrast to the rough and gritty vocals which I have experienced in his live set, and which have seen him compared to Chris Stapleton. Such a difference is no bad thing necessarily. It simply makes for a different interpretation of the song.

This is very true when it comes to ‘Shatter Like Glass’. This song completely bowled me over when I first heard it performed by Landon with his band ‘Angels with Dirty Faces’. The full band piece is something to admire, the backing vocals and prominence of the instruments helping to give the song a powerful punch. On ‘Outmanned…’ however, we find a stripped back version that means the focus is much more on Landon’s voice. As a result, the piercing lyrics take on an even greater intensity. The chorus, in particular, is searing in its emotion. Whichever way you listen to it, there is no doubt that this is a top-class song.

Landon brings the EP to a close with the masterfully crafted ‘Breaking Down’. This is a song that oozes quality. It is incredibly touching, soulful and tender in both its lyrics and sound. It perfectly encapsulates the enigma of Landon, whose hard rock exterior disguises an emotional fragility. There is a whole lot more to this guy than the blazing guitar on the EP’s cover suggests. ‘Outmanned, Never Outgunned’ is replete with lyrical excellence and inspired musical arrangements. I can think of no better way to start 2019 than by giving it a listen.

Originally written for Building Our Own Nashville on December 2018.

Featured Image (C) Stuart Landon

Charlotte Campbell – Merry Christmas to You EP

If there is one Christmas release that I would urge you to go out and buy this year, it would be Charlotte Campbell’s EP ‘Merry Christmas to You’. The name may not ring a bell. But the voice will certainly chime with those looking to evoke the gentle spirit of the festive season. In this four-song collection, Charlotte brings a positivity and warmth that wraps around you like a blanket. Her vocals are perfectly understated – no grandeur or overegging of the Christmas pudding (if you’ll pardon the terrible pun). Instead, one finds a simplicity and grace in songs that will be familiar to most. Campbell has pressed her own unique mark onto ‘Have Yourself a Merry Little Christmas’, ‘Merry Christmas Everyone’ and ‘Silent Night’. The former is nostalgic in its output, sounding like an old vinyl record being played in front of a roaring log fire. The latter has choral overtones that blend well with Campbell’s folk-pop sensibility. Joining these three classics is an original, written by Campbell herself, and surely deserving of wider airplay. ‘Merry Christmas to You’ is in keeping with modern tradition whilst capturing something anew of the season as experienced in her urban context. Its chorus is incredibly catchy and is just the tonic for those feeling a little down as the dark nights begin to draw in and the cold wind begins to bite. She may be unsigned, but that is only one more reason to support this record. ‘Merry Christmas to You’ is a festive gem. The perfect present for this Christmas.

Originally written for Building Our Own Nashville on 7th December 2018.

Cinderella – Venue Cymru ***

You are invited into a world of pure imagination for Venue Cymru’s 2018 pantomime. Cinderella is an enchanting effort from both cast and crew. Whilst never completely whisking us away to another world, it nevertheless casts a few magical spells that will delight young and old alike.

Carly Burns plays a bubbly and bright Cinderella. Her Prince Charming comes in the form of Tom Parker from The Wanted. Together, they make a delightful pairing. Ably assisted by Herbie Adams as Buttons and Natalie Winsor as the Fairy Godmother, it is clear that this show is about one thing: having fun. The smile on the face of Parker is particularly infectious. It is obvious that he is relishing his role, even if he does come up short in the acting department. The director makes sure that Parker plays to his strength though. This pantomime is more musical than in previous years, and it is the leading man that benefits. “Come Alive” is perhaps the highlight of Parker’s musical performances, although his duet with Burns on “In Your Heart” comes a very close second.

One of the most magical moments of this pantomime arrives just prior to the interval. With her invitation to the ball now in pieces thanks to her ugly sisters Tess and Claudia (see what they did there) it appears that Cinders’ hopes of meeting the Prince are dashed. That is, until Winsor pops up with her wand to save the day. Her spell works wonders. It results in a truly mesmerising transformation on stage. Cinders’ rags suddenly become a magnificent gown. Two real-life ponies enter stage right pulling an elegantly decorated carriage. The scenery changes to become a snowy white backdrop. This is what dreams are made of.

This is the ultimate fairy tale scene. Along with the music, it makes Cinderella an enjoyable show. Throw in some cheesy jokes, the odd satirical quip, and some sexual innuendo, and you have the essential pantomime mix. The problem comes when you put a bit too much of the latter into the bowl. There is such a thing as overegging the pudding. Ventriloquist Dawson Chance (Baron Hardup) does just this. He may start out with good intentions. But, ultimately, every one of his routines seems to descend into crudeness. There is a very fine line to walk with such humour. And Chance fails to walk it. Some of his material may have worked thirty or forty years ago. But times change. Some things are best left in the past.

