Padraig – Memories

Catherine McGrath is the biggest name coming out of Northern Ireland right now when it comes to country music. It poses the question: are there more talented young musicians like her that are yet to be discovered? One of those who may begin to build up a following is a singer-songwriter hailing from Belfast. Pádraig is about to release his debut single Memories, a beautifully haunting ballad about loss and grief. It is a captivating track that begins with just him and his acoustic guitar before slowly building into a gently rousing chorus, complete with drums and female backing vocals, which resonates deeply with his emotional lyrics. His voice is very reminiscent of Luke Bryan, but with a softer edge that adds poignancy to this particular track. It is a very well-produced and affecting first single that sets him up nicely for further releases.

padraig memories

Click here to visit his website.

Click here to listen on Spotify.

Image (C) Padraig Music

Summer’s End Songwriters Show – Ty Pawb, Wrexham

Many have judged Tŷ Pawb, Wrexham’s new arts hub, to be a lame duck. Since its unveiling six months ago, the ‘Comments’ section of the local press has been filled with negativity towards it. A lack of atmosphere, disappointing architecture, and few events taking place there have led many, it seems, to dismiss it as a waste of money. I wanted to give it the benefit of the doubt though. So it was with intrigue that I travelled there for a night of country music.

I could understand why the hub itself, comprising market stalls, a gallery, shop and small theatre, has received some criticism regarding its general look. Grey stone walls give way to plain wood panelling the further one enters in. Decoration is minimal. Its surroundings are, somewhat, uninspiring. Yet it is by no means dull and depressing. The space is well lit, bright and breezy. It still feels very new. Still waiting to be taken hold of and shaped into something special.

Local band Blue Genes have decided to take a different path to the naysayers. They could think of no better place in the local area to put on an evening of songs and stories from five artists who spanned the genres of Country, Americana, and Folk. On this evidence, I would say that they made an inspired decision. The theatre is an intimate setting, a cosy 100-seater venue nestled nicely behind the main reception. Kay of Blue Genes was on hand when I got there to point me in the right direction. She then turned up on stage shortly after to welcome us all. And if ticket collector and compere wasn’t enough, she was then joined by husband Steve and daughter Megan as the first act to kick off the night.

For those who don’t know, Blue Genes are a family band whose most recent EP, ‘Named & Shamed’, went to No.1 in the iTunes Country Chart earlier this year. On the more traditional side of the country music spectrum, their songs are always beautifully finished with a harmonic shine. Injecting plenty of early humour into the evening with ‘Something You Can Kiss’ and ‘Girlfriend’, they then turned out the infectious ‘Dime a Dozen’. We then got a stunningly beautiful cover of Cam’s ‘Burning House’ before learning how Robbie Cavanagh was the inspiration behind one of their songs. ‘Bobby’s Song’, as they subsequently nicknamed it, was as captivating and compelling as one of Cavanagh’s own. In spite of a couple of technical problems early on, Blue Genes made it an excellent start to the evening. The £6 entrance fee was looking like a bargain.

Next up was the lead singer of Angels with Dirty Faces, Stuart Landon. The man with the voice that has drawn comparisons with Chris Stapleton was stepping out solo for this one. Admitting that he was “not much of a storyteller”, he stuck closely to his set list and instead offered a few wry asides between songs. Full of humour and self-deprecation, he struck me as a guy whose hard country-rock exterior contained a soft and humble persona. After hearing ‘I’m Coming Home’, ‘Midnight Man’ and others through those smoky vocals, there was a touching moment where he opened up about his life as a musician. It was both poignant and inspiring to hear him talk about following his dreams, no matter what. It was apt that he finished with his new single, ‘I Can’t Take It Anymore’, therefore, which entered into the country charts at No.1 earlier in the day. This man is destined for much greater things.

After a first half of UK country music, the second began with US-born Lars Pluto. Now based in Devon, he had endured six hours of motorway madness before finally making it to North East Wales. It didn’t seem to affect him though, as he entertained the audience with his naughty sense of humour alongside rousing renditions of his songs ‘Drive Off All This Time’ and ‘Dear Country Music’. There was further hilarity as, during ‘Don’t Take Your Pretty Self Away’, one of his guitar strings suddenly broke. He never stopped though, recovering well and responding with amusement. He seemed genuinely happy to be playing here.

