The Smudge

Out for the summer - interview with Math Priest from Dodgy

2014-06-08T16:40:00.000+01:00

BRITPOP survivors Dodgy are back on the road and Out in the Open for an acoustic tour from this month - and they’re looking for local musicians to support them at Arlington Arts Centre on June 11. Drummer MATHEW PRIEST tells CATRIONA REEVES why people should come to see them on a Wednesday.

CATRIONA REEVES: What's the idea behind your current Out in the Open tour?

MATHEW PRIEST: Nige [frontman Nigel Clark] has been running a regular open-mic night in his hometown in Worcestershire for the last few years and it's great fun. Packed every time, unpredictable with some seriously good talent - what's not to love?

We wanted to see if we could take the idea on the road, so we tested it out at our Borderline show in March in London and it worked really well so we're doing it on the road.

Obviously it can't work exactly like a standard open-mic where folk just turn up with a guitar and hope to play as we actually need to sell tickets, so we're auditioning potential acts beforehand. If you're successful then you get two songs; we're hoping for about five acts per show.

CR: Nigel left the band in 1997, but you reformed with the original line-up [Nigel, Mathew and guitarist Andy Miller] in 2008. More recently you gained a new band member [bassist Stu Thoy], and are recording a new album. Now you’ve been back together a few years, does it feel like you’ve ever been apart?

MP: Well the problem is that our memories are fading so it's more a case of not remembering that we were ever apart!

We're about three quarters of the way through recording the album, but we've had to take a break for this tour. We're really happy so far, it seems to be a bit heavier and more upbeat - that might be Stu's rock influence.

Writing and recording this new album has been particularly satisfying, I can't wait for folk to hear it. The boys have done good.

CR: Were you particularly keen to play Arlington Arts again after your 2012 date there? I was quite surprised - and chuffed, of course - as you are also coming to Reading on June 6!

MP: We had a great time in Newbury last time, so we thought we'd chance our arm again. We love playing gigs: we have such a laugh. It's not right, what we get up to, it really isn't!

CR: Apart from the forthcoming album release, have you got any exciting future plans coming up?

MP: Well it's the 20th anniversary of our Homegrown album this year and there's talk of some shows where we play it in full towards the end of the year [the band did similar shows for the anniversary of their debut, The Dodgy Album, last year]. But that's all it is at the moment - just talk. We're up for it: take a full band on the road; keyboards, horns, girls. And goats.

CR: Your Newbury show is on a Wednesday, which may mean that some potential audience members may take a bit of extra persuading to come along. Can you convince them to make the effort on a school night?

MP: The reason why we have some very suspect political parties and a climate of fear and blame is because we spend too much time at home on the computer and watching rubbish TV, and not enough time in each others’ company.

The good folk of Newbury need to come to the Dodgy show and feel the love you can only feel when you're in a room watching an awe inspiring, hilarious, spontaneous live show.

CR: Lastly, as you know, I have lyrics from one of your songs tattooed onto my shoulder [“We can be immortalised”, from Raggedstone Hill, a song on their 2012 album Stand Upright in a Cool Place]. It may be time for me to get another Dodgy tattoo... what should I have done, and where?

MP: My face on your face.

CR: Consider it done.

* Dodgy will be visiting Arlington Arts Centre on Wednesday, June 11 at 8pm. Tickets cost £16 from www.arlingtonarts.co.uk or telephone the box office on 01635 244246.

First published in The Advertiser in May 2014

Man about town - interview with George Cazenove of An Officer and a Gentleman

2014-04-14T21:17:00.001+01:00

When did you last wear a well-tailored jacket with a fascinating history in its pocket? Man-about-town GEORGE CAZENOVE has relocated from London to Hungerford to open vintage clothier An Officer and a Gentleman. “Vintage clothes look good, and tell a hell of a story,” he explains to CATRIONA REEVES.

I FULLY expected An Officer and a Gentleman to be a treasure trove of vintage delights, but on visiting the shop in Charnham Street, Hungerford, it was a pleasure to discover that its proprietor George Cazenove is brimming with old-school charm and bursting with fabulous stories, both about the clothes he sells, and his own adventurous life.

Descended from a family of “rakes, boozers and fornicators” who lost most of their fortune through death duties, Cazenove turned his back on the traditional family profession of stockbroking to set up a clothier called Bertie Wooster - named after PG Wodehouse’s most famous character - in late 1980s London.

Feted by the Chelsea set, Bertie Wooster’s vintage finds and bespoke tailoring graced the bodies of the bold and the beautiful across the pages of society magazines, and the business expanded to seven branches across London and beyond, before Cazenove closed up shop in 2005. “I’d moved to Africa two years before, and it was too difficult to run the business from over there.”

Cazenove’s Africa move came about rather by accident - bet by an SAS soldier that he couldn’t drive round the whole of Africa, he did just that, down the east coast and up the west; and rather liking it over there, he set up a property company in Angola. He spent the next nine years dividing his time between there and Cape Town, where he made rather a name for himself as a campaigner against the hangover of Apartheid.

Back in the UK and “having lost a lot of money” during a divorce, Cazenove was “in limbo and seriously considering going back to Africa”, when one day, driving through Hungerford, he spotted a for sale sign outside a near-derelict Victorian building, the town’s former gasworks, and made the decision to set up shop once more. “I’d sold the Bertie Wooster name, so had to decide on a new one - I heard the theme song for the film An Officer and a Gentlemen on the radio, and thought that would be perfect.”

Opening his doors in July, Cazenove has felt fully welcomed with open arms, both by his old contacts in the trade - “They always said that I had a nobby background, but a barrow boy mentality” - and by the community of Hungerford. “The mayor’s been fab; I’ve made so many friends in a very short time, and James Podger at Great Grooms has sent me lots of clients - it’s almost like a marriage; he sells them a dining table, then passes them on to me for dinner jackets so that they can sit down at their table in the proper style.”

The shop’s stock is entirely men’s clothing: Savile Row tailoring, accessories, military uniforms and sporting memorabilia, but fashionable women often pop in to snap up military tunics, hunt tail coats, velvet smoking jackets, Barbours and tweed. “If I had a motto, it would be ‘You must be seen in vintage tweed’, says Cazenove. “It‘s so much better than the new stuff; it doesn’t have that shiny look to it, and it can be worn smart or casual - a tweed jacket looks great with jeans.

“The coat I’m wearing in the Out & About photographs is from the 1930s. To build it now would cost £5,000, but we’re selling it for £150, and it’s got that fabulous vintage look.”

So, how can he identify the pedigree of the clothes he sells so specifically? “Easy,” he says, rushing out of the kitchen and returning with a tweed jacket. “This is a rabbiting coat, made for the British Army General Adrian Carton de Wiart in the 1940s. Look - when something is made by a tailor, there will always be a label in the inner pocket, with the date and who it was made for.”

The Chelsea set have started flocking back to Cazenove’s door, following in the footsteps of Pippa Middleton, who visited in August and left with an on-trend mid-century military tunic. Another recent visitor was an unnamed “horsey lady” who bought a jacket made by Savile Row tailor Bernard Weatherill, and wore it on television the next week. I think we can all guess who that was...

Cazenove is also welcoming a new generation of customers, many of them the children of those who used to shop at Bertie Wooster. He is delighted that they, like his assistant, local farmer’s son Freddie Walker, are learning to appreciate the delights of vintage clothing - “why pay £100 to hire a dinner jacket when you can buy a beautifully-made vintage one for the same price?” Everything is cleaned before being put on sale by Best Western Dry Cleaners in Newbury, although Cazenove advises against the use of mothballs to store clothes, “because you can never get rid of the smell. The modern solution is vacuum bags - the moths can’t get in there. But really, clothes are made to be worn”.

For someone who has such a love of items with historic value, Cazenove is surprisingly unmaterialistic. He is adamant that he has no plans to build another clothing empire - “there will only ever be the one shop” - and says that his own wardrobe (he lives above and behind the shop) is simply an extension of the stockroom.

“I have between one and 50 coats that I wear at any given time, but I always end up selling them. I’ve just sold my own dinner jacket to a young man for the Feathers Ball (a major event in young London’s society calendar). His mother was desperate, and I knew it would fit him. I’ll find another one for myself before too long”.

Unsaleable - but wearable clothes - are given to homeless shelters for ex-servicemen, and Cazenove has donated particularly special items to museums in the past. “Back in the ’90s, I got a phone call from a man living up a tower block in Tower Hamlets, saying that he had a load of stuff in suitcases with fleur-de-lis on them.

“I was a bit nervous - it wasn’t a nice area back then - but when I got there, it turned out that he was a descendent of Tsar Nicholas’ surgeon, and he had all this amazing Russian gear - suits, minks and Vuitton luggage, as well as letters of correspondence from the Tsar. I valued it fairly and took the whole lot.

“Of course I sold a lot of it, but some, I gave to the Victoria & Albert Museum. It only seemed right, as I’d got such a good deal. There’s leopardskin-lined coat from that collection still on display there to this day.”

Cazenove is always happy to meet potential sellers, citing An Officer and a Gentlemen’s first “big break” as the day that someone brought in their late father’s “lovely old clothes”, and to provide advice - being particularly pleased that he recently assisted someone in selling sashes from the Crimean War for £18,000 for which the seller had originally been offered £60 by a generic antique dealer.

He is also happy to be consulted on potential purchases from elsewhere, particularly if it helps people avoid fakes: “There’s a lot of Edwardian military coats around which are actually copies from China. Swords as well. People are pleased that they’re getting a bargain, but it may not be what they think.”

Up since 2am on the day I interviewed him for a flying visit up to London, Cazenove had already had a successful morning, selling a fur-lined coat, made for the British ambassador to Russia before the Second World War but never worn, to fashion house Ralph Lauren, who will be copying it for a future collection, and displaying the original in its New York flagship store. So, there’s plenty of highs to be had in the vintage clothing game - but how about the lows?

“It’s heartbreaking when you go into the attic of a stately home and see clothes which could have been worth a fortune, and they’re threadbare or moth-eaten. I once visited the Dashwood family, whose ancestor had been a pageboy at the wedding of Queen Victoria to Prince Albert in 1840. Sadly, his outfit was shot through - totally destroyed by moths. All I could rescue were the silver buttons.”

At this Cazenove jumps up and pulls a plastic tub full of the buttons out of a drawer, insisting that I take away with me a small but amazing part of history. I don’t need much persuading, recognising the intrinsic beauty in the small, but weighty nub of tarnished silver, stamped with Queen Victoria’s crown, and immediately deciding that I will get a chain to hang it on.

“Vintage clothes are a talking point; they look good, and they’ve got an artistic and conceptual value; a history, and a hell of a story,” says Cazenove. “Just think about it - the violin from the Titanic’s band has just sold for nearly £1m, and it’s totally unplayable; but clothes you can wear. It’s not about the money for me; it’s about the passion. I would rather spend £100 on a story I can wear on my back than buy a new BMW.”

