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September 16, 2017September 16, 2017

BREVIEW: The Return of the King @ Moseley Park 10.09.17

Words by Molly Forsyth / Pics by Paul Reynolds

I am a self-confessed sceptic regarding the phenomenon of The Lord of the Rings. I never quite ‘got it’ as a precocious 8 year old, preferring to allocate my mum’s spare five pounds to a cinema ticket for the latest Harry Potter installment.

Admittedly, my first eventual viewing of Peter Jackson’s trilogy in 2012 – a night in with friends and all three extended editions back to back – was not the best choice. As someone who had dismissed the films as ‘lots of walking on camera’, I should have eased myself in…

Now I am sat in Moseley Park on a camping chair, with a mild dripping of the nose and a strategically draped Lee shirt on my legs trying to survive the country’s changing fortunes with the weather. The trilogy’s epic conclusion, The Return of the King, is a blur of flurrying arrows, decapitated dragons and one mad king throwing himself off a building in an act of self-immolation that I can just about see through the rain. But I am genuinely enjoying the film, and strangely enough that is the only thing I am enjoying.

Moseley Folk Festival had run on this site the weekend prior and I cannot help but feel that minimal effort has been put into demarcating the screening of this trilogy, which is in collaboration with Ice House Pictures, from the previous festivities. The shroom placards, sad looking bunting and quasi-medieval statuettes I suspect are remnants from the week before and have been deemed ‘Tolkien enough’ rather than ‘Tolkien to a tee’.

This is even more disappointing when you consider that the geography of Middle Earth was heavily based on Tolkien’s childhood in Birmingham; more should have been made by the organisers of the trilogy’s connection to Moseley Park. A beautiful and serene spot within an industrialised part of the city, Moseley is a clear mirror of areas such as The Shire and the Old Forest. Indeed, a half-hearted show reel (which is displayed on screen before the film and in the interval) explains how the park was the direct inspiration for the Ent race within the Middle Earth universe. It begs the question, if Treebeard would not exist without the park why is there not a single tree in the park decorated to resemble him?

Ambience aside, organisation leaves a lot to be desired regarding weather conditions also. My fellow members of the audience have come as prepared as they possibly can for the forecast, but perhaps the organisers of three outdoor screenings could have done more to mitigate the challenging conditions. The size of the seating area means they could have easily erected some form of shelter, or perhaps had nearby heaters and ponchos to lend; many open air cinema events across the country make these arrangements, even those operating on a larger scale, but such considerations have not been made here.

Audio wise, the mic ups of the Twilight orchestral performance from the Central England Camerata before the screening suffer in the winds, meaning many of their renditions of the film score and other classical pieces are hard to pass judgment on. The headset connections are subject to a few interruptions during the film as well. No event can run smoothly and without issue, but tonight’s screening seems to endure more hiccups than necessary.

Surviving the 4hrs 10mins running time of The Return of the King (extended version) proves to be an endurance test, but I am pleasantly surprised by how well the film has aged; I suspect Jackson’s commitment to utilising as many practical special effects as possible has helped its case. Many films of the same era have suffered from their dependence on what was still developing technology at the time, but The Return of the King is a masterclass in set design, makeup and cinematography. It is little wonder that the film remains the most successful film at the Academy Awards.

It is not just the visuals that impress either; out of the three Jackson films, I feel The Return of the King maintains the best balance of scenes and characters. Tender moments and quiet reflections are expertly sequenced with tense battle scenes and climactic conflicts, which helps the long running time feel like less of a chore than it could be. One gripe I have with Hollywood is that the cast were not rewarded more for their acting. The talents of Sean Astin (Samwise ‘Sam’ Gamgee, and my favourite in The Goonies), Andy Serkis (Gollum/Smeagol) and Billy Boyd (Peregrin ‘Pippin’ Took) shine brightly throughout the film, and the slew of ensemble awards that were bestowed upon the cast are not enough recognition for the individual performances of these three actors.

Tonight has proven to be an unusual experience compared to previous open air screenings I have attended. Logistical failings aside, I leave Moseley Park changed in many ways more than in my body temperature. I can recognise The Lord of the Rings as deserving of the cultural phenomenon it caused, and I am heartened to see that the literary legacy of J.R.R. Tolkien and its connection to the West Midlands is still rightly honoured.

