Theatre Review The Haunting of Hill House Playhouse Liverpool

This is one play, by Stef Smith, based on the novel by Shirley Jackson, where the premise is in the title. A rambling mansion in California is occupied solely by a housekeeper who has promised the late owner she will look after it for as long she is able. She is unbothered herself of reports of ghostly happenings but a time-served paranormal investigator is determined to identify what is happening and two young women have answered his advertisement for assistants. The son of the owner who has been living for years in Europe has decided to come over to join them, knowing something about the dark history of the house, which includes two deaths.

Not long after everyone has arrived and retired to their rooms, things start happening but this is not your average ghost story because one of the young women has her own dark secret and the motivations of the investigator extend beyond simple curiosity. The mood is certainly more akin to Daphne Du Maurier than Dennis Wheatley with both the psychological and past revelations reminiscent of a darker version of an Agatha Christie country house story.

The basic plotline is very simple but what really creates the atmosphere and holds the audience, is the astonishing staging and effects, coupled with some fine acting. There are echoes of ‘The Woman in Black’, with loud bangs and black outs but this is all done quite stylishly. Paranormal happenings with the lights on are also very convincing (note. extreme resistance here to give away spoilers). Ultimately though, this play is as much a psychological thriller as a ghost story and there are deep, haunting memories in characters’ back stories which have nothing to do with the house or the paranormal, but which are never-the-less triggered by the deeply unsettling scenario.

An important strength of this play is that the characters are credible and are seen to go on their own separate journeys. The two young women are complete opposites; Theo, played by Sophie Lenglinger, is a bright and confident, a stylish dresser and up for some excitement. Eleanor, played by Clancy Ryan dresses conservatively and has a shy, retiring personality. As events progress, we see both women undergo radical changes, each interacting differently with Luke, the son, played by Robin Morrisey. None of them leave as the same person in which they arrived. Dr. Montague, the investigator, for quite some time has the aura of a detached academic but he is holding something back.

Special mention must be made of Mrs. Dudley the housekeeper, played with complete emotional detachment by Sian Howard. This character provides virtually the only element of humour in the entire play, telling each guest to carry their own bags and when asked politely for the most basic favours replies that she does do requests. Her manner maybe slightly caricatured but it sets the scene that she looks after the house alone and has every desire to keep it that way.

Director Martin Constantine has made full use of all the powerful changes in lighting and special effects, with actors on numerous occasions appearing just seconds after a blackout in other rooms, sometimes in different emotional states, adding greatly to the paranormal atmosphere. There is a cinematic quality to the brilliant use of front and backscreens, coupled with projections, variously enabling rooms to quickly transform into other parts of the house (with some changing of props) or simply presenting powerful animations to chilling music or scary sounds. This play is as powerful a visual stage experience as you are likely to see anywhere, anytime some.

This is a genuine thriller and an awesome visual experience with an ultimately sophisticated underling story. The set is remarkable and the ending will stay with you.

https://thehauntingofhillhouse.co.uk/

Reviewer: John Waterhouse

On: 3rd November 2026.

Launch of the Kings Arms Theatre Company Programme The Kings Arms, Salford

Manchester has a huge amount of fringe theatre venues, in most cases being either backrooms or basements in pubs and clubs. There are some that no longer function as theatre venues, most notably the Black Lion and 3MT; others such as The Seven Oaks or Gulliver’s have been occasional venues for years and new  additions continue to pop up like the Anthony Burgess Centre but the only one which has truly remained a constant over the two last decades has been the Kings Arms on Bloom Street, an old Victorian pub which is a grade two listed building.

            With a year-round full programme of events, the remarkably versatile upstairs room at the Kings Arms has proper lighting and sound facilities with a dedicated green room, having given countless emerging actors and writers an opportunity to get their work out there as well giving more established artists a place to try out new productions, notably Joe O’Byrne’s enormously successful ‘The Haunting of Blaine Manor’.  The Kings Arms venue also serves as the key venue for the Manchester Festival Fringe. It perhaps surprising then that this  illustrious little theatre has not had its own resident company. Well, it has one now.

            This evening marked the formal launch of the Kings Arms Theatre Company, who have a rich and varied programme in store starting on the 3^rd November with the drama ‘Wasted’ by Kae Tempest with future productions including the classic ‘Look back in Anger’ by John Osborne and after that an adult pantomime. This was not however an evening of excerpts of forthcoming productions or a showcase of performance and acting talent. It was essentially about outlining a vision and putting the new company into a broader Mancunian perspective.
            Perhaps the most interesting aspect of the vision is the Kings Arms Theatre Company will be just that. It will exist to perform at the Kings Arms and nowhere else. The Palace and the Opera House will continue to take big touring productions from the West End and the Royal Exchange will offer heavily funded modern interpretations of theatre-in-the-round but the Kings Arms Theatre Company will be offering a different product, quality professional theatre by a resident company in an intimate venue.