First published in Out & About, 2013

The art of the garden - feature on botanical artist Katharine Amies

2014-04-13T20:27:00.003+01:00

SOMEWHERE deep in the woods of Snelsmore Common is a haven of tranquility: a light and airy kitchen where hours pass like minutes and creations of breathtaking beauty can be inspired by from something as apparently mundane as a root vegetable.

But these vegetables aren’t for eating, they are for celebrating in their raw state, to be captured on paper, frozen in time - and no; I’m not talking about potato printing: for this is the home of botanical artist Katharine Amies. Botanical art dates back hundreds of years, flourishing in the 17th century when it became a way of portraying and disseminating the beauty and novelty of plants brought back from Britain’s new colonies. It continued to be popular for the next two centuries, with detailed drawings and paintings of flowers, fruit, vegetables and other plants being used to illustrate flora field guides, catalogues and magazines.

The advent and advancement of photography has not made the skill of the botanical artist redundant, as the careful observation and detailed capturing of each subject brings it to life with a vibrancy and realism that somehow a camera could never capture. Amies has on display in her kitchen a line drawing of a pineapple which bristles with an micro-authentic hyper-reality that can only come from careful observation and the most delicate of pencil strokes building up layer upon layer of carbon to create three-dimensional depth and shadow.

As passionate about teaching the skill of botanical art to others as practising it herself, Amies has started holding workshops at her home, with the mantra that anyone can learn how to draw and paint, as long as they are taught well.

Attending a day’s session on painting summer flowers, I was worried that my extremely rusty pre-GCSE standard painting skills and frankly embarrassing drawing ability wouldn’t stand up to such a meticulous and detailed art form, but Amies’ explanation that botanical painting is as much a science as an art soon put me at my ease.

“Basically, if you follow the rules, concentrate, and don’t rush, there’s no reason why you can’t do it. It’s so prescriptive that if you do what I tell you, you will get a result that you can take home and be proud of. Most people who come on my courses are like you - they haven’t painted since school, and they are really pleasantly surprised by what they can achieve in a few hours.”

Amies herself discovered botanical painting after a few false starts at finding her creative forte almost put her off art for good. “I always loved drawing beetles, bugs and detailed things, but I didn’t really get on with art at school - it all seemed to be a bit vague, about ‘expressing yourself’, and that wasn’t up my street. Later on I went on a watercolour landscape weekend, but that didn't suit me either - again, I wasn’t given enough direction for my liking. I studied languages at university, and got a job in fashion retail marketing, so art didn’t feature in my life for a long time after that.

“Then, in 2001, a friend invited me to see her mother’s botanical painting exhibition, after she’d completed a year’s course with the Florilegium Society at Chelsea Physic Garden. I was absolutely stunned - I remember her painting of a sweet pea which I found particularly amazing. I left my job, signed up for the course, and spent a year of Mondays being talked through how to create three-dimensional shapes through shading, how to make cherries and plums shine, and how to tackle petals and leaves.

“I loved it - I discovered that I like being told how to get a result rather than be told to ‘find it yourself’. I suppose the fact that I studied languages at university shows that I like being told what to do, and that if I work hard enough at something, I can get good at it.

Of course, a few generations ago, lots of people painted or drew - it was a common hobby among our grandparents when there were less alternatives, and their work can look surprisingly good, but it was because they kept at it. I believe that anyone can be taught to draw and paint if they really want to, and spend time on it.

I was taught in a way that I can pass on to others quite easily, even if they can only attend one of my workshops - all it takes from me is encouragement and patience.”

In 2003, Amies submitted her first artwork into an exhibition in Chelsea, selling eight pictures, and realised that she could make a living out of her talent. She booked a space at Shepherd Market Gallery in Mayfair for the following year, by which point she had produced 48 paintings, of which she sold 44. Her productivity has been slowed down in recently years by the arrival of her children, but she has held a third exhibition, and mainly undertakes commissions.

“Customers normally commission flowers, such as roses or peonies, but will buy the unexpected when they see them: beetroot, borlotti beans and courgettes for example. I do like to do things that wouldn’t be considered classical botanical images. Vegetables can be quite beautiful. The cardoon (also known as the artichoke thistle) is a good example of that.

Amies enjoys a challenge - “the passion flower was pretty tough, because it’s so detailed” - but there are still a couple yet to be conquered. “I started to paint a cantaloupe melon; the outside was difficult because of the spiderweb pattern, but then I cut it open, and thought “no way, I can’t do it.” Working with fresh plants also provides a challenge - flowers have to be painted before their petals droop, and the leaves of root vegetables tend to droop as soon as they are picked. The solution is to grow them in pots, only uprooting them at the last minute, so that the leaves can be painted in situ.

She also has an expert helping hand with the growing side of things from her father, the renowned wildflower cultivator and countryside restoration champion, Charles Flower. “People suggested that I use my maiden name for my artwork as it’s rather appropriate, but I thought that would be too much!” she laughs.

As for my own experience on Amies’ painting day; I was genuinely delighted with the resulting line drawing and watercolour paintings that I produced. Following the formula of imagining the light source coming from top left and thinking about how it would create light and shade on the petals and leaves, I was able to create three pieces of art that I would be proud to put on my wall. “You’ve got the hang of taking it steady, building up the colour layer by layer, not overdoing it,” Amies explains.

“The main mistake people make is to overload the paintbrush, and put on too much colour to begin with. It’s heartbreaking when that happens, because there’s often nothing I can do to help them correct it. It’s always possible to add more, but you can’t take it away once there’s too much colour on the paper.”

And so, with the motto “less is more” ringing in my ears, I departed Amies’ welcoming kitchen, the day having flown by in the blink of an eye, three pieces of artwork ready to frame, and thoughts of buying a watercolour and pencil set in my mind; with the confidence that if I practice hard and long enough, I could actually become a lot better at painting and drawing than I ever believed possible.

First published in Out & About, 2013

A deeper shade of blue - review of The Blue Bishops and Invisible Vegas at Ace Space

2014-04-13T20:18:00.001+01:00

Photo: Richard Markham

The Blue Bishops and Invisible Vegas, at ACE Space, Newbury on Friday, October 26, 2013

A BAND with true blue credentials (in the musical, not political sense) oozing out of their pores, The Blue Bishops cranked the sound up to 11, nearly “red lining” the sound system, and rocked to the rafters at ACE Space on Friday night.

Joined by local musician and regular band stand-in Chris Hook while usual bassist Jim Rodford was elsewhere doing his thing with The Zombies, the Bishops demonstrated what decades of individual professional musicianship and years playing as a four-piece should sound like.

Despite the slightly unatmospheric setting - ACE Space’s lighting rig went kaput earlier in the week, meaning that the band performed their set under the hall’s harsh florescent strips - the Bishops created a sweaty ambience all of their own with two storming sets.

The blues’ heaviest sounds, such as Fleetwood Mac’s Drifting (written by Peter Green) were juxtaposed with covers swiped from the less well-thumbed pages of the blues songbook, such as Elvis Presley’s That’s Alright Mama, which I wouldn’t have previously spotted as featuring a classic blues progression, but was actually written by blues singer Arthur “Big Boy” Crudup back in the ’40s.

However, it was with their own songs, mainly written by frontman Geoff Grange and guitarist Simon Burrett, that the Bishops came into their own, bringing a rocky - nay, poppy - and often fun edge to their sound, on more lighthearted songs such as Credit Card. A darker, Springsteen-esque seam ran through Black Diamond, written about a 1950s mining disaster at a Durham Colliery, near to Grange’s home town of Hartlepool.

Grange himself is all you want from a frontman; with a wiry charisma, he held the stage with each song, with plenty of opportunity to showcase his prodigious harmonica playing which has secured him long-standing collaborations with the likes of Bill Wyman and Nicky Hopkins. Overall, the band were truly excellent - a real treat for ACE Space, which is getting a name for itself as a small but welcoming venue, helping to put Newbury back on the musical map.

Support came from two of Invisible Vegas, a youthful Oxford band discovered by gig promoter Richard Markham, testing the water at ACE Space with a view to returning with their full membership in the New Year. Their polished indie rock sound and boyish charm went down well with the audience, so I’m pretty sure that they’d receive a warm welcome if they were to return. They’ll have to crank up the sound a fair bit to compete with The Blue Bishops, though.

* First published in the Newbury Weekly News in November 2013

Tea towels and dogma - interview with James Studholme from Police Dog Hogan

2014-04-06T19:52:00.001+01:00

“MIDDLE aged man band” Police Dog Hogan enjoyed their Arlington Arts gig so much last year that they’ve been persuaded back to Newbury for a more intimate date at ACE Space on April 26. Frontman JAMES STUDHOLME tells CATRIONA REEVES why

CATRIONA REEVES: There’s quite a lot of musicians in Police Dog Hogan; I hope you realise that you’re going to be a bit crushed on the ACE Space stage!

JAMES STUDHOLME: We’ve recently pared down to a six piece because our guitarist has moved away - but anyone who plays with us is a Police Dog in perpetuity, just not currently on active service. Sometimes we bring a guest trumpeter along, but maybe we’ll leave him at home for this gig!

When my friend, the DJ Johnny Walker, heard that we were starting up as a seven-piece, he said “you’ll never make any money”. But the more people there are in the band, the more fun there is to be had.

CR: I’ve heard that the band runs to a set of rules known as “Police Dogma”: what do these involve?

JS: They were based on the rules of bluegrass - mainly that we don’t involve any instruments that you can’t carry to a microphone. The original idea was that we would play around one microphone, but we quickly realised that wasn’t practical. It’s different in America, where musicians grow up with that way of doing things and are highly skilled at it, but we soon converted to a more conventional set up.

We’re still basically trying to stick to the bluegrass soundscape - we still haven’t involved a piano in the band - but the pure bluegrass style is quite restrictive, and of course we’re English, so we haven’t applied the rules religiously.

I guess that we’ve broken our own rules to get to a more interesting place. We’re probably more in the folk than the rock world, but there’s no real road map. We’ve been called “urban bluegrass”, “townbilly” and “Anglicana”, but I think our banjo player Tim coined it best with “middle aged man band”.

Our pop heritage is Slade, T. Rex, punk and The Smiths, and that’s all in our music, along with the country music thread. But we don’t want to be singing about highways and truck stops - our songs are about the A39 and Knutsford Services.

CR: You’ve all got successful day jobs [Studholme heads up film company Blink Productions, responsible for Cadbury’s drumming gorilla and two of John Lewis’ Christmas ads] - but do you harbour dreams of jacking it all in to be full-time rock stars?

