THE GALLERY: Tom Odell @ O2 Academy 21.10.18

THE GALLERY: Tom Odell @ O2 Academy 21.10.18 / Eleanor Sutcliffe




Words by Ed King / Pics by Eleanor Sutcliffe

This is a big gig.

It’s a big room too, as I watch the audience trickle in – from a line that stretches back to the Pagoda island roundabout, the 3009 capacity O2 Academy confidently fills up on a Sunday. No, mean, feat either. Especially in Birmingham. Especially on a Sunday.

But the Tom Odell love fest is in unarguable full swing tonight, as shoulder touches shoulder in the stalls and every polite space gets filled on the balcony. This gig wasn’t presented as ‘sold out’ but it hard to imagine any fire marshal letting another body in this room. This is a rafter packed affair. So I find my THE GALLERY: First support act for Tom Odell @ O2 Academy 21.10.18 / Eleanor Sutcliffecorner, nestle in, and watch the support acts.

First up is Mimi… I want to say ‘croissant’. Which I doubt it is, but I’ll have to Google and cross reference. Singing a mix of her own songs and covers, the ubiquitous ‘Valerie’ getting a non-X Factor audition airing, she delivers her “first gig playing my own songs,” with reputable aplomb. A young vocalist with an older guitar, time will tell. But art gather scars to shine, and only the world will give you them. TBC.

Next up is my happy surprise of the night, well the first one of them anyway, as no other that Max Jury struts on stage as the second support act. ‘Great American Novel’ is always somewhere near the back of my mind and on the tip of my tongue these days, and despite it not getting featured in his set I do get to see a man live on stage I thought I’d need to have passed through LAX security to watch up close in person.

THE GALLERY: Max Jury - supporting Tom Odell @ O2 Academy 21.10.18 / Eleanor Sutcliffe

Jury is great too, and not just because I want him to be, but the slow Americana, blues, and drawl slides from his keyboard and across the room with the right touch of confidence and bliss. Musicians are made to impress, and Max Jury is one to applaud. Plus, I now (after a very subtle pitch) own a copy of his signature – so at worst I’m going to rinse hotel room bills in his name across Washington state until one of us gets noticed.

And now, it is time…

There has been a grand piano covered in black cloth ever since we walked into this room, with one support act playing to its left and the other to its right. But now it’s the main show, with the sleek polished veneer unveiled as the house lights go down and a single spot illuminates the piano and rounded stool. Like a tousled haired shadow, Tom Odell appears at the ivory and throws soft hammers onto hidden strings; we are welcomed with the title track off his new album – ‘Jubilee Road’ saunters in until a sustained vocal, raised hand, full band, and rapturous applause bring the main attraction crystal clear into view.

THE GALLERY: Tom Odell @ O2 Academy 21.10.18 / Eleanor SutcliffeI’ll be honest, I love the piano. I’m a sucker for the piano. But I’m often on my own with such sultry appreciation, as most 88 key diatribes fall short upon the ears of those less bruised. Or those more happy, I’ve never quite worked out which. But for Tom Odell, and the 3k+ that have turned out to see him tonight, this is not a concern, as the set moves without banter from the title track of his new album to the fifth single from his first – more sustained vocals, and the beginning of some simply heart-breaking audience participation, carry us into the main set.  This is a spectacular introduction.

Levels are up, chairs are thrown, and ‘Sparrow’ ends off a phenomenal beginning – as ‘Supposed to Be’ then leads us into an introduction of each band member, delivered like an homage to Robbie Robertson and his long bus riding companions. But this is an ensemble, regardless of the dominant and linchpin, with the ringmaster making every effort to bring his cohorts font and centre, leaving his black and white compadres to stand next to each instrument that accompanies them as he does so. This is a band on stage tonight, and we are firmly told not to forget that.

THE GALLERY: Tom Odell @ O2 Academy 21.10.18 / Eleanor SutcliffeMy notes from the rest of the evening run from sycophantic to spider scrawl, both run induced. But there are a few golden markers that deserve a more sober mention – Tom Odell has the O2 Academy in his palm tonight, from start to finish. He makes a big room feel intimate, with unenforced sing-a-longs washing over us like warm blankets that you just want to weep inside of.

