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

Theatre Review In Conversation with Ricky Tomlinson with Asa Murphy at Chickenshed London

Ricky Tomlinson who has been performing across the U.K. on his ‘Retirement My Ar*e! Tour’ an evening of conversation about his life and career and hosted by Asa Murphy, played its only London gig at Chickenshed Theatre, and there are some evenings when you leave the theatre having watched a performance, and there are evenings when you leave feeling that you have been allowed, for a couple of hours, into someone’s life. In Conversation with Ricky Tomlinson was very much the latter.

There was something rather lovely and serendipitous about the timing. The date of this show was September 25th, and happened to be the evening before Ricky’s 87th birthday, although you would be forgiven for forgetting that once he was on stage. There was a twinkle, an energy and a wonderfully cheeky warmth about him that made those particular numbers feel rather irrelevant.

Introduced and beautifully facilitated by Asa Murphy, who, as well as a children’s author and writer of stage musicals, is the UKs No1 Swing Artiste, really gave Tomlinson full licence to share his innermost thoughts. The evening unfolded as a genuine conversation rather than a formal interview. Murphy created the space for Tomlinson to wander through his memories, career and life, knowing when to prompt and when simply to let him tell the story. There was an easy rapport between them, we went on to learn they have been friends for 20 years, and it made the whole evening feel wonderfully relaxed.

And what a life there is to wander through…

Before the television roles that made him a household name, Brookside, The Royle Family and, of course, the unforgettable Jim Royle, there was a very different Ricky Tomlinson. His story includes his years as a plasterer, his involvement in the building workers’ strike, and the extraordinary period that followed when he was imprisoned. His time in prison is not some convenient footnote in the story of his success. It was a deeply significant chapter in his life, one that changed the direction his life would take, I felt myself getting emotional when he spoke about his cockroach encounter in prison and that still effects him to this day. 

Yet somehow, sitting listening to him recount these experiences from the comfort of the on-stage sofa, there was no sense of being lectured or handed a neatly packaged story of adversity followed by triumph.

Instead, there was simply Ricky.

Funny. Frank. Occasionally mischievous. Willing to laugh at himself and, just as importantly, willing to let the more difficult parts of the story sit alongside the humour.

His route into acting was hardly conventional. Life with all its ups and downs happened first, rather than a carefully constructed plan, and perhaps that is one of the things that makes his story so engaging.

We like to think we know where we’re going.

Then life moves the furniture.

Ricky found another door.

And thankfully for audiences everywhere, he walked through it.

There were, naturally, stories from his remarkable television career, and hearing about the people and experiences behind those familiar characters was a particular pleasure. But the evening never felt like a simple trip down Memory Lane. It was much more about the human being behind the familiar face. That is perhaps Ricky’s great gift as a storyteller. He doesn’t put himself on a pedestal. He brings himself into the room. That felt especially fitting at Chickenshed, a theatre whose very ethos is rooted in connection, community and the belief that everybody has a story worth hearing. There was something rather lovely about this particular story being shared there. 

The audience laughed a lot. But there were quieter moments too. Moments where the humour gave way to reflection, and where you were reminded that a long life and a long career are made up of considerably more than the highlights reel. Asa Murphy deserves real credit for allowing all of that to breathe. His conversation with Ricky was warm, generous and unhurried, giving us not just the actor but the man behind the roles.

And then there was the small detail that made the evening feel even more special about the next day Tomlinson’s 87th birthday, something rather wonderful about spending the evening before it with him, surrounded by an audience who had come to hear his stories and share a few laughs.

From plasterer to actor. From prison to some of Britain’s best-loved television characters. From working men’s clubs to living rooms across the country. During the interval it was then time for the audience to participate and ask Tomlinson a question that just might get answered by the man himself after the break - many people quickly made their way to the table with paper and pens and got writing. Of course, how could I resist as I eagerly went to write down my own question 

We all came back for the second half and it was so interesting hearing people questions.. 

“What are you doing for your birthday Ricky”

I’m not sure I can repeat his wildly humorous answer here 

 “Who was your favourite character on The Royle Family?” 

He didn’t need a second to think about that one, Nana. We were then treated to a wonderful story about their on set relationship and how food was involved! My question was asked - I couldn’t help but but get a little nervous. This was an event that involved a lot of humour - I’m not sure my question was that funny. But still it’s a passion of mine and I wanted to hear Tomlinson’s take. It was centred on mental health, my mention of being a Samaritan and I wondered what Tomlinson, who had led a full, rich, layered life (and I’m sure much more to come) with his own ups and downs, would say to anyone in the audience who might secretly be struggling with their mental health. 

This is where I wanted to stand up and high five Tomlinson with his response. I was moved Murphy thought a question appropriate to ask and it was very clear Tomlinson and Murphy are both incredibly supportive of mental health support and talking about how we feel, especially men. A very moving moment indeed.   

What then followed was a wonderful and special audience sing-along with Tomlinson and Murphy. A perfect end to a superb evening. Tomlinson’s life certainly didn’t follow a straight line. Perhaps that’s the nicest thing to take away. We don’t always get to choose every twist in the road. Sometimes the road chooses us. What matters, perhaps, is what we do with the next bit of it.

