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July 14, 2017July 27, 2017

BREVIEW: BE FESTIVAL …Wednesday 04.07.17

Words by Paul Gallear / Pics courtesy of BE FESTIVAL

We can’t avoid Europe these days: it’s in our parliaments, our newspapers, and our consciousness; on our television screens, our news bulletins, and our ballot papers. And now it’s in our theatres too.

BE FESTIVAL (Birmingham European Festival) landed in Birmingham for its seventh year on 4^th July, aiming to bring with it, according to their website, ‘a daring and innovative programme of boundary pushing theatre, dance, comedy, circus, music, visual and performing arts’.

And Europe is certainly here as I step into what feels like the service entrance to the Birmingham Repertory Theatre (REP); a diverse mixture of people, speaking at least four different languages that I can detect, mingle in a raw, industrial backstage area of the REP. This space (the theatre’s ‘Construction Workshop’) acts as the hub of the festival. It has the Karma Bar with its own currency (The Karma), a stage for live music, a shabby-chic seating area of furniture all jumbled together, various banana-themed sculpture (Elizabeth Hudson’s Free Movement) and works by other artists to spot around the venue. The feel is edgy yet arty, middle class yet urban.

Soon we are asked to take our seats and are ushered around corridors which pass by dressing rooms and conference suites to the performance space. The crowd is full and the stage is bare, save for a telephone and a chair. Isla Aguilar and Miguel Oyarzun, the festival’s directors (interviewed here by Damien Russell) take the stage for brief introduction and then the show can begin.

The SenseMaker by Woman’s Move of Switzerland is the first piece – the story of one woman (played by Elsa Couvreur) waiting for human interaction from an automated phone message and her increasing frustrations, bringing to my mind the increasing role technology plays in our lives and the way in which bureaucracy is perceived. The dancing, mixed with elements of mime and sign language, builds with increasing frenzy and keeps the audience and myself hooked.

The spoken word/singing is no less impressive, combining a bewildering array of languages and sources such as Jethro Tull, Rammstein, Nicki Minaj, yodelling, and Eurovision, all with the constant of Beethoven’s ‘Ode to Joy’ bursting through exuberantly at the crescendo. It is an excellent performance, a funny and triumphant start to the evening that leaves me hopeful of a great night.

A quick change of set (during which the audience is asked to leave the theatre) takes us into the next act, Portraits and Short Stories by Panama Pictures, hailing from The Netherlands. The stage has expanded greatly and now features platforms, ramps, a pole, a trampoline, and a rope, but no props. An old man sits alone.

This modern dance piece aims to ‘explore the relationships binding families and different generations together’. Five more men enter, aged 20 to 60, and all the players begin to interact with each other and the set. A visually busy performance combines elements of parkour, circus skills, pole dancing, ballet, trampoline, acrobatics, and rope work. It bristles with sensuality and physicality. The diverse and changing nature of relationships between people is captured in the movement of the players – now tense and posturing; now gentle and loving. The intensity builds as the routine becomes more daring and more frenetic. Portraits and Short Stories sees the best reaction of the night, with more than one audience member on their feet. And very well deserved. After two strong opening acts I have high expectations for the second half of the show.

After an interval for a meal served on the REP’s main stage, the third act of the night – Marco D’Agostin from Italy, performs Everything is OK. Again the theatre has changed; the enlarged space remains but the platforms and trampolines have been cleared away to leave a stark, white space.

An explosive and fast-paced monologue, touching on rap, song, speeches, and movie quotes, bombards the audience with a plethora of hard-to-follow references in a number of different languages. As promised in the programme, D’Agostin is out to ‘challenge our ability to compute endless information’. He then bursts into his equally wide-ranging dance routine which covers a myriad of styles. The peaks and troughs of energy are matched with the subtly-changing lighting and the austerely beautiful music. Everything is OK, although similar to The SenseMaker as a combination of dancing and lyrical content, is not as captivating and lacks the humour. I find it difficult to engage with the long dance routine, though I admit dance is not a subject I am very familiar with; the audience response, whilst still good, is also more muted.

All change again for the final act of the evening. The Casa Da Esquina Company from Portugal presents Ricardo Correia in My Country Is What The Sea Doesn’t Want, and a more crowded stage, featuring filing cabinets, a desk, and a suitcase.

