BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18

BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18 / Karl Andre Photography

Words by Lucy Mounfield / Production shots by Karl Andre Photography

On reading the tag line for Pilot Theatre’s Brighton Rock on the Birmingham REP’s website I was a little apprehensive:

Romeo & Juliet meets Peaky Blinders in this gripping tale of crime and romance.’

Comparing Peaky Blinders with Brighton Rock misses the point somewhat; based on real gang violence that gripped Birmingham during the early 1900s, the BBC series takes real life events and dramatises them for an entertainment-hungry audience. As Greene stated, Brighton Rock started out as a “simple detective story”, but developed into a “discussion, too obvious and open for a novel, of the distinction between good and evil, and right and wrong and the mystery of the ‘appalling strangeness of the mercy of God’”.

For me, Greene’s Brighton Rock is a psychologically-complex and dark musing on the effects of upbringing, social change, violence-as-protection, and how far the belief in damnation can sustain a life of grotesque crime. So, prior to watching Bryony Lavery’s adaptation, I was concerned that the production would lack depth and eschew Greene’s problematic juxtaposition of the ethical and atheistic morality with Catholic dogma.

BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18 / Karl Andre PhotographyHowever, Lavery’s interpretation manages to untangle complex ideas that often bogged down Greene’s work. The themes, all concerning the root causes of evil, are delicately balanced to focus on psychological damage as a product of social conditioning and, most interestingly, the pre-conditioned religious understanding of good versus evil and heaven and hell. Pilot Theatre’s production of Brighton Rock is as multi-layered and complex as I had could have hoped for.

The opening scene brings together all the elements of the piece. We are introduced to Ida (Gloria Onitiri), who lives a hedonistic lifestyle in the pubs of Brighton, as she meets Fred (Marc Graham) who is being pursued by Pinkie’s (Jacob James Bestwick) gang.

The live, percussive, musical accompaniment conveys a sense of terror as the unfortunate Fred is stalked by Pinkie, a mood that is intensified by the jagged flashes of lighting and the choreographed ensemble. Graham slides across the stage in panicked frenzy,BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18 / Karl Andre Photography the choreography clicking to the rhythm of the drums which create the sound of a scared heartbeat. The live music is electrifying; the synth pulses throughout, suggestive of the frightening tight-rope line between good and evil that Pinkie and his gang are treading. This sets off the main events of the story, as Ida pursues justice for Fred and Pinkie desperately tries to remain in control.

Protruding from the back of the set is the battered and rusted remains of Brighton’s West Pier, which since the 1980s has fallen into disrepair, with most of the structure lost to the sea. The stage is innovatively used throughout, but most effectively during the chase for Fred. It acts as pier, seafront, guest house, the gang’s hideout, and the Cosmopolitan Hotel. Sara Perks has designed a fantastic homage to Brighton and its bawdy seaside past; the set works well as a metaphor for the decaying morals of Pinkie and his gang, as well as being evocatively suggestive of the future that ultimately befalls Pinkie.

BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18 / Karl Andre PhotographyPinkie becomes embroiled in a relationship with Rose (Sarah Middleton), a naive waitress a year younger than him, initially in order to silence her when she witnesses evidence of the night of Fred’s murder. To maintain both her silence and love for him, Pinkie marries Rose in a sham wedding, bribing her parents with money to sign the consent form.

The evening of the wedding is a grotesque depiction of hatred; Rose asks Pinkie for a record of his voice and in a fit of madness he spits out a series of vitriolic statements. The consummation of their marriage shows Pinkie tussling with his emotions – anger, fear of sex, and loathing of the female body – while upholding his duty as gang leader and man. They both balance on a scaffold ladder that is twirled around by demons in black; their fight becomes a dance and they succumb to each other in a whirl of madness.

BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18 / Karl Andre PhotographyPinkie might have a Peaky Blinders buzz cut, but he is far removed from the world of Brummie gangs and international gun running. Having installed himself at the top of his tiny seaside gang through viciousness and cunning, he is constantly struggling to assert his dominance yet haunted by the fragility of his position. He has something to prove, and his escalating attempts to control the fallout from a murder drive the story along.

Pinkie is preoccupied with his eternal damnation, which he avoids through reference to repentance before death; he behaves as if everything is permitted, and it is precisely his belief in damnation (and his disavowal of it) that allows him to do so. This all comes out in his performance, prowling around the stage and crackling with nervous energy. His exaggerated body language and twitchy head movements perfectly hints at his unpredictability and youth. Sara Perks’s costume for Pinkie is tailored and slim fitting, the jacket slightly too small in order to emphasises his sleight and teenage frame.

BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18 / Karl Andre PhotographyThe cast are fantastic, each character is defined and clearly identifiable. Angela Bain is particularly good as Spicer, the older mob member whose poor memory and silly mistakes provoke Pinkie to have them killed. This moment at the racecourse is chilling and acts effectively as the beginning of Pinkie’s downward psychological spiral.

For me though, Onitiri’s performance as Ida is sublime and steals the limelight away from the brooding and erratic Pinkie. Throughout the play, Onitiri maintains the energy and exuberance that makes Ida so lovable and relatable.

BREVIEW: Brighton Rock @ Birmingham REP until 14.04.18 / Karl Andre PhotographyEven during the second half, when the pace dropped considerably and the length of the piece started to bog down the energy of the cast, Onitiri managed to keep my attention fixed. Ida is the perfect foil for both Pinkie and Greene’s religious symbolism; her belief in right and wrong is driven by her admonishment of the Catholic Church’s prioritisation of the afterlife over human existence. Her singing is soulful, and during the last sequence after Pinkie has drowned in the sea, and Rose is left pregnant and forgotten, her final monologue about death is truly heart-breaking.

Bryony Lavery and Pilot Theatre’s adaptation of Brighton Rock is a well-balanced piece, perfectly acted and staged, and one I will go back to watch again and again. If this is Esther Richardson’s first major production for the York based theatre company, then I am excited to see what else she has up her sleeve.

Brighton Rock runs at the Birmingham REP until to Saturday 14th April. For direct show information, including venue details and online ticket sales, visit www.birmingham-rep.co.uk/whats-on/brighton-rock

For more on Pilot Theatre, visit www.pilot-theatre.com 

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

BPREVIEW: Brighton Rock @ Birmingham REP 10-14.04.18

BPREVIEW: Brighton Rock @ Birmingham REP 10-14.04.18

Words by Lucy Mounfield / Production shots by Karl Andre Photography

From Tuesday 10th to Saturday 14th April, the REP’s main stage will host Bryony Lavery’s acclaimed adaptation of Graham Greene’s classic novel Brighton Rock.

Co-produced by Pilot Theatre and York Theatre Royal, Lavery’s adaptation is directed by Pilot Theatre’s artistic director Esther Richardson. Hannah Peel has composed music for the new production, with her compositions performed by Laura Groves live on stage during the UK tour.

Evening performances at the REP will be held daily from 7:30pm, except on Tuesday 9th April when the show is scheduled for 7pm. Matinee performances will also be held from 2pm on Thursday 12th and Saturday 14th April. Tickets are priced £15, with seats available at the weekday matinee from £10 – for direct show information, including venue details and online ticket sales, click here.BPREVIEW: Brighton Rock @ Birmingham REP 10-14.04.18

This new production re-tells Greene’s classic noir thriller; published in 1938, this eighty-year-old novel is being staged for a new audience, many of whom will not remember this period prior to the second world war. However, many more may be familiar with the two film adaptations of Brighton Rock – the 1948 classic starring Richard Attenborough as the main character Pinkie, and the underwhelming 2010 release with Sam Riley as the male lead.

The story revolves around antihero, Pinkie Brown, the sociopathic teenage leader of a Brighton gang. Fellow mob member, Charles Hale, is murdered for his betrayal of the gang and whilst being pursued meets a local woman, Ida Arnold, to whom he confides his fears. After Hale is found dead Ida takes it upon herself to find his murderer, which ultimately leads her into the heart of Brighton’s seedy criminal dark side.

Although ostensibly a noir thriller of the sort so fashionable in the 1930s, Greene’s novel has stood the test of time with its darker and more cerebral themes that deal with the Roman Catholic Church and their doctrine of sin. Having read Brighton Rock a few years ago, I must admit I found it heavy going. However, the visual evocation in the 1948 film was easier to follow and cut through Greene’s dense prose and religious symbolism;BPREVIEW: Brighton Rock @ Birmingham REP 10-14.04.18 it will be interesting to see how Lavery and Pilot Theatre tackle this literary classic when bringing it to the stage.

