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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.

Emily Faye – Here I Am EP

If you want to ease yourself into the summer, then listen to Here I Am, the debut EP of singer-songwriter Emily Faye. With a voice like candyfloss, this is easy listening country at its finest. The four tracks all differ slightly in tone and style. But there remains a sweetness to her vocal tone throughout the whole record. Opening track Open Road is a real feel-good number that comes complete with some fabulous guitar twanging sounds. It is easily the most recognisable Country & Western song on the EP. Moreover, it really evokes the idea of a road trip across America underneath the glorious light of a noonday sun.

If Open Road is for the highway, then Giving In is for the stops along the way. Its mellow and reflective sound winds us right down and we are left to ponder on our thoughts in the fading light of a cloud-free evening. This track has such a laid-back feel, even as its lyrics express love, loss and confusion. It is a simple composition over which Faye contemplates in the most gentle of vocal tones.

Such vocal temperament is given a hard edge in Game Over, as the sure and determined character of the lyrics cuts all cords with her hopeless lover. As such, the music is much more to the foreground. It has a steely vibe that is very reminiscent of the sound of Sadie & The Hotheads. Faye’s gorgeous harmony-filled tones continue, but you can hear the firm inflection within them that adds real authenticity to the lyrical story.

On Here I Am, Emily Faye saves the best until last. In my opinion, Me for Me is her showstopper. Whilst Open Road and Giving In have that wide-open-spaces feel, Me for Me was made for the small and intimate bar. With just her and a guitar, this track is a real showcase of her talents. It is beautifully sung, captivating in its sound, and has some gorgeous lyrics to boot.

By the time this EP finishes, you should be suitably relaxed and ready to enjoy the summer. I certainly am.

Featured Image (C) Emily Faye Music

Hairspray – Venue Cymru

Before the curtain even goes up on Hairspray, you know that you’re in for a good time. The colourful lights, the upbeat music, the buzz of audience chatter. And when Good Morning Baltimore kicks in and the curtain flings up, the party well and truly begins. For this opening number, the stage is full of colourful costumes and smiling faces. The choreography is jovial and precise. The singing, especially from lead actor Rebecca Mendoza, is perfectly tuned and positively rousing. What’s not to like?

It is so easy to fall for Mendoza’s character, Tracy Turnblad. The big girl with big dreams has such a delightful and infectious personality that one can’t fail to be on her side from the first few minutes. Before we know it, we are rooting for her to come through an audition that will see her become a local star on national TV. Despite the oppressive views of condescending producer Velma Von Tussle (a venomous Gina Murray), she manages to make it onto ‘The Corny Collins Show’. She becomes an instant hit. Yet she isn’t content with a regular slot on this primetime light entertainment show. This is the 1960s, and segregation remains rife. Tracy wants to use her new-found power to unite both races by having them dance on the same show. The reality of making such a vision come true however, is a lot harder than first thought.

It is perhaps surprising to find such a profound theme being dealt with in such a feel-good show. The music has you smiling throughout and yet, at the same time, the narrative focus remains on a sensitive and troubling issue. To walk this line between seriousness and fun is a tricky one. I did notice one or two pieces of dialogue that seemed rather inappropriate and uncomfortable. But as they were coated with the sugary sweetness of the soundtrack, such moments became superfluous within the bigger musical context. Perhaps this is being nit-picky however. It was great to see such a diverse cast onstage and certainly the standout performance aside from Mendoza had to be Rebecca Edwards. Her leading vocals on I Know Where I’ve Been were especially powerful (show-stopping, in fact) and certainly connected the pain of racism with the hope of its elimination like nowhere else in this musical.

On the other end of the spectrum, Timeless Like Me provided the most hilarious sequence of the night. Matt Rixon and Norman Pace struggled to keep it together in what turned into a rather panto-style few minutes. You were never quite sure how much they were ad-libbing and to what extent it remained scripted, such was the accuracy of the music to their sung lyrics. At least part of their act must surely have been off-the-cuff though. Pace in particular tried unsuccessfully to keep his composure, failing to hold back the hysterics that soon took over Rixon too. Such an unexpected performance ended up being a tear-inducing highlight. No wonder they got a rapturous round of applause on finishing the number.

