(no title)

Jo Whiley & Simon Mayo – The New Radio 2 Drivetime Show

Give it time. That’s what they asked for. And it was only fair. But two months on, and I am still reading letters in the Radio Times lamenting the demise of the Drivetime show, as was, on Radio 2. How much time do you give someone to bed in? Is it still too early to judge? Maybe, but I thought I’d give my current verdict on the state of play.

If you didn’t know, back in May, BBC Radio 2 had a bit of a schedule revamp. It led to Simon Mayo, of said Drivetime show, joining forces with Jo Whiley (of the as was 8-10pm slot) for a brand-new three hour show featuring the best in new music, guests from the arts, and regular features. Much like the rest of the Radio 2 listening family, I didn’t quite understand the reason behind the move. If it ain’t broke then don’t fix it, as the old adage goes. And this was certainly the case with Drivetime. The camaraderie between Simon, Matt and Bobby Pryor was wonderfully natural. It felt like spending two hours every evening eavesdropping on a family get-together. Laughter aplenty; fun always to be had. So why change it? In an interview with the Radio Times, the head of BBC Radio, Bob Shennan, explained:

The changes we’ve made have been in order to make sure we keep fresh and relevant for all audiences. You have to keep replenishing at the younger end, but not in a way that deprives anyone.

Speaking as a younger listener (of 27 years old) I would say that the Drivetime show was fresh and relevant to all audiences. You could tell this not only by my listening to it but by the number of children and families ringing up to ‘All Requests Friday’. In a sense, the show represented the best of family entertainment: ‘Homework Sucks’ for the kids, ‘Confessions’ for the adults’, and lots more in between. So why change it? One of the suggestions I have heard mentioned is the need to get a female voice into the prime-time schedule. In terms of equality, I can understand this. But the problem is that this move feels like a shoehorn. And the reason is because it probably is. In my opinion, it would have made far more sense to give one of the current presenters a P45. (Personally, I much prefer Sara Cox of a morning to Chris Evans, and Jo Whiley has done a fine job filling in for Steve Wright in the afternoons before now). Better still, and simply undergo changes naturally, as has been the case with The Blues Show. Incidentally, the choice of Cerys Matthews as the retiring Paul Jones’ successor has been a wise and inspired one. Instead, we are left with an enforced change that doesn’t sound like it will ever be undone. Bob Shennan, in the Radio Times (7-13th July edition), again:

I’m delighted that two of Radio 2’s most popular presenters, Jo and Simon, are now presenting a brand-new show each weekday, which I’m confident will become one of the network’s most listened to shows.

I sincerely hope that he’s right. There is still time to be proved wrong. But, again, how long do you give it?

It’s not terrible by any means. The sessions that they have had with musicians such as George Ezra and Lily Allen have actually worked really well. They are probably the most natural part of the show. The ‘New to 2’ slot is definitely a winner (with extra brownie points from me for their inclusion of Catherine McGrath and Ward Thomas so far!). But the Confessions, although still entertaining, are just not quite the same without that camaraderie I initially mentioned. There’s something quite flat about it all. Plus, the extra hour that the show is on for doesn’t seem to count for anything. The old Drivetime was tightly packed and beautifully ordered. Now, there is far too much space. As a result, there ends up being a lot of back-to-back tracks which, in and of itself, isn’t necessarily a bad thing. But when you enjoyed the conversation between the three presenters and the regular features in between the music, then to replace it with near wall-to-wall music isn’t exactly an improvement.

I know that many listeners to the specialist music shows on afterwards have also had a problem with their later start time of 8pm. For some, this is now too late. 7pm was the perfect time for them, and to some degree, I am inclined to agree, although it’s not made a huge difference for me personally. On the other hand, as an avid listener to Bob Harris Country, it’s actually been rather wonderful to hear that a whole new bunch of listeners have tuned in and discovered country music as a result of the later start time (one assumes that this has been similar for other 8pm specialist music shows too). I’m all for more converts to country in that sense!

