A gameshow unlike any other is set to take local actors to the world stage. The Wharf Theatre is proud to present the debut of a brand-new show, “Whose Play is it Anyway?”
Set to enjoy a week-long run at the Edinburgh Fringe Festival 2026 from August 17th to the 22nd, this innovative original production offers a fresh perspective on contemporary storytelling, using a gameshow format to explore a range of devised, scripted and improvised pieces, many created by the talented cast themselves. As part of the game, each performance order will be left to chance, creating a unique experience every time.
Join your host, Barry Ruffles and his glamorous assistant, Jenny Flannel as they present 18 pieces of theatre in 50 minutes; all you have to do is guess the genre, playwright or year to win a speedboat, cuddly toy or a holiday for two on the Isle of Fernando!
Prior to the Fringe, the show will preview at the Wharf Theatre, Devizes, running from 29th to the 30th May, Bristol’s Alma Tavern and the Shaftesbury Art Centre; giving West Country audiences an opportunity to experience the production ahead of its official festival run.
Whether you’re a seasoned Fringe attendee or a first-time visitor, Whose Play Is It Anyway promises to entertain. The show will be performed at the SpaceUK, located at the heart of Edinburgh’s bustling festival district. Tickets are available from [Ticket Provider] and can be purchased online or at the venue box office.
Lou Cox, director of The Wharf Acting Company, who perform & devised this show, is also taking her solo show, Having a Baby and The Sh!t They Don’t Tell You in Books, for a week at the Edinburgh Fringe. Inspired by the loss of her baby girl, Lou described the play as a “comedic and brutally honest one-woman show which gifts audiences an emotional, and at times highly entertaining, whirlwind of witty anecdotes and graphic storytelling, with an ending no mother could ever imagine.” And this one too will be performed at The Wharf Theatre, also running from 29th to the 30th May, of which the previous run was reviewed by Helen, HERE.
If Devizes Scooter Rally has already established its base at Whistley Road’s Park Farm and Full-Tone are moving to these new pastures, last year the site saw a superb inaugural festival of its own making, Park Farm Music Festival, with the expert knowledge of the good folk who brought us Mantonfest. It’s happening again this year and looks set to be even better than last year; I kid you not! Early bird tickets went on sale today, and the lineup has been revealed; let’s poke our noses in and pretend summer is on its way, shall we?!
Starter for ten, Mantonfest is a longstanding cherished gem on Marlborough’s event calendar, a family friendly festival which has stood the test of time, and folk return annually like it’s a pilgrimage; you can rest assured you’re in good hands. I hailed Mantonfest as “the friendliest festival you’re ever likely to attend.”
While Park Farm Music Festival may yet have to establish itself to the same level of excellence, last year’s first time was an absolute blinder, bringing a taste of Mantonfest to Devizes and leaving folk hanging on the hope this would become a regular extravaganza.
This year the stage is set again for Mantonfest’s house band, the awesome groovy vintage blues boys, Barrelhouse, but in essence the organisers are keen not to present something completely Marlborough; we’re in Devizes now, mucker, if we’re going to have blues we NEED Jon Amor to come along too! And they’ve answered this call, The Jon Amor Trio need no introduction to Devizes; I’m glad to see their name on the lineup, I’m certain all of the town will be too.
Onto the headliners, yes, it is tribute act top heavy, which works a treat for Mantonfest. In this you should note, the organisers do not skip on quality when it comes to tributes, all are tried and tested. I’ve bore witness to most of them, and will bet my pet budgerigar’s life that you’re in for a wonderful day. Last year there was an emphasis on hard rock, with astounding AC/DC and Nirvana tributes, while this year looks to have more universal appeal.
If Queen tributes are two to a penny, despite being a tricky act to replicate, and some I’ve seen were great, One Vision played Mantonfest two years ago, and, just, wow, I’ve never seen it done with such quality, attention to detail and finesse as this one. I could definitely call this the best Queen tribute I’ve seen, perhaps in my top five of all the tributes I’ve seen.
Inferno, an Abba tribute I’ve not seen before, but it’s Abba, what could possibly go wrong? As I said, the organisers take no compromise when it comes to booking only the very best tributes, so, dancing queens, have no concern. The next two I have seen, Madness and Bad Manners tribute, Badness, and Slyde, as you might’ve guessed, a tribute to Slade, are both brilliant, for precisely similar reasons.