Correia is the main focus of the piece, relating his own story of immigration and those of other people he has interviewed. Sara Jobard stands at a desk, providing occasional visual content through a small video camera, maps and an array of props set out on the table before her.

The show is funny and engaging – mixing various media such as photography, videography, physical theatre, and audience participation – but it fails to stick to a coherant narrative and the characters aren’t clearly delineated. The video link seems to suffer from technical problems too. The message of My Country Is What The Sea Doesn’t Want is clear and noble but disparately presented. I am, however, left with a an emourmous amount of sympathy for Correia and those portrayed in his work.

The night continues back in the hub, where The Brave Sons of Elijah Perry have just taken to the stage to provide ‘a Mississippi boat-load of energy’. But alas, with my last train departing, I have run out of time to watch them just as I have run out of space in which to review them.

At BE FESTIVAL tonight, the first half of the show was the stronger of the two. At times it all felt a little chaotic (I’m still not sure why we had to leave the theatre between each act, nor why I had to show my ticket each time I reentered) but perhaps that reflects the backstage-feel the event strives for. BE FESTIVAL promises an eclectic mix and it certainly delivers, and although not everything is quite to my taste such a wide-ranging bill is bound to have something to please almost everyone. The space at the REP is certainly well used by both the festival and the performers and all of the acts managed to convey to me a sense of the purpose of their work with minimal use of props.

There is a clear message of hope and celebration of the diversity of Europe coming from BE FESTIVAL and I leave feeling enthused by most of what I have seen. The night overall manages in its ethos to reflect Europe and its vagaries as a whole; some parts are strong and some parts are weaker, but it is diverse, exciting, funny, tragic, exuberant and, most of all, worth hanging on to. We can’t avoid Europe these days, and nor should we.

For more on BE Festival, including a full event programme and online ticket sales, visit www.befestival.org

For more from the Birmingham REP, visit www.birmingham-rep.co.uk

July 13, 2017July 27, 2017

BREVIEW: Cabbage @ O2 Institute 30.06.17

Words by Lucy Mounfield / Pics by Aatish Ramchurn

When I last saw Cabbage they were supporting Blossoms at the O2 Academy and, I felt, they stole the show with a brief, explosive set. Now they’ve announced a new EP, The Extended Play of Cruelty, and their biggest headline tour to date. Can the energy of their supporting act scale to a full set?

The venue was the upstairs room at the O2 Institute in Digbeth; a small room, which made for a more intimate experience. The first band on were Strange Bones, a Blackpool outfit who deserve a special mention.

Frontman Bobby Bentham was an absolute madman, jumping off the stage and into the crowd with a technician frantically spooling out the microphone cable after him. At one point he donned a balaclava shouting “BIG SISTER IS WATCHING YOU”, before approaching various members of the audience chanting “behead the despots” whilst waving his finger across his throat in a slitting motion. The confrontational manner of his lyrics matched his onstage presence – it was a cross between a bank raid and a political rally – with Bentham often addressing the younger members in the audience as the future “kings and queens”. He certainly had them on his side by the end of Strange Bones‘ short set.

Next up were The Blinders who calmed things down with their psychedelic guitar focused set. If Strange Bones brutally confronted the audience with political agitation, The Blinders came out with a more reflective approach. The lyrics took the form of poetic musings on life and society whilst the dream-like quality of the guitar produced a trance effect, which in a way deflated the audience who had been provoked into a frenzy by Strange Bones. Consequently this made Cabbage‘s entrance less bombastic, after being lured into a sedative mood by The Blinders.

There’s an elephant in the room. Cabbage have been embroiled in controversy over the last couple of months after it was alleged that lead singer, Lee Broadbent, had sexually assaulted a concertgoer as part of his performance whilst supporting Kasabian. These claims are denied by the band.

It’s tempting in these situations either to jump on the Twitter hate train or to leap to the defence of your favourite musicians, but I think we should do neither – we should refrain from indulging in speculation. I mention it because Cabbage made a point of thanking the audience for their commitment in the last “tough three months”, hastily adding that things can “get them into trouble”.

There was an overwhelming atmosphere of reciprocal gratitude and love between the band and the audience. Making such references indicated that perhaps Cabbage had lost a bit of confidence, something I felt with their quiet entrance and slow start, and clearly this allegation (and the negative media attention) has made the band more tentative . But by the end of the night Cabbage were back on form with the energy of the audience seeping into their set.