Perhaps the most puzzling and pointless segment that, in a way, sums up the feelings of many towards this new show though is the box of badges given out to interviewees and ‘End of Days’ players alike. For an audio-only medium, I find this idea most bizarre. As bizarre as the decision to revamp the Drivetime show actually. But as much as we can all wish for it to go back to normal, the reality is that it’s now gone. Finished. Matt isn’t coming back. The showstoppers won’t be returning. I will, of course, carry on listening. It will take more than this to cause me to divorce my beloved radio station. And who knows, perhaps, once I get over the loss of the old, the new will start to grow on me a lot more. Give it time, and maybe we’ll come round. Maybe it’s still too early to judge. Perhaps it is only right that we give them even more time. In any case, what is the alternative? The Jo & Simon show, it seems, is here to stay.

Check it out for yourself here.

Home I’m Darling – A Theatr Clwyd/National Theatre Co-Production

Travelling along the sun-drenched roads of North Wales in the heat of an early July evening, I wondered whether it was the right time to be going to sit in a theatre. But Home, I’m Darling is worth suffering a bit of sweat for. It may have been warm in the Emlyn Williams Theatre, but that did not stop me from thoroughly enjoying Laura Wade’s brand-new play. With a sizzling set, a bunch of colourful characters, and a blooming good narrative blossoming with resonant themes, this is a must-see for the summer.

As I entered the auditorium, I gasped with amazement at the sheer size and scope of the set. To be greeted by a full scale model of a house was not what I expected. I was positively overwhelmed by the sheer level of detail in its interiors and furnishings. The work of designer Anna Fleishle and her team is nothing short of remarkable. It transports us immediately into the world of the 1950s, where we meet a “sickeningly happy” couple played by Katherine Parkinson (The IT Crowd, Humans) and Richard Harrington (Hinterland, Lark Rise to Candleford). Parkinson plays the doting housewife to Harrington’s sporting gentleman. Set to the music of Mr Sandman, there is an air of pristine perfection about this opening scene. The song exudes a dream-like state in which these two characters exist and, indeed, as Harrington’s Johnny pops on his hat and coat, takes his lunchbox packed by Parkinson’s Judy, and kisses his wife goodbye, it all feels rather like a Sunday afternoon TV movie. So when Parkinson pulls out an iPad from a drawer, it creates a moment of dissonance that reverberates on the saccharine glass of this play’s squeaky –clean window.

Parkinson gives an accomplished performance as Judy, an idealist who delights in the idea of immersing herself in the 1950s by becoming a full-time housewife. It is not just the décor that oozes a nostalgic charm. Along with some incredibly elegant dresses, Parkinson’s slightly RP-toned accent and gliding movement paint a picture of a simple existence far removed from the complications of modern life. Judy is a woman who has chosen this life of frugality and servitude. Parkinson has her defend this choice with the kind of razor-sharp wit that is a staple of her acting persona. Even the impassioned speech of her feminist mother (Sian Thomas) seems to have little effect on her. It is a succinct and timely reminder of all that women have fought for over the past 100 years. It may not have broken through the resolute edge that Parkinson provides Judy with, but it was powerful to hear as an audience member. Such a resolute appearance is marked by an air of vulnerability however. Judy has lost herself in the pursuit of her ‘50s dream. It is left to Johnny to help her find herself again. Harrington invests warmth and loving care into his character. He could not be further removed from his troubled and brooding character in Hinterland. When he does get angry, it is a tone that will be familiar to fans of the BBC Wales crime drama. It seems that anger is what Harrington does best. Yet there is a distinctly soft side to Johnny that shows another side to Harrington’s acting ability that I’ve not seen before. It was refreshing to see, and proves his worth as one of Wales’ finest contemporary actors.