The first, according to my notebook, is with ‘Wrong Crowd’, where the bravest of us both onstage and off try to whistle along. But it continues, throughout, carried by an atmosphere that even this cynical writer can’t help but fall for. I had no idea the O2 Academy would be so full tonight, and I had no idea that the bodies within it would care so much. But by the time ‘Son of an Only Child’ is played, one of my favourites from the new album, I am bunched up with a line of strangers on the balcony – resting our hands on each other’s shoulders and basking in the soft lights of a moment’s unity. This is what music can do, and when it does it in a room of over three thousand people it’s a pretty fucking wonderful occasion.

We end with a good three song encore, which could easily have carried on if the licensing department of the UK’s second city weren’t such a loveless box of frogs. Even the Showsec security guard has left his post to stand and watch this finale.

And as the ensemble eventually leave the stage, to the echoes of ‘Magnetised’ being thrown back at them in an oddly grandiose yet sweet harmony, we all know that we bore witness to something special tonight.




Tom Odell @ O2 Academy 21.10.18 / Eleanor Sutcliffe


For more on Tom Odell, visit 

For more from Max Jury, visit 

For more from the O2 Academy, including full event listings and online ticket sales, visit


NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To sign up to NOT NORMAL – NOT OK, click here. To know more about the NOT NORMAL – NOT OK sticker campaign, click here.

ALBUM: Jubilee Road – Tom Odell 12.10.18

ALBUM: Jubilee Road – Tom Odell 12.10.18 / Pic courtesy of Columbia RecordsWords by Ed King / Pics courtesy of Columbia Records

This is a big record.

Although despite the grandeur that unfurls, Jubilee Road shuffles into the first and title track with gentle keys – setting the scene of Tom Odell’s own ‘Eleanor Rigby’ ode to London, albeit one with a sprinkle of Martin Amis. 

It’s been over two years since Odell’s last LP, and five since his debut. Not that we’re counting. But the staggering of artistic expression requires some chronology, and what do you do after your 88 fingers have been shaken, stamped on, and poked into screens across the pond and back again. Twice. You go home or you go big. Jubilee Road does both.

The album’s second track, and it’s lead single, the f-word infused ‘If You Wanna Love Somebody’ (even the radio play) continues to ramp things up – bringing a gospel undercurrent to a Jackson Browne flavored call to the heart. It’s a little obvious, to a cynic like myself, but I can see it covered in enough Christmas and Jamie Cullem sideways glances to do alright without me.

Then the storytelling returns with ‘Son of an Only Child’, in a track the seethes with what I can only presume is honesty. Or a fucking, good, lie. I’ll admit, it’s my favourite from the album – due in part to a steady melody that grows from a shadow to a monster, but more so because I know that bar. I know me in that bar, listening to that man and forming cannonballs to throw at strangers within reaching distance. I believe the frustration, the maudlin anger; I believe this track. So, I believe the album. Plus the lyrical hat tip to Taupin/John is a nice touch – and one better owned that brought to the floor by cynics like me.

Jubilee Road continues to bounce from self-effacing laments, to the dissection of a broken world we all tip toe through. Or round. Or away from. But the backbone of confident ivory, high octane vocals and visceral lyrics keeps this album from ever falling short – with the flows outweighing the ebbs in a comparison barrage of Tom Waits-meets-Elton John-at-a-Billy Joel-barbeque.

The obligatory label mate duet is well delivered on ‘Half as Good as You’, with Alice Merton sounding more like Florence Welch that Florence Welch. And even if Tom Odell is “tired of eating breakfast on my own,” it seems to make for some pretty good source material. Heaven help album four if the lad finds true love.

But the (second) best is saved until last, and whilst my mum is still alive I do have an older sister and the understanding of vicarious pride. Odell’s open diary/songbook is what makes Jubilee Road flourish and no more so than in its closing track, ‘Wedding Day’. It’s heartbreaking. It’s honest. It made me cry. And to round off my somewhat clunky framing technique, it’s the flashlight through the mist that sails this LP home.

