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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

Moving On – The Rising

To attempt to define The Rising would be a mistake. They do not fit into a specific genre of music. I listened to their latest album off the back of a label that read: “country rock band”. Of course, this evokes a certain kind of sound. And whilst it does appear on the album, there are also songs that did not fit this particular brand of music. What Moving On does is take us on a journey through a soundscape that includes pop, rock, country and punk. It stops off at the pop bands of the early noughties whilst winding its way through the world of country-rock. The vocal style of lead singer Chantelle McAteer reminds me of a young Avril Lavigne, mixed with a bit of Pink and a touch of Carrie Underwood. She may not possess the strongest voice in my opinion, but that did not stop me from nevertheless enjoying this album once I’d decided that it was best to fling my preconceptions out of the window and treat the music for what it is, rather than what it was advertised as being.

It is highly likely that you will find at least one song to like on this album. Whether it is the commercial radio-friendly pop of ‘Forgive and Not Forget’, the country and western swing of ‘Back to Me’, or the boogie woogie vibes on ‘Reasonable’. It is fair to say that this band is not defined by genre but dip in and out of the sounds that they think will work best for the stories that they wish to tell. And I think that’s probably why they are labelled as a country band. Because it is about the stories first-and-foremost. Featured here are mainly narratives centred around romance and heartbreak. For example, ‘Even the Stars Fall for You’ is a gorgeous ballad that draws lightly on the sound of country music without losing its middle-of-the-road pop tones. Meanwhile, ‘Take a Hint’ and ‘Love Is’ produce a more hard rock sound in keeping with the aching emotion at the centre of their respective narratives. They seem to draw heavily on the songs of Carrie Underwood, and could be described as darker versions of a Catherine McGrath lovesong.

My personal favourite track on Moving On is ‘Yellow House’. It contains some fabulous lyrics which are woven beautifully with some rocking riffs. This is where The Rising hit the top, showcasing their desire for authenticity mixed with great music. Following close behind is final track ‘Roundabouts’, which again contains some great lyrics sung in a pop/punk vocal style. The only downside to it is that its running time, just short of six minutes, is a bit too long. It outstays its welcome slightly but it is, nevertheless, the perfect song to end this eclectic album.

To fully appreciate the genre-bending sound of The Rising one needs to throw any preconceptions out of the window. If you’re expecting a certain sound, then one song might fit your criteria but others will be some way short of the mark. It makes them more vulnerable to critical judgement from critics who may want to box them into a particular corner. But I think this is unfair. If I was hard-line about my country music listening, I probably wouldn’t rate this album half as much as I would listening to it simply on its own merit. But why should it receive less acclaim simply because it does not fit the conventions of a particular genre that, clearly, for certain songs, The Rising weren’t making them to fit into in the first place? Therefore, I judge this album on its own accord. And it is an album which, for their first, is rather good. It might start off a bit shaky but, once it finds its rhythm, there are some great tunes to enjoy. Some might overstay their welcome, but on the whole, their sound and lyrical content provide for an engaging listen. Moving On is a decent follow-up album for this Irish band from their 2014 debut Coming Home. It is also a great platform on which to build and move on (if you pardon the ironic expression) to better things.

Click here to find out more about The Rising.

Featured Image (C) The Rising

Fame: The Musical – Venue Cymru

I really wanted to hate Fame: The Musical. I really did. But the predecessor to High School Musical and Glee just wouldn’t let me. I started off slouching in my seat and watching through gritted teeth. But by the end I was stood up and clapping along to the encore. What makes it so addictive is a combination of stunning choreography, strong performances, and a narrative that is not afraid to deal with sensitive subjects alongside the more typical romance of the coming-of-age genre. So despite my initial reservations, the end result found this 27 year old male confessing that Fame was, actually, very good.

Set in New York’s High School for the Performing Arts, the opening scene is very much like an advert for the next series of Britain’s Got Talent. We get a musical montage of instrumentalists, singers, dancers, and actors, all of whom are auditioning for a place at the school. Before we know it, these young hopefuls have all won a scholarship to study under the tutelage of Miss Sherman (played by Mica Paris) and her staff. It is a speedy set up that allows for the large ensemble of characters to be quickly introduced. It works extremely well, though the danger is that such a large number of characters could result in a lack of narrative focus or bland stereotypes. Not so here. As the narrative slows to a timelier pace, the ability to spend quality time with each of these characters is not at all hindered by their quantity. Yes, there is the establishment of major and minor characters in order to not overwhelm the audience. Yet even these secondary figures are fleshed out to such an extent that they become familiar enough to care about. What binds their stories together and keeps the narrative moving forward is the music. The music is the key ingredient in ensuring that we don’t get lost in the myriad of storylines that are happening on stage.