When I saw them last, Cabbage opened with ‘Uber Capitalist Death Trade’, which is a belter and probably their most recognisable track. This time they opened with ‘Terrorist Synthesiser’ which combines punk sensibilities, thumping drums with a funk edge, proving their dynamic range. They played a few new songs from their upcoming EP, including their new single ‘Celebration of a Disease’ which brought the audience to more of a quiet rumble instead of the loud cheering and singing which they did on Cabbage’s more memorable numbers.

The next new song (apologies, didn’t catch the name) proved more of a hit than the official single and could end up a fan favourite with an incredibly up-tempo drum beat and a good head banger. To keep up with the pace, singer Joe Martin raced through the lyrics half rapping them like a Streets song, which was fun but ultimately made it really difficult to understand the lyrics which are an important part of Cabbage‘s appeal.

Joe Martin got the crowd going with his ‘Dinner Lady’ and ‘Kevin’, the lyrics being chanted back by the audience and showing that Cabbage can dissect anything and everything to make a great song that resonates with both the disaffected youth and the beleaguered workforce. ‘Tell Me Lies About Manchester’ was a particular favourite of the set – the hypnotic chorus and bass rumbled along with ska inflections, creating a fevered sense of anticipation for the frenzied ending. One more song was dedicated to their drummer, Asa Morley, and was a great show-piece for him and his kit.

Cabbage put on a good show. Both front men were dynamic, moving about the stage and interacting with the crowd;Joe Martin did his striptease routine and ended up in just his trousers. And I am pleased to report that the only groping I saw was from the audience, after Martin and Broadbent climbed up on the barriers and everyone in the the crowd went somewhat mad. By the end of their last song, ‘Uber Captalist Death Trade’, it was clear that Cabbage are adored by their fans; a relaxed and confident grin appeared on the band’s faces.

Cabbage‘s new songs may not be as rough and ready but they have shown that the band can evolve musically and challenge their punk roots. However it can be hard to make out the words in their new material (which don’t have as much bite) and even the performances seemed tame – it doesn’t matter how much you’ve sharpened your rapier wit, if I can’t hear what you’re saying in a crowded room reverberating with amplified guitar chords then it falls flat.

Obviously these songs are new to both band and fans alike, so with practice and time they may well become more defined. Plus it’s all part of being the main act on the bill; I’ll just have to keep going to more Cabbage gigs to find out.

For more on Cabbage, visit www.ahcabbage.bandcamp.com

For more on The Blinders, visit www.soundcloud.com/the-blinders

For more on Strange Bones, visit www.soundcloud.com/strangebones

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For more from the O2 Institute, including full event listing and online ticket sales, visit www.academymusicgroup.com/o2institutebirmingham

For more from SJM Concerts/Gigs and Tours, visit www.gigsandtours.com

July 13, 2017July 27, 2017

BPREVIEW: Brothers of the Moment @ The Flapper 15.07.17

Words by Damien Russell

**This gig has been moved from the Actress & Bishop (14^th July) to The Flapper (15^th July) – original tickets are still valid**

On Saturday 15^th July, Brothers of the Moment are bring their brand of alternative rock to The Flapper – with support from post-hardcore rock band Now We Run, plus Wolverhampton’s punk rockers Mistrusted.

Doors open at 19:30 with tickets priced at £6.00 plus booking fee – as presented by Birmingham Promoters. For direct gig info, including online tickets sales, click here.

Brothers of the Moment are a band I struggle to categorise; they have a timeless guitar driven sound that seems to mix grunge, classic rock, classic metal and more modern alternative rock/metal sounds. Their listed influences include Linkin’ Park, Black Stone Cherry, Pearl Jam, Metallica, Nirvana and Mastodon and I can hear elements of all of these bands in the melting pot, with a side order of Rise Against and Alice in Chains to boot.

Formed of two brothers (Adam/Ryan Liggins) and two friends (Ryan Merrett/Jordan Allen) in 2014, Brothers of the Moment are still making their mark on the music scene but it’s fair to say they haven’t exactly hung around waiting. Under their original name, The Divine, their first Facebook post back in July 2015 was to promote the release of their first single, appropriately named ‘We’re Here’. A quick name change followed and along with it their debut at the Star and Garter’s Garterfest in Stafford

Following this swift start 2016 saw the band perform their first headline show in April at the O2 Academy 3, make it to the semi-finals of the Unreal Festival battle of the bands, and appear on Wolverhampton’s WCR FM in June – returning to the station in July, that time for an interview.

