Lets Rock Leeds returns on 17 June with an impressive line up to shake your deely boppers to…
After a hugely successful couple of years, the Lets Rock team have pulled together an eclectic and exciting line up for the Temple Newsham show.
Come with us as we guide you through this year’s line-up…
Headlining for 2017, The Human League still thrill audiences the world over, with an impressive stage set and an enthusiasm for the songs that belies the fact many are over 30 years old. If anything the girls voices sound better now and you can be sure of a wonderful sing along, hit filled set to close the night
That said, singing voices are likely to be well stretched already with the appearance of Tony Hadley, the Spandau Ballet frontman will bring his solo set, always packed with those hits such as “True” and “Gold”
Howard Jones recently celebrated 30 years in the business and has been regularly outputting new work ever since. That said, expect nothing but faithfully reproduced hits such as “New Song”, “Like To Get To Know You Well” and the atmospheric “Hide and Seek”
Former Haircut 100 leader, Nick Heyward is one of those artists that may well be a surprise package, more hits that you might recall from his Haircut and solo days. Likely hi spots, “Favourite Shirts” and “Nobodys Fool”..
Roland Gift had a short but productive career as the focal point of the Fine Young Cannibals. The voice is still as strong and endearingly foghorn-like, “Im Not The Man I Used To Be” will bring you to tears. Possibly.
Stool Pidgeon – Ha cha cha cha – oh yes, the Kid is back. August Darnell aka Kid Creole and the Coconuts make a long overdue appearance in Yorkshire… I confess to being very excited by this and you will find me down the front with a jug of Mojito…oh Annie, I’m Not Your Daddy….the whole of Lets Rock will be swayin’ I promise you…
Techno! Techno! Techno! Techno! Technotronic are in town and will get all your 90s ravers up and ‘aving it large. It’s unclear if the current incarnation is still Ya Kid K and MC Eric though they did reform for anniversary show recently… It’s possible Lets Rock don’t know who is turning up as they are the only band without a bio on the website.
From The Jam, is now Bruce Foxton on bass, still slapping it like he was Down In The City all those years ago.. Rick Buckler left a few years ago however Russell Hastings has proved a very worthy frontman and if you ever had any love for The Jam then there this will be unmissable, a set packed with all those hits you sang along to on Top of The Pops and more..
Hue and Cry more than ably fill that mid to late afternoon slot, a time to sit down with your choice from the fab array of food and drink and nod your head appreciatively at classic 80s tracks such Looking For Linda and Labour of Love, we caught the Kane brothers recently and its an impressive set still.
Hazel O Conner is responsible for one of the most under-rated iconic songs of the 80’s, “Eighth Day” was a smash and an amazing song and the relevance remains today, expect a stomping “Decadence Days” and a soulful rendition of “Will You”
Imagination or more precisely Leee John, yes three e’s, had a string of hits in the 80’s , Just an Illusion probably the pick and it should be a good excuse to calm down, mellow a little after the madness that is..
Dr and The Medics, who said one hit wonder….that’s never let the good Doc get in the way of a rip roaring madcap set. Immerse yourself in the performance which always has more than a hint of manic-ness.
The same can sometime be said of A Flock Of Seagulls, Mike score to be precise. Sometimes quiet and hiding away behind his synth, other times the chatty front man responsible for one of the biggest 80s hits, Wishing (If I Had A Photograph of You) has a decent bag of synthtastic tunes to open up you 2017 Lets Rock Leeds
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Its unlikely Tom Chaplin will forget his Leeds gig on this tour, if any audience wasn’t going to play ball with this quote / unquote “soft southern bastard” then it was they. Trying his best to tell the story behind Hold On To Our Love, the addiction that drove wedges between friends and family, in typical Yorkshire bluntness he is told to grow a pair and man up. It’s all in immensely good humour and cracks Tom up, relieves the tension and from post gig comments its clear he has really enjoyed a rare visit to Gods own county.
For his debut UK solo tour, Tom has chosen unusual venues, churches, boats, comedy clubs and tonight the world famous City Varieties, from a forgotten era of music hall, its normally less than suitable for traditional gigs. Tonight though it’s the one opportunity to see and hear up close these personal songs before they get a little lost in bigger venues next year.
He appears refreshed, relaxed and invigorated and fans of Keane must fear for the future of the band. The three songs from his former band that he plays tonight fit seamlessly and are different only because of their familiarity and surely in coming months he will dip further into his rich back catalogue, even more confident in his solo state. Having exorcized his demons on The Wave, the future most likely lies in him writing about what he wants to rather than needs to.