            In terms of material, the new company will offer both established works and new writing and as such will be very much aimed at being a vehicle for developing both new acting and writing talent from Manchester. The Kings Arms pub, alongside all other fringe venues has long since provided a venue for the staging of small budget productions but that has necessarily meant that a writer or theatre company has had to hire the venue and undertake all the producing. That opportunity remains, continuing to provide a valuable, affordable resource buts the Kings Arms Theatre Company provides an opportunity for new creatives to get work on the stage without producing. This means that rather being just another theatre company performing in smaller venues, the Kings Arms Theatre Company will have a particular place in the overall fabric of the Manchester Theatre scene.

         This a bold initiative which has the potential to be a very important part of the ongoing development of theatre in Manchester, in one city’s most quirky and delightful venues.

 

Reviewer: John Waterhouse

 

On: 30.10.26    

https://kingsarmssalford.com

Theatre Review The Crown Duels! Murder Mystery Show Oak Theatre Scarisbrick Hall Ormskirk

 

The Crown Duels! presented by DBY Interactive, is an immersive evening of crime, mystery and murder à la the TV show Peaky Blinders, but this caper features the North West England’s infamous gang, The High Rips who are at odds with rival gang, The Logwoods.

This interactive crime-solving performance is based on historical events depicting how rival gangs battled for control in post-war Britain when poverty and crime had taken control.  A missing crate, rumoured to contain jewels belonging to the Crown, disappears at the docks and everyone wants to get their hands on it. As the story unfolds everyone seems to be the culprit and the audience has to decide who is guilty.

I have watched the DBY Interactive cast perform previously at more light-hearted productions, this one has a more serious theme. A projection screen is used  with videos and stills depicting Liverpool post war, along with other relevant representations pertinent to the story.  The audience are provided with a card to note the clues they have found and the motive for the murder and are asked to solve the puzzle of who murdered Steven, one of the High Rips gang members.  

The theatre was set up cabaret style with 8 tables, seating 9 people at each and a meal was provided with each ticket. The meal was delivered prior to the start of the performance with the theatre lights down, making the theatre very dark; this meant diners were unable to see what they were eating. For future, it would be better if the meal was served with the theatre lights on as many of the diners commented on the fact that they couldn’t see what they were eating and this rather spoilt the enjoyment of the experience. Meat-eaters were aware of what they were being served, but non meat-eaters didn’t know what they were getting and it was very difficult to see what the meal was.

The cast are enthusiastic and their passion for the story is evident, unfortunately a lot of the dialogue could not be heard, especially by the female cast members playing Nora and Molly. Audience members sitting close to the actors were unable to hear so for those at the back of the theatre it must have been much worse. This is a shame as the actors worked so hard to tell the story.  The use of head mics is vital as they are essential in a setting such as the theatre so that everyone present can hear every word said by the actors. Looking around at the audience, I noticed there was a large percentage of older people who may have had hearing difficulties so this makes head mics even more necessary.  I had visited the theatre the previous evening to watch an immersive performance by a different production company and all the cast used head mics so every word could be heard whichever part of the theatre they were in.

The performance included lots of atmospheric music and audience participation, which came as a surprise to some. They could work in teams if they wished and were allowed to question the suspects and make their assumptions known. DBY interactive entertainment puts the audience at the heart of the action and this is what makes their productions different from the usual theatre experience.

This production is suitable for ages 12+ when accompanied by an adult. The  performance contains some mature references and language and includes interactive elements.

Details of further events are available at https://oaktheatreandstudios.co.uk/

Further information about DBY Interactive may be found at https://www.dbyinteractive.com/our-story/

Reviewer: Anne Pritchard

On: 25th October 2026

Theatre Review Sybil's Soirée Dinner Dining Experience Oak Theatre Scarisbrick Hall Ormskirk

 

Fans of the 1970’s TV comedy series Fawlty Towers gathered at Oak Theatre to be entertained by local Southport theatre company, Gambolling Arena, who brought the classic characters of Basil, Sybil, Manuel and Polly to life as audience members enjoyed a 1970's inspired buffet in the new cabaret style seating space with 14 tables plus chairs to accommodate 140 guests.

Sybil's Soirée takes its inspiration from the humour written into the TV series by John Cleese and Connie Booth, who played Basil and Polly in the much loved and acclaimed series.

Gambolling Arena Artistic Director, Suzy Walker was in the audience whose demographic mainly reflected those who remembered the TV shows, of which there were only 12, but there were also some younger fans attending, and everyone displayed their enjoyment of the evening, it was laughter from the word go.

The four main characters portraying Basil, Sybil, Manuel and Polly had the audience in the palm of their hands as they reproduced the mad-cap antics of the TV characters and singer, Rita got everyone joining in with the sing-along feature of the production, singing 1970's inspired disco hits of the era; the audience were singing, dancing and waving their hands in the air and joined in with a conga during the finale. Manuel entertained during a karaoke section, singing and playing his guitar with the lyrics of his songs, ‘Feliz Navidad’ and ‘Shaddap You Face’, displayed on the screen behind him, whilst Polly sang ‘La Vida Loca’, complete with lyrics so that the audience could join in.

