Category: BR Content

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TICKET GIVEAWAY: REWS + NOVACUB, [SKETCH] @ O2 Institute 3 – 21.03.20

Words by Ed King

To celebrate International Women’s Day, and to help keep the aims, objectives, and principles of this single day alive throughout the other 365 (…calm down, it’s a leap year) Birmingham Review is giving away a handful of tickets to see REWS + NOVACUB, [SKETCH] at the O2 Institute 3 on Saturday 21st March. Minimum age of entry to the gig is 14years+ with doors opening from 6pm.

But there is a snag… we’re only giving them to women.

And before anyone gets tangled in testosterone, we crunched the numbers and felt that after centuries of gender oppression a couple of free gig tickets are not going to rob any men of their rights. I wouldn’t worry about your perceived ‘manhood’. You’ll be OK.

So, yeah, back to the free stuff.

On Saturday 21st March, REWS come back to Birmingham – Shauna Tohill’s alt rock powerhouse are bringing The Phoenix Tour to the O2 Institute 3, with a renewed line up and some of their best new material to date. Don’t believe us, check out the link to ‘Monsters’ below.

Joining REWS as tour support will be NOVACUB, a four piece indie/pop fledgling – fronted and founded by Louise Bartle, who is also the drummer for Bloc Party. You know, just ‘cos there are still some hours in the day when she isn’t working (Birmingham Review also snagged a quick Q&A with Louise Bartle ahead of the O2 Institute show, click here to read… whole lotta fun).

And the show would not be complete without a hat tip to Birmingham’s own tartan clad rock/punksters, [SKETCH]. But being all men, even being lovely humans who respect and value all people… we’re still crazy excited to have them at the gig though. For more gig info and links to online tickets, for any gender, click here to visit the Facebook event page**.

Sufficed to say, we have landed an awesome line up with two female fronted bands who are fully committed to music and ferociously inspiring to anyone (especially if you share gender identity) who might want to get up on stage themselves one day. Or even if you just respect the hell out of a cracking live gig.

So, we want to celebrate and share this by giving away a few freebies to the show.

TICKET GIVEAWAY: If you are female or identify as female, all you have to do is share this post via whatever social media you prefer – then send an email to info@birminghamreview.net with your name and the name of your guest, putting ‘Free Tickets Please’ in the subject box. Then we’ll send you FREE TICKETS TO SEE REWS + NOVACUB, [SKETCH] AT THE O2 INSTITUTE ON SAY 21ST MARCH. First come first served. Couldn’t be simpler.

But if you still need a little nudge, here’s a sneaky peak of what’s coming to the O2 Institute 3 on Saturday 21st March. Enjoy.

‘Monsters’ – REWS

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‘Wait Up’ – NOVACUB

Ed’s note…

I’m all for debate. I encourage people with all opinions to engage in conversation, because I believe it’s how we create change. Healthy, non-oppressive change – where everyone is on board and the differences we want to make stand a chance of lasting.

But there are some arguments that test this. So, whilst we on the whole ‘but what about the blokes thing…’ if you genuinely feel that there is a disparagement in days such as International Women’s Day, I want to run through a couple of facts and figures that might get you thinking.

Then we can start talking:

  • It took until 1928 (and World War One) for women  over the age of 21 to be allowed to vote in the UK
  • Up to the 1970’s, and with absurdly slow reform, women were not allowed to buy property in their own right – needing the signature of their husband or father
  • The same went for credit cards
  • Until 1991, a man could rape his wife and be legally exempt from prosecution
  • Until 1992, a man could physically assault his wife and be legally exempt from prosecution
  • Until 1999, there was no statutory right for maternity leave – with UK Employment law forcing many women out of their jobs if they became pregnant
  • In 2020, the UK’s gender pay gap UK stands between 15-25% – meaning on average women spend two months a year working for ‘free’, in comparison to their male counterparts

REWS perform at the O2 Institute 3 on Saturday 21st March, with support from NOVACUB and [SKETCH] – as promoted by Metropolis Music and Birmingham Review. For more gig info and links to online ticket sales, click here to visit the Facebook event page.