Tonight is an undoubted success, we have much of the album performed, highlights included an early I Remember You and Quicksand (the most Keane-ish song on the album) and Solid Gold, again the serious mood broken with blunt Yorkshire humour. The interaction with the crowd continues, touching on cricket, alternative wives, Leeds United, bowling prowess and even coming down into Row F for a photo opportunity.
Everybody’s Changing is the one that finally gets everyone to their feet, mid encore, that soaring chorus hard to resist, its celebratory and the smiles are in evidence all around. Not least on Tom Chaplin.
Toms tour continues this week and a new tour next April / May
I didn’t feel quite so bad missing the Leeds game, driving to Sheffield and hearing the news of 8 changes for our game with Norwich, it put my mind at rest that we weren’t that bothered about progressing in the cup and I could focus on Heaven 17 / BEF.
Penthouse and Pavement has always been one of my favourite albums, there was no other album quite like it at the time, Song With No Name remains a song I come back to time and time again, Height of The Fighting turns up so often when my music is on random play that I think it knows I love it.
Via a dodgy stream and City Hall Wi-Fi I get to watch the first 15 mins of the game on my phone before the gig starts, crikey, we are being taken to the cleaners.. 0-1
So a gig where the whole album is played is a tried and tested formula, but one that works, from an era where we listened to the whole album, all the way through, in the order intended and Glenn and Martyn bring subtly updated versions as they played Sheffield City Hall, surprisingly for the first time ever. Clearly thrilled, the excitement was tangible as Fascist Groove Thang showed its parallels with 1981 and 2016 and dragged the seated crowd to its feet. There they stayed throughout a set that included the classics Play To Win and Lets All Make A Bomb.
Recollections of recording the album on the studio night shift while the Human League recorded Dare on the dayshift put into context just how different the creation of music was then, and in the two resultant albums, how much better it was for it.
Mr Gregory is watching his mouth tonight, no swearing as extended parents and family are in, but the swear jar is filling up.. We’re Going To Live For A Very Long Time is the last track on the album and as Glen says, it lasts a very long time. It was an unwritten law that the last song on side B was the longest on the album…
Album complete and one more song before the BEF set, and in a nod to Martyn’s key role in the inception of The Human League, a take on the first song they wrote, Being Boiled, the faster less ‘bleak” version completes the circle.
BEFs original album Music of Quality and Distinction (volume 1) was released in 1982 and (re)introduced the idea of guest singers on synthesised takes on classic songs. That album featured the talents of Tina Turner amongst others, “Don’t worry” quipped Martyn, “she isn’t here tonight”. Peter Hooton, Mari Wilson and Glen Matlock were and provided a fantastic second half.
Peter, recalling his affection for Sheffield and the support it had shown causes he had been involved with over the years sang the classic All Together Now and Bankrobber, a song that had become a kind of anthem. Mari delivered a faultless Just What I Always Wanted - kudos to the backup singers for mimicking the dance routines from the day.. Mari’s second song, a soul classic ..Rescue Me. Still a sweet voice and one I intend to explore. Finally original Sex Pistol and Punk legend Glen added an unusual synthesised electric / acoustic guitar take on Pretty Vacant before checking that the rule was one song you are known for and one you aren’t, launching into an even more unorthodox version of Pharrell’s Happy.
It’s almost extra time at Elland Road, its 1-1, I am checking twitter after every song, we’re playing well, its rocking down there, I feel bad but this gig is simply wonderful.
Returning to the Heaven 17 line up for the last leg, a quick swerve to the set list sees Glenn and Martyn duet on You’ve Lost That Loving Feeling (early Human League style), its sparse accompaniment and strong vocal bring memories of those early League gigs, its superb. Straight into a joyous romp through Boys Keep Swinging, Glenn channelling his best Bowie moves following time away touring The Man Who Sold The World.
Temptation gets bigger and longer every time I see / hear it. Deservedly so too, it’s a stormer and when you have a top vocalist in Kelly Barnes taking the lead, but more than ably assisted by Rachel Mosleh on stage to raise the roof, it would be rude not to. And boy does this scale the heights, the call and response extended intro as the two girls stalk the stage, Glenn a seated observer / voyeur. Its epic.
The finale sees Martyn explaining how they were to work with Colin Vernecombe (aka Black) this year at BEF gigs but his untimely death put paid to that, in tribute the collected ensemble perform his best know song, and a fitting one too, Wonderful Life. The perfect end to a perfect show, perfectly balanced and a unexpected contender for gig of the year.
We are losing 2-1 in extra time, we are down to 10 men but are fighting and equalise as I leave the venue, still pumped up from the gig I let roar “Come on Leeds” to the bemusement of the Sheffield public.