No show with Basil would be complete without his silly walks and reference to the Germans and there was lots of ‘Que?’ from Manuel whilst the banter from Sybil to her husband, reflected the wonderful Prunella Scales who played Basil’s wife in the hit TV series.

This was a very enjoyable evening and the cast did a stellar job at entertaining and encapsulating the characters from the TV series. It was funny from start to finish and I don’t think the audience (or myself) really knew what sort of evening they were in for but it was a great success; there was plenty of audience participation and involvement with the cast who were ‘fawtless’!

Set up in 1999 to create fresh and vibrant small scale theatre, Gambolling Arena Theatre Company has delivered performances across UK and Europe. They’ll be back at Oak Theatre on 6^th November 2027 with Mama Mia, The Party which is not to be missed.

More details about the company and future events may be found at https://www.gambollingarenatheatre.co.uk

Reviewer:  Anne Pritchard

On: 24th October 2026

 

Theatre Review Noel Coward’s Present Laughter The Playhouse Liverpool

 

Theatre Review Close Enough to Touch Waterside Theatre, Sale

A whole play, by Henry Roberts, centred on a cheating unlikable boyfriend (Stefan Race) cruising for sex with strangers in dirty public toilets of London, delivered with such a powerful performance from Race that the show passed in a blur of beautiful physical movement and text delivered like spoken word.

Two companies Red Ladder and Silent Uproar have brought Henry Roberts play to life with a team of creative individuals who have made the mundane and ugly a work of art. Character M is struggling with life, not able to find a job, his girlfriend by contrast is being given another promotion, struggling with his sexuality and place in life he takes relief by sneaking out to cruise public toilets around the London underground for sexual favours with strangers.

Cheating and putting his girlfriends health at risk too this character should be completely unlikeable, but Race’s performance is captivating, his movement appears liquid as he rolls across the set, a metal bin and bus bench, weaves around the bars of the bus stop, stopping to deftly land seated atop of the bin or across the bench, cat like movements for a character that is often referred to as ‘pup’ by his girlfriend. Movement director Chris Brown must have had a dream working with an actor with such strong physical capabilities in movement.

The vulnerability of the character was not overplayed. Cheryl Martin’s direction delivers punch after punch; the swiftness of the action flows from beginning to end of the production. There is no lingering after the moment of violence that occurs in the toilets with the businessman, M escapes and deals with the consequences of having to go for a health check, then the tension of waiting for his results. I really enjoyed Martin’s powerful story telling.

As M waits for his results, he is in state of anxious panic, there is a thumping sound score denotes a racing heartbeat as the scene comes to a dramatic climax. Mark Melville’s sound design compliments the piece throughout, but the thumping heartbeat during the results waiting was a standout moment for its effectiveness, it had a palpable effect on its audience.

The set comprised of a bus stop shelter with two fluorescent lights, screens for the back walls of the bus stop projecting abstract grimy images relating to the scenes we were in, with a constant smattering of rain across. Combination of Adam Foley’s lighting and video design and Cory Shipp’s set and costume design made for a set worthy of being an art installation itself, compelling but not distracting from the actor’s performance. Momentary uses of colourful side lights and LEDs cast colourful shadows across Race’s face to give another dimension to feelings of elation and escapism from his mundane world.

A stunning performance delivered by an amazing team of creative people. The level of detail in performance and production needs to be appreciated by as wide an audience as possible. Would highly recommend to theatre, physical theatre and poetry lovers, this will appeal to a wide theatre going audience.

Reviewer: Kerry Ely

On – 16/10/2026

Theatre Review The Void The Atkinson Southport

Set in the year 2160, The Void is a science-fiction horror thriller that transports its audience into a decaying future where governments have vanished and powerful corporations rule over humanity.

The premise, in simple terms, goes something like this. Earth has been destroyed and Flint (Alex Moran), a haunted, one-eyed space ranger with a partially erased memory, is on patrol near Saturn’s largest moon, Titan. Picking up a mysterious distress signal, he docks his ship with the Odyssey, an ageing research vessel drifting in deep space. Once aboard, Flint discovers a ship in failing condition and a crew that has apparently vanished. His only guide is NOVA, the ship’s omnipresent artificial intelligence (voiced by Olwen May).

Flint eventually encounters a mysterious doctor named Blair (Ryan Simons), seemingly the sole remaining human aboard the vessel. Before long, they discover that a deadly presence, one that feeds on fear, is loose on the ship, forcing Flint to confront dark memories from his own past. His growing sense of déjà vu proves crucial to the story’s eventual resolution. To say any more would risk spoiling the surprises.

The ambition behind The Void is to create a hybrid theatrical experience, allowing audiences to feel as though they are watching a live horror movie without ever leaving the theatre. The production draws heavily on some of science-fiction cinema’s most familiar themes and influences: the terrifying isolation of deep space in Alien, the omnipresent and independently minded artificial intelligence of 2001: A Space Odyssey, the corporate control explored in Other Life, and the ethical questions surrounding technology that run through Black Mirror.