Or for a direct link to online ticket sales, visit www.reviewpublishing.net/product/rews-novacub-sketch-o2-institute-21-03-20

**£1 from all tickets sold through Review Publishing will get donated to the NOT NORMAL NOT OK campaign, challenging sexual violence in our music scene – from dance floor to dressing room, everyone deserves a safe place to play. For more on NOT NORMAL NOT OK, visit www.notnormalnotok.com

For more on REWS, visit www.rewsmusic.com
For more on Novacub, visit www.wearenovacub.com
For more on [SKETCH], visit www.sketchband.com

For more on the O2 Institute, including venue details and further event listings, visit www.academymusicgroup.com/o2institutebirmingham/

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual aggression in the music industry and beyond – from dance floor to dressing room, everyone deserves a safe place to play.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

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Q&A: NOVACUB – Louise Bartle

Words by Ed King & Louise Bartle – NOVACUB / Pics courtesy of K2 Agency

On Saturday 21st March, NOVACUB will be coming back to Birmingham – joining alt-rock powerhouse REWS on their Phoenix Tour, and playing alongside Birmingham’s own tartan clad rock/punksters [SKETCH] at the O2 Institute 3.

Minimum age of entry to gig is 14 years old, with doors open from 6pm. Tickets are priced at £10 (+ booking fee) – as promoted by Metropolis Music and Birmingham Review. For more gig info and links to online ticket sales, click here to visit the Facebook event page.

Or for a direct link to online ticket sales, visit: www.reviewpublishing.net/product/rews-novacub-sketch-o2-institute-21-03-20/**
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Having formed just over a year ago by Bloc Party drummer Louise Bartle (who also brought Bloc Party guitarist Russell Lissack into the fold) it’s been a pretty non-stop first dance around the sun for NOVACUB – playing some heavyweight support slots, releasing a series of singles and their debut EP.

Now coming back to Birmingham, joining REWS and [SKETCH] at the O2 Institute 3 on Saturday 21st March, Birmingham Review snagged a cheeky Q&A with NOVACUB founder and frontwoman Louise Bartle:

BR: Hello NOVACUB, thanks for letting us pick your brains ahead of the O2 Institute gig – very excited to have you back in Birmingham. You came to the Castle and Falcon in April 2019 with The Xcerts, any drunken/late night (mis)adventures from the last time you were in the city?

NOVACUB: HEY! Haha well I think we were pretty boring actually as we’re always paranoid about the safety of our instruments etc – there’s a lot of packing and unpacking when you’re in your own cars/van. It was a great show last time we were there though!!

BR: And this time last year you were also sandwiched by tour dates with the Kaiser Chiefs – how does it feel to be now heading out on the road with REWS?

NOVACUB: Yeah, it feels really exciting! It always does! We love playing our music to anyone who wants to listen haha!

We’re really excited to be playing shows!! We love playing live, it’s such a cathartic experience! Really looking forward to meeting REWS and making new memories together!

BR: As individuals you have a wealth of talent and experience already under your belts, from working with Selena Gomez to Birmingham’s own Laura Mvula. But as band, NOVACUB are relatively newborn – how have the past 12months+ learning to walk been?

NOVACUB: It’s been really exciting for us – we’ve already been through so much together! We still feel that it’s early days for us and can’t wait for people to get to know us more! We love putting music out so we’re going to focus on that this year.

BR: ‘I Still Need It’ debuted in Jan 2019, with ‘Strike’ and ‘Wait Up’ coming out in April and July respectively. How were the singles received?

NOVACUB: Yeah they went down well! It’s nice when people start to discover the band – it’s a new feeling for us and really exciting honestly.

BR: Then, with a couple of extra cherries on the cake, your Future Echoes EP came out in October 2019 – how was it to see a larger slice of NOVACUB get served up?

NOVACUB: Really special – it’s our first body of work! We have so much more to come and are dying to serve you up some more madness!!

BR: Then ‘November’ came out in, well, November 2019 – releasing your first track not featured on the Future Echoes EP. You can probably guess what we’re building up to… is there an album on its way?

NOVACUB: Hehe well… We are working on something really exciting. We have over two albums worth of music honestly but we want to pace ourselves! I will say we are going to put more music out later this year..

BR: And where did the hat tip to early rave and piano house in ‘Strike’ come from – elements of production that followed into ‘November’? Not that we’re complaining… takes us back… but it’s a little shift from the clear guitar riffs of other tracks.

NOVACUB: Well firstly we all love different styles of music so it feeds into the band. Secondly, Russell our guitarist likes to play his guitar so it doesn’t sound like one (sometimes) and this is an example of him demonstrating his skills in that regard. When he first sent the song to me (Louise) I absolutely loved it and wanted to top what he’d written somehow haha!!

BR: We love a good game of guess the genre, and we’ve seen variations of the rock-pop-indie holy trinity next to your name. But set us all straight – how would you describe NOVACUB’s sound?

NOVACUB: Anything and everything, haha, but for real probably mainly indie pop/rock – we write whatever we want though which is why I love being in the band!

BR: We also love a good democracy, and you look very warm and cuddly on your promo shots. But NOVACUB is the brainchild of Bartle – is that reflected in the songwriting or studio?