Prior to debuting Brighton Rock at the York Theatre Royal in March this year, Pilot Theatre have produced numerous applauded productions both in the UK and internationally. They are also active participants in their home community of York, producing insightful and locally inspired productions such as 18 and The Railway Kin – the latter an interactive digital walk with accompanying audio and a map to guide the participant’s journey to the National Railway Museum in York.

Using new technology and innovative staging, it will also be interesting to see how Pilot Theatre immerse the audience into 1930s Brighton – something of a far cry from the vibrant and open atmosphere of the modern-day seaside town.

Brighton Rock – Theatrical Trailer

Brighton Rock runs at the Birmingham REP from Tuesday 9th to Saturday 14th April. For direct show information, including venue details and online ticket sales, visit www.birmingham-rep.co.uk/whats-on/brighton-rock

For more on Pilot Theatre, visit www.pilot-theatre.com

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

BREVIEW: BenDeLaCrème @ The Glee Club (B’ham) 29.03.18

BenDeLaCrème @ The Glee Club (B’ham) 29.03.18

Words & illustrations by Emily Doyle

The Glee Club is dark and full when compère Alfie Ordinary appears on stage. Some might recognise his pageboy haircut and Twiggy-esque makeup from a certain car advert. He’s not here to sell you a reasonably priced three-door hatchback tonight; Ordinary is hosting the evening on behalf of Eat Sleep Drag Repeat, and doing so with bells on.

Styling himself as a ‘drag prince’, he skips across the stage welcoming the crowd. Clad in a bedazzled suit jacket and shorts, he seems to be wearing as much glitter as is physically possible as he welcomes the acts to the stage. That is until he returns after the interval – kicking off the second half of the show with a sing-a-long rendition of ‘Any Dream Will Do’, Ordinary is resplendent in his very own technicolour dreamcoat.

Birmingham drag performer Paul Aleksandr is there to represent the local scene. One quarter of our city’s Dragpunk Collective, Aleksandr describes himself as a clubkid and genderfucker with “a slight Slenderman vibe”. That vibe is clear from his performance tonight. Appearing on stage in one if his now trademark creations of body paint and butchered cuddly toys, Aleksandr performs a perfectly urgent lip sync to ‘I’m Late’ from Disney’s Alice in Wonderland. The forlorn-looking stuffed rabbit on his headpiece flops its ears as he gesticulates.

Eva Serration was a late addition to the line-up tonight, travelling down from Manchester to join the ESDR party. Her drag takes pop culture and cinematic tropes and weaves them into political, avant-garde drag. She cuts Lady Gaga’s mariachi tinged protest song ‘Americano’ with soundbites from Donald Trump, and proceeds to demolish a makeshift wall with a golf club.

Throughout the night we see her best Miley Cyrus, complete with a wig reveal homage to Sasha Velours’ iconic ‘So Emotional’ performance, and a fond nod to Tarantino’s bloodthirsty schoolgirl Gogo Yubari. While Serration’s drag isn’t the most polished of the night, her performance is innovative – and who at a drag show is going to complain about a bit of Trump bashing?

Lydia L’Scabies proves “the bigger the hair, the better the queen” with her inspired routine to ‘Big Spender’. The University of Brighton Performance Art graduate (where did you think drag queens came from?) gives the best comedic turn of the night with her jarring performance. Don’t let anybody tell you that lip syncing Shirley Bassey can’t be original.

A heartfelt performance of ‘Jessie’s Song’ from Toy Story 2 while dressed as a “personal massager” makes up her second turn. L’Scabies execution is bold and theatrical, but the joke is arguably played out before the song is over.

Of course, the crowd is here to see BenDeLaCrème; following her controversial departure from Ru Paul’s Drag Race All Stars Season 3, DeLa has been the subject of much discussion. Fellow competitors sarcastically dubbed the queen “BenDeLaChrist” after she ducked out of the competition early, keeping her ‘terminally delightful’ reputation intact and telling Ru Paul “I feel like a winner”. A group of fans online have taken her departure as a personal slight against them. BenDeLaCrème has something to say about this.

The opening bars of ‘Jesus Christ Superstar’ fill The Glee Club. In a pure white robe, DeLa makes her first appearance on stage. She takes the mic and launches into a smarting takedown of the viewer response to the series.

She performs an original song on the subject live – later revealing that she wrote it especially for this UK tour – as familiar voice samples from the TV show play throughout. DeLa produces a golden crown of thorns and shrugs off her robe to reveal a bodysuit sequined to represent the wounds of the crucifixion. She poses, and the track finishes. When the applause subsides, she wishes the crowd a happy Easter.