By the time I get the car out of the car park and Radio Leeds is just about receivable like Radio Helsinki in short wave, we are into Penalties, Silvestri saves, out psyching the taker, and saves again spectacularly oh my god, and on a night we remember one of our great keepers, Gary Sprake who sadly passed away last week.
It’s down to one of our growing talents, Viera, 18 year old, in front of the Kop to hopefully score the winning penalty to put us into the quarter finals. The radio coverage fades in and out but then I hear the voice of Noel Whelan almost ghost like, “Get iiiiiiiiiiiiiiiiiiiin” and we’ve done it. I blast on the horn repeatedly like we have won the world cup in Mexico. Drivers wonder what the.. but hell this is some night.. I expect a penalty notice from Sheffield police any day now… I might just ask for a contribution from the swear jar.
Don’t be fooled by the title of Glenn Tilbrook’s most recent solo album, Happy Ending, or at least not all of it. He’s happy, of course, and why wouldn’t he be? He’s more than earned his place at pop’s top table as one of our most cherished singers, guitarists and songwriters, not to mention an in-demand and endlessly endearing live performer. But more than 40 years after he first answered an ad placed by Chris Difford looking for like-minded sorts to form the band that became the much-loved evergreen Squeeze, an ending is nowhere in sight.
Such is the continuing work ethic of a fellow who’s never been far from the action since Squeeze made their recording bow with the Packet Of Three EP in 1977. Those humble three tracks led to such enduring pop classics as Take Me I’m Yours, Cool For Cats, Up The Junction, Another Nail In My Heart, Tempted, Labelled With Love, Black Coffee In Bed, Hourglass (this could go on for a while...), not to mention landmark albums like Argybargy, East Side Story and Some Fantastic Place.
Squeeze’s demise in 1998 (though not permanent) saw Glenn embark on a solo career that spawned the albums The Incomplete Glenn Tilbrook (2001) and Transatlantic Ping-Pong (2004), showcasing an ever-maturing songwriting talent. Arguably, though, Happy Ending is Glenn’s most personal work to date, a series of evocative portraits of time, people and places, that included writing and vocal contributions by his own children Leon and Wesley, in addition to old friends Simon Hanson (Fluffers/reunited Squeeze drummer) and Dennis Greaves (Nine Below Zero, also Glenn’s compatriot in the side project band The Co-operative).
“I’m really, really vibed up on what I’m doing now,” Glenn says of Happy Ending. “To me, this record takes its place alongside Pandemonium Ensues, East Side Story, Argybargy and Cool For Cats, which are my favourites of all the ones I’ve made. That’s five albums that I’ve thought ‘Yes! I’ve actually done that properly now”...”
Anyone who has witnessed Glenn on the live stage can attest to the properness of his doings, as it were. Armed with ready wit, raucous vibes and a shed load of grin-inducing great songs, there are few musicians able to connect with their audience on such an immediate and warm level. The ever burgeoning festival circuit is frequently enriched by Tilbrook the troubadour, whether he be leafing through the plentiful back catalogue of Squeeze or dashing off impromptu audience requests ranging from Jimi Hendrix to Tony Orlando & Dawn, and all points in-between.
Tickets for the GLENN TILBROOK – Leeds – Brudenell show taking place on Tuesday 6th December are available from:
LEEDS – Brudenell
Box Office No: 0113 245 5570 or 0113 243 6743
Website - http://www.brudenellsocialclub.co.uk/whats-on/glenn-tilbrook/
Tickets - £18.00 (advance)
Doors – 7.00pm / Starts – 7.30pm
The South returned to Wakefield Warehouse 23 for a very healthy though not quite sold out crowd. Those that didn’t come missed a rare treat.
The Warehouse is one of those venues that plays host to more than its fair share of artists on the retro circuit, fair to say The South fit slightly into this bracket but rarely will bands generate such a mutual joyous atmosphere as Dave, Alison and co regularly do.
The songs of the (not so Beautiful) South have a warm place in the hearts of the British public, pulling on common occurrences. You can see the spurned lovers, the cosy long term lovers, even the old red eye drunks.. as they blast their own versions out in salute.
There are rarely any surprises in a South set.. all the hits that matter, a sprinkle of the better album tracks (step forward The Woman In The Wall, sounding as dark, sinister and joyous as it did back in 1989 when I first saw it live. The only thing missing these days is the parade of folk in animal costumes that used to parade off the stage through the audience. There are a couple of surprises however, a welcome if rather tenuously linked ELO song (?) and one (I think) brand new song – judging by Dave needing his lyrics!
