THE GALLERY: The Sunset Beach Hut @ Mama Roux’s 21.12.17

The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

 

 

 

Words & pics by Aatish Ramchurn

There’s something of a relaxed atmosphere on this mild, winter solstice night in Birmingham, which sets the tone for my final visit of 2017 to Mama Roux’s.

In the past year I have become well acquainted with this homely, decorated venue, and experienced a variety of gigs here. Some were sold out and I could barely move; with others I had more freedom to roam around.

Tonight’s gig is the latter. So much so, I believe it is quietest I have ever seen Mama Roux’s. You’d have thought that a headline gig from Shrewsbury’s The Sunset Beach Hut with some local luminaries in support – as presented by Sonic Gun Concerts – would be a little more full of festive cheer. But I guess you can’t expect too much of a crowd for a line up of emerging bands, especially with Christmas Day just around the corner. It seems each act tonight has rely on the support of their friends and family.

Miss World – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham ReviewKicking off proceedings are Miss World, an acoustic duo that make some of us feel a little nostalgic with their stripped-down covers of 90s pop and RnB songs, along with a couple of Christmas songs because, why not? It’s Christmas after all. They’re an extremely talented duo and could well be one to watch out for – especially if they start producing more of their own material, something I’m sure Miss World are more than capable of.

With just a small amount of people watching Miss World, I have a virtually empty floor to roam around and take photos on, that is until Junior Weeb appear on stage. A recorded audio track of ‘Tony the Tiger’ introduces the band with many of their fans and friends now filling up the floor.Junior Weeb – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review This leaves me doing my usual crouching at the front, but the floor isn’t so busy that I have worry about me being in anybody’s way, and neither is anyone really in mine. I think crouching at the front of stage is something I’m so accustomed to it’s become of a photographic habit.

I remember seeing Junior Weeb over a year ago at The Rainbow, supporting Muncie Girls. Back then their style was a little more shoegaze, but they are a different band tonight. Much more of their set is filled with funky numbers and groovy baselines, so it is virtually impossible not to dance.

Quinn – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham ReviewBut as Junior Weeb leave the stage, so does their audience. The venue is now virtually empty again and I’m wondering what’s left for Quinn when they show up next. Turns out, they have their very own audience too. I’m not even sure where some of these people were before; I’ve been here almost two hours, and throughout that time I’ve not seen any of these faces. Maybe Quinn’s frontman, Sam Lambeth, made them magically appear somehow.

Quinn’s sound is very reminiscent of early 90s indie, with Lambeth vibrant on stage. After performing tracks from their debut EP, Seems FineThe Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham ReviewQuinn end their set keeping to Christmas tradition with a cover of ‘Do They Know It’s Christmas Time’.

As with Junior Weeb earlier, Quinn’s audience exit the room as the band do – leaving a barely there audience for The Sunset Beach Hut to perform in front of. I admire the headliner’s spirit to still play with passion, despite the lack of people, especially after having to travel from Shrewsbury.

It’s a shame that people don’t stick around to check out other bands who aren’t their friends, but such is the way, I guess. Although, an emptier floor does mean easier pictures for me to take.

Overall, it was great to see The Sunset Beach Hut tonight – performing alongside other young, talented acts emerging from the West Midlands. I hope they all gain more support as they and grow in 2018.

 

 

 

The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

For more on The Sunset Beach Hut, visit www.thesunsetbeachhut.wixsite.com/sunsetbeachhut

________

Quinn – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Quinn – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Quinn – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Quinn – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

For more on Quinn, visit www.soundcloud.com/quinn

________

Junior Weeb – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Junior Weeb – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Junior Weeb – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review Junior Weeb – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

For more on Junior Weeb, visit www.soundcloud.com/juniorweeb

________

Miss World – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Miss World – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Miss World – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham Review

Miss World – supporting The Sunset Beach Hut @ Mama Roux’s 21.12.17 / Aatish Ramchurn – Birmingham ReviewFor more on Miss World, visit www.facebook.com/misswworldband

For more from Sonic Gun Concerts, visit www.facebook.com/sonicgunconcerts

For more from Mama Roux’s, including full event listings and online ticket sales, visit www.facebook.com/mamarouxs

BREVIEW: Dots & Loops #5 @ Rose Villa Tavern 19.12.17

Dots & Loops #5 @ The Rose Villa Tavern 19.12.17

Words by Ashleigh Goodwin 

It’s a Tuesday night, and a small crowd packs into the upstairs room of The Rose Villa Tavern in the Jewellery Quarter. A mismatched array of chairs fills most of the space, as well as a projector that hangs from the ceiling… and I am confused.

