Author: birminghamreview

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Shado’s REIMAGINATION Packs Out Centrala On Digbeth First Friday 6/11/2022

Writer Jasmine Khan / Photographer Connor Pope

As I stroll into Centrala at 8pm on a Digbeth First Friday, I’m not sure what to expect. REIMAGINATION is packed, more packed than any gig I’ve been to at Centrala, and someone’s speaking spoken-word robotically over the mic.

This evening is organised by shado – “a lived-experience led community of artists, activists and journalists united in the fight for social justice”, who produce an online and in print magazine centred around activism with a global reach.

Led by curator Leyla Reynolds alongside Birmingham artists, tonight is exploring the theme of (you guessed it) reimagination. But I can’t get to any of the art yet because I’m trying to decide whether Bethany Slinn’s first poem is pretentious or ingenious – it’s often the way.

The sizable crowd makes it clear that something worth seeing is happening here. Slinn’s placing elongated blank pauses between relatively simple words, saying our minds are meant to “fill in the blanks”. It’s a tad monotonous.

Their second performance couldn’t be more different. ‘Joy Class’ lands with much more pace and linguistic variety. It’s hilarious, and I find myself clicking in the stereotypical way as they discuss the bureaucratic methods Ofsted uses to measure children’s joy.

Joy Class: it’s half a joke and half an ideal. “In Joy Class we pronounce each other’s names correctly”, chimes in an audience member when prompted, “In Joy Class we eat!”

Next up, it’s Affie Jam. “In Joy Class there’s no technical difficulties”, she banters, managing them in her stride.

It’s an art exhibition and I’ve still not looked at any art. The energy of the crowd feels like a clustered whirlwind, and I need to ground myself. There’s a slow, soulful guitar being plucked by, I assume, Affie Jam. But I’m at the back, and the audience is listening too acutely for me to shimmy up to the front.

So, I wander around and take in some of the art.

I stop at the Shado magazine stand. ‘Shado: See. Hear. Act. Do.’ reads the cover of the two aesthetic, matt, magazines on the table. They cover youth and global womanhood. I don’t have time to read through them in much detail but there’s a wide range of person/experience centred copy that warrants further investigation at a later date.

Next, I check in with BR journalist, photographer, and all-round artiste Emily Doyle. She’s displaying a ‘Moss Blanket’. A patchwork knitted sensory experience in sea, lime, and muddy green. ‘Please touch it, says the sign. How nice, you never usually get to touch the art.

As the full, neo-soul vocals of Affie Jam ring out, like the backing track to my Hollywood meet cute, I notice works by Adam Wynn – a multi-disciplinary artist born in Birmingham. ‘No-one has to say goodbye’ is a series of provocative and jarring vintage collages, commentating on the dual impact of capitalism and climate change.

Wynn contrasts gut-wrenching natural disasters against human complacency, and the final result is nagging guilt combined with rage at a wasteful, lethal system.

“I think I’ve forgotten the second verse of the song.”

Affie laughs off her faux pas charmingly; her silky voice is defining a vulnerable, open atmosphere, so she’s easily forgiven.

Looking for more art, I turn my head to the right and I’m struck by photographs of a Desi, pregnant woman in traditional red and gold sari. Her belly is bare and proudly protruding as the main focus of the piece, not something you see everyday.

I can’t get around to have a closer look because there’s people blocking my way in every direction. Affie’s voice sores over hazy runs, and I think about how ridiculous it is when people say there’s nothing happening here.

Vidya Patel, another Birmingham based artist, is a choreographer and performer whose work takes its influence from autobiographical narratives surrounding identity and empowerment. The work I’m so struck by is of her sister Janieesha Patel a few weeks before she gave birth. Which explains why it feels so intimate and knowing.

The six photographs/collages display Hindu rituals combined with magical realism and watermelons, with one piece featuring paisley patterns and a woman with her naked breast out, most likely preparing to nurse.

Patel’s art maintains a strong, mystical feminine influence throughout, and the bright colours draw the eye at multiple points across the collection.

Tolmeia Gregory (Tolly), animator, artist and climate artist, says we’re free to play with her dolls house, which is situated in the middle of the room. (More interactive art, what a treat.) There’s an art room and ‘hippy font’ slogans saying ‘slow down down down’ on the interior walls. The exterior is painted in pastels that remind me of 60’s VW camper vans.

“This is so positive, it’s making me so happy”, says off duty BR photographer Jess Whitty, who is also admiring the pastel colours, funky furniture, and map explaining the various institutions of Tolly’s reimagined world.