For more from Moseley Folk/Ice House Pictures, visit www.moseleyfolk.co.uk

For more information about Moseley Park, including full event listings, visit www.moseleypark.co.uk

September 13, 2017September 23, 2017

BPREVIEW: Beyond The Tracks – after parties, official/unofficial @ Various 15-16.09.17

Words by Damien Russell, Paul Gallear & Ed King

For the happy revellers of the Beyond The Tracks festival who are seeking more to finish off the night (be it Friday or Saturday), there are a number of opportunities to party harder and get more ‘bang’ for a buck (or ten).

There are the official after parties from the Beyond The Tracks team, alongside a few unofficial yet appealing enough alternatives to cater for the weekend long festival crowd. Read our BPREVIEWs below:

Oscillate Sound System @ Centrala 15.09.17

Inviting us to ‘regenerate’ after Beyond The Tracks’ space cadet Friday night, the Oscillate Sound System take over Centrala for an unofficial after party on 15^th September – the fledgling festival’s opening day.

Doors open at 11pm and close at 4pm, with tickets priced at £5. Not sure precisely who’s playing but you can bet there’ll be a DJ set from Messer Higher or Intelligence, you know from the Agency. And as far as my third eye can see it’s a pay on the door affair. Ah, life before Skiddle…

So, Oscillate..? By this point you’re either as unfazed as you were at word one, or you’re skipping down a serotonin sapped memory lane trying not to think of that song by Biosphere. La, la, la, the 90’s were a simple clubland love in with no scars… I don’t want to know what dream you had last night.

But if you need a helpful reminder (either way) Oscillate brought Orbital to Birmingham. So there’s that. And through their bi-weekly club nights at Bonds (as well as a few jaunts to the Dance Factory, Moseley Dance Club, some big-house-in-a-field-somewhere-in-I-think-maybe-Wales, and a disused gas container in Amsterdam) the Oscillate Sound System introduced a further litany of ambient/techno to the second city’s clubbers: Autechre, The Orb, Banco di Gia, Children of the Bong, Sun Electric, The Drum Club, APL, APL, did I mention APL..? I think they even booked Richard James a couple of times, not that that guarantees anything but God loves a trier.

It’s fair to say (and it’s been said by more than I) that Oscillate helped shape the dance music landscape of Birmingham in the 90’s, and left its left-of-centre fingerprints on the city’s club scene for some time to follow. You could argue that if they hadn’t someone else would have, but Scylla Magda and Bobby Bird were the ones that did – earning a dance music debt of gratitude that stands up over twenty years later.

Or to pinch a quote from The Observer in 1994: ‘To those in the know, including the 650 clubbers who frequent the club in Birmingham every other Friday night, Oscillate is the club of the moment, making waves far beyond the Midlands, and attracting clubbers from as far afield as London, Manchester and Edinburgh.’

Plus half of the head honchos at Oscillate are half of the head honchos in Higher Intelligence Agency (Bobby Bird) so all you need is Cheshire Cat and Sister Bliss to turn up and you’ve got most of Beyond The Tracks’ Friday night programme under one roof.

More a ‘second wind’ as opposed to ‘after’ party then… everyone back to Centrala on Friday 15^th September? Whatever the moniker it saves Shaun some tidying up.

For more on the Oscillate Sound System after party (unofficial) at Centrala on Friday 15^th September, click here.

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Way Beyond @ Suki10c 15.09.17

To continue the Friday night party directly after the festival’s opening day, Suki10c are hosting an unofficial first night continuance with ‘Way Beyond’, starting at 10pm and going right through to 4am. The event costs £6.00 including BF (booking fee, not boyfriend) on the mighty Skiddle or £8.00 on the door – showcasing sets from Earth is Flat, Bid, Skint Disco and Doktor Jekyll amongst others as yet unnamed.

Earth is Flat (or EiF) are two producers whose aim is ‘to make a non-generic style of music; using field recordings, traditional instruments and collaborating with people who share similar values’. They have shared the stage with artists such as Plaid, Kelli Ali, Luke Vibert, Coppe and Fungstorung and have performed in venues such as the Hare & Hounds, mac, and The Rainbow in Birmingham, as well as working down in the Big Smoke.

Bid is a DJ who started out in 2012, one who lucky revellers doing both ‘the main event’ and this after party will already have seen performing as part of the Leftfield Leftism 22 Tour. His debut release is due this year on the Download Generation label, showcasing his influential choice in the twisting and manipulation of breaks, beats and sounds.

