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

Theatre Review How Could I Forget? The Playhouse, Sheffield

Hot on the tail of Chris Bush’s acclaimed ‘Standing at the Skye’s Edge’ and the excellent ‘Living’ by Leo Butler comes Joe Carnall’s ‘How Could I forget?,’ to complete a golden hat trick of family led stories from the Steel City. Sheffield musician Joe is a familiar sight on a different kind of stage as a member of local bands Millburn and Reverend and the Makers. His first venture into playwriting is based on his own experiences of seeing his Glaswegian grandfather battle with Alzheimer’s disease over a decade ago.

Whereas ‘Skye’s Edge’ and ‘Living’ paint a broader landscape with a state of the nation narrative, ‘How Could I Forget’ shines a spotlight on a heartfelt and compelling tale of the relationship between a Grandson and his Grandparents. Set in Sheffield, the story centres around Billy, a young man trying to find his path through life at the same time his grandad, his dominant role model and larger than life character descends into dementia. The production has a distinctly northern feel and captures the dry self-deprecating humour associated with the region, but the subject matter is universal and will resonate anywhere.

It is clear from the intimate script that the story is based on lived experience and highlights the impact the disease has on the family members. But it is a play with lighter moments as the nonlinear story time jumps into various stages of their lives. The story meanders in a delicately heartfelt, entertaining, and often hilarious fashion. Much of the connection between the Grandad and Grandson centres around a piano and their shared love of music. 

The cast consists of five actors, two of which form an ensemble cast, although as the play progresses the ensemble characters grow in stature. The acting, singing and choreography of all the cast was faultless, a superb all-round performance. It was excellent casting with the on-stage relationships working as the audience grew emotionally involved with the likeable and relatable characters.

The Playhouse has a cosy layout, with the basic and seamlessly re-arranged stage setting and costumes immersing the audience into the procedures. The musical arrangements and choreography were excellent in content and execution. 

The pacing of the play worked well. The emotional and humorous scenes were perfectly balanced with the musical scores. By the time the play headed towards its natural conclusion, I was enveloped in the characters’ lives and relationships. I was expecting an emotional ending and I was not disappointed. In fact, I cannot recall a more emotional audience reaction to the ending of a play I have attended.

Joe Carnall Jnr was in attendance and gave a humorous and emotion speech to a stirring round of applause. Although personal to him it is a subject relevant to us all and was tackled in such a way as to give hope and acceptance whilst reflecting upon the good times and the legacies built upon such foundations. I would highly recommend this production.

Production run (The Playhouse, Sheffield): Friday 9th October – Saturday 10th October 2026.

Running Time: around 2 hours 20 Minutes, including an interval.

www.sheffieldtheatres.co.uk/events/how-could-i-forget/dates

Reviewer: Matthew Burgin

On:  9th October 2026

Concert Review The Hoosiers O2 Ritz, Manchester

I knew The Hoosiers biggest hits, but arrived at Manchester’s O2 Ritz with little idea of just how extensive their catalogue was or quite how accomplished they would be live. What followed was an evening of wonderful surprises.

The Hoosiers brought an infectious mixture of musical brilliance, theatrical flair and good humour to a wonderfully lively Thursday night in Manchester. Even before they appeared, the friendly crowd was chanting Hoo! Hoo! Hoo!, creating a terrific atmosphere of anticipation.

Opening with ‘Sleeping With the Light On’ and ‘Lonely Together', the band immediately demonstrated that there was far more to them than the handful of hits I knew. Frontman Irwin Sparkes was a revelation, his powerful voice soaring into an extraordinary falsetto that occasionally brought Kate Bush to mind. His charismatic stage presence was matched by an easy connection with the audience, even venturing down onto the Ritz’s famous sprung dance floor to join them.

The quirky 'Making a Monster' and ‘Choices’ maintained the momentum before ‘Worried About Ray’ produced one of the night’s first enormous reactions. Sparkes barely needed to sing at times, happily allowing the audience to take over while the sprung floor bounced beneath hundreds of dancing feet. The crowd was clearly having the time of its life.

