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January 4, 2018

BPREVIEW: Paramore @ Genting Arena 14.01.17

Words by Ed King / Pic courtesy of SJM Concerts

On Sunday 14^th January, Paramore come to the Genting Arena in Birmingham – performing one of only five dates on their UK tour, with support from Philadelphia’s mewithoutYou.

Doors for the Genting Arena open at 6pm, with mewithoutYou on stage at 7:30pm and Paramore kicking off their headline set at 8:45pm. Standard tickets are priced between £34.24 – £48.93 (inc fees) depending on positioning within the arena.

Amplify Hospitality tickets are also available for £135 (inc fees) which offer a variety of perks – including VIP check in, access to the private lounge, alongside complimentary drinks and dinner. As promoted by SJM Concerts, for full gig details on Paramore at the Genting Arena and links to all available tickets, click here.

*At the time of writing no more standing tickets were available. Extra arena tickets have been released by the promoters, but this gig is looking like a sell out so you might want to move a little quicker than usual.*

Paramore have been on the road with their new album, After Laughter, since summer last year – playing six UK and Ireland dates in 2017, including one night at the Royal Albert Hall (…just, imagine, that one). The Tennessee now trio then embarked on an extensive Tour Two of North America and Canada, from September to October, before confirming their Tour Three return to Europe with gigs in Spain, France and the UK from 7^th to 20^th Jan. To stay up to date with all Paramore tour details, direct from the band, click here.

Released in May 2017, via the Warner subsidiary – Fueled by Ramen, After Laughter is the fifth studio album from Paramore. After Laughter also sees the return of Zac Farro, one of the band’s original members, who announced in Feb 2017 that he was back with Paramore to record and tour their new album.

Once again produced by Justin Meldal-Johnsen and Taylor York (who worked together on the band’s previous and eponymous album) After Laughter has received widespread acclaim from fans and the music press alike, with Rolling Stone surmising it as ‘a gorgeously produced, hook-studded record with cocked-eyebrow trepidation adding a jittery edge.’ Indeed, it is the bittersweet lyrics from Hayley Williams that seem to be gathering the most attention from After Laughter, with some uncomfortable scars seemingly part of the creative force behind the band’s latest LP. And after a quick Google search through some bizarrely bitter statements and retrospective foot stamping, you can understand why.

But for the fans it’s business as usual, with renewed fervor at Zac Farro’s return and a sell out show zeal supporting Paramore’s latest road trip. After Laughter’s lead single, ‘Hard Times’, reached No6 on the Billboard Hot Rock Charts across the pond and was officially certified ‘Silver’ by British Recorded Music Industry (that’s selling over 200k copies, to you and me).

Subsequent singles ‘Told You So’ and ‘Fake Happy’ both beat a Billboard Hot Rock Top 40, whilst the album itself climbed even higher – reaching No1 on the same US chart and No4 on the UK’s Official Album Chart.

So it seems you can’t keep a good thing down after all, no matter how publicly some corners of the world might try to – ‘and I bet everybody here is just as insincere’. Well, quite.

‘Fake Happy’ – Paramore

Paramore come to the Genting Arena on Sunday 14^th January, with support from MewithoutYou – as presented by SJM Concerts/Gigs and Tours. For direct event info and online ticket sales, click here.

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

January 1, 2018January 8, 2018

ED’S PICK: January 2018

Words by Ed King

January 1^st… no finer day to cross off the calendar. But as the world crawls out of bed with hangovers and resolutions, Birmingham’s events diary looks forward to a pretty vibrant January. It seems the ‘quiet month’ is not so dormant this year. Which is a good thing, right? I mean, who needs to stay in and save money? Food and heating are for quitters.

Some pretty big gigs happening this month, with the rock powerhouse that is Paramore (ain’t alliteration ace) coming to the Genting Arena on Jan 14th. Tickets may be sold out by the time I finish this sentence, so you’d better act rápido por favor (just finished watching Narcos) if you want to catch them tour their fifth album, After Laughter, through the second city. On the Lord’s Day as well… dios nos perdone.