‘Wedding Day – Tom Odell (live at Rough Trade NYC)

On Friday 12th October, Tom Odell releases Jubilee Road – out via Columbia Records. For more on Tom Odell, including link to online sales, visit

Tom Odell will be playing at the O2 Academy Birmingham on 21st October, as part of his Jubilee Road Tour. For more gig information, and links to online tickets sales, visit 

For more from Columbia Records, visit


NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To sign up to NOT NORMAL – NOT OK, click here. To know more about the NOT NORMAL – NOT OK sticker campaign, click here.

ALBUM: Joy As An Act Of Resistance – IDLES 31.08.18

IDLES / Lindsay Melbourne

Words by Emily Doyle / Pic by Lindsay Melbourne

I first encountered IDLES at All Years Leaving 2017. They headlined the Sunday night. I have vivid memories of Table Scrap’s Tim Mobbs, who was photographing the show, scrambling over the makeshift crowd barrier in a bid to save his camera from the chaos that erupted as soon as they began playing. A few songs in and I was hooked. These guys weren’t just some Bristolians with that one song about Mary Berry.

The elegantly titled Joy As An Act Of Resistance is IDLES’ second full length release, out from 31st  August on Partisan Records. It opens with the imposing ‘Colossus’, a five-and-a-half minute statement of intent to rival Refused’s ‘New Noise’. Sighing guitars underscore Joe Talbot’s drawl. The track reaches a dissonant crescendo, before unleashing a blast of the shout-along agit-punk that IDLES fans have been waiting for.

Joy As An Act Of Resistance flirts with hardcore and post punk in equal measure, but at its core is an album of protest music. Guttural backing vocals are woven throughout – the radio-friendly pro-immigration anthem ‘Danny Nedelko’ has two word chorus that’s made for a 2am Snobs crowd to chant along to. It’s shamelessly catchy. But throughout the record, guitarists Mark Bowen and Lee Kiernan are there with a double attack of grinding fuzz and shrill stabs to stop the listener getting too comfortable.

It’s Talbot’s lyrics that take centre stage most of the time. Whether it’s personal or political (and more often than not, it’s both) his trademark wit is ever present. Talbot loves to create characters – in the acerbic ‘Never Fight a Man With a Perm’, he describes an unfortunate acquaintance as, “not a man but a gland… one big neck with sausage hands” and a “Topshop tyrant, even your haircut’s violent; you look like you’re from Love Island.” The face of modern masculinity is a fixation for Talbot – in ‘Colossus’ he sings, “I am my father’s son, his shadow weighs a tonne”, while IDLES’ recent single, ‘Samaritans’, dissects the pressures on young men today before dissolving into a chorus of “I kissed a boy and I liked it.”

IDLES rose to prominence singing that, “the best way to scare a Tory is to read and get rich”, and their socialist battle cry shows no signs of going quiet – as Talbot articulates in Joy As An Act Of Resistance’s jaunty ‘I’m Scum’, “this snowflake’s an avalanche.

The record isn’t all angry chanting. IDLES offer up an unhinged rendition of Solomon Burke’s 1961 soul hit ‘Cry To Me’, which nestles strangely comfortably amongst their tales of bravado and Brexit. There’s also space for Talbot to be characteristically raw. IDLES debut album, Brutalism, dealt with the death of his mother. Her portrait featured on the artwork, and a very limited run of the records had her ashes encased in the vinyl itself. On its release, Talbot admitted that, “people are a bit freaked out that this was a person. People are terrified of that physical link with death.” Since Brutalism, Talbot and his partner also lost their daughter, Agatha. In ‘June’, Talbot sings, “a stillborn, still born, I am a father” over a dirge of crackling synths. 

Joy As An Act Of Resistance is poised to cement IDLES as one of the UK’s great punk bands. There’s a seventy date world tour on the horizon too, coming to the O2 Institute in Birmingham on 26th October, and their fanclub on Facebook numbers over seven thousand and counting. Said fanclub call themselves the AF Gang, mostly talking music, mental health, and the poems of Dylan Thomas. IDLES’ influence is spreading, and it can only be a good thing.