What really surprised me, however, was the sheer standard of musicianship. The band’s hugely talented multi-instrumentalist moved effortlessly between keyboards, keytar and cornet, the latter becoming an additional voice we didn’t know we needed. Its distinctive sound brought warmth, colour and unexpected flourishes to the arrangements, culminating in a sensational brass solo during 'Jigsaw Heart.' It was one of several moments that made me appreciate just how musically versatile this band is.

‘Run Rabbit Run' continued the playful energy, while a wonderfully reimagined cover of Chappell Roan’s 'Pink Pony Club' proved another huge crowd-pleaser. Bathed in glorious pink lighting, it featured an unexpected vocal contribution from the keyboardist and was delivered with the band’s characteristic sense of fun.

The lighting throughout was excellent, with dramatic red strobes, criss-crossing spotlights and vibrant colours enhancing the atmosphere without overwhelming the performances. Together with the band’s inventive arrangements, it made the evening feel like a proper show rather than simply a succession of songs.

The newer material was equally impressive. 'Automatic Glow' demonstrated their contemporary sound, while 'A Sadness Runs Through Him’ provided a striking contrast, beginning with a stark, stripped-back acoustic arrangement that allowed the song’s emotion to shine through. Then came ‘Multiply,’ bursting into life with a gloriously funky instrumental jam driven by punchy slap bass. The changes of pace were handled effortlessly.

A thrilling rendition of Gnarls Barkley’s ‘Crazy’ gave Sparkes another opportunity to showcase those remarkable soaring vocals before ‘Cops and Robbers’ sent the Ritz absolutely wild. With its punchy brass interlude and seemingly everyone dancing, it was a joyous explosion of energy. There was something wonderfully infectious about the sight of a packed Thursday-night crowd abandoning themselves so completely to the music. ‘Altitude’ continued the fun, while ‘Permission to Rest', from ‘Compassion', brought a more thoughtful moment. Dedicated to the audience with a heartfelt message about self-love and being kinder to ourselves, it offered a touching reminder that The Hoosiers can balance exuberant entertainment with genuine warmth and sincerity. Jigsaw Heart then provided another showcase for the band’s exceptional instrumental talents.

The main set concluded with a spectacular rearrangement of Billy Joel’s ‘We Didn’t Start the Fire’. Its beautifully layered vocal harmonies owed more to Queen’s theatrical grandeur than Billy Joel’s original recording, transforming a familiar song into something wonderfully distinctive. It was bold, ambitious and brilliantly executed.

Unsurprisingly, the audience weren’t ready to let them go. Their demands for an encore were rewarded with a theatrical medley that began in beautifully stripped-back fashion, moved into ‘Worst Case Scenario’ and finally exploded into the glorious 'Goodbye Mr A'. It was a thrilling, uplifting finale, and the perfect reward for a crowd that had given the band so much energy throughout the evening.

What struck me most was that this was no nostalgic run through a few familiar hits. The sheer breadth of the catalogue, extraordinary musicianship, beautiful harmonies and consistently imaginative arrangements were a genuine revelation.

I arrived as a Hoosiers virgin and left a fully-fledged fan. What a fantastic Thursday night in Manchester!

The Hoosiers are currently touring the UK promoting their new album, ‘Compassion.’

Reviewer:  Kathryn Gorton

On: 8th October 2026

Theatre Review Pride & Prejudice (sort of) Buxton Opera House

Jane Austen’s popularity shows no sign of diminishing over two hundred years after her death and new adaptations of her best-known works keep appearing, with a new film version of ‘Sense & Sensibility’ currently doing the rounds. Fans of the novelist typically point the  subtlety of her humour and sharp observations of the foibles and rigidities of upper-class society during her time. It is perhaps ironic that her best known work has now been turned into an in-yer-face farce that is anything but subtle and yet somehow remains true to both the story and spirit of the novel.        