Sadly, we don’t get to see near enough of another of Wales’ finest. In my opinion, Sara Gregory is up there with Eve Myles in terms of her acting ability and characterisation. Her turn as branch manager and Johnny’s boss Alex in Home, I’m Darling is short but unsurprisingly sweet. She brings a professional charisma and expert flair to her character that makes her a formidable force for the short time she is on stage. When her, Parkinson and Harrington are together, it is one of the most electrifying scenes of the whole play. Kathryn Drysdale and Barnaby Kay complete the cast, both giving solid performances as husband and wife duo Fran and Marcus. Such is the quality of their characterisation that they could easily be the lead characters in another story. It is testament to Laura Wade’s writing that, instead, we have them occupying this space as minor, but no less significant, characters to Parkinson and Harrington’s leads.

Due to move to the National Theatre in London later this month, Home, I’m Darling is worth catching if you are in or around North East Wales. Director Tamara Harvey and her team have again excelled themselves with a production that is just as, if not even more memorable, than 2017’s Uncle Vanya. The set is certainly as iconic as the one created for Uncle Vanya, and the cast that has been assembled is again oozing with quality. Katherine Parkinson feels like she was made for the part of Judy. Richard Harrington is brilliant as her husband Johnny. Sara Gregory and the rest of the cast are given characters that could quite easily be lead parts in an alternative version of events. Massive credit must go to Laura Wade for creating such an inventive and mesmeric play. She has created something that perfectly encapsulates the zeitgeist, and that includes the weather at present. Amidst the current spell of sunny weather, it is worth venturing indoors for an evening in order to see this wonderfully colourful creation.

Originally published for Get the Chance in July 2018.

Featured Image (C) Theatr Clwyd

Rend Collective – Good News

I’ve just finished reading a chapter from the book Jesus > Religion by Jefferson Bethke in which he states that

The problem with the… Christian subculture is that our art and glorification of Jesus begin to weaken because we lose all sense of comparison. For example, a lot of Christian musicians no longer shoot to be the best musicians; they shoot to be the best Christian musicians. The standards have been lowered. (pg.173)

I have found this to be generally true. It’s why my relationship with what is termed “Christian music” has always been frustrating. However, Irish-folk group Rend Collective have often managed to defy such criticism through their original and poetic lyrics, genre-busting sound, and level of musical quality. For the most part, they sit quite naturally and comfortably alongside other folk-pop-Americana groups in my playlist. I like them. Not because their Christians. But because they are brilliant musicians. Which is why their latest release Good News delights even as it leaves me a little frustrated.

To begin with the good (and there is much of it): And after some positive and feelgood vibes played in typical Rend Collective style on opening track ‘Life is Beautiful’, ‘I Will be Undignified’ blasts us off across the water to experience some high-class Irish folk. It will have you dancing a jig wherever you are and is the perfect song to lift the spirits. It is a sound that shows that the band remain committed their homeland for inspiration and proves that their national culture is still an influential factor in their music-making. Thank goodness! Because as the album progresses, you can’t help but feel them descending into more standard fare. This is after the fabulous tracks ‘Rescuer’ and ‘Counting Every Blessing’. Both prove that Rend Collective remain capable of producing top quality songs. Here, the lyrics, instrumentation and arrangement combine to create two brilliant pieces of music. In particular, ‘Counting Every Blessing’ combines a powerful vocal with a soulful sound that also showcases some of the lyrical poetry that, in my opinion, makes them stand out from the rest of the “Christian music” crowd. With hints of The Wandering Hearts, Rag ‘N’ Bone Man and Calum Scott, this is a track that highlights the mainstream potential of their sound.