‘Samaritans’ – IDLES

IDLES release Joy As An Act Of Resistance on 31st August, out through Partisan Records. For more on IDLES, including links to online sales, visit

IDLES play the O2 Institute in Birmingham on 26th October. For direct gig information, including venue details and online ticket sales, visit


NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.

To sign up to NOT NORMAL – NOT OK, click here. To know more about the NOT NORMAL – NOT OK sticker campaign, click here.

ED’S PICK: April ‘18

Words by Ed King

Easter Sunday, 1st April… There’s probably a joke in there somewhere. But with a basket of listings and entertainment based excel spreadsheets to plough through who has the time to be witty? Or hunt for Easter eggs, for that matter. Being an adult sucks.

However (…are you ready for this segue) it does allow me to enjoy all the delights of the Flatpack Film Festival without worrying about ID – actually, I’m not sure there’s too much on the programme with an age restriction but Dots & Loops are part of the festival and they brought us Lesley the Pony Has and A+ Day!, so…

Back for festival number 12, those glorious creatives at Flatpack have put on a nine day smorgasbord of celluloid, digital, and other audio/visual treats – running from 13th to 22nd April, in a variety of venue across the city. Too much to cram into this round up; look out for our more in-depth cherry pick in the days to come, or click here for more direct information on the full programme.

Elsewhere in the non-greenfield, Ebola flirting, footwear wrecking land of multi-stage events, we have the Birmingham Literature Festival – hop scotching from various corners of the REP to the Birmingham and Midland Institute from 27th to 29th April. Now old enough to drink beer in America, this year’s Birmingham Literature Festival has a focus on women in literature and publishing, alongside a weekend long programme of ‘inspiring conversations, writing and debate’. Again too much to adequately surmise, but click here for more direct info.

Following on with a female focus, Birmingham Jazz launches its Legends Festival on 27th April – running as a series of satellite events across the city until 20th May. This year’s linchpin is ‘Celebrating Women in Jazz’, with local artists such as Trish Clowes joining a myriad of talent from across the globe. Too much to fit into… you know the drill, click here.

Theatre comes in all shapes and sizes this month, including a couple of choice cuts on Hurst Street – with Wicked beginning its Birmingham run at the Hippodrome (4th-29th Apr) and The Twisted Tale of Hansel and Gretel at the Patrick Centre (4th– 8th Apr).

Across the duel carriageways and road works we have Graham Greene’s Brighton Rock coming to the Birmingham REP (10th – 14th) followed by the political see-saw of 1970’s Britain in This House (17th – 21st) – reminding us fear mongering comes from both sides of the aisle and a dash of vitriol isn’t a particular new idea. How times have changed… or not.

Music takes its usual fat belly slice of our monthly listings, with a few ‘big gigs’ of notE coming to the NEC portfolio – as the Genting Arena sees both Arcade Fire (15th Apr) and Dua Lipa (17th Apr), whilst Arena Birmingham welcomes the Manic Street Preachers (27th Apr) back to the city.

Playing across the non-arena rooms of our musical city, the Hare & Hounds has another eclectic mix – with Kushikatsu Records presenting Shonen Knife (15th Apr) followed Snowpoet (19th Apr) courtesy of Jazzlines. Whilst The Glee Club sees the very welcome return of Nerina Pallot (9th Apr) stopping off in Birmingham on the second date if her UK tour. Fingers crossed there’s a piano on stage.

The Sunflower Lounge sees Killer Wave and Outlander host their ‘Help the Homeless’ pay-as-you-feel charity fundraiser (8th Apr) – with all money raised going to Shelter and Tabor House. Then we have Lucy May Walker playing her first headline show in Birmingham (18th Apr) – both events well worth a stop, look and listen. And £5 of your hard earned cash, of course.

Our mobile branded venues see a bevy of acts this month too, with the O2 Academy presenting George Ezra (4th Apr), The Vaccines (7th Apr), Trivium (17th Apr), The Streets (19th Apr), Coasts (21st Apr) and Akala (24th Apr). Whilst the O2 Institute leads out with Walk the Moon (7th Apr), Little Comets (14th Apr), Aquilo (16th Apr), Of Mice and Men (25th Apr) and Sharon Needles: Battle Axe Tour (26th Apr).