The grandiose set immediately hits you, with a huge sweeping staircase and floor-to- ceiling bookshelves bringing over the opulence and splendour of Austen’s world. However, this is a treatment so all the colours are varying shades of DayGlo pinks and lilacs, perhaps echoing the fact that this is an all-female production, although certainly not feminist! Various props are brought on to indicate key elements in the story with a modern twist (there is no record in Austen’s novels of chocolate Wagon Wheels being served to guests on silver platters nor servants standing by copious amounts of Iron Bru at high society balls). Everything essentially needed to faithfully tell the story is faithfully represented, albeit in one form of another with certain liberties taken.

            

This is a quick-fire production by Isobel McArthur, after Jane Austen, with the each of the five-strong cast playing multi-roles and the pace rarely slacks with scenes quickly morphing from one to the next through clever lighting changes and some very slick movement of props. The backdrop of light blue skies frequently changes to a starry night or twilight, indicating both scene changes and passages of time whilst spot-lighting is also used to great effect. In fact, the whole show is a class act in the creative use of stage lights.

            

Naturally, the key element is the characters and white underdresses form the default costume of all the cast, often for narrations, with men’s coats used to represent male characters and full colourful dresses for the female characters. This works largely through powerful, over-the-top characterisations and the audience is never in doubt as to which characters are on stage. Frequent fast-flowing exchanges are juxtaposed to the sedate pace of life and conversation in Austen’s society, with the stairs and balcony used to excellent effect together a number of hidden doors allowing for more or less constant exits and entrances; one of the hallmarks of a good farce.

            

Another medium is used to tell the story that is certainly not in keeping with the period; songs from the 60’s, 70’s and 80’s, each carefully chosen to fit the narrative. What better song to sing to the proud Mr Darcy than Carly Simon’s ‘You’re so vain’ and with all the effeminate fops and polite gentlemen to whom the Bennet sisters are subjected, is it any wonder they should want to sing Bonnie Tyler’s ‘I’m looking for a hero’? The songs might a slight effect of panto but they work, aided by some fine musicianship from the cast themselves, carrying the show along in a raucous rollercoaster of laughs, intrigue and frolics.

            

The  cast of five is supplemented by three swings so you don’t know exactly who will be stage for each performance, which is remarkable considering the sophistication of this production. A personal favourite is Julia Murray if only for the fact she manages to keep a straight face for (almost) the entire production), even singing The Partridge family’s ‘I think I love you’ with the solemn, deadpan humour we might expect from Mr Darcy.

            

The show is pure fun with the weaved-in songs giving a feelgood atmosphere and the over-the-top acting almost Pythonesque yet somehow remaining pure Jane Austen.

Pride & Prejudice (sort of) is on at Buxton Opera House until 10^th October and touring nationally.

 

https://buxtonoperahouse.org.uk/

       

Reviewer: John Waterhouse

 

On: 05.10.26

 

Concert Review Joe Jackson Hope and Fury Tour Philharmonic Hall Liverpool

Almost half a century after Look Sharp! announced Joe Jackson as one of the sharpest and most distinctive voices to emerge from Britain’s late-1970s new wave, he remains a musician stubbornly unwilling to live on past glories. At Liverpool Philharmonic Hall, the Hope and Fury tour provided ample evidence that Jackson is still looking forward, even while acknowledging the remarkable body of work behind him.

The tour accompanies Hope and Fury, his first album since 2023’s excursion into English music hall, Mr. Joe Jackson Presents Max Champion in ‘What a Racket!’. This time Jackson has returned to the sophisticated mixture of pop, rock, jazz and rhythmic experimentation that has characterised much of his career. The result is an evening that feels less like a greatest hits show than a conversation between the Joe Jackson of 1979 and the artist he has become nearly five decades later.

Jackson opened alone at the piano with ‘Is She Really Going Out With Him?’, immediately stripping one of his most familiar songs back to its essentials. It was an effective reminder that beneath the spiky new-wave production of those early records were always exceptionally well-crafted songs. Bassist Graham Maby, Jackson’s musical companion for much of his career, then joined him for ‘It’s Different for Girls’, before the full band arrived and the evening began to gather momentum.