The music also plays a key part in the amazing routines that take place on stage. Choreographer Nick Winston is the man to credit for turning my pre-show frown upside down. He has put together a series of spectacular dance scenes which are executed brilliantly by the whole cast. Full of energy, creativity and precision, it was a joy to watch every one of these sequences. They also played a big part in further establishing the identities of each of the major characters, from sex-mad Joe’s I Can’t Keep It Down, to Miss Sherman’s poignant These are My Children, to dyslexic Tyrone’s Dancing on the Sidewalk. Though I would quibble with the appropriate nature of the former given today’s social context – Albey Brookes’ Joe, for me, now belongs firmly in the past – there is still much that remains relevant here. Through the songs and dances of the various characters, Fame confronts issues of race, sexuality, drug use and, of course, identity. It seems to do so with sensitivity even as it leans ultimately on the side of happiness and fun.

After 30 years, Fame still retains a fair bit of sparkle. This is in large part due to some sublime choreography and a highly energetic cast. It also contains a number of excellent vocal performances, not least from Mica Paris, whose finale encore ends the show on a scintillating high. Weaving numerous narrative threads without ever losing the plot, Fame is a dazzlingly brilliant show that peruses some dark corners even as it bathes us in light. I so wanted to hate it. I really did. But in the end, I admit, I found it to be very good.

Click here for more information and tickets.

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

Featured Image (C) Venue Cymru

Hidden – A Dark Welsh Crime Drama

When one looks back over 2018, Keeping Faith is sure to come out on top in the world of Welsh television drama. It has been a huge success. Its latest stop on its incredible journey is primetime BBC One. It goes from strength to strength, and will certainly deserve all the accolades that come its way. In amidst all the hype of this brilliant series however, it has been easy to overlook another Welsh drama that has been airing over the past two months on BBC Wales and BBC Four respectively. Produced by the creator of another Welsh hit drama Hinterland, Ed Talfan, Hidden has been allowed to bubble away below the surface of Keeping Faith’s success. I would suggest that this is primarily because it is a crime drama. And though I would agree, to a certain extent, with some of the groans that accompany the thought of yet another one hitting our screens, it does at least offer something a little different. There is a slight spin on the achingly familiar.

The twist in Hidden’s tale is the revelation of the killer at the outset. The opening scene sees a girl running through the woods, pursued by an unknown man. This girl is subsequently found dead. The investigation that unravels across the whole of the series centres on finding this girl’s killer. Such a task is given to local detectives Cadi John (Sian Reece Williams) and Owen Vaughan (Sion Alun Davies). But whilst they are in the dark over the killer’s identity, the viewer is given unprecedented access into the life of Dylan Harris, played brilliantly by Rhodri Meilir. A strange, sensitive and brutalised figure, Harris lives with his mother and daughter in an old farmhouse deep within a forest of the Snowdonia National Park. It turns out that he is a serial abductor of young women. Having let his latest catch go, we witness his unsuccessful attempt at abducting a local farm girl. Then, as the pieces of the drama’s puzzle start to come together á la The Bridge, he claims the life of long-suffering student Megan Ruddock (a standout performance from Gwyneth Keyworth). What follows is a tense thriller that follows both the police investigation and Harris’ narrative simultaneously. As a result, it involves the viewer deeply in its various twists and turns over the course of its eight episode run.

Despite the fact that the central crime isn’t particularly original, Hidden remains worthy of some praise for the performances of two of its central actors: Rhodri Meilir and Gwyneth Keyworth. Episode four in particular, which is wholly focused on Dylan and Megan, is a deeply uncomfortable yet utterly compelling hour of television. It is made so by their noteworthy performances. Firstly, Meilir brings a vulnerability and gentleness to the role of Dylan that will be recognisable to fans of the sitcom My Family, in which he played the hapless Alfie. Yet this vulnerability and gentleness are subverted as a result of the abuse Dylan has suffered at the hands of his mother (Gillian Elisa). As a result, they manifest themselves in an extremely dark and dangerous way, far from the comforting confines of the Harper household. Meilir manages to express such complexity at the heart of his character in such a way that the viewer is both sympathetic yet repulsed by him. To extract such opposing emotions is testament to Meilir and his ability to play such a broken and complex figure. Meanwhile, Gwyneth Keyworth produces an emotionally raw performance as Megan, a student whose mental anguish (outwardly shown in the form of self-harm) is exacerbated by her abduction. It is an incredibly challenging role that Keyworth manages to embody wholeheartedly. As a result, she is powerfully believable as Megan. It is easy to forget sometimes, in the course of the series, that what is witnessed is a dramatic reconstruction. Keyworth plays it in such a way that it seems horribly real. For me, it is one of the most engrossing performances in a British TV drama this year.

With a stunning backdrop that shows off the bleak, mountainous terrain of North West Wales in all its magnificent and austere glory, Hidden may not be revolutionary but it is still worth watching. With some excellent performances from the cast and a slightly different take on the conventional crime narrative, it has enough going for it to keep viewers coming back for more. If you like your crime dramas dark and disturbing, then Hidden is certainly for you. It may not be Keeping Faith but it nevertheless showcases the fantastic talent coming out of Wales at the moment at every level, from production to acting, storytelling to editing. This is very exciting. With hopefully more fantastic ‘Made in Wales’ dramas to come, the Welsh TV landscape looks like going from strength to strength.

Originally published for Get the Chance in July 2018.