Having finished with his lament song, ‘Dear Country Music’, it seemed fitting that the fourth act, Amy Westney, should continue in a similar vein. ‘Country Music’ is both an ode to the greats of country music and a lament to its current state, particularly where songwriting is concerned. If you haven’t listened to her EP ‘Love Shouldn’t Hurt’, I would highly recommend it. No further evidence is needed that Amy wears her heart firmly on her sleeve. This performance demonstrated that further, with a set list that, she admitted, was full of sad songs. ‘Bad For Me’, ‘From the Outside Looking In’, and ‘Used’ may be on the melancholic side, but they are true to life, and make for a compelling listen. I don’t think the auditorium was quite as quiet as it was during some of these songs. She did inject a bit of humour at the end however, with an excellent cover of Ashley McBryde’s ‘Fat and Famous’. If the rumours are true and Westney is shortly bound for Nashville, then she will be a big loss to the UK country scene. She is a wonderful talent.

After a whole lot of country, the evening finished off in a whirlwind of folk with MountainFace, who brought down the curtain on an enjoyable evening with a set that certainly lived up to their name. Wild and wondrously immersive, each song soaked you in nature, whether the high winds of ‘Another World’ or the frosty air of ‘Presque Vu’. In contrast to the vulnerability and fragility that their songs invoked, these guys brought a dry wit in between songs that made them very likable indeed. Country they may not be, but they’d be welcome back any time I’m sure.

For all its perceived faults, I actually think that Tŷ Pawb is a pretty decent facility. It houses a beautifully intimate theatre that is acoustically sound and very comfortable to sit in. Local country music band Blue Genes have decided to value such an asset and use it. It’s safe to say that their Summers End Songwriters Show was a big success. Here’s hoping that it becomes a regular fixture in the region’s musical calendar. And if no one else wants to make use of this modern facility, then hand it over to Blue Genes. I’d love for them to make it into a country music hub. But that’s probably wishful thinking on my part. Another evening in the company of country artists would be more than enough. Here’s to the next instalment.

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

Featured Image (C) Blue Genes

Lord of the Flies – Theatr Clwyd

The all-female cast of Lord of the Flies, a Theatr Clwyd and Sherman Theatre co-production, may have caused a stir in some quarters. But, for me, it’s actually one of the least interesting aspects of the production. This adaptation of William Golding’s 1954 novel translates the characters from page to stage seamlessly. It is their unique and distinct personalities, and the interactions between them, that fascinate most. The gender, as well as race, of the actors on stage very quickly becomes superfluous. I hope that, after all the hype and controversy, Jodie Whittaker’s introduction as the 13th Doctor next week will have a similar effect.

Director Emma Jordan has chosen to explode this production onto the stage. Sitting comfortably in my seat, the sudden detonation of light and sound to begin the play made me jump out of my skin. It was terrifying. Yet the exhilaration was equally palpable. It doesn’t take long for the characters, stranded on a desert island after their plane crashes, to establish themselves in the minds of the audience. The sensible Piggy (Gina Fillingham), the humble Ralph (Lola Adaja), and the vitriolic Jack (Kate Lamb) are as familiar here as they are in the pages of Golding’s book. Nigel Williams’ script remains relatively faithful to the novel, whilst condensing the action into a tightly-framed two hour performance. This means that the narrative skips along nicely. Yet the big moments still have plenty of room to breathe, resulting in some dramatic scenes that ooze tension and leave tangible space for reflection in their wake.

Far removed from her lovely persona as Delia Busby in Call the Midwife, Lamb seems to relish the role of Jack. The harsh delivery of her early criticism towards Fillingham’s sweetly amusing Piggy makes her character instantly dislikeable. Lamb appears at pains to place her character as the central antagonist through her brash and bold movements alongside the venomous verbal outbursts contained in Williams’ script. Such characterisation presents a confidence and commandeering that translates itself into a vision of leadership that can seem right and proper. It is in stark contrast to the pragmatic Ralph, played by Adaja. Her presence is less about physical flare. Instead, it is a more contained performance that sees the character wrestling internally with conflicting ideas and sentiments. This is conveyed brilliantly by Adaja through far more subtle movement than we get from Lamb. Combined with more strain and staccato in her vocal expression, Adaja demonstrates both the humility and self-doubt that lie at the heart of Ralph. This makes her, to all intents and purposes, a far more qualified leader, in my view. Yet this is a vision of leadership that is so often judged as weak and ineffective. The dynamic between these two, very different characters is, I believe, of huge relevance today, not least in the context of local, national, and global politics.

