BREVIEW: Ed Byrne – Spoiler Alert @ Town Hall 27.01.18

Ed Byrne – Spoiler Alert @ Town Hall 27.01.18

Words by Helen Knott

Ed Byrne warms up the healthy Town Hall audience with some amusing quips about the building work in Birmingham city centre. He takes the slightly generic line, “It will be lovely when it’s finished” and runs with it, extending it into a much funnier, and more topical joke. “You see all those signs for Carillion and think, ‘Oh fuck. It’s never going to be finished…”

Audience duly warmed up, Byrne launches into the gig proper. Called Spoiler Alert, he describes the catalyst for the show as being his concern about, “how spoiled we are, as people, as individuals, as consumers.” A lot of the material centres around Byrne’s concern that his two children are themselves spoiled. They go to a nicer school than he did, have better toys… “I’m raising two posh, English, boys.”

The examples Byrne uses to illustrate how spoilt his children are aren’t particularly horrifying. His children are able to watch specialised children’s TV channels, so they don’t have to wait until Saturday morning to watch cartoons. They ask for elderflower cordial and enjoy eating pesto. They aren’t particularly overwhelmed by an expensive trip to Lapland to meet Santa, because they saw him in Westfield shopping centre the Christmas before.

This is funniest when Byrne confides, “It’s all I have in me not to hate my own children”. And that he once considered letting his youngest child touch an electric fence as a “learning opportunity”. These kinds of thoughts quite likely pass through a lot of parents’ minds when their children are being difficult, but they’re rarely voiced publicly. It’s a little close to the mark for a number of audience members, who shift uncomfortably in their seats, as is a joke about wanking while camping and the section when he ruminates on the effect that getting divorced would have on his career (“a rich seam to mine”). It’s a gentile crowd, and I’m not sure that they’ve seen much of Byrne’s wanking material on the BBC.

It’s hard to take Byrne (a successful comedian with a big house and a nice car) seriously when he talks about how spoilt his children and the general population are. He starts the show by dissing the disappointing free snacks that he receives in tour venues. He complains about the – no doubt lucrative – corporate gigs that he plays. He criticises his tour manager for booking him into an arena in Derby, which he has no chance of selling out. There’s more than a whiff of “first world problems” about all this. I’m sure than Byrne must be making these comments purposely hypercritical to show that no one is above being spoilt; he’s too clever to lack self-awareness. But if we’re meant to be laughing at him as a character, he should ham it up a bit. In reality, it’s so cloaked under his cheery persona that you don’t really notice the absurdity of what he’s saying.

Byrne teeters on the edge of something interesting when talking about the way that we consume news. Instead of reading to challenge our opinions, Byrne argues that we seek news that is “tailored to our beliefs”. This probably is more prevalent than it used to be, with social media echo chambers trapping us into only ever reading views allied to our own. But Byrne’s example that we now only read newspapers that tally with our beliefs doesn’t completely ring true – there have been left and right wing newspapers in Britain for years; this isn’t a modern phenomenon. Still, spending some time teasing out how, in this regard, people are more spoilt than they used to be, and the impact it has on our political landscape, could have made for a compelling end to the show. Instead, Byrne quickly moves on and the point is lost between a weird rant about how semi-skimmed milk is indulgent and an unfunny anecdote about an author friend.

In essence, much of Spoiler Alert is a variation on the trope pedaled by grandparents the world over. Basically: “young people don’t know they’re born these days!” This would be fine if Byrne was exploring the topic in a particularly thought-provoking, novel or, crucially, funny way. Comedy doesn’t always have to be making a point and to have the aim of providing an entertaining Saturday evening for a roomful of people is completely valid. On the whole, Byrne achieves this objective, but too often the jokes and anecdotes meander without packing a punch.

For more on Ed Byrne, visit www.edbyrne.com

For more from Town Hall, including full event listings and online ticket sales, visit www.thsh.co.uk

BREVIEW: The Death Show @ REP 27.01.18

The Death Show / Graeme Braidwood

Words by Ed King / Pics by Graeme Braidwood

It’s probably just red car syndrome, but as I make my way to see The Death Show at Birmingham REP I find myself stuck in traffic and staring at a poster for The Maze Runner – Death Cure, before rolling adverts remind me that at dog tracks across the country ‘you bet, they die’. I squash two snails when I get off the bus. 