Overall, Cinderella has to be one of Venue Cymru’s best pantomimes of the last couple of years. Everything seems to have come together nicely, from the choreography to the set design, costumes to the props. Not everything is perfectly executed in the final piece. But there is still enough to dazzle and delight this festive season.

To book tickets, click here.

Originally written as part of the Young Critics North Wales scheme on 10th December 2018.

Midland – On the Rocks Tour

They were one of the highlights at Country 2 Country 2018. And now Midland are ending the year on a high here in the UK with their first headline tour a complete sell out. Last night, they stopped off at Gorilla in Manchester to perform to a packed and raucous crowd. They delivered a stunning set, full of energy and rabid enthusiasm. It is one of the most intense country gigs I’ve experienced this year.

Before the trio stepped out on stage however, another rebel-rousing country singer came on to warm up the crowd. A long-time friend of Midland (he was also their tour manager for 18 months until recently), the bearded and flat-capped Desure ensured that the night got off to an electrifying start. The audience were drawn forward, their noise levels muted, as soon as he began his set. He held them captive throughout, with a voice cut from the same cloth as David Gray and a musical style surely influenced by Bob Dylan. Songs ‘Kick Rocks’ and ‘Los Angeles’ were the highlights in a tremendous half hour of dark and whimsical storytelling. Finishing with the toe-tapping crowd pleaser ‘Forever Be Mine’, this rough-and-ready talent set us up nicely for the main event.

Midland sure know how to build anticipation among their fans. With a synthesiser resonating ever more loudly around the room as the lights slowly dimmed, the excitement became ever more palpable. It finally exploded into full-blown singing as a reworking of ‘Take Me Home, Country Roads’ suddenly began. Its resolute ending sent the audience into hysterical clapping, evolving into wild screams as Mark, Cameron and Jess took to the stage. Taking advantage of the hyped-up atmosphere, they began with the crowd-pleasing song ‘Check Cashin’ Country’. Not wanting to expend all the energy in the room too early, they then slowed down the pace with ‘Burn Out’ and ‘Electric Rodeo’. The red lighting that accompanied both songs added to their ambient tone, and helped to bring the audience down to a more sedate level before things really kicked off.

‘The Gator Boys’ pushed the noise levels up again, Cameron getting caught up in the wild reception of the audience so much that he temporarily forgot the lyrics, much to the amusement of his fellow band members. We were then treated to a new song from their still-in-progress second album. ‘21st Century Honky-Tonk’ was a beautiful bluesy number that led seamlessly into ‘Fourteen Gears’, the band’s first-ever release. Mark ended the song with a nod to Alan Jackson. Covers of Springsteen and the Rolling Stones followed. Before ‘Altitude Adjustment’, Mark prescribed John Denver to anyone having a bad day, year, or even a bad life. The trio are clearly rich in terms of musical influences; their brand of honky-tonk brings together a host of genres that are infused with old style country and western as well as a whole lot of soul.

Midland ended their main set with the crowd-favourite ‘Make a Little’. Throughout, the band revelled in guitar solos and instrumentals. And it was at its peak here. After bowing out stupendously with a rip-roaring cacophony of electric, bass and acoustic, they returned to the stage for an almighty encore. ‘Drinking Problem’ was something of a hymn for this Friday night congregation, who belted out the chorus with gusto, their hands held high and beer glasses in the air. It was only the 10pm curfew that stopped the band from carrying on. They had time to just squeeze in what I believe was Don Williams’ ‘Falling in Love Again’ to end an electrifying night on a graceful note.

If you can catch Midland live, it is worth every penny. They are entertainers as well as fabulous songwriters and musicians. The future is looking ever brighter for these Texas cowboys.

Originally written for Building Our Own Nashville on 1st December 2018.

Lucy Grubb – Dear Walter EP

On listening to ‘Dear Walter’, the second EP from Lucy Grubb, one cannot help but be transported to the rivers and grasslands of the Norfolk Broads. She may be influenced by a traditional country and western sound but it is clear that her East Anglian roots have wrapped around her music to create a distinct English identity. There are references to Tennessee and the Mason-Dixon Line in the songs of this EP. But in its sound, there is no doubt that Grubb is firmly rooted in the UK.

The opening lines of first track ‘In Common’ draw stark comparisons with the chorus of ‘Burning Bridges’ by The Wandering Hearts. The instrumentation may be different but the vocal blend of female and male voices, to create a gently haunting sound, is incredibly similar. When the track firmly kicks in, Grubb diverts down a more countrified path than TWH, bringing in banjo and shakers. But it retains a certain folk-like quality that leads me to place Grubb under the same Americana umbrella as the Hearts.

