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STEREOPHONIC - Duke Of York's Theatre - 12/6/25

Stereophonic was an immersive studio experience, in the sense that it put the audience through the lengthy and painful process of what recording a 'make it' or 'break it' album would have been like for a mixed-gender group on the cusp of stardom in the '70s. They brought us on the repetitive and uneventful journey that was typical for the time; as we too felt that same boredom and frustration they had to go through to cut their new record.

There has been a trend of films with no real story line over the last decade; they just start and end, focussing on the mundane side of life - and this play mirrored them. In the absence of any memorable songs and the nostalgic element of being about a real, relateable band, there were a few recognisable borrowed truths; the amount of days it took to test the snare drum for the right sound, which supposedly happened during the sessions for Bruce Springsteen's 'Born in the U.S.A.'; or the breakup of marriages within the group, which everyone identified as a nod to when Fleetwood Mac were demoing their 'Rumous' LP. 

It was almost impossible not to spot the modern day influence that ran throughout, with the compelling comparison to the covid lockdown; trapped in their own bubble for what they understood was supposed to be for a shorter time to what it eventually became - quite the novelty at first before becoming more enduring and loosing their minds, all the while believing they were doing the right thing for others on the outside world (their fans, in this case [as apposed to the elderly and vulnerable]), whilst their own lives crumbled.

Of course, being tough their own loved ones to make sure they were doing what was necessary would eventually lead to their own breakdowns of relationships and mental health.

The band leader was trying to get the best vocal performances out of his partner; making her more and more unhappy over time with his demands.

But the reward would be the happiness of their audience.

But were tonight's audience happy?

The standing ovation would suggest so, even if tinged with a dash of relief - similar to where the laughs came from for the humorous comedic moments, which periodically helped to briefly lighten the load.

A play that evolves in your mind, which can be appreciated a lot more a few days after leaving the theatre, and looked back on with fondness.

Nic Bennett

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DOUBTING THOMAS | Theatre Royal Windsor | 6/6/25

Thanks to the funding raised during Sir Ian McKellen’s 80th Birthday Tour in 2019, Windsor's historic venue, Theatre Royal, has introduced a 'Creatives in Residence' scheme. Their inaugural production is Doubting Thomas, written by Catherine O'Reilly and Tim Churchill.

Exploring sensitive themes of identity, family dynamics, ageing and loss, this world premier production was more than just a whodunnit.

The play began with the news that dementia sufferer, Tom, was being cared for in a nursing home, before finding out he was caught crouched over the dead body of one his carers, with no one else in the frame for the murder.

This was the premise for why his relatives were meeting at their family home. The lounge was the set for the entire play, as they found out from their lawyer, Karima (Nikki Patel), that Tom must go to trial for manslaughter despite his illness and the inability to defend himself. With tensions exposed, we witnessed the emotional fallout of this unit as they decided exactly what they would do to protect the legacy of this much loved author.

During this first act, the dialogue felt unnecessarily repetitive -  particularly during this scene with the lawyer. However, as tensions rose during the second half, their characters engaged more as the script stepped into a series of anxious revelations; with ethos, culpability and honesty all being tested.

We were introduced to Tom's wife, Jane, (Felicity Dean), right at the top, as the audience were still taking their seats. She soon became the matriarch of the family; coping with the situation as the house slowly filled up. Their daughters, Sara (Claire Marlowe) and Anna (Eva O’Hara), had very different personalities and lifestyles; Sara was struggling with her relationship with her teen son, Ben (Louis Holland), whilst nephew, Matt (Ben Nealon), was a carer at Tom’s nursing home, and alluded to the audience that not all the facts were yet known. We also found out why Tom's brother (Gary Webster) decided to come back into the family frame.

Despite the simplistic storyline, this was an involving and intriguing tale of a family dealing with the impact of terminal illness, marital relationships, sexual identity and assisted dying, making the narrarive feel relevant and thought provoking, with some surprising truths coming to light along the way.