Crowd singing was taking to a whole new level in the (not on the single release) break after the first verse of chorus of You Kept It All in. Normally crowds are caught out and wait for the song to catch up, not the shakey wakey crew who carry on (regardless) singing the next verse and chorus right through to the outro, so loudly that the band aren’t quite sure where they should pick up again. Cue bemused and confused looks from the brass section, to the drummer before a cold start back to the second verse and we get to do it all over again.
When Dave Rotheray says they take none of this for granted, I believe it, if this was a band going through the motions, this venue wouldn’t have been half as full. Sure he is still a grump and jokingly complains one song particular is too miserable. But in Alison you see the unbridled and unashamed joy in performing songs that have been performed many many times before.
The South are hoping to release “at least an EP” early next year. Following their debut album Sweet Refrains which got the critical and fans acclaim it deserved, new material should see them able to slowly reclaim their crown as the band for the common man – and woman. And I mean that with the greatest of respect.
The Wave Album
Tom Chaplin
Heartfelt, a mans journey out of the dark
As the singer of Keane, Tom Chaplin will be a familiar voice to many, especially as the band's debut album sold over 5.5 million units. His first solo release sees him step out of the song writing shadow of Tim Rice-Oxley, bearing his soul and singing songs from the heart which reflect the downside of stardom. The fans, me amongst them remain as all the shows announced in support of and well in advance of this record are already sold out.
When the singer of a band goes solo, the results generally fall in two camps: similar output that of the band or something artistically different that risks alienating followers. 'The Wave' sits slightly in the former, the opening couplet of 'Still Waiting' and 'Hardened Heart' featuring the same radio-friendly, adult rock which worked so well for Keane.
Where they differ is lyrically, Toms journey and difficulties over the year have been well documented and are laid bare here. Solid Gold is touching, realising how he has kept people out but wants to bring them in and share the love while 'Worthless Words' is the sort of quaint, piano-led piece that detractors of the band may have slammed for lack of excitement but is actually tinged with emotion for those that take the time to listen.
Knowing that 'Quicksand' is written for Chaplin's daughter would be an easy fop but this is an affecting piece for any parent, warning of the potential for bad times ahead and not just a generic mushy dedication. The upbeat 'Bring The Rain' has an infectious spring in its step, but the goodwill ends abruptly with the gospel choir of 'See It So Clear'.
I for one cant wait to see Tom live in Leeds next week, sure I am hoping for some Keane classics, it would be rude not to but the songs on The Wave more than hold up against them. Those awaiting a Keane return may just be waiting a little longer..
MARTHA REEVES & THE VANDELLAS play WAKEFIELD – Warehouse 23
Saturday 17th December 2016!
Tickets go on-sale – Friday 14th October!
It was 1962 that Motown's Artist and Repertoire Director William “Mickey” Stevenson first heard the voice that would become synonymous with "the sound of young America." A young jazz/blues singer with the unlikely name of "Martha Lavaille" was bringing audiences to their feet at Detroit's famed 20 Grand Nightclub singing songs made popular by singers the likes of Gloria Lynne and Della Reese. He invited her to audition at the new Motown Records headquarters, "Hitsville, USA."
Though the audition never happened, within a year, Martha had taken the reigns of the company's A&R department, ingratiating herself. She saw that musicians showed up on time and got paid. She watched, learned, and whenever opportunity presented itself, she sang. And when she did, everyone took notice. When Mary Wells couldn't make a session, Martha was called to the mic. With her group, the Del Phi's, she recorded "I'll Have to Let Him Go," and Martha and the Vandellas was born.
The song was rather forgettable, but Reeves' sound wasn't. While waiting for her first hit, Martha (along with Rosalind Ashford and Annette Beard) backed Marvin Gaye on his first three releases and sang with him on stage. Soon, however, they emerged from the shadows with "Come and Get These Memories," followed by an enviable string of hits:"Heat Wave," "Quicksand," "In My Lonely Room," "Nowhere to Run," "My Baby Loves Me,", "Love Makes Me Do Foolish Things," "I'm Ready For Love," "Jimmy Mack," and, of course, the Motown anthem, "Dancing In The Street."
After leaving Motown in 1972, Martha continued to expand her musical horizons, establishing herself as a singer-songwriter with few limitations. She sang rock, jazz, country, gospel, blues and classical. Her singing companions included everyone from the Godfather James Brown and the Boss Bruce Springsteen to opera diva Beverly Sills and gospel king Rance Allen. She headlined a national touring company of the musical "Ain't Misbehaving," and for three years toured the UK in the musical review"Dancing In The Street."