Slyde played a Christmas do at Marlborough College Memorial Hall, where support Barrelhouse were on fire, and Sylde polished off the evening with a plethora of, not only Slade hits but just about every seventies singalong pop hit I could imagine, with the sprinkling of glam only Noddy Holder could’ve brought to each classic. And it was Christmas, so he aptly called it, and yes, it was something to behold. If One Vision is on my top five, Slyde must also be.
Now, Badness, ironic name, there’s nothing bad about the performance, but only, perhaps in the way they will totally and utterly rule the audience with a spellbinding show of their own. They do not attempt to mimic Madness, like Slyde they offer a repertoire of classic hits from the era their homage was in their prime, only this time it’s obviously Two-Tone ska and new wave, and you will be skanking. Furthermore, you’ll be under no illusion Badness are attempting to precisely mimic Madness, they only pay homage to them, and are uniquely themselves, add their own spin to it, particularly with the most hilarious stage banter you’re ever likely to witness.
Has that tempted you? Because I’m getting excited just typing this recommendation! They’ll have a big outdoor stage, brilliant sound and lighting, plenty of room to dance, lots of trade stalls, a range of food and drink outlets and showers for those camping. They’ll be running a FREE shuttle bus to and from the The Bear Hotel hourly, gazebos and picnics are welcome, so too are campervans, caravans, and tents.
Early bird tickets are up for grabs: Adults – £30. Youth (Age 13-17) – £20. Child (Age 7-12) – £10. Under 7’s – Free. Campervans/Caravans – £30. Camping – £20. It’s on Saturday 18th July. Book HERE.
Swindon’s finest Chicago and Texas blues covers band Last Train Smokin’ are also on the fantastic roster, along with rock covers band Strange Horizons. Is it summer yet?!
The celebrated Shindig Festival at Malmesbury’s Charton Park announced their headline act for May bank holiday 2026, and being that it’s Bob Vylan, it…
Best part of a week since Stone Circle Music Events’ Wiltshire Music Awards and I’m still at one thousand feet about what we achieved, and dealing with a cascade of feedback. While some of it has been appreciated constructive criticism, that crazy playground called social media is such that some comments have become unfair, misinformed or even blatantly untrue. I prefer to remain positive, thanks all the same! And here we are, beginning to see positive after effects of the whole grand shebang……
I’ve loved seeing winning and runner-up acts, if not just posting pictures and videos of themselves proudly grasping their trophies, but using their win as an accolade on gig posters and bios. If that’s not a positive outcome in a time when the whole hospitality industry is at its knees, I frankly don’t know what is. Try proving me wrong on this, I double-dare you and might even throw in a Twix for first prize!
There was also the whole “convention” side to the event too, which saw networking between musicians and venues, radio stations and promoters, and the general get-together of folk usually individually dispatched to their respective gigs on a weekend. I have already seen gig posters with added support acts who didn’t know each other before last Saturday, and radio plays for bands featured.
From my good friend Charlotte reuniting with Lifetime Achievement winner Peter Lamb, the producer who took her hopeful nineties girl band under his professional direction, to Fantasy Radio DJ, Mark Lister, who mentioned the awards on Scott Mills Radio 2 morning show, the attention the awards are seeing is phenomenal and the after effects are beginning to flourish.
If Sunday’s piece was a reflection on the night as a whole and a statement of the issues we unfortunately faced. Let today be about our fantastic acts who performed, for that’s where sparks flew and obviously the nature of what we were celebrating.
In order of appearance. Go on, admit it, you didn’t know the sublime Miss Ruby Darbyshire would be present, did you? I managed to not let the cat out of the bag about our opening special guest, despite my excitement!
At eighteen, Ruby is as her name suggests, a gemstone on our circuit. A multi-instrumentalist with bagpipes under her championship belt, a singer-songwriter with an exceptionally soulful voice which puts expression into her diligently crafted writing. Originally the plan was for Ruby to blow a tune of her own choice from her bagpipes and scoot off to another gig in Bradford-on-Avon, returning later in the evening. But we couldn’t let her go without at least another song, her magnum opus to date, Crowded Lightbringer, and then she played a second. It was the best opening ever, even if I was blindly operating the curtains like a bell ringer!