Mittal Patel

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WORDS FROM THE BLUE REEF PROMOTER:

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P.P. ARNOLD ANNOUNCED AS THE FIRST ACT TO WALK ON STAGE AT THE REOPENING OF THE COLOSSEUM

P.P. Arnold has been announced as the special guest for Ocean Colour Scene on the reopening night of The Colosseum in Watford on Friday 29th August - a 2,000 capacity venue that's famous for  recording the Star Wars soundtracks and for hosting Tyson Fury's boxing matches before closing its doors in 2020.

We caught the 78 year old "London's First Lady of Soul" last week at the Camden Jazz Cafe, where she performed with a full band; the drummer I'd seen play at this venue before, behind the kit in [OCS's] Steve Craddock's solo band (who is producing her new recordings), and Adam Phillips, who has joined on guitar since the downsizing of Richard Ashcroft's band, helped complete the solid vibes.

Supported by Ebba Asman and her amazingly intelligent ensemble that night, I wasn't keen on the genre of the songs so, I may not like the recorded album, personally but I enjoyed the musicianship immensely; the individual parts and improvisations, along with the extended jamming together, were truly amazing and what this venue should all be about.

It will now be P.P. Arnold's turn to be the support act, as she will open for Ocean Colour Scene in Watford - a band she duetted with on their 1998 top 20 single 'It's A Beautiful Thing'. We travelled to Southend to see OCS have Kula Shaker open for them on the last day in March; with a fantastic sound and view, we were glad we couldn't make either of the Brixton shows.

Nic Bennett

[the-hindu-times]

A NIGHT TO REMEMBER with ALJAZ & JANETTE

- London Palladium 21/5/25

'A Night To Remember' is the brand new show from Strictly Come Dancing favourites, Aljaz Skorjanec & Janette Manrara, which incorporated different dance styles, to the usual ballroom and latin seen in previous shows, as we saw the cast showcase their own style and interpretation of contemporary, Lindy Hop and even Tap!

Met with a shocked response, the beginning of the night's announcement, of allowing the audiance to film and photograph as much as they wanted throughout, was respectfully ignored by the majority but those who took advantage of this rare situation did cause distraction (and even triggered headaches) for those who would have rather have just watched the performance on stage without someone else's phone in their eyeline.

However, the charismatic Aljaž and Janette were the stars, of course but the unique selling point of this show was the involvement of pianist and vocalist, Tom Seals, and his musicians. Vocalist, Jill Marie Cooper, and the four talented dancers (Kiera Brunton, Natasha Mould, Tonye Scott-Obene and Nick Godfrey) embraced the occasion and brought high energy to the stage. For me, Kiera, in particular, really stood out with her contagious energy and dancing ability; making her very watchable. 

All the songs we heard (classics and modern day) were given a full big band treatment, arranged by music director and trumpeter, Jack Tinker. This show celebrated the joy and extra dimension that combining live music and dance brings to an evening out, with the only downside feeling that we saw less of our charismatic duo; as every time Aliaj and Janette took to the stage together, they performed stunning routines, with their skill, devotion and chemistry clear for all to see - still loving what they do!

Mittal Patel

[the-hindu-times]

As he prepares for a big summer touring the UK and Ireland as very special guest on the highly-anticipated Oasis reunion tour, Richard Ashcroft today shares the new single ‘Lover’. The track has just received its airplay premiere courtesy of Vernon Kay on Radio 2.

The track represents his first new material since his 2018 album ‘Natural Rebel’ debuted at #4 on the UK Official Album Chart. Since then, Richard also released the career-spanning ‘Acoustic Hymns Vol 1’ set, which hit #2 and became his highest charting record in fifteen years.

The song was written by Richard and, for the first time since his recording of ‘Bitter Sweet Symphony’, incorporates elements of one of Richard's favourite works:  ‘Love and Affection’, written by Joan Armatrading. Joan was approached before recording and loved the arrangement. The track was produced by Richard and Emre Ramazanoglu.