On the smaller stages in Birmingham, Surprise You’re Dead are tearing the city in two on 24^th Jan – as Ohio’s metalcore Miss May I come to Mamma Roux’s, whilst London’s pop punksters The Bottom Line are joined by Nottingham’s Lacey at The Asylum. In fact, overall it’s quite a strong start to 2018 from SYD as the Birmingham’s stalwart rock/punk promoters are also bringing Dead! to The Flapper on 31^st Jan and The Bronx to Mama Roux’s on 17^th Jan – although The Bronx gig has already sold out so check the relevant corners of t’interweb for returns.

Elsewhere in the land of live gigs, we have the rising stars Riscas headlining an uber line up at The Sunflower Lounge on 19^th Jan – with Spilt Milk Society, Candid and The Real Cool all in support. If this gig doesn’t sell out then I will 1) buy a hat, 2) eat my hat, 3) buy another hat. 2018 is set to be a big year for Riscas, we reckon, so catch them when and where you can. Then The Hunna return to the O2 Academy on 11^th Jan, whilst Setting Son Records present Average Sex and Semantics (one of our faves) at the Hare & Hounds on 24^th Jan.

Hot on the heels of their recent triumphant homecoming, KIOKO headline a stellar line up of local acts at The Crossing on 26^th Jan – with Namiwa Jazz, Zara Sykes, VITAL, Elektric, and revered local poet Kurly all performing as part of the Love Music Hate Racism event at the Milk Street venue. Trish Clowes presents her latest album, My Iris, with a new ensemble of the same name at Eastside Jazz Club on 25th Jan. Whilst those somewhat silent psychedelics, Moon Duo, come back to the Hare & Hounds on 30^th Jan courtesy of This Is Tmrw. Then there’s the gig I’m throwing my metaphor in the ring for – This is the Kit showcase their new album, Moonshine Freeze, at The Glee Club on 24^th Jan.

January also sees a strong line up of comedy in the city, kicking off with Tina T’urner Tea Lady Steamy Bingo at The Old Joint Stock on 5^th Jan. Tracey Collins will be bringing her ‘camp alter ego’ back to The Old Joint Stock in March, so if you miss your numbers this time around you can always try again in spring.

Stand up also starts strong at The Glee Club, with Andy Zaltzman bringing his Satirist for Hire tour to The Arcadian Centre venue on 19^th Jan – a week before Fern Brady’s debut Suffer Fools tour lands there on 26^th Jan. Quick tip, if either of these stand ups ask you to email in suggestions or comments… don’t. Or at least don’t sign your name. Or sit in the front row. You have been warned. Whilst over at the Town Hall, Ed Byrne brings his Spoiler Alert tour to Birmingham on 27^th Jan – a room big enough for some safe anonymity, for the audience at least.

Theatre stamps a reassuringly eclectic foot down on the first month of 2018, with Outer Circle Arts presenting The Death Show at The Rep Door on 26^th and 27^th Jan. Whilst a stone’s throw behind them in Hockley, Blue Orange Theatre present The Late Marilyn Monroe – running from 30^th Jan to 3^rd Feb. Then over at The Patrick Centre is the somewhat less self-explanatory Translunar Paradise – Ad Infinitum’s unspoken story ‘of life, death and enduring love’, presented at the Hurst Street venue for one night only on 31^st Jan.

Saint Petersburg Classic Ballet present Swan Lake, also for one night only, at the Symphony Hall on 7^th Jan. Whilst The Mockingbird continues to its mission to save The Custard Factory from the cultural abyss with a double screening of Clerks and the documentary behind Silent Bob’s directorial debut, Shooting Clerks, on 19th Jan. There will also be a Q&Q with the latter’s director, Christopher Downie, and some cast members at 9pm.