Hey, honestly, I was a raver in the nineties and viewed Britpop as regressive, but I now see its worth and respect the succeeding generation who see them as classics. Being such, we see a lot of cover bands performing Britpop anthems, with varying degrees of skill. The Britpop Boys have been on my must-see list for donkeys but our paths hadn’t crossed before. I’m glad that’s sorted and sound, for they were off the scale brilliant and totally ‘avin’ it are kid.
I was sitting on the stage’s sideline in awe of The Britpop Boys, it could’ve been Madchester in 1996. The sound and appearance held me spellbound, and I felt I should write to The Oxford Dictionary to redefine the word “cool” as “see Britpop Boys!” Yeah, they did Wonderwall, of course they did, but if it’s a cliche cover choice for most, it’s because it’s a beautiful crowdpleaser, and had to be done given only three songs. The ultimate thing about this was, they knocked it out of the Corn Exchange and into the stratosphere; I’ve never heard it done with such attention to detail and precision to honour the original.
If I’ve seen one new band begin wobbly and develop over time I’ve seen a hundred. But Burn the Midnight Oil is one of my most favourite newcomers to the Wiltshire music scene, for the simple reason that it feels like they’ve been here forever, as their ability to deliver crisp blues-rock originals and stamp covers with their own divinity is something to behold. Like mobile phones, you think, how did we ever survive without Burn the Midnight Oil?!
It’s as if they honed their skills over decades and perfected the harmony of a classic rock band in their eighties which toured since their twenties, even if they might have, they did so individually, but that seam never shows. Their perfect performance proved this, it was nothing short of brilliant, fresh and invigorating, showing us what they’ve been working on, a beguiling harder rock sound; they look the part, they sound it too, I have high hopes for them.
Ben was great as a soloist, Pat was too, together it’s a magical connection to charm the pants off a donkey. This cover act could easily work anywhere, from crusty cider festival to wedding reception, it’s got universal appeal. Their set was amazing, Ben might have accidentally hit me on the head with his guitar but they were awesome, and I’ve had worse on my rock n roll journey!!
It might’ve knocked some sense into me, but I know what I liked anyway, and Matchbox Mutiny are high on that list.
George went next, and yeah, this is where we had technical sound issues. Professional till the end, George worked through it, and as a stalwart spirit on our circuit, George is modestly legendary, for his back catalogue of sublime originals and new songs flourishing to his entertaining interactive solo covers show. See our mention of the warm up gig from Friday at the Three Crowns, if you don’t already understand why we love Mr Wilding!
With various issues arising the evening was in need of a reset. I apologise, I announced an interval, thinking Lucas could prepare and we could hold a team talk. Just like George Wilding, Lucas is professional and motivated to the core. He came out like a boxer for a championship belt fight, psyched up for it and couldn’t wait for the bell! Therefore I attempted to recall the interval idea as quickly as possible, because Lucas Hardy was like a greyhound out of the trap! And what an outstanding performance, rinsed with sheer brilliance, Lucas is no stranger to award winning, it’s easy to see why.
As it was it was impossible to estimate how much time the award giving and other acts would take, I apologise if we wrongly assumed time was against us and lengthy speeches were deemed something unpredictable enough to encourage people to keep them short if at all. The original plan therefore was that our Devizes homegrown heroes, the teenage band which shook the rafters of this market town and deployed their exceptional talent to Bristol to further the phenomenon of Nothing Rhymes With Orange, were to play out until the end.
We finished earlier than expected, the barriers broke down, and there to help create a needed frenzy of excitement, ready and eager, was this successful Devizes export, for a hometown return like no other. Nothing Rhymes With Orange were mindblowingly fantastic before they left for Uni, now it’s a monster.
I was ecstatic to see the guys again, and they threw everything into their solid performance, as they always do. They return to Devizes for the Arts Festival, something we would’ve been singing from the highest tree about anyway, but after last Saturday, it’s surely unmissable.
I’ve given my thanks already, I’d like to do it again, to all our performing acts, for you made the ceremony, you furnished it with your brilliance, and that was what the night was always supposed to be about; cheers!
Well, we did it! I sincerely hope you had a great night at the first Wiltshire Music Awards as we filled the Devizes Corn Exchange with a cross-section of people involved in the music scene of Wiltshire, musicians and fans. Positive feedback already, and a few teething issues, noted, which we must take onboard and learn from….