Following this, the songs strike a familiar chord with seasoned listeners of the band. There is something oddly compelling though about ‘Hymn of the Ages’ and ‘True North’ – the former starting slow before gently building into something quite beautiful; while the latter starts fairly sweetly with its single ukulele and vocal before taking an unexpected turn into some quite different, yet equally delightful, territory. There are a couple of hidden gems planted in the middle of this record too, with ‘No Outsiders’ and ‘Weep With Me’ being positively beautiful and deeply reflective respectively. Both evoke powerful emotions in their own way and again salute the brilliance of Rend Collective‘s creativity. So it’s a shame when the album ends with some rather generic “Christian music” tracks. OK, ‘Marching On’ still feels like an inventive sound on this album, and gives credence to their belief, written in the album notes, that ‘this album [is] to be Good News to people in every season and circumstance’. But the next, ‘Yahweh’, resembles a laziness that feels at complete odds with their originality and authenticity. With sub-standard, recycled and, quite frankly, boring lyrics, this is not what one would expect from a Rend Collective songwriting session. Such personal frustration here can be explained, to a large degree, by the listing of that well-known but creatively-uninspiring force known as Bethel Music in the credits.

Despite this gripe (maybe I just need to get over myself!), Good News is an album that has been brilliantly produced and features songs that are, for the most part, wonderfully and organically made. Yes, there are a couple of slippages into unoriginal lyrics and moments where authenticity feels like it gives way to a more commercial vibe. However, I remain convinced that Rend Collective are committed to making great music, shooting to become better musicians rather than just aiming to top the “Christian music” pile. Certainly, they are too good to lose themselves in the more generic, congregation-friendly sound of Hillsong and Bethel. Thankfully, many of the songs on this album suggest that they are far from blending in. They remain an outstanding group. Good News is, well, good news.

To find out more about Rend Collective, click here.

Island Town – A Theatr Clwyd/Paines Plough Co-Production

The Roundabout Theatre makes a welcome return to North Wales sporting a rather distinct yellow exterior. If you’ve not heard of it before, this is a theatre like no other. Assembled from flat pack with nothing but an Allen key, once complete, it is a fully self-contained, intimate little theatre that houses some of the most fantastic new plays in Britain. One of those plays is Island Town, which I was lucky enough to see last week. This 80-minute story of small town life could be described as a dramatic stage version of the BBC3 comedy This Country. Still full of humour but with a darker political edge, Island Town focuses on the lives of three friends trying to get by in a place that offers very little in the way of meaningful activity. With only the hope of escape, they settle, for the time being, on hanging out with one another, getting drunk on cider and looking ahead to the start of their adult lives. But when school’s out and exams are over, they find that it’s not so easy getting by in a place where there’s nothing to do. And escaping is not as easy as it sounds.

Writer Simon Longman has done a sterling job in creating a simple yet powerful narrative. He has created three well-formed characters that all three actors seem to comfortably step into and make their own. It is their relationships that drive the story forward, and make this piece particularly engaging. Whilst I am sad that the wonderful Katie Elin-Salt is not part of the cast this year, the production company, Paines Plough, have nevertheless found three excellent actors to play the roles. Katherine Pearce, in particular, has proved to be a real coup. I say this because she steals the show as Kate, an angry and assertive young carer who feels trapped by the need to look after her ill father. Pearce crackles with antagonistic rage. She places Kate as the centre of attention, a position which seems to strengthen her resolve whilst simultaneously covering up her vulnerability. Such is her pragmatic insistence and strong-willed notions that the three of them must escape the confines of their hometown that we, like Sam (Charlotte O’Leary) and Pete (Jack Wilkinson), agree to go along with her. Yet the consequences of such a decision are damaging to say the least. From here, Pearce slowly allows her character’s vulnerability to creep up to the surface. She causes the fragile state of her character to painstakingly crack through its steely confines. Such a move makes for an emotive performance, and makes Pearce herself one-to-watch.