Director and animator Louis Hudson, alongside writer and producer Ian Ravenscroft, stand before the crowd and explain that they will be showing a mix of their own collaborations, along with shorts that have inspired and influenced their work. The duo make up Dice Productions – a company that boasts an extensive and award-winning body of work, with their comedy shorts and animations appearing on Nickelodeon (DuckManBoy), Channel 4 (Gregory is a Dancer) and the BBC.

The premise is simple enough and this is not what causes my confusion, but rather the eclectic content. The evening opens with Dice Production’s catalyst, Message in a Bottle (2009) – a one minute animated short based on a drawing that Hudson created when he was around sixteen. This, along with the next couple of shorts, did nothing to aid my journey of understanding. The confusion grew to bewilderment, as my brain struggled to catch up and make sense of what I was (admittedly, excitedly) watching.

I carried this dilemma with me until the fifth piece, entitled All Consuming Love (Man in a Cat), a nine-minute short, unsurprisingly about a little man named Yorkie (voiced by Kevin Eldon) navigating life stuck in the body of a household cat. At this point, I realised that I had to shove any preconceived notions aside. Usually when watching something I need time to process my thoughts, to establish an explanation before moving on. However, the format of the evening – showing shorts one after another in quick succession – just does not permit this. So, after battling with myself I surrender to the ‘just-go-with-it’ mentality, which is the point and made for an extremely entertaining evening.

Although all of the shorts’ comedy is uncontainable and indescribable, the first section is darker and more twisted, including Who I Am And What I Want (2005 – directed by Chris Shepherd and David Shirgley) and Myszochujek (2014 – directed by Kristof Babaski). Part two features assorted clips, starring Morecambe and Wise, Reeves and Mortimer and the cast of The Fast Show – creators who took a medium and distorted it to work against its predetermined rules. This is reflected in The Christmas Card (1968 – directed by Terry Gilliam), which played with the repetition of TV and its traditional conventions long before they were established, allowing a comedy format to be created; a short ahead of its time.

Rejected (2000 – directed by Don Hertzfeldt), is also in this section and demonstrates the deeper, more emotional side of comedic shorts. Rejected is a fictional frame story, where Hertzfeldt is commissioned to animate different commercial and television network segments, all of which are ultimately met with rejection. His characters run amuck, and when the intertitle states that the animator has suffered a mental breakdown his work begins to fall in on itself whilst he kills his characters. This could be described as black comedy at a glance, but once you explore the serious implications it demonstrates how much effort, time and dedication go into these works.

The final section of the evening focuses on a more child-friendly narrative, comprising of clips from children’s shows such as Danger Mouse (1982), Brillso Brothers (2008) and Hudson and Ravenscroft’s own work, DuckManBoy (2015). Despite the child-like qualities of these works, they still contain absurdities. I have seen a handful of these clips before, but never thought to analyse or breakdown their comedic properties. This is echoed by Ravenscroft, who states that we often don’t think about how much work goes into shorts and may dismiss them as “throwaway comedy”.

A great example of this is the side-splittingly funny Morecambe and Wise: The Breakfast Sketch. Hudson points out that someone will have taken the upmost time and care creating bizarre props, including a bespoke fridge that mimics the lights in a cabaret, all for a short clip.

This is reflected in their own work, Croissant (2015), which Hudson explains took around five months to make, to ensure that everything was in place to land the desired comedic effect. And the short is only two minutes long. He explains this could have been done easily over a weekend using animation, but stresses the importance of picking the correct format to convey comedy – hence the choice of a ‘live’ short, despite the laborious hours. This particular discussion is nothing short of inspiring in itself, really opening my eyes to each clip and making me appreciate how much effort goes into each frame.

My personal highlight of the evening is the segment about English comedian Rik Mayall, who is one of the first comedians I was introduced to growing up. In part two, they show a clip from Bottom (1992) and this preludes Dice’s own work Don’t Fear Death (2013) also starring Mayall as the main voice over, with Ed Bye (director of Red Dwarf 1988-91, 1997-99) as Associate Producer. The duo agree they felt they had successfully captured all sides of Mayall in the three-minute short, released three months before his death. Hearing Hudson and Ravenscroft talk so candidly about the actor, his mannerisms and genuine character, is uplifting and makes the short so much more enjoyable.