When I encounter Lord of the Flies, it is the use and misuse of power that fascinates. It is a theme that goes beyond gender. It speaks of the human condition. Therefore, to argue that changing the gender of the characters is problematic is, in my opinion, nonsense. Not that it is completely irrelevant. After the show, I overheard one female audience member comment that girls can be just as savage as boys. Would this observation have been made without the female-only cast? To offer an alternative (female) perspective, one that still remains sadly lacking in contemporary theatre, is important. But it is by no means one of the main reasons why this production is worth seeing. It is worth seeing because it features a very talented and dynamic cast who work brilliantly together to create an engaging and interesting adaptation of Lord of the Flies. Add in some well-placed music and very effective use of lighting and it makes for a bold and challenging dramatization of a narrative whose themes still resonate strongly today. In the end, this is simply a great story, well told.

Originally written for Get the Chance on 29th September 2018.

Featured Image (C) Theatr Clwyd

O&O – Truth Comes Out EP

Country-Americana duo O&O have been making waves this year. And the release of their debut EP Truth Comes Out is the biggest wave of theirs to crash onto the UK country scene so far. Comprising of four songs that showcase a range of musical styles, the EP is a mixture of shadow and light, mainstream and psychedelic. They burst out of the blocks with a gritty Southern sound that is accompanied by the silky smooth vocals of Obadiah Jones. This first track (the title track) sees them slowly building on the heavy twangs of a guitar string with layer upon layer of instrumentation. The effect is an immersive sound that wraps tightly around your eardrums, the song’s central theme brought inescapably into sharp focus.

From the loud sound of the opening track, we are then slipped into a kind of trance with ‘Tears in the Rain’. Stripped back, it allows both Jones and his female counterpart, Orian Peled, a chance to bring their vocals to the fore. When blended together, they produce a dreamlike quality that here gently whisks you away into a starlit sky. Tinged with melancholy, it is a song that nevertheless exudes a sense of hope.  It is beautiful stuff.

The EP then shifts back up a gear with ‘Saturday Morning’ – retaining the folk quality of ‘Tears in the Rain’ but adding a touch of upbeat country-pop. In one sense, Jones’ vocals are reminiscent of early noughties boy bands; yet there is a slight inflection in his voice that is unmistakably Southern US in tone. Add Peled’s light phrasing and this song becomes an Americana staple that is hugely enjoyable, almost infectious, to listen to. This, before the up-tempo flow becomes a gentle ebb again with final track ‘Rolling On’. This is a gorgeous piece that gives precedence to Peled for the first time. Taking the lead, she paints for us a picture of a Western movie landscape with her vocals. It is an image in which a rolling river meanders slowly through a desert landscape bathed in evening shadow, with a mountainous grand canyon soaked in sunset in the background. If Jones’ Columbian roots did not influence this song in some way, I would be very surprised. It is the perfect end to a sublime fifteen minutes of music.

Hailing from the US and Israel respectively, O&O, aka Obadiah Jones and Orian Peled, have managed to create a stunningly sensuous EP that ebbs and flows with an array of sounds. Featuring elements of rock, country, and folk, it is an interesting hybrid that sits most comfortably under that slightly elusive term of Americana. It is a refreshing EP that brings something new to the table whilst, at the same time, following in the footsteps, to an extent, of duos like Two Ways Home. Truth Comes Out is an impressive debut and sets these guys up nicely to make even bigger waves on the UK country scene in the coming years.

Listen to the EP here.

Originally published on UK country music blog Building Our Own Nashville.

Featured Image (C) O&O

 

Catherine McGrath – Talk of This Town Tour

I wasn’t quite blown away by the wind and rain of Storm Bronagh on the way to Manchester. But I was blown away by the performance of one Catherine McGrath when I arrived. The Irish singer-songwriter stopped off at Gorilla as part of her first headline tour. And she was every bit as good as I was expecting her to be.

The severe weather caused a minor delay on the way, so when I arrived, the first support act was already on stage. I had to do a double take as I walked in. It sounded like Catherine. The person on stage even looked a little bit like her. But it was, in fact, her little sister Mary. With just an acoustic guitar for company, the younger McGrath gave us some beautiful cover versions, most notably of Ed Sheeran hit Castle on the Hill. It seems like the McGrath family have been blessed with musical talent. Mary McGrath is certainly one to watch out for.