NOVACUB: I’d say that in the studio I (Louise) am more controlling. The only other way I could be considered the ‘brainchild’ of NOVACUB is that I brought us together as I knew everyone separately first! I feel we are all pretty hands on in different ways though! You all have to be a team in a band so that everyone knows how important they are!

BR: And is it still all love and hugs with Bloc Party, or is there now some silent/healthy competition…?

NOVACUB: Well it depends how you look it at… I’ve never viewed music as a competition and I don’t see any other band or artist as competition so it’s all love from me!

BR: All that’s left is for us to wish you the very best with the REWS tour – especially (selfishly) the gig at the O2 Institute on Saturday 21st March.

NOVACUB: Thank you!!

‘I Still Need It’ – NOVACUB

NOVACUB come to the O2 Institute 3 on Saturday 21st March, supporting REWS and playing alongside Birmingham’s own tartan clad rock/pinksters [SKETCH]. For more gig info and links to online ticket sales, click here to visit the Facebook event page. 

**£1 from all tickets sold through Review Publishing will be donated to the NOT NORMAL NOT OK campaign – click here for a direct link to online ticket sales: www.reviewpublishing.net/product/rews-novacub-sketch-o2-institute-21-03-20

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For more on NOVACUB, visit www.wearenovacub.com

For more on REWS, visit www.rewsmusic.com
For more on [SKETCH], visit www.sketchband.com

For more on the O2 Institute, including venue details and further event listings, visit www.academymusicgroup.com/o2institutebirmingham

________

NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual aggression in the music industry and beyond – from dance floor to dressing room, everyone deserves a safe place to play.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

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BPREVIEW: Roald Dahl and the Imagination Seekers @ Midlands Arts Centre 21-22.02.20


Words by Ed King

Roald Dahl and the Imagination Seekers comes to the Midlands Arts Centre (MAC) on Friday 21st and Saturday 22nd February – with shows in the MAC theatre at 2pm on both days, alongside an 11am show on the Saturday.

Aimed at children 6 years and older, tickets for Roald Dahl and the Imagination Seekers are priced from £8.50 – £10.50 for children and £8.50 – £15 for adults, depending on the day/time of performance and position within the theatre. Further concessions are available – click here for more direct show information, including full ticket details and links to online sales.

“Snozzcumber… who ever heard of a snozzcumber…?”

Roald Dahl needs little introduction. Responsible for some of the most prolific and wide reaching children’s stories (alongside some pretty dark tales for adults), Dahl’s work has become the contemporary benchmark for young fiction across the world – the highest accolade in this literary genre, it seems, is to be cited as following in the man’s giant footsteps. Just ask Walliams.

But when your portfolio boasts titles including Charlies and the Chocolate Factory, Matilda, The Twits, The Witches, The BFG, Danny the Campion of the Word, James and the Giant Peach, and Fantastic Mr Fox… well, fair enough I suppose.

Get Lost & Found theatre company are still worried though, fearing that ‘all around the world Roald Dahl’s words are disappearing’ and the only way to save these foundations of fantasy is through an ‘ancient guild of tale tenders’ determined to keep Dahl’s stories alive. And although this creative dystopia may be contested by some (Neilsen Holdings, Tim Burton, the United Nations Educational, Scientific and Cultural Organization, and Tim Minchin) why risk it?

So, with a special commission from Puffin Books, Dahl’s publisher, and a thumbs up from the writer’s literary estate, Roald Dahl and the Imaginations Seekers will be touring the UK until the end of March – coming to MAC with their ‘thrilling story delivered through performance, games and creative play’ at the tail end of February’s half term holiday.

And whilst the world beats with subjective hearts, and a man’s opinions do not necessarily reflect his work, as Ehrmann once wrote love ‘is as perennial as the grass’. So, to expand the metaphor, Dahl’s stories are a lush country estate lawn for children across the globe to play upon.

Sowed with empathy, empowerment, mischief, a smidge of anarchy and dollop of love, there are seldom better stories to prepare young minds for all the wonders and peril the world has to offer. You just have to be kind, resolute, and most of all to believe.

For as a wiser man than I once responded, to the snarled face of petulance and precocity, “…we are the music makers. And we are the dreamers of the dreams.”