But for those who unfortunately couldn’t make it, I guess you are eager to hear the results. Let’s do this easy bit first! But before we do, I ask you, please, to take a few issues into consideration. Firstly, there was a monumental process to arrange, coordinate and launch during and also months prior to the ceremony. From the voting process and organisation of a panel of judges, to decorating the tables and corresponding all those trophies to each category.
So many volunteered their time to help with this, and we are extremely grateful to them. Overall, the management of the whole process and ceremony was carried out by Eddie Prestidge of Stone Circle Music Events. Eddie worked arduously on this project, and was dedicated to creating an extravagant event to be remembered. With the help of so many volunteers, myself included, stage tech and the staff of the Corn Exchange, I believe we achieved this to the best of our abilities, and a fantastic evening was had by most.
There should have been one more trophy, it should’ve been big, extra shiny, and presented to Eddie for his dedication and the tireless work he put into this. Exhausted, Eddie fell ill a few days before the ceremony, but strode through it the best that he could. The end result of this was that he was rushed into hospital a few hours prior to the conclusion of the ceremony. I have heard from him this morning, and he’s doing okay.
If you witnessed me on the sideline, rushing up and down the stairs like a headless chicken, it wasn’t my step aerobics workout, it was because I was honouring my part as co-host on stage but attempting to coordinate the floor as well, as best as possible, as Ed seriously needed to take a step back. Whilst the beginning therefore went to plan, as the evening progressed we stumbled on issues, but I ask you to please take this into consideration if you’re intending to criticise the evening on social media. I apologise for any breakdowns in communication, but the condition was out of our control and we strived through best we could.
Results
The results, then. Congratulations to everyone who bagged an award, commiserations to those who did not. To those unable to attend, we have trophies reserved for you and will arrange the best way to get them to you as soon as possible.
Best Venue. Sponsored by Pat Robertson of Trowbridge Motor Supplies ltd.
Runners Up: The Royal Oak, Pewsey. The Vic, Swindon.
Winner: The Three Horseshoes, Bradford-on-Avon.
Best DJ: Sponsored by Mark Anthony Burdge.
Runners Up: Maurice Menghini – DJ Mister M. Mark Lister of Fantasy Radio.
Winner: Paul Alexander of Solstice Sounds, This is How We Do It Entertainment.
Best Drummer.
Runners Up: Tom Gilkes. Callum Rawlings.
Winner: Jamie O’ Sullivan.
Best Bassist. Presented by Alex Morgan of Waldrop Salisbury Sounds.
Runners Up: Nick Gorman. Nick Beere.
Winner: Mark Turner.
Best Guitarist.
Runners Up: Alastair Sneddon. Nick Beere.
Winner: Jolyon Dixon.
Best Duo.
Runners Up: Jolyon Dixon & Rachel Sinnetta. The Sylvertones.
Winner: Matchbox Mutiny.
Best Covers Band. Sponsored by Simon Woolley of The Three Crowns, Devizes.
Runners Up: Pinky & The Slapcats. The Unpredictables.
Winner: The Brit-Pop Boys.
Best Original Band: Sponsored By Peggy-Sue Ford of Don’t Stop the Music on Swindon 105.5 Radio.
Runners Up: Nothing Rhymes With Orange. Burn The Midnight Oil.
Winner: Talk in Code.
Best Tribute Act.
Runners Up: Painted Bird. BC/DC.
Winner: Mick Jogger & The Stones Experience.
Best Female Artist.
Runners Up: Sammi Evans. Rosie Jay.
Winner: Ruby Darbyshire.
Best Male Artist. Presented by Lesley Scholes of Fantasy Radio.
Runners Up: Lucas Hardy. Vince Bell.
Winner: George Wilding.
Best Original Song.
Runners Up: I Don’t Give a Damn by Rosie Jay. Do I Really Have The Blues by JP Oldfield.
Winner: All In by Talk in Code.
Best Instrumentalist.
Runners Up: Ruby Darbyshire. Andrew Hurst.
Winner: Jolyon Dixon.
Rising Star New Comer.
Runners Up: Ruby Darbyshire. Rosie Jay.
Winner: JP Oldfield.
Best Vocalist.
Runners Up: Chris Stevens. Lucas Hardy.
Winner: Rachel Sinnetta.
There were four special awards given out on the evening which didn’t receive runner-up places as according to the information given to the hosts. If there was an oversight about this, we apologise.