Martha Reeves continues to thrill audiences around the world. Her self-produced 2004 CD, "Home to You" was named one of the year's best by the Asbury Park Press. In 2005, Will Smith mined the Motown vaults to uncover her unreleased gem, "It's Easy to Fall In Love," and included it in the hit movie "Hitch." Also in 2005, Motown released Martha's "Lost and Found" collection, which included the rare Smokey Robinson-penned "Spellbound," her studio recording of "For Once In My Life," and covers of hits by the likes of Aretha Franklin, the Marvelettes, Vikki Carr, Sam & Dave, and the Four Tops. She was also featured in the PBS special, "Motown: The Early Years," writing liner notes for the four-set CD package. A "Gold" collection was released in March 2006 and "The Definitive Collection" in 2009. (Her 1968 "Live at the Copa" remains in the vaults, but we hope for a release in the not-too-distant future.
Martha Reeves and the Vandellas (sisters Lois and Delphine) bring bring class, sass, and unparalleled Motown style to any event.
The Hits
I'm Not Leaving (Collaboration with The Crystal Method)
Come and Get These Memories
(Love Is Like A) Heat Wave
A Love Like Yours (Don't Come Knocking Everyday)
Quicksand
In My Lonely Room
Live Wire
Love Makes Me Do Foolish Things
Nowhere To Run
Dancing in the Street
Wild One
Motoring
I'm Ready for Love
My Baby Loves Me
Jimmy Mack
Third Finger, Left Hand
Lovebug, Leave My Heart Alone
One Way Out
Honey Chile
In and Out of My Life
Bless You
Tear It On Down
Wild Night
Power of Love
No One There
Now That We've Found Love
(Your Love Keeps Lifting Me) Higher and Higher
Watch Your Back
Home to You
It's Easy to Fall in Love (With A Guy Like You)
For more information on MARTHA REEVES - see links below:
Website - http://www.missmarthareeves.com/id1.html
Facebook – https://www.facebook.com/pages/MARTHA-REEVES-Official-Page/130642860300852
Twitter - https://twitter.com/MARTHAREEVESvan
You Tube Links:
No Where To Run – https://www.youtube.com/watch?v=mG9m-6dVKRI
Heatwave - https://www.youtube.com/watch?v=XE2fnYpwrng
Dancing In The Street - https://www.youtube.com/watch?v=CdvITn5cAVc
Jimmy Mack - https://www.youtube.com/watch?v=6sJfGDpwyv0
Tickets for the WAKEFIELD – Warehouse 23 show taking place on Saturday 17th December are available from:
WAKEFIELD – Warehouse 23
Box Office No: 01924 200162
Website – http://warehouse23.co.uk/
Tickets - £22.50 adv
As the director of The Help, Tate Taylor may seem like an odd choice to make a movie based on Paula Hawkins' sexy mystery thriller bestseller. While the film features three central female characters, it also has a dark and twisty plot. Taylor manages to bring out plenty of insinuating textures in the characters to keep the audience intrigued, but he never quite gets a grip on the Hitchcockian elements of this story about identity and life expectations.
The title character is Rachel (Emily Blunt), who commutes into Manhattan every day, observing life in the suburban homes along the train line. She's particularly fascinated by one house and the blonde woman (Haley Bennett) who lives there with her lusty husband (Rupert Evans). But the fact is that Rachel knows this woman: she's Megan, the nanny who takes care of the infant daughter of Rachel's ex-husband Tom (Justin Theroux) and his new wife Anna (Rebecca Ferguson), who live just a few doors down. And Rachel has a history of stalking them. Then she spots Megan with another man (Edgar Ramirez), just before Megan goes missing. So when Rachel emerges from yet another black-out drunken stupor, she begins to worry about what she might have done.
This is another challenging role for Blunt, who plays the shattered Rachel with raw grit. This is a woman who doesn't trust her own mind, knows that she drinks far too much and feels incapable of getting over her past mistakes. The film also occasionally circles around to show scenes from Megan's and Anna's perspectives, and both Bennett and Ferguson bring superbly unsteady textures to the roles. These are three complex, flawed women dealing with very big issues in their lives. And there are smaller but pivotal roles for the gifted Alison Janney (as a detective), Laura Prepon (as Rachel's flatmate) and Lisa Kudrow (as an old friend). By comparison the men are a bit simplistic.
But then, that's the point of this story, which circles around in a swirl of flashbacks that are unnecessarily and confusingly labelled (we lose track of what was "four months ago"). This fragmented plotting allows screenwriter Erin Cressida Wilson to play with the puzzle pieces, dropping in clues and red herrings until the full picture finally emerges. Best of all is how the truth catches most of the characters by surprise too. Where this is heading may not be completely unexpected, but the film is much more engaging because of the thoughts and feelings these three women experience along their haunting personal journeys.
