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July 5, 2016February 22, 2017

BREVIEW: BE Festival @ REP 21-25.06

Words by Heather Kincaid / Pics courtesy of BE Festival

As events got underway on Friday 24 June at this year’s Birmingham European Festival, the atmosphere in the buzzing Festival Hub was noticeably different from the three preceding days. Where a mood of apprehensive optimism had prevailed before, now anxious faces engaged in animated discussions, asking urgent questions about the future.

Few among the artists, attendees, organisers and others gathered there from across the continent will not be directly affected by Britain’s decision to leave the EU. Nevertheless, in keeping with the spirit of collaboration, co-operation and creativity in which BE Festival was conceived, directors Isla Aguilar and Miguel Oyarzun delivered a rousing speech, urging us to meet the news by coming together to show the world that a better Europe was possible.

Programmed well in advance, none of the shows at BE Festival 2016 were directly themed around the EU referendum, yet its presence could be felt in almost every aspect of the event – like a capricious ghost looming over the festivities, showing us Europe’s past, present and possible futures in a bid for us to understand the impact of Thursday’s decision.

Situation with an Outstretched Arm – Oliver Zahn’s ‘performative essay’ on the history of what has come to be known as the ‘Hitler salute’, explores the complex and inextricable connection between art and politics. In deconstructing the gesture in paintings and in practice, it demonstrates how aesthetics and symbolism play a vital part in the establishment of ideologies and in how we interact with them. At a time when both art and criticism are under financial threat, it feels like a bold statement asserting their importance in teaching us to identify and analyse power mechanisms.

Meanwhile, Xavier Bobés’ Things Easily Forgotten tells a story set against the backdrop of Franco’s Spanish regime, which lasted until 1975. With emboldened far-right extremists making news across the continent again, angered by mass migration and an increasingly internationalist outlook, it’s a potent reminder of how recently such groups have held real power. And how easily it could happen again if we fail to work together to prevent it.

In very different ways, Teatro Sotterraneo’s Reload and Aldes’ In Girum Imus Nocte both hold a mirror up to Western society today. Satirising the constant distractions of a labyrinthine Internet, the hilarious Reload looks at our restlessness, reduced concentration spans and decreased capacity to delay gratification when fed a constant stream of information and entertainment. With the Internet serving as the major battleground upon which the EU referendum campaigns were fought, Reload accidentally seems to highlight some of the problems with the debate: is it possible to really have a serious conversation or follow ideas through properly when fighting against a barrage of memes and soundbites?

Elsewhere, CollettivO CineticO’s Hamlet stands like a warning, showing us a kind of election by TV-style talent show with local contestants competing to be crowned as Shakespeare’s Danish Prince.

Presenting a far bleaker view of our world, In Girum Imus Nocte speaks to the frustrations of modern living that have caused many people to rail against what can feel like oppressive limitations in our society. Dancers move aimlessly, jerking and twitching like clockwork automatons in a world of grey and black, against a repetitive, ticking soundtrack. Occasionally, their drab routines are punctuated by outbreaks of mob fury, hedonistic celebration and bouts of deep, exhausted sleep. In such a world, change in whatever form it’s offered will inevitably be seized upon by some.

Perhaps the single hottest (and most inflammatory) topic in Britain’s EU debate has been the issue of immigration, particularly in relation to the ongoing Syrian crisis. An Wei Lu Li’s pointedly titled Democracy draws attention to the plight of refugees through a series of large-scale paintings located around the city.

The centrepiece of this city-wide ‘exhibition’ is Leviathan – a giant picture of a curled body on the ground in Centenary Square, only really visible in its entirety from the privileged vantage point of the Library of Birmingham terraces. Down on the ground, meanwhile, passers-by unwittingly trample across the body, gradually causing it to fade away. In a democracy, the work suggests, we’re all responsible on some level for the policies our leaders enact, even if we choose to ignore them.