Both O’Leary and Wilkinson give good support to Pearce in her more central role. In particular, Wilkinson brings a wonderful humorous naivety to his character. He deposits real warmth into his performance that evokes much laughter from the audience, particularly as he spins a fantastic web of outrageous stories, the highlight of which has to be his cremation for a fish. You can’t help but love him, which is why the injustice that he subsequently suffers elicits very strong feelings. In this instance, Longman makes Pete a political mouthpiece for the small town unemployed. He notes that there are no jobs in the local area. With no means of earning money, he must sign on. Yet he can’t sign on as he hasn’t got enough money for the train to the out-of-town job centre. There are no buses, and he can’t drive either. The non-specificity of Island Town’s setting means that it speaks generally into the heart of rural British life, of “Towns that sit like islands in the middle of fields”. Longman shines a sharp spotlight on the realities of small town life, making this not only a humorous play but a very relevant one too.

Island Town is a funny, thought-provoking play of minimalist proportions. At the same time, its message is somewhat universal. At one end, it captures the wonderful creativity that can arise from sheer boredom. On the other hand, it reveals the desperation that can result from a lack of amenities. Katherine Pearce gives a strong emotive performance as Kate, ably joined by Charlotte O’Leary and Jack Wilkinson. The three capture life in a small town incredibly well. With no props or no scenery, they still manage to draw us into their world and make it incredibly real. I’d recommend you catch it, if not in Mold then elsewhere. That’s the beauty of this pop-up theatre. It can pop up anywhere.

Originally published for Get the Chance in June 2018.

Featured Image (C) Theatr Clwyd

Megan O’Neill – Ghost of You

Irish singer-songwriter Megan O’Neill has just released a beautiful debut album that I would highly recommend listening to. Ghost of You is a lovely collection of songs that represent a wonderful opportunity for some easy listening on a summer’s afternoon. Served as a main course of ballads with a side of electric guitar-infused pop, it is a delectable album that gently tantalises the taste buds. You certainly wouldn’t refuse more.

Opening track Don’t Come Easy sets the scene, creating an expansive space which O’Neill fills with her gorgeous vocals. The electric guitar here helps open up the stage so that when we enter into the slow, soulful sound of Let’s Make One Up, its full potential can be realised. With a great guitar solo and the lovely addition of an electric organ, this is a fabulous blues-inspired track that ensures the walls around this album remain wide and open for the rest of its duration. Into this space, O’Neill then steps to sing a succession of piano-laden ballads, each one beautiful in its own way. The title track is one that could easily make it onto a mainstream radio playlist, reminding me of a stripped back version of an Anne Marie or Dua Lipa song. To place O’Neill alongside these artists is also to say that her vocals are second-to-none. In some ways, it is all about the voice. Whether echoed (Treading Water), amplified (Don’t Say It’s Over), emotionally-charged (Any Younger) or naturalistic (Lost a Love), here is an artist whose voice is the defining feature in every song. Perhaps that’s why the ballad suits Megan O’Neill so much. Instead of drawing you in, she fills the space; rather than edging closer to her, she comes to you. It is a different kind of closeness and intimacy. It works well.

My personal favourite on this album has to be Bottle. Having recently listened to Mind of Mine by Lisa Wright, there seems to be an alcoholic theme emerging in my UK country music collection. Both artists seem to be seeking solace in the wine bottle. Whereas Wright’s troubles are told in a musically-dissonant way though, O’Neill takes a much more familiar line, pouring her despair and yearning into a big vocal performance full of aching emotion. It doesn’t make it any less relatable though.

Following close behind in the standout tracks on Ghost of You is the final song, Lost a Love. Despite thinking that catchy crowd-pleaser Good Love would be the one that would stick in my head afterwards, I actually found Lost a Love to be the song that left an indelible mark on my mind. It is what I call a “proper country ballad”. It evokes the likes of Emmylou Harris or Beth Nielsen Chapman in its simplicity, reflectivity and poignancy. Moreover, there is so much emotional vitality and variety in O’Neill’s voice here. It is absolutely compelling. Truly four minutes to savour.