Visually, the production attempts to push beyond traditional theatrical boundaries, blending live action with large-scale illusions, prosthetics and pre-recorded video sequences, featuring Riana Duce, to create something approaching the scale and spectacle of cinema.

The set is impressive. A large portal, framed by jagged beams, dominates the centre of the stage, while a doorway to the right, surrounded by assorted equipment and industrial fittings, gives the spaceship a suitably functional, lived-in appearance.

An ominous soundtrack, sudden bursts of sound, the effective use of darkness and dramatic lighting changes help establish the atmosphere. 

The combination of atmospheric lighting, drifting smoke and the claustrophobic surroundings creates a palpable sense of unease, ensuring that the audience is never quite sure what might be lurking around the next corner.

There are some effective jump scares along the way, together with a particularly clever disappearing trick and an illusion that genuinely makes it appear as though a man is floating weightlessly in space.

Ultimately, The Void is an ambitious and impressively realised piece of theatre that succeeds on two levels. Its inventive staging, clever illusions and imaginative use of technology are impressive enough, but what really matters is that it works as a genuinely frightening and suspenseful experience. The tension builds, the jump scares are effective and the sense of isolation and impending danger is maintained throughout. Science-fiction horror is a genre more readily associated with the cinema, but Ryan Simons and his team demonstrate that, with imagination and ingenuity, the theatre can be every bit as unsettling. Indeed, there’s something particularly unnerving about watching the horror unfold right in front of you, knowing that there’s no camera trickery or clever editing to hide behind.

The Void continues to tour across the UK and details may be found in the following link,

https://www.thunderroadtheatre.org/tickets

Reviewer: Adrian Cork 

On: 13/10/2026

Theatre Review Cadel: Lungs On Legs Riverside Studios: London

 

Some stories are about winning. Others are about what it takes to keep going when winning feels a very long way off.

CADEL: Lungs On Legs manages to be about both, delivering a powerful reminder that behind every extraordinary achievement lies a human being, a thousand sacrifices and a determination that refuses to give up.

Written by Connor Delves and Steven McMahon and performed by Connor Delves, this remarkable one-man show tells the story of Australian cyclist Cadel Evans and his historic 2011 Tour de France victory. But this is no ordinary sporting biography. Connor delivers the story while physically cycling throughout the performance, bringing a whole new meaning to the phrase ‘putting your heart and soul into your work’. 

And blimey, does he put the work in.

The physical demands alone are something to behold, but what makes this production so compelling is the emotional grit beneath the spectacle. Through storytelling, movement and the relentless rhythm of the pedals, we are drawn into a world of ambition, pressure, sacrifice and resilience.

There is sweat, certainly, but there is heart, too.

What could easily have become a celebration of sporting achievement instead offers something much more universal. This is a story about the cost of chasing a dream, the setbacks that threaten to derail us and the sheer determination required to get back up when life knocks us sideways.

You don’t need to know your Tour de France from your Sunday afternoon cycle to connect with that.

Delves brings tremendous energy and emotional commitment to the performance. There is something almost wonderfully stubborn about watching someone physically push themselves while telling the story of another man’s extraordinary endurance. The form and the subject become one; the effort isn’t simply described, it’s right there in front of us.

I had the pleasure of briefly meeting Connor after the show, and he was lovely. It’s always a joy to be able to offer a personal congratulations to the person behind a performance, particularly when you’ve witnessed such a remarkable commitment to their craft.

And what a night to be there: the production was celebrating its 100th performance. That’s a milestone worth raising a glass to. One hundred performances take dedication, discipline and a whole lot of passion. They also mean that this story has found its way into the lives of audiences time and time again.

As someone who is endlessly interested in people and the stories that shape us, I found myself thinking about the resilience at the heart of it all. We may not be cycling up the Alps in pursuit of a yellow jersey, but we all have our own mountains to climb. Sometimes the greatest achievement is not reaching the top first, but finding the courage to keep moving when the road gets tough.

That is the beauty of theatre. It takes us into someone else’s world and, somewhere along the way, brings us back to our own.

Congratulations to Connor Delves and the creative team on reaching this wonderful milestone.

CADEL: Lungs On Legs is an inventive, physically demanding and heartfelt piece of theatre that proves a compelling story doesn’t need bells and whistles. Sometimes, all you need is a bicycle, a remarkable performer and a story worth telling. A reminder that, whatever life throws at us, there’s always another pedal to turn.

A hundred performances in, and still plenty of miles left in the tank.

For more details and tickets: https://riversidestudios.co.uk/whats-on/ld-cadel-lungs-on-legs/

Reviewer: Mary Fogg 

On: 15th October 

Theatre Review Romeo & Juliet Ballet Empire Theatre Liverpool

Tonight this wide-ranging packed audience at the Empire theatre in Liverpool experienced a most incredible outstanding performance by the English National Ballet, of which many of its performers here tonight are from all around the world.