For more film, mac hosts Playback from 7^th to 24^th Jan – a touring and ‘interactive exhibition’ of over 200 short films from ‘krumping and parkour dance shorts, to an animated tale of teenage love that unearths our desire to be as cool as the zines we read’. Held in the arts centre’s First Floor Gallery, with free admission, Playback carries a Tubbs and Edward local angle too, as ‘some of the films were originally made in and around Birmingham, where young people based in the Midlands were given the support and funding to create a short film.’

Then rounding off Birmingham’s cultural cache for the New Year, The Chefs’ Forum present their ‘Pay What You Can’ lunch at University College Birmingham on 15^th Jan – a networking, trade and showcase event with four courses from some of the city’s top restaurants. Having launched its Midlands’ agenda at UCB back in February this… sorry, last year, The Chefs’ Forum is hosting their Jan ‘18 lunch to raise funds and awareness for its Educational Foundation which supports young chefs across the UK.

And with Louisa Ellis (The Wilderness), Mark Walsh (Opus Restaurant), Luke Tipping and Leo Kattou (Simpsons) and Olivier Briault (The Edgbaston Boutique Hotel) all chipping in a course, it should do just that. Although, the non-fixed donation approach is gratefully received in mid January.

Now if I can just find an energy provider with the same approach…

**Also straddling this month and the next are the two rescheduled Lady Gaga concerts, as the uber-star kicks off the UK leg of her Joanna World Tour at Arena Birmingham on 31^st January before returning to play the Genting Arena on 1^st February. Tickets to both arena shows are priced at £48.50 (+ fees), as presented by Live Nation UK.

In memoriam of her paternal auntie and namesake, Lady Gaga’s latest song, album and tour appear as personal an affair as you can offer when delivering it to millions of strangers. A curious dichotomy, but one Birmingham will get to see on stage first as the Live Nation machine sets down in our city before anywhere else in the UK. Kudos.

And with tickets being transferred from the previous dates in October 2017, it’s fair to say there may be a bit of a bun fight to get in to these gigs. No doubt it’ll be worth a few scuffed elbows though, but even if ‘I’m never going to know you now, I’m gonna love you any how’. OX Joanne.

For direct gig info, including venue details and online ticket sales, for Lady Gaga at Arena Birmingham on 31^st January, click here. For Lady Gaga at the Genting Arena on 1^st February, click here.’

Tickets for the originally scheduled Lada Gaga shows at the Genting Arena (12^th Oct ’17) at Arena Birmingham (15^th Oct ’17) can be transferred to the new dates. According to the venues’ websites, ‘if you cannot make the new date, refunds can be obtained at your point of purchase for a limited period’.**

Playback @ mac 7th to 24th Jan

For more on any of the events listed here, click on the highlighted hyperlink.

Ed King is Editor-in-Chief of Review Publishing, which issues both the Birmingham Review and Birmingham Preview titles.

December 31, 2017December 30, 2017

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

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.

Kicking 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. 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.

But 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 Fine, Quinn 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

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

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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

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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

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

For 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

December 28, 2017December 28, 2017

THE GALLERY: Magic Lantern Festival @ Kings Heath Park – until 01.01.18

Words by Ed King / Pics Eleanor Sutcliffe

Open every day up to and including New Year’s Day, the Magic Lantern Festival is on display across Kings Heath Park – featuring a winter wonderland of structural illuminations, statues and fantastical storyscapes.

Suitable for adults, families and children of all ages, the Magic Lantern Festival in Kings Heath Park is accessible from 5pm to 10pm, with the last entry scheduled at 8:45pm. Tickets range from £5.50 to £14.85 (+bf) with concessions for groups, families and children under 16 years old – for direct event info, including online ticket sales, click here.