From there, old and new were deliberately intertwined. The new album was represented early by ‘Welcome to Burning-by-Sea’, inspired by Jackson’s home town of Portsmouth, and ‘I’m Not Sorry’, both demonstrating that he has lost little of the observational bite and wit that made his early work so compelling.

Significantly, much of the audience appeared every bit as familiar with the new songs as they were with the old, greeting them just as warmly. One of the strengths of Jackson’s catalogue is just how difficult it is to pigeonhole. The nervous energy of his earliest records gave way to the sophisticated jazz-pop of Night and Day, while subsequent decades have taken in everything from swing and classical music to Latin rhythms and English music hall. That restlessness was reflected throughout tonight’s performance.

‘Another World’, from 1982’s Night and Day, brought to mind Ian Dury’s Blockheads, with its eclectic, high-energy fusion of new wave, jazz and funk. There are certainly shared influences at work, not least the refusal of both Jackson and the Blockheads to recognise the boundaries between musical genres.

Songs including ‘Real Men’, ‘Be My Number Two’ and ‘Fool’ further illustrated the breadth of Jackson’s catalogue, while Hope and Fury numbers such as ‘The Face’ and ‘End of the Pier’ sat comfortably alongside material written decades earlier. Jackson’s singing voice remains a remarkably powerful instrument at the age of 72.

Inevitably, there have been adjustments with age, but he retains the distinctive qualities of his younger voice and, crucially, that instantly recognisable sharpness of delivery. Just as important was the band. Long-time bassist Graham Maby remains an integral part of the Joe Jackson sound, while guitarist Teddy Kumpel, drummer Doug Yowell and percussionist Felipe Fournier gave Jackson’s arrangements both muscle and subtlety.

Inevitably, some of the biggest reactions were reserved for the songs that have followed Jackson throughout his career. ‘Look Sharp!’ retained its urgency, while the combination of ‘Target’ and ‘Steppin’ Out’ brought the main set towards its climax. The latter remains one of Jackson’s most perfectly realised songs: an elegant snapshot of nocturnal city life that somehow sounds rooted in 1982 while remaining timeless.

By the end of the main set, the audience had clearly enjoyed themselves and showed their appreciation with a standing ovation. The encore offered another glimpse of Jackson’s influences with a version of David Bowie’s ‘Scary Monsters (and Super Creeps)’, before ‘You Can’t Get What You Want (Till You Know What You Want)’ returned proceedings to his own catalogue. Jackson finally brought the evening full circle, alone again at the piano for ‘Home Town’.

What emerged most strongly from the evening was the sense of an artist who has little interest in becoming his own tribute act. Jackson knows perfectly well which songs much of the audience has come to hear, and he delivers them, but on his own terms and alongside the music he is making now.

Hope and Fury is therefore an appropriate title for both the album and this stage of Jackson’s career. There is still fury there when he needs it, but also humour, sophistication and, crucially, plenty of hope. Nearly fifty years after asking whether she was really going out with him, Joe Jackson still has questions to ask, and he remains well worth listening to. 

Opening for Jackson was Nashville based musician Conner Youngblood who played a set of songs inspired by nature and the world around him, the standout being The Birds of Finland.

Jo Jackson’s Hope and Fury tour continues and information can be found by following the link,

http://joejackson.com/tour-news

Reviewer: Adrian Cork 

On: 05/10/2026

Concert Review Rave On Floral Hall New Brighton

 

Rave On brought fans of 1950’s and 1960’s popular music together to enjoy the talents of swing band, The Bluejays, an authentic 1950’s vintage rock and roll band.

The stage backdrop featured a montage of posters from the 1950's and 1960's and coloured spotlights featured throughout the performance. The posters and clothes worn by the band members conjured up the perfect amount of nostalgia for the audience who had lived through the era's and were remembering the featured songs with fondness, probably enjoying the music with partners, wives and husbands sitting beside them who they'd met in their youth when the songs were popular.

The band comprises five male band members and female vocalist, Amelia Rendell. For the first half the male band members were dressed in typical 1950’s jeans and shirts with turned-up collars and Amelia was dressed in black and white chequered capri pants and a bright red top with her hair styled à la 1950’s style. The male members of the band changed into suits for the second half with Amelia dressed in a black mini dress, white knee high boots and 1960’s bouffant style hair with a white hairband. 