The second support act was also a female artist whom I expect will go on to bigger things. Starling was in the unfortunate position that her band had been struck down with illness. But thanks to the wonders of technology, she took to the stage solo, performing her original material with a little help from the internet. Cut from the same mould as Florence + The Machine, I would describe her music as expressionist in style. It is incredibly vivid, strongly influenced, one suspects, by the visual arts. It is both captivating and immersive. I would be surprised if she isn’t headlining her own tour in the next couple of years.

So, already treated to two fine upcoming singer-songwriters, I was suitably excited for the arrival of Catherine McGrath on stage. The intimate venue had been slowly filling up with people and was now close to full capacity. It was my first visit to Gorilla, and I found the place to be friendly and easily accessible. With a decently-priced diet coke in hand (a normal coke being 70p extra due to the sugar tax, the bar staff informed me), I placed myself towards the back of the room, with ample space around me and a decent view of the stage. When Catherine came out, the crowd let out an enthusiastic scream. She wasted no time getting stuck into her set, opening with ‘Good Goodbyes’ before sliding seamlessly into ‘The Edges’ and hit single ‘Lost in the Middle’. Despite a couple of feedback issues during the opening songs, McGrath kept her composure and continued to play through them. Her trust in the sound guys to fix it was typical of her warm and laid-back personality.

The hour-long set whizzed by, with McGrath introducing some of the songs with personal stories and poignant antidotes. She was true to her words in the song ‘Good at Love’ when she was both “brave” and “fragile” in sharing some of her journey over the past couple of years. In particular, her introduction to ‘Bulletproof’ was an inspiring and refreshing tale towards accepting herself as a person, without the need for another to define her. Singleness is ok. In fact, it’s a brilliant thing. For all the romantic love that features in her songs, she does not hold it up as an idol. Now that’s role model material.

Along the way, she also did a beautiful duet with her sister Mary, the two combining their harmonic vocals to perform a Shania Twain song. There was a little bit of Coldplay’s ‘Fix You’ before aptly entering into the amazing ‘Wild’. And, of course, the crowd gave a stirring rendition of ‘Talk of This Town’, the title track off her debut album, to cap a fabulous night. For this, her first headline tour, Catherine McGrath appeared to be a seasoned professional. The queue of people afterwards wanting to meet her took over an hour to go down. Despite this, she remained fresh as a daisy, greeting those of us at the back of the queue with the same level of enthusiasm that we’d witnessed on stage. She commented on my Shires t-shirt with genuine delight. I was overwhelmed by her personable response. It was the perfect end to a fantastic night. Not even the severe weather could dampen this one.

Originally written for country music blog Building Our Own Nashville.

 

Julie – National Theatre Live

Before the screening of the National Theatre’s production of Julie, the audience was treated to an interview with its writer and director, Polly Stenham and Carrie Cracknell. Stenham spoke of Julie as a play that blurs the boundaries, not only in terms of social class but race, gender, and privilege too. Touching on all of these subjects, and more, means that Stenham’s version of August Strindberg’s original 1888 play is a dynamic and complex one. It is a play that needs to be watched multiple times, I feel, in order to gauge its plethora of themes and capture the immensity of its social commentary.

The opening sequence of the play, setting the scene, is rather tedious due to its longer-than-needed running time. The stage opens up to reveal a very raucous house party, a group of young people clubbing away to loud bass tunes. They are dancing away in the background on a raised stage, Julie, the main character, played by Vanessa Kirby, among them. She is wearing a long, flowing dress, a tight-fitting bikini top, and glitter on her face. She is every bit the free-flowing spirit; not in any way a resemblance of the affluent existence in which she resides. Below this party atmosphere, in the foreground, is a spacious kitchen in which the housekeeper and her fiancé reside, cleaning up after the guests. Once the music finally dies away, we are properly introduced to Christina (Thalissa Teixeira) and Jean (Eric Kofi Abrefa), who appear to be the perfect couple. Indeed, Jean, dressed smartly in black suit and tie, and sitting opposite Christina at the end of a long dining table, appears to fit more the image of the house’s owner than does the daughter of its actual owner, Julie. This is but one of the ways that Stenham and Cracknell subvert the expectations of their audience, playing with notions of class, race and privilege. It is one of the most interesting aspects of this play.