With Affie Jam’s set over, receiving strong applause, I can head to the pack of the room and see Jane Thakoordin’s ‘Blue Faces Ladies’. It’s a strange and intriguing video, but I can’t quite hear it above the rabble of the crowd. It’s about mental health, so I’ll have to investigate it at a later date and check out the accompanying zine that’s floating around.

Cherie Kwok, yet another Birmingham based artist, is a vibrant, daring illustrator and located to the right of Thakoordin. The piece in front of me focuses on ChinaTown in London, highlighting the breadth of experience a cultural space of such magnitude can contain, featuring almost neon brush strokes, building textured worlds and characters.

Before I have to depart, I make a point of checking out the oddest display, which up until this has been swarming with people.

‘Reimagining Death (in the greenhouse)’ is a multimedia installation by ITZATNA, which “seeks to recognise the intrinsic relationship between life, death, soil and humanity”. By the entrance of the audio visual installation is a poem ‘manifesto of death’ and what greets me at the door is quite harrowing,

The outline of a human body with ears of corn at the head and hands has been fashioned on the ground like a paranormal crime scene. To the left is a jar of sweets adding to the halloween vibes, to the right a radio, and projected on the back wall is a film switching between gardening and roaring fires.

The smell of soil fills my nostrils, it’s creepy and I wonder what exactly it’s commenting on. I can’t read the poem, apart from the title, because there’s people in the way, but it feels like a warning. We all know the reality of the impacts of climate change. We all know what’s coming if our unsustainable system persists.

REIMAGINATION has given me a lot to think about as I make my way back into the cold November night. I’ll definitely be back in the next two weeks to take in some more activist art and process it all.

For more from Shado go to: www.shado-mag.com/about/who-we-are

For more from Leyla Reynolds go to: www.leylareynolds.co.uk
For more from Beth Slin go to: www.instagram.com/beffslinnprojects 
For more from Affie Jam go to: www.soundcloud.com/affiejam 
For more from Emily Doyle go to: www.oldbort.wordpress.com 
For more from Adam Wynn go to: www.adamwynn.uk 
For more from Vidya Patel go to: www.danceartists.co.uk/about 
For more from Tolmeia Gregory go to: www.tolmeiagregory.com 
For more from Jane Thakoordin go to: www.janethakoordin.com 
For more from Cherie Kwok go to: www.cheriekwok.co.uk 
For more from ITZATNA go to: www.itzatna.org 

For more from Centrala go to: www.centrala-space.org.uk

For more from Digbeth First Friday go to: www.digbethfirstfriday.com

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The Hunna With Support From Lucy Deakin & Kid Kapichi At The Mill 05/11/22

Writer Laura Mills / Photographer Connor Pope


It’s my debut review at The Mill in Digbeth on 5 November. As I’m walking in, this smell hits me straight away. It’s familiar – it’s the smell of lager. Lovely stuff. Ahead of The Hunna, first up on stage to warm this Saturday night crowd is Lucy Deakin. She looks cool, calm and collected, and her voice is powerful with a soulful element.

Delving deeper into the set, her confidence increases, she’s got the entire crowd behind her and they’re all loving it.

I’m so here for this genre that’s been getting more of a spotlight over the past few years. I’m talking about this feminine pop-rock – women who don’t take any shit – the Olivia Rodrigo, Hayley Williams, Avril Lavigne kind of style. You know, the cool ones.

Lucy Deakin is definitely owning this stage tonight and she looks fierce. She launches into ‘Complicated’, a Lavigne cover, and the crowd, myself included, are singing our hearts out.

Each original track is introduced in a relatable way, explaining how she’s as confused about this world as we all are, and how she’s one of us. It’s kind of raw; you just want to be her mate.

Sadly, Lucy’s set comes to an end.

The crowd’s gathering for the second support of the night and I’m back facing the stage. It’s time for Kid Kapichi and they appear confident, and very up for tonight’s performance.

I have to talk about this guitarist with the curly hair in the grey. He’s strumming those strings so hard I’m surprised none of them have snapped. His body language is just ENERGY as he flings himself around the left side of the stage, the rest of the band enthusiastically putting in the work to keep up.

This band’s sound is right up my street; it’s tight, innovative indie rock.

“Who’s got work on Monday?” our frontman says. “This ones for you, it’s called ‘5 Days On (2 Days Off)’” –  a track we can all resonate with about how monotonous life can sometimes seem.

