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March 4, 2018March 4, 2018

ED’S PICK: March ‘18

Words by Ed King

**Due to the severe weather conditions, some March editorial may be delayed. It has nothing to do with 1) hangovers, 2) gigs on a Sunday that cause hangovers, 3) each episode of The Deuce being 1hr long. It’s the snow… it’s all about the snow**

The BIG NEWS this month is that Rews are coming back to Birmingham, finishing of their England tour with a special gig at the Hare & Hounds on Thursday 22^nd March – joined by an awesome local line up, Tamworth’s garage rock two piece You Dirty Blue and Birmingham’s rising balloon punksters P.E.T.

Still out smashing holes in radio playlists and the right kind of ear drums across the country, Rews are back on the road (do they ever stop!?!?) with their debut album Pyro – a rock pop stonker which we thoroughly suggest you check out. Read my Birmingham Review of the ten track beast here, or cut out the middle person and just get yourself a copy. You can bill me if you’re unhappy.

But Rews are a step up live. And don’t just take my word for it, ask any of the following: Hew Edwards, Mark Radcliffe, John Kennedy, Scott Mills, Alice Levine, Dev, Greg James, Scott Mills, Clara Amfo, Adele Roberts… (and that’s just the beeb). Or anyone who’s seen them play. Or Google. It’s not a difficult cross reference.

Of course, the best way to know for absolute certainty is to come and see Rews at the Hare & Hounds on 22^nd March – for direct gig info and links to online ticket sales, click here. Or to can hop over to the Facebook event page for updates, info and links aplenty – click here.

WARNING – CONTAINS CIVIC PRIDE: Rews have bolted Birmingham onto their England tour dates because their last gig in the city was such a stormer – Birmingham loves Rews, and it seems there’s a little mutual flutter there too. So, come down to the Hare on 22^nd March, enjoy an awesome gig from Rews, You Dirty Blue and P.E.T, and stand on for your local live music scene. BRUMMIES UNITE.

And breathe…. There are other gigs this month, some pretty high profile shows too. In the land of five figure crowds, the Genting Arena hosts All Time Low (15^th Mar) and the resplendent resurfacing of Paloma Faith (21^st Mar). Whilst at Arena Birmingham we see some of America’s A-Lists rock with Fall Out Boy (27^th Mar) and 30 Seconds to Mars (29^th Mar). So, that’ll keep you busy. And a little broke.

N.B. Paul Weller was scheduled to play at the Genting Arena on 2nd March, but due to the school run slaying beast from the east (erm, the snow) this gig has been postponed. When we know more…

Editors play an ‘intimate’ gig at the Town Hall (4^th Mar) to showcase their new album, Violence. Whilst across town Hookworms headline at the Hare & Hounds (4^th Mar), and across the road Amit Dittani introduces his debut solo album, Santiago, at the Kitchen Garden Café (4^th Mar).

Elsewhere in the city, Ezio return to Birmingham but this time at the Kitchen Garden Cafe (7^th Mar), Astroid Boys tour their debut album, Broke, at The Asylum (1th Mar), Feeder take us on a retrospective love in at the O2 Academy (14^th Mar), Joan Baez celebrates the end of a near 60 year live career as her Fare Thee Well Tour comes to the Symphony Hall (14^th Mar), The Stranglers come to the O2 Academy (17^th Mar), ‘First Lady of Celtic Music’ and Clannad family member Moya Brennan plays at the Glee Club (20^th Mar), whilst Rae Morris brings a sneak peak of her sophomore album, Someone Out There, to the O2 Institute (21^st Mar). Phew… can anyone lend me a tenner?

And so exciting it gets it’s own paragraph, electronic music pioneers, Plaid, bring their AV tour to the Hare & Hounds on 10^th March. A pivotal piece in the EDM jigsaw, Plaid come back to Birmingham after their sell out gig in the city last year – if this show doesn’t pack out then there’s something inherently wrong with the world, so we would suggest getting your Warp loving wriggle on and buying a ticket or two quick smart. For direct gig info and online ticket sales, click here or on the relevant hyper link.

A little later in the month the same promoters, Scratch Club, are putting on a breaks, beats and hip hop free bash at One Trick Pony with Dr Syntax (The Mouse Outfit, Foreign Beggars) & Pete Cannon, joined by Birmingham’s own DMC champion Mr Switch (30^thMar). For free..!?!? Now that’s a good bloomin’ Friday.