A special mention also has to go to the Hummingbird-Menagerie-Indie-salad days-nostalgia trip coming to the O2 Academy with Love From Stourbridge – featuring The Wonder Stuff and Ned’s Atomic Dustbin (14th Apr). Someone pass me my German army shirt, skateboard and a can of Red Stripe, we’re going early 90’s feral…

And if you’re committed to your anti-corporate support of live music, never fear as mac welcomes Juice Aleem & Surge Orchestra (21st Apr) whilst Mama Roux’s serves two sides of the musical rainbow with The Herbaliser (19th Apr) and Mallory Knox (24th Apr)… probably not a good idea to get those dates mixed up in your diary.

Elsewhere in the city, comedy offers a relatively strong respite from those kids and their music – with The Glee Club presenting Tony Law (13th Apr), Alun Cochrane (15th Apr) and Craig Campbell (22nd Apr).

Or if you just want to stand and stare, you could waste a happy hour or two at Lewes Herriot: The Glass Arcana exhibition at Artefact in Stirchley (13th – 14th Apr). Or watching the flyers unfold with an exhibition from the seminal 90’s ambient electro club Oscillate, at Centrala (16th – 28th Apr) – bearing in mind there is an end of exhibition party with HIA and POLE (28th Apr) so you might want to do more than actually just stand and stare. Or not. Depends how you dance to Sun Electric, I suppose. Necking enough amphetamines to kill a small horse always worked for me, but vegetarian options are available.

But to end on the most glamorous of high notes (pun absolutely intended) Paul Alexsandr and Dragpunk present Candyland at The Nightingale (6th Apr) – a choc full celebration of ‘local and national UK drag of all genders, sexualities and abilities that you’ll adore.’ Then at the other end of the April rainbow, Opulence are launching Mother’s Meeting at Bar Jester (28th Apr) – a band spanking new ‘performance night dedicated to showing off a variety of drag and queer talent across Birmingham and the U.K.’, with special guest Charity Kase joined by a pageant of the Opulence crew on stage and Elliot Barnicle on the decks.

Birmingham can be proud for many reasons, but the cross over embrace of its drag community is one to really get those flags waving. We love covering it, and it seems the punters of Birmingham love supporting it. So, Vive la/le drag community of our fair/fairer city, alongside all who sail on these most wonderful of waters. Save some energy though, Birmingham Pride is a mere calendar page turn away.

And wait, I’ve just thought of one. A Jewish carpenter and a 6ft rabbit walk into Cadbury World…

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. To follow Ed King on Twitter, click here.

THE GALLERY: Jaws @ O2 Institute 01.12.17

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review




Words by Ashleigh Goodwin / Pics by Phil Drury

After shuffling to the O2 Institute wrapped in my coat and pushing my face into my scarf, I want nothing more than to sit down by a fire and not move for a few hours.

However, upon entering the venue it’s hard not to adopt the enthusiasm from those also attending the Jaws homecoming tonight; it’s infectious, and as large groups of people snake round the walls for the cloakroom and the merch desk there is definitely an air of excitement (and a bit of pre-emptive screaming).

Heading upstairs, South Londoners Social Contract (described by Jaws as “a bloody great new band”) are starting up and have already attracted a decent cluster. People are scattered around, looking appreciatively at the stage, and throughout their set the room begins to fill up with groups at the back making space for dancing whilst flinging their arms around each other and jumping in unison.Marsicians – supporting Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Social Contract deliver a really interesting set, incorporating pop, grunge and a danc-ier edge when performing their debut single, ‘Citizen’, which was released earlier this year. The atmospheric pink lights that stream from the stage only solidify their calm and cool performance, whilst singer Josh drawls “yeah, what’s good?” Although their catalogue of releases is small online, I’d definitely check this band out if you’re a fan of Foals or Bombay Bicycle Club.