JS: Rock and roll stardom is every schoolboy’s fantasy, and we were all musicians in a previous life before we made our livings. Where we are now is a really nice spot - It’s basically a supercharged hobby; I guess the term is “semi pro”. We are now being offered more gigs than we can do in a year, and it’s nice to be able to pick and choose.

The big thing that we’re in this for is the songwriting and recording, and the success of the live shows is an unexpected surprise. When we tour, we realise that people are coming to see us who don’t know us personally, which is great.

Like all bands, we started with a few friends and family members coming along and shuffling a leg. I think it was a relief for them when we started to get a following of our own; it meant that they didn’t have to come along to every gig!

CR: Your big selling merchandise item is a tea towel featuring the faces of band members. I hope that you’re bringing a load to ACE Space; I think they’ll sell rather well to the regulars.

JS: The tea towels seem to have developed a following of their own. They are sensational quality - larger than most, and very absorbent. People buy one, then come back for more! We’re still fractionally ahead in record sales, but I can see a day coming when the tea towels take over.

Fortunately we’re recording a new album in May, so our Newbury gig is part of a little run of dates to give us a chance to play the new songs before we go into the studio. So, hopefully, we should be able to keep the music just ahead of the tea towels, in terms of popularity.

CR: Police Dog Hogan’s banjo player is The Guardian’s weekend columnist Tim Dowling. Do a lot of readers come along to check out the band?

JS: Tim’s column is predicated on everything in his life being awkward and going wrong, so when he mentions the band it tends to involve humiliating disasters. Certainly in the first 18 months I can’t imagine that anyone reading about us in his column would have been tempted to see us live!

Luckily we started to get quite favourable internet noise, and it seemed that last year quite a lot of people were coming to check out if Tim could play. He’s actually a very talented musician, and I like to think that we’ve converted a lot of his followers to our cause.

CR: Is being in Police Dog Hogan as much fun as it sounds?

JS: It certainly is. The band is built on longstanding friendships - some of them up to 35 years - and all the shared memories and feelings that come with that. It makes the songwriting process an absolute joy. We’re looking forward to the ACE Space gig. It should be a riotous evening.

* Police Dog Hogan play at ACE Space on Saturday, April 26, supported by The Pottingshed Band. Tickets cost £12 from Hogan Music [no relation to the band] or £14 on the door. Tea towels should be available on the night.

* First published in the Newbury Weekly News in March 2014

Why I am striking for the future of public protection - Napo Probation Strike, November 5-6 2013

2013-11-04T19:58:00.000+00:00

HEY people, I thought I'd explain why I am joining the Napo national strike to save Probation tomorrow, in case you thought it was about pay or pensions...

Basically, the government are planning to sell off 70 per cent of the Probation Service. G4S and Serco will almost certainly win all the 20-odd contracts. I don't want to work for either G4S or Serco, but more importantly, I don't think that that public protection should be put in their hands.

The government says that this will allow more voluntary and charity organisations to get involved with offenders. No bad thing. But why is it considered that G4S and Serco will be better at sub-contracting to the third sector than existing Probation trusts? (who already do some such partnership work, btw).

Maybe you think "well, maybe Probation are doing a rubbish job". But we're not. Each trust was graded between good and excellent last year. And the figures that the government quote about high rates of reoffending among those sentenced to less than 12 months in prison isn't of our doing, as they are currently released without licence.

Minister Jeremy Wright finally admitted the truth on BBC Five Live earlier - it's about money. They don't want to pay Probation to manage these people effectively, so they're giving it to cheaper organisations - along with 70% of our existing work (managing medium and low risk offenders).

And yes, on the ground the work will still be done effectively, at least to begin with, because the majority of staff in these community rehabilitation companies (as they will be called) will be former Probation staff. But wait until G4S and Serco take over the contracts in 2015. Over time, professionalism will be replaced with the cheapest option, and the concept of public protection will become a distant memory.

Jeremy Wright said today that public protection will be safe because risk assessment will remain in the hands of the National Probation Service.

But risk is dynamic, not static, so will those working directly with offenders be able to spot the signs? Will those alarm bells start to ring, based on professional experience and trained intuition? Or will the signs be missed as offender managers find themselves under pressure to hit payment-by-result targets to make each case look like a success?

Oh - and what a coincidence - the new contracts will be in place a month before the general election, so even a change of government won't stop it happening. Chris Grayling wants his legacy, for good or bad.

Tomorrow and Wednesday's strike probably won't lead to a u-turn in the government's plans. Although it just might, if enough members of the public kick up a fuss, write to their MPs, sign the petition etc, and make it known that these changes aren't being made in their name, or for their good.

I personally can't let it go ahead without making my view clearly known, and that's by going on strike and losing a day's pay. Because I didn't give up a perfectly good (and far less stressful) previous career for the money, the perks, the friendly faces or the gratitude. I would have been sorely disappointed if I had.

I became a Probation Officer because I felt that I had the skills to work with some of the most challenging people in society, engage with them, manage and reduce their risk, and hopefully do my bit to protect the public. And I want to be able to continue to do this as part of an organisation with an internationally respected track record for doing so.

If you feel moved to do so, please sign the petition:

http://epetitions.direct.gov.uk/petitions/44403

Wicked game - interview with Jo Caulfield

2013-10-31T21:15:00.000+00:00

FEISTY comedian JO CAULFIELD is on the road with her Better The Devil You Know tour, and coming to Arlington Arts on Friday, November 1. CATRIONA REEVES gets her to pull in at a service station in the West Country to talk about why she still loves a live audience.

CATRIONA REEVES: Right - this is only going to get in the paper a couple of days before your Newbury date: we need to sell the show quickly. You can start persuading our readers.... now.

JO CAULFIELD: My husband and I recently celebrated our 10th wedding anniversary - we’d got married in New York because we just wanted a holiday, and didn’t want to pay for other people to have a good time. I was talking to someone else who had also got married over there, and they mentioned the hassle of completing all the paperwork to register the marriage when they got back. Now, we never did that, so I started to wonder if we were actually legally married at all.

That got me thinking about what it would be like to be single, and after 10 years it seemed a good time to have an appraisal of my marriage - focussing on him, of course, not me as I’m perfect. Obviously, after so long together, I’ve pretty much got him behaving as I want him to, but there’s some traits that can’t be changed, and I had to decide if it’s “better the devil you know”, compared to the single life, which to be honest, looks rather exhausting. I don’t think I’ve got the energy for that.

The show seems to strike a chord with a lot of couples - men come up after the show and say that it explains so much, and women ask if I’ve been following their husbands with a camera. It’s really interesting talking to couples during and after the show, particularly those who have been married a really long time. It seems that after 40 years or so, the men give up and do what they’re told, so it looks like they can be tamed... eventually.

It’s great to have couples in the audience who are prepared to offer themselves up for sacrifice, but singles are also very welcome, as it’s a good reminder that they’re not really missing much by not being in a relationship.

CR: You’ve had a healthy career away from the world of stand up, not least as a comedy writer. The lure of the road must be strong for you to go on tour again.

JC: My time as a writer for the likes of Graham Norton taught me a lot about writing jokes. When you’re live on stage, and you’re coming up to a new joke, the test is whether you tell it or back out - if that happens, you know it’s not that good. It’s different on television, where it needs to be decided beforehand if the joke is worth telling. Graham is excellent at that - he says “I’m not hearing laughter, I’m hearing smiles...”.

But stand-up comedy is something you can’t take a break from for too long if you want to return to it. It’s easy to get rusty, so you have to keep on at it, and you can’t do that if you’re busy writing for someone else. So I’ve made the decision to start writing mainly for myself again now. I really enjoy touring. It doesn’t suit everyone, certainly not all women - but then there’s lots of male comedians that it doesn’t suit either.

CR: The Times described your show as “like a sociology textbook, but with jokes”. Were you chuffed with that?

JC: It made me sound very clever! I wouldn’t say that the show has an intentional message as such, bu if you’re talking about day-to-day life, it does in itself become a social commentary. It’s not so much my aim, as a happy outcome. But people come up to me after the show and tell me that they really relate to it, which is lovely, as it means that I’m on the right track.

* Tickets for Jo Caulfield at Arlington Arts on Friday, November 1, cost £13, available from www. arlingtonarts.co.uk or 01635 244246.

First published in the Newbury Weekly News on Thursday, October 31, 2013

Stories through song - review of Case Hardin, Daisy Chapman and The Lullabirds at ACE Space

2013-10-20T15:41:00.002+01:00

Case Hardin, Daisy Chapman and The Lullabirds at ACE Space, Newbury on Friday, September 20

PROMOTER Richard Markham reckoned that Friday’s ACE Space gig line-up “didn’t look like it should work on paper”, but in fact, the three bands blended together beautifully, each telling moving and heartbreaking stories through song, and breaking free of the traditional rock band line-up with the sound of strings and other instruments.

The evening was opened by The Lullabirds, a localish trio featuring Kate Sharples on flugel horn, Rebecca Wilson on Double Bass, and the beautiful contralto vocals and guitar of Celia Barrett, creating a sparse yet mesmerising sound, creating a showcase for Barrett’s lyrics of love and death - two themes which made regular appearances throughout the rest of the evening.

Co-headliner Daisy Chapman first played at Ace Space two years ago, as a solo performer, although with her keyboard and loop machine to create layers of vocals, she can fill a room with sound without the need for other musicians. However, her band - cello, violin and drums - added a wonderful depth and fullness to her sound, bringing alive her tales of crashing planes, sinking boats, 18th century gin-soddenness, sin and death.

Chapman’s version of the Titanic tragedy, Mrs Hart’s Premonition, was heart-rending, ending with a cipher of Nearer My God To Me, played by the ship’s band as it sank. Even more stunning was A Sinner Song, breathtakingly beautiful in the simplicity of its tune and lyrics, and yet lush with layers of vocals, piano and strings.

Proving that she isn’t all about misery (even her jollier tunes, such as Madame Jeneva have darker undertones in their lyrics), Chapman perked up her set with a couple of unexpected covers, rounding off with an only once-previously performed version of Soul II Soul’s Back To Life; a song which should be the staple of far more bands with a string section, owing to its funky violin riff. Chapman may love the winter, as she sings on Shameless Winter, but there’s a touch of fun in her performance that keeps her darkest-themed songs beautiful rather than bleak.

Case Hardin are always a guaranteed draw at ACE Space, and while they were co-headlining with Daisy Chapman, it was only right that they would round off the evening with their hefty dose of Americana. Pete Gow’s ever-shifting band has lost mandolin and banjo player Adam Kotz to his acting career, but gained violinist Hanna Piranha, keeping Case Hardin’s sound, as showcased on their recently-released third album PM, rich and interesting.