I eventually arrive at the theatre (after taking my life in my hands traversing the Paradise Forum road works) and run into a friend who is taking her daughter to see Coco – Pixar’s latest big screen animation about the Mexican Day of the Dead festival. The closing words to last night’s Monty Python film continue to circle around the back of my head, as my friend’s daughter tells me about the “magical adventure of a boy who learns to be a musician from his dead ancestors,” a context she seems quite at peace with. My friend’s husband, a vicar, is busy with a funeral. Fate is laughing and apparently leading today; religion is missing in many corners of this theatre.

The Death Show is the culmination of years of research from ‘theatre makers’ and self confessed ‘thanatophobes’ Lucy Nicholls and Antonia Beck, after the duo turned their curiously macabre small talk into an original stage production. It’s a huge subject without an end, both literally and figuratively, and the challenge to anyone tackling this topic is the seesaw of content and context.

The Death Show / Graeme BraidwoodBut this is theatre, and on entering The Door we are greeted by Nicholls and Beck dressed head to toe in respectful black – handing out tissues because “things can get a little sad and teary.” Centre stage there is a full sized coffin, with a coffin shaped ‘doorway’ stood upright and stage left. An order of service is handed to each audience member, with funeral favourite ‘Wind Beneath My Wings’ playing through the house speakers as we take our seats. The Death Show is clearly a show about death. And, just as clearly, there is no escape from it.

The premise is a funeral to our hosts and the dearly departed, who refer to themselves in the third person, mourning “the death of Lucy and Antonia”. After a short hat picked declaration of what sent the pair to their graves (which if it isn’t set up, may indeed prove the existence of a divine being) we kick of as every funeral should, with legacy. Or the purported achievements that can more serve to make sense of a life, rather than accept the loss of one. And whilst matinee crowds are not the easiest to make laugh, by the time we are watching the superimposed faces of Nicholls and Beck on the Kardashian babies the healthy (no pun intended) afternoon audience is in comfortable good humour.   

The Death Show / Graeme BraidwoodBut the mood turns, as we become voyeurs to the emotions that compelled Nicholls and Beck to write The Death Show in the first place. Namely, the organ failing fear that there is nothing but void. Following their initial meeting, a careful balance of abject horror and camaraderie, Nicholls and Beck embark on a creative challenge to bring ‘death out of the shadows’ – researching their subject with hands on experiences, which in turn make up the segments of The Death Show.

The first step on their Arts Council funded path to enlightenment is with a pair of “angry” Australians, who seem intent to “excrete death” whilst enjoying “a good work out” and some loosened hamstrings. Perverse, but I can believe it’s happening somewhere. Next up is the equally obnoxious and “more feminine” spiritual self help group, where Nicholls and Beck are encouraged to “breath in through your lady mouths” before affecting the faux shamanic monikers you’d hear on a marketing department team training day. Or in Moseley.

Whilst the rib dig at Down Under gets a little farcical, and arguably a touch… achem, both group experiences are an engaging mirror to the absurdity that can surround ‘those that know’. Spirituality, for want of a better word, is often a blank cheque for idiots to enlist more idiots in an exercise of group narcissism; Nicholls and Beck respond with parody and a sharp exit, as their journey continues. Answer my question about Descartes or just fucking hug me please.

Then it’s onto the more serious endeavour of preparing a body – a duty Nicholls and Beck performed whilst shadowing an undertaker as part of their research. Mental note: when a funeral director asks for some clothes for your loved one to be dressed in, don’t forget the underwear. Finally, we walk though the somewhat failed attempt to engage with terminally ill patients at a hospice; a brutally important avenue of exploration, but one Nicholls and Beck candidly recognise didn’t go as they would have hoped – playfully and painfully displaying the chasm of this contact. 

We wrap The Death Show to further honestly, namely that “we don’t have the answers… but we do have this rather wonderful dance” – as Nicholls and Beck display what makes their lives worth living, and in turn encourage us to say “cheers to the little things”. It’s a poignant summary, but one the writing and presentation have stayed true to across the narrative; an audience are not going to find the answers to life, death and everything at 2:30pm on a Saturday afternoon, just as the scriptwriters didn’t after years of research.