Richard’s vision for an immersive project was realised with a mobile LED virtual production courtesy of CUBE StudioX. It matched the emotion of Richard’s songwriting and performance by surrounding him with striking visuals displayed on an 18 x 4 metre led volume in a large studio space. The video was co-produced by Roy Kimani, CUBE Studio’s co-founder and Director of Innovation.

‘Lover’ is the first new music to emerge from Richard as he continues work on his new studio album - expect more to follow soon.

A two-time Ivor Novello Award winner (Songwriter of the Year and Outstanding Contribution To British Music), Richard Ashcroft has become one of the most accomplished and influential songwriters around over the course of a career which spans three decades. His first chapter with The Verve reached a remarkable peak with ‘Urban Hymns’, a hit-laden set (‘Bitter Sweet Symphony’, ‘The Drugs Don’t Work’, ‘Lucky Man’, ‘Sonnet’) which is one of the biggest selling albums in UK history with 11 x Platinum certifications. The band achieved a second #1 album with ‘Forth’ and won three BRIT Awards.

His solo career continued that acclaim with his debut ‘Alone With Everybody’ shooting to #1 and all five subsequent studio albums landing between #2 and #5. Between The Verve and his solo work he has achieved three UK #1 albums and another five Top 10 records, plus a #1 single and five Top 10 hits.  

News of Richard’s special guest set on the upcoming Oasis tour continues a long-term mutual admiration between the two. The Verve and Oasis played shows together both before Oasis’s breakthrough and at their absolute peak, leading to a continuing friendship between Richard and the Gallagher brothers. Noel dedicated ‘Cast No Shadow’ from ‘(What's the Story) Morning Glory?’ to Richard, before Richard provided backing vocals on ‘All Around The World’ from 1997’s ‘Be Here Now’. In 2021 Liam featured on a reworked version of Richard’s C'mon People (We're Making It Now)’.

Richard Ashcroft will play the following shows as special guest to Oasis. The line-up is completed by Cast.

JULY

4th - Cardiff, Principality Stadium (SOLD OUT)

5th - Cardiff, Principality Stadium (SOLD OUT)

11th - Manchester, Heaton Park (SOLD OUT)

12th - Manchester, Heaton Park (SOLD OUT)

16th - Manchester, Heaton Park (SOLD OUT)

19th - Manchester, Heaton Park (SOLD OUT)

20th - Manchester, Heaton Park (SOLD OUT)

25th - London, Wembley Stadium (SOLD OUT)

26th - London, Wembley Stadium (SOLD OUT)

30th - London, Wembley Stadium (SOLD OUT)

AUGUST

2nd - London, Wembley Stadium (SOLD OUT)

3rd - London, Wembley Stadium (SOLD OUT)

8th - Edinburgh, Scottish Gas Murrayfield Stadium (SOLD OUT)

9th - Edinburgh, Scottish Gas Murrayfield Stadium (SOLD OUT)

12th - Edinburgh, Scottish Gas Murrayfield Stadium (SOLD OUT)

16th - Dublin, Croke Park (SOLD OUT)

17th - Dublin, Croke Park (SOLD OUT)

SEPTEMBER

27th - London, Wembley Stadium (SOLD OUT)

28th - London, Wembley Stadium (SOLD OUT)

This summer will also see Richard play select headline shows and festivals:

MAY

25th - Stevenage, SMR 2025 at Lamex Stadium

JUNE

7th and 8th -São Paulo, Blues & Rock Festival

19th - Oxfordshire, Nocturne Live at Blenheim Palace

27th - Newmarket, Racecourses

AUGUST

23rd - Cornwall, Live At Scorrier House

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PUB IN THE PARK, MARLOW 17/5/25

Trusting that nobody would get too drunk and fall in the river, the Pub In The Park Saturday evening event was a very different vibe to the relaxed afternoon session here in Marlow. The event focused mainly on exploiting animals and how we should fund the slaughter houses by buying meat, from animals killed at three years old or younger, to cook for our eating and drinking pleasure. Pub In The Park also promoted the egg industry (where 7 billion baby male chicks are killed every year [as they believe they are useless to them]) and the dairy industry (where the cow has been forcefully impregnated, before their calfs are killed [so we can have their milk instead]), where they kill the dairy cow once they are done with it, at 6 or 7 years old after they have mourned the loss of each of their calfs. It's a brutal industry but this weekend was about believing that this barbaric practice is the right thing to do, and is to be celebrated.