But Brothers of the Moment didn’t stop there and at the start of 2017 the band were featured on Made in Birmingham TV with a live performance and interview. They released their next major music video ‘Forever from Heaven’ shortly after, and now, after dutifully filling their time with more live performances, Brothers of the Moment are bringing their energy to The Flapper.

Musically, Brothers of the Moment are an accessible brand of hard rock/metal, bringing a heavy sound that isn’t too aggressive or overbearing. Their songs have a solid structure and the guitar work is the stuff earworms are made of.

Listening to their recordings I find myself satisfied by the catchy, upbeat nature of the songs but also curious to know what their live performance brings. While the recordings are good (and I have found myself humming bits of ‘Forever from Heaven’ throughout the day) I get the feeling Brothers of the Moment are holding something back; not quite giving us their all. Not uncommon under the pressures of recording and the sterile studio environment; I’m hoping they save that little bit extra for their live shows. I guess Birmingham will find out at The Flapper on Saturday.

‘Forever from Heaven’ – Brothers of the Moment

https://www.youtube.com/watch?v=MwI0VpyK5cM&feature=youtu.be

Brothers of the Moment play at the Actress & Bishop on Saturday 15^th July, with support from Now We Run + Mistrusted – as presented by Birmingham Promoters. For direct event info, including venue details and online ticket sales, click here.

For more on Brothers of the Moment, click here.

For more on Now We Run, click here.

For more on Mistrusted, click here.

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For more from Birmingham Promoters, including full event listings and online ticket sales, visit www.birminghampromoters.com

For more from The Flapper, visit www.theflapper.co.uk

July 5, 2017July 27, 2017

BREVIEW: Ani DiFranco @ Town Hall 30.06.17

Words by Ed King / Pics by Cameron Goodyer

This is a first. I’m early. Fifteen minutes early. Never happens… Ever.

But the God of Surprises is on the warpath, as tonight’s Ani DiFanco gig at the Town Hall has undersold to the point that they’ve closed the Circle. What, the..? This is an artist that can sell out two nights at the Shepherd’s Bush Empire, back to back, with a mail out and an advert in the Guardian Guide.

OK, fair enough; there’s more to promotion than this. But I’ve been running events since before I was legally allowed to be in the venues that hosted them, so I have some perspective. Sort your shit out Birmingham or we’ll never get Ani DiFranco back in the city.

The review is also, now, a plea.

But also a review. Like an empty airplane I stretch out, bags and coats, as Chastity Brown opens up with her blues and bluegrass coated folk… I’m getting tired of genre descriptions. Braving the echoing cavern first, not an easy hurdle, Brown delivers a tight yet stripped back set – winning over the stalls only crowd with melody, candor and “…like a talk show host” instructions. Awesome stuff.

There’s now five albums out there for you to explore, Silhouette of Sirens released this May, but I am surprised to see Chastity Brown back in Birmingham so soon – having played the Hare & Hounds with Otis Gibbs only a couple of weeks before. Seems like another missed opportunity for the Righteous Babe roster too.

But support set turns into interval, interval turns into alcohol, alcohol turns into a more salacious atmosphere as the interval turns into the headline set; Ani DiFranco walks on to the Town Hall stage to a reassuringly huge reception.

Opening with ‘Not Angry Anymore’ there is immediate fire in the gut. It’s odd; I’m not used to seeing Ani DiFranco in front of anything less than wall to wall adulation, but there’s an edge tonight. The confidence and cocked head/wry smile deflections are still there but they’ve come out fighting. Maybe the challenge of the crowd-to-floor-space-index is a good thing, a blue touch paper to a performer who has worked her way with every step.

A quick shout out to the calibre of the venue, a far cry from the “sticky floors” DiFranco is more used to playing on, and ‘Two Little Girls’ is introduced with a candid quip about the other person in the story. I love Little Plastic Castles and getting to see anything from it played live is a bucket list bullet point, but DiFranco punches this tale of love, heroin and the absurdity of self destruction off stage with tight control. Ferocious in all the right ways.

‘Allergic to Water’, the tile track from DiFranco’s last but one LP, comes out next with some beautifully tempered percussion from Terence Higgins. ‘Names and Dates and Places’ takes us back to the cutting teeth days of the Canadian folk circuits, before ‘Modulation’ is introduced as a byproduct of getting “married by accident… throw in a leather jacket and call it a good deal.”