In between, there is a host of fabulous songs for both your listening and viewing pleasure. Welcome to the ‘60s encapsulates the fun of musicals. I’m a Big Girl Now has some wonderfully precise choreography and lighting that really enhance the lyrical content. And one cannot go without mentioning the smash-hit Can’t Stop the Beat, the moves to which most of the audience had an intimate knowledge of, making for a wholly satisfying finale.

As such, if you have only ever listened to the soundtrack, I would urge you to get a ticket and go and see Hairspray in the flesh. If you thought that bopping along to the CD in your living room was enough of a good time, think again. The stage show is electrifyingly fun and an absolute joy to watch, worth every penny of whatever you spend to get yourself there. Hairspray is guaranteed to make you smile.

Originally written as part of Young Critics North Wales in April 2018.

Parch – Series Review

Last Sunday evening, I spent a good ten minutes with my hand firmly placed over my mouth. In the final episode of S4C drama series Parch, there was such an unexpected twist that I simply hadn’t seen coming. In my own words, ‘Well, that was a bombshell and a half’. To think that this is it, that we will no longer be following the crazy and chaotic life of the Reverend Myfanwy Elfed, is more than a little sad. Yet writer and creator Fflur Dafydd has reached the conclusion that this is a good time to say farewell to this most lovable of protagonists. It’s a little frustrating. Carys Eleri has brought such warmth and wit to her character that it has always been a pleasure to share in her company of a Sunday evening. But if she must go, then she has gone in the most beautifully tragic of ways. It felt like Dafydd always knew how this series was going to end. It made the final scenes no less surprising though. And for someone who has journeyed with Myfanwy through all three series, the emotional impact of this final section certainly hit hard.

It is only retrospectively looking back at the narrative arc of the main character that you begin to see the full artistic vision of Fflur Dafydd for Parch. As such, although gutted that this is the end of the road, I applaud her for having the conviction to draw a natural line in the sand and stick to it. So many TV drama series’ these days have a tendency to drag on a bit too long, remaining on our screens on the basis of their initial commercial success. What would have been the right time to stop is made into a springboard in an attempt to give fans more of what they love. Yet for so many it is like carrying on after reaching the edge of a cliff. Few fly. Many fall. As a result, I’m rather glad that Dafydd has refused to bow to the desires of people like me who want to see Parch continue. Instead, it will remain an ever-affectionate drama in my mind rather than a hoped-for return to a glorious past. Not that the series has to end due to Myfanwy’s absence. It is testament to the strength of Fflur Dafydd’s writing that, over the course of these three series, the focus has been as much on the other characters as the cleric of the title. As such, although initially a contemporary representation of a female priest within the Church in Wales, the series has also seen a broader focus on the trials and tribulations of the Elfed family and those around them. We have been involved as much with Gwenlli (Non Haf) and her struggles with her sexuality, for example, as we have been with Myfanwy and her faith. This final series, in particular, has been such an enjoyable watch in part due to Dafydd’s ability to hold the various storylines onscreen together. She has woven romance, mystery, fantasy, and family drama together so brilliantly that, in the end, it has become an ensemble piece. But, ultimately, it would be odd to continue in her absence. Even if she were to be like the ghostly visions that have accompanied her throughout the series’, somehow it wouldn’t be the same. In the end, Fflur Dafydd has made the right decision to bring Parch to a close.

Parch is another example of the high quality television drama that is currently being produced in Wales. As I’ve said recently, I think this is something a golden age for Welsh television drama. Having watched it alongside Keeping Faith, I can honestly say that Parch ranks just as highly in my view. It may not have won the plaudits that Keeping Faith has, but it has shown a quiet strength, epitomised by Carys Eleri’s performance. Whilst Eve Myles showcased her bold and brash physicality in Keeping Faith, Eleri has brought a humorous vigour and subtle power to her character in Parch. In doing so, she leaves behind an indelible mark of a veracious female lead who will be sorely missed.

So thank you, Fflur Dafydd. You may have left me in tears at the end, but the past three series have been a joy to watch. Parch will be missed.

Originally written for Get the Chance on 26th April 2018.

Featured Image (C) S4C

The Shires – Accidentally On Purpose: A Personal Review

Disclosure: I am a huge fan of The Shires. Warning: As a fan, expect the following review to be totally subjective and written with love.