Despite the downbeat nature of many of Gow’s storytelling lyrics (“Daisy’s album is called Shameless Winter, and ours is called PM - what did you expect?” he quipped), the band were in upbeat mood, bringing a sweaty rockiness to proceedings which perked up the saddest of tales a treat.

For the last few songs, joined by the errant Kotz on banjo for a welcome reunion, the band tumbled off the stage and into the audience, setting out their stall between the tables for an acoustic encore of Champeen, Gow’s tale of a bare knuckle fighter facing death or glory.

As with Chapman, Gow’s lyrics are often dark and his tunes moving, but the rock & roll feel of Friday’s performance added a shot of adrenaline to the mood which didn’t detract from the thought-provoking content of the songs, and signed off a tune-laden evening with an unexpectedly upbeat flourish.

First published in the Newbury Weekly News on September 26, 2013

Bishops sing the Blues - interview with Simon Burrett from The Blue Bishops

2013-10-20T15:14:00.000+01:00

WITH about a billion years* of professional musicianship on their collective CVs, The Blue Bishops are feted internationally for their work at the rockier end of the R&B and Blues spectrum - and they’re playing at ACE Space next Friday. “Everyone’s going to have a good time, and that’s not being big headed - that’s the truth”, band founder and guitarist SIMON BURRETT tells CATRIONA REEVES.

CATRIONA REEVES: The Blue Bishops have got an impressive musical pedigree - tell me

SIMON BURRETT: Our lead vocalist is Geoff Grange, who has played the harmonica for Bill Wyman and all sorts of other people. Drummer Justin Hildreth has toured all over the world with the likes of Joan Armatrading. And our usual bass player is Jim Rodford, who used to be in Argent and the Kinks, and now plays with The Zombies - he’s currently touring with them so won’t be joining us in Newbury.

And then there’s me! I’ve been kicking around the London band scene for more years than I care to admit, but the Bishops has been my longest commitment, and the most enjoyable of the lot. I still do other things, but my main squeeze will always be the Blue Bishops!

CR: Your last album Into The Red, which featured both Rod Argent and The Who’s keyboard wizard Rabbit, was very well received on the rock and blues scenes. Can we expect another album soon?

SB: There’s been a bit of a hiccup on that: I had the beginnings of about 40 different tracks recorded on my phone; unfortunately they got lost when it got smashed after I drove off with it on the roof of my car. I’m recreating them, slowly!

CR: So, is a lot of The Blue Bishops’ work original?

SB: We enjoy fiddling around with stuff from the Blues idiom, but it’s not a big part of our set. But although we cover the spectrum of rock & roll with our own songs, the Blues are always in there somewhere. It’s a simple basis,but when you get into it, it’s not that simple at all. It’s not just about giving a song a three-chord structure!

The producer Paul Long is attributed as saying that the Blues never stands still, and if it has the right feel, music can still be the Blues. And however rocky our set gets, there’s always a Blues heart to it.

CR: I understand that the band has a local link to Newbury...

SB: When Jim is away with The Zombies, our other bassist is Chris Hook from Newbury, who was in Voyager in the 70s. Seeing as this is his local gig, it’s only fair that he plays with us at ACE Space!

It’ll be “hello again” to Newbury from me as well - my mum and dad used to live in Inkpen Common. I used to go to the pub in Faccombe and make my way back to theirs - I can tell you, Combe Gibbet at 1am is a spooky place! I’m not sure I’ll make a return visit there after the gig, but I’ve got strong ties to Newbury, and it’s going to be great to play at ACE Space.

CR: So you’re looking particularly looking forward to this gig, then?

SB: Very much so. We get off on our audience, and they get off on us I can guarantee that everyone will have a good time; and that’s not being big headed - that’s the truth. If you come and see us, I don’t think you’ll be disappointed.

* The Blue Bishops play at ACE Space on Friday, October 25, supported by The Poachers. Music starts at 8pm. Tickets cost £10 on the door or £8 in advance from Hogan Music. They can also be reserved by emailing richardmarkham42@gmail.com, or call 07974534452 or 07905590214.

* Figure may not be completely accurate. But it’s an awful lot.

First published in the Newbury Weekly News on Thursday, October 17, 2013

A whisper of winter - interview with Daisy Chapman ahead of her Newbury gig with Case Hardin on Friday September 20

2013-09-15T21:15:00.003+01:00

DAISY CHAPMAN will be bringing a touch of early winter to ACE Space on Friday, September 20, with a rare full-band show by the “sinner songwriter” as she calls herself. She tells CATRIONA REEVES how Bruce Hornsby inspired her to becoming a musician, and what it’s like to be a big name in Germany.

CATRIONA REEVES: The first song you ever learnt to play on the piano by ear was The Way It Is by Bruce Hornsby & The Range. Not terribly rock & roll...

DAISY CHAPMAN: Not very cool maybe, but that was the era! I was learning the piano, and was always drawn towards keyboard-led music as a result. Even now, there’s not much guitar music in my collection. I was inspired by the greats from the start, such as Elton John, especially his early stuff.

CR: I hear that you’ve got quite a big following in Germany - how did that come about?

DC: I’m signed to a German label called Songs & Whispers, as well as Folkwit Records in the UK, so over the last six years I’ve toured over there quite a lot, and a micro-climate of Daisy Chapman fans seems to have developed.

The German attitude to live music is very different to here in the UK - over here, there are so many artists, acts and venues that people are spoilt for choice, and they really want to be impressed. In Germany there is less of that available; and in particular they seem to really appreciate foreign artists that have made the effort to come and tour their country.

CR: You have performed at Ace Space previously as a solo artist, but this time you’re bringing a band with you - do you enjoy playing with other musicians?

DC: As I’ve had the opportunity to play and record more with other musicians, I really feel that I’ve found my sound, and I want to develop that - make it bigger and more powerful. I’ll be bringing a small band of violin, cello and percussion to ACE Space. It’s quite difficult to get us all together as a band for many live gigs, but we’re playing at Brisfest in Bristol the next day, so this will be a great warm-up for us.

CR: You do still tour a lot of the time as a solo artist - can that be lonely?

DC: It was actually that feeling of isolation on tour which inspired the theme of my latest album, Shameless Winter. I wrote a lot of it while in Germany, and feeling a bit lonely, in particular after a gig in Hanover, which was attended by four people. I must add that my Hanover gigs are much busier these days!

But the album has certainly got a wintery theme to it. We all need to get prepared for the winter mood - come along to the gig, and leave the sunshine behind!

* Daisy Chapman and her band will be at ACE Space on Friday, September 20, in a double header with Case Hardin, (pictured below), fronted by singer songwriter Pete Gow, who are returning with a changed line-up and a clutch of songs from their newly-released album PM, focussing on the theme of troubled souls and the outcasts of societies. First on, at 7.45pm, will be folk trio Lullabirds.

Tickets are available for £7 from Jacqui’s Shop in Blenheim Road and Hogan Music in Bartholomew Street, Newbury, or for £9 on the door, or telephone 07905 590214 (Ace Space) or 0797 453 4452 (promotor Richard Markham) to reserve if you're coming in from out of town.

First published in the Newbury Weekly News on Thursday, September 12

A wheely good time - feature on Beaulieu National Motor Museum, House and Garden

2013-08-26T12:59:00.000+01:00

BACK in the 1990s, Beaulieu National Motor Museum, House and Garden promoted itself in a television advert with the jingle “You’ll have a Beaulieu-full day at Beaulieu". The jingle may have been long discarded (possibly because it was the clunkiest play on words ever to be used in an advertising campaign), but Beaulieu itself is still going strong, having been voted VisitEngland’s Best Large Visitor Attraction for 2013.

It may be a bold claim for an attraction to claim that it has “lots for everyone to enjoy”; but Beaulieu comes nearer than most in fulfilling such a promise; with the ruins of 13th century Beaulieu Abbey, Palace House, the ancestral home of the Montagu family since 1538, and its stunning grounds, including the well-tended Victorian flower and kitchen gardens.

Such tranquil surroundings may seen like a rather incongruous setting for a museum dedicated to cars and automobilia, but the founding of the National Motor Museum was no cynical tourist ploy; the current Lord Montagu started his collection in 1952 as a tribute to his father, a motoring pioneer as far back as the 1890s.

Despite the appeal of these historical attractions - on our visit to Beaulieu last month, we got no nearer to the house, abbey and gardens than via an aerial view from the mile-long monorail that circuits the site. We did go on it twice though, to get a good look. Not through laziness though - there was simply so much to be seen in the motor museum itself, and the adjacent World of Top Gear display. We even got a bird’s eye view of the exhibitions from the monorail, as during its journey it passes through the roof area of the museum, giving an unusual perspective on the vehicles on display, some of which are staged, staggered or suspended to make the most of space and viewpoints.

In addition, the weekend we visited coincided with the annual Beaulieu Custom & Hot Rod Festival, meaning that there were plenty of sleek cars, vans and bikes bedecked with shimmering chrome, in the event area next to the museum. Pleasingly, despite the increased visitor numbers - which we were warned about when we booked - everything was well organised, with no enormous queues or difficulty viewing the permanent exhibits, with the custom car interlopers simply adding to the atmosphere. The free fairground dodgems were most welcome as well.

And so into the museum itself; a quite breathtaking journey through the history of motoring, with more than 250 vehicles on show, from the earliest days of motoring (in stunning conserved condition) and family cars of the early 20th century, through to classic cars of the 70s and 80s, historic and modern racing, F1 and rally cars, and world land speed record breakers, including Donald Campbell’s Bluebird. I couldn’t help thinking of Matthew Crawley’s tragic final moment in Downton Abbey while looking at some of the beautifully sleek but not particularly safety-conscious early open-topped Rolls Royces and Bentleys. A joy to drive, I’m sure, but where were the seatbelts?

The famous “Outspan Orange” car (built on a Mini chassis in the early 1970s) had a certain ap-peel (gettit?) for young Sophie, while I was particularly drawn to the London Routemaster bus, and had a go at jumping on and swinging around its pole - with slightly less glamourous results than I had pictured in my head. More successful as a photo opportunity was an Edwardian car supplied with appropriate motoring costumes, and Sophie and I had great fun transforming ourselves into ladies from 100 years ago - while George refused steadfastly to even don a flat cap for the photo, and Bill kept well out of the way.

Opened last year to coincide with the 50th anniversary of James Bond films, the museum’s current flagship exhibition is Bond In Motion, showcasing 50 iconic Bond cars, boats, motorbikes, tow-sleds and jets, including the 1937 Phantom III Rolls-Royce from Goldfinger, the Aston Martin DB5 from Goldeneye, the “Little Nellie” autogyro from You Only Live Twice, and the Bede Acrostar jet flown in Octopussy.