Film is stomping is size 10s across the city too, a cheeky month before Flatpack #12, with a healthy collage of celluloid (well, probably digital now) coming to screens in a variety of Birmingham venues. Ruben Östlund’s takes a well-penned stab at the pretensions of class and art with The Square – on general UK release from 16^th March, before coming to The Electric (23^rd Mar) and mac (30^th Mar). Whilst mac programme a centennial celebration of Ingmar Burgman with The Seventh Seal (16^th Mar), The Touch (17^th Mar) and Persona (18^th Mar).

The Mockingbird hosts a Wes Anderson Marathon (18^th Mar) featuring The Royal Tenenbaums at 12noon, Life Aquatic with Steve Zissou at 2:30pm, Fantastic Mr Fox at 5:00pm and The Grand Budapest Hotel at 6:45pm. Bit of a welcome refresher course before Anderson’s latest (and animated) feature, Isle of Dogs, is out on general release from 30^th March – with two preview screenings at The Electric (25^th Mar) if you wanted to jump the gun a little.

The Mockingbird are also showing the eponymous biopic about the notorious fashion designer, Westwood, throughout the month. But we recommend you wait until 26^th March, so you can jump straight into Here to be Heard: The Story of The Slits – another biopic, but this time about an altogether more altogether slice of formative female punk.

On the city’s smaller silver screens this March, Neighbourhood present a series of comedy shorts at Artefact in Stirchley (21^st Mar) – with a pay as you feel fundraiser for SIFA Fireside, a Birmingham based organisation who support ‘those experiencing homelessness or who are vulnerably-housed.’ A great charity that deserves our cash and consideration; look outside, now pay what you feel.

Elsewhere, The Victoria welcomes the rescheduled Birmingham Horror Group: Mini-Movie Marathon (25^th Mar) which is also fundraising – this time ‘with proceeds from ticket sales going to the medical charity Diabetes UK’. Whilst the Kitchen Garden Café screen the Arnie body count craziness and all round awesome… Predator (20^th Mar) – which we are more than a little happy about. I’m off to buy a dog eared cigar, dog eared dog tags, and practice the film’s profound script such as, “if it bleeds we can kill it”. Powerful stuff Arn, Kierkegaard?

Treading the boards this month, Joe Black starts the UK run of his new show, Touch of Evil: A Celebration of Villainy in Song, with two nights at The Old Joint Stock (09-10^th Mar). The Birmingham REP stages fingersmiths’ rewrite of John Godber’s Up’n’Under (12-14^th Mar) – a play about pride and adversity (and rugby, to be fair) which has been adapted for all audiences ‘with a cast of Deaf and hearing actors using British Sign Language and spoken English’.

Overlapping a little bit, REP also present The Kite Runner (13-24^th Mar) performed in venue’s main theatre, coming to Birmingham after ‘an outstanding’ run in the West End. Then back in the ‘burbs, The Wardrobe Ensemble present their tale 90’s nostalgia and the Blair honeymoon – Education, Education, Education – at mac (20^th Mar).

On the more glamourous side of town, Alyssa Edwards’ The Secret Is Out Tour saunters over to the Glee Club (7^th Mar), before BCU’s Burlesque society present Dare to Desire at the Bierkeller (15^th Mar) and Scarlett Daggers brings The Gilded Merkin burlesque show back to the Glee Club (18^th Mar). Not far behind is Ben DeLaCreme, with her ‘terminally delightful’ show coming to the Glee Club (29^th Mar) – a day before Klub Kids present The Twisted Circus in all its glitz and glory at the O2 Academy (30^th Mar).

Comedy has a pretty decent crack of the whip in March too, kicking off with Russell Brand’s Re:Birth at Symphony Hall (8^th Mar) before the Glee Club takes the reigns until April, with Phil Wang (11^th Mar), John Robbins (21^st Mar) and Tiff Stevenson (23^rd Mar).

Outside of all that, if you’ve got any dry socks or shekles left, there’s A Notorious Odyssey at The Electric (24^th Mar) – as Birmingham’s 35 piece a cappella choir, notorious, take us on ‘a musical voyage where no audience has gone before’ performing ‘tunes from sc-fi films and TV, to music inspired by space and the future.’

