BPREVIEW: The Pretty Reckless @ O2 Institute 20.01.17

BPREVIEW: The Pretty Reckless @ O2 Institute 20.01.17

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Words by Ed King

On Friday 20th January, The Pretty Reckless perform at the O2 Institute – coming to Birmingham on the second date of a five show UK tour.Birmingham Preview

Doors open at 7pm with an 11pm curfew. Tickets are priced at £23.75, as presented by SJM Concerts/Gigs & Tours. For direct gig info, including venue detail and onlie tickets sales click here.

N.B. At the time of writing, each UK date is presented as SOLD OUT through The Pretty Reckless website – check with a repeatable ticket outlet, or the individual venues, for returns/extras.

What do you get if you cross a creative polymath, two bands, a trademark dispute and a support tour with The Veronicas..? A bit of a clusterfu*k, to begin with anyway. But at least one that ended with a better name.

Who You Selling For / The Pretty RecklessAnd from the flames of God-only-knows-what-happened, The Pretty Reckless were born. Again, and again – releasing their debut LP, Light Me Up, through Interscope Records in August 2010. Produced by Rock God Behind Soundproof Glass, Kato Khandwala (Paramore, My Chemical Romance, Papa Roach, Blondie), the ten track debut was a touch ‘generic’, according to some, but damn well delivered. And those vocals…

Four years passed until The Pretty Reckless let the studio doors fly open again, jumping to Razor & Tie Records to release their sophomore LP. But when they did twelve tracks of unashamed ROCK were unleashed on the world – complete with pounding rhythms, powerful vocals, a song about shotguns and a soundbyte of someone about to cum. And it was called Going to Hell… so there’s that.

Two years passed and The Pretty Reckless were at it once more, with their third studio album, Who You Selling For, released again through Razor & Tie Records in October 2016. Punchy, fresh, melodic (there’s even a piano in there) the third time round the studio sun showed just what The Pretty Reckless can achieve.

Now they’re on the global road to persuade us to buy a copy (not the world’s worst idea) coming to Birmingham as part of a five date UK tour – before heading over to mainland Europe, Russia, then South, Central and North America respectively.

But if you don’t hang on my every written word as if they were the POST-IT-NOTES-OF-GOD, then check out ‘Take Me Down’ – the lead single from Who You Selling For. Free will… what a jip.

‘Take Me Down’ – The Pretty Reckless

The Pretty Reckless perform at the O2 Institute on Friday 20th January, as presented SJM Concerts/Gigs & Tours. For direct gig info and online tickets sales, click here.Gigs and Tours - trans

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For more on The Pretty Reckless, visit www.theprettyreckless.com

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 & Tours, visit www.gigsandtours.com

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BPREVIEW: Elgar’s Cello Concerto – Bergen Philharmonic, with Edward Gardner and Truls Mørk.

BPREVIEW: Elgar’s Cello Concerto – Bergen Philharmonic, with Edward Gardner and Truls Mørk / Benjamin Ealovega

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Words by Ed King / Pic by Benjamin Ealovega

On Tuesday 17th January, the Bergen Philharmonic Orchestra performs at the Symphony Hall – presenting Elgar’s Cello Concerto, Walton’s First Symphony and Peer Gynt Suite No1. The concert will be conducted by Edward Gardner (OBE) with Truls Mørk playing solo cello.Birmingham Preview

Doors open at 7:30pm, with tickets priced between £53-£12.50. For direct concert information, including venue details and online ticket sales, click here.

Leading the concert is Elgar’s Cello Concerto. Written in the summer after the final ceasefire of the First World War, as the remaining powers were signing the Treaty of Versailles, Elgar’s concerto for cello is both mournful and uplifting.

Opening with an Adagio, a bold lament, the concerto becomes more frenetic as the cello and orchestra spar and mirror. Then with crescendos, cadenzas and almost playful pizzicato chords, the piece lifts itself across its second movement, only to fall, as if in love, into its third. And just as the fate of the world was being decided the fourth movement ends with firm and considered power, as the protagonist leads the orchestra to its resolute conclusion. Considering the time it was both written and first performed, Elgar’s Cello Concerto is an incredibly pertinent composition – one that still holds meaning as we tread the boards of today’s febrile global stage.

Also being performed are Walton’s First Symphony and Peer Gynt Suite No 1 – the later written by Bergen’s celebrated composer, Edvard Grieg, who was conductor of the Bergen Philharmonic from 1880 to 1882.