Skint Disco is providing a DJ set in the form of Joe Reid – 28 year old producer from the Midlands, now residing in London. Skint Disco/Joe Reid has received props from major players such as Jam PRD, Wevaman, Hatcha, Funtcase, Kromestar,Seven, Bukez Finezt, Beezy, Enigma Dubz and Dubloadz all regularly throwing down his tracks. DJ slots all over the UK and gigs in Prague, Paris and Amsterdam have resulted in a mini-tour stateside with bookings in Seattle and Denver later in 2017.

The evening is supported by Doktah Jekyll, the resident DJ for Digbeth Dining Club and more, lining up a diverse sounding lineup of electronic music to see you through to the wee hours.

Even if some of the lineup are people whose stage names defy Google or any other form of research, this sounds like one of those events where those in the know will know to go, and those not in the know probably should be.

For more on the Way Beyond after party (unofficial) at Suki10c on Friday 15^th September, click here.

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Official Beyond The Tracks Friday night after party @ The Rainbow 15.09.17

Friday night’s official, ‘Moseley Folk approved’ after party is held at The Rainbow Venues’ Black Box. It will be starting at 11pm and the ‘you don’t have to go home but you can’t stay here’ is at 4am.

This official after party is brought to us by Procreation – the erstwhile progressive/tech house club night started by Beyond The Tracks promoter, Carl Phillips, back ‘in the day’ – in association with Ransom Note. The event will see DJ sets from A Guy Called Gerald, Bawrut and Timothy ‘Heretic’ Clerkin, in addition to Phil Hartnoll (one half of the Beyond The Tracks Friday night main stage headliners, Orbital).

Even if you’re not into your dance music, the name Orbital is still bound to ring a faint bell. Okay, that may be because they were named after the London Orbital (or M25 as we would more typically know it) but Orbital (aka brothers Paul and Phil Hartnoll) were renowned for their live improvisation, something of a rarity in the genre. But with five UK Silver records, one UK Gold record, four UK top 20 singles and even making it into the top 10 US Electronic Album Chart twice, it would be safe to say that improvisation or not Orbital’s music has appeal.

Perhaps the slightly less prolific of the brothers, Phil Hartnoll, has nevertheless taken his DJ sets to New Zealand, the US and around Europe. And that’s just this year. Now stepping straight from the Beyond The Tracks’ main stage, Phil Hartnoll will be hitting the decks at the Black Box in a rare UK solo show.

Joining Phil Hartnoll on the bill will be A Guy Called Gerald – a pioneer of the late 80’s UK Dance music explosion, whose website hails as ‘an iconic name in dance music’. But A Guy Called Gerald arguably kick started Europe’s acid house frenzy releasing the first UK acid house record, the ’88 classic ‘Voodoo Ray’ – following this with the iconic ‘Pacific State’, and laying down the blueprint for early jungle/drum’n’bass. And while not reaching the commercial heights of some of his contemporaries, the consistency and longevity of his releases demonstrate an acclaim that has endured for 30 years now.

Kicking it all off in 1987, A Guy Called Gerald had his ’own bedroom studio and was recording 90 minute tapes – probably one a week, so the equivalent of doing an album a week, everything from proto-acid sounds to experimental ambient fields’. And while his releases have slowed down somewhat over that last seven years, I hope that A Guy Called Gerald will bring the same energy of old to this 2017 live set. His 40 live show list for the year would imply that he will.

New kid on the block, the Madrid-based Italian Bawrut, will be preceding A Guy Called Gerald on the lineup – bringing his ‘wonderfully balanced line between classics and brand new tracks’. Bawrut’s 2016 release through Ransom Note has been hailed by Mixmag, DJ Mag, Test Pressing, and Data Transmission ‘as one of the freshest releases of 2016’.

Lastly, not least-ly, on is Timothy ‘Heretic’ Clerkin – one half of the amusingly named Eskimo Twins, who have been on the scene since 2009 releasing on Tusk Wax, My Favorite Robot & Relish, Throne of Blood and Ransom Note Records. Eskimo Twins formed around an appreciation of techno, classic house, indie, acid, and a lingering teenage love of metal – so those who know them will no doubt be wondering what Clerkin’s solo set may bring. One one way to find out; you know the drill

For more on the official Beyond The Tracks Friday night after party @ The Rainbow- Black Box, click here.