Marsicians are the second support, and the crowd responds instantly – if you had no knowledge of the tonight’s show you’d think they were the headlines. Self-described ‘upbeat indie meets dirty pop’, Marsicians perform a strong set giving a slightly Circa Waves vibe and on certain tracks, such as ‘Arms of Another’, James Newbigging’s vocals bare similarity to Matt Healy of The 1975. The set includes tracks such as the insanely catchy ‘Too Good’ and ‘Throw Ourselves In’, all of which incorporate memorable guitar riffs or choruses as well as a feel good vibe – making them translate extremely well in a live space.

The aura from the band is something really special too, they look so completely in their element and I didn’t expect to get so into it, which left me wishing I’d checked Marsicians out prior to tonight. Between the overall chaotic crowd and the flying pints (that didn’t seem to faze them) Marsicians wind down with their last song of the set, ‘Absense’ – an atmospheric slow burn that ends in a medley of guitars. And as cliché as it sounds, you can feel the emotion radiating from the stage and it leaves the crowd completely hyped.

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham ReviewThrongs of people now move around the venue, calculating how and where to get the best view for Jaws. Following this I find my way to the balcony, which is pretty much deserted as the floor below is full of bodies pressed together. The crowd sing enthusiastically to Nirvana and The Darkness in the changeover but surprisingly, the biggest reaction is when Skepta’s ‘That’s Not Me’ begins, with a large bulk of the crowd instantly pushing, shoving and manically jumping around. This preludes Jaws, as the lights fade and people instantly take to their mates shoulders despite the O2 Institute security gesturing for them to get down. Jaws’ sign at the back of the stage lights up and the crowd absolutely lose it as the Birmingham born band now take to the stage.

The opening, swirling, guitar riff to ‘Surround You’ starts and people sing along to the beat whilst the crowd go crazy – pushing and swaying relentlessly, as lead singer Connor Schofield greets the audience with “what you saying Birmingham, we good?” By the time Jaws perform their third song, ‘Think Too Much, Feel Too Little’, from their debut album Be Slowly, it’s hard to tear my eyes away from the crowd; it’s like watching something on fast forward, the atmosphere is electric and when an adventurous audience member jumps on stage mid-set, the trio don’t falter once as the guy bounces and sings all whilst getting escorted off by security.Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Through ‘Work It Out’ and ‘What We Haven’t Got Yet’ – from JawsSimplicity album (released early November), pits are created before the songs even start; people sway on their mates shoulders, beer, jackets and even a shoe at one point fly through the air. Schofield relays “you guys have a lot of energy, thanks!” before inviting the crowd to sing through tracks such as ‘17’ after announcing “my voice is fucked, sing along”.

Schofield proclaims, “I don’t know what to say, this is amazing, thanks…it’s nice to be here”, and the trio finish with ‘Be Slowly’, before the lights to down and Jaws disappear off stage after a completely mesmeric set, which of course is met by the “we want more” chant. Before there is time to process, inflatable beach balls are thrown into the audience from the balcony, welcoming Jaws back to the stage as they launch into ‘Donut’ with Schofield saying “let’s enjoy the rest of the evening together” before completing a four-strong encore. Jaws finish on ‘Gold’; the crowd finish with the momentum that they have somehow sustained throughout the whole set.

Seeing Jaws headline in such a large venue as the O2 Institute really does solidify the idea of supporting local acts; tonight you can feel a sense of pride, seeing this Birmingham born band receive such an amazing reception. Their two albums are strong standalones, but whether it’s due to the energetic crowd or just the gig atmosphere that gives their songs a fuller sound, Jaws should definitely be caught live if you ever have the chance.

As tonight’s opening band Social Contract said in their set, “it’s the last day of the Jaws tour…it’s been a fucking great time, we had a blast”, and you only have to look at the crowd streaming out of the O2 Institute at the end of the night to know they did too. 




Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

For more from Jaws, visit


Marsicians – supporting Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Marsicians – supporting Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Marsicians – supporting Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Marsicians – supporting Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

Marsicians – supporting Jaws @ O2 Institute 01.12.17 / Phil Drury – Birmingham Review

For more from Marsicians, visit

For more on Social Contract, visit

For more from Birmingham Promoters, visit

For more on the O2 Institute, including venue details, event listings and online ticket sales, visit