Playing the solo cello will be Truls Mørk, a Bergen born cellist who has previously toured and performed with the Oslo Philharmonic and London Philharmonic. Mørk has further received five Spellemannprisen awards for his work in Chamber, Orchestral and Classical music, as well as holding a Professorship at the Norwegian Academy of Music.

Conducting the concert will be the Bergen Philharmonic’s Chief Conductor, Edward Gardner, who was the CBSO’s Principal Guest Conductor from September 2010 to July 2015. Arguably the man who saved the English National Opera, after becoming the company’s Music Director in March 2006, Gardner is revered as a talented young conductor – having worked with prolific orchestras and opera companies from across the world. This concert will be Edward Gardner’s Birmingham première with the Bergen Philharmonic.

Edward Gardner introduces the Bergen Philharmonic’s concert at the Symphony Hall 17.01.17

Bergen Philharmonic Orchestra performs at the Symphony Hall on Tuesday 17th January, conducted by Edward Gardner with Truls Mørk playing solo cello. For direct gig info and online tickets sales, visit www.thsh.co.uk/event/bc-bergen-philharmonic-orchestra

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For more on the Bergen Philharmonic Orchestra, visit www.harmonien.no

For more on Edward Gardener, visit www.askonasholt.co.uk/artists/conductors/edward-gardner

For more Truls Mørk, visit www.nmh.no/en/about_nmh/staff/truls-mork

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For more from both the Town & Symphony Halls, including full event programmes, visit www.thsh.co.uk

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BPREVIEW: Swan Lake @ Symphony Hall 07.01

BPREVIEW: Swan Lake @ Symphony Hall 07.01

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Words by Ed King / Pics courtesy of MMSPCB

On Saturday 7th January, Swan Lake comes to the Symphony Hall – performed by Marina Medvetskaya’s Saint Petersburg Classic Ballet (MMSPCB).Birmingham Preview

Doors open at 7:30pm with tickets are priced between £43 – £18, as presented by PMB Presentations. For direct event info, including details of the venue and online tickets sales, click here.

Performing their Birmingham debut on 7th January, Marina Medvetskaya’s Saint Petersburg Classic Ballet have been touring both Swan Lake and The Nutcracker across the UK and Ireland since November 2016.

Both written and first performed in the late 19th Century, Swan Lake and The Nutcracker were Pyotr Tchaikovsky’s first and last ballets respectively. Neither a particular success on debut, the bread of Tchaikovsky’s ballet triptych – the jam in this sandwich being Sleeping Beauty – have grown to become household names across the cultural world.

BPREVIEW: Swan Lake @ Symphony Hall 07.01Swan Lake was commissioned and written in about a year, reportedly distracting Tchaikovsky from his focus of scoring opera. But penned with excitement or frustration, Swan Lake is immediately recognisable – from the mournful strings of the introduction to the plucky waltz that evolves Act I, you’ll have heard some of it somewhere before.

A classic tale of love, betrayal, anthropomorphism and witchcraft, Swan Lake is the story of Prince Seigfried who, the night before he has to choose his royal bride, falls in love with the Swan Queen – the spellbound Odette. Transformed into a swan during daylight hours by the evil Baron Rothbart, Odette returns Seigfied’s love at the end of Act II – dancing alongside the lake where he first saw as a swan.

Keen for his own daughter, Odile, to marry the Prince, Von Rothbert casts a spell making her appear as Odette. When all the prospective brides are presented to Seigfried he falls for Von Rothbert’s spell and declares his intentions to marry Odile, whom he believes is Odette. Upon hearing her new love has betrayed her, even under the spell of Von Rothbert, the Swan Queen resigns herself to a broken heart and imminent death.BPREVIEW: Swan Lake @ Symphony Hall 07.01

Act IV concludes as Prince Seigfried realises his mistake and rushes into the dying arms of his beloved Odette. The ballet ends with lake swallowing both Odette and Seigfried, leaving only a corps de ballet of swans to mourn the tragedy of the young lovers.

Performed by Marina Medvetskaya’s Saint Petersburg Classic Ballet (MMSPCB), Swan Lake is the debut production in Birmingham from the contemporary Russian dance troupe. Formed in 1996, MMSPCB has previously toured across Scandinavia, mainland Europe, Russia and North America – presenting ‘the company’s presentations of the best-loved Russian ballets, accompanied by a full orchestra.’