No wonder Megan O’Neill has reached No.1 in the Irish country music charts, shared a stage with Miranda Lambert and Kip Moore, and appeared numerous times at C2C. She has an immense voice and a great songwriting talent which combine here to make a truly wonderful album. As debuts go, Ghost of You is more than pretty good. Full of ballads dealing with love and loss, it is engaging on every level. I’d encourage you to check it out.

Click here to sample her tracks.

Originally published on Get the Chance in June 2018.

Featured Image (C) Megan O'Neill

20th Century Boy – Venue Cymru

When I first attended a musical based on the life of a famous musician, the recreation of their live performances was exciting, engaging, and electrifying. Complete with supercharged lighting, atmospheric smoke, and the sound cranked up to ear-shattering decibels, it was almost as good as seeing the real thing. But now, although still impressive, the magic has begun to fade, with each new production adopting a similar format on stage. It’s all got a bit repetitive, to the point where, sitting down to watch 20^th Century Boy, I was really hoping for something fresh. Inspired by the life of Marc Bolan (of T.Rex fame), it offers both more of the same yet adds something new to the subgenre.

The most distinctive element comes immediately. The opening minutes see a score of newspaper articles flashing up on stage as the title song announces itself to the auditorium. At the end of this sequence, we see a picture of a crashed car. Suddenly, there is a loud bang. The music cuts out. We hear the sound of shattering glass. The lights illuminate before the audience is plunged into darkness. Silence greets the room. It is a very powerful and emotional beginning. So it is slightly disappointing when, after such an impacting start, the musical settles itself into the familiar chronological retelling of Bolan’s early years. That is to say, it begins with a series of mini-scenes that provide a rough snapshot of key moments in his teenage years that would become significant in shaping the man that we come to know. Here, that man is played by George Maguire. His is a performance of two halves. On the one hand, his recreation of Bolan’s singing and playing is excellent, probably one of the highlights of this whole production. On the other hand, I didn’t like his take on the man away from the mic. He gave far too much nasal expression to the voice for one. In addition, his overall presentation gave the sense that Bolan lived in a constant daze. I could understand this if it were just in the drug-infused scenes but this was a consistent feature that failed to convince.

Much can be said about the all-too-familiar style in which the live music performances were presented (see Tom Jones: The Musical, Million Dollar Quartet and others for reference). But I do not mean to take away from the fantastic musicianship of Maguire and his fellow cast members. Their ability could not be questioned. I certainly gained a much greater appreciation of Bolan’s music through their faultless sound. At the same time, there was nothing surprising in their presentation. It was enjoyable, but not memorable. Indeed, it is only really the opening scene and the closing few minutes that make this production uniquely different from other like-minded musicals. The ending is a beautifully poignant tribute to Bolan, and would have made for a superb finish. Again, it is spoilt somewhat, in my view, by the conventional encore that sees the cast reel off a medley of greatest hits. The delightfully distinctive gives way to the flavourless familiar, leaving me slightly frustrated as a result.

The set design may be typically minimal. The costumes may be colourfully garish. The musical presentation may be nothing new. But 20^th Century Boy still offers enough fresh content and ideas that don’t leave you feeling as if you’ve seen it all before. The multimedia sequences are very well done. The use of the real in this fictional presentation adds an interesting dimension. The opening and closing scenes mark themselves onto your mind. Overall, it is a musical that does justice to Marc Bolan’s musical legacy. For some people, that will be enough.

Click here for tickets.

Originally written as part of Venue Cymru’s Young Critics scheme.

