Sunday, 20 May 2018
Review: Mood Music at the Old Vic for AYT
The relationship between the two soon turns sour. Cat becomes increasingly demystified by the façade of musical success and pines for a ‘purer’ method of musical expression to spiritually reconnect with her deceased father. Studio quarrels are spurned by Bernard’s self-assured musical machismo and confident misogyny. The trope is all too familiar and he is superbly repugnant. The declaration by Bernard’s Lawyer (Neil Stuke) that “It’s time to change the balance of power… within reason” illustrates the extent to which misogyny is embedded in the operation of the music industry and manifests throughout the play’s legal struggles and the propagation of Bernard’s intuitive ‘genius’. “We’re essentially midwives, but the songs are our babies” he affirms. In this, and other references to songs as his “babies”, we see the heart of Bernard’s quest to erase female presence and stabilise his unstable identity. Chaplin’s performance garners audience chuckles, which I suppose is either rooted in his brashly exuding charm or their own reflective identification. I’m impressed, but as a young female creative I’m far from amused.
Ultimately Cat descends into substance dependency in the midst of legal toils as she struggles to rationalise her trauma. There are moments when the language feels cheap, underscoring the soulless performativity of the industry as Bernard philosophises “Sometimes the dark heart of a song can never be known because frankly it’s too squalid”. For a play centred on the production and performance of music, there is surprisingly little actual music, albeit a sorrowful string-ensemble conducted by Cat which concludes the evening and injects a grain of optimism to the story of female creative and legal oppression. Whilst it might be a bitter pill to swallow, Mood Music is a timely rumination on the purpose of psychotherapy under capitalism and its use in fostering creative production and profit at the expense of those too weak to speak out.
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Written for A Younger Theatre magazine, link here: https://www.ayoungertheatre.com/review-mood-music-the-old-vic/
Sunday, 21 May 2017
Hinds Band Review for Cool Brother zine
Sunday, 14 August 2016
Mandrea Music Festival, Arco, 2016: Review.
Thursday, 18 February 2016
Becoming my own 14 year old icon: A revelation. or An Education in Blagging it.
Tuesday afternoon, with less than 3 hours notice I made the impromptu decision to drag my miserable body to a ~hip #music gig, following a mutual friend pulling out last minute and as bid for myself to procrastinate further the impending 3 essays I have due in for the next few weeks. This is not a pastime I have participated actively in since I was about 14 and an acne ridden resident of Brighton with a paper round and an unquenchable desire to fit in. So I ambled to Brixton with 2 cans of K cider stuffed into my trouser band and some sleek white cotton trousers [I purchased myself for a meagre £3 from the M&S Bideford outlet] we flitted between support acts and labyrinth-style smoking decks till the headline act; my ethereal puberty pinups graced the stage and I felt a sweeping hormonal déjà-vu.
The group I had been with had all shared a similar musical/maturation experience fixated round this band and we stood in a small ring for the encore and held hands in a strangely ritualistic manner. G had a lot of feelings and had a spontaneous sob to one of the more down-tempo numbers.
The hilarity-cum-internal screaming did not unfold until the gig was over, following a hapless and cripplingly awkward scene of events with a corner shop owner, lemonade, my insufferable pedantry and an unforeseen sexual remark. I screamed in the gentleman's face, holding up a stern finger and sharply threw the can back on the shelf before marching off into the Brixton night in a trail of enraged feminist fury. As fate would have it, this would lead us to the local pub, an upmarket French establishment at around 11:45pm was unremarkably heaving and upon purchasing a more expensive and non-sexist lemonade, we found ourselves a tiny booth already occupied by three unassuming young men, one clutching a tote bag brimming with records, all sporting various degrees of facial hair.
Whilst drinking this delicious lemonade we mused over the night thus far, our past experiences of live music and where we would go on from this quaint French affair. The men next to us finished their drinks and we shuffled along to allow them to exit. They filed out until the first member of the troupe was out the door, when gentleman number three dashed back to our booth, leant over and into my ear he whispered: "the after party is one 100 Wardour Street, Soho". Our heavenly hairy godmother in a paisley shirt and an earring. It was henceforth that a 2009 Indie mirage unfolded into a miraculous overdraft fuelled blur of teen heroes and free Peroni.
Following an additional misogny fuelled encounter with my fantastically resilient companion (see mid image) and a bored Brixtonian we eventually wriggled into an uber; the tax-free/mass-corporation-guilt leaving a sour taste that was distinctly obscured by the circus of butterflies in my stomach.