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Club L’Amour reunion @ Suki10c 16.09.17

The once haven for alternative shenanigans, described by Sam Lambeth as ‘an indie Byker Grove’, Club L’Amour comes back to the venue of its birth for a final, final hurrah on 16th September – giving the Saturday night noise monsters at Beyond The Tracks a comforting place to play until dawn. Well, 5am. Which is dawn enough for us.

There will be live sets from Riscas and Sugarthief, underpinned by DJ sets from the great, good, and garrulous who adorned the once Digbeth based indie night out. On the line up so far are MP3 jugglers: Kez Handley, Ben Clapton, Jack Parker, Arran Bick, Harley Cassiddy, Sam Lambeth, Tim Arstall, Tommy Greaves – with the ever inspiring ‘secret guests’ to kick it all off. TBC, I guess.

But following the fallout of a Saturday night festival line up that boasts Ocean Colour Scene, Maxïmo Park, The Coral, The Twang, Carl Barât and the Jackals, Jaws, Superfood this might be a more than appropriate place to greet the small hours.

Plus it’s a reunion, after Club L’Amour packed up its musical powder puff back in February this year. So what are you waiting for..? Oh yeah, there’s that festival thingy up the road to pop into beforehand… phew, and what a before party that’s going to be.

For more on the Club L’Amour after party (unofficial) at Suki10c on Friday 15^th September, click here.

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Official Beyond The Tracks – Saturday night after party @ O2 Institute 16.09.17

As if all this excitement on the Friday night wasn’t enough, there is another official after party on the Saturday night, post-festival, held at the O2 Institute in Digbeth – running from 11pm through to the wee hours of 3am. Mercifully a little earlier than the Friday night after parties, allowing us a little recovery before the final festival day.

Fresh from headlining Saturday night at Beyond The Tracks, Ocean Colour Scene’s Steve Cradock will take to the O2 Institute stage for a DJ set, alongside Paul Smith from Maxïmo Park. But kicking off the evening (morning…. depends when you get there) will be DJs Gav and Imran from Blast Off – a Wolverhampton institution which celebrated 20 years of clubbing in 2016 (despite ostensibly ending the indie club night in 2014, they have returned for numerous ‘one-off’ specials and Christmas/New Year shows. I suppose you can’t keep a good thing down).

Next up will be will be Dave Southam, a man made (in)famous as one of the DJs for Snobs, a well known Birmingham nightclub that promotes itself as offering ‘indie, rock’n’roll, alt pop and retro jams’.

It is clear then that the theme of this after party is the same as Saturday’s offering at the Beyond The Tracks festival itself: indie and lots of it. Kicking off at 11pm, festival goers will have plenty of time to cover the half-a-mile between Eastside Park and the O2 Institute when Beyond The Tracks finishes at 10:30. Tickets are £10 in advance, plus the usual booking fees.

For more on the official Beyond the Tracks Saturday night after party, click here.

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Beyond The Tracks comes to Eastside Park in Birmingham City Centre, running 15^th to 17^th September. Tickets for this event are £54.45 for individual day tickets, £145 for a weekend pass.

For more on Beyond The Tracks, including full festival details and online ticket sales, visit www.beyondthetracks.org

September 13, 2017September 19, 2017

BPREVIEW: Portrait of the Artist: Käthe Kollwitz @ Ikon 13.9-26.11.17

Words by Lucy Mounfield

On Wednesday 13^th September, Ikon unveil their new exhibition, Portrait of the Artist: Käthe Kollwitz, which will be on show until the 26^th November. Organised by Ikon and the British Museum, this exhibition is drawn from a collection of forty works from the British Museum – complemented by a small number of loans from a private owner and The Barber Institute of Fine Arts collection.

Käthe Kollwitz (1867–1945) was a Prussian artist whose drawing, prints and sculptural work depicted and reflected a world ravaged by poverty, class struggles and war. Kollwitz lived through a tumultuous period in Germany’s history – through the Empire of Kaiser Wilhelm II, post-First World War struggles and the Weimar Republic, the growth of the Nazi party and the outbreak of the Second World War.