The rest of the show sees BenDeLaCrème charm the crowd with her trademark persona. She coaxes audience members through a lip sync and performs a fan favourite from the TV show, her burlesque comedy routine. For the unacquainted, this involves DeLa removing bra after bra, revealing increasingly ludicrous nipple tassles. It’s a crowdpleaser, although it doesn’t have the same impact as her original material.

The next day, I caught up with performer Paul Aleksandr to get his take on the evening:

“I really loved how full a show it was, and how it flowed so well – Birmingham hasn’t had that many shows like that before so it’s a wonderful new standard. 

I love how self aware DeLa is. She talked about drag, the politics of it, her leaving (RuPaul Drag Race All Stars), with humour and a real knowledge of what fans think and do. She is there, like Sasha Velour is known for, with a message of inclusivity and diversity for LGBTQ people. And she came to The Nightingale After-Party, despite a busy schedule, and witnessed the best of Birmingham’s young and old queer folk on what was the club’s busiest night of the year.” 

For more on BenDeLaCrème, visit www.bendelacreme.com 

For more on Paul Aleksander, visit www.instagram.com/paul_aleksandr 

For more on Alfie Ordinary, visit www.alfieordinary.com

For more on Lydia L’Scabies, visit www.instagram.com/lydialscabies 

For more on Eva Serration, visit www.instagram.com/evaserration

For more from Eat Sleep Drag Repeat, visit www.esdrevents.co.uk

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

BPREVIEW: BenDeLaCrème @ The Glee Club (B’ham) 29.03.18

BenDeLaCrème @ The Glee Club (B’ham) 29.03.18

Words by Emily Doyle

In the wake of the scandalous third series of Ru Paul’s Drag Race All Stars, the ‘terminally delightful’ BenDeLaCrème is packing up her wigs and hitting the road – coming to The Glee Club in Birmingham on Thursday 29th March.

Door open at The Glee Club from 6:30pm to 7:30pm, with the show scheduled to start at 8pm (please note, latecomers will not be admitted). Minimum age of entry is 14, with under 16s needing adult accompaniment. Tickets for all ages are priced at £20 plus a booking fee – as presented by Eat Sleep Drag Repeat. For direct show information, including venue details and online ticket sales, click here.

Known for her upbeat, comedic drag and 1950’s inspired looks, BenDeLaCrème was voted ‘Miss Congeniality’ in Season 6 of Ru Paul’s cult TV show. Now a Birmingham audience can spend the evening with her (…at The Glee Club) in a show hosted by the self-styled ‘drag prince’ Alfie Ordinary, who will be coming up from Brighton to spread some bedazzled cheer.

Fresh from winning Pick of the Fringe at the Adelaide Fringe festival, with his show Help! I Think I Might Be Fabulous, Ordinary promises to deliver hosting that will be anything but. Also visiting from Brighton is Lydia L’Scabies; with a look created by people watching at her local nightclubs, L’Scabies describes herself as ‘dim, sweet, and a mite-ridden skank.’

A key player in Birmingham’s Dragpunk collective, Paul Aleksandr will be also bringing a touch of the macabre to the proceedings. Aleksandr uses his genderfuck jester persona to ‘inject some needed queerness into LGBTQ culture and society’; combining body paint, cuddly toys, and nails to rival Edward Scissorhands, his theatrical style explores new frontiers in contemporary drag and gender politics.

When reached for comment, Aleksandr had the following to say: “I’m looking forward to a showcase of modern drag culminating in BenDeLaCrème, in a venue that’s proving to be a popular choice. Eat Sleep Drag Repeat are really lovely and professional which is refreshing, and want to deliver some variety and excitement to the support acts and final show.”

BenDeLaCrème also sees drag as a tool for examining issues of gender and sexuality, albeit taking a very different approach to Aleksandr. DeLa considers drag an ‘an inherently political act’, one that she carries out with charm, delight, and an array of 1950s pin up costumes.

Over her decade long career, BenDeLaCrème has toured the world with three critically acclaimed solo shows, alongside appearing in two series of the crossover TV hit Ru Paul’s Drag Race. Now at the centre of one of the shows most shocking moments to date (no spoilers here) DeLa shows no signs of slowing down. Catch her in The Glee Club’s 420 capacity main room while you still can.