The point, I guess, is to be together whilst we work out what to do in the absence of any answers at all – and this is certainly where art can help us. Or, as The Death Show press release states, ‘to laugh, cry, stick two fingers up at the grim reaper and discover why talking about death is ultimately life affirming.’

Whilst some of us scream at the bottom of a bottle of bourbon, Nicholls and Beck took the challenge of turning their own self reflection into something to share – resulting in comedy, self deprecation, biological facts, and a Breakfast Club fist pump in the face of fear. The Death Show is a competent contribution to the bottomless pit conversation about our own mortality, delivered through a beautifully balanced story of hope, humour and fear. Plus it stands ram rod straight in the face of questions that can break a person in two – something, if nothing else, an audience member can take from this production that will hopefully help them with every day until their last.

Death terrifies me, to the point that I am obsessed with trying to unravel it, and I have long suspected that there is no amount of time, money or research that will bring about a collective understanding. ‘Like a room of blind people trying to explain the colour blue to each other’, is the line I land on. So, what am I doing on a Saturday afternoon in a room full of strangers? What are any of us doing here? Because what else can you do, especially when the sour mash has all dried up and there are no vocal chords left to tug.

The Death Show is also, quite simply, an extremely funny play. And if Christ, Brahma, Moses and whatever clandestine lizards there may be in The White House can’t give us any definitive proof, then that’s probably all we’ve got. Well, either that or insanity. Or song. Or even a little of all three, after all you know what they say. Some things in life are bad…

The Death Show

The Death Show tours across February, with dates in Leeds, London and Bristol – as presented by Outer Circle Arts. For direct event info, including full tour details and links to online ticket sales, visit www.thedeathshow.co.uk

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

For more on Outer Circle Arts, visit www.outercirclearts.co.uk

For more from BrumYODO, visit www.brumyodo.org.uk

THE GALLERY: The Bronx @ Mama Roux’s 17.01.18

The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

Words & pics by Aatish Ramchurn

Tuesday evening. My car headlights stop working on my drive home, and the surprise flakes falling late at night are sticking to the ground. I’m hoping that on Wednesday I don’t wake up to eight inches of snow, and I can find a garage to fit me in to fix my headlights. Thankfully, both of my wishes are granted, and I have no problem making my way to see The Bronx live in Birmingham.

Knowing that the night has sold out, I arrive early to Digbeth’s most quaintly-decorated venue, Mama Roux’s. Standing by the stage in a virtually empty room, I watch it gradually fill up, with those arriving the earliest heading straight upstairs to the balcony to get the best view.

Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham ReviewUntil this point, I was unaware of who the support act was going to be, or if there even was a support act. I’d only seen this gig promoted by Surprise You’re Dead! Music, as The Bronx playing their latest album, The Bronx V, ‘in its entirety’. I found it a little hard to believe that The Bronx would be playing two and a half hour sets up and down the country.

Not that I doubt that they could. They’ve been touring as both The Bronx and Mariachi El Bronx for 15 years, even playing as both bands on the same night. It was just a gut feeling that there had to be someone supporting them throughout this club venue tour.

As it turns out, Ming City Rockers, from Immingham, are supporting The Bronx on their UK album showcase gigs. The East Lincolnshire rockers capture the attention of the audience with their fast-paced, punk rock and roll sound, reminiscent of The Buzzcocks and MC5.The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

Although there’s no restriction on the amount of photos I can take of bands at Mama Roux’s, I decide to impose the three song rule on myself, just so I can enjoy the rest of Ming City Rocker’s short, but powerful set, along with the rest of the audience. If you like your bands fast, loud, and slightly obnoxious (I mean that in a good way), their album, Lemon, would be worth checking out.

As Ming City Rockers leave the stage, I feel naturally drawn into the dispersion of the room, until this thought suddenly dawned on me: ‘This floor will be packed with people nearer the time The Bronx are on, do I really want to move away from the stage?’