Originally this gorgeous production of Romeo &Juliet was created and choreographed by the acclaimed ballet master Rudolf Nureyev for Queen Elizabeth II’s Silver Jubilee in 1977, and possibly one of the greatest love stories ever told was brought alive once again here tonight.

It was a real spectacle of exhilarating dance accompanied by a soaring musical composition which captivated our senses, a feast for the eyes and ears with a magnificent and emotionally charged wide  reaching musical composition, written by Russian composer Sergei Prokofiev, so beautifully performed by the English National Ballet Philharmonic Orchestra.

How magically this ballet and music cleverly portrayed this poignant love story from a young couples first glance, irresistible attraction, wooing, rejection, masked disguises, all-consuming passion, simmering family hatred and duels, blossoming romance and love, to their heart-wrenching final embrace. Credit must be given to all involved from artistic director Aaron S. Watkin, music director and conductor Maria Seletskaja, the performing cast, set designer Ezio Frigerio, and costume designers Ezio Frigerio & Franca Squarciapino, and lighting design Tharon Musser for all their effort in creating this wonderful performance. I must also give credit to the many other supporting artists actors and dancers and stagers who took part in creating tonight’s performance.

The curtain arose to reveal a wonderful backdrop set in the renaissance era and city of Verona Italy, with pretty little market stalls displaying their wares of fruit, flowers, vegetables and breads where the two families the Montagues and Capulets reside.

Romeo Montague and his family wore beautiful pastel and striking Verdigris hues of green and blue costumes whilst Juliet Capulet and her family wore pastel pinks and vibrant rich, crimson-coloured costumes to distinguish between the two bitter feuding families on stage.

There were many beautiful set changes throughout to help portray the story as it unfolds and the music alters ranging from just delicate violins to a full-on orchestra whilst performing the unforgettable ‘Dance of the Knights.’

My favourite part of the whole production was scene 5, The Capulets Garden, where Juliet comes out into the garden and Romeo emerges and they pledge their love for each other. The dancing and music during this scene I thought was exquisite.

What a superbly electrifying performance we were lucky to witness, a wonderful evening was certainly had by everyone, and I recommend you see it for yourself. The ballet changes its cast members at each performance, and tonight the main cast members were:

Aitor Arrieta Romeo

Emma Hawes Juliet

James Streeter Tybalt

Gustavo Carvalho Mercutio

Lorenzo Trossello Benvolio

Eireen Evrard Lady Capulet

Fabian Reimair Lord Capulet

Skyler Martin Paris

Anna Nevzorova Rosaline

The English National Ballet are on tour until 24 th January 2027, for further information check out their website. www.ballet.org.uk/production/romeo-juliet/

Reviewer: Jill Ollerton 

On: 16/10/26

Concert Review Jake Vaadeland and the Sturgeon River Boys Music Room Philharmonic Hall Liverpool

At an age when most musicians are looking towards the next big thing, Canadian singer-songwriter Jake Vaadeland seems perfectly content to look backwards. With his slicked-back hair, sharp suits and a musical vocabulary drawn from bluegrass, traditional country and 1950s rockabilly, the Saskatchewan-born performer could have stepped straight out of a black-and-white television variety show. Yet, accompanied by his Sturgeon River Boys, Vaadeland is doing something rather more interesting than simply recreating the past. He’s introducing a new generation to music that was old-fashioned long before he was born.

The Sturgeon River Boys took to the Music Room stage first, launching into some fast and furious bluegrass that immediately gave the audience a taste of what was to come. Vaadeland joined them and tore into the opening numbers, ‘Father’s Son’, ‘Bachelor’s Life’ and ‘Farewell Blues’. His voice matched his appearance perfectly, with its old-fashioned delivery, pronounced phrasing and slightly theatrical quality.

Musically, the band were pretty much flawless. Joel Rohs, on both acoustic and electric guitars, provided a steady backbone, while Jake Smithies’ virtuosity on upright bass really anchored the performance. Jaxon LaLonde’s banjo picking and backing vocals were outstanding. Together, these musicians formed a tight-knit unit, clearly enjoying their time on stage and feeding off each other’s energy.

Three more songs followed in quick succession before we were treated to what can only be described as banjo versus bass, as Vaadeland and Smithies went head-to-head in a thrilling musical duel. ‘One More Dollar to Go’, the title track of their latest album, followed before a couple of covers, including ‘Will the Circle Be Unbroken’, paid tribute to the musical traditions that have shaped their sound.

The band then stopped playing to allow Vaadeland to deliver a mock commercial for Diet Pepsi in a perfect 1950s radio announcer’s voice, complete with a sung advertising jingle. It was a wonderfully absurd comic interlude that the audience clearly loved. Three more songs followed before another instrumental battle, this time featuring the duelling banjos of Vaadeland and LaLonde. 