Roald Dahl and the Imagination Seekers – official trailer 

Roald Dahl and the Imagination Seekers comes to the Midlands Arts Centre on Friday 21st and Saturday 22nd February. For more direct information and links to online ticket sales, visit www.macbirmingham.co.uk/event/roald-dahl-the-imagination-seekers

For more from the Midlands Arts Centre, including further event listings** and online ticket sales, visit www.macbirmingham.co.uk

For more on Get Lost and Found, visit www.getlostandfound.com
For more on Roald Dahl, visit www.roalddahl.com

**If you like the look of this, why not check out some more family friendly shows at MAC:

Sarah & Duck’s Big Top Birthday (4th to 6th Apr), visit www.macbirmingham.co.uk/event/sarah-ducks-big-top-birthday
Through Time (17th Apr), visit www.macbirmingham.co.uk/event/the-noise-next-door-through-time

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual aggression in the music industry and beyond – from dance floor to dressing room, everyone deserves a safe place to play.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

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BPREVIEW: Beastly Belle @ Midlands Arts Centre 15-16.02.20

Words by Ed King / Pics by Andi Sapi

Running for four shows across two days, Beastly Belle comes to the Midlands Arts Centre (MAC) on Saturday 15th and Sunday 16th February – kicking off Birmingham’s half term holiday weekend.

Presented by the Norwich Puppet Theatre, tickets for Beastly Belle range from £8.50 to £12.50 – covering a variety of options for adults, children (4yrs+) and babies.

With an 11am performance and a 2pm performance across the weekend, held in the MAC’s Foyle Studio, you can find out more information (and online ticket links) for Beastly Belle by visiting www.macbirmingham.co.uk/event/beauty-the-beast-beastly-belle

For those of a certain generation, the Midlands Arts Centre is somewhat synonymous with puppets – beautifully crafted characters that used to adorn both the walls and the stages of the old Cannon Hill Park complex. Now, to start a programme of productions and workshops for the Birmingham half term holiday, MAC is welcoming another ensemble of wood and string – as the story of Beastly Belle takes to the Foyle Studio on Saturday 15th and Sunday 16th February.

With a narrative perfectly pitched for today’s Instagram and Love Island devotees, yet one ‘inspired by the iconic era of 1920s and 30s cinema’, Beastly Belle tells the story of the eponymous Belle – a wannabe starlet that is plucked from poverty and given all the ‘glitz and glamour’ of the silver screen.

But what coulda, would, shoulda been a wonderful tale of rags to riches soon turns sour, as our titular heroine become seduced by the adulation of aesthetics and becomes ‘ensnared by a world obsessed with good looks’. Sounds sadly all too familiar.

Told through puppet theatre, against a backdrop of film projections and an original score, Beastly Belle tackles an issue that is all too prevalent in the world of young people today – self-worth, and the misguided benchmarks of ‘beauty’ that can be so crudely used to define it.

The play’s promotional material also cites influences from the classic fairy tale, Beauty and the Beast – so chances are this story ends with a newfound sense of self and an insightful epiphany. Which is no bad thing, for anyone at any age.

But told through puppet theatre, Beastly Belle will at least to give you a good hour of distraction (and silence) even if the message gets missed – which again to those of a certain generation, namely the one’s paying the ticket price, might not be a terrible consolation prize this half term.

And if you remember the MAC’s puppets of yore there may be some warm nostalgia as you stretch back and recall your younger days at the Cannon Hill Park complex… just remember it’s the weekend, and a school holiday, so that ice cream truck is also probably still there too.

Beastly Belle – official trailer (as used for performances at the Norwich Puppetry Theatre)

Beastly Belle comes to the Midlands Arts Centre on Saturday 15th and Sunday 16th February – with shows at 11am and 2pm on both days. For more direct information and links to online ticket sales, visit www.macbirmingham.co.uk/event/beauty-the-beast-beastly-belle

For more from the Midlands Arts Centre, including further event listings** and online ticket sales, visit www.macbirmingham.co.uk

For more from the Norwich Puppet Theatre, visit www.puppettheatre.co.uk

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**If you like the look of this, why not check out some more family friendly shows at MAC:

Roald Dahl & The Imagination Seekers (21st and 22nd Feb), visit www.macbirmingham.co.uk/event/roald-dahl-the-imagination-seekers

Sarah & Duck’s Big Top Birthday (4th to 6th Apr), visit www.macbirmingham.co.uk/event/sarah-ducks-big-top-birthday

Through Time (17th Apr), visit www.macbirmingham.co.uk/event/the-noise-next-door-through-time

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual aggression in the music industry and beyond – from dance floor to dressing room, everyone deserves a safe place to play.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.

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BREVIEW: Asking for It @ Birmingham REP – running until 15.02.20

Words by Emma Curzon / Promotional image by Hugh O’Connor

This searing production is a play that demands to be seen: a bleak, rage-filled tragedy that shines an unflinching spotlight on 21st-century rape culture and refuses to let you look away.