I position myself to the left, until I’m wedged between stage speakers and the rest of the front row. The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review I’m aware I’m not going to be in this position for too long but I have a decent place to start shooting from before things get less than ideal.

With the instruments set up, and beers settled by each amplifier, The Bronx are warmly welcomed by the Birmingham crowd. Frontman, Matt Caughthran, edges closer to the audience, greeting them as if meeting an old friend, before the band explodes into The Bronx V from start to finish. With where I’m positioned, I take advantage of getting shots in the limited time Matt Caughthran spends on stage – he seems more comfortable out in the middle of the crowd.

The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham ReviewI’d gone into this gig presuming that my biggest challenge would be trying to get focused pictures in the middle of a frantic mosh pit, with an onslaught of stage divers and a poorly-lit environment.

However, it was something else entirely. Whenever Matt Caughthran was down in the room, from where I was perched on the slightly poked out corner of a speaker to give me a higher vantage point, I found myself in a Where’s Wally? situation, as I was having trouble differentiatingThe Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review which out of the many bald, tattooed men present was The Bronx’s frontman. Following the trail of the microphone cable into the crowd didn’t help me find him either, as he’s quite short. There were times I’m sure I was focusing on the wrong person.

After playing their fifth, eponymous release from their record label, White Drugs, The Bronx ventured into more familiar territory, with fan favourites such as ‘White Guilt’, ‘Knifeman’, and set closer ‘History’s Stranglers’.

I know us concert photographers tend to prefer to shoot in the comfort of photo pits, away from people knocking our elbows in minimal space. But I have to admit, shooting a vibrant punk show in a packed out, intimate venue with poor lighting, not only provides a fun, yet frustrating challenge. It also gives you images that document the soul of punk rock in Birmingham.

The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

 The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

 The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

 The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

 The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

For more on The Bronx, visit www.thebronxxx.com

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Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

Ming City Rockers – supporting The Bronx @ Mama Roux’s 17.01.18 / Aatish Ramchurn – Birmingham Review

For more on Ming City Rockers, visit www.mingcityrockers.co.uk

For more on Mama Roux’s, Birmingham, including full events listings, visit www.facebook.com/mamarouxs

For more on Surprise You’re Dead! Music, visit www.surpriseyouredeadmusic.co.uk

BREVIEW: Andy Zaltzman @ The Glee Club (B’ham) 19.01.17

Andy Zaltzman @ The Glee Club (B’ham) 19.01.17

Words by Helen Knott

Andy Zaltzman is perhaps best known for his political podcast The Bugle, which he originally presented with Brummie comedian John Oliver, before Oliver (as Zaltzman jokes, “the notorious Birmingham traitor”) moved to America to present the satirical talkshow Last Week Tonight on HBO.

Indeed tonight’s show, Satirist for Hire, has the air of an off-the-cuff, topical podcast. There’s no co-presenter, so instead Zaltzman bounces off the audience with the show based on our suggestions of topics that we would like to be satirised. It’s a clever way of creating a relaxed, friendly atmosphere, with the crowd in the packed and stuffy Glee Club studio space – comfortable enough to join Zaltzman in the spotlight, as they make suggestions and talk about their interests.

This does mean that Zaltzman isn’t always the one with the funniest lines, however. The biggest laugh of the night comes when Zaltzman, tongue in cheek of course, asks the audience if there is any way at all that America is better than Britain. Someone shouts out, “America has John Oliver”. Ouch. But Zaltzman is a humble and generous enough performer to not let this faze him – hecklers are gently chided, rather than brutally put down.

It’s also almost inevitable that, when the premise is that the jokes are based on issues suggested by the audience, the resulting show is going to be patchy and disjointed. No matter how good a comedian is, there are always going to be some subjects that they just don’t know enough about. Tonight is a real mixed bag, with suggestions including Donald Trump, Boris Johnson, “standards of driving in Birmingham”, The Ashes, “graduation and despair” (Zaltzman quips, “my favourite Mike Leigh film”) and “the oeuvre of 80s hair metal band Kiss”.