The comic exchanges between songs must have been meticulously rehearsed, yet they came across as wonderfully spontaneous. That ability to make carefully choreographed routines appear effortless is a considerable talent in itself.

The set continued with original compositions that sounded as though they belonged to an earlier era without ever becoming mere pastiches. One in particular, ‘I Ain’t Going Back to Nashville’, brought a contemporary edge to proceedings with its as Vaadeland introduced it with reference to the incumbent President of the United States of America.

Another advertisement followed, this time for 19Fifties Union Pomade, further reinforcing the impression that we had somehow stumbled into a country music radio broadcast from seventy years ago.

What made the evening so enjoyable was the balance between outstanding musicianship and genuine entertainment. Vaadeland is an engaging frontman, blessed with a distinctive voice, considerable instrumental ability and an instinctive understanding of how to hold an audience. Just as importantly, the Sturgeon River Boys are superb musicians in their own right, bringing energy, precision and personality to every number.

The audience responded with a richly deserved standing ovation, bringing the band back for a two-song encore that included a spirited rendition of Carl Perkins’ rock’n’roll classic ‘Blue Suede Shoes’. It was a fitting conclusion to an evening that had celebrated the musical traditions of a bygone era without ever feeling dated.

In an age when so much live music relies on elaborate production and technology, Jake Vaadeland and the Sturgeon River Boys demonstrated that four talented musicians, a collection of beautifully crafted songs and a generous helping of humour are more than enough to deliver an unforgettable evening.

Jake Vaadeland and the Sturgeon River Boys tour continues and details can be found in the following link,

https://www.jakevaadeland.com/#tour

Reviewer: Adrian Cork 

On: 13/10/2026

Concert Review The Hu: Warrior Chant Tour O2 Apollo, Manchester

The Hu performed magnificently to a packed theatre, delivering a powerful and unforgettable evening of music. Although the language may have been a barrier for much of the audience, the thumping rhythms, powerful vocals, and messages of peace and unity resonated deeply with the crowd. 

Throughout the show, fans enthusiastically chanted the band’s name, demonstrating just how effectively music can transcend language and cultural boundaries. Supporting The Hu were Skáld, a French Nordic folk group whose music draws heavily on Scandinavian culture and Norse mythology. Many of their songs are performed in Old Norse, creating an atmospheric and immersive experience. Their use of traditional instruments, including shamanic drums, lyre, talharpa, citole, jouhikko, and nyckelharpa, complemented their distinctive sound. They were an excellent choice of support act, sharing some musical similarities with The Hu while bringing a very different energy to the stage. 

Their lead singer swayed and danced in an almost trance-like manner, contrasting with The Hu’s headbanging, fist-pumping intensity. Nevertheless, the audience responded enthusiastically to every song, captivated by music that seemed to tell culturally significant stories through its haunting melodies and rhythms.

The Hu are a Mongolian band who combine traditional instruments and throat singing with folk and heavy metal, a genre they describe as Hunnu Rock. For fans of powerful vocals, such as Rammstein, the sheer force of Dashka痴 throat singing will blow you away. Primal, deep, and resonant, it produces a sound that is difficult to appreciate fully unless experienced live. 

The name Hu means 塗uman being? in Mongolian. Although their lyrics are sung in Mongolian, the driving anthems and themes of warriors, courage, and overcoming fear communicate a universal message. Their music encourages younger generations to reconnect with their ancestral values, respect the natural world, and not be motivated by greed. For me, the standout songs were 糎arrior Chant? and 腺lack Thunder?. During these performances, the crowd joined in with the choruses, stamping their feet and throwing their hands into the air, creating an electrifying atmosphere.

In recognition of their cultural contribution, The Hu received Mongolia’s highest state award, the Order of Genghis Khan, on 27 November 2019. Although they were not the first Mongolian rock band, they are the fist to have achieved international recognition by bringing traditional Mongolian instruments and throat singing to a worldwide audience. 

In a world dominated by modern Western music, The Hu offer something refreshingly different. Their performance in Manchester was truly impressive, combining thunderous rhythms, soulful string melodies, and powerful, resonant vocals. Language became irrelevant as the music transcended cultural boundaries, uniting the crowd in a shared experience that was both electrifying and deeply moving.

Reviewer: Kerry Ely

On: 10/10/2026

Comedy Review Lenny Henry Still At Large Tour Playhouse Liverpool

 

Lenny Henry has spent more than half a century making Britain laugh. Along the way, he has become an acclaimed dramatic actor, a tireless charity campaigner and one of the most recognisable figures in British entertainment. With Still at Large, he returns to stand-up, looking back on an extraordinary career while demonstrating that he still has plenty to say about the country that helped make him famous.

Combining stand-up, personal storytelling and candid reflections on his life and career, the show has a surprisingly emotional weight beneath the laughter. Now 67, Henry begins by bringing the audience up to date with what has happened since he last toured, including winning a BAFTA and being knighted by the late Queen, or the ‘Queen of England’, as he proudly describes her.