Living in the South East of London, it's not all too often I head into the centre of town. When I do, mostly for work purposes, I am consistently cycnical and frequently glower to myself over:
- tourists
- literally anything in a suit,
- imposing buildings
- people who have clearly spent more than they would have done on a book on a handbag
- anyone who looks remotely like they might have voted Conservative in the previous election.
We slipped into the after party, guilt-free greeted by an entourage of 30-40 folk, huddled round a private table with waiters in grey suits and dull eyes who offered us vodka with cranberry/soda and called you ‘madam’ like a Victorian lady. In the smoking area we bumped into the men we had briefly met at the pub- it transpired they had names- Ollie Tao and Cozzie, who looked genuinely pleased to see us. We were without a doubt the only members without a direct link to the band, three thirsty and clueless young women following our noses to watch our teenage idols dissolve their septums.
I come back to the question, if my fourteen year old self could see me now would she be jumping for joy? Texting all her pals on her Nokia smart phone? I’m sorry to break the illusion Elinor but they’re really not all they’re cracked up to be, these are a gang of men in their early 30s, who probably have wives and a mortgage.
For those of you who are as ill-informed as I was, it turns out- what you do at after-parties is mingle and people ask you ‘what you do’ whilst they stare at your breasts for the response. Generally you repeat this about four times, mid-transition your previous converser will glare at your new chat mate and so the process continues.
To be brutally honest with you Martin, I still don’t really know what I’m doing, both here and in the grand scheme of my life, but once the housing bubble bursts I doubt you’ll know what you’re doing much anymore.
Cynicism triumphs again!
Thursday, 10 July 2014
Open'er Festival preview for Far Out Magazine
Set on Kosakowo Airport, Open’er boasts six stages and is a four day pledge of ferocious musical energy with the allure of (equally?) satisyingly cheap beers. This years lineup presents an array of potential headliners in their own right with Foals, The Horrors, Jack White, Metronomy, The Black Keys, Pearl Jam and Warpaint, spanning the genres with the likes of Jamie xx, Julio Bashmore and Mary Jane Coles taking to the Beat Stage.
Open’er presents a plethora of best UK and US Indie/Alternative artists whilst simultaneously showcasing the best of the Polish music scene with artists such as Król and Pablopavo i Ludziki sharing stages with the quintesentially British Ben Howard.
A lynchpin of the emerging European festivals scene and putting many back home to shame, Open’er 2014 sets expectations suitably high.
You can expect a comprehensive review of Poland’s prime beersmusical party in the coming days. Eyes peeled.
Sunday, 15 June 2014
TripToTori @ The Wrey Arms, 13/6/14
Thursday, 20 March 2014
Bombay Bicycle Club at Exeter Uni’s Great Hall 17/03/14
Swept there on a compelling tide of nostalgia and elated on expectations of £23 tickets, that were needless to say; high.
The band have received heady mainstream success from album number four ‘So Long, See You Tomorrow’ with singles such as ‘Luna’ gracing the airwaves of the daytime Radio One playlist.
The set was a notch up in professionalism from the 2010 post ‘had the blues’ relative underground status, they’re big boys now. Support act ‘Flyte’ seemed reminiscent of a mediocre Mystery Jets minus the 80s hype, though pleasantly harmonious.
This was soon followed by Rae (‘The Hair’) Morris, a radiant songstress who sat, somewhat subdued, at the keyboard whispering delicate vocals. A poignant affair, songs such as current single ‘Skin’ were beautifully executed.
Bombay were confidently commanding with spirits soon became frenzied by the very presence of the quartet. The Indie introvert pin-up boy Steadman was brilliant as ever, despite the vivaciousness of early tracks such as ‘How Can You Swallow so Much Sleep?’ and ‘Always Like this’ possibly subtracting from the sincerity of ‘Eyes Off You’ with vocals slightly lapsing.
Use of mesmerising graphics projected onto circular screens were stunningly implemented, the Asian-fusion undertone to tracks such as ‘Feel’ seeing a gang of artsy cobras grace the background to which guitarist Jamie Maccoll exclaimed ‘RELEASE THE SNAKES!’ to much effect.
‘Luna’ also saw a Disclosure- esque mockery of the band’s ‘interative’ online video with rotating silhouettes of Steadman and accomplices.
A ‘Flaws’less performance that secured crowd pleasing old ‘Evening/Morning’, ‘Shuffle’ ‘Light Out, Words Gone’ with an encore of the sublime ‘What If’ and ‘Carry Me’ it was triumphant effort from a band who have certainly secured themselves as seminal figures in the alternative