Kollwitz’s body of work has divided opinion: conservative collectors admire the craftsmanship of her printmaking, whilst from a social political point of view her oeuvre encapsulates the anti-war stance and class consciousness of the German Expressionists in the inter-war years. Kollwitz’s two great graphic series, The Weaver’s Revolt (1897) and The Peasants War (1908), document social injustice suffered by working men and women.

Concurrently Käthe Kollwitz’ subject matter has been looked at through the lens of her as a female artist; Kollwitz did make considerable gains in the art world. She studied art courses at women only schools at a time when women were ostracized from academies. In 1919, she became the first woman to be elected to the Prussian Academy of Arts, later becoming the first female professor there.

Critical analysis of women artists has often been problematic. Many exhibitions and much art historical critique has previously centered around Käthe Kollwitz as a ‘woman and artist’, whose empathetic and compassionate art was directly related to her gender and role as mother. The theme of motherhood has been explored regarding the death of her son, Peter, in 1914 – during the First World War, citing this as an influence for her Woman with Dead Child (1903) print. This image epitomizes the animalistic quality of her work, the etched jagged lines mirror the sharp jolts of grief. Many artists depicting war and poverty have often described the physical signs of struggle, but Kollwitz and her contemporaries – Otto Dix and George Grosz among them – revealed the psychological effects of a country in turmoil.

Ikon and the British Museum‘s Portrait of the Artist: Käthe Kollwitz exhibition aims to look at her work through the ‘exploration of three themes: social and political protest, self-portraits and the role of an empathetic and suffering mother.’ It promises a re-examination of her as ‘someone who illuminates what it means to be an artist and to sustain a creative life’.

Furthermore, this exhibition will be the first time that many of the artworks have been seen together since Campbell Dodgson, Assistant Keeper – then Keeper – of the Department of Prints and Drawings (1893-1932) at the British Museum, bought these images in Germany before the First World War. Perhaps it will bring together the contrasting interpretations of Käthe Kollwitz’ work and present a fuller picture of her creative influences.

For more on Portrait of the Artist: Käthe Kollwitz, visit www,ikon-gallery.org/event/kathe-kollwitz

For more on Käthe Kollowitz, visit www.kaethe-kollwitz.de/en/

For more on the British Museum, visit www.britishmuseum.org

For more from Ikon, visit www.ikon-gallery.org

September 12, 2017September 12, 2017

BREVIEW: Semantics – Acid Test EP launch @ Actress & Bishop 09.09.17

Words by Ed King / Pics Paul Reynolds

Due to a late cancellation at The Sunflower Lounge, we have two extra names on the bill tonight – with North Parade and My-Hi joining Hankks, Quinn and Semantics at the Actress & Bishop. Not bad for a fiver (neither is the new Semantic EP, Acid Test… but more on that later).

But time, tide and the Number 45 bus wait for no man, and with an excellent track record of poor time keeping I rock up to the A&B just in time to catch the last song from My-Hi. Nothing like a bit of head banging at 8:30pm on a Saturday; I even have the hair for it nowadays… where’s my snakebite?

Next up is Quinn, the curious three piece fronted by the legendary Sam Lambeth. Quinn look like a fresher’s party at five in the morning, but sound like Mega City Four – for those of you who will get the somewhat archaic reference – with languid melodies disguised by fast paced distortion and an unashamed rock outlook on life. But Lambeth is a superstar in the making, with absurd confidence, deft solos and the kind of charisma that you would sign in blood to possess.

He’s a great writer too (one I tried to bring onto these pages but was trounced by the perennial lure of London) and even as a front man with sparkles from head to toe, kind to his audience – dedicating a track to “super fan Zach Aston, I heard you lost your virginity last night so this one’s for you”. But sadly, truthfully, and with the softest of kit gloves, the rest of the band fall a tad short; practice, a metronome and possibly some solo material might not be a bad idea for a while. I hear London’s quite up and coming so Lambeth should be in luck. For everything else there’s always Amazon.

A case of mistaken identity later and I’m wrestling my cider back from Hankks’ drummer, before the polka dot fronted four piece take to the stage. An honest mistake, but I can be a shallow man when it comes to alcohol. Mercifully Hankks are solid as a rock, with a tight (albeit slightly detached) set of bouncing grunge rock with little to let it down. Little to really remember too, and once my more learned friend noticed “they sound like an early Green Day” that’s all I could hold in my head. But keep on trucking lads; you got mustard in there.