Higgins is once again standout, with some short tap percussion, but the whole band are tight and together. At least that what it feels like from Row K. In fact the air is significantly lighter than it was before anyone started playing anything. I’ve seen Ani DiFranco at the Shepherd’s Bush Empire and the Glee Club here in Birmingham; both great gigs but already, only a few songs in, this feels… something, I don’t know, more involved I guess. Stronger.

Then Bucket List A / Subsection 2B: ‘Swan Dive’. I’ve waited years to sing ‘…I’ve got better things to do than survive,’ in a room with its author. DiFranco rips through the song of fuck you/empowerment (or at least it is to me) as if the chords were searing flesh; unrelenting. Troubadour 101.

Some ‘Dithering’ next, before we are introduced to the first song tonight from Ani DiFranco’s most recent LP, Binary. Inspired by the stained glass hypocrisy and male governed dress up box that is a “proper working Church, with dudes in robes… I was in their way all day” – ‘Alrighty’ stalks its way off stage and into the shadows, with some finally fixed distortion and lyrics as close to a pun as I’m comfortable to be. There’s a lot to revere in an Ani DiFranco back catalogue but it’s been the words that have pulled me in time after time. A significant songwriter, yes. But a writer.

Binary has some beautiful moments on it too, delivering important challenges through sometimes playful, yet acerbic and unassailable observations (to read my review of Binary, click here). But the “absurd” nature of the Church, with its anxious misogyny and religious patriarchy, is amongst the most important; a side step to the fight against male control of the female body, as delivered so deftly in ‘Play God’, being the next battle on the hill.

The set jumps from old to new, as Binary gets to show off more of its wares with some much earlier material filling in the gaps – including a musical pause to deliver ‘The Slant’, DiFranco’s prose only warning about ‘rhythms of attraction’ and the dangers of ‘something more they wanted’.

Then ‘Play God’ arrives. You can check out the official video below but this is Ani DiFranco on top form. And at a time when our Great Britain is preparing sell the right to choose for a heckle free Queen’s Speech it’s all the more important a message. I’ve kept my political nose clean in recent months but all week I’ve wanted to throw chairs; now I just want to applaud.

With Chastity Brown back on stage, alongside the full band line up, the title track to Binary takes us into the encore. DiFranco’s latest LP is a mature call to arms, imploring a more reasoned approach to debate and understanding, as “consciousness is circular when consciousness is winning” – and the new material stands out, albeit a dangerous place to be against such a well loved and extensive portfolio. Played live tonight it’s superb, but its timing is just as important with the world’s three largest ‘democracies’ currently governed by bullies and murders. And this is not a left wing rally cry; actual bullies, actual murders.

We need to pull together, even if we don’t agree. We need to, quite simply, unite. We need to embrace musicians like Ani DiFranco who keep bringing something substantial to the table. And whilst this could neatly tie itself into my framing device – following on from the ‘surprise’ of an emptier Town Hall than the bill poster deserves – I don’t want to knock an audience who helped turn a kick in the teeth into a silver lining. Best Ani DiFranco gig I’ve been to.

Although there’s always one, and perhaps that’s the point. But I write my last line inspired by the loud complaints of an angry (and oddly vocal) woman we run into as we’re leaving the Town Hall; my final surprise of the evening.

So, a pro-lifer walks into an Ani DiFranco concert…

‘Play God’ – Ani DiFranco

Ani DiFranco released Binary on 9^th June, through Righteous Babe Records and Aveline Records. For more on Ani DiFranco and the wider Righteous Babe roster, including online purchase points for the label’s entire portfolio, visit www.righteousbabe.com

For more on Chastity Brown, visit www.chastitybrownmusic.com

For more from the Town & Symphony Halls, including venue details and online ticket sales, visit www.www.thsh.co.uk

July 4, 2017July 27, 2017

BREVIEW: Miranda Lee Richards @ Ort Café 28.06.17

Words by Ed King / Pics by Denise Wilson

On Wednesday 28th June, Miranda Lee Richards played at the Ort Café in Balsall Heath – with support from My Autumn Empire and Ryan Sparrow.

Traversing the Atlantic to tour our tiny isle, Richards is on the UK road promoting Existential Beast – the fourth LP in her portfolio and the second released via Invisible Hands Music, the UK based home of Tangerine Dream, Hugh Cornwell and now Miranda Lee.