Next, the frontman announces: “This next one is for Rishi Sunak, you fucking…” Something?  I didn’t catch the last bit, and maybe that’s for the best.

The instruments are stripped back and it’s just the frontman singing their original track ‘Party at No.10’. I wonder what that’s about?

As this set comes to a close, my first thought is to follow both supports on Spotify. My second thought is please get The Hunna on – the lights lower, and we instantly know it’s time.

The Hunna grace the stage and launch into ‘The Storm’ before smoothly transitioning into ‘Trash’. Just before another track is played the frontman says: “Our new album is now out, and when we started this tour it wasn’t.

“We’d like to play you the album, if that’s okay, and then launch into some of The Hunna’s classics.”

I wish it didn’t, but this rings alarm bells for me. I think playing a whole album of songs people aren’t familiar with yet can accidentally dampen the mood in a serious way.

As I’m watching, this band is giving it everything they’ve got to a new track called ‘Fugazi’, it feels confident and as the band perform each member appears to have an air of swagger about them. However, as the set goes on I just can’t help thinking we could do with a few fan favourites in between.

Regardless, the crowd are wild, cheering, moving, they just can’t get enough of The Hunna.

Finally, the moment I’ve been waiting for, a track called ‘Apologies’, which is one of the band’s latest releases. As I look around, everyone is singing along with Ryan as he belts out:

“I, I didn’t mean to make you cry / And I do apologise / But you, you make me wanna die / I can hear you telling lies.”

Watching the band you can totally tell this is album number four because it feels confident, and there’s a strong rapport between them – evident in how they interact with each other. It’s wonderful to see. Likewise, the way they interact with the crowd is special too; they’re making everyone in this room, including myself, feel like we’re a part of The Hunna.

As we start to reach the end of the set, it’s time for fan favourites starting with the ever so carefully crafted lyrics of ‘Lover’, and then into one of my favourite songs ever, ‘Babe, Can I Call?’.

It’s clear as soon as the crowd recognise the next song it’s been highly anticipated all evening; ‘She’s Casual’ is performed with the crowd singing every single word alongside the band.

Tonight is The Hunna’s final date of this tour and their set ends with, arguably, their most popular track – ‘Bonfire’. Again, we’re all belting out each line and smashing into each other in the process.

What an evening, and what a great performance by one of the most classic indie-rock bands from the 2010’s.

For more on Lucy Deakin www.lucydeakin.com
For more on Kid Kapichi www.kidkapichi.com

For more on The Hunna www.thehunnaofficial.com

For more gigs and events at The Mill www.themilldigbeth.com

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Birmingham Embraces South London’s Ayrtn For The First Time At Mama Roux’s 02/11/2022

Writer Sadie Barnett / Photographer Connor Pope

On Wednesday 2 November, Digbeth’s Mama Roux’s is full-to-bursting for South London native Ayrtn. The aptly named Most Awesome Tour Ever marks his first ever show in Birmingham. I can tell from the line outside this visit is overdue.

As a South Londoner myself, it’s easy to feel protective of artists like Ayrtn; his debut album Flight07 provided a soundtrack for my teenage years, with a uniquely atmospheric production style setting him apart from many contemporary UK rappers. However, this protectiveness quickly turns into nostalgia as I look at the fairly young and very energetic crowd entering the venue, and find myself ready to experience a taste of home here in Digbeth.

For an audience this excitable, the wait for Ayrtn to perform is a masterclass in suspense. Although doors are at 7pm, it isn’t until 8:15pm that the first of three support acts takes to the stage.

First up is London DJ, Sanasesh. She’s cool and collected as she approaches the decks, unphased by the rapidly gathering crowd. She blends seamlessly from jungle classics to UK gems. There are a few songs that don’t quite land, but before I can tut at the crowd for not listening to Nia Archives, another classic inevitably begins playing.

By the end of her set, the crowd is singing along, and as she fades down the vocals for ‘N*ggas in Paris’ the audience is ready to fill in the gaps for her. As a warm-up act, she has done her job perfectly. The crowd is boiling over.

I hear the shouts from a boy behind me: “She’s hard man!”

I leave to put my jacket down just before the end of Sanasesh’s set – it’s clear that heavy layers aren’t going to work in this throng of people – and so I miss the beginning of BXKS. This rising star hails from Luton, and her ‘alternative grime’ style is an exciting one, heavy production mixes with soft-spoken vocals that I would file next to Lex Amor.