Across town and the space-time continuum, Rupi Kaur presents an evening of performance poetry the Town Hall (24^th Mar) including work from her recently released second collection, The Sun and Her Flowers. Then just shy of a week later, Richard P Rogers rounds off the month with his Frank Cook and the Birmingham Scene exhibition at mac’s Community Gallery (30^th Mar) – a study of the titular Ladywood artist, as he worked his way from the north Birmingham back to backs to art school in London in the late 1960’s.

Right then, a fair amount happening in March – I’m off to do some diary/bank statement cross referencing. And maybe drink a glass of wine, or two. What day is it again…?

For more on any of the events listed here, click on the highlighted hyperlinks. Ed King is Editor-in-Chief of Review Publishing, which issues both the Birmingham Review and Birmingham Preview.

March 3, 2018March 2, 2018

THE GALLERY: Morrissey @ Genting Arena 27.02.18

Words & pics by Eleanor Sutcliffe

I never truly clicked with Morrissey’s music, I’ll admit – as a youngster, my dad was much fonder of playing me bands such as The Clash and The Jam as opposed to the man in question.

However, I can remember my best friend in sixth form playing me a handful of tracks from Viva Hate and they’ve been imprinted in the far corners of my brain ever since. So, when the opportunity arose to catch Morrissey at the Genting Arena, performing tracks from his latest album Low in High School, I knew I had go. Back to school it was. Plus, it’s not often you get to see musicians of this standing so up close.

And up close it was. Making my way through the sea of blue jeans and quiffed hair, I picked up my pass and waited to be escorted through to the photo pit. Swarms of fans, who all somehow looked identical, were buzzing into the arena. But not to catch a support act; a video was being played on stage showing highlights from Morrissey’s career.

I’ve taken lots of photos of artists over the years – from shows in tiny rundown venues, to sold out arena concerts with thousands of people. But standing at the front of Morrisey’s near Genting Arena crowd, I don’t think I’ve ever shot a show where an audience has been this absorbed and entranced by a performer.

So, as the curtain drops and Morrissey glides on stage, I am expecting his near 15,000 strong fans to go hysterical. But instead, it’s a subdued sense of wonder that encompasses the room for the following hour or so. Yes, some scream and shout as he wanders over to them, clutching their hands while singing Elvis Presley’s ‘You’ll Be Gone’ – but the majority stand still and stare in blatant wonder. As someone who is used to crowd surfers and mosh pits, it’s a bit bloody odd. But it’s odd in the best way. Tonight is true appreciation.

Morrissey’s setlist reflects the man himself too – uncompromising; a complete mixed bag of covers, newer releases, and some of his earliest work. The show itself is as blatantly political, with a video screen at the back showing brutal animal cruelty during ‘The Bullfighter Dies’ which causes even the hardest of men in the room to wince.

A tribute to the likes of Geoff Bent, Roger Byrne and David Pegg is played during ‘Munich Air Disaster 1958’, while clips of police brutality are aired for ‘Who Will Protect Us from The Police?’ Each track is interspersed with a picture of Morrissey deep in thought, a cigarette poised between his fingers.

Yes, for me some parts of the evening drag slightly. Morrissey’s newest work doesn’t send the room into stupor quite like ‘I Started Something I Can’t Finish’, and there’s something slightly nauseating watching him sing ‘When You Open Your Legs’.

However, tonight’s show at the Genting Arena is, overall, a success. It’s annoyingly impressive. Morrissey makes the stage his own in a way that few ex-front man ever can, with a five figure crowd united in ardent appreciation. And whomever your musical idols may be, from whatever era, that’s something not many will ever achieve.

Morrissey @ Genting Arena 27.02.18 / Eleanor Sutcliffe – Birmingham Review

For more on Morrissey, visit www.morrisseyofficial.com

For more from the Genting Arena, including full event listings and online ticket sales, visit www.gentingarena.co.uk

February 28, 2018

THE GALLERY: Puma Blue @ The Sunflower Lounge 24.02.18

Words by Andrew Wilson & Ed King / Pics by Denise Wilson

Back in Birmingham for the last date of his UK tour, Puma Blue plays to a comfortably full Sunflower Lounge crowd. But before the birthday boy can take centre stage (23 candles and cake today for Puma Blue) Sam Hollis is up as the evening’s first support act – joined by a full band, the recently solo singer/songwriter launches into a set of confident swagger.