Outstanding Contribution to The Wiltshire Music Scene was won by Colin Holton of Salisbury Live.
Outstanding Contribution to Music in the Community was won by Jo Baines Robbins.
A Special Award was given to Wiltshire Hop & Harmony, The Wotton Bassett Dementia Choir. The Second Special Award was presented to Brian Mundy of BMS Stage Tech.
A Lifetime Achievement Award was presented to Peter Lamb.
Ruby Darbyshire opened the evening with a bagpipe song and two others, as a surprise special guest.
We also had live performances from Nothing Rhymes With Orange, Burn The Midnight Oil, Lucas Hardy, Matchbox Mutiny, George Wilding, and The Britpop Boys. Due to technical issues, Jolyon Dixon and Rachel Sinnetta were unable to perform.
I would like to sincerely thank our panel of judges.
And, Ruby and Brian Darbyshire
The Britpop Boys
Burn The Midnight Oil
Matchbox Mutiny
Lucas Hardy
Jolyon Dixon & Rachel Sinnetta
George Wilding
Nothing Rhymes With Orange
Sponsors:
Val Bewley VB Arts Studios
Alex Organ Wardrop Salisbury Sounds
Colin Howton Salisbury Live
Pam Robertson – Trowbridge Motor Supplies
Simon Woolley – Three Crowns, Devizes
Peggy-Sue Ford – Swindon 105.5 Radio
Mark Jones & Lesley Scholes- Fantasy Radio
And a sponsor and our host DJ Mark Anothony and wife Sandra.
Thanks to Anya and Marc of Soupchick.
To Ian and all the staff at the Corn Exchange
To Brian Mundy and BMS Stage Tech.
To everyone who got behind this, I thank you.
Anthony & Jemma Brown for helping us set up.
Charlotte & Moray MacDonald for help on the front desk.
But massive thanks goes to Eddie Prestidge and Stone Circle Music Events
And finally, thank you for coming, supporting the local live music scene.
When I put together the 4 Julia’s House compilation albums a few years ago I decided I shouldn’t pick favourites out of the eighty-one songs donated, but if I had to, it would’ve indisputably been Atlantic O by Will Lawton and Ludwig Mack. With the ambience of the gods, this track is such a soothing sentimental earworm it makes you go all tingly as it drifts like a lost ship on the sea. Now the duo have released a debut album, matching the sublimity of Atlantic O. The story behind it is of an absorbing coincidence, and its unique marketing is equally as genius as the music…..
At the time I was aware of the virtuosity and diversity of Malmsbury musical magician, Will Lawton, from solo performances and fronting The Alchemists. At the time he sent the tune for the project he briefly explained Ludwig was an Argentinian musician he had been working with, but their connection is far more complex and is explained in the book to the album, which is in turn, currently the only way to hear it.
A story of serendipity expressed earnestly through a 36-page hardback, which continues to detail the thought processes of the album, each individual song, and the musicians which accompany them along the titled journey Five Years in the Cotswolds. Then, on the back cover there’s a QR code to scan, leading you to streaming options; I suggest you do, your ears will love you forevermore.
Enticed by the lure of English music, and his European travelling plans cut short by the pandemic, Argentinian musician Ludwig Mack arrived in the UK from Spain a day prior to lockdown. He had already connected with Will via Instagram, not realising when he settled in Hullavington he was coincidently only a few miles away from Will’s home. They jammed together, the song Atlantic O, and within a year produced the EP Heroes.
Ludwig explored the UK, and found work whether he could, whilst Will continued with family life, his band the Alchemists and his employment as a music psychotherapist. But Ludwig often dropped in to see Will, and it was inevitable this project would blossom like the opening tune, aptly Blossom, a tender springtime daydream contrasting aging with memories. It’s as majestic as the morning chorus, and includes a naturally sourced one too.
The fabric of this album continues on this theme, indeed Songbird follows suit into the most gentle flow of concentrated bliss. It’s the first single released this Friday (10/10) of the goodness of nature rather than society’s machine, unhinged and timeless piano-based folk, and celebratory of the glory wildlife in all its splendour, wrapped in the warmest serenity. By its very composure it defines the sum of all this goodness and shapes a heart in your mind; if an album was a wander through a springtime meadow, this is a stroll to remember.