Some of these subjects work better than others. Zaltzman‘s section on Brexit, where he examines some of the reasons people voted the way that they did (“let’s not forget that there were fuckwits on both sides of this”) is really funny. Less successful are attempts to tell jokes about Kiss and Star Wars – two things Zaltzman admits to having little interest in. Jokes about sport, including cricket, football and even snooker, are strong, though sometimes a little niche. After a gag about French nuclear testing gets a lukewarm response, Zaltzman jokes, “this gig’s got everything”.

Zaltzman himself admits that the show is “a bit up and down, not sure I’ve been on the top of my game”. If a comedian is delivering basically the same scripted set for every show, having an off-night isn’t going to have such a big impact as it does in a freer format, like this one. Having said that, not even the pre-prepared sections of the evening completely hit home. Zaltzman ends the set with a twenty-minute section about Trump; the idea is that if he can turn Trump into a cricket fan he will naturally become a better person, as all cricket fans are good people. It’s certainly a novel way of addressing Trump comedically, but it’s much too long and the final punchline just isn’t funny enough.

In essence, this sketch sums up the whole gig. It’s a fun evening, but the show would have benefit from a tighter structure and some sharper gags. Zaltzman’s likeable comedy persona isn’t quite enough to hold things together, resulting in a gig that has its moments, but never reaches the heights of the very best satirical comedy.

Andy Zaltzman – Satirist for Hire

For more on Andy Zaltzman, visit www.andyzaltzman.co.uk

For more from The Glee Club venues, including full event listings and online ticket sales, visit www.glee.co.uk

BREVIEW: Paramore @ Genting Arena 14.01.17

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

 

 

 

Pics by Eleanor Sutcliffe

Hot on the heels of their fifth studio album, After Laughter, Paramore play to a packed crowd at the Genting Arena, with only a handful of tickets left in the Gods of the 15,683 capacity venue. Not bad for a Sunday. Not bad for any day.

Paramore are back in Birmingham for one of only five dates on the UK leg of Tour Three, with support from Philadelphia’s mewithoutYou, before heading across the globe for gigs in Australia, New Zealand and South Asia.

And the line up looks strong, replete with Zac Farro (one of the original members who left the band in 2010) and three additional touring musicians making up the Tour Three ensemble. But an even more palpable strength tonight comes from the crowd.Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

Kicking off, quite literally (as Williams demonstrates her ability to boot you in the face, should she want too) with the first single from their last album – the poignantly penned ‘Hard Times’ – Paramore belt out a set of classic hits from their more rockier albums, alongside a smorgasbord of pop nuggets from After Laughter.

But even whilst delivering their earlier rock fuelled singles such as ‘Ignorance’ and ‘That’s What You Get’, there is a undeniably pop tinge to the Paramore on stage today, something a smattering of the near 16,000 strong crowd might have taken little getting used to.Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review Although some things never change, and by the time one lucky audience member is brought on stage for ‘Misery Business’ the entire arena is joining in and singing along.

Paramore have both a loyal fan base and a chequered history, with the Hayley Williams fronted band changing its line up several times in recent years and steering through some publicly choppy waters. Williams is the one with the record deal, but the arguments over ownership and copyright have spilled off the stage and across the internet since Jeremy Davis first left the band in 2005.

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham ReviewThen there’s their move from rock, to pop rock, to pop, which seems to have been consolidated with Paramore’s latest LP. But the fevour of their fanbase has clearly mitigated any on stage issues or revolving door quabbles, as the energy that fills the Genting Arena tonight stands testament to the songwriting and success Paramore are responsible for.

Plus Hayley Williams is a ferocious front woman, exuding inexhaustible energy as she flits across the stage and talks, with some candour, to the Birmingham crowd. Not least about the “safe little place” she finds on stage.

And it can’t be easy to be in her shoes sometimes (especially whilst head high kicking themselves across a Sunday stage) but Paramore seem as confident as ever tonight – in both their new direction and in the army of fans that will seemingly follow them wherever they lead. Or to the Midlands, at least.

 

 

 

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review Paramore @ Genting Arena 14.01.17 / Eleanor Sutcliffe – Birmingham Review

For more from Paramore, visit www.paramore.net 

For more from mewithoutYou, visit www.mewithoutyou.com 

For more on the Genting Arena, venue details and further event listings, visit www.gentingarena.co.uk

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