He looks back on a remarkable career that began as a teenager on the television talent show New Faces. From there came The Lenny Henry Show, his celebrated move into serious theatre with productions such as Othello, and more recently his appearance in the big-budget television series The Lord of the Rings: The Rings of Power. Few British entertainers have enjoyed such a varied and enduring career. Yet Still at Large is much more than a nostalgic trip through his most popular work. Henry seems increasingly comfortable tackling subjects that might once have sat uneasily alongside his comedy, particularly the resurgence of racism in Britain. A joke about slavery gives way to a more unsettling account of discovering three golliwog figures on display in an antique shop in the village where he lives. He said he was resigned to it but so proud of his partner for writing a strong letter of complaint to the shop owner. In fact, he read the letter out and the audience applauded loudly at its conclusion. It’s a reminder that, for all the progress made during his lifetime, some attitudes remain stubbornly entrenched. 

Henry manages to make his point without losing the warmth or humour that characterises the evening. His ability to hold the room before delivering the punch line has been honed over time and ensures that the laughs came thick and fast. The second half takes a more informal turn, with Henry answering questions from the audience in an open Q& session. The atmosphere is relaxed and conversational, helped along by a selection of video clips from his extensive television and film career.

He reveals that the programme he is still asked about most frequently is Tiswas, the anarchic Saturday morning children’s television show that helped establish him as a household name. A clip of his gloriously irreverent impersonation of newsreader Trevor McDonald as Trevor McDoughnut provides a reminder of the exuberant, anything-goes comedy that made the programme such a phenomenon.

A question about Comic Relief gives Henry the opportunity to recall its beginnings and reflect on what the charity has achieved over the subsequent four decades. It’s another reminder that his contribution to British public life extends well beyond entertainment.

Ultimately, Still at Large is as much an opportunity for an audience that has grown up with Lenny Henry to demonstrate its affection for him as it is for the man himself to look back on a stellar, groundbreaking career. There is nostalgia here certainly, but Henry was very funny throughout, despite struggling with his voice at times, and gave off a sense that he still has plenty to say.

Lenny Henry’s tour continues and information can be found by following the link, https://www.fane.co.uk/lenny-henry

Reviewer: Adrian Cork

On: 10/10/2026

In Store Tour Review: The Howlers: Heavy, Wax and Beans, Bury

Released on 9 October via FLG Records, Heavy is the latest album from the band The Howlers, the release kicks off with a record store tour taking in 19 cities in just 12 days. As part of this tour, we had the privilege of experiencing a stripped-back acoustic performance at Wax and Beans, a cosy vinyl shop in Bury. The intimate setting provided the perfect backdrop for an opportunity to hear the songs in a different light, allowing Young’s songwriting, distinctive vocals and impressive guitar work to really blow us away.

The sound system worked beautifully in the venue, delivering a clear and balanced sound that complemented Young’s performance. With just an acoustic guitar, he demonstrated what a powerful voice and musical ability he has. Instead, the intimacy of the setting drew attention to the subtleties of his playing and the emotional weight of his lyrics.

Following his debut album, What You’ve Got to Lose to Win It All, which explores themes of grief and loss, Heavy takes listeners on a different journey. The album examines temptation, impulsiveness and the process of finding oneself after moments of recklessness. Yet, as the closing track, ‘Goodbye’, suggests, grief remains an important thread running through Young’s songwriting. There is a bittersweet quality to this conclusion, with the suggestion that, after living our own lives, we may one day be reunited with the loved ones we have lost. It is an emotionally resonant way to bring the record full circle, balancing the pain of absence with a sense of hope and acceptance.

Performing solo, Young proved himself a compelling frontman. His guitar playing was particularly impressive, producing a surprising range of sounds and textures from a single acoustic instrument. Power chords, top-string bends and carefully varied strumming patterns gave the songs plenty of character. The performance never felt limited by its stripped-back format; instead, it highlighted just how much could be achieved with a guitar and a talented musician.

Young’s vocals were another standout feature. His voice has a soulful, powerful quality, but he uses that power selectively, building intensity when the songs demand it rather than relying on volume throughout. This gave the more emotional moments real impact, allowing the lyrics to resonate with the audience. Subtle vocal inflections and vibrato added further depth, particularly during the most poignant passages. There was a genuine sense of feeling behind the delivery, making the songs engaging both musically and emotionally.

Beyond the music, Young’s personality added to the appeal of the performance. Direct, good-humoured and unmistakably likeable, he came across as a down-to-earth East End Londoner who was comfortable engaging with the crowd. He has the natural charisma of a frontman, holding the audience’s attention. His easy rapport with the room helped create a relaxed atmosphere, making the experience feel personal rather than simply another stop on a busy tour schedule.

Several tracks stayed with me long after the performance ended. The title track, ‘Heavy’, was particularly memorable for the impressive range of heavy guitar sounds Young managed from an acoustic guitar. ‘You Can Be So Cruel’ also made a lasting impression, particularly for its lyrics and gritty portrayal of the complications and emotional messiness of relationships. Young’s direct approach to songwriting gives the track an honesty and rawness that is completely relatable with.