It comes as no surprise Will is a music psychotherapist, if the vocation is to improve wellbeing, increase happiness and overcome issues. One listen to Five Years in the Cotswolds is the best remedy. Ten solid tunes, all the like to make the little hairs on the back of your neck stand to attention. There’s few artists able to accomplish this, I could cite many, from Bill Withers to John Denver and you will contemplate your favourites when this caresses your senses.
The album lifts with euphoric pace at God’s Plan, and I’m left thinking of Marvin Gaye’s What’s Going On as its aperture opens the album to a similar width of beauty. From the guitar chimes of November to the quirkiness of the bluegrass-esque Walk Each Other Home, and from the amorous ambience of Clouds to Freya Everest’s haunting vocal range on I Noticed, this album continues flowing on the theme as a paragon, never meandering off course.
Its production is as crisp as autumn leaves, the arrangements are like sunlight. The composition is a Vivaldi, its versification is W. H. Davies’ Leisure, the musical expression of a Monet, a pilgrimage to a Constable masterpiece, or all of these wonders capturing the beauty of nature equally combined and consumed, it really is this breathtaking. Devizine
Its production is as crisp as autumn leaves, the arrangements are like sunlight. The composition is a Vivaldi, its versification is W. H. Davies’ Leisure, the musical expression of a Monet, a pilgrimage to a Constable masterpiece, or all of these wonders capturing the beauty of nature equally combined and consumed, it really is this breathtaking.
Bath’s producer and musician, Rob McLeod, aka Mac Lloyd, Spanish multi-instrumentalist Guillem Mitchel, London based jazz singer-songwriter and producer Freya Everest and drummer Tony Partridge who met Will at Schtumm in Box, are the other collaborators behind this enchanting project, alongside composer and arranger Benjamin Lawton, Will’s son.
Streaming platforms are held off until next year on this, the book to Five Years in the Cotswolds is the album’s only current access point, and is available on their website, and at upcoming gigs, The Castle, Swindon on 16th October, and Pound Arts in Corsham on 6th November, details of which are also on their website.
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Legendary songwriter and original Stranglers frontman Hugh Cornwell has announced a run of UK dates this November, accompanied by special guests The Courettes, and it includes Frome’s Cheese & Grain on Saturday 15th…..
Golden Brown, Strange Little Girl, Always The Sun… sound familiar? All big hits, all great songs, all penned and performed by Hugh Cornwell, the songwriter behind the legendary early eighties punk band The Stranglers.
When future historians of music draw up a list of the movers and shakers who changed the modern musical landscape, Hugh Cornwell’s name will no doubt be amongst them. As a pioneering musician, songwriter and performer, his pervasive influence persists in the record collections of music aficionados, across this spinning globe’s radio waves, and on stages around the world. Hugh’s presence is unquestionable.
As the leader of The Stranglers, Hugh was the main songwriter of all of the band’s most memorable songs across ten stellar albums. After their 1977 debut Rattus Norvegicus, follow-up albums such as No More Heroes and The Raven consolidated Cornwell’s stature as a unique songwriter and musician. His multi-layered lyrics to Golden Brown, from La Folie, remain a songwriting masterclass.
Hugh embarks on his Come And Get Some tour in November, appearing at Frome’s Cheese & Grain on Saturday 15th. A full band show with Stranglers choice cuts and solo delicates, plus support from The Courettes, an explosive group from Denmark and Brazil. With Flavia Couri on vocals and guitar and Martin on drums, they provide the perfect blend of Wall of Sound, Girl Group Heartbreaks, Motown and R&B. Imagine the Ronettes meeting the Ramones at a wild party in the Hitsville echo chamber, that’s the Courettes!
“Cornwell’s still doing things his way and often with striking results,” said Mojo, “Thunderously tribal garage rock… the ex-Strangler not yet gone soft,” Uncut provided.
Kicking off at Epic Studios in Norwich on 6th November, Hugh Cornwell will be playing favourites from his time with The Stranglers as well as a range of solo material, including his 1979 album ‘Nosferatu’ in full. The record saw Cornwell teaming up with Captain Beefheart’s Robert Williams to create a record as gothic as the film it takes its name from.
Throughout November, Cornwell will make stops at beloved venues up and down the country including Hangar 34 in Liverpool, Concorde 2 in Brighton and Islington Assembly in the capital. He’ll be joined on the road by retro-inspired punk rock duo The Courettes, helming from Denmark and Brazil.