Ort is a good home too, one of our favourites. Just big enough to feel the safety of numbers; just small enough for an estate agent’s ‘…intimate’ up sell. Plus you’ll probably run into the band or artist that you’ve gone there to see, which whilst being an absurd obligation-by-proxy for the performer is useful when dragging a crowd off the sofa and into the suburbs.

I arrive at Ort in time to catch Ryan Sparrow “…just get on with it”, a local singer/songwriter and the first support act tonight. Lap guitar with slap tap percussion, confident, controlled; I only catch one song (indeed, the last) but pencil his name on ‘the list’. Watch out Mr Sparrow, we’re coming for you…

My Autumn Empire is the night’s second support act – the solo persona of ‘dream-pop experimentalists epic45’, or Ben as he’s called for short. Benjamin Thomas Holton is probably the safest/sanest middle ground, but my mind will now forever think of him as the bastard child of Neil Young and Message to Bears; sonorous vocals and jangly guitars, loops and peddles a plenty. Now what would our estate agent say… ‘atmospheric’.

“I’ll be playing from my last two records…” introduces Miranda Lee Richards, taking her place in front of the Ort crowd with seasoned confidence; intimate is not always a plus point, especially when there’s four of you in a corner.

Opening with ‘Toyko’s Dancing’ – a melodic message of hope or dystopia (I could never quite work out which) from her 2016 LP, Echoes of the Dreamtime – Richards’ voice lifts itself beautifully across the room. Her two guitar backing band (which makes three including her own) build a solid wall of Americana with country undertones, whist Sammy Smith picks up some equally beautiful harmonies. One track in; all is well.

‘On the Outside of Heaven’ picks up the pace next, with a lower range and tougher guitar punching out one of my favourite tracks from Richards’ more recent album. Then we’re straight into the “modern psychedelic trip” of ‘Lucid I Did Dream’ – another strong album track from Existential Beast, with a pretty superlative solo guitar from Randy Billings. Then back to Echoes… for ‘Colours So Fine’, more mellifluous vocals, guitar solos and melodies that boarder the addictive.

The most beautiful thing at play tonight is proficiency; Miranda Lee Richards and her band have absolute control over what their sound is, what it’s going to become and what they need to do to deliver it – even knowing “how many guitarist does it take to tune a twelve string?” (the correct answer beginning with, are we in Portugal?)

And Richards’ last two albums, released within eighteen months of each other, have shown a rounded development – two confident strides from a musician who you felt never wanted to run the majors’ race in the first place. Lyrically we’re heading more towards poetry than prose, which you could argue either way, but the overall feels immensely believable. An intelligent songwriter.

However tonight’s set feels a touch like it’s suffering, which could be from the rigors road but could also be a tired dedication to a pitch perfect performance. There is a request to the sound desk in between each song, with an air of irritation at things most stages will have to contest with. Ha, what a criticism – stop being so good you meticulous creative. But as an audience member in a small room I want to be brought in, not just allowed.

The rest of the set moves from the country confessions of ‘Blood on My Hands’, through the “medieval folk… a template for a story” of ‘Oh Raven’, to the title and neighbor album tracks of Existential Beast – aspects of ‘Autumn Sun’ reminding me so much of ‘Thirteen’ I’ve been singing the Elliot Smith song all week. Well the second verse anyway.

Our encore begins with ‘Ashes and Seeds’ – the confident opening track to Existential Beast, and closes with a track I couldn’t cite retrospectively. Although I wish it had been ‘Golden Gate’.

But the walls warm up, the room stretches out, and after being reminded to “stay for a drink afterwards” half the room falls into the relaxed punch drunk camaraderie of a successful Christmas, albeit one spent at someone else’s house. Not a bad outcome for a 10,000 mile round trip; now’s where’s the corkscrew in this kitchen…

‘Lucid I Would Dream’ – Miranda Lee Richards

For more on Miranda Lee Richards, visit www.mirandaleerichards.com

For more from My Autumn Empire, visit www.myautumnempire.co.uk

For more from Ryan Sparrow, visit www.ryansparrowmusic.co.uk

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For more from Ort Cafe, including a full events programme and online ticket sales, visit www.ortcafe.co.uk

For more for Birmingham Promoters, visit http://www.birminghampromoters.com/