The first half captured all the favourite hits of 1950’s pop culture from Elvis and Carl Perkins to Jerry Lee Lewis, The Everley Brothers and more obscure hits of Connie Francis and Brenda Lee. There was mention of UK’s favourites Billy Fury, Tommy Steele, Marty Wilde and Cliff Richard plus a skiffle section remembering Lonnie Donegan featuring the drummer playing a cardboard box, whilst the second half featured hits from the 1960’s from The Beatles, The Rolling Stones, The Kinks, The Who, Buddy Holly and Del Shannon to Lulu, Little Eva and Nancy Sinatra.

The band capture the feel of the 1950’s and 1960’s and their enthusiasm and love of the era’s music shines through their lively production.  It was a full house with plenty of audience interaction and fans on their feet dancing.

The band are currently on a UK tour with this show being at the only North West of England venue.

Further information about the band and tour dates/tickets may be found at https://thebluejays.co.uk/

Reviewer:  Anne Pritchard

On:  2^nd October 2026

Theatre Review Company PADOS Musical Theatre Prestwich

There are productions that simply put on a show, and then there are productions that remind you why live musical theatre can be such an exhilarating experience. PADOS Musical Theatre’s opening-night production of Stephen Sondheim’s Company belongs firmly in the latter category.

At the helm is Nick Angus, a director and musical-theatre enthusiast whose affection for the genre is evident in every detail. Fresh from his success as Best Musical Director for 9 to 5 at Heywood, Angus now brings his considerable creative energy to PADOS — and Company proves a particularly rewarding vehicle for it. Originally premiered in 1970, Company could easily feel rooted in its period, but Angus has successfully brought the piece into the present day. His modernisation feels organic rather than forced, retaining Sondheim’s wit and sophistication while making Bobby’s world feel recognisably contemporary, complete with onstage selfies at the start and end.

The PADOS studio theatre proves an inspired setting. Intimate and bijoux, it allows the audience to feel almost part of Bobby’s social circle, while the beautifully conceived set provides an elegant and versatile backdrop to the action. It is a production that understands that, with Company, less can often be more.

At its heart, the musical is a collection of sharply observed vignettes from the life of Bobby — a man surrounded by married friends while remaining stubbornly, and increasingly anxiously, single. Through these encounters, Sondheim explores friendship, relationships, commitment and the uncomfortable business of looking inwards. There is plenty of humour, but beneath it lies a poignant examination of loneliness, the fear of making the wrong choices and, ultimately, the search for company.

PADOS has curated a stellar cast, and what is particularly striking is how completely the ensemble works together: less a collection of individual performers than a convincing family of people who know one another intimately. That sense of connection gives the production an authenticity that is difficult to manufacture.

In the lead, Sam Reid’s Bobby is a wonderfully assured characterisation, with the polish and confidence of someone who could have stepped straight off a Broadway stage. He carries the considerable demands of the central role with charm and a beautifully judged sense of Bobby’s mixture of confidence, uncertainty and vulnerability.

Around him, the married couples are all sharply drawn. Suzi Cleary and Alexander Cohen make an engaging Sarah and Harry, while Katie Zobenica and Jack Martin bring warmth and character to Susan and Peter. Daniela Raquel and David Livesey give Jenny and David plenty of personality; their pot-smoking scene is a hoot. Philippa Shellard Ross and Martin White, as Amy and Paul, add another distinctive dimension to Bobby’s increasingly complicated social circle.

There is a particular joy in seeing how these performers inhabit their relationships rather than simply delivering their lines. Each couple has its own rhythm and dynamic, making Bobby’s observations of their marriages feel like encounters with real people rather than convenient plot devices.

A special mention must go to Sarah Thewlis as Joanne, whose performance of the iconic “The Ladies Who Lunch” is an absolute knockout. It is one of those numbers that can dominate a production, and Thewlis has the presence, vocal authority and sheer theatrical command to make it count.