BenDeLaCrème comes to The Glee Club (B’ham) on Thursday 29th March, joined on stage by Alfie Ordinary, Lydia L’Scabies and Paul Aleksander – as presented by Eat Sleep Drag Repeat. For direct show information, including venue details and online ticket sales, visit www.glee.co.uk/performer/bendelacreme

For more on BenDeLaCrème, visit www.bendelacreme.com

For more on Alfie Ordinary, visit www.alfieordinary.com

For more on Lydia L’Scabies, visit www.instagram.com/lydialscabies 

For more on Paul Aleksandr, visit www.instagram.com/paul_aleksandr

For more from Eat Sleep Drag Repeat, visit www.esdrevents.co.uk

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

THE GALLERY: Don Broco @ O2 Academy 15.02.18

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

 

 

 

Words & pics by Eleanor Sutcliffe

First up at the O2 Academy tonight are Yonaka, who set the bar high for the evening ahead. Their set is simply flawless, with the Brighton based four piece delivering an eclectic mix of fiery vocals and hip-hop beats.

Singer, Theresa Jarvis, weaves her way across the stage in sky high platform black heels, as she belts out tracks from their Heavy EP – including ‘Gods and Lovers’ and ‘Run’. However it was their new track, ‘Fucking with the Boss’, that I find myself humming on the way home. Yonaka’s music is the perfect mix of heavy riffs, thunderous drums and tough vocals that will worm its way into your brain for weeks to come.

Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham ReviewNext in support tonight is Man with a Mission, who stroll onto stage donning matching wolf masks before launching into their track ‘Emotions’. Lead singer, Tokyo Tanaka, flings himself back and forth across the O2 Academy to upbeat tracks such as ‘DANCE EVERYBODY’ and ‘Dead End in Tokyo’, before a very risky but ultimately successful cover of Nirvana’s ‘Smells Like Teen Spirit’. Brave boys. Or wolves. Or space cadets, or whatever is actually under there.Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Then it’s time for the ‘big show’…. The last time I saw Don Broco was across town at the O2 Institute 2, where the room physically shook from fans bouncing around in time to a pretty full on performance from the Bedford four piece. Magnify that feeling by ten, and that’s what tonight is like. Don Broco confidently steal the already quite valuable evening with an energetic, euphoric performance – one that quite simply blows most other live shows I’ve recently witnessed clean out of the water.

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham ReviewDebuting the tracks off their latest album, Technology, it’s clear Don Broco’s most recent release had gone down a treat with fans. Grimy tracks such as ‘Pretty’ and ‘Porkies’ result in the center of the O2 Academy’s main room morphing into a surging mass of bodies, as fans are catapulted into the arms of security. But it wasn’t just a walk through the Technology track list, as the band treat the fervent fans at their feet to a varied setlist that includes songs from as far back as ‘Priorities’ to the crowd favourite ‘Thug Workout’the latter of which results in me being dragged into the mosh pit. Fighting my way through a throng of sweaty bodies back to safety, I decide to brave the rest of the set from the sanctity of the balcony.

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham ReviewBut watching from above, it is clear to see why exactly Don Broco have managed to climb their ladder to success. Outside of an absurdly strong back and current catalogue (Technology‘s a good ‘un) their crowd interaction is top notch, with singer Rob Damiani checking in regularly to ensure everyone is surviving in the thriving circle pits forming across the room. At Birmingham Review we are asked to look for a counterpoint, to pick out the pros and cons of the evening and give a balanced report from every gig we cover. But sometimes it’s just not possible. Try as I might, I can’t pick a single fault in Don Broco’s performance tonight.

So suck it objectivity, you’re getting moshed aside for a bit of performance perfection. It’s got to happen sometime. And having seen Don Broco for the first time back in 2015, playing at the Cardiff Student Union as part of their Automatic tour, it’s heartwarming to watch a band go from such strength to strength.

 

 

 

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

For more on Don Broco, visit www.donbroco.com

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Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Man with a Mission – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

For more on Man with a Mission, visit www.mwamjapan.info

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Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review 

Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

Yonaka – supporting Don Broco @ O2 Academy 15.02.18 / Eleanor Sutcliffe – Birmingham Review

For more on Yonaka, visit www.weareyonaka.com

For from Kilimanjaro Live, visit www.kilimanjarolive.co.uk

For more from the O2 Academy (Birmingham), including full event listings and online ticket sales, visit www.academymusicgroup.com/o2academybirmingham