Following the successful one-off episode of Porridge on BBC One, a full series of 6x30’ episodes has been commissioned and will go into production in January 2017.
Starring actor and comedian Kevin Bishop, the series is written by the show's original creators, the legendary Dick Clement and Ian La Frenais. Bishop plays Nigel ‘Fletch’ Fletcher, grandson of Ronnie Barker’s iconic character Norman Stanley Fletcher, banged up in Wakeley Prison for a series of cyber-crimes.
The one-off episode saw Fletch manage - just about - to stay on the right side of prison hard case Richie Weeks, while narrowly escaping the attentions of wily Officer Meekie. Whether he'll be able to keep them at bay for a whole series is another matter entirely...
The one-off episode saw Bishop joined by Mark Bonnar (Catastrophe) as Officer Meekie; Ralph Ineson (The Office) as prison bad boy Richie Weeks, and Dave Hill (EastEnders) as cellmate Joe Lotterby. The cast also included Dominic Coleman (Miranda) as Officer Braithwaite; Harman Singh (Rude Boys) as Aziz; Jason Barnett (The Javone Prince Show) as Shel and Ricky Grover (EastEnders) as Scudds. Cast for the series is still to be confirmed.
Dick Clement and Ian La Frenais say: “We're in a state of disbelief that Porridge is coming back after all these years, but Kevin Bishop is a worthy successor to Ronnie Barker. So even though we feel like recidivists, we're more than happy to go back inside."
Kevin Bishop told us: “It was an honour to be asked to play Fletch although I never thought it would go further than just the one off homage. To be welcomed back by Porridge fans and the BBC to make a full series, is one of the proudest moments in my career. Dick and Ian are true sitcom masters and I know they're going to write a brilliant series.”
The Pigeon Detectives - Leeds Wardrobe 6 October 2016
The Pigeons are back, lost shoes, busted elbows, concussion, all in check, clutching a handful of new songs, a couple of which you just know if they were badged by someone trendy would be a hit. That’s the shit that is the UK music biz at the mo.
First up a word or two for fellow LS26ers Fighting Caravans who, mid their own tour were supporting. A landscape of psycho-blues delivered with a Yorkshire / Texan drawl, pitching for Tarantino soundtracks and a HUGE sound. Big guitars, manic stares and audience intimidation is all in a nights work. Impressive and one to see again.
For the Pigeons, tonight sold out gig shows, in its audience make up that there is hope yet for the UK guitar / indie scene. Many in the audience would still have been in junior school when these Rothwell lads took their first faltering steps. The more people exposed to real blood and thunder sweaty gigs like this, the more they will realise what a real gig is – sorry its turning into an anti X Factor rant..
Tales from this tour tell of riotous behaviour, mutual admiration and stage invasions and Leeds was no different, alleging ramping it up just a tad further. All the hits, count em, were there, Animal still has the potential to be my total fave, the live version does lose some of the style and nuance of the recording but it’s still a gem. Matt throwing himself, literally, across the stage like he is performing Romantic Type for this first time. Despite it not being the first time for him, nor most of the audience, the excitement , thrill and buy in is palpable. This is a lesson in how to engage with your fans, as Matt said shortly before ushering everyone on stage, “we put our bodies on the line, every gig”.
A bigger tour is on sale now and will probably see a couple more of the new songs in the set. At first hearing it’s a new direction but with more than a hint of classic Pigeon, there’s nothing that’s out of place here but one or two songs are slightly more melodic, slightly more chilled. There is one in particular, it wasn’t namechecked unfortunately but I am convinced if this was sent to radio as an old school ‘white label’ with a ‘suggestion’ that it was James Arthurs comeback single it would get played. Its more than good enough but I suspect the Pigeons will get nowhere near mainstream with this, so live is the only route. On the evidence of tonight nobody is giving up on this band for the foreseeable future and rightly so.
Writers Harry and Jack Williams explore a different aspect of what happens when a child goes missing.
The first series of The Missing, which followed the disappearance of Oliver Hughes, and the desperate search by his father Tony (James Nesbitt) to find him, gripped audiences on both sides of the Atlantic. It was nominated for several Baftas and received two Golden Globes nominations. However, when the writers Harry and Jack Williams wanted to take the story forward, they didn’t want to return to Oliver’s tale. Instead, they decided to explore a different side of what happens when a child goes missing.
Set mostly on a British military base in Eckhausen, Germany, but reaching as far as the ISIL battlefields in Northern Iraq, the story begins when a young British woman stumbles through the streets and collapses in the town square. It’s Christmas 2014. We soon learn her name is Alice Webster (Abigail Hardingham) and she has been missing for 11 years.