Thankfully, there was a vegan sweet stand 'Wild Thingz', who gave out free samples; rebelling against the torture that was promoted everywhere else.

Even with these facts of the festival, nothing was murdered as badly as 'Mr Brightside', 'Kiss Me' and 'Breakfast At Tiffany's' by Pixie Lott on the main stage. She really did put the pub in the park. She performed a new track with her full live band, which sounded like a future hit, which will hopefully guide her away from the overdone crowd pleasers.

Will Young put on an effortlessly fantastic show, with him having the same highness of enjoyment and emotion as the audiance, whilst the Eg White penned song 'Leave Right Now' (about the fear of not leaving the studio on time, by getting deeper into writing and recording the song) took on a whole new meaning, played with a band that Jamiroquai wished they could be.

Greene King seemed to be the main brand for beers on sale, which is surprising as their pubs don't really support live music through their useless Concur system. However, their beers are all in keeping with the theme of this weekend, as they are clarified using isinglass finings - derived from the swim bladders of certain tropical and subtropical fish. It's very strange how paper straws are used these days, with the excuse it's for protecting the sealife, whilst there are drinks that have sealife killed in the brewing process.

The evening's tickets were bought by a lot more youngsters (opposed to the middle aged [and older] couples and families from the day time), who couldn't/didn't pay the extra £30 for the front of stage access; packing out the general admission for Jess Glynn's set. There were still a lot of people there our age and above; hanging around for the book signings (you could check the schedule on the website and bring your books from home or purchase from and stand there) and talks with Anton Du Beke, Gok Wan and more.

Pub In The Park will continue to move around in the south west area of London, with Gunnesbury (30th May - 1st June [with Jack Savoretti on the Sunday]) and Reigate (11th - 13th July [Dizzie Rascal: Friday / Daniel Bedingfield: Saturday afternoon / Will Young, Newton Faulkner and Babybird: Sunday]) hosting before moving to the north west of London for St Albans (5th - 7th September [Dizzie Rascal: Friday / Daniel Bedingfield: Saturday afternoon / Squeeze and Alfie Boe: Sunday]).

Nic Bennett

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FEEDER + ELLEGARDEN - London Koko 15/5/25

Having just returned from the Far East, which included shows in Japan and Taiwan with Ellegarden (under the moniker of The SonicBridges Tour), Feeder continued the co-headline tour at Mornington Crecent's  Koko tonight, just ahead of 4 more European shows together.

Selling out arenas on this joint journey, including the 8,000 capacity, Tokyo Gardern Theater, Ellegarden's vocalist/guitarist, Takeshi Hosomi, admitted that he could have never imagined that the best night of his life would come after turning 52 - here, in London, in a more intimate setting. They're used to the early starts in Japan, and tonight's 7pm stage time didn't stop England's capital crowd from going wild - even for first time listeners, the reminiscences of  Ash and Fall Out Boy triggered multiple crowd surfers for each number. 

This venue actually suited Feeder better than when I had seen them before in recent years; at Folkestone Leas Cliff Hall or up the road at The Roundhouse in Chalk Farm, where the sound felt lost, and the band seemed disconnected from the audiance, which created a lack of atmosphere on both occasions. Tonight was more like the Pryzm gig in Kingston I'd been to, for Banquet Records, where the shape of the venue must have helped their songs, that have no reason not to be as highly regarded as Green Day's.