Then the lights go down, the mood shifts, and the most well dressed (and amongst the loveliest) band in Birmingham take their place centre stage. With a new EP on the table, literally, Semantics kick off their headline set.

DISCLAIMER: Birmingham Review is lucky enough to get a fair number of bands and musicians reach out to us, but the one’s that do it with kindness and candor (and enough advance notice) stand a much better chance of getting covered. Take note – this probably applies beyond our pages too. But that doesn’t mean we will them write a good review. An honest review, yes, but you have to earn your gold stars.

Josh RB, Semantics‘ bass player, has been a joy to get to know – even bouncing over to give me a big hug and introduce their front man, Rob Lilley, whom I had not yet met (please don’t hug all our reviewers). So I’m nervous now. What if they’re shit. I am ruthless about honesty from the Birmingham Review contributors so should probably lead by example. A few minutes pass and I’m more nervous… seriously, what if they’re really shit.

Opening with an instrumental, Semantics sound is immediate; a brooding backdrop pierced by clear and dominating riffs (SECOND DISCLAIMER: I am not a musician). Then it’s the title track from the reason we’re here, as ‘Acid Test’ introduces the mournful lament of Rob Liley’s vocals – albeit somewhat let down by the sound desk – and the dark but beautiful box he wants our kisses wrapped up in.

‘A cut above’ is what I tap into Samsung Notes, before adding some nonsense about ‘sense and sensibility’ and spending the next 5 minutes looking for a glockenspiel.

But Semantics clearly know what they’re doing, as the set builds into a quite ferocious wall of sound (sorry, but the cliché is too appropriate not to use) adding layer upon glorious goth layer and dragging the audience into the stage with invisible fish hooks. I think, by now, I’m dancing, or an approximation of this. But the floor has to make room some as first Josh RB, then Bridie Green, step out into the crowd for a well controlled showcase.

This is when I stop writing (or an approximation of this) – Semantics, here tonight, are just too fucking good. Its a show; a proper gig. And aside from the vocals being squashed into a cotton wool pancake (seriously sound desk…?) the audio is awesome, the delivery is near perfect, and the look is… well, working.

I wasn’t sure if the stylised nature of this band would stand up in a live setting, and I was worried that the spectre of Ian Curtis would be too much of a distraction, but Semantics own every inch of their set with confidence and grace.

And because I also ask our contributors to try and find a counterpoint – what I call the ‘velvet glove punch’ – I shall end an overwhelmingly positive review with a word of warning. In fact I’ll end with three: Joy, Division, careful.

For more on Semantics, visit www.soundcloud.com/semanticsuk

For more on Hankks, visit https://soundcloud.com/hankks

For more on Quinn, visit www.soundcloud.com/quinn-580556457

For more from Actress & Bishop, including full event listings and online ticket sales, visit www.facebook.com/Actressandbishop

For more from Birmingham Promoters, visit www.birminghampromoters.com

September 9, 2017

BREVIEW: Queens of Comedy Extravaganza @ O2 Academy Birmingham 05.09.17

Words & pics by Eleanor Sutcliffe

Working as a music photographer prepares you for numerous things.

It doesn’t prepare you for drag queens cart wheeling into splits clad in platform heels and lingerie, or having a 10 inch silicone phallus thrown at you across the stage. Or being called a cunt in front of the O2 Academy’s sold out main room. It definitely doesn’t prepare you to find these things side splittingly hilarious.

Arriving at the O2 Academy, I was greeted with the most diverse, kaleidoscopic crowd I’ve ever seen. Groups of men and women snaked along the streets and up Bath Row as drag queens ran along the crowd, hugging fans and batting their false eyelashes while handing out Klub Kids flyers. Usually with any concert you can easily identify the standard show-goer demographic, but here it was simply impossible. Drag has no boundaries regarding its audience – clearly, anyone can enjoy it.

As the room filled up and the lights dimmed, I made my way to the front and sat in anticipation. Out onto the stage burst Andrew Hoyle, the head promoter for Klub Kids; exclaiming that tickets for their Twisted Circus tour were now on sale, he sold the room the show by promising “acrobats, and midgets, and acrobatic midgets” before welcoming on Bianca Del Rio.