Picking up on the same theme, W. H. Auden’s ‘Refugee Blues’ made an appearance in Los Bárbaros’ Things We’d Love to See on Stage. Though essentially a random collection of unrelated things, it also included “a politician doing politics” – which turned out to be a maneki-neko (beckoning cat figurine). “He’s not under Europe, but he’s probably pro-China, so we don’t know how that will work out,” joked one performer. The show took on a particularly poignant dimension when an opportunity for the audience to choose something that they’d like to see on stage themselves prompted a callback to an earlier item on the list. Previously, “maps” of Europe, Britain, England and Birmingham had been created out of piles of compost. After a member of the audience suggested “unity”, cheers erupted when another came forward to combine the maps into one pile.

No single performance could have been better suited to the occasion, however, than Power to the People, a project themed around democracy, developed by a handful of last year’s artists through the BE Mix initiative – a brief, scratch-style residency that takes place after the festival each year. In the lead up to the show on Friday, performers on either side of a debate had been canvassing for votes for their respective ideas – one a piece directed by a single person, the other collaboratively devised by a team of five.

As with the referendum, the results of the vote on the day itself were pretty close, but ultimately the Five Directors Project won it. Next came questions designed to identify viewers’ assumptions. Is democracy really the best form of government? Does theatre at BE Festival confirm its audience’s biases? Congratulations to us, we collectively decided that the only power system that most of us have ever known was superior to any other. But since we also decided that the art we see should challenge us, the company went on to spend half an hour trying to prove us wrong…

If there’s one thing that BE Festival makes clear, it’s the case for even the most lighthearted of creative endeavours as something with the power to prompt reflection on the important issues in our lives.

With no sign of an end to austerity yet in sight, and the likelihood that Brexit will make it harder for British artists to collaborate with their continental neighbours, one can only hope that it continues to be able to serve this function.

For more on BE Festival, visit www.befestival.org

July 4, 2016July 4, 2016

OPINION: New Moon in Cancer – making amends

Words by Joëlle O’Toole

This New Moon occurs at 12:01pm here in the UK; almost exactly at midday and on the actual entitled ‘moon day’ – now referred to as ‘Monday’.

Although this New Moon is not an eclipse, and doesn’t have any additional astronomical significance it is an important one this year. It marks a psychological beginning to the 2016 Summer which seems to have, so far, been absent. In my experience, I’ve never known the start of Summer to feel so much like Winter; both in energy and in actual weather too.

The major contributory factor for this is that Mars turned retrograde on 18^th April 2016 and has been going backwards (from the earth’s perspective) until this morning – 12:36am on Thursday 30^th June. When a planet is observed as retrograde (the earth’s orbit is parallel and moving more quickly around the Sun) then the influence of that planet becomes introspective, backward and more complex. For Mars this occurs every two years and during this period your energy levels may be notable lower, your tolerance markedly limited and your progress not notable in any way at all.

With Mars gaining momentum for the first time in more than 3 months, this New Moon will feel like a heady influx of newness. Cancer is a very wholesome, family oriented sign and so there will be a focus towards unification with people closest to us. There is of course not a simplistic, overnight, light-hearted way to shed all of the tensions of recent months. That is a gradual process, the vibe of this New Moon is about recognition of barriers, chasms of negativity and with whom amends need to be made.

The rising sign for this chart shows Virgo (the same as for the last full moon interestingly enough – although with 9º variance) just like the full moon; which was the second in a month sagittarius, this re-visit to Virgo invites us to ‘look again’. The strengths of Virgo is the dutiful, patient, conscientious and caring elements but of course the weakness is the ease in discriminate criticism and over-bearing righteousness. From my observations much of the latter has been observable present in society in recent weeks and so, I would postulate that the re-visit of Virgo rising asks us reconsider and perhaps look towards the positive traits of Virgo a little more.