Another separate exhibition area of Screen Cars features Del Boy’s iconic Reliant Regal from Only Fools and Horses, Mr Bean’s green mini, and the flying Ford Anglia from Harry Potter and the Chamber of Secrets. My favourite of all, taking pride of place in the main museum, was Chitty Chitty Bang Bang - sadly, like many of the exhibits, for understandable reasons, not to be clambered upon. How I would have loved to climb into Chitty and go for an arial cruise above Beaulieu’s stunning grounds. What do you mean that it doesn’t really fly?

None of us are avid Top Gear fans, but the World of Top Gear was great fun, featuring some of the BBC television show’s more outlandish stars (I’m talking about the cars, not Jeremy Clarkson), centred around the Top Gear Enormodrome, which recreates the feel of the Top Gear studio, featuring a specially-made film made at the programme’s production office, with classic action clips featuring some of the outlandish vehicles on display. George was particularly impressed with the MG Limo bowling alley, although he did question the practicalities of using it while in motion.

We spotted the cobbled-together motorhomes, the “budget Bond” submarine cars, Ann Hathaway’s Cottage (an interior bedecked with flagstones and a woodburner), homemade police vehicles, and the double decker cars - not one of which looked at all roadworthy. If you spot any of these vehicles on the road, overtake carefully - or, as a friend once did while passing the Top Gear motorhomes driven by the presenters, film them and post to Youtube, resulting in a viral clip which was then picked up by the BBC as the trailer for the series, netting him a life-changing £400.

As we never made it into Palace House, we didn’t get the opportunity to enjoy some of Beaulieu’s current non-motoring exhibitions, including Royal Pageant, a celebration of the 60th anniversary of the Queen’s coronation, exploring the links between Beaulieu and the monarchy; and The Secret Army, telling the story of the Special Operations Executive (SOE) which trained secret agents at the Beaulieu “Finishing School” on the estate during the Second World War, before they were sent to occupied Europe to work with the Resistance, many never to return. A historical link that James Bond himself would be proud of.

With the school holidays upon us, Beaulieu is revving up for an influx of summer visitors by stepping attractions up a gear with living history characters giving an insight into Victorian life at Palace House and in the 1870s kitchen garden, falconry and Cisternian monks in the Abbey Cloisters, a go-kart track, tours on the open-topped replica 1912 London bus, and creative activities in the museum with a caravan theme. See - what did I tell you? Something for everyone.

Check the website for details and entry prices at www.beaulieu.co.uk

First published in Out & About magazine, July 2013

From pavement to penthouse - interview with Glenn Gregory from Heaven 17

2013-08-20T18:36:00.000+01:00

WITH albums called Penthouse and Pavement and The Luxury Gap, Heaven 17 may seem intrinsic to the decedent ’80s, but dig a little deeper, and they had something serious to say about the decade of excess. GLENN GREGORY reminds CATRIONA REEVES of the message behind the music.

CATRIONA REEVES: Heaven 17 had a rather suave image, but the band actually came out of the Sheffield electro-pop scene, which as depicted in the 2010 BBC Two documentary Heaven 17: The Story of Penthouse and Pavement, all looked a bit gritty. Were you a band on a mission to escape that?

GLENN GREGORY: Not at all: Sheffield has been really good to us. Back in the ’70s, Sheffield was in economic decline, with the steelworks and cutlery industry collapsing, so it was quite a depressed place. There were no music venues, so we used to travel to Manchester, Leeds and even Liverpool to see bands.

We were all living in the closed-down cutlery factories because they were so cheap. The Human League [originally featuring future Heaven 17 members Martyn Ware and Ian Craig Marsh] had their first studio in the one of the factories, and we also used them to start putting on our own little club nights. In a way, because the city was on its knees and falling apart, out of the ashes came a new verve and excitement.

Sheffield is quite a left wing city - it’s sometimes called the Socialist Republic of South Yorkshire - so there was a political slant to what was going on as well, especially when Thatcher stuck the knife in to the steelworks.

Lyrically, The Human League were guided by Phil [Oakey], who liked things a bit strange and sci-fi, a little bit odd. So when I joined up with Martyn and Craig to form Heaven 17, we knew that we wanted to do things differently - to say something political, but not in a preachy way; we wanted to make something you could dance to.

CR: Do you think that your fans realised that was what you were doing? Did they listen to the lyrics, or did they just look at the slick album covers and take them as face value?

GG: It was probably a 50-50 split: some people understood the irony of our message, but then City boys came into being, and they thought it was all about them.

CR: Basically, you unintentionally invented Yuppies, didn’t you.

GG: Nooooo! Please not!

CR: You and Martyn Ware continue to record as Heaven 17, and also as British Electric Foundation [BEF]. Do you still aim create the original electro-pop synth sound on your records?

GG: Some sounds we love and are comfortable with, and we’ve still got some of the old synths, including the one that Being Boiled [The Human League’s first single] was written on - they still work, and we still use them. But there are some excellent new synths available now, and computer programs which can recreate the sounds of the classic old synths, which are amazing. They sound just like they did in Martyn’s studio all those years ago.

We’re currently writing new BEF material, and working on it with lots of different artists, including Green Gartside from Scritti Politti, Sandi Shaw and Boy George. We’re very privileged, and proud of everything we do.

CR: You’ve never actually disbanded - although Ian Craig Marsh has now left - but there was definitely a resurgence in interest around the time of Penthouse and Pavement’s 30th anniversary in 2010. Have you been discovered by a new generation?

GG: Definitely - It’s not all 40-somethings at our gigs now. La Roux’s support of us around the same time helped bring us to the attention of younger fans. We did a BBC session with them, and then I sang Temptation on stage with them at Glastonbury.

Waiting backstage, I wasn’t sure if the crowd would know who I was, but when Elly [Jackson, La Roux’s singer] brought me on, the whole place erupted - it was great. I came off stage and Florence Welch from Florence + the Machine gave me a big hug - she wanted me to come out on stage again and sing with her!

I never mind singing Temptation - it’s one of those songs that always raises the roof, no matter where we play it. We really enjoy revisiting our old songs - when we started reworking Penthouse and Pavement in the studio in preparation for performing it live in its entirety for the 30th anniversary tour, we were surprised how contemporary and fresh it sounded.

CR: You’re playing the Rewind festival this weekend - do you enjoy meeting up with other acts from the ’80s?

GG: In the old days we were almost rivals, fighting for the number one spot or slots on Top of the Pops or The Tube; but these days it’s like a big school trip; we’re all there to make people happy. I always go out the front to watch some of the other acts. I love watching ABC. Martin Fry is a star performer, and part of the Sheffield crew like me.

We’ve done Rewind a couple of times, and it’s one of the best festivals of its type. The venue’s fantastic - I was stunned the first time I saw it, although I think it’s grown massively since then. My mum and dad came to the first Rewind, and they want to come again. It’s such good fun.

CR: You were good friends with the late Billy Mackenzie from The Associates, and you often perform his song Party Fears Two in your set. Is that an important song for you to perform.

GG: It certainly is. When I sing it, I have fantastic memories and pictures of Billy in my head. It gets me quite emotional. I have a whippet called Bill, who is named after Billy, because he bred them, and gave me my first puppy. He loved dogs even more than he loved his music.

Rather confusingly, our female singer is also called Billie [Godfrey] - no, she’s not named after the whippet!

* Heaven 17 play Rewind, The 80s Festival on Saturday, August 17 at Temple Island Meadows, Henley-on-Thames. For information, visit www.rewindfestival.com

First published on www.newburytoday.co.uk

Loving her happy holidays - interview with Sonia

2013-08-15T12:16:00.000+01:00

PERKY popstrel SONIA still loves performing her hits to crowds at festivals and retro gigs most weekends - and now she gets to take her daughter along on her “happy holidays”. CATRIONA REEVES spoke to her ahead of the Henley Rewind festival.

CATRIONA REEVES: Of course I love all your hits - I’m just the right age - but don’t you get a bit bored of singing them?

SONIA EVANS: Not at all! Gigging is my life, and I’m very lucky to have a job I love. My husband is my tour manager, and our little girl, who has just turned three, comes with us to gigs, wearing her ear defenders. She loves our weekends touring the country - she calls them our “happy holidays”.

Festivals such as Rewind are like a massive party. I did my first one in Bradford in May, and it was amazing; thousands of people singing my songs word-for-word.

CR: You were part of the Stock Aitken & Waterman Hit Factory - do you have fond memories of those years?

SE: I was only 17 when I got signed and 18 when I had my first hit. I had an amazing time travelling the world and staying in the best hotels. My first time on Top of the Pops was a dream come true. I was part of a team with Kylie, Jason and Rick Astley - of course I loved every minute of it!

CR: What did you think of Dawn French’s ultra-bubbly impression of you in a French & Saunders sketch?

SE: At the time I was a bit embarrassed, but now I’m quite cool with it - they only did impressions of people who were mega famous, so it was actually very flattering, and she looked like me! I actually met Dawn sometime later - I was at a Stonewall gig, and Paul O’Grady told me that Dawn was hiding from me in the toilets because she was scared of what I’d say!

CR: Ah yes, Paul O’Grady - as “Bunty” you are the daughter of his alter-ego Lily Savage. Are you two really good buddies?

SE: Oh yes - Paul is such a lovely guy; we can talk for hours, and I adore his dog buster. I once went on his Radio Two show - we were so busy gassing that we got told off by his manager! We’d almost forgotten that we were on the radio, and no one else would have a clue what we were on about; we were just catching up!

I had a ball with Lily Savage. It all started with a four-month run in Blackpool - I wasn’t a character, it was just Lily, and then I came on and sang during the show. But during that run, Bunty was born.

We went on to do a tour, and a show for the BBC with Lily and Bunty. I really enjoyed it - I did a drama degree, so I love acting. I do panto every Christmas - I’ve done 14 altogether. This year I’m going to be the Good Fairy in Jack & the Beanstalk in New Brighton, on the Wirral. I think my favourite was Peter Pan. I took to flying really quickly!

I’d like to get into TV drama in the future, maybe have a part in a soap. I’d love to play a real cow - a character that people wouldn’t expect!

* Sonia plays Rewind, The 80s Festival on Sunday, August 18 at Temple Island Meadows, Henley-on-Thames. For information, visit www.rewindfestival.com

First published in the Newbury Weekly News on August 15, 2013

Ever the Rebel - interview with Steve Harley

2013-08-10T22:53:00.001+01:00

Photo by Mike Callow

FORTY years after the release of their debut album, STEVE HARLEY and his band are still going strong and playing live. CATRIONA REEVES discovers if the decades have mellowed the Cockney Rebel.

CATRIONA REEVES: It has been suggested that your second album, 1974’s The Psychomodo, is your masterpiece - would you agree?