Returning to Birmingham for its second year, the Magic Lantern Festival has come back to the second city alongside concurrent displays in London, Manchester, Leeds and Glasgow. Not to be confused with the ‘illuminated trail’ at the Botanical Gardens, the Magic Lantern Festival in Kings Heath Park presents ‘a spectacular fusion of dual culture, vibrant colours and artistic sculptures’ from a soaring phoenix to polar bears, flamingos and reindeer, all nestled in between elaborate and ‘hand crafted’ sculptures. Sounds like a press release, right?

I wasn’t sure what to believe either, having walked past the illuminated event several times throughout December – casting assumptions and assertions from the detached viewpoint of Avenue Road. The cynic in me thought it “all looks a little Disney”, so when I was invited to get a bit more up close and personal I enlisted the help of a friend and her seven year old daughter. If anyone is going to cut through the chintz, it’ll be them.

Plus, they had survived a rain drenched Botanical Garden’s display in 2016 so would be a useful yardstick; all it would cost me would be a trio of hot chocolates and one “flashing spinny thing” from the stalls at the entrance. A relative small price to pay for objective journalism.

We arrive at bang on 7pm, with Kings Heath Park already showing a healthy throng of customers. There’s a small queue underneath the bright Chinese gateway, one that makes the adults feel reassured but is still short enough for the child in our group to not notice. A trick Alton Towers has failed consistently to pull off on many a Hallmark holiday.

Led by the seven year old, we race (literally… and I lose) to the bright castle that is one of the first displays as you enter the park. Sparkling blue turrets sit across an impressively expansive fairytale structure, as I take a closer look at the Walt inspired illumination I have seen before from the road. This is where the cynic in me stops. It’s beautiful. I wouldn’t decorate my house in the same way, but against the pitch black of the park it shines triumphant, surrounded by a sporadic sea of toad stalls, orchids and lilies. As the seven year old goads me into another race across the grass, to more 2D illuminations of a Birmingham cityscape, facades and industrial icons (well, cogs) I stand somewhat aware my jaw has dropped. I honestly didn’t think it would look this good.

But it gets better. The aforementioned 2D displays aside, which both figuratively and literally pale in comparison to the 3D illuminations across the rest of the park, the Magic Lantern Festival is just that. Magic. Scenes depicting all you would expect from a Christmas display – including reindeer, polar bears, as well as the red and white St Nick – dot themselves around other elaborate illuminations with a more Eastern flavour.

As our panel of three start to score each display (think Strictly…) it becomes a tie between the huge phoenix rising from the flames to the beautiful temple of lilies. Although the family of reindeer and flamingos come in a close second. But all along the ‘lantern trail’ are colourful scenes of animals, flowers and the occasional mermaid or dwarf that each stand out with individual merit. OK, so it’s a little Disney.

And the layout, which I thought might be too disparate across the somewhat flat plateau that is the top of Kings Heath Park, works perfectly, with just enough space between each illumination and “a chance to really get up close to them, to walk around them and see them from all sides,” which I am informed was lacking a similar event last year at the Botanical Gardens.

At the end of the trail, we stop of at the small fun fair on the concrete car park near the parks’ Avenue Road entrance and successfully manage to distract our group’s youngest away from the Santa’s Grotto with a well placed inverted bungee. Nothing too dramatic or expensive, but a welcome addition to the main event.

And with the world’s friendliest event security (’tis a time for miracles) happy to let us wander about or even backtrack a little, we wind our leisurely way back to the entrance and some offensively priced hot chocolate – an overall score of 8.5 and “much better than last year at the Botanical Gardens” as the official result. Now, where’s that illuminated toy tout gone.

Magic Lantern Festival @ Kings Heath Park / Eleanor Sutcliffe – Birmingham Review

The Magic Lantern Festival runs daily in Kings Heath Park until 1^st January 2018, accessible from 5pm. For more on the Magic Lantern Festival in Birmingham, including online ticket sales, visit www.magicallantern.uk/magical-lantern-festival-birmingham

For more on Kings Heath Park, visit www.birmingham.gov.uk/kingsheathpark

December 22, 2017December 22, 2017

BREVIEW: Dots & Loops #5 @ 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