Interestingly the ruler of Virgo (previously cited as Mercury) which is Chiron, is right at the Descendent at this chart – the area which depicts the ‘other’. Chiron illustrates the inner world of Virgo and, indeed all of us, in wherever we experience Chiron in our charts and our psyches.

Chiron is referred to as “the wounded healer” and represents that part of each of us which we feel is tainted, impure, weak or in some way subject to our own personal revoke. This is often experienced in such a personal way that we feel we need to hide, or cover up this so-called weakness. We find it difficult to accept and integrate this side of ourselves and so, often, when we are prodded or questioned in this area we become defensive, uncomfortable and turn our self-criticism outwardly.

The way to work positively with this part of ourselves is so simple however; it is only to recognise that everybody feels this way about some part of themselves. That if we speak of it, share our weaknesses, open up about our fears, others will do the same. Intrinsically all most people want is to feel part of something and close to others; so strangely enough whilst Chiron is what often gives us the urge to separate and protect ourselves, it is the key (the key being the symbol for Chiron) to that which connects us.

As Chiron falls at the connective 7^th House/descendant of this new Moon chart we are reminded that we can heal any rifts by allowing ourselves to feel connected and to do this all we need to do is open up. The great thing about astrology is it gives us information about timings. It would easy to logistically ‘know’ that you need to build a bridge with another, but when a chart shows influences like this, we can be sure others will want to reach out too, or at the very least be far more responsive to such an advance than at any other time.

Now in some cases difficult times illustrate where irreconcilable differences lurk and with Pluto opposing this New Moon, from the 4^th House the inception of some big changes will be timed by this New Moon. Some people will have been trying to deal with issues that have become more and more complex during the last three or so months, to the point where it has become obvious change is the only option available. Remember that old cliché that “a break is as good as a rest” and that great decisions are made from a place of clarity, not despair.

For those of you who feel burned out by this incredibly intense Spring/early Summer so far do try to take some time out. It’s not a time to make decisions, it’s a time to catch up on sleep, reconnect with people you love, spend time with the purity of animals and ride through the Pluto opposition to this Sun-Moon. The truth will always surface with Pluto and so it’s okay to stop thinking, take some time and wait for that to occur, naturally organically.

It’s going to take Mars a while to build up speed and it also will take another month or so to leave the ‘shadow of its retrograde cycle’, until then things will unfold and sanity will resurface. Jupiter is still in Virgo; one of its least expressive signs and when it moves into Libra on 10^th September we’re all going to be feeling so much more upbeat and joyful.

The key is not to be rash with this period, but to take the time to reach out and reconnect to others and if you’ve got the opportunity; take some time out and switch off the mind. Things will right themselves…..slowly.

Focus on the love. As always. ♥

Joëlle O’Toole is a freelance astrologer, offering bespoke readings, natal & solar return charts – beginning on your birthday, telling you about the coming year. Prices start at £50.

For more information contact Joëlle at www.waxlobster.blogspot.co.uk

July 4, 2016July 4, 2016

RELEASE: Blood Red Songs EP – The Hungry Ghosts

*The Hungry Ghosts play The Sunflower Lounge on Weds 6^th July, supported by The Terror Watts – as presented by Sonic Gun. For direct info & tickets, click here.*

Words by Ed King / Live pic by Rob Hadley, artwork courtesy of The Hungry Ghosts

Some things you don’t forget. The birthday of a loved one, your first broken bone. That moment in childhood when you viciously grew up. The words to ‘American Pie’. Neat bourbon. Then there are surprises.

Today. Monday 4^th July. Independence Day. The Hungry Ghosts have released their debut EP, Blood Red Songs – available through Setting Son Records. Four tracks of twisted blues and ‘swamp music’ from the Redditch based four piece. This is not a memory or a surprise. This is a fact. And this is a review – a series of words that explain to you, the reader/listener, my opinion.

I’ll save us all some time. Ferocious. Superb. Dark. Ball grabbing. One track too short.