Reminiscent of something between The Libertines or The Slackers, tonight’s Hollis ensemble strike the balance between tight and loose that so many post-Madchester bands have tried to embrace, emulate or evolve. Not an easy task post-naughties either, but one well executed by the first act on stage. And with his first solo EP out in January this year, minus those easy to find reptiles, things look set in a strong new direction for Sam Hollis this year.

Joining Puma Blue across his UK (and possibly beyond) is peer and producer, Lucy Lu – who is actually the solo pseudonym of Hester band mate, Luke Bower.

Stepping into more jazz tinged territory, Lucy Lu is made up of Bower on bass and rhythm guitar – with keys, percussion and saxophone that will jump ship to Puma Blue for the next set. Oozing in talent, the funky grooves and lyrical angst is delivered by an academically tight ensemble, and the room is gripped in a confident and well-schooled musicianship.

The crowd, who would be forgiven for not being seen at much of the Birmingham Jazz programme, are eager in their appreciation, with the effortless strings, charm and soft vocals of ‘Golden Prairie’ getting some well-deserved attention. I smell a return, and possible step up on the Birmingham bill for Lucy Lu. Roll on 2018.

Then it’s time for the rising balloon. Puma Blue is nascent right now, with his summer Swum Baby EP getting all the New Year ‘ones to watch’ lists twitching and ushering in some pretty respectable support slots.

Last time he was in the city was to warm up for Jordan Rakei in October, joining the Brisbane maestro on his UK tour. But now the South London ‘croonah blu’ has his own six string secondment and is back in Birmingham at the top of the bill. A place The Sunflower Lounge crowd seem very happy to welcome him to.

Again, the musicianship is superb; backed by a metronomic drummer, this proficient ensemble move into more Ratpack flavoured waters as the Puma Blue set unfurls. But it’s not pure homage, as the band embraces elements of jazz, dance, reggae and soul – with Puma Blue leading on rhythm guitar and vocals, husky at one end and mirrored by a confident falsetto.

Tracks from his debut EP get a good airing, with the brushed drums and laid back swoon of ‘Only Trying 2 Tell U’ filling out any forgotten corners of the room. ‘Soft Porn’ puts in an appearance, but there is a reggae dipped track midway through the set (whose name I couldn’t catch) that added spice to the proceedings. One to hunt down.

On stage for about an hour with no encore, there is much to laud, applaud and look forward to with Puma Blue – an artist who is earning his place on many people’s musical radars.

And with another jaunt across Europe and a festival summer before we’ll likely see him in the city again, who knows what momentum will be behind this artist by the time Puma Blue returns. One to watch… yeah, sounds about right. Probably in a bigger room next time too.

Puma Blue @ The Sunflower Lounge 24.02.18 / Denise Wilson – Birmingham Review

For more on Puma Blue, visit www.soundcloud.com/pumabluemusic

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Lucy Lu – supporting Puma Blue @ The Sunflower Lounge 24.02.18 / Denise Wilson – Birmingham Review

For more on Lucy Lu, visit www.soundcloud.com/lucy-lu-tings

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Sam Hollis – supporting Puma Blue @ The Sunflower Lounge 24.02.18 / Denise Wilson – Birmingham Review

For more on Sam Hollis, visit www.soundcloud.com/samhollis-2

For more from Birmingham Promoters, including further event listings and online ticket sales, visit www.birminghampromoters.com

For more on The Sunflower Lounge, including venue details and further event listings, visit www.thesunflowerlounge.com

February 26, 2018February 25, 2018

BREVIEW: The Winslow Boy @ Birmingham REP until 03.03.18

Words by Lucy Mounfield / Production shots by Alastair Muir

Having read Terence Rattigan’s The Winslow Boy during a long summer a few years ago, I have been waiting to see a stage revival ever since. So, I was pleased to see the play on the listings for the Birmingham REP.

Rattigan’s plays rarely require large sets or technical apparatus, it is the story and the way the characters interact that is so appealing about his work. Yet, when I first read The Winslow Boy I struggled to see how the Edwardian period and antebellum tensions could be adapted for a modern audience.

The basic plot – a young naval cadet, Ronnie Winslow (Misha Butler), has been accused of stealing a five-shilling postal order, which he denies – first appears as rather a dull premise for a two and a half hour play. Indeed, Rattigan and his writing style fell out of favour during the 60s, and this has consequently somewhat tarnished the reputation of his plays.