It is also one of the most intricate. In not wanting to lose the complexity of the three central characters, Stenham and Cracknell manage, somehow, to be able to retain this complexity and, as a result, create a dynamic interplay between them that creates a fascinating piece of theatre. It is so fascinating, in fact, that it becomes hard to juggle the wealth of commentary that is being offered on a racial, social, sexual and financial level (to name but four). As such, one is best watching Julie for a second, third, or even fourth, time in order to grasp the many layers which Stenham and Cracknell attempt to subvert and blur the boundaries of. It is why Abrefa, Teixeira, and Kirby in particular, should be applauded for their performances. They hold everything within their respective characters together so well, and utilise their motivations in order to create a narrative that bubbles with tension and friction. It doesn’t always pay off – sometimes the action is a bit too slow, a bit too mundane – but even then it seems to contribute to an ending that is fiery with emotion and powerful in its actions. The final scene, the camera zooming out from a stage surrounded by a white light, is strangely mesmeric and deftly haunting.

Julie is a quietly captivating and positively intriguing production from Polly Stenham and Carrie Cracknell. They have taken the source material from 130 years ago and brought it bang up-to-date in this highly relevant and fascinating version. They touch on so many themes, and it is full of complex machinations, that it is testament to Kirby and her fellow cast members that they manage to hold these in balance. The interplay between them is fascinating; the power games at play in their conversation and movement deeply layered with meaning. Julie has so much to say. It’s worth taking the time to listen.

This production was watched at a live screening in Theatr Colwyn and reviewed as part of the Young Critics North Wales scheme.

Keepin’ ‘er Country – An Insight into the Irish Country Music Scene

Whilst searching for the Welsh TV hit Keeping Faith on BBC iPlayer a few weeks ago, my search also brought up the following suggestion as I began typing: Keepin’ ‘er Country. As a country music fan, I thought I’d click on it just to see what it was about. It may have been about the countryside or some nationalist discussion for all I knew. But to my surprise, it was actually the latest series of a BBC Northern Ireland production looking at the Irish country music scene. Across the six episodes, we meet truckers, vicars, and sheep shearers, to name but three, all with a love of Irish country music.

Perhaps the most interesting insight that I garnered from this series was how big the sub-genre actually is. The soundtrack may have featured traditional American country singers, but it also boasted a fair amount of Irish ones too. And these Irish singers – names like Philomena Begley, Nathan Carter, and Robert Mizzell – are huge stars in their own right. Carter may be the most recognisable to those of us this side of the Irish Sea, having released his version of Wagon Wheel in 2012 (which proved to be a massive hit). But Begley is certainly someone I’d never come across before. Yet she is one of the legends of Irish country music, drawing large crowds at the nation’s biggest festivals, including the Clonmany Festival (featured in episode 5).

The series itself is also a sideways look into Northern Ireland as a nation. Country music remains the main theme of each episode, but we also get to meet some interesting characters and gain an insight into some of the traditions, customs and events of this largely-rural nation. For example, episode one follows the fortunes of truckers at their annual gathering; and episode six follows the fortunes of some of Ireland’s top sheep shearers. In addition, we also meet a group of passionate people who re-enact scenes from Spaghetti Westerns, and two vicars who double up as musicians, joining forces to record a song as part of the Reverend David’s brand-new album. It may be slightly oddball stuff at times. But, ultimately, there is something quite endearing about the series.

Now in its third series, I’ve clearly come rather late to the party. But I can’t help feeling thankful for stumbling upon Keepin’ ‘er Country. The UK Country Scene may be only just starting to burgeon, but clearly the Irish Country Scene has been in full swing for some time. Indeed, I’ve always understood Ireland to have a deep affinity with country music. I just didn’t realise how deep, until now. In fact, it’s pretty much a part of everyday life, it seems, for most people in Northern Ireland. Let’s just hope that that becomes the case over here too!

Thank you BBC iPlayer. It’s great to find something that you wouldn’t ordinarily come across. To then enjoy it makes it even better.

Visit the show page here.