Her husband Larry is played by Phil Harrison, who stepped into the role at the very last minute. There is absolutely no hint from the performance that he had anything other than the luxury of a full rehearsal period. He is confident, assured and completely at home within the ensemble.

The three cameos — April, Kathy and Marta, played by Sophie Lord, Amy Levine and Scarlett Dickinson — are also handled with relish. Each brings a distinctive little characterisation to what might otherwise be fleeting appearances, making these brief encounters memorable. Their “Drive a Person Crazy” is a particular production highlight.

And then there is Amy’s “Not Getting Married Today”, one of the evening’s great vocal and comic challenges. The sheer speed of the patter — an almost million-words-a-minute scatter of panic, indecision and neurosis — is extraordinary. It is a standout moment, requiring impeccable diction, breath control, timing and comic precision, and it lands beautifully.

And vocally, this company is quite extraordinary. For anyone who loves Sondheim, this is honey poured directly into the ears. The precision is remarkable. Every word, every syllable is delivered with clarity and purpose, while the ensemble singing has a richness and cohesion that makes the score an absolute pleasure to hear.

Musical Director Sarah Osmond should be extremely proud of what she has achieved with these performers. Sondheim’s writing is famously demanding, requiring not simply vocal ability but exceptional attention to rhythm, diction, phrasing and character. Here, those demands are met with apparent ease.

The musical’s most challenging number, “Company,” is a particular triumph. It is also one of the production’s most important musical threads: a recurring motif that weaves its way through the scenes and repeatedly brings us back to the central character. It is a formidable piece of writing, and this performance of it is simply stunning.

Choreographer Jess McEvoy also deserves considerable credit. The movement is deftly judged, never overwhelming the drama but frequently adding another layer of wit. The opening number of Act Two, “Side by Side,” is a particular delight: knowingly Broadway, gloriously tongue-in-cheek and culminating in a wonderfully executed kick line. It is the sort of sequence that sends a production fizzing with energy into its second half — and it produced some of the biggest laughs of the evening.

What is most striking, however, is the sheer affection behind the production. Angus clearly understands and enjoys the musical-theatre form, and that enthusiasm proves infectious. His Company is stylish without becoming precious, contemporary without losing Sondheim’s voice, and ambitious while remaining perfectly suited to the intimacy of the PADOS space.

The show is sold out — and it is not difficult to understand why. This is a production with a superb ensemble, outstanding musical direction and a clear directorial vision. Above all, it feels like a company of performers genuinely enjoying the privilege of putting Sondheim’s work in front of an audience.

A confident, intelligent and hugely enjoyable opening to the PADOS season — and a production that proves Company still has plenty to say about the complicated, funny and sometimes bewildering business of being human.

Company is at PADOS House this week.

Reviewer: Kathryn Gorton 

On: 29th September 2026

 

 

Album Review You May Offend The Proclaimers

Nearly forty years after This Is the Story introduced Craig and Charlie Reid to the world, The Proclaimers could quite reasonably spend the rest of their career trading on one of the most recognisable back catalogues in British music. Instead, their thirteenth studio album finds the brothers doing precisely what they have always done best: looking at the world around them, deciding what annoys, puzzles or moves them, and writing songs about it.

You May Offend is their first album since 2022’s Denture’s Out and was recorded at the legendary Rockfield Studios with producer Dave Eringa. The Reids are joined by their regular band of Steven Christie on keyboards, Garry John Kane on bass, Zac Ware on guitar and Clive Jenner on drums, while Manic Street Preachers’ James Dean Bradfield makes guest appearances on three tracks.

If anyone expected the brothers to mellow with age, the opening few minutes quickly dispel the notion. ‘Knock It Down’ comes charging out of the speakers with an almost punk like urgency. Beneath the infectious chorus is something considerably less comfortable, Craig Reid addressing what he sees as the impotence and hypocrisy of Western governments. It establishes one of the album’s recurring themes: anger at the gap between what society says about itself and what it actually does.