Featured Image (C) Venue Cymru

The Shires – Accidentally On Purpose Tour

The Shires were welcomed back with thunderous applause and rapturous whooping on their second visit to North Wales this week. After a sold-out debut as part of the My Universe tour 18 months ago, the country duo returned to Venue Cymru with a bigger, bolder and brasher set as part of their Accidentally on Purpose tour. Such a step up in set design, lighting and volume perfectly illustrates the rising stardom and popularity of these leading lights on the UK country music scene. Yet despite all the flashing lights and large-scale scenery, it is still their captivating vocals and inspired storytelling that steal the show. Not to say that the neon sign that flashed to the beat of the bass centre stage announcing their name wasn’t impressive. As an entrance, it was certainly memorable. And the large-scale square blocks planted either side of the stage were brilliantly lit up with an array of colours that made for a visually-satisfying accompaniment to feel-good songs such as Guilty and Echo. On a personal level though, nothing quite beats the single spotlight upon a white piano with the two singing State Lines and Loving You Too Long. Whenever I hear their glorious harmonies, I’m instantly fixed to my seat, in awe not only of their talent but the transcendent sound that they create. Simply beautiful. I could have easily sat for another 90 minutes, and by the reaction of the audience at the end, I think most would have joined me. In between songs they told stories of their Nashville experiences with humour and fondness. At times, they complimented one another, expressing genuine admiration and respect. And in their thanks to fans, they seemed genuinely humbled by the reception to their music. It seems that they still can’t quite believe that they are where they are. Yet they really are where they are – selling out large concert venues, headlining the Royal Albert Hall, consistently on the BBC Radio 2 playlist. This show was made with such lofty ambitions in mind. And it works brilliantly, allowing them to create a more expansive and ambitious soundscape whilst giving them opportunity to strip it back to the bare essentials when needed. It is perfect for their blend of uplifting country-pop and slow, heartfelt ballads. Let’s hope it’s not too long before we see them playing here again. North Wales deserves another slice of this big-time country music.

Click here for more tour dates.

Lisa Wright – Mind of Mine EP

I’ve just finished listening to Mind of Mine by country artist Lisa Wright. And what an EP it is. Four tracks, four beautifully written songs. Never mind Taylor Swift on the BBC. This is where you want to be. It is a quarter of an hour of pure class. Lead single Tennessee has been widely lauded on social media, and rightly so. It is a quintessential country music track, complete with pedal steel guitar, on which Wright heavily evokes the voice of Ashley Monroe. Never Gonna Fall only emphasises the same elegantly wistful sound of the Pistol Annies singer, a comparison which I hope is taken as the highest compliment. The title track takes on a much more reflective mood than these first two offerings. With a distinct blues tone, it is also the most emotional and vulnerable of Wright’s songs. With mentions of regret, fear and worry, it is a tale that I could most certainly relate to. Before dealing with my own anxiety and depression, I totally sought “redemption in a bottle of wine” from this “mind of mine that consumes me all of the time”. It is a pertinent, honest, and beautifully crafted song. It gives words to the often silent struggle with mental health. Such is the atmosphere that Wright creates on this third track that Giving Up the Ghost, recorded in an even more stripped back style, is positively haunting. The harmonious tones of Wright’s soulful vocals cause you to hang on every line. With a melancholic undertone that is delicately touched by a hopeful chorus line, this is a superb end to this most gorgeous of EPs. Having featured anonymously within the pages of the last two issues of Country Music magazine, I have a feeling that it won’t be long before Lisa Wright gets the recognition she deserves. Mind of Mine is surely one of the top UK country releases of 2018.

The Assassination of Katie Hopkins – Theatr Clwyd

Watching The Assassination of Katie Hopkins gives you an observer’s view on our media-saturated society. As soon as you enter into the auditorium, a set covered in smartphones greets you. Once the play starts, these smartphone walls light up and provide a backdrop onto which further projections take place. In front of this, the live dialogue flicks from one actor to the next, replicating the instant rolling news that has become a staple of our media culture. It is quite an overload of action and information. So to sit back and experience it in this way certainly helps to reflect on one’s own participation in this increasingly-mediated world. This is why The Assassination of Katie Hopkins is an important play.