When I return, I hear her before I see her, and for a split second I am confused by the intensity of the sound coming from the tiny figure onstage. Although dwarfed by a huge hat and sunglasses, BXKS still makes her presence known, challenging the audience to engage with her. She says as much, proclaiming “Oh, you don’t know this one”, before launching into rapid bars.

It is clear by the end of her set, as the audience are swaying their arms and chanting along to the lyrics “to the left, the right”, she has, indeed, made herself known.

The audience is now raring to go, a fact understood by final support act – Birmingham native DJ, Keyrah, whose set consists exclusively of hype-up songs. Keyrah knows how to work a Birmingham crowd, and cheers are heard as she asks if we want to hear more UK tunes.

Photographer Connor and I exchange surprised smiles as several mosh pits begin to break out in the crowd. I seldom see energy levels this elated before the main act arrives. The crowd sings along to each song Keyrah plays, and as ‘Greaze Mode’ comes on, people raise gun fingers to the ceiling as if Skepta himself is in the room.

However, even Keyrah’s extremely skillful Brummie set is not enough to abate the mounting tension of Ayrtn’s absence. I hear frustrated cries: “How much support does this man need?”, and I’m inclined to agree. As refreshing as it is to see a UK rap act preceded by three extremely talented women, I am getting impatient.

Suddenly, the stage goes quiet. A member of the tour makes a slight blunder as she addresses the room and tells the crowd that Ayrtn is so excited to be “in Manchester”.

A collective murmuring starts up, the sting of betrayal rippling through the audience, really, Manchester?

However, as Ayrtn finally steps to the stage he’s quick to set the record straight. He excitedly shouts ‘0121’ out to the crowd, and we are assured that he is pleased to be here.

“This is my first time in Birmingham!” he shouts. “0121” is mixed with other 4-syllable chants as we shout “Large up Ayrtn”’ and “I’m so awesome” – referencing the Too Awesome EP for which this tour is named.

Ayrtn grins at his warm welcome, pleased to have so successfully built-up his entrance. He insists we flash our phone torches for his first song, so it’s a rave-like experience as his producer tag plays – “Young Whoppa on Your Blocka and I got the Choppa” – a refrain that was eagerly finished by the audience before Ayrtn himself could even get to the end of it. And every single flashing light surges forward.

Ayrtn opens with 2018 classic ‘COSY’, and the audience finally releases its built-up energy. As the lyrics “Ayrtn why you so certi?” are screamed by both Ayrtn and the audience, I join the crowd of people reaching forwards, banging heads, rapping along. It is a moment of pure joy for everyone involved.

As Ayrtn continues, there’s not a single song that doesn’t have at least half of the audience scrambling to try and match his precise flow. Crowd favorites include ‘BLACK CAT’ and ‘ALONE’, both of which cause mosh pits to reopen, as well as ‘SOUTH,’ an ode to South London that is juxtaposed with more chants of “0121”.

Finally, Ayrtn gets to the fast-paced banger that propelled him into the mainstream back in 2018, ‘EDGAR DAVIDS’. It’s impossible not to sing and dance along to, a fact that is demonstrated by each and every member of the audience.

This gig was a treat to experience, a testament not only to the talented performers but to the power of an engaged crowd, who receive an unprecedented encore. As he finally leaves the stage, wishing “big love” to Birmingham, I can only hope that he makes a second visit.

For more from Ayrtn go to: www.open.spotify.com/artist/6bI4QlfGPaqabHlHwcXLg3 

For more from Sanasesh go to: www.soundcloud.com/sanasesh 
For more from BXKS go to: www.bfan.link/collateral-damage 
For more from Keyrah go to: www.instagram.com/___keyrah

For more from Mama Roux’s go to: www.mamarouxs.co.uk

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Caught Up In Medicine Bakery With Local Indie Lad Robert Craig Oulton

Writer Reece Greenfield / Photographers Maddie Cottam-Allan & Reece Greenfield

On an uncharacteristically bright afternoon, I sit down with Brum singer-songwriter Robert Craig Oulton in the Medicine Bakery for a coffee, and a revelatory mushroom sandwich. After soaking in our surroundings, we get chatting about his latest EP Caught up in the Moment, which was released on the 14 October, as well as his upcoming tour starting Friday 28 October at Muthers Studio.

Rob begins by talking about who recorded the EP: “Mark Gittins is just amazing, he just gets it you know? He really listens, it sounds silly but some [engineers] don’t.”

He then goes on to talk about the process and how recording guitar, drums, and bass together captured a more organic feel which can be heard across the record.

“They’ll be mistakes but it’s a case of, oh we’ll keep that mistake that’s a cool one.”