Del Rio is what some people would describe as their worst nightmare – a six foot figure of immaculate makeup and savage wit, her comedy both hilarious and highly inappropriate for what was deemed a 14+ show. Within minutes of gracing the stage with her presence, she managed to insult at least half of the room. Girls filming the show were openly mocked, as Del Rio exclaimed that they would watch it at home whilst “flicking the bean”, much to their horror and to the sheer delight of their friends.

Not a minute later, I was branded an “utter cunt” by the queen herself for taking photos from an “unflattering” angle. And yet, none of us could stop laughing. Her humor was so dark, so abusive, so obscenely unaware of what was socially acceptable to say in a room full of a few thousand people, that you simply couldn’t help but find it utterly hilarious.

First up was Jackie Beat, as BenDeLaCreme was sick and not able to perform – according to Beat, this involved an altercation involving heels and stairs. Exclaiming how she would be combining “the two things gay men love most – Broadway musicals and sex”, she performed a smut smeared cover of ‘And I Am Telling You’ from Dreamgirls, followed by a hilarious rendition of ‘Baby Got Back’ by Sir Mix-A-Lot.

Next was Charlie Hides, who’s comedy was so quintessentially British that the whole room simply fell in love with her. Her humor, though scathing, was smart and witty. She described one drag queen as being “rather like Joan of Ark – creative ideas, but badly executed”, leaving the entire room in stitches.

As one of the few queens of the night that did not rely simply on sexual puns or insulting other performers, she stuck out to me as one of the highlights of the show. Her original song ‘I Don’t Care If You Think I’m A Bitch As Long As You Think I’m Thin’ was not to my taste, however that didn’t stop it going down a storm with the rest of the room; although to me musically she fell flat, I could have easily watched her comedy for hours.

Next was an interval performance by London and Manchester based dance group, House of Decay. Watching them twist and contort their bodies into shapes that I was not aware were even humanly possible, I was brutally reminded that I may need to work on my own personal dance skills.

As someone who avoids heels with a vengeance, I was in awe as they ran, jumped, cart wheeled and pirouetted across the stage in footwear that looked more like some sort of post-apocalyptic weaponry than anything that I would dare let grace my feet.

These guys have mastered every form of dance you can think of – from voguing, which involves quick and fluid movements using your hands and arms, to the aptly named Death Drop. This move is, in short, fucking terrifying. If Birmingham Review let me use GIFs in my write ups there would be one following this sentence, so I encourage you to go forth and Google, and be both impressed and distressed for a while. (Ed’s note… as far as I can see, the trick here is to not break your spine – Death Drop Compilation)

Now, the iconic Lady Bunny. One of the original Club Kids from 80s New York, she soon had the room in stitches as she joked about her age, claiming she’d be dropping dead any minute. Her performance was less high octane than those before her, and relied solely on poop humor, but still brilliant. I would be lying however if I said that I did not spend most of my time staring in utter bemusement at her wig, as it made up at least half of her height and did not move a millimeter throughout her set.

During her performance of ‘I’m Not A Girl, Not Yet A Woman’ by Britney Spears, she whipped out a 10 inch silicone penis and started flinging it around the stage like something possessed. It was at this point that I excused myself side stage and began contemplating my career decisions.

Following from this was Katya, who describes herself as “your average run-of-the-mill Russian bisexual transvestite hooker”. Bianca Del Rio describes her as “the rightful queen of Drag Race All Stars,” and as she writhed her way along the stage in thigh high lace up gold boots, it was clear why. Not only was her new stand up routine to the point and side splittingly funny, but her impressions of fellow drag queen Roxxxy Andrews was both horrific and hilariously accurate.

Finally, Alyssa Edwards strutted out on stage and launched straight into an energetic dance number to a mashup of songs including ‘Me Too’ by Meghan Trainor and ‘What You Know ‘Bout Me?’ by Nicki Minaj.

Within minutes she was climbing along the crowd barrier while House of Decay served as her backing dancers on stage. Describing herself as “Drag royalty” and promising a show to remember, she delivered just that.

Overall, Klub Kids’ Queens of Comedy Extravaganza show was everything I was promised and more; smutty, witty, and worryingly offensive at times, each performer commanded the stage as their own. I can’t wait to see more of them in the future.

For more on Queens of Comedy Extravaganza/Klub Kids, visit www.klubkids.co.uk

For more from the O2 Academy, including venue details and online ticket sales, visit www.academymusicgroup.com/o2academybirmingham