Hosted by the Birmingham REP, after a highly-acclaimed run at Ireland’s National Theatre, Asking for It was adapted for the stage by Irish playwright Meadhbh McHugh and director Annabelle Comyn, from the novel of the same name by Louise O’Neill.

The premise is as simple as it is horrific: Emma, a teenage girl from a small town in County Cork, is gang-raped at a party; the rapists take photos of the attack and post them online. Cue a brutal, sickening spiral into slut-shaming and victim blaming by everyone from journalists and radio callers, to neighbours, classmates and her own parents, in a twisted form of collective punishment for “ruining those good boys’ lives” (I’m paraphrasing, but not by much – that’s the horrifying part).

There are three main pillars to the play’s considerable strength: the expert writing of McHugh (and O’Neill), Comyn’s direction, and a truly stellar performance by Coe. In fact, I can honestly say that the Dublin-grown actress gives one of the most heart-rending portrayals of a trauma survivor that I’ve ever seen.

Coe moves seamlessly between numb depression, terrified panic attacks, and horrified despair. She is an unforgettable – no, powerful presence, even as her character becomes smaller, more vulnerable and more traumatised by the second. The rest of the cast, too, give strong performances, particularly Dawn Bradfield as Emma’s mother and Liam Heslin as her well-meaning but ineffective brother.

No review of this play, either, should overlook its non-human elements. Here, the metaphorical Oscar goes to Paul O’Mahony’s set, a monochrome structure of glass boxes and panels that are moved around to create various settings, and onto which flickering, blurry video footage is projected. Both are brilliantly deployed to highlight Emma’s downward spiral as she becomes more and more trapped, both physically and mentally. Eventually, the set has enclosed the entire stage to make the walls and roof of her kitchen, by which point she is too traumatised and stigmatised to leave the house.

The choices of soundtrack were commendable too, although I do question the realism of incorporating an admittedly excellent dance routine to David Guetta’s ‘Hey Mama’. I’m not saying teen parties are devoid of David Guetta, but I’m pretty sure they don’t include perfectly synchronised, choreographed dance sets.

The main downside of the play is that parts of the narrative are left underdeveloped. McHughs is admirably thorough with Emma’s development, but other characters are neglected. Despite lengthy periods in Act 1 being spent on Emma’s peers, including brief monologues, they – including a friend who has also been assaulted – rapidly vanish, never to be seen again. It spends too much time, by contrast, on Emma’s appearance (if she were less “beautiful”, she wonders, would that night have happened?) rather than acknowledging that a rapist can target anyone, no matter what they look like.

Still, any flaws are generally forgivable given as the play has a clear aim and, in my mind, more than achieves it. It’s a hard-hitting, bitter dissection of the hell of rape and its aftermath – a snarl of defiance against a world that still, too often, blames rape victims (especially women) for their assaults. It’s a refusal to be silenced and ignored when many would like nothing better than to look away, and a defiant claiming of a voice for the millions of real-life Emmas all over the world, even as their fictional counterpart’s own voice is slowly eroded away into nothing.

In the REP foyer, a few volunteers from Birmingham and Solihull Women’s Aid (BSWA) set up a stand with flyers advertising their helpline. In the women’s bathrooms, on the insides of the cubicle doors, a poster asks me: has this play affected me in any way? If so, it then gives the numbers for BSWA and the Rape & Sexual Violence Project.

Leaving the theatre, I have to wonder – did anyone in the audience call either number? Did the play bring up memories of their own, similar experiences? With around 85,000 women and 12,000 men experiencing rape or attempted rape in England and Wales every year, there’s a distinct possibility that the answer is ‘yes’. And that, more than anything else, is why this play is so desperately needed.

Asking for It – official trailer

Asking for It runs at the Birmingham REP until Saturday 15th February, with evening shows and matiness shows on Saturday 8th and Thursday 13th February. For more details, including the full show schedule and links to online ticket sales, visit www.birmingham-rep.co.uk/whats-on/asking-for-it

**Please note: Asking for It is recommended for 14+. The show contains scenes of a sexual nature, strong language and violence** 

For more on Asking for It, www.askingforit.ie 

For more from the Birmingham REP, including further event listings and online ticket sales, visit www.birmingham-rep.co.uk

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NOT NORMAL NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual aggression in the music industry and beyond – from dance floor to dressing room, everyone deserves a safe place to play.

To learn more about the NOT NORMAL NOT OK campaign, click here. To sign up and join the NOT NORMAL NOT OK campaign, click here.

If you have been affected by any issues surrounding sexual violence – or if you want to report an act of sexual aggression, abuse or assault – click here for information via the ‘Help & Support’ page on the NOT NORMAL NOT OK website.