As well as feeling inspired, I come away from Dots & Loops #5 feeling educated by Louis Hudson and Ian Ravenscroft’s reflective, personal knowledge of the clips and the comedy world in general. For example, the Dice Production duo’s discussion of how repetition in comedy affects its audience is perfectly demonstrated through the four-minute Lesley the Pony Has an A+ Day! (2014). And their thoughts on the changing landscape of comedy shorts is fascinating; Ravenscroft explains that the third clip shown, A Heap of Trouble (2001 – directed by Steven Sullivan), was commissioned and aired on Channel 4 but suggested that today it wouldn’t fit a late-night slot, although may achieve millions of hits online. They discuss the changes in YouTube algorithms which make it harder to find new and inspiring content, raising interesting questions regarding the changes in formats and mediums in which comedy shorts operate and are distributed.

So, in an attempt to summarise the immensely enjoyable and eye-opening event… I was expecting to passively observe the shorts shown, as I felt I wouldn’t be able to appreciate them individually in such a short time. However, once I had wrapped my head around the unrelated narratives, it was an interesting event to be part of for many reasons – I learnt something new, was exposed to new content, and felt the importance of creativity reaffirmed.

Dots & Loops’ fifth edition also demonstrated that whilst there are absurdities and idiosyncrasies, no work is completely original; you will be able to relate it to something prior or see where the artist’s influence has come from. It also showed how genres develop and modify over time, adjusting to modern factors.

Shows like Bottom may look dated these days, but you can still break down work to see what it is that makes it entertaining. It’s then up to artists to take and develop this into something new and exciting that works within their own ideologies. And that’s exactly what Dice Productions does.

All Consuming Love (Man In A Cat) – Dice Productions 

 

For more from Flatpack, including full event listings and project information, visit www.flatpackfestival.org.uk

For more on Dice Productions, visit www.diceproductions.co.uk

For more on The Rose Villa Tavern, visit www.therosevillatavern.co.uk

BREVIEW: Skellig @ The Old Joint Stock – until 30.12.17

Words by Lucy Mounfield

It’s nearly Christmas, but the recent snow has thawed. I am not particularly feeling the magic and spirit of the holiday season as I make a trip to The Old Joint Stock, to watch resident theatre company Tin Robot’s production of Skellig.

When I reviewed Tin Robot’s last play, The War of the Worlds, I was struck by the inspiring balance between the company’s experimental use of technology and immersive characterisation. These theatrical tropes communicated the dystopian landscape of H.G. Wells’ science fiction well. However, when I heard that Tin Robot were adapting David Almond’s family classic for the Christmas period, I admit I was a little sceptical as to how their distinctive style would convey the warmth and hope of Almond’s story.

From the first moment in the small studio upstairs at The Old Joint Stock, my fears are alleviated. We are greeted by a grotto-like space, with every inch of the ceiling covered in fairy lights. On the back wall are pinned some more lights in the shape of wings. The set is beautiful and evocatively brings to life the magical and mysterious atmosphere of the book.

Underneath the canopy of twinkly lights the cast, which consists of four actors and one musician, play guitars and accordions and dance folk jigs. The group singing feels relaxed and ad hoc, creating the sense that the story is naturally unfolding before us. The jovial atmosphere completely puts me at ease and I immediately know that, whatever happens in the meantime, there will be a happy ending.

The rustic aspect of the play symbolises the sublime nature of landscape. The earthly and otherworldly are balanced through the ambiguous creature, Skellig. Interestingly, Almond named the play and its principal characters after the beautiful Irish island, Skellig Michael. Throughout, the characters of Michael and Nima discuss evolution and the mysteries of nature. As the human story at the centre of the play unfolds, the natural world is constantly alluded to in this way. But this is done subtly; the story is not a heavy-handed allegory – it invites contemplation, but doesn’t force the issue. Such is true of Skellig himself; his true nature is still indeterminate by the end of the story, somewhere between man, bird and angel.

The play follows a young boy called Michael (Danny Hetherington) who with his family moves into a new house where upon he stumbles into an old, ramshackle garage. Coinciding with this, his newly born sister falls ill and her fate is uncertain. The story is brought to life by the cast, who effortlessly flit between roles and re-arrange the set as they go, moving pallet boards, boxes and chairs to set each scene, from a family’s new home, to a school bus, to a derelict garage.

While the lighting and props are minimal they are used to great effect by the cast. Teddy Corbett is transformed from the amicable Dad into the decrepit, arthritic Skellig through simple lighting and a change of voice and physicality. It is completely convincing. Indeed, the set and lighting are very clever. When Skellig is living in the garage, benches are positioned vertically on either side of him with the legs pointing outwards, representing the detritus of the garage. As Michael finds Skellig he uses the light from a small torch to illuminate him. Often Skellig has his hunched back to us and, with the light from the torch, this creates a shadow of his body. The images created by the various shadows give a depth and nuance to the characterisation. With each small movement of the torch the shadow of Skellig’s rugged form gets bigger and envelopes the back wall, forming the shape of a body for the fairy light wings to attach to. This is a fantastic piece of direction, which alludes to Skellig’s mysterious nature and adds layers of wonderment.