Now the company’s Artistic Director, Marina Medvetskaya says, “It had been a dream of mine to bring this company to audiences in the UK. We enjoyed a wonderful season earlier in the year and I believe UK dance fans fully embraced the beauty, power and dexterity of our male and female dancers in these iconic ballets”

Swan Lake, as performed by Marina Medvetskaya’s Saint Petersburg Classic Ballet, comes to Birmingham for one show only at the Symphony Hall on Saturday 7th January 2017. For direct event info, including details of the venue and online ticket sales, click here.

For more on Marina Medvetskaya’s Saint Petersburg Classic Ballet, visit www.facebook.com/saintpetersburgballet

For more from the Town and Symphony Halls, including a full event programme and online ticket sales, visit www.thsh.co.uk

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BPREVIEW: What the Ladybird Heard Live @ Town Hall – until 11.01.17

BPREVIEW: What the Ladybird Heard Live @ Town Hall – until 11.01.17Words by Ed King / Pics courtesy of THSH

On Tuesday 27th December, What the Ladybird Heard Live opens at the Birmingham Town Hall – running until 11th January 2017.Birmingham Preview

Tickets are priced between £12-17, with shows are held at around 11am, 1pm and 3pm (with variations) most days of the week – excluding Mondays.

For full show dates, times and online ticket sales, click here.

Adapted for the stage by Kenny Wax Family Entertainment Ltd, who have also produced children’s favourites The Gruffalo, The Tiger Who Came to Tea, Hetty Feather and We’re Going On A Beat Hunt for theatre, What the Ladybird Heard Live is based on Julia Donaldson and Lydia Monks’ award winning picture book (Stockport 2011, Scottish Children’s 2011).

Telling the tale of how a simple ladybird foils ‘two men in a big black van, with a map and a key and a cunning plan’ from stealing a farmyard’s ‘fine prize cow’, What the Ladybird Heard is essentially an exercise in linguistics and phonics. And farmyard security.

Playfully illustrated by Lydia Monks, Donaldson’s narrative of rhyming couplets is as close to a song as you’re going to get without singing – complete with alliterated arch-villains and anthropomorphised animals. But it also carries a soft message of empowerment, that no matter how small or (mostly) silent you are your voice is still important.

Previous What the Ladybird Heard Live productions have played heavy on audience participation, with many of the farmyard animals being created by prompts and scattered stage props. But considering the book will take you about 15mins maximum to read (and the attention span of a toddler can be less than that) you’d hope director Matthew Gregory has some extra on stage distractions in his arsenal.

Running at the Birmingham Town Hall until the New Year, this will be your only chance to see What the Ladybird Heard Live on stage before summer next year. The production runs again at the Lyric Theatre in London, from Wednesday 5th July to Sunday 6th September 2017.

What the Ladybird Heard Live

What the Ladybird Heard Live opens at the Birmingham Town Hall – running from Tuesday 27th December, until 11th January 2017. 

A ‘specially curated relaxed performance… for people with an Autistic Spectrum Condition, a learning disability or sensory and communication disorder’ will be held on Sunday 8th January 2017 at 3pm. For direct event info, including full show dates/times and online ticket sales, click here.

For more on What the Ladybird Heard Live, visit www.whattheladybirdheardlive.co.uk

For more from the Town & Symphony Halls, including full event programmes and online tickets sales, visit www.thsh.co.uk

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OPINION: I wish it could be Christmas…

OPINION: I wish it could be Christmas... / Ed King

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Words & lead pic by Ed King

‘As long as that’s here, I’ll be OK. I can drink that; by the time the line gets below the bottom of the red shield, past the emblems, the cursive and the thick bold type, I’ll feel OK. I don’t need a mixer but I have orange juice or lemonade. There’s even ice in the fridge. If there’s time.’

I would have this conversation with myself at least once a day. Usually at lunchtime or as I’m lying in bed. I had no bedtime anymore. I woke up earlier too – an odd by product of addiction – with an inbuilt alarm clock running on fear or necessity. Life was a drawing of Gin Lane and it’s a cold Tuesday morning when you’re waiting for Victoria Wine to open.OPINION: I wish it could be Christmas...

In the end, the precise cut lines of the Smirnoff logo turned into the rounded edges of Grants. The world became numb. Anesthetized. The colours stayed the same, as did the schedule and as did the fear. But the necessity got worse as the price tagged dropped, like some symbiotic downward spiral. My ability to ration found levels almost as frightening as my denial. It was around this time that I began to question my drinking.