However, it was ‘Goodbye’ that for me was the most moving. Inspired by the last words Young’s grandmother said to him, the song carries a deeply personal significance. Its bittersweet sentiment was especially powerful in the intimate surroundings of Wax and Beans, where the stripped-back arrangement allowed the emotion behind the lyrics to shine through. It was a poignant reminder of music’s ability to express emotion and become a shared communal experience.

With a European tour due to begin at the end of October and further UK dates anticipated for March 2027, there should be more opportunities to experience Young’s music live. Heavy is a record that rewards being heard from beginning to end, allowing its themes and emotional journey to unfold fully rather than simply dipping into individual tracks. 

Adam Young is a talented songwriter and performer whose lyrics pack a punch, complemented by impressive guitar skills and a voice capable of delivering both grit and tenderness. The Wax and Beans performance offered a memorable introduction to the album’s songs in their most intimate form. I would recommend giving Heavy a full listen and, if you have the opportunity, seeing Young perform live. For those who appreciate music that combines honest storytelling, accomplished musicianship and genuine emotional depth, his records deserve a place in your vinyl collection.

Reviewer: Kerry Ely

On: 09/10/2026

Concert Review Crash Test Dummies The Tung Auditorium, Yoko Ono Lennon Centre University of Liverpool

Tonight the Canadian folk-rock band Crash Test Dummies from Winnipeg, were performing at the Tung Auditorium at the Yoko Ono Lennon Centre, from their ‘Celebrating 35 Years’ current tour. This dynamic high energy stage show did not disappoint its fans and featured their most iconic songs, and the acoustics of this fabulous auditorium lent itself perfectly to their distinct stand out sound.

Having one of the most recognisable voices in history, alternative rock band Crash Test Dummies are a three-time Grammy-nominated and JUNO award-winning group who soared to the top of the worldwide charts in the early 1990’s. Their cover of ‘The Ballad of Peter Pumpkinhead’ was a highlight of the soundtrack to the blockbuster film Dumb and Dumber and reached number 4 in the album charts.

Brad Roberts original band member, lead singer, guitarist and songwriter was influenced by British bands the Rolling Stones, The Beatles, XTC and David Bowie growing up. He was quoted saying that the reason we are on tour again is that ‘Surprisingly – at least to me - there are lots of people who many years later still want to come and hear us. Its humbling being in the confidence of so many people.’

Brad was joined onstage with other original band members singer and musician Ellen Reid, Dan Roberts - Brad’s brother on bass guitar, and drummer Mitch Dorge. Joining alongside them were guitarist Stuart Cameron and late newcomer Leith Flemming Smith on keyboard to form a six-piece band. Sadly, their special guest Gareth Dunlop was unable to join them as their supporting act tonight, but Scottish folk singer and songwriter Abigail Pryde joined them instead and gave us a beautiful emotive performance. With Brad Roberts unique deep bass-baritone vocal range and fusion with Ellen’s folk- rock vibe, brings about a clever mix of sounds and a compilation of music ranging from folk, rhythm and blues, jazz, 60’s, country and rock and roll, it had it all. 

The band kicked off with ‘Ghosts’, Brad and Ellen harmonising whilst Ellen played the tambourine and Brad played acoustic guitar. Most of the songs they sang together but ‘A Little Something’ and ‘If I Had My Way’ were sung mainly solo by Ellen’s gorgeous dulcet tones, apart from their infamous rousing hit ‘Peter Pumpkinhead’.

Ellen also played the accordion during ‘Bereft Man’s Song’ and Brad played electric guitar on some of their songs, of which they performed 17 of them tonight. 

During the performance the band gave a shout out to Stephanie in the audience, and they sang ‘Happy Birthday’ to her, inviting the audience to join in with them, which was a lovely touch. The auditorium atmosphere changed and went up a gear when the audience got very excited with their performance of ‘God’ and really got a full-on involvement from them, with some audience members being told kindly to calm down!

Other hits they performed were ‘Superman’ and ‘Coffeespoons’ and they came back onstage for an encore to sing ‘Feel It’ and the very melancholic ‘Heart of Stone’ a beautiful ballad, and their grand finale their biggest and most famous hit of all which peaked at number 2 in the UK charts, 'Mmm Mmm Mmm Mmm' which had everyone up on their feet singing clapping and foot tapping along.

My personal favourite was a fairly new addition a song called ‘Sacred Alphabet’ sung by Brad and it had a very spellbinding almost ethereal feel to it and it had me mesmerised; it totally captivated me. The band sounded just as they had done in their heyday and the audience absolutely loved it; it was like being transported back in time. A fabulous evening. 

The band are on tour in UK until 17th October 2026, and on tour in Australia next year, for further tour information check out their website, https://www.crashtestdummies.com/

Reviewer: Jill Ollerton 

On: 10/10/2026