As Skellig is transferred to an abandoned house by Michael and his friend Nima (Grace Hussey-Burd) his body becomes more visible. At this point, Skellig, Nima and Michael dance together under one lightbulb until Skellig extends his arthritic body back to the lights on the wall, which suddenly turn on, casting the shape of wings which protrude from his shoulder blades. This is a magical moment that really causes the audience to gasp and smile.

While all members of the cast except for Hetherington perform multiple roles, one is never confused as to who they are – this is aided by the scene transitions and a repertoire of regional accents. Just as Skellig’s wings soar, so too does my imagination. The clever use of lights and shadow enable each audience member to interpret the body and shape of Skellig, immersing us thoroughly into this dramatic world. Heatherington too is superb, as the naïve but inquisitive young Michael; his simple yet extreme mannerisms match the raw and untapped emotion of someone still developing.

The intimate venue and live music immerse us in the play, while clever direction and excellent performances establish the human drama and evoke the themes of the novel. Here the use of the source text in the script feels completely appropriate. I thoroughly enjoyed Tin Robot’s take on The War of the Worlds, but thought it didn’t quite hit the mark in some respects. In contrast, with Skellig the company is firing on all cylinders. Christmas is back on.

Skellig runs the The Old Joint Stock Theatre until 30th December. For direct details, including show times and online ticket sales, visit www.oldjointstock.co.uk/whats-on/skellig 

For more from The Old Joint Stock, visit www.oldjointstock.co.uk 

For more on Tin Robot Theatre, visit www.facebook.com/TinRobotTheatre

BPREVIEW: Sexy Weirdos Xmas Party @ Secret Venue 23.12.17

Sexy Weirdos Xmas Party @ Secret Venue 23.12.17

Damien’s pick… On the 23rd of December at 8pm, the doors will open on an evening of style and substance rarely found in this time of often unchallenged expectation. Not only is it a performance by the striking talent that is Johnny Kowalski and the Sexy Weirdos, but it is the band’s only ‘home’ date on their European English tour and the latest installment in their notorious warehouse parties.

For more on this secret Xmas shindig, including online ticket sales – priced at £6 (adv) and £8 (otd), click here.

Luckily for us, on top of Birmingham Review having supported JKATSW since their first release, through to this current one and no doubt beyond, we also have the pleasure of having Johnny Kowalski himself as part of our contributing staff. As such, who better to introduce this unusual evening than it’s organiser and star performer? I give you; the lesser hatted JK….

Words by Johnny Kowalski

So, it’s nearly Christmas kids. This weekend will see dozens, if not hundreds, of Christmas parties across the city. Some of them will be intimate gatherings in flats or front rooms; some will have celebrity headliners, fireworks and thousands of paying guests. Which begs the question, why come to ours?

Well, I genuinely believe that ours will be the most fun. Or at least, it’s going to be as fun as we can possibly make it. Maybe seeing three of the Midlands’ best underground live acts whilst surrounded by a boisterous cross section of some of the best freaks and vagabonds I’ve ever met isn’t your idea of fun, but I deeply recommend you try it.

First, a word on the venue – the location of which can only be found out via direct contact with the Sexy Weirdos Facebook page. We’re leading you to a specially modified warehouse space that straddles the line between professionally kitted out club and nineties rave space. The reason why we, and other bands, do things like this is despite their best efforts sometimes even the best venues can end up falling flat on atmosphere. Sometimes you need to go off the beaten track to do something special. And our hardcore fans will assure you that you can trust us to deliver.

And so, to the bands. Kidderminster’s The Stiff Joints represent an anomaly to the mainstream scene – a band that has huge grass roots support playing up and down the country to thousands of people every year, yet has zero traction in the music press because they unashamedly embrace ska. If you come to see them, you will dance. You will smile. You will sing along to songs you’ve only just heard. This is all you need to know so make sure you’re there early to see their set, or risk looking like a massive tit.

Bedrock Bullets provided one of my favourite moments at a gig this year when one of their sets in Kings Heath ended with a double bass being thrown around the stage. At one point I thought the guy was actually going to throw his double bass at the audience. At a time in music when the words ‘rock and roll’ seem to be associated with timid, uptight people, this behaviour filled me with joyous wonder. Every great rock and roll band needs a great front person and Bedrock Bullets have theirs in the charming and talented Julie Bedwell.