Featured Image (C) BBC

Reflections – Hannah’s Yard

After their delightful debut album Beginnings, Hannah’s Yard are back with a beautiful follow-up in the shape of four-track EP Reflections. Comprising of three covers plus an acoustic version of one of their original songs, Reflections is the perfect showcase for lead singer Hannah Layton Turner’s angelic vocals. Having demonstrated her ability to write fantastic lyrics on Beginnings, Reflections proves that she also has the voice to match. You can certainly hear the maturity in her voice now compared to 18 months ago, when Beginnings was released. On Reflections, we find a much more assured, complete and confident vocal performance that is central to its success. Opening track Blackbird is the ideal example of this. Drawing on Paul McCartney’s 1968 original, the decision to replace the guitar with the piano is a stroke of genius as it compels us to focus more intently on Hannah’s voice. This combination beautifully evokes Ellie Goulding’s similar treatment of Elton John’s Your Song, a modern classic when it comes to successful covers, in my opinion. Certainly with Blackbird, this combination makes for a more emotionally raw song than the original version. It also causes the lyrics to come into sharper focus. This is definitely the case with the second track, Better Together. With the tempo slowed right down, in comparison to Jack Johnson’s original version, we pay much closer attention to the lyrics. It gives a new dimension to the song whilst remaining as a tune that can best be described as ‘relaxing’. But whilst Johnson takes you to the shady palm trees of a Californian summer, Hannah soaks you in a bath of luxurious bubbles at the end of the working week. It is hard not to get lost in her captivating voice. Indeed, I did just that during the third track, a cover of Randy Newman’s Feels Like Home. It is a brave and bold choice given its origins. Yet Hannah does an admirable job, even if the level of poignancy isn’t quite the same as the original (though this would be difficult for anyone to achieve). Final track Never Gonna Say I’m Sorry provides the ideal ending to this highly reflective EP. As an acoustic version of her original, it leaves you in a seriously contemplative mood. But it also leaves you in no doubt as to Hannah’s potential to write songs that stand up well alongside some very big hitters in music’s history. After the fabulous fireworks of Beginnings, Reflections is a sidestep into the slow lane. It is a captivating record built on the firm foundations of Hannah Layton Turner’s gorgeous vocals. It causes you to reflect and contemplate in a way that few other records do. So if you’re looking to wind down after a hard day of work, or seeking to escape the constant roll of news on your social media feed, I recommend that you press play on Reflections. It has the power to stop everything. For fifteen heavenly minutes at least.

Click here to sample Reflections on Spotify.

Click here to find out more about Hannah’s Yard.

Shrek: The Musical – Venue Cymru

If you can’t wait for the start of pantomime season, then I would highly recommend a visit to see Shrek: The Musical. We may not be getting a happy ending to a summer of high temperatures and searing heat. But the return of rain is perhaps the perfect magical ingredient to tempt you indoors for this happily-ever-after love story. It features a colourful cast of fairytale characters who are guaranteed to put a smile on your face.

The show begins in true fairytale style: a giant book opens up to tell the backstory of our green ogre protagonist, Shrek. As the narrator brings us up to the present day, we find Shrek happy in his solitary existence, living beside his beloved swamp. But his peaceful life is interrupted when a bunch of fairytale creatures is banished to his home by the comically-evil Lord Farquaad. In an attempt to win back his privacy, he agrees to rescue the Princess Fiona for Farquaad, with a little help from his comic sidekick Donkey. But his quest does not quite turn out as he expects.

This adaptation of the animated film is a joy to behold. Designer Tim Hatley has created a truly magical experience. The costumes and puppets transport you right into the heart of its wonderful world. They are visually arresting and simply awe-inspiring. It is the level of detail that is most striking. The character of Pinocchio (Joseph Dockree), in particular, is portrayed beautifully as the wooden boy. Dockree displays arms and legs that are furnished precisely to look like wood, grains and knots included. Meanwhile, the dragon may as well have broken through the cinema screen such is the likeness to her animated equivalent. Not since War Horse has a piece of onstage puppetry fascinated me so much. Its movement was sublime and utterly seamless. Even the additional detail of flickering eyes struck me as being wonderfully inventive. The whole thing was breathtakingly stylistic and magnificent in scope.

The prosthetics that transform Steffan Harri into the ogre are superbly done; the continual transformation of Amelia Lily (Princess Fiona) between white-skinned human and green, bulging ogre, even more so. From the humorous sight of Samuel Holmes scrambling around on his knees as he portrays the small stature of Lord Farquaad, to the playfulness of Marcus Ayton’s actions as Donkey, there is very little at fault when it comes to the visual spectacle of Shrek: The Musical. Where there is room for improvement, I would say, especially in the first half, is in the dialogue. For fans of the film, the well-known quotes from the original screenplay can all be found in the script of David Lindsay-Abaire. The problem is, taken out of their original animated context, some of them simply don’t have the same effect in this live-action adaptation. They may raise a smile at their familiarity. But they tend to fall flat when it comes to their comical intentions. Surrounded by more, and better, original songs after the interval, the dialogue improves. It feels more at ease with its musical context, more flexible and inventive than the rather mechanical dialogue of the first act.