Rob also recorded his acoustic single ‘Cruel World’ with ‘Wrong’ at Mega Tone, “Which was an accident really, I was moaning about music so [Mark] said ‘Come in and do something and realise why you do it again’.”

He goes on to answer my inquiry about the striking artwork taken by Danny Boyle of Total Luck.

“We only used one roll of film, and then just picked the first two pictures layered together.”

I explain to Rob how much I love the order and the progression of the EP, and want to ask him about each song.

“[The intro] is instrumental, which is not my usual thing. It was the first time I’d put reverb before the distortion in my pedal chain, and all of that echoey roomy sound gets distorted.

“The guitar just sounds very unstable, crashing into itself and if I hadn’t done that the song would never have come about.”

As we move onto the second track, ‘Return Policy’, Rob explains the inspiration for its punky feel: “The song’s about fucking wishing someone would leave you alone.

“It may not sound like that, but it’s about when people are ‘fessing to be there for you, and you’re just like ‘just fuck off’.

“The whole thing is two fingers up to those people.”

Moving onto ‘Secret Garden’, I learn this track went from being the object of ambivalence to Rob’s favourite track on the record, and the most personal one. The song features brass provided by Felicity Evans and Alex Astbury of Diddy Sweg and Heavy Beat Brass Band.

“As the brass comes in really delicately, that moment is my favourite on the record. The song is quite long but I had so much that I wanted to say on that song, that I didn’t want to chop any bits out.”

I’m also keen to hear about the penultimate song and single off the record released 16 September, ‘Wrong’: “That’s another one where the guitar sound completely informed the song itself.

“I bought this guitar pedal that you can hear on my guitar at the start. It’s simple, but it’s just effective, you know?

“It’s more about the sound and trajectory of the song. You could not have English as a language and you’d still get it.”

I can’t help but remark upon the excellent banjo playing by Connor Boyle, before moving onto the final track ‘Cruel world’.

Rob explains how he has been sitting on this song for over five years: “I wrote this at a weird point in my life where I went a bit mental and was overdoing it a bit.

“I knew it was strong, but it had to be the right time.’

The striking guitar tone was achieved with a 1961 Hofner. “It’s humongous, you have to fight with it but it was so worth it, it sounded good from the get-go,” says Rob, grinning as he looks back fondly at this moment.

“There was a lot of really good vibes in the room as everyone was looking at each other when I started tinkering around, I can remember Mark from the control room being like ‘woah, what’s that then?!’”

We move on finally to Birmingham’s venues, its music scene, and his upcoming headline show.

“Hare and Hounds Kings Heath; I’d say is the best sound in Brum, they serve the songs, they serve the artists.

“Brum’s music scene gets a bad rap… people should be looking this way, there’s things that aren’t even my bag that need more attention.

“We are well on our way to getting any unsavoury characters out, and there seems to be a good level of people doing different things. But we’re all aware of each other just being part of that community.”

Rob finishes,  “Good music here is not hard to find.”

Rob’s new EP Caught up in the Moment is available to stream on all platforms, and his next show to kicks off his UK tour is at Muthers Studio on Friday 28 October – with support from Exhaler and Bright Lightning. Entry on the door (no tickets) is £5

In his own words: “We’re all just hanging out… it’s gonna be a bit of a party!”

For more from Robert Oulton visit www.linktr.ee/robertcraigoulton

For more from Medicine Bakery go to: www.medicinebakery.co.uk
For more from Mega Tone go to: www.mega-tone.com
For more The Hare and Hounds go to: hareandhoundskingsheath.co.uk
For more from Muthers Studio go to www.muthersstudio.co.uk

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ARCH FEMMESIS Are Coming Back To Brum Bishes

Writer Jasmine Khan / Photographs supplied by ARCH FEMMESIS

The Sunflower Lounge is the fourth stop on ARCH FEMMESIS’ first national headline tour, following their recent EP release and support of Lancaster based rock band The Lovely Eggs.

Queering up Birmingham this Friday 28 October is Midlands based avant garde, electro-unk duo ARCH FEMMESIS, with their cacophony of galactic, feminine, punk-rave sounds.

Before sitting down, in virtual space, to catch up with dynamic performance artist ZERA TØNIN and chaotic synthesiser MEDDLA, I take one last listen through their EP Violents. While it’s easy to hear ARCH FEMMESIS (or watch them live) and only process an eccentric storm of colliding noises and sensual sensory experiences, there’s a softness apparent in the music video for ‘Madusa’ that needs exploring.