It is also an important play as it challenges all sides in the debate on freedom of speech. For those liberals hoping for a damning criticism of Hopkins and her right-wing cronies, you will be thoroughly disappointed. Yet this is all the more reason to go. When the news of Katie’s assassination comes through, co-protagonist and Human Rights intern Kayleigh (Bethzienna Williams) is tasked with writing something positive about her in response to such an unlawful, illegal action. What starts out as the forced phrase “A Strong Unapologetic Woman” soon turns into a full-blown campaign that demands #Justice4Katie. What follows is a fascinating discourse on the machinations of the media; both its wielding power and its superficial nature.

Williams is excellent in her first professional stage role. Alongside Maimuna Memon, who plays Shaima, the two lead the show like seasoned actors. They are both completely grounded in their respective roles, bringing empathy, humour and anger in such perfect measure to create well-rounded characters with very complex views. On one level, they can be seen as representations of the polarisation so prevalent in much contemporary public debate. On another level, their narrative arcs reveal a much deeper layer of thought, reflecting the oft-contradictory nature of human beings. Both characters wrestle with their struggles and insecurities. Both are impassioned and stand up for their beliefs. And both are attempting to fight against a social order that appears to be dominated by the divisive tendencies of consumer capitalism.

With more than a nod to Black Mirror here, The Assassination of Katie Hopkins is a great attempt to get us to think more consciously and critically about our current society. It does so in such a way as to entertain us at the same time. Filled with an excellent array of original songs, its identity as ‘a new musical’ is one to be welcomed. They are catchy, punchy and, though not wholly memorable, thoroughly enjoyable within their context. It is certainly a great advert for British musicals. And considering it’s probably been financed at a pittance compared to the giants from America (Wicked, Hamilton, and so on), it manages to hold its own very well.

In a culture absorbed by social media, full of comment and opinion, The Assassination of Katie Hopkins could perhaps be seen as an attempt to call us, for once, to shut up and listen. It’s time to exit our echo chambers and really, truly engage with those whom we disagree with, even hate. It may be uncomfortable. It may be challenging. But it may just be the best thing we do. And it starts by going to see this play. It says so much about contemporary society. As such, there is so much that could be said about it too. But the best advice I can give is to go and experience it for yourself. Trust me, you won’t regret it.

Find out more about the show here.

The Blues Show – A New Era Begins

14th March 2018. The first day of a new look BBC Radio 2. Clearly, it’s going to take some time for Jo Whiley and Simon Mayo to bed in. But the new host of The Blues Show, Cerys Matthews, seemed to have a much smoother introduction. Yes, there were a couple of nervy moments – a mistaken reference to Radio 3, and a slip of the tongue with ‘sitting in for…’. This latter mistake at least gave her a chance to thank previous host, Paul Jones, for his generosity when the two met at an awards ceremony recently. We would have expected nothing else from the grand master of 30 years presenting this mainstay Monday night programme. And he will have no worries about it continuing for another three decades with Cerys at the helm. For despite the initial, and understandable, nerves, she produced a fabulous first show. The big, bold and pronounced sound of Billy Boy Arnold with Sweet Miss Bea was a great introduction to this new era for the show. And with a simple ‘Welcome to The Blues Show’, it was straight into the next song. Matthews’ sultry tones are perfect for an early evening under the setting summer sun. Yet her insistence on fitting in as many songs as possible from across the blues spectrum shows that the music is always going to be taking centre stage. And that’s just how we like it. For this first show, she played everything from Sister Rosetta to Muddy Waters, Little Richard to Sir Tom Jones. The latter also happened to be her first guest. The fact that they know each other so well meant that there was an easy-going chemistry between them. Having heard Jones speak about his blues influences before, there was nothing particularly new to be learnt here. But it is always great to hear the Welshman reminisce about his time with Elvis. The ease with which Jones and Matthews interacted was perfect for the overall tone of the show. With Matthews’ close and intimate voice guiding us through proceedings, this is definitely a show that feels like it’s been simmering away in a slow cooker, making for a delectable listen when it’s served up at 8pm on a Monday evening. To that end, I look forward to many more servings to come.

To listen to The Blues Show, click here.