Featured Image (C) BBC

Americana Night @ The Llangollen Fringe

It may be stripped down and laid bare compared to its international predecessor, the Eisteddfod, but the Llangollen Fringe has much to offer. After the big guns of Alfie Boe, Kaiser Chiefs and Van Morrison took to the stage at the Pavilion in front of hundreds last week, this week sees a host of much smaller, intimate events happening across the scenic Welsh town. One of those I had the pleasure of sitting in on on Saturday, as Americana took to the stage in the quaint, modern setting of the local town hall. “Americana” is a term that stretches across a large part of the music spectrum, encompassing a number of similar, overlapping genres. Here, we had the opportunity to hear some country, with local band Blue Genes, and folk (of a kind), with headliners Laura Cortese and The Dance Cards.

In all honesty, it was the supporting act, Blue Genes, that caused me to purchase a ticket for this event. Being a country music fan, I couldn’t resist the opportunity to hear live this local trio who I first came across via YouTube. Consisting of mother, father and daughter, Blue Genes can most definitely be described as a family band. And perhaps it is that family connection that makes their voices blend together beautifully to create some stunning harmonies. In particular, their cover of ‘I’ll fly away’ was wonderful to listen to, the red and yellow lighting proving to be the perfect visual accompaniment. Their individual voices are not bad though either. In particular, daughter Megan’s are amazingly mature considering her tender age of 14 years. When mum Kay first announced this fact, you could hear the shocked whispers in the audience. Her voice is certainly well beyond its years. Evoking the likes of Alison Krauss and Cam, it was a pleasure to listen to her solo performances on ‘Tomorrow’s Due’ and ‘As Long as I Breathe’. This latter song was simply breathtaking, whilst the cover of Cam’s ‘Burning House’ was a brave choice but it was pulled off with aplomb. If you want to hear a star of the future, look no further. (A solo album, it seems, is already near to completion.)

Blue Genes were the perfect warm-up act for the headliners, Laura Cortese and The Dance Cards. Hailing from Boston, MA, it was their first time in the North East of Wales, and they received a rapturous welcome from the audience. It was an applause that was well-deserved as they served up some fabulous original material. All four members were kitted out with their chosen stringed instrument – a cello, bass, and two fiddles – with all four offering a sweet vocal sound that, when blended together, had the potency to melt even the hardest of hearts. There was, though, a distinct punk edge to their music too, which produced a feeling of strong-willed feminism beneath the gently flowing tunes of their folk songs. What I really enjoyed as part of their set was the stories they told in between. It was very conversational for a music gig, and all the better for getting to know them. By the end, you could sense the genuine warmth in the room for these four girls who, as a finale, called for the lights to go out so they could sing their final song acapella in amongst the audience. It was beautifully intimate and the perfect way to end the night.

To talk of Laura Cortese and The Dance Cards as a folk group is potentially problematic. This is because they push the boundaries a little with their physical expression and punk edge. In that sense, Americana is perhaps a better tag. But it doesn’t really matter what category they fall into, other than one labelled “excellent music”. These ladies are fabulous and will hopefully gain a large UK following as a result of their festival appearances this summer. Like Blue Genes, they certainly deserve wider recognition. And recognition must also go to the backstage team who put on a very professional and superbly produced evening. Don’t be fooled by the bright lights and star names appearing at big arenas. Sometimes, it is the simple touches made by a small band of enthusiastic and committed local people that provide for a wonderful night. The Fringe team certainly delivered in that regard. So if you have some free time this week to catch a show, I would most certainly recommend it. If the music is anything to go by here, the rest of the programme is shaping up to be fabulous.

Click here for more info and tickets.

Featured Image) Llangollen Fringe Home Online

Harmless Like You by Rowan Hisayo Buchanan

“At noon, the girls from Copy went out and came back with tuna salad sandwiches that they ate while perched on the top of the white radiator banks of the reception room.

‘Hi.’

They ignored her. At the end of the day young men showed up in the waiting room to collect: Alice, Maybel, Claire, Wanda, and the rest. She called the copy pool to announce their dates had arrived at the office. Each girl flounced to the door without a wave. Was it because she was young? Japanese? Yuki thought about quitting.”

Yuki is a girl who doesn’t feel like she belongs. Born to Japanese parents and brought up in New York, she neither relates to her Japanese heritage nor fits in with her American peers. When her mother and father announce their plans to move back to Japan, she chooses not to go with them. Instead, she moves in with her only friend, the confident and cut-throat Odile. Unlike her bold and brash friend, Yuki lacks the self-belief to pursue her desired career as an artist. Eventually, Odile leaves to pursue a career in modelling. Yuki is left alone.

Buchanan’s debut novel is a fascinating and challenging read. It pries open that gaping hole in all of us that desires to belong. Sad, poignant, tinged with hope, if you have ever felt out of place or feel like you don’t fit in, then Yuki may be a character you can relate to.

“Yuki circled back to her son. “I love you,” she said a last time.

She might be gone for a whole month. She might even be gone for two or three…. She just needed to find somewhere clean and clear to think. She would find a way of loving that didn’t maim. Then as soon as she was worthy of these people, she’d come back.”

Originally written for The Reader as part of their ‘Read of the Week‘ segment on 13th June 2018.

Featured Image (C) The Reader Organisation