But backtrack a little…

The first time I saw The Hungry Ghosts was both a memory and a surprise, having been invited to see them play one of their ubiquitous support slots – this time at The Sunflower Lounge. I arrived alone, squeezed myself onto the stairs and watched, loaded with dark rum and tired anticipation.

But it didn’t take long. After about a minute you knew, I knew, the room knew; we were watching something significant. There are bands and there are rock bands. The Hungry Ghosts were, from the first moment I saw them, unabashed and raw. A little messy, a little honest, and unlike any other contemporary I could cite on the circuit. Such a surprising memory, in fact, that I’ve been a little obsessed ever since.

Since then Birmingham Review has followed The Hungry Ghosts, on the record on off – interviewing, publishing, interviewing, not publishing – and waiting for the day we could cover them as a headline act. That day is Wednesday. And that gig is back at The Sunflower Lounge. Click here for details.

But the groundwork that has been put in place, both the on stage and studio foundations, shines through in Blood Red Songs; fours tracks of undiluted, gritty, psychedelic blues rock – screamed out like the end of your breath.

From the opening dark twisted metal riff of ‘Father Snake Moan’ you know where you are – lying on the back seats of a reckless Firebird, a bottle to your lips, Joe Joseph’s contorted vocals making you run to or from something that may well destroy you.

Then the jagged strut of ‘Super King King’ comes through and you’re back up, the wind pushing your face around. This is the easiest song to hold; three minutes of stripped back mescaline blues, Jodie Lawrence blending into a vocal lead – before a rising deep breath welcomes a maelstrom finale I haven’t heard since The Smashing Pumpkins’ ‘Starla’. Produced to perfection with bravery on every corner.

‘Death Rattle Blues’ follows with a Velvet Underground punch; backwashed steel drum echoes, raw vocals, droning guitar drawls – stalking the room like John Travolta with a shotgun. Before the comedown of ‘Silver Horses’, an opiate lullaby, closes this rude awakening a little too early.

Overall Blood Red Songs is ferocious; a superb debut EP, one that introduces the dark severity of this band in a playful ball grabbing grip. My only complaint, that it’s arguably one track too short.

But The Hungry Ghosts have risen to something else with this recording – it’s brave, accomplished, and it wants to live in your head. A calling card; one I can see confidently weaving itself through the empty cider bottles and fetal positions of a festival afternoon. They’ve worked hard too, fine tuning an anarchy that’s much more graft than surprise. And if Blood Red Songs doesn’t create a further calendar of memories, then there is something simply flawed with the world.

*The Hungry Ghosts play The Sunflower Lounge on Weds 6^th July, supported by The Terror Watts – as presented by Sonic Gun. For direct info & tickets, click here.*

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For more on The Hungry Ghosts, www.thehungryghosts.co.uk

For more from The Sunflower Lounge, visit ww w.thesunflowerlounge.com

July 1, 2016July 1, 2016

BPREVIEW: Yogiyo Happy Chicken BBQ & Kitchen Takeover @ Hare & Hounds – across July

Words & pics by Ed King

2016 is the year of the monkey, according to some hemispheres. But July at the Hare & Hounds is all about the ‘Happy Chicken’ – as Yogiyo launch their ‘brand new street food concept’ at the venue’s weekly Blues Club events. And with oxymorons and terrible segues withstanding…

To be held in the Hare & Hounds’ stables, Yogiyo’s Happy Chicken BBQ will be running between 2pm – 8pm on Saturday 2^nd, 9^th & 23^rd July – bringing a sizzling selection of Korean grub, all prepared with the Peter Jones endorsed sauces at their centre.

With a hearty enough meal-for-one priced at around £5.50 to £7.50, the aforementioned morsels will include:

Korean fried Chicken wings
Galbi pulled chicken with corn nachos
Smashed avocado and Gochujang salsa
Double cooked Korean Chicken in buttermilk
Kimchi slaw
Sweet potato fries

Other dishes will be prepped, tried and grilled across the month – with the press release confidently predicting the ‘most delicious Korean Chicken dishes alongside some familiar favourites’.