Ann Liu Cannon is the Marlborough success story I hadn’t heard of until yesterday; thanks to local promoter and frontman of the Vooz, Lee Mathews for the tip off! Her debut album Clever Rabbits was released today, and it’s a must…….
Brit Award winning Paul McCartney and Tom Jones producer Ethan Jones spotted Ann Liu performing at Camden’s Spiritual Bar, leading her to a publishing deal with BMG. Ann, who now lives in London, represented Whispering Bob Harris at The Great Escape and Black Deer Festivals, featured on Beans on Toast’s stage at Bearded Theory and on his UK tour. She opened for Lewis Ofman in Mexico, played prestigious venues like The Clapham Grand and The Hotel Cafe Hollywood in LA, but delighted to tell me she schooled in Marlborough and grew up in a nearby village; and I thought St John’s girls just sat around the Priory Gardens smoking menthols!
Okay, calm yourself. That was just an eighties joke, and you know this! But remain calm for Clever Rabbits because it’s a breathtaking ride, a tapestry of Anglo-Celtic folklore, sacred texts, sonic binaries of modern digital synthesis and Ann Liu’s classic singer-songwriter roots. “I am the rabbit that knows how to kill the hill, and I have only just begun,” she expressed.
Experimentally playful, with two piano-based ballads opening Clever Rabbits, there’s an ambience of musical theatre about them, then with an irresistibly simple drum and bass the title track runs akin to a Mardi Gras iko-iko chant. Lost Ways has the shuffle of South America rhythms, and we’re halfway through these ten uplifting masterpieces with a bittersweet psychedelic swirl called Tangle.
No You Don’t is acoustic blues with a hint of lounge jazz, as gorgeous as the ultimate Norah Jones song. Another tune in, and rather I’m now pitching this alongside Joni Mitchell; it’s that strong, naturally raw, and yeah, folk, fundamentally.
The album continues in a similar fashion, uplifting jazzy folk under sublime soundscapes and broken wonderfully with snippets of humorous band banter, which usually are outtakes. It lifts in tempo with False Hope, and chills for the penultimate Movement of Standing Stones, which builds in layers of atmospheric spiritual ambience, and finally a minute and half of bizarre with Gobbleknoll, breaks the concept this isn’t really a book by Richard Adams and Ann Liu is not a rabbit after all!
Exploring limits of prescribed identity in a timeless, brave and sensitive challenge of the zeitgeist, the album is inspired by a Chinese idiom “clever rabbits need three burrows,” and the imagery of three rabbits found in Devon’s churches and China’s caves. Clearly, with profound narrative, you would need to dive deeper into this warren to explore. After one listen, though, you will feel it criminal not to. Everything in this melting pot of influences is subtle, the overall feel is a mellowed thoughtful prose sitting somewhere between the exploratory of Kate Bush and punch of Alanis Morissette, both jamming under the aura of Steeleye Span.
This isn’t an album for streaming. This is a take my money album. The attention to detail is divine. The unedited recordings’ background goings-on authentically puts you in the room. In promoting it, Ann Lui revealed the backstory. “When I was ten,” she explained, “my father gave me records by Ethan. When I turned 21, I got a call from Ethan after Raf sent my music to him. We began capturing these songs, and my father began dying. Today I turn 26, my father is dead, and the record is born.”
“In the first 25 years I found powerlessness in slow, bad, unwanted death. In limbos and dependency. I found power in wilful endings. In choice. Love ran underneath in a welcome riptide, contextualising the hurt and loss. I nursed wounds, read my stories, read other people’s stories, broke away, reflected, mourned, rejoiced, set free. The first quarter century has been about endings, leavings, dying, and dying well. This album is a good death. The bin men are smiling. I am smiling, too.”
A launch for Clever Rabbits is at London’s Lexington tonight. Ann Lui returns to her roots, as she regularly does, with an Instore at Sound Knowledge, Marlborough on Thursday 17th July at St. Peter’s. Entry is FREE but please do let them know to expect you if you’d like to attend, or pre-order a copy of ‘Clever Rabbits’ from them to guarantee your place.
If you’ve popped into Wiltshire Music Centre recently; for a concert, workshop, screening or even a meeting, you might have noticed changes in the foyer: recorded music, the cafe-bar open at peak times during the day, and currently, a striking photographic exhibition of black and white portraits…..