The Missing explores how a family, and a community, copes with her return.
“We didn’t want to recreate the same story, we wanted to do something different,” says Harry Williams. “Rather than losing someone, it's about finding someone, and whether that is the happy ending that everyone thinks it is.”
Executive Producer Willow Grylls says the heart of the piece is the impact this has on Alice’s family: “The Missing isn't The Missing without its characteristic twists and turns. And quite quickly we find out that there is another girl that has also been missing, who is still out there.”
Told again over two timelines, with the theme of freedom versus imprisonment, as well as the impact of war running throughout, we start in 2014 with Alice’s return, and then switch to the present day to see how it has impacted the family.
“The intention is to make the audience lean forward a little bit more,” adds Willow. “It allows us the ability to tell stories about characters in a non-linear way and allows us to make choices that we wouldn’t normally be able to.”
It’s Alice’s possible connection to another missing girl that brings detective Julien Baptiste (Tchéky Karyo) out of retirement and into the lives of the Webster family. Her case has been haunting him for years, so he joins the search for Alice’s abductor in the hope it will lead him to the girl he couldn’t find.
“As Oliver’s story was coming to an end, we felt we weren't necessarily done with the character of Julien Baptiste,” says Harry. “It made us sad to say good-bye to him, and there were more stories we had to tell there.”
Jack agrees: “We knew that a man with a career that long would have skeletons in his closet, a lot of things left remaining to fix.”
Julien Baptiste is the only familiar face from the first series, so we are introduced to a whole new cast of characters. Staff Sergeant Sam Webster (David Morrissey), his wife Gemma (Keeley Hawes) and their youngest son Matthew (Jake Davies) have coped as well as they can after their daughter disappeared, but that tight family unit is fractured by Alice’s return.
Sam is a strong, straightforward military man, who’s always had a set of rules to follow. His daughter’s return upsets that equilibrium.
“When Alice turns up, Sam and Gemma don’t know how to deal with it,” says David Morrissey. “He has seen a lot of active service, but the reappearance of his daughter is something he is not trained to deal with.”
Gemma’s dreamt of her daughter’s return for over a decade, but is torn when Alice’s return isn’t the joyous reunion she’d hoped for. Can she ever hope to understand what Alice has been through?
Matthew was the last one to see his big sister alive 11 years ago, and once again he’s made to feel culpable in a shocking turn of events. These events lead the good-natured, introverted Matthew down a path of self-destruction.
“What's crucial about the show is that it's all about how people have changed, and one of the central questions you ask is, what's happened to them in the meantime? How did they get from there to here?” says Jack. “You look at Sam, Gemma, and Matthew, in the past, and the way they respond to the return of Alice. Then you see them in the present, and they're so fractured and on different trajectories. It just shows the different way they deal with this, in quite a stark way.”
We were delighted to catch up with the two stars of the show, first up David, then Keeley
Interview with David Morrissey
Why did you want to get involved with this series of The Missing?
I enjoyed the first season so much that I was really interested in the second series. And by the end of the first episode, I thought it was fantastic. It sets up the scene, sets up the story, the characters and their dilemmas. Like the first series, it's told in multiple timeframes. So just as you're reading it, or as you are watching it, and you feel that you know where you are, it changes. And the characters' relationships are different. Plus, there’s the thriller aspect. So I loved it.
What is it about the writing that is so attractive to you?
It's a multi-character script and that's what I loved about the first season. And it asks the audience to do some work. With the multiple timelines, you really have to keep hold of the different elements. But I think that's very rewarding for an audience as those stories start to unfold in front of you.
This series begins when Sam’s daughter is kidnapped, but what happens next?
It’s how our story starts, but we leave the time of her being abducted and go to 11 years later. We see the family still in Germany, still in the same house. They’re a family of three now and they're a very good unit. They've obviously been through a terrible, traumatic episode, but they've stayed together. And in the midst of this, their daughter walks back into their life. And it's how this family cope with her return and the bombshell that it brings. We then see the present-day storyline and the real physical destruction of this family. But we don't quite know what's happened to them in those intervening years, so the story's about putting those pieces together.
How has this journey changed Sam?
When Alice comes back there's a real sense of relief from Sam. He's overjoyed to have his daughter back. Even though the communication is difficult, and she's obviously very damaged, he's doing his best to build those bridges and create a home life for her where she can feel safe again. Then, in the present day, he's a broken man. Something else has happened to him. He has not only emotional scars, but he has physical scars too. We're left asking questions about what’s happened to him. What's happened to everybody? It’s a joy to play.