STEVE HARLEY: I don’t like to think that I’ve painted my masterpiece yet - there’s always a new canvas! I still strive to create it, and I think it’s still within me. I wouldn’t consider any of my songs or albums to be perfect, I’m a born worrier apart from when I’m in the spotlight and playing.

I know that Psychomodo is cited as an influence on a lot of people. We played it in its entirety November with an orchestra and choir, alongside the whole of the first album, The Human Menagerie, and it felt pretty huge.

While I was performing those early songs, I started to wonder who that young me was, and where those songs came from. It doesn’t particularly impress me that I created them, but they’re from so long ago that it does feel like someone else wrote them. These are the words and emotions of an angry young man, which is fine, but you can’t carry on like that when you get older.

CR: So, you don’t feel that you still have the same anger within you these days?

SH: Angry old men are pub bores. Anyway, I’m settled down now, I’ve got lovely children, and I get to travel the world. I’m not “Sting” rich, but I have paintings on the wall and beautiful things around me. It’s hard to write an angry song when you’re fairly content with life.

We played at the Isle of Wight Festival last month, and I went out front after our set to watch the Boomtown Rats - Bob Geldof still performs as an angry teenager, all angst and aggression. I don’t want to be like that. It’s rather ill-fitting, and also looks quite exhausting. I’ve got kids of 30 and 27; I don’t want to be the oldest teen on the block. I can’t be bothered with all that attitude and looking like a rock star. It’s not becoming at my age.

CR: It seems like the music press gave you a bit of a hard time in the ’70s. As a former journalist yourself, did that bother you?

SH: I didn’t mind all the jibing in the music press, it was just a bit of fun and it didn’t bother me. For all the criticism there was plenty of praise. I still feel the same - there are a couple of performers out there who seem to be universally adored, and that’s just sycophantic.

There’s a lot of sycophants among reviewers - I just wish some of them were on my side! To be fair, there are a few reviewers who do like me. But most people who come along to see us know who we are and what we do, and aren’t influenced by a review. Of course I like to read good, kind words, but I’ve been going so long that I’m indestructible.

CR: There’s a story that the reason that your single Black Or White failed to chart in late 1975 was that EMI had put all its marketing budget behind Bohemian Rhapsody. Do you think there’s any truth in that?

SH: Black Or Wight and Bohemian Rhapsody were released very close to each other, but I’ve never heard that speculation! EMI were always very good to me, and I can’t see why they wouldn’t want a band signed to them to have a hit just because another is doing so well. I’m a fatalist, and if a song isn’t a hit, that’s just the way it is. We played Black Or White with the orchestra last year - the first time I’ve ever performed it on stage - and it sounded wonderful. It certainly felt like a hit then.

CR: You’re playing the Rewind Festival in Henley next month - will you be playing your fist single, Sebastian? It’s rather good.

SH: We only get to do a very short set at Rewind - about half an hour, so we’ll just be doing the hits, getting off stage, and getting an early dinner. I would love to do Sebastian, as it’s enormous on stage, but it’s about eight minutes long, so don’t hold me to it! Make Me Smile, is about seven minutes, so if we did Sebastian as well, we’d only fit in about three songs!

Of course we’ll do Make Me Smile, as it was our number one hit - although it puts pressure on our guitarist to get the solo right note for note, because the audience sing along. There’s no room for interpretation on that one - deviate from the original, and you’re sacked!

We do a lot of outdoor shows in the summer - we’re doing two others that weekend. They may only be short sets, but I enjoy them, because it always feels like you start off playing to strangers and end up winning friends.

* Steve Harley & Cockney Rebel will be performing at the Rewind, The 80s Festival, at Temple Island Meadows, Henley-on-Thames, on Saturday, August 17. Visit www.rewindfestival.com for ticket information.

They will also be playing a full band show at The Anvil in Basingstoke on November 19. Visit www.anvilarts.org.uk for tickets.

First published in the Newbury Weekly News on August 8, 2013

Strange and beautiful - review of Newbury Youth Theatre's The Curious Case of the Ugglie Wump and Other Mysterious Monsters

2013-08-10T22:32:00.000+01:00

Performing in the BBC Pink Tent at Edinburgh Fringe

The Curious Case of the Ugglie Wump And Other Mysterious Monsters, presented by Newbury Youth Theatre, at The Corn Exchange, Newbury on Saturday, July 27

HAVE you heard of the Ugglie Wump, who lives under the town of Wonky Bracket? Or Hildegard, the tree beast, who turns children into boiled sweets? What about Foliculous, the kelp-bearded sea monster? Surely you’ve heard tales about the mysterious swamp-dwelling Moobies? If not, you must have had a very sheltered childhood.

The children of Wonky Bracket are very aware of the monsters that surround their town - after all, they are a suspicious lot who never wear shoes, despite it having rained constantly on their homes for the last 200 years. And so, when their parents disappear suddenly, the children set off on a monster hunt, in the certainty that one of the fabled beasts must be responsible.

Taking Sticky Monsters, a book of beastly Post-It note line drawings by artist John Kenn Mortensen as inspiration, along with the similarly unsettling artwork of Edward Gorey, “Wump” was devised entirely by Newbury Youth Theatre members with the support of NYT’s “grown up” theatre practitioners, giving the 25-strong ensemble cast the opportunity to develop their own characters, as both the town’s children and the monsters.

The resulting production allowed ensemble members to demonstrate their strong acting ability and skills at song and dance, with a satisfying streak of well-timed comedy carried through by some cast members, giving relief to what would otherwise be a very dark and scary tale. Things got a little busy up on The Corn Exchange’s stage at points, but generally the size of the ensemble helped add to the imagery; conjuring up child-swallowing forests and stormy seas through mass movement.

Suitable for children aged six and over, as well as adults who still sleep with the light on, the twisted set and freakishly frightening masks drew heavily on Mortensen and Gorey’s artwork - as did the use of black umbrellas, which pop up regularly in both artists’ drawings. Having only explored Mortensen and Gorey’s work as a result of “Wump”, it is clear that NYT have grasped the combination of fear and fun in their drawings, creating a world which is both nightmarish and innocent, as it is never made clear if the monsters of Wonky Bracket really exist, or are creations of the children’s imaginations. Which begs the question: what really did happen to their parents...?

Having won awards and five-star reviews for the last five consecutive years at the Edinburgh Fringe, NYT are taking “Wump” up to their regular Edinburgh haunt of Venue 40, The Quaker Meeting House, from Monday, August 5 to Saturday, August 10. Hopefully this year’s production will be met with the same plaudits; but whether or not Edinburgh officially acknowledges it, the NYT cast and crew, under the long-term direction of Amy and Tony Trigwell-Jones and artistic director Robin Strapp, should be incredibly proud of an entirely original production and the dark world of childhood nightmares that they have created.

First published in the Newbury Weekly News on Thursday, August 1, 2013

A funny thing happened - review of the You Must Be Joking 2013 final

2013-08-10T21:46:00.001+01:00

YMBJ 2013 winner Matt Dwyer

You Must Be Joking final 2013 at The Corn Exchange, Newbury on Wednesday, July 10

HAVING struck out alone from the Newbury Comedy Festival which it used to be part of, The Corn Exchange’s You Must Be Joking stand-up comedy gong has enough clout to continue to be coveted by new and newish comedy talent from all over the UK - and even from other countries. Sort of.

Saying that, it was a delight to have local woman Eve Slatcher, AKA Mama Eve, in the final, not only representing West Berkshire but the whole of womankind, as the only female to make it through the heats. Feisty and fearless (this was only her third gig), her material understandably needs a bit more development, but the confidence to take her stand-up career onwards and upwards was certainly on display.

Bravely taking the first spot (well, not sure he had a choice, actually) was Carl Jones, who has been out and about on the comedy circuit for around three years. His material was fairly safe and cosy, but he had a lovely, warm style, and the audience took to him with ease.

Ian Cooper had a braver edge to his jokes, and a good narrative arc ran through his eight minutes on the theme of facing fears, only falling slightly flat with a weak wrap-up which suggested material that had to be cut short to fit the slot. He had some great punchlines, though, and wholly deserved his place in the final.

Welshman Kappa Llewellyn was getting laughs before he even started his set, peeking out of the wings dolefully, before introducing to his part-lovable, part-pitiful character (if it is a character). His material was strong, about searching for love and being Welsh, and he definitely came out with the best joke of the night - which can’t be repeated here, or even touched upon, for reasons of taste, decency and my desire to continue writing for the Newbury Weekly News.

First on after the interval, Bobby Honeybun had an easy conversational style - nearly to the point of not coming across as a performance; very natural, but maybe requiring a little polishing, just to bump up the air of confidence. His act displayed some excellent writing though, and while he might have focused on the comfortable themes of music and TV, there were some really good jokes in there, and Honeybun appeared to have a fun, dark streak that belied his innocent appearance.

Mark Cram’s act was a masterclass in comedy design; his story of sibling rivalry with his high-achieving military brother had an unexpected revelation dropped in halfway through, and wrapped up its threads beautifully by the end. Almost certainly pared down for the competition from a longer act, he left me wanting to know more about him and his family.

“Swedish-ish” Olaf Falafel was a beardy blonde Viking in a Scandi knit sweater told the most complicated toilet joke of the night. He was a strong character and great with the audience, jumping down to interact with the front row and give them Viking names; and was confident enough to insult the judges (from the safety of the stage). What a cheeky Viking. The £250 prize would not be his.

And so to the winner: selected by a judging panel comprising local actor and ACE Space founder Adam Kotz, managing director of Windsor’s Firestation arts centre Dan Eastmond, and, er, me - the gong went to imported Australian Matt Dwyer. Dealing with the sole heckler of the evening magnificently, he was relaxed with the audience and demonstrated excellent stage craft, using the space well without too much bounding.

Dwyer’s act featured a bunch of excellent one-liners, including a bundle of jokes about women and relationships which managed to be razor sharp without ever stumbling into the mire of bitter misogyny. A well rounded performance that deserved to win, up against some other great acts; and a winner genuinely and touchingly blown away by his success on the night.

The whole shebang was compered by YMBJ 2010 winner Matt Richardson, who continues to support the contest which launched his career. Richardson will be presenting The Xtra Factor on ITV2 this autumn, and is currently schmoozing with the likes of Nicole Scherzinger as The X Factor auditions are being filmed, so let’s see if he remembers little old Newbury this time next year.

Actually, Richardson’s coming back on October 5, when he will be bringing his first solo show, Hometown Hero, to New Greenham Arts. Strange to think that he’ll actually be a bit famous by then. But hey - that’s the magic of being a YMBJ winner. No pressure, Mr Dwyer...