That idea continues into the excellent ‘But It Is’. Beginning relatively gently before opening into a big, euphoric chorus, it contrasts an uplifting melody with lyrics concerned with injustice and the uncomfortable realities people would sometimes rather deny. It is a particularly good example of something The Proclaimers have always understood: a serious song doesn’t necessarily require solemn music.

‘Easy Rhyme’ maintains the momentum, a muscular slice of guitar driven rock which also demonstrates that the familiar Proclaimers mixture of folk, country, soul and rock ’n’ roll remains intact. There is little attempt here to sound contemporary for contemporary’s sake. The Reids long ago established their own musical identity and appear perfectly content to inhabit it. 

The title track changes the atmosphere. ‘You May Offend’ is a deceptively melodic meditation on free speech and the consequences of expressing an opinion in an increasingly polarised world. Even the title is deliberately ambiguous: is it a warning that you may cause offence or an invitation giving  you permission to do precisely that? It is typical of the album that the Reids pose the question rather than wrap it up neatly for the listener.

The pace picks up again with the short, sharp ‘Till The Ink Dries’ before one of the record’s most striking songs, ‘The Grooming’. Here the subject is not sexual grooming but the grooming of young men through nationalism, militarism and romanticised ideas of patriotism. Beginning with the image of a young teenager on Remembrance Sunday, the song follows that idea towards its bleak conclusion. Musically restrained in comparison with some of what surrounds it, its impact comes from the story being told.

There is some welcome release in the second half. ‘A Little Bit Late’ barrels along with rock ’n’ roll energy, while ‘Anything’ is barely more than two minutes long and all the better for it. Throughout You May Offend, there is remarkably little excess. Most of these songs arrive, make their point and leave. ‘The Talent Show’ offers another change of pace, its gentler, nostalgic feel providing breathing space before ‘There’s No Plan’ returns to the frustrations of contemporary life. Its stomping rhythm carries a characteristically sceptical view of those in authority and the suspicion that, behind the confident pronouncements, nobody really knows what they are doing.

As the album approaches its conclusion, the mood becomes more reflective. ‘In A Year Or Two’ considers the passing of time and its ability to alter perspective, before ‘When You Get There’ brings proceedings to a beautifully melodic close. Mortality and the prospect of an afterlife might appear unlikely material for an uplifting finale, but in the hands of Craig and Charlie Reid there is humour as well as scepticism. It is a fitting ending to an album concerned not only with the state of the world but with ageing, memory and what ultimately awaits us all.

What is perhaps most impressive about You May Offend is its refusal to become a heritage exercise. The temptation must be enormous. The Proclaimers have ‘Letter From America’, ‘Sunshine on Leith’ and, of course, ‘I’m Gonna Be (500 Miles)’ waiting whenever required. They don’t need another song, let alone another album. Yet Craig and Charlie Reid clearly don’t see it that way.

There are familiar ingredients throughout You May Offend: those unmistakable voices, instantly memorable choruses, acoustic guitars rubbing shoulders with muscular rock ’n’ roll and lyrics delivered without disguising their Scottish identity. But nostalgia isn’t driving the record. These are songs concerned with what the Reids see around them now.

Producer Dave Eringa gives proceedings considerable punch without polishing away the rough edges, while the band sounds like exactly that, a band, rather than two singers surrounded by session musicians. James Dean Bradfield’s contributions also fit naturally into a record whose louder moments occasionally share something of the Manic Street Preachers’ combination of melody and righteous indignation.

Not every listener will necessarily agree with every argument the brothers make. Given the album’s title, one suspects they would be disappointed if they did. The point is that, approaching four decades since their debut, The Proclaimers still believe popular music is somewhere you can actually say something.

You May Offend is angry in places, funny in others and unexpectedly tender when it needs to be. Most importantly, it sounds like an album made because Craig and Charlie Reid still have something they want to say, rather than because another record was contractually required.

Forty years in, The Proclaimers remain unmistakably themselves. And they still have plenty to say.

You May Offend is available in all good record stores and on all major streaming platforms.

Reviewer: Adrian Cork 

On: 27/09/2026