What’s Sam’s relationship like with his son Matthew?
Since Alice’s abduction Sam and Matthew have become very close. Probably too close in a way. I think both Gemma and Sam are a little bit protective of their son, as they would be. But when Alice comes back, Sam doesn't have room for him really. He's so overwhelmed by the emotions that are happening in front of him with his daughter, that he neglects his son. And his son is confused by that. And then something happens in 2014, which means our present day is full of blame. Sam has great blame towards his son. Great anger. And we are left wondering why that is. How did that happen? And that's what we come to find out.
What do you think it is about this series that strikes a chord with audiences?
I think what is interesting about both series is that you get to the personal. You see the protagonists and how these terrible events affect them, but you also see the ripples in the pool, how it affects other people, people who are wrongly accused or people who are involved in the story for their own ends, who have things to hide. I think that's part of the fascination with watching it.
Interview with Keeley Hawes
What made you want to sign up to The Missing?
I was sent the first six scripts and I sat down one evening and thought, oh I'll take a look at the first one - and by the end of the evening I had read them all, like I was making my way through a box set. I just couldn't stop. So I was very excited.
What is it about Harry and Jack's writing that appeals to you?
I think Harry and Jack are extraordinary. The writing is just wonderful; my heart was racing. They're incredibly clever because the stories are character-driven as well. It's not just the twists and turns, they really care about these people. I love their work and I love speaking their dialogue, it's terrific.
Where do we start with this series of The Missing?
The scene is set in Germany with a military family. And we find out Gemma and Sam had a daughter who went missing. They've had to move on partly because they have a son and partly because they just had to get on with their lives. Then they get the call to say their daughter might have been found. I've read about people who've experienced it and every day you must wake up and think ‘is today the day?’ And in our story, today's the day. But it's also a case of 'be careful what you wish for': after so much time, it's not going to be the same.
How do things change?
The family dynamic has changed and it's one of the saddest things. Of course it's inevitable, but this family has already been torn apart once, and they get smashed apart again.
How does Gemma differ between the two timelines?
It's like playing two different characters. Physically, we all look very different in the two different timelines. For the present day, my hair is mostly gone and there's sort of dark circles and that sort of thing, but it's more of a physical thing. I mean, she's somebody who has been completely shattered, wounded by everything that life's thrown at her... there’s a kind of physical paring down.
How has it been working with the other cast?
I worked with David Morrissey years and years ago. He’s obviously terrific and a wonderful actor. With Laura Fraser, I'm a bit of a fan and have a bit of a girl crush on her. I was beside myself when I knew that we'd be working together. Tchéky Karyo is a legend. He’s got so much charisma coming out of everywhere. He's lovely to work with and very funny. Working with Abigail Hardingham is so easy, because she is just a huge talent. She has taken the whole thing in her stride. It's not an easy part to play, but she's just made it look like the easiest thing in the world. I'm very fond of Abigail.
What’s it been like filming in Brussels?
Brussels is beautiful. We'd been shooting a little while when the bombings happened. It was quite surreal and a very strange time to be here. Everybody was arriving at work when the news broke, and these are people whose families are living and working in the city. The atmosphere was one I hope to never have to go through again. By the time we went home that night, the city was back up and running, with the flag all in lights on the buildings. It was an extraordinary introduction to Brussels. And you did feel very close to the team very quickly.
THE THREE DEGREES play HOLMFIRTH – Picturedrome on Sunday 16th October 2016!
Celebrating over 50 years in the industry, The Three Degrees are American female vocal group, formed in 1963 in Philadelphia, Pennsylvania.
A firm favourite with Prince Charles They sang at his 30th birthday party and were guests at his wedding to Princess Diana.
The Three Degrees are well known for their soulful voices, beautiful gowns, and fabulous stage shows. They are known all around the world for songs like "When will I see you again", "Dirty Ol' Man", "Take Good Care Of Yourself". They have been continuously touring for more than 40 years and still touring to this day.
The Three Degrees are:
Valerie Holiday
Helen Scott
& Freddie Pool
Tickets for the HOLMFIRTH – Picturedrome show are available from:
Sunday 16th October
HOLMFIRTH – Picturedrome
Box Office No: 08444 780 898
Website – http://www.picturedrome.net/tickets/The%20Three%20Degrees/20161016.htm
Ticket price - £20.00 (advance)
For further information on THE THREE DEGREES - check out the following websites / social media links:
Website – http://thethreedegrees.com/
Facebook – https://www.facebook.com/TheThreeDegrees/
Twitter – https://twitter.com/TThreeDegrees