Vodka and orange in the morning, first thing. Then another. I’d make one for the shower and have a forth with toast. With a healthy pour, this could be a third of a litre gone by breakfast. Then I’m ready for the day. I’d struggle through the morning, taking a half-and-half bottle to work and hiding behind the same masks as everyone else, and then get back on track at lunchtime. Or just before if I could conjure a meeting. Order a beer, drink it quick, pretend you don’t notice, then order another one before your colleagues have time to say “…but you hold it well”. We all knew I didn’t. But I could order a shot at the bar both times, and there was always the vodka – hiding and ready should oblivion ever be needed.

I was eighteen years old. I kept this going until I was at least twenty two.

It started with abuse, neglect and aggression. As many acts of obnoxious self destruction will. Locked in a house with a sexual bully for a step brother and the ‘Ice Queen’ for a stepmother, although pantomimes were ultimately a lie. I was six, when Andrew made me play the games I never understood. The ones that always ended with me getting beaten up and made to hide under his bed. The rest of the house was even less fun – three floors of cold anger, radiating from our weekend matriarch as she stalked from once acerbic non sequitur to another, threatening my eight year old sister like a violent hybrid of Sylvia Plath and Cruella de Vil (I would honestly like to find something positive to say about this time and place in my life, and I guess it’s either ‘Mojo’ or ‘Chris’. But one was a cat, the other was ten, and neither has sanctity on their job descriptions).

I remember my childhood best by houses and the ‘weekends at Leamington’ were when, and where, it all came together. Or undone. But eventually every weekend became every fortnight, before sliding into the forever to be blessed ‘occasional days’. The wild stab of parenting poking fun at itself with an oddly honest moniker. I didn’t care. With every step I was freer than before.

By the time I was fourteen I never had to go back, and had already discovered blotter paper acid (my wings of mercy, then hell) and smoked much more than I drank. But when peer platforms and public expectations/acceptance kicked in, around that sweet sixteen spot, I found alcohol much more than reliable. It was legal, kind of, and I could sit on a park bench with a clearly visible reason. I could share it, even if only to dilute the guilt. But no one would call the police and a bottle of Bulgarian Cellars was the same price as a Blue Penguin. I probably wouldn’t have even have been expelled. And I could eat.

I functioned highly for several years – an existence not as fun as it sounds. You get away with very little. But I was earning money, having sex, and being successful in interviews; I grew up, of sorts. I built things, I destroyed things, and I still have friends left. I even gave up drinking. Twice. I went to AA, Aquarius and numerous third sector councilors, before my mother locked my in a room with nothing but a bottle of Jacob’s Creek and my own face to stare at. Three months later I emerged like a shaky butterfly, torn and frayed by still just about able to fly. I still remember the first time I went into the town centre sober.

Now that broken boy is a long way behind me. The wounds are scars. And although I can knock back the shots, and the angry is ‘still there mum’, I am nothing of the shadow I once was. It’s Boxing Day and there’s alcohol all around me, but I’m not drinking. I had two glasses of Malbec at Christmas dinner without realising, and the champagne on OPINION: I wish it could be Christmas...arrival is still sitting half touched on the window sill. The cheap French stubbies are unopened and there’s a bottle of rum in my kitchen I’ve used only for baking. Tonight I’m staying in, watching The Goonies and Gremlins back to back. I’m not thinking about New Year’s Eve until New Year’s Eve and I’m already scaling back my ideas for that.

It’s also on days like today that I remember one of the ‘moments of clarity’ from my early twenties – a man who had come to speak at an Aquarius meeting I once attended. He was ‘an inspirational speaker’ who had ‘survived’ the ‘disease’ that is alcoholism. He was very animated and very angry, and wouldn’t walk on the same side of the road as a pub beer garden (or even an off license) because of the ‘blind addiction that is ruining society, being sold and taxed by a government that doesn’t want to care about its people.’ He didn’t care about us, and even then, as I dug chewed nails into weak skin, I could at least see that. There was nothing in this man to admire or to aspire to be; he was ‘full of shit’ and still ‘broken’ by his ‘personal choice’. The Feudal System. The East India Company. The National Lottery. Your own life. His was no more a freedom than my previous daily routine.

I’m writing this to get ahead of New Year’s Eve Resolution #3 – be more honest with my writing. And start at the start, right? But in this time of orchestrated celebration and endorsed excess, I say find your peace. Your peace. Be merry, if you can. Don’t be me or that man. Be happy.

And if you can be a happy drunk, one who’ll wake up sober with just the right amount of regret, then I’ll raise a glass, deck the halls and sing along. Hogarth be damned.

Ed King is a writer and editor of Birmingham Review. Follow him @edking2210

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