Overall, Shrek: The Musical is a feast of fun. It resembles a high-budget pantomime at times, but this is no criticism. Holmes is the perfect pantomime dame in the guise of Lord Farquaad. Shouts from the audience now and again cause the actors to lose their nerve or respond with some humorous aside. This only makes for a more enjoyable show. It takes nothing away from a production that is packed with the most incredible visual effects and the most irresistible costumes. The rain may have dampened the end of summer, but Shrek: The Musical will help to keep the sunshine in the memory just that little bit longer, whatever your age.

Click here to find out more and book tickets.

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

Featured Image (C) Venue Cymru

Talk of This Town – Catherine McGrath

Catherine McGrath represents the next stage in the UK country music revolution. I say this because it is not just BBC Radio 2 that are championing her. Scott Mills and others have been playing the 21-year-old’s music over on Radio 1 too. Her debut album Talk of This Town is bursting with the kind of country-pop that made a certain Taylor Swift known to the mainstream. In that case, it might not be one for the country music purists. But for those of us who like the lyrical emphasis and authenticity of the genre, McGrath serves up a real treat.

Talk of This Town is essentially the soundtrack to the past three years of her life. Adopting a heart-on-sleeve approach to her storytelling, McGrath is open, honest and vulnerable about her relationships. It has the effect of making them relatable in such a way that even I, a 27-year-old male, could find solace in some of her songs. I say this because their themes resonate beyond the boundaries of their mostly romantic settings. For example, opening track ‘Talk of This Town’ presents the image of a person who doesn’t quite fit in (tick), who has been continuously shot down (tick), and whose dreams are waiting to be burned down at the first signs of fear or failure (tick). The more I listened to this song, the more I could see myself in it, and the more I gained inspiration from McGrath’s ultimately positive outlook.

The further one goes into the album, the more McGrath’s honesty and vulnerability transcend the catchy pop riffs of her songs. They may be coated in music that makes you want to dance, but contained within are raw and revealing emotions that are comforting, hopeful and inspiring in equal measure. For example, ‘Just in Case’ is underpinned by uncertainty, ‘Dodged a Bullet’ reveals hidden emotional scars, and ‘Thought It Was Gonna Be Me’ is a harsh lesson in heartbreak. This latter song is beautifully complimented by its predecessor ‘Wild’, the epitome of McGrath’s blend of honest storytelling and infectious country-pop music. ‘Wild’ is probably the standout track on Talk of This Town, followed closely behind by ‘Lost in the Middle’, which has the most stupendous chorus. Both tracks are heavily-laden with guitars, whilst the addition of the banjo gives each a sprinkling of country and western flavour. This seems to be the favoured musical mixture for McGrath, and it works well, despite what country music critics such as David West and Duncan Warwick might argue.

Talk of This Town is a wonderful collection of songs that might be influenced by the sound of Taylor Swift but are written from the heart of Catherine McGrath herself. They are a beautifully blended set of country-pop songs that draw comparisons not only with Swift but Kelsea Ballerini and Maren Morris too. There is a Kacey Musgraves-like honesty to her storytelling that definitely leans towards the hopeless romantic of Musgraves’ Golden Hour. Yet despite this emphasis it remains hugely relatable, largely because McGrath presents her experiences in such a way that the themes contained within them become identifiable beyond their specific context. She is the misfit, the outsider, the odd-one-out, always playing second fiddle and pretty much without luck. Yet in spite of her experiences she remains positive and inspired. You need only listen to the music that she combines with her lyrics to realise this.

Catherine McGrath is a real talent. She is going to go far, not just because she is making great music but because she is a genuinely lovely person too. The response to the release of Talk of This Town was evidence enough that she is fast winning a legion of fans. Her autumn tour will surely be the last in which she plays the UK’s smaller venues. The larger arenas beckon. It won’t be long before this talented (for so long supporting) artist becomes a regular fixture at the top of the festival bill. And she truly deserves it.

Originally written for Get the Chance on August 4th 2018.

Featured Image (C) Catherine McGrath Music