The stripped back nature of second track ‘Storm’ means that the youthfulness of Grubb’s vocal is fully exposed. It is easy to be captivated by the beautiful simplicity of her delivery, even as her lyrics contain a perhaps surprising degree of emotional depth and darkness. There is a maturity in her storytelling that seems to surpass her actual years. One of those “old heads on young shoulders” it seems.

On hearing the opening riffs of third track ‘Not into Anyone’, my mind immediately made its way into the back catalogue of my brain and pulled out ‘Step Off’ by Kacey Musgraves. There is definitely a slower tempo to Grubb’s guitar playing when compared to Musgraves’ song, but the sound was still strikingly similar enough for me to match-make the two together in my head. This is where the similarities end though. ‘Not into Anyone’ is more a painstaking romance than a wry break-up.

The title track, which rounds off the EP, is where I think I will draw the line with comparisons with other artists. To use an analogy, if Grubb was blossoming into her own unique self through the first three tracks, then ‘Dear Walter’ is where we find her in full bloom. It is a touching ode, sung with such haunting reflection. It is a gorgeous song that completes a remarkable fifteen minutes of music from a very talented young lady. I’d recommend a listen.

Originally written for Building Our Own Nashville on 2nd November 2018.

Allelujah! – National Theatre Live

It is clear from the opening lines that Allelujah! is the work of Alan Bennett. That wry Northern humour is unmistakable. He may be 83, but Bennett remains as active as ever on the writing front. He is also, in this particular case, out to make a political statement too.

Set within the wards of a community hospital on the edge of the Pennines, Allelujah! could be described as a kind of love letter to the NHS. It follows the daily travails of patients and staff on the geriatric ward which, along with the rest of the hospital, is earmarked for closure. Despite regularly meeting targets, it seems that amalgamation into a brand-new regional health centre, as part of an efficiency drive, is inevitable. And there is a dark secret that is about to be revealed that won’t help in the fight for its survival.

What is most striking about Allelujah! is its cast of characters. They are all charming and easily likeable. The patients especially are wonderful creations, brought to life by a talented cast that includes Gwen Taylor (Heartbeat, Coronation Street) and Jeff Rawle (Hollyoaks, Harry Potter). You can tell that they are having a ball playing such funny and whimsical people, and in the process showing that age should be no barrier within the acting profession. There has been a lot spoken recently, and rightly so, about the need to support young, up-and-coming talent. But it mustn’t be forgotten that the older generation too deserve representation. Bennett delivers on this and more, for there is a serious point being made among that dry and acerbic dialogue.

It is the treatment of older people in our society that he finds most wanting. Using the Indian heritage of Dr Valentine (Sacha Dhawan), for example, he manages to emphasise the stark contrast between the two cultures’ attitudes towards the elderly. In some respects, this eclipses any political standpoint. It is a cultural problem. Yet, by highlighting civil servant Colin’s (Samuel Barnett) preference for privatisation and capitalism, Bennett seems to suggest that these contribute towards, rather than stem, the problem.

Ultimately though, it is difficult to ascertain the real views of Bennett regarding such matters on account of the competing views of the characters who, together, make up an ensemble cast. There is no lead protagonist. In fact, the closest we come to one is towards the end, when both Dhawan and Deborah Findlay (Sister Gilchrist), in turn, perform a monologue a lá Talking Heads. This is classic Bennett, and is where we find the play at its most powerful. And when Dhawan addresses the audience directly, it is also when it is most explicitly political.

The dialogue is certainly what drives this show. The set is simple, the lighting used only sporadically for effect. The musical numbers, peppered throughout, are wonderfully choreographed. The music itself is perfectly chosen. What Bennett leaves you with here is a smile on your face. It is a play to be enjoyed, even as it takes some dark turns and makes some thought-provoking points. Allelujah! is, for me, an excellent addition to Alan Bennett’s canon. It is a show that is certainly worth spending some time with.

For more info, click here.

Originally written as part of the Young Critics North Wales scheme.

Frankie Davies – Wherever I Go

Wherever I Go by Frankie Davies is a picture-perfect snapshot of country music in the UK right now. It represents a wonderful and intriguing confluence of genres: rock, pop and folk all feeding into the mainstream of country to create a truly convergent sound.