Ricky Tomlinson has certainly done plenty with his. And now at 87, as I write this, he is still sitting in front of an audience, telling stories, making people laugh and sharing a little of his journey on his own road with us. What a lovely way to spend the night before a birthday.Happy 87th, Ricky.

Thank you to Ricky and to Asa for a genuinely lovely evening. A special mention for Des (Dessie) Warren, now no longer with us, and of course the banjo. Des, a person who was very close to Tomlinson’s heart and the banjo, an instrument that is a great love of his life and how playing it brings people together. Something being an audience member that night did, hearing stories from Tomlinson’s life indeed brought us all together.

More dates can be found on https://www.ticketsource.com

Review - 25th September 

Reviewer - Mary Fogg 

Theatre Review Death of a Salesman Everyman Liverpool

More than 75 years after it was first performed, Arthur Miller’s Death of a Salesman remains one of the great examinations of ambition, family and the destructive power of believing that success is always just around the corner. In this ambitious new production at Liverpool’s Everyman, director Tristan Fynn-Aiduenu finds another layer within Miller’s familiar story by placing the immigrant experience at its heart.

What Fynn-Aiduenu has done is find his own personal inspiration to inform the characters in the play. This gives him a thread to pick up, in reading the family as first and second generation immigrants, and he capitalises on the fact that both Brooklyn, where the play is set, and Liverpool, where it is being performed, have a long history of both African and Irish communities.

Willy Loman has spent his life chasing the American Dream. He has worked, travelled and convinced himself that being well liked is the route to prosperity. More importantly, he has passed that belief on to his sons, Biff and Happy. Now ageing, exhausted and increasingly unable to separate memory from reality, Willy is being forced to confront the possibility that the future he spent his life pursuing may never have existed in the first place.

Here Willy, played by Cyril Nri, is viewed through the experience of migration, while the family around him reflects the African and Irish communities that have helped shape both Brooklyn and Liverpool. It gives another dimension to the American Dream. For an immigrant, success can represent more than personal achievement: it can become proof that the sacrifices involved in leaving one country and building a life in another were worthwhile.

Nri carries that burden at the centre of the production. Willy is simultaneously salesman, husband, father and unreliable narrator of his own life, moving between the present and memories that become increasingly difficult to distinguish from it. His tragedy lies partly in the fact that he has spent so long selling an idea of himself that he can no longer admit the truth.

Laurence Ubong Williams as Biff and Kiren Kebaili-Dwyer as Happy represent two different consequences of their father’s influence. Happy continues to embrace much of Willy’s obsession with status and appearances, while Biff has begun to recognise the gulf between the family mythology and reality. Their relationship gives the production some of its most compelling moments because beneath the anger remains the uncomfortable fact that these men love one another.

His Irish-American wife Linda, played by Emma Cater, captures the mixture of exasperation and affection that she has for him with warm but weary realism, although her character is not explored in as much depth as in some other productions.

Meanwhile Tayo Aluko is splendidly shadowlike as the ghostly figure of Willy’s late brother Ben, while Joe Speare provides a strong sounding board for Willy as the friendly neighbour Charley.

Willy’s memories do not behave like conventional flashbacks; people and events from his past invade the present as his mind begins to fracture. Adelaide Banks’ mysterious presence as The Woman, Willy’s extramarital affair, accompanied by flute and African musical influences, adds another dimension to this shifting landscape of memory. Miller’s jumping between timelines and locations isn’t flagged clearly enough, so it’s hard to know who to trust. The uncertainty seems to reflect Willy’s mental state but makes it hard to stay focussed on the production.

The cultural reimagining works because it illuminates ideas that were already present in Miller’s play. Death of a Salesman has always asked what happens when a society convinces people that material success is evidence of personal worth. By adding migration and generational expectation to that equation, Fynn-Aiduenu makes Willy’s pursuit of success feel even more loaded.

There is a particularly effective connection with Liverpool too. This is a city built in no small part by generations of people arriving from elsewhere, establishing communities and attempting to create something better for their children. The American setting remains, but the questions surrounding identity, belonging and aspiration travel easily across the Atlantic.

At around three hours and fifteen minutes including an interval, this remains a substantial evening in the theatre. Fynn-Aiduenu does not attempt to turn the play into something artificially brisk, rather the production asks its audience to spend time inside Willy Loman’s increasingly unstable world. But this is necessary because Willy’s downfall isn’t caused by one disastrous decision. It is the accumulation of decades spent measuring himself against an idea of success he can never quite reach.

Georgia Wilmot’s set is clearly faithful to Miller’s original in its multiple levels, partially absent walls, and towering apartment blocks to the rear. The 1940s period look is oddly weakened by the appearance of a handful of anachronistic props, particularly a laptop.

The idea that if we work hard enough our children should have more than we did is a universal dream, not exclusive to America. So too is the risk of confusing wealth, popularity and professional achievement with happiness. More than seven decades after Willy Loman first packed his sample cases and went out on the road, his desperate need to believe that tomorrow will somehow be better remains painfully recognisable.

Death of a Salesman plays at Liverpool Everyman until 10th October and tickets are available here,

https://everymanplayhouse.com/event/death-of-a-salesman/

Reviewer: Adrian Cork Date: 25/09/2026