However, there is a striking amount of depth and layering with which Rattigan imbues a situation. Far from being dull, he adds humour; characters are defined and grow with the story. Tension builds throughout The Winslow Boy, as each person loses something in the fight for Ronnie’s innocence.

The Winslow Boy‘s director, Rachel Kavanaugh, has a firm grip on the principles and themes running through Rattigan’s storytelling, as she makes her stage production resonate with a modern audience. The play manages to show us the intimate lives of the Winslow family, whilst projecting the social and political struggles of the early 20^th century and at the same time echoing today’s resurgent feminist movement.

The nuance of Rattigan’s writing is equally matched by the actors on stage. 2018 marks the centenary of voting rights for women and this is something that the play very touchingly points to with the character of Catherine (Dorothea Myer-Bennett), Ronnie’s sister, who is an ardent suffragette. Myer-Bennett’s portrayal takes us through a range of emotional registers, and the story, which takes place over several years, gives the character time to develop. We see her strident determination to confront injustice, the stubbornness she shares with her father, alongside the Catherine’s conflict between seeing the case through and her relationship with her equivocating fiancée (William Belchambers).

For me, Myer- Bennett and Aden Gillett, who portrays her father, Arthur, form the glue that keeps the play together. Their acting exudes confidence of character, driving the pace of the story along while vividly bringing Rattigan’s writing to life. As a loving, yet authoritative, father figure, Arthur seeks to exonerate his son of petty wrongdoing seemingly at any cost – for to him, it is the principle of the thing that matters; no matter that he is bankrupting his family over the theft of five shillings and rapidly succumbing to arthritis. Gillett is superb in displaying the crippling effects of this ailment, developing a stoop, hunch back and bowed legs until finally he takes to a wheelchair.

The mother, Grace Winslow (Tessa Peake-Jones), reminds me of the slightly naive Mrs. Bennet in Pride and Prejudice and is a good foil for the more assertive characters, balancing comedy with pathos. The impassioned speech to her husband at the start of Act Two is a poignant reminder of the impact the play’s events have on the family and their now fractured relationships.This is made more so by the presence of Ronnie Winslow, who is gently sleeping on a chaise longue. His youth is made shockingly apparent, which makes the scenes with the Winslows’ lawyer, Sir Robert Morton (Timothy Watson), all the more uncomfortable to watch. Butler does well to play a 13-15-year-old; his body language ranges from shy and nervous to excitable, which further reinforces his childish innocence.

Timothy Watson gives a commanding portrayal of Morton; the performance is gripping from beginning to end and treads the fine line between caricature and authenticity. His stiff and domineering body language creates a claustrophobic atmosphere in Act Two, ramping up the intensity of the Winslow trial.

The set is a typical, yet detailed, Edwardian living room – comfortable, decorative and decorous. Scene changes are punctuated with a backdrop of architectural columns that hint at the world of labyrinthine government bureaucracy in which the Winslows have found themselves.

At two and a half hours, The Winslow Boy does not feel over long. Rachel Kavanaugh and her cast present an absorbing and thrilling production that I thoroughly enjoyed. I would happily recommend this revival of a classic stage play to anyone, whether a previous fan of Rattigan’s writing or not.

The Winslow Boy runs at the Birmingham REP until Saturday 3^rd March. For full details, including all performance times and prices, visit www.birmingham-rep.co.uk/whats-on/the-winslow-boy

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

February 25, 2018February 24, 2018

BREVIEW: Sasha Velour @ The Nightingale Club 02.02.18

Words & illustrations by Emily Doyle

In what feels like a first for Birmingham’s oldest gay club, it’s not even 11pm and the Nightingale is full of eager punters. Everyone is here to see Sasha Velour, international drag queen, designer, illustrator, and winner of Season 9 of cult hit RuPaul’s Drag Race.

On entry guests are greeted by stilt walkers. They dance in spiked latex cat suits that would make James St. James jealous. My accomplice, Sinead, remarks, “I love latex. But on my budget, I’m definitely more of a cling film girl.” We turn to the bar, where we see a woman ordering a drink wearing a hand painted denim jacket featuring a portrait of Sasha Velour. Set against a rainbow the painting depicts Velour in the black gown and opera gloves she wore in her very first appearance on Drag Race, complete with tinted glasses and signature crown. It bears the legend “LET’S CHANGE SHIT UP”.