First published in the Newbury Weekly News on August 1, 2013

Olaf Falafal. Not the winner, but what a magnificent beard

The age of aquarium - Peixos by Sarruga

2013-08-10T21:14:00.000+01:00

Photo courtesy of The Corn Exchange

Peixos: Creatures From The Deep, presented by Sarruga, Newbury town centre, Saturday, July 20

OF all the stunning, fascinating and thrilling events that have been put on by The Corn Exchange as part of its Outdoor Programme in the last few years, Insectes - A Night Carnival is probably the one that has left the strongest imprint on the minds of those that saw it in July 2011. And so, when it was announced that Spanish artists Sarrugia would be returning with an aquatic-themed parade, the excitement in the town was palpable, heightening even further as hundreds gathered along Northbrook Street as dusk fell on Saturday to witness the spectacle.

Powered by cyclists, the sea creatures floated, bobbed and swam their way along Northbrook Street as pumping music pounded; with clownfish spurting steam and the shark following on behind, snapping at the crowd, this was not a relaxing underwater experience; this was the raw power of watery nature in dark light form. Shoals of angelfish and disco ball-topped seaweed added to the atmosphere, as the larger creatures sent the crowd lining the street scattering with shrieks of delight and mock-fear.

The parade culminated in the Market Place, transforming it into a giant aquarium, complete with a distinct fishy smell, where the shark made short work of the other creatures, turning off each of their lights in turn until only the king of the sea remained.

The Corn Exchange’s next outdoor event will be Ablaze: a Festival of Fire, on the evenings of September 6 to 8, when braziers and animations will transform the Kennet and Avon Canal into a world of fire and music.

First published in the Newbury Weekly News on Thursday, July 25, 2013

Intensely familiar - review of Sam Carter

2013-08-10T20:54:00.001+01:00

Sam Carter at New Greenham Arts on Friday, June 28, 2013

YOU know when you hear a song played that seems so intensely familiar that there is no way that you haven’t heard it performed live before - possibly more than once? That happened to me with Sam Carter’s Dreams Are Made of Money. It rang such a strong bell that I could picture myself, as part of an audience, singing along to the chorus. I even told Carter himself after the show, that I must have seen someone else cover his song, but I couldn’t remember who. He had no idea who this could be, simply commenting “ah well, the PRS cheque will still come to me”.

Unfortunately, there will be no Performing Rights Society cheque winging its way through his letterbox on this occasion - after several hours of trying to work it out, I concluded that in fact I had seen Carter himself performing Dreams Are Made of Money on the BBC TV show Later... with Jools Holland last autumn. As me and Jools Holland are not one and the same, I have decided that it is the insane catchiness of this future folk standard that has burrowed it into my mind, and there it will stick forever more.

Carter is fully aware of the compulsive nature of the song’s tune - he first heard it himself performed in its original version as Antioch, a hymn performed acapella by four harmonising voices, while gleaning inspiration for his most recent album, The No Testament, which is partly influenced by the American tradition of shapenote singing. He told the audience that after one hearing of the song, he was unable to shake it from his head, and so reinvented Antioch as a hymn for the modern world.

Whether self-penned, traditional or a mix of both, many of Carter’s songs have tales behind them, often drawn from his more painful life experiences, including rejection in Pheasant (“you flattened me like a pheasant on a country road”) and a disintegrating relationship in She Won’t Hear. It seems like the women in Carter’s life can’t expect a song written about them until the love is gone.

Most personal of all, and stunningly moving, was Here In The Ground, the title song of Carter’s 2008 debut EP, written about the death of Carter’s older sister at the age of three, when he was a toddler. This contrasted with the following song, a cheery little ditty called Lumpy’s Lullaby, written for the child of Carter’s surviving sister while still in utero. Almost certainly entirely lacking in soporific tendencies, it was a sweet reminder of the circle of life, and how it can impact on one family.

As Carter himself quoted on stage (from whom, I can’t remember), “no one lives long enough to write a traditional song”, explaining that a song has to be passed through generations of musicians, changing and developing along the way, before it can be considered “traditional” - and, of course, no one remembers the original composer by then. On the eve of his 30th birthday, and with his BBC Folk Best Newcomer Award three years in the past, it may be that with at least one song (Dreams..., of course), and possibly with more, both written and unwritten, Carter has confirmed his place as a composer of future folk standards. Let’s hope that his name is remembered for them.

First published in the Newbury Weekly News on Thursday, July 4, 2013

The one and only - interview with Nik Kershaw

2013-08-01T22:23:00.000+01:00

FORMER jazz-funk guitarist NIK KERSHAW became a teen idol in the ’80s before going on to write hits for other singers, including Chesney Hawkes’ number one, The One And Only. Now he’s preparing to re-live his own time as a pop star at the Rewind Festival.

CATRIONA REEVES: You’re still writing new songs for yourself and other people - but do you enjoy getting back on stage and singing your old hits?

NIK KERSHAW: I love it. I went through a period of resisting playing them, but they’re great songs, and I’m not ashamed of them. It’s amazing to think that it’s 30 years since I wrote Wouldn’t It Be Good. I still remember that the tune came into my head, and wouldn’t leave me alone - it was demanding to be written. I never thought that I nailed the lyrics though, until it was a massive hit. Then I decided that it was probably alright!

CR: Talking of lyrics, your song The Riddle remains an unsolved mystery. What is the answer?

NK: The Riddle actually started off as a guide lyric - just nonsense I wrote down while writing the song. My second album [also called The Riddle] was released in a hurry on the back of the success of my first album, Human Racing [they were both released in 1984], and in the end, we just had to get the song recorded as it was! I did try changing the lyrics, but nothing else worked.

My record label loved it though - they made it into a competition for people to solve The Riddle, but I don’t think anyone ever won - how could they, when even I don’t know the answer! It’s great that the song still gets radio play. It’s what the Americans call an “earworm”.

CR: You spent a long time away from performing, to write and produce music for other people, but now you’re doing it for yourself again. What made you decide to give it another go?

NK: I feel like I’m a different person to who I was 30 years ago. Music is a weird business, you often have your biggest success when you’re still serving your apprenticeship, and then over the years you improve your craft, but by then your fans have moved on and they’re not interested anymore.

When I play a set at somewhere like Rewind, I often tease the crowd with “this is a song from my new album.... only joking!” At somewhere like Rewind, I know what the crowd want, and I’m happy to give it to them.

CR: Seeing as Chesney Hawkes is also on the Rewind bill, will you be performing your own version of The One And Only?

NK: Certainly not! We’re close friends; I’ve seen Chesney perform it many times, and to do it myself would be a bit rude!

CR: Back in the ‘80s, you were a bit of a style icon, and pretty much launched the fashion for snoods. Do you consider that your biggest cultural impact?

NK: Around that time, I did an awful lot of photo sessions - I must have only worn a snood about four times, but each time I was photographed, and that’s what I became known for! A couple of years ago, there was a big thing in the press about footballers wearing snoods, and I was called up by TalkSport to come on the radio and talk about it. I declined - I don’t really consider myself a snood expert.

CR: It was also documented at the time that you mainly bought your clothes in girls’ fashion shops. Is that still the case?

NK: Certainly not - these days I shop in Gap Kids!

* Nik Kershaw plays Rewind, The 80s Festival on Saturday, August 17 at Temple Island Meadows, Henley-on-Thames. For information, visit www.rewindfestival.com

First published in the Newbury Weekly News on July 25, 2013

You've got male - an interview (of sorts) with Stewart Francis

2013-06-30T20:38:00.002+01:00

Last autumn, I was asked if I would like to do an email interview with comedian Stewart Francis, ahead of his tour. For some reason, I never got round to knocking it into a publishable format for the Newbury Weekly News, so here it is in a semi-publishable format instead.

Catriona Reeves: How would you persuade people to come and see your live show and what can people expect?

Stewart Francis: I would persuade people to go by telling them that Michael McIntyre was performing. They can expect to see me performing.

CR: You're a native Canadian - what do you miss about your homeland, and what do you like about living in the UK?

SF: I miss having my inhaler. I like the number of asthma clinics the UK has.

CR: Have you always been a one-liner comedian, or have you tried other types of stand-up?

SF: Yes, no.

CR: Do you have any special tips or tricks for committing your jokes to memory for your live shows?

SF: Not really, I've just always had a great memory. I probably get that from my ah, um...

CR: You often pop up on the telly - do you enjoy doing the panel shows?

SF: I don't enjoy doing panel shows because the other comedians always interrupt me which I find (SORRY TO INTERRUPT EVERYONE, DARA O BRIAIN HERE, JUST LETTING YOU KNOW THAT TICKETS FOR MY TOUR CRAIC DEALER ARE AVAILABLE AT TICKETMASTER.CO.UK) irritating.

CR: Which are your all-time favourite jokes (yours, or other peoples)?

SF: I'm not a fan of my jokes but one of my all-time favourite's would have to be Tommy Cooper's: " I was cleaning up the attic last week for the wife... filthy dirty, covered in cobwebs...

...But she's good with the kids".

CR: Anything else that you think the readers of the Newbury Weekly News should know about you?

SF: They should know that I look forward to both of them being at the Reading show.

The tour that Stewart was promoting has now long gone, but luckily he's back on the road this autumn with The Lumberjacks - aka himself and fellow Canadians Craig Campbell and Glenn Wool. It doesn't look like he's coming to Reading.

Good Vibes at Ace Space - review by Bill Ainsworth of The PJP Band, Horse Around Home and Harry George Johns

2013-06-30T19:53:00.000+01:00

The PJP Band, Horse Around Home and Harry George Johns at Ace Space, Newbury on Saturday, May 18

IT’S a funny old place, Newbury: lots of people love their music around here, but complain that there isn’t much of a live scene. They are quite prepared to go and see a band for free in a bar, where it can cost nearly £4 for a pint, but the idea of actually paying a mere £5 for a ticket puts them off, despite the fact that they’d be in for an evening dedicated to wholesome live music at a great little venue where it’s only £2 a pint. Build it, and they will shrug…

Right, mini rant over; to the folk who stayed away, it was your loss. The people who were there were treated to over two hours of top notch entertainment. First up was Harry George Johns, a lovely guy who, I’m told, plays regularly around the circuit with tonight’s headliners. Sat on a stool with just his acoustic guitar he held the audience in hushed awe with his yearning, achingly beautiful songs, which, by his own admission went from sad, to very sad, to the saddest.

Despite the song’s textures his between-tune banter was quite the opposite; humorous and humble; and as for his voice, well Jeff Buckley, James Morrison and Bon Ivor sprang to mind - yes he was that good. In an ideal world, guys like Johns would be household names and not these here-today, gone-tomorrow “talent” show winners, but, as we know, that isn’t where we’re at.