The ‘Men in Conversation’ exhibition presents portraits of members of the Trowbridge Creative Conversations Men’s Group, a creative arts and heritage group for men aged 65+ held in Trowbridge Library. Facilitated by professional artist practitioners, Creative Conversations sessions bring together isolated older people to share their experiences and creative ideas in a friendly and welcoming environment. So, when Stuart Brook, one of the members of the Trowbridge men’s group shared his interest in photography, it wasn’t surprising that it inspired the participants to take portraits of each other. The results were so impactful, uplifting and moving, that they’re now on display at Wiltshire Music Centre until the end of July, before moving to Trowbridge Library, all made possible by funding from The Trowbridge Town Trust.
The free-to-visit exhibition contributed to a Celebration event, marking the impact of the Celebrating Age Wiltshire partnership from 2020-2025. The event, attended by partners, funders, artists and community champions, showcased some of the many outcomes achieved through this project, funded by the National Lottery Reaching Communities Fund. Artworks, as well as the exhibition included songs, spoken word, and art and heritage pieces, introduced by Creative Producer, Rebecca Seymour.
It was an opportunity for Wiltshire Music Centre to thank everyone that has contributed to this project to this point, including funders, The National Lottery Reaching Communities Fund, Wiltshire Council Area Boards, Town Councils, Wiltshire Community Foundation, Arts Council England and other Trusts and Foundations. Partners, Pound Arts, Wiltshire Creative, Wiltshire & Swindon History Centre, AgeUK, Wiltshire Council and Libraries and Community First, Creative Producer Rebecca Seymour and our staff team, volunteers, community champions and community organisations past and present, and, of course, the sixty-five artists!
In August, Wiltshire Music Centre will hand over the leadership of this award-winning, county wide project to AgeUK Wiltshire, who will continue to reach isolated older people through creative arts and heritage events and workshop groups. We look forward to continuing to partner in this incredible project, as it continues to grow.
Stone Circle Music Events announced today that all proceeds of CrownFest will be donated to Wiltshire Hope & Harmony’s Dementia Choir. CrownFest is an all-day…
If it’s good enough for Knight Rider it’s good enough for me. I see the Hoff ditched his Knight Industries Three Thousand on the Green for a stroll around Devizes on Sunday. He probably found a crusade to champion the cause of the innocent in a world of criminals who operate above the law, whereas I ended up at the British for a scrumpy or three….
Unlike some guys who act like Spongebob Squarepants on his tenth bag of Haribo at Chessington World of Adventures, I can only get yay excited about a car show. But Devizes Lions do it with cherries on… and debatably false advertising. There were no lions on the Green, but it was Lions on the Green this Sunday past, an annual free fete/car show crossover which never fails to appeal universally; kids nag mums for Rowdey Cow ice cream while dads furiously argue for three hours with a total stranger in sandals that the Mk2 2.8 Injection Granada handles better than the Mk1 with a 3.0 V6 engine.
I browse unacquainted with such matters, unfazed by contemporary cock extensions, but in admiration of vintage, retro cars and those with a movie reference attached. Every local from MP Brian Matthews to Pete of Vinyl Realm, and outsiders like Marty McFly have brought their big boy toys along to display, as Fantasy Radio blast Gary Numan. It’s a sunny morning, it’s a lovely occasion, it’s raising funds, and there’s nothing to dislike about it.
Cars ticked off, hot dog and an extended conversation with a detectorist who’d discovered a variety of civil war shots and cannonballs on Roundway, if the Lions on the Green is a great and unbroken walkthrough event it coincided with Crammer Watch Day further along on, at the Little Green.
With long term solutions outstanding for unsafe conditions for wildfowl on the Crammer, there appears to be a far more communal tenet between concerned residents and the council compared to the outcry a few years ago, and this day was intended rather to celebrate the Crammer than address expensive possible solutions. As it stands, the simple fix is to raise public awareness that the only escape route for swans is across the roadside and they should apply caution when driving through….please.
With live painting from the Lawrence Arts Society, stands from the RSPCA, Sustainable Devizes and hosts Friends of The Crammer, conservation was a topic, if overshadowed somewhat by historical tomfoolery, which was something new to the day and personally my highlight.
A random team of amateur thespians, some from the Wharf Writers Group and others along for the giggle and wearing of knitted beards, staged a short promenade satirical play “reenacting” the fable of the moonrakers, aptly at The Crammer