Nic Bennett

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In a failing country, where small venues have to put on tribute acts (to the bands who once played there) to generate an income, The Dublin Castle in Camden still hosts touring bands through Bug Bear bookings. Of course, you can just be in the bar having a drink but with it being open until 2am, you could be tempted to check out what's going on in the back room earlier on in the evening. With the door price being a couple of £s more than booking in advance, you could discover something you're into; with a choice of three support bands often billed before the main event.

We were there for Little Juke, who were on the road from the Midlands in support of their new album 'Departures From The States Of Mind'. Just before they were due to play in their home town of Wolverhampton to over 1,000 fans, it was worth catching them in this intimate venue for the beer that filled up from the bottom of the pint glass, alone.

Despite Camden's dramatic change in clientele in more recent years, there is still a lot of live music, of all levels, going on everywhere but the Dublin Castle has it's own, individual charm; authentic and suspended in time. Because of the area, there are security on the first entrance door to the pub but they seem to mainly be there to take water off you, rather than expecting too much trouble (hopefully).

Nic Bennett

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TEAM UP WITH FREDWAVE FOR THE NEW SINGLE ‘YOU DON’T KNOW ME’

LISTEN HERE

READING, LEEDS, THE GREAT ESCAPE AND TRUCK ADDED TO THEIR SUMMER FESTIVAL SCHEDULE

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CELEBRATE THEIR 20TH ANNIVERSARY BY DOCUMENTING THEIR STORY SO FAR WITH ‘WHEN I’M WITH YOU’ - OUT OCTOBER 17TH

‘THE SUBWAYS FOR ETERNITY’ UK AND EUROPEAN HEADLINE TOUR ALSO ANNOUNCED

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SHARES THE BRAND NEW SINGLE ‘CELEBRATE YOU GIRL’ - LISTEN HERE

MUCH MORE NEW MUSIC WILL FOLLOW IN THE COMING WEEKS

CELEBRATES RECORD STORE DAY WITH A SPECIAL EVENT AT BROADWICK SOHO

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THE MAGICIANS TABLE - LONDON BRIDGE - 25/3/25

You could be at a wedding, summer ball or even Houdini's Magic Bar in Canterbury (and also formerly in Broadstairs) where there may be a magician who would come over to your group for some sleight of hand and small scale illusions but The Magicians Table is a place where the whole focus of the evening is on the close up magic. With a loose theme of being an attendee at a recently deceased magician's memorial (giving the impression you were at an event, after all), a pool of ever roatating magicians took it in turns to visit each table. With more than enough talent to go around, Richard McDougall, Nick Stein, Pete Heat, Maxwell Pritchard and Sepp all made their way to our shared table but there were a few other conjurors there we didn't have the pleasure of experiencing. With even more, extra, entertainers on their books, the combination of acts on the night is likely to always be different, if you ever fancied a return visit. Of course, none of these magicians are exclusive to this experience, appearing at other public and private shows, and with the storyline not being as prominent or all that relevant, the amazing magic in front of our eyes was all that mattered.

Nic Bennett

[the-hindu-times]

GRAHAM GOULDMAN & HEART FULL OF SONGS - LONDON CADOGAN HALL 19/3/25

Turning 80 next year, Graham Gouldman didn't need to look too far back into the past for quality, as songs from his 9-month-old album 'I Have Notes' had the same art rock tongue in cheek they always did. Successfully and musically somewhere in between Dean Friedman and Paul McCartney, Graham is still in his same voice which blended perfectly with Andy Park and Keith Hayman - both fantastic musicians with an incredible vocal range and tone.

The whole ensemble switched between instruments and between playing as a solo, duo, trio, quartet and quintet; occasionally joined by support act, Seb Wesson, (who we'd recently seen on stage with The Ting Tings) on electric guitar, and subtle but effective percussionist, Dave Cobby. It wasn't only the strong harmonies that went against the norm of today, as the more-than-reasonable £28 ticket price took us back to past along with the songs Graham had written for the Hollies, Herman’s Hermits, the Yardbirds, Wax, and, of course, 10CC.

Nic Bennett