And then there’s us – Johnny Kowalski and the Sexy Weirdos, playing a mix of traditional numbers and a host of original songs drawn from our three album back catalogue. There will, of course, be something of an emphasis on tracks from our latest release, European English. If you haven’t seen us before, expect a wide palette of high octane grooves, manic fiddle lines, a demented peacock of a singer who alternates between yelling and trying to sing, and a bass player that seems to be trapped in a Wurzel Gummidge version of Iron Maiden. Oh, and a closing medley that segues Steppenwolf, Hendrix, Boney M and even ‘Ride of the Valkyries’.

Closing the night are DJ Tenov, seen this year at Bearded Theory and Horsedrawn, and local legend DJ Christie. Both have been given a loose brief to play disco but will almost certainly drift off into other genres as the dawn approaches.

Or you could just go to Wetherspoons with the people from work. The choice is yours.

‘Megahorse’ – Johnny Kowalski & the Sexy Weirdos (taken from European English)

Johnny Kowalski and the Sexy Weirdos host their Xmas Party as a secret location on Saturday 23rd December. For more on the event, including online ticket sales, click here

For more on Johnny Kowalski and the Sexy Weirdos, visit www.sexyweirdos.co.uk

For more on The Stiff Joints, visit www.thestiffjoints.co.uk

For more on Bedrock Bullets, visit www.facebook.com/Bedrock-Bullets

BPREVIEW: The Sunset Beach Hut @ Mama Roux’s 21.12.17

Words by  Aatish Ramchurn

On Thursday 21st December, Sonic Gun Concerts present indie/pop act The Sunset Beach Hut at Mama Roux’s in Digbeth, with support from Quinn, Junior Weeb and Miss World. Doors open from 7pm, with tickets priced at £6.60 (inc bf) – for direct gig info and links to online ticket sales, click here.

Sonic Gun Concerts showcase their penultimate gig of 2017 with The Sunset Beach Hut headlining an evening of emerging talent within the West Midlands indie/alternative scene.

Starting the evening will be acoustic duo, Miss World. Having made their online debut in September this year Miss World are the night’s new kids on the block, albeit one who have already had a headline performance at the O2 Institute in October. With the promise of a mix of their own material and “classic bangers”, it will be interesting to see what has so quickly captured the interest of local promoters.

Next up are Junior Weeb, an indie/alternative quartet from Droitwich who have previously shared stages with Muncie Girls and The Americas, as well as being part of the line up at this year’s Worcester Music Festival. Junior Weeb were also in Baddies Boogie Top 20 Tracks of 2016, playing as the headlining act for the local indie promoter’s 2nd Magic Garden Records Night at the O2 Institute 3. So, a busy 18 months then. And with the promise of new material being recorded, Junior Weeb are likely to have a few fresh songs to add into their now seasoned set and should be an exciting addition to the lineup.

Described in our Birmingham Review of their September gig with Semantics as looking ‘like a fresher’s party at five in the morning’ but ‘with languid melodies disguised by fast paced distortion and an unashamed rock outlook on life’, the main support comes from Quinn – who will performing tracks from their debut EP, Seems Fine. Gaining acclaim with their ‘superstar in the making’ frontman Sam Lambeth, Quinn are band that offer a show that ‘sparkles from head to toe’ so let’s see how they shine on 21st December.

Having spent 2017 billed in The Catapult Club lineups, and supporting La Dharma at The Flapper in August, Benjamin Thomas, Aphra Smith and Matty George – otherwise known as The Sunset Beach Hut – are our headliners, with their unique blend of lo-fi, indie/pop.

It’s been a steady year for the Shrewsbury based trio, focusing on new material and recording with a few performances keeping their live set polished – a move that seems to be paying off as the band move from support to headliner, as well as recently having BBC Introducing airplay.

The Sunset Beach Hut come across as a band that are dedicated but cautious and it will be interesting to see how much they ‘let go’ in a live setting. Although, personally, I’m also hoping to establish if their name is a reference to the surreal 90’s US soap opera. Guess we’ll find out at Mama Roux’s.

On Thursday 21st December, Sonic Gun Concerts present The Sunset Beach Hut at Mama Roux – with support from Miss World, Junior Weeb, Quinn. For direct event info and links to online ticket sales, click here.

For more from The Sunset Beach Hut, visit www.thesunsetbeachhut.wixsite.com/sunsetbeachhut 

For more from Quinn, visit www.facebook.com/quinnrocks

For more from Junior Weeb, visit www.soundcloud.com/juniorweeb

For more from Miss World, visit www.facebook.com/misswworldband

For more on Mama Roux’s, venue details and further event listings, visit www.facebook.com/mamarouxs

For more from Sonic Gun Concerts, visit www.facebook.com/sonicgunconcerts