ZERA TØNIN, musician, muse, and ‘mother of queerlings’ kicks off the conversation, confident above the multitude of background art studio noises.

“Being on the road with The Lovely Eggs, they’ve given us advice, given us pointers. We know what it’s like now, we’ve emotionally prepared, we’ve got our arses in gear and we’re ready,” says ZERA, emphasising the end of each clause with a firm clap.

It’s clear the pair are raring to go, and while talking through their previous touring experiences, both ZERA and MEDDLA express how important it is their support slots hold spaces for queer, “especially fem queer people.”

“You’re slightly anxious that everyone’s going to be better than you, because they’re all fucking amazing,” grins ZERA.

“There’s a universal feeling of being the aunties and uncles of the little queerlings”.

MEDDLA adds, “On our own sets, we’ve enjoyed the new energy of fems and queers at the front…wishing us to get even crazier.”

From seeing them live, I know ARCH FEMMESIS’ sets aren’t just them playing songs, they’re multifaceted, interactive theatrical performances. So, I’m desperate to know what fits and fabrics we can expect now ARCH FEMMESIS have full control of the vibe.

“It’s going to be a sensory feast for the eyes and the ears,” states ZERA in a serious but slightly mystical tone.

“I’m currently in the arts studio, I have a sewing machine, I have the merch station, I’m making outfits, stage decorations…” their dedication to detail is evident.

In terms of the sound, MEDDLA explains – “We’ve been getting a bit more dancy, a bit more housy. Because we’re headlining, we really want people to party and be free to be in the moment.”

ZERA cuts in firmly, eye’s wide, “When we say house, we do not mean short-back-and-sides in a fucking club.”

Given the curated combination of masc and fem punk energy radiating from the duo, I didn’t think it was ‘short-back-and-sides-house’.

“We mean old skool, classic, 80’s, Chicago house – but make it British,” ZERA confirms.

Despite the leather-dom exterior, there’s clearly a glittery-bottom inside ARCH FEMMESIS. From their lyrics, to the settings of their music videos, to the soft wholesomes smiles they get when they talk about being surrounded by creative queerlings.

“There is a brutalism to our performance of femininity. We aren’t just sexy and pretty…” begins ZERA.

“…I’m quite pretty!” pipes up MEDDLA. They are and we all giggle as ZERA tries to catch up with her train of thought.

“There’s a softness with our recent EP Violents, it’s a play on words, on the word violets which is the flower of sapphics, and turning that into violence.”

ZERA describes the religious and mythological iconography – Kali, Salome, Medusa – all “demonised” in “recent Western society and culture” which has become the influential backbone behind their latest releases.

They explain, “Growing up Christian, I was told to think that Kali was a representation of the devil.

“But, growing up around people from the Asian community, they’ve explained she’s a goddess not to be fucked with – in a good way. She’s nurturing, she’s powerful.”

ZERA continues, explaining their musical interpretation of the feminine is “creative destruction”, the balance of two powerful forces. “I wanted to write music from those things which I’ve personally been taught to shun or shame.”

“And our song ‘Madusa’ is written as the background to that story which often doesn’t get told,” finishes MEDDLA.

ARCH FEMMESIS are devoted to creating a space which champions queer oddity and feminine expression. They’re putting their all into this tour, and I want to know what ARCH FEMMESIS are looking to get out of being in Brum.

MEDDLA starts off strong: “Birmingham, it’s one of our favourite cities to perform in. We always have such great gigs in Birmingham.”

“It definitely feels like you have such a sense of community, and you’re down to earth; humble and people will invite you in. We’ve always felt a lot of love from Birmingham.

“Bring your mates and your nan,” adds ZERA, “you might discover something interesting.

“We need queer epeople, fem people, outcasts. We’re tired of middle-aged men with beer guts in the audience; we love them, we love their money.

“But, we want it to be accessible to the people we made our music for. That’s the queer people, the minority genders and POC, people othered by the mainstream, it’s for them.”

ARCH FEMMESIS headline The Sunflower Lounge on Friday 28 October, with support from YNES, Retropxssy, and Greysha – as presented by Indie Midlands. For online ticket sales visit: www.seetickets.com/event/arch-femmesis/the-sunflower-lounge

For more from ARCH FEMMESIS go to: www.linktr.ee/Arch_Femmesis
For their latest EP Violents go to: www.open.spotify.com/album

For more gigs at The Sunflower Lounge go to: www.thesunflowerlounge.com