And whilst I’m slightly obsessed with the Smashed avocado and Gochujang salsa (although this could be down to the double entendre) chicken is very much at the heart of the menu. Why it’s so cheery about this, I couldn’t precisely tell you; although ‘vegetarian, vegan and Gluten free options will also be available.’

I went to the first pop up kitchen from the Korean saucier back in February this year, snapping up some tasty morsels in the H&H’s green room/toilet/photography studio upstairs. And thank you Will Varley for opening a window.

My two word review is as follows: hell yeah. The suffix ‘more please’ featured in the unabridged account.

So the idea of this flaming away on a BBQ, on a Saturday afternoon, with Dylan Gibbon’s record collection in the back ground, seems like an excellent idea to me – especially with Chris Hughes running the kitchen and preparing the menu.

The Yogiyo sauces are one of those home grown successes, big enough the have clout but still personal enough to feel special, and Hughes has been a key figure in much of Birmingham’s developing cuisine culture; his fingerprints can be found on many of our city’s more appealing pies, including Edible Eastside, The Kitchen School, Wilderness (née Nomad) alongside the recent Kaye Winwood Projects – Diabolical Roses and After Dark.

And if the flame grilled is not so much your style, there are two more sit down affairs coming from the Hughes/Yogiyo kitchen on Thurs 7^th & Thurs 21^st July, with the following menu priced at £25per head:

Spicy grilled squid or spiced tofu(v) with twigim tempura & dipping sauces
Marinated beef or slow cooked Galbi Aubergine (v) with steamed rice, a selection of vegetables, fried egg & Yogiyo Gochujang
White chocolate and ginger mousse, sesame biscuit & green tea parfait

No jokes here; just get me some cutlery. And a possibly second serving of the white chocolate & ginger mousse.

Yogiyo’s Happy Chicken BBQ will be held at the Hare & Hounds on Saturday 2^nd, 9^th & 23^rd July, with mains priced at around £5.50 to £7.50. For direct information, click here.

Yogiyo’s Kitchen Takeovers will be held at the Hare & Hounds on Thurs 7^th & Thurs 21^st July, priced at £25 (advance). For direct information, click here.

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For more on Yogiyo, visit www.yogiyo.co

For more from the Hare & Hounds, visit www.hareandhoundskingsheath.co.uk

June 24, 2016June 25, 2016

INTERVIEW: Scratch Club @ City of Colours 18.06

Words by Ed King / Pics by Michelle Martin

Scratch Club hosts MYSTRO (live) featuring DJ Lok + support from MR FX (Live) – held at The Dark Horse on Saturday 25^th June. For more info, click here.

“We set up on open mic, open decks hip hop club in the middle of Birmingham City Centre; the postcode was B1 1AA. Everyone was included.”

Scratch Club has hit double figures. Birmingham’s longest running hip hop night has nurtured world champion DJs, born internationally renowned beat boxers; it’s seen labels, rappers and artists through the closing doors of one venue and the opening doors of another And now, with a decade of promotions under its belt, we’re at the second City of Colours event in Digbeth – meeting the four corners of Scratch Club in between sets on their sound system in the Zellig car park. And amongst several things in the event air today, the word ‘inclusive’ seems to be springing from several lips. Pursed, upturned or otherwise.

Started by Tom Dunstan, aka DJ Automaton – “the artist booker, sound engineer, philosopher, psychiatrist, cat scratching post, punch bag, graphic designer and dreamer of dreams,” Scratch Club first opened its beak at The Yardbird.

Alongside beatboxer Bass6, who now runs The Beatbox Collective – an award winning ensemble ‘made up of a cast of the UK’s top beatbox talent’, Tom started Scratch Club to bring Birmingham an inclusive hip hop night, where “you can turn up and play on the decks, you can turn up and hold the mic… we left it wide open.” Now a firm sell out fixture at The Dark Horse in Moseley, Scratch Club has moved its open mics and headline acts into the leafy suburbs, hosting acts including Akala and Jehst since the start of the year.