The girl from Jersey has done well with this debut album. She eases us in with the soft and sweet ‘High on Love’ before the volume cranks up, the electric guitars come out, and we rock on to ‘Not Your Game’. The direction is by no means one way from here though. We are then treated to the lovely ballad ‘Wherever I Go’, the tempo well and truly slowed down by the relaxed playing of pedal steel and a simple beat on the drums. We then stay with this laid back feel on ‘Open Road’. With its lighter vocals and stripped back sound, this errs towards the folk end of the spectrum, and positively delights in its romantic intentions. We then hit much rougher terrain with the gritty sound of ‘All My Love’, followed by the even rougher rock-ready tune ‘You Don’t Know Me’. ‘Together’ then takes us into more pop-inspired territory and nicely showcases Davies’ vocals. There are touches of Ashley Monroe and Maren Morris in there, along with a bit of Maddie & Tae for good measure. You can tell that she’s been brought up on country music. What might surprise though is that Davies doesn’t hail from its traditional heartland. Instead, that voice has been crafted from listening to country music on her home island of Jersey.

One might add Crissie Rhodes of The Shires to that list too after hearing ‘Front Row Seat’ and ‘The Sweetest Sound’. These are by far the best tracks on the album. The former is a heartfelt and truly emotional ballad that cuts deep and buries itself into your soul. It is poignant and inspiring and is the track that causes you to stop whatever you’re doing and listen. Just listen. Meanwhile, ‘The Sweetest Sound’ is just that. The chorus is especially beautiful; extremely catchy, and a stroke of musical genius. This is the song that will have the audience singing along, not just at the time, but for ages after it’s finished. ‘Travellin’ Love’ nestles nicely between these two standout tracks, whilst ‘Asking for a Friend’ closes the album in true acoustic style. A reflection on social media and the need for connection, it is an intimate track that is subtly powerful in its call for greater interaction and face-to-face communication. It is a lovely end to a stunning debut album.

Catherine McGrath may have broken through and grabbed all the headlines this year, but Frankie Davies deserves to be up there with her. Wherever I Go is the ideal album for gaining an understanding of where country in the UK is today. It is a convergence of genres that captures the experimentation that is going on among so many country artists currently. It ticks all the right boxes and announces Frankie Davies as a true force on the UK country scene.

Originally written for Building Our Own Nashville on 29th October 2018.

Featured Image (C) Frankie Davies

Liv Austen – A Moment of Your Time

I suspect that Liv Austen isn’t just a wonderful artist but a wonderful person too. Her debut album A Moment of Your Time is, in some respects, a revelation. The Norwegian-born singer has fused country, pop and rock together to produce an appealing sound. But it is in the lyrics that we find this album to be a real gem.

Within the first few minutes of listening to this album, it becomes clear that Liv Austen is a leading lady. Having given up acting to pursue a career in music, she may not be eligible for Best Actress but, on this showing, she would win Most Inspiring Female hands down. I say this because her portrayal of the no nonsense (‘Miss Nobody’), strong and independent (‘The Next Time’) woman who is not going to take any s**t from men is the perfect counter-narrative to the culture that has been, and continues to be, challenged by the #MeToo movement.

I love the message that comes from ‘Don’t Regret a Single One’, in which Austen reflects on the men that have come and gone in her life, and from whom she has learnt something every time. Unlike the perhaps-typical male attitude to simply move on to the next person without so much as a second thought for the one they’ve just left, Austen treats her male counterparts as human beings, recognising that her interactions with them, however hurtful in the end, still contain invaluable experience from which wisdom can be gleaned.

‘Window Shopping’ follows on in a similar vein. Here, Austen sticks two fingers up to a culture that would have looks and beauty mean more than character and personality. “Don’t care if you’re fit, just if we fit” nicely sums up the dominant theme of the song, which offers a refreshing perspective on what is really important when it comes to dating and relationships.

It seems that Austen has had her fair share of hurt when it comes to romance. ‘Whole Heart’, ‘Detour’ and ‘Part Time Sweetheart’ are all reflections on her experience, but they are far from wallowing in self-pity. Instead, over electric guitar, Austen delivers an ultimatum to any would-be suitors, doing so in luscious, heartfelt, and harmonic tones respectively. There may be a little heartache here, but certainly not regret; just reflections on heartbreak and a determination to take the positives out of each and every situation. Empowering is the word that comes to mind.

A Moment of Your Time requires just that. Taking some time out to listen to this album may leave you a changed person. Austen is a woman who knows herself. She takes her experiences and reflects honestly on them, positively challenging a certain cultural attitude in the process. This makes her an ideal role model for (young) women. But those who hold to a certain image of masculinity would do well to listen too. This is what makes Liv Austen positively inspiring. And I think what makes her such a wonderful person too.

Originally written for Building Our Own Nashville in October 2018.

Featured Image (C) Liv Austen