Local club kid, Elliot Barnicle, provides the music for the evening, tucked into an impossibly snug silver lamé bodysuit. Waiting for the acts to begin an impromptu dance off over a bottle of champagne sees partygoers show off their moves on stage, ranging from the dubious to the impressive. The winner high-kicks her way to victory while RuPaul’s 2014 single ‘Sissy That Walk’ plays, to the delight of the crowd.

Sasha Velour makes her first appearance on stage before the clock has struck midnight. With little warning, she walks on with a measured, stately air. She removes her sunglasses to a scream from the crowd. Then, as soon as she appeared, she’s gone again.

The evening proceeds with appearances from Velour’s co-hosts sandwiching her performances. Barnicle dominates the stage in his own gold crown. His name is in lights behind him, accompanied by a portrait by the scene’s resident illustrator, Jay Bailey. Then Sasha Velour returns, this time dressed as her idol (and recent Google Doodle muse) Marlene Dietrich.

“What makes queerness so amazing is that we stand on a platform of love and acceptance.”

Velour performs an impeccable lip sync to Dietrich’s ‘Illusions’, which morphs into a full dance routine to Le Tigre’s dance-punk hit ‘Deceptacon’. Velour slipping off her top hat and tails to show a leopard print basque and Yolandi Visser-eque wig must surely be the reveal of the night.

Sets followed from the rhinestone-encrusted Tanja MacKenzie, who performed a flawless lip sync of Ella’s ‘Mamma Boy’ (for the unacquainted that was Norway’s official Eurovision selection for 2017, and a perfect slice of electro-pop at that). Birmingham’s self-styled ‘Queer Bratz doll from hell’ Boo Sutcliffe is up next, flouncing across the stage in her enormous backcombed yellow wig with every ounce of attitude that we’ve come to expect from her.

The hotly anticipated Hungry was next to take the spotlight. Bringing distorted drag all the way from Berlin, Hungry recently collaborated with Björk on the artwork for her 2017 release Utopia and it’s easy to see what drew them together. Combining otherworldly makeup, motoric vogueing, and a frighteningly cinched waist, her routine to a remix of Röyksopp’s ‘Monument’ is at the cutting edge of performance art. She takes a bow, standing surrounded by elements of her pink satin costume, clad in stiletto boots and peephole panties. If there’s anyone who can follow this, it’s Sasha Velour.

The strains of Kate Bush’s ‘Wuthering Heights’ fill The Nightingale. Velour is back on stage for her final performance of the night, this time in a classic red shirt-dress and fiery bob. You’d be forgiven for thinking this was a bit obvious, until she disappears behind a red umbrella and re-emerges as a bedazzled incarnation of Tolkien’s character Gollum. Flinging herself against the barriers, her pointed ears and single, heart shaped nipple pasty glint in the stage lights.

After the show I catch up with Elliot Barnicle and Boo Sutcliffe to get their take on how the night felt from the other side of the crowd barrier.

“I really didn’t expect anything less from an audience that was drawn in for Sasha Velour,” says Sutcliffe. “The energy in the room was electric. It was full of so much love and acceptance.”

Barnicle agrees. “The night was incredible, it’s inspiring to see such a talented performer on stage, pushing the boundaries of drag and to be received by such a wide audience. Sasha is such a kind queen and was really interested in seeing us other performers on stage!”

“I think Sasha’s comments on the never-ending changes and movements of what drag is and can be is what makes her such a queer icon and the deserving reigning queen,” continues Barnicle. “Everything she stands for and says goes towards a more loving and accepting future for drag queens and queer people everywhere. The general vibe I got from everything Sasha said is to never back down from what you believe in and to not let our voices be silenced. We are valid as queer people and we are valid as a community.”

For more on Sasha Velour, visit www.sashavelour.com

For more on Hungry, visit www.instagram.com/isshehungry

For more on Boo Sutcliffe, visit www.instagram.com/boosutcliffe

For more on Tanja Mckenzie, visit www.facebook.com/tanja.mckenzie

For more on Elliot Barnicle, visit www.elliottbarnicle.co.uk

For more on Klub Kids, visit www.klubkids.co.uk

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