But, as with the hip hop culture it represents, Scratch Club is a collective – a group endevour, built by those that chose their level of involvement. “We became hosts because we were the first set of open mic rappers who stood up,” explains Superbamz – Scratch Club’s ‘resident pitbull’ and co-host MC, alongside Redbeard. “No one ever came up and said ‘ok, you’re residents’. So now we have the opportunity to go and give the mic to someone who looks like they’ve got something to say; the more the merrier. And the only reason I’ve become ‘the pitbull’ is because certain people take the mick when their on the mic.”

“We can freestyle about nothing for ages,” continues Redbeard, the ‘stoner good cop’ and Yin to the darker side of Superbamz’s attention, “and maybe get a few gems in there. But by getting people up it helps us, it encourages us; there’s more vibe in the circle. Me and Bamz can keep it going but when there’s more people up there and we’re bouncing…. I’ve heard classics that will probably never be recorded, and we’ve sat there and gone ‘damn, this new kid…’ then you see them on One Xtra or whatever. That’s what it’s all about; we always try and encourage people to participate because that’s what a cypher is.”

Co-founder of Eatgood Records, Redbeard is no stranger to nurturing talent. But the open approach at Scratch Club has polished many diamonds in the rough; Tony Culverwell, aka Mr Switch, “won the DMC World Championships four times, only three consecutively” and first played at Scratch Club in 2007, after being brought to The Yardbird by his dad.

“My parents were always on the lookout for places for me to do things,” explains Culverwell, “they were always on the hunt for community things involving turntables that I could get involved in. And finding out there was a hip-hop open mic, open everything event on your doorstep… I had to see what was going on.” Was it intimidating, walking up to a strange promoter at a strange night and asking to play? “I did have my routine of records on me,” having used them to win two previous DMC Championships, “so once I’m on the decks I can ‘do this’. But I didn’t have an agenda beyond that. It’s like getting up on the mic, it’s just the way you say this is me. It’s the hip hop handshake.”

“I remember seeing, and with the greatest respect to your dad, this old really out of place looking dude,” confirms Tom Dunstan, “so I went over and bought this guy a drink. That’s when he asked if his son could get up on the deck and I was like, ‘yeah sure. Let’s give him 15minutes’.”

There is a palpable camaraderie at the table, as the collective built on ‘never any contracts’ throws supportive comments and friendly jibes at each other. It’s a team. But the ideals of hip hop can be too often claimed and not owned, with many using their forceful bravado to oppress or antagonise. This is a prevalent duality, especially today, and one that arguably flies in the face of the culture it came from. Despite all the good intentions has Scratch Club ever suffered at the back hand of the haters?

“There’s never been one shutdown,” explains Redbeard – talking about the open mic group cyphers that are a regular fixture at Scratch Club, “Sometimes people get mad, but it’s more of pride thing and an ego thing. Especially with people who are trying to become rappers, that’s what it’s all about. That’s the way it’s seen. But not every rapper is like that – I don’t rap about ‘the bitches’ and ‘the guns’ and whatever. I rap about going to work and feeding my kids. I rap about what I know.”

“Hip hop came from the streets,” continues Superbamz, “and there’s going to be that angst amongst it all. So when some people come and rap with someone who’s virtually ‘a nobody’ they can get a bit upset. But at the end of the day they’re just words. If you don’t like it do something about it. And if you’re going to cause a problem then just take it somewhere else. Luckily it’s never been like that though.”

Never any crossed words that got a bit too crossed? “I remember having to walk Redbeard out once like Batfink, with my wings of steel,” admits Tom Dunstan, “but what I loved about those early cyphers, which could get angsty, was that the really good rappers – yourselves included – once you’d ripped each other to shreds, each other’s mums, each other’s lives, each other’s style, you walked of stage and hugged each other. That attitude is kind of why I’m still doing this.” It’s a response and respect I’ve seen in many a boxing ring, but there’s usually someone with a bit too much spite in his punch. Where’s the line?