I have waited with a mixture of excitement and quiet trepidation for the release of Accidentally On Purpose, the third installment in the The Shires‘ musical journey. Much like waiting for the next release in the Harry Potter or Star Wars franchises, there is that longing for what you have been anticipating for so long to live up to your great expectations. So it was with huge delight that, when I pressed play, any lingering fears of disappointment vanished without trace. As soon as the opening riffs on The Hard Way emerged from my stereo speakers, and the soulful voice of Ben Earle kicked in, it was like slipping on an all-too-familiar jumper and returning home.

My love of country music began with these guys. Since hearing their debut single Nashville (Grey Skies), my life has changed considerably. I’ve gone off on a musical trajectory that I could never have envisaged. Hearing these new songs puts me in a reflective mood therefore. And it is comforting to hear Ben & Crissie’s signature sounds emanating from this new album. Success has not led them off the beaten track where they’ve lost their way. At the same time, it is great to find a new level of production and sound quality that means a step up from Brave and My Universe. As such, it has allowed them to bolster their continued songwriting prowess with improved and more expansive instrumentation. Echo and Guilty are two tracks that significantly benefit from this and, as a result, have the potential to be major new anthems that will be mainstays in their set lists for years to come. It is not just these feelgood tunes that house massive potential however. Closing track Loving You Too Long feels like it has come direct from the Elton John songbook of ballads. It could quite easily be the soundtrack to any number of tear-jerking montages (in fact, it reminded me of the one in Up) such is its beautiful simplicity and gentle grace. In between, the tracks on Accidentally On Purpose remain full of the familiar: the gorgeous harmonies between the two; the nicely balanced solo parts that allow their individual vocal strengths to shine through; the stories and experiences of love; the mixture of finely-tempered soul with good-time pop. What’s not to like? As such, my anticipation matched reality. Accidentally On Purpose is a great addition to the growing canon of UK country music. Indeed, it perhaps heralds the next level for this increasingly popular sub-genre. Rather than resting on their laurels, Ben and Crissie have continued to push themselves. With this record, it appears that they have succeeded in not only maintaining but furthering the cause for country music entering the mainstream in the UK. They have managed to stay true to themselves in the process and, in doing so, have encouraged people like myself with their music.

Thanks for being a major part to the soundtrack of my life, guys. You deserve all the plaudits that come your way with Accidentally On Purpose. Long may your success continue. I say this unashamedly, with total bias, and a whole lot of love 🙂

Geoff Evans – Paper Planes

I’m stepping rather close to home this week in recommending a listen to a North Wales-based singer-songwriter. His name is Geoff Evans and he has just released his new EP Paper Planes. For someone who is still a relative unknown outside of his immediate locality, this four-track collection could be the one that takes him to the next level. It certainly contains songs that provide a very solid foundation upon which to build. Indeed, opening track Carry Me caught my ear immediately. Not only does it have a great little intro but when the vocals kick in, Evans immediately reminded me of his fellow countryman Al Lewis. In fact, musically, this track could be described as a high tempo version of Fall From Grace. Considering that I found this to be the weakest of all the tracks, it shows the potential that this EP has to be a breakthrough for Evans on the wider music scene. If this happens, Future Song definitely feels like the anthem to which the audience are most likely to sing along to. It is incredibly upbeat, with the lovely, late addition of a second guitar towards the end. This little touch was very nice, giving the song that cherry on top of a deliciously sweet icing of inspiring lyrics and positive beats. Whilst this feelgood tune will have you tapping your feet, the title track will have you stopping in your tracks. Paper Planes is an utterly captivating piece of music. It stunned me into silence. For four minutes, I hung on every word, waiting for a rousing crescendo that never came. This only adds to its awesome beauty however. With echos that have the feel of being in a large Cathedral space, and lyrics that are spoken more than sung, this definitely feels like a piece of art that evokes the sacred. No words can adequately convey its power. It is a song that you simply have to soak in. After such an experience, a cover version of a traditional Anglican Church tune seems apt. Again, Evans introduces a high tempo and upbeat sound in contrast to the song’s choral roots. In doing so, he creates something that sounds ready-made for a contemporary Christmas service. Overall then, Paper Planes is an excellent showcase for an artist who feels more assured than ever in his own sound. It feels like he is breaking away from the Christian music scene to carve his own path that remains influenced by the genre without being tied to its constraints. It is a path that I hope he continues as it has certainly served him well here. Indeed, Paper Planes should allow him to not only to take off across the North Wales music scene. It should also enable him to fly further afield too.

Paper Planes is available to download here.

Featured Image (C) Geoff Evans