Mostly local guys Horse Around Home were up next, but not, we’re told, their usual line up. Regulars Julian Tulk (vocals and guitar) and Barry Pollock (bass) were more than ably accompanied by Patrick James Pearson (keyboards), more of whom later, and brothers Terry and Scott Essen (lead guitar and drums respectively). The latter two only had a few rehearsals in the last couple weeks to learn what turned out to be a very complex set of numbers. I like to draw comparisons when reviewing, but cannot bring anyone to mind with these guys I’m afraid.

The lolloping build of set opener Hold did exactly what it said on the tin, I love a tune builds and builds to an orgasmic climax of controlled noise and this one had the crowd gripped. Other highlights for me were Dust And Dirt, Tulk’s solo effort Shoe Song and the very touching Smiling. Mr Tulk has had some rather good things happening in his personal life of late which he very lovingly touched upon when introducing Smiling; much to the joy of those involved, who I had the pleasure of meeting for the first time, and bringing cheers from those in the crowd who were in the know.

Two things all three acts tonight had in common was epic facial hair and/or cool dress sense - much check and denim etc was on show. Another was an absolutely brilliant vocal range, including in the case of the aforementioned Mr Pearson, who now took centre stage with The PJP Band, his keyboards looking like an early 1970s George Harrison (that’s a major compliment in case you weren’t sure).

By his own admittance, Pearson was feeling a little hoarse (no pun intended) this evening, but if he hadn’t mentioned this, I certainly wouldn’t have noticed. He and his cohorts treated us to a stunning nine-song set, with band members leaving the stage only to return when required, meaning the band ranged from a two to a four piece during the performance.

Highlights for me were opener Disciplines, which brought Interpol to mind, and singles I Am A Racer and the splendid psyceadelic romp that is Vicious Luck, videos for both of which are available on You Tube. Other acts that came to mind at various points ranged from Lennon, The Flaming Lips and Arcade Fire to the bass heavy groove of The Chilis and the singalong, dancealong good time stomp of The Blues Brothers.

Finally on the PJP front, Patrick impressed me greatly when not only was he able to sing and play his main instrument with gusto, but not content with that, he increased his multi-tasking by playing tambourine with his foot. Good work, sir!

Bill Ainsworth

First published in the Newbury Weekly News on May 30, 2013

Smooth as selkie - review of Lady Maisery at New Greenham Arts

2013-06-25T21:59:00.000+01:00

Lady Maisery at New Greenham Arts, Greenham, on Thursday, May 23

WHAT do you mean you haven’t heard of the bansitar? It’s a musical instrument that combines the sound of a sitar with the tuning and playing technique of a banjo. And do you know what diddling is? It’s a style of singing without words, once common in England, used to create music for dancing without the need for instruments. OK then, how about a bit of clog dancing? You don’t see much of it round these parts, but the tradition continues in the north of England, where it grew up around the factories and workhouses.

Lady Maisery is an all-female trio, Hazel Askew, Hannah James and Rowen Rheingan, who all grew up steeped in the folk tradition and performing from an early age, before coming together to form a harmony group focussing on the vocal traditions of Britain and further afield, with Scandinavian, Celtic and Appalachian songs also getting a look in.

The general cheeriness of Lady Maisery’s performance - and of the often upbeat tunes - contrasts with the themes that pop up regularly in their songs, particularly those on their newly-released second album Mayday, which intentionally scrutinises the human (and often female) struggle for power and equality.

And thus, thought-provoking modern folk songs such as The Crow On The Cradle by Jackson Browne and Palaces Of Gold (inspired by the Aberfan disaster) by Leon Rosselson were performed alongside old songs about honour-based murder, illegitimate births (covered up by Scottish songs of selkies - fabled man-seals - making night time visitations), and the importance of clinging on to that precious “maidenhood”.

Even West Berkshire resident Kate Bush got a look-in, with a particularly lovely interpretation of her song This Women’s Work, a song about childbirth sung from the partner’s viewpoint, which Lady Maisery originally recorded as a charity single to celebrate International Women’s Day.

Some of the lyrical vibes may have been a bit on the heavy side, but Lady Maisery’s performance certainly was not. The trio were warm and engaging, their harmonies gorgeous, and their between-song chats both enlightening and often mood-lightening. The vocal focus of their performance blended with their other musical abilities, playing the fiddle, banjo, harp, accordion and concertina.

Oh yes - and then there’s the diddling. There’s something innately cheery about diddling. You can’t listen to a diddle and not smile, even if it comes straight off the back of a song about death - their sign-off song, Sleep On Beloved, isn’t just about someone having a snooze. But however chilling and stark some of Lady Maisery’s songs may be, it’s nothing that a diddle and a little bit of clogging can’t solve.

First published in the Newbury Weekly News on May 30, 2013

Brothers in harmony - review of State of the Union (Boo Hewerdine and Brooks Williams)

2013-05-24T22:16:00.002+01:00

State of the Union at Arlington Arts, Newbury, on Saturday, May 2

MOST people (or maybe it’s just me) will have a long-term fondness for one or two musicians/bands who are so deeply ingrained in their psyche that they forget that they’re not as well known to the wider world as they ought to be. For me, one of those musicians is Boo Hewerdine. His work as frontman of Cambridge-formed band The Bible must have had some Radio One play in the late ’80s (for that was all I listened to back then), but they remained mainly a cult band, with their highest charting single having a near-miss with the Top 50.

Probably his best-known composition is Patience of Angels, a hit for singer Eddie Reader in 1994, although I prefer Hewerdine’s warm, mellow version of it, as performed during a two-song solo showcase during State of the Union’s gig at Arlington Arts. The other half of the State of the Union duo, Brooks Williams, got his own moment in the spotlight in the second half, so it was perfectly fair.

Williams is an American-born, Cambridgeshire-based blues/folk guitarist who first teamed up with Hewerdine in 2011, with the aim of recording an album using vintage mics and equipment in five days. In fact, they completed it within two days. Not surprisingly, working at that speed, they have now brought out a second album (speed of recording not confirmed), meaning that they have an impressive number of songs to chose from for their live set.

What the pair have come up with is a blend of English pop sensibilities and raw Americana. Both musically and lyrically, their songs probably nudge the coast of the USA more than that of the UK, but there are still British roots to be found, such as in their cover of the Pet Shop Boys’ most yearning song, Rent, with slide guitar replacing the original’s synth instrumental.

What was surprising is how well Hewerdine and Williams’ voices fit together, blending in a way that would be more usually found arising from sibling harmony rather than the vocals of two men born and raised thousands of miles apart.

One day, I will see Hewerdine perform his two most beautiful songs, Graceland and Honey Be Good, with his band The Bible. But State of the Union were a pleasure to savour, and opened up a whole new avenue of Hewerdine’s work to me; confirming that such a prolific singer-songwriter can never remain rooted solely in a long-ago past when he reached the heady heights of the Top 60.

First published in the Newbury Weekly News on May 16, 2013

A Scilly day out

2013-05-20T21:22:00.001+01:00

HAVING first visited the Scillies as a teenager, I have always been fondest of the island of St Agnes, with its magical landmarks: The Nag’s Head standing stone, Troytown Maze (created from pebbles, for reasons unknown), and Beady Pool, where the bead cargo of a 17th century shipwreck used to be found in their dozens in the shifting sands. There’s also the beach where generations of locals and visitors have stacked wave-smoothed stones into hundreds of oddly-balanced towers, making it resemble the seaside retreat of Makka Pakka.

Being a Scilly-hardened family - or so we thought - by our third visit, we used the fleet of small boats to take daily trips from the main island, St Mary’s, to the off-islands with as little thought as we would catch a train back home. But there would be one trip to St Agnes which would be unforgettable.

Half of the Scilly passenger boats are 70-year-old wooden launches; the others are more modern. At the time of our holiday, in 2007, only one had an upper deck. It was a sunny day, so naturally we (me, my husband, and son George, then five) plumped for the top deck, settling ourselves on the bench at the back for the best view. It was a little bumpier up there than down below, but we were enjoying the ride, until about halfway between the islands, a freak storm struck, and the gentle swaying of the boat turned to a violent rocking.

Almost immediately a boatman’s head popped up from below. “Stay where you are, and hold on,” he called. The other families, nearer the steps, responded to natural instinct and dived straight down. Sat at the aft, we were furthest away, and clung on tight. But George panicked, and screamed that he couldn’t hold on. I was gripping him, but with him flailing in terror it was hard to feel secure. We decided to make it to the steps.

Lashed with rain, we crouched and crawled along the deck, grabbing at the benches to keep us steady, but still being bumped around like rag dolls. At the steps, hands reached up to grab George, and then I followed, tumbling down in a most ungainly manner, to add to my catalogue of bruises. As passengers and crew checked we were all right, the boatman looked at me. “I told you to hold on,” he said, sagely. Within another minute or so, the storm had passed, and the sea was calm once more.

So, why is this my favourite holiday memory? Well, clearly I would rather it hadn’t terrified George; but it is still special to me, because it is something we went through as a family. We disembarked at St Agnes, had a fun day in the sunshine, and caught the return boat with no fear of a repeat event. The wonderful boatmen of Scilly steered us safely through the freak storm, and it is a memory that will stay with us after those of sunshine holidays in further-flung locations have long faded.

Originally written for an Onthebeach.co.uk/ Goodtoknow.co.uk travel writing competition. Again, I lost out to someone who had actually been abroad. Bit of a pattern emerging there. Also noticed that the winner wrote about a "nice" holiday memory. Mine was more "unforgettable" though, which was the theme of the competition. And I was clearly more deserving of the prize holiday by dint of the experience chronicled above.

How I learned to stop Dodgying and love the Olympics

2013-05-20T21:09:00.003+01:00

I NEVER knew a festival could get me interested in sport. I only went to the London Live: Hyde Park festival (part of the city’s Olympic celebrations) so that my nine-year-old son could experience - and hopefully learn to love - my favourite band Dodgy playing live. My first attempt to convert him at Portsmouth’s Victorious Vintage festival earlier in the summer had been a quite literal washout. Not even the magnificent backdrop of HMS Victory could tempt him out from behind the hotdog van into the storm to watch Dodgy risk electrocution.

So my continued attempts at Dodgy-conversion brought us to Hyde Park for a free day of big screen sport and “fun” fitness activities. I couldn’t have been less thrilled. But then, unexpectedly, onto the stage, came four actual Olympic medalists - the British Gold and Silver-winning slalom canoeists. Suddenly, I was acting like a teenage Bieber fan. Throwing myself towards these poor men (the nearest I will ever get to an Olympian effort of my own) I just had to touch one of those medals, whatever body part belonging to their owners, or other crowd members, got in the way.

So yes - London Live managed to get me interested in sport, against the odds. And as for my son’s verdict on Dodgy? “They’re alright, I suppose...”

Written for TNT Magazine Blogs Competition, 2013. I was beaten to first prize by someone who had actually been abroad. Find it in its original posting at: http://blogs.tnttravelshow.com/?p=110