“There’s no line,” explains Superbamz – the man often clearing up the aggressive overspills from a Scratch Club cypher, “it waivers. It depends how phonetically good you are and that you’re not too offensive. And if I see that someone is hogging the mic, I’ll step in. But it’s not just my intuition; I’ll often get a nudge from Redbeard or Tom and then I’ll step in too.”

“We haven’t actually told anyone they can’t come” continues Tom, “but what we have done is made sure we’ve kept ourselves consistent – to be as good as we can be, so that hopefully other people will up their game too. And it’s the same for us. I make records that Tony plays in his world championship routines, so I’ve had to make them better. Likewise with the artists on Eatgood Records, which I wasn’t doing before I became friends with Redbeard. He pushes me up, he pushes me up… we all up our game all the time because of each other.”

It’s a healthier approach than others, with the elephant in the Internet marauding around City of Colours like a petulant giant. ‘Inclusive’ is not always a kind word. But how much shade do the storm clouds of finance and gossip throw over events such as this?

“Everything that’s happening today is all hip hop,” answers Superbamz. “The dancing, the music, the rapping, the street art, the performers – it’s all hip hop. And people who are ‘murmuring’ about it either don’t know, or don’t know enough. And people fear what they don’t know.”

“It (City of Colours) can only be good for Birmingham,” continues Redbeard, “but money’s normally the problem. This is a free event, and I don’t know the ins and outs but its good promotion for the city.”

It is strange to hear people deride anything that helps shift the perception from criminal damage to street art. But I remember when Temper started selling his work through the Mailbox’s Art Lounge gallery, when Korsa got a double page spread in the Birmingham Mail, and when a variety of other graf artists have been offered lucrative commissions from FMCG brands and retailers. In this corner of sub culture, at least, it seems behind every healthy pay check are 1000 angry reasons why it’s duplicitous or ‘selling out’.

“I’ve heard great and awful things about all of you,” continues Tom Dunstan, “I’ve heard you hated on, I’ve heard you hated on, I’ve heard you hated on; you’ve all heard me hated on. But I’ve also heard people speak amazingly well about all of you. That’s part of the deal. You’re going to get people who are really supportive and people who are… So with all that understood, do you imagine the people running one of the biggest graffiti festivals in Europe might get a bunch of haters just for existing..?”

“It’s a double edged sword,” agrees Superbamz, “the more that you get loved the more you’re going to get hated. And if you think you’re a big part of something that’s going on, and you’re not involved, you’re going to feel a problem – everybody does it. We all have that in our human nature.” Certainly sad, arguably bitter, but a true corner in probably most of our hearts. In the ten years it’s been going, has this backlash ever been a problem for Scratch Club?

“You know what it is,” continues Superbamz, “we’ve had people come to Scratch Club and they’ve come up on the mic and started to spit about postcode wars and this and that. But you turn around and politely say ‘it’s not about that. It’s just about spitting bars, if you don’t like it you know where the door is’.” I can’t argue the principle, but with the egos and aerosol still thick in the air around us how has this ‘polite’ advice been received at Scratch Club?

“They haven’t left,” describes Superbamz, “when you explain it people have just turned around and said ‘OK, I understand where you’re coming from.’ Because when it comes to music, whether it’s DJing, rapping or production, you just want people to hear you. And hip hop is a culture; everyone’s got bars and lyrics that will be enlightening to somebody.”

Scratch Club hosts MYSTRO (live) featuring DJ Lok + support from MR FX (Live) – held at The Dark Horse on Saturday 25^th June. For more info, click here.

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For more on Scratch Club, visit www.facebook.com/scratchclubbirmingham

For more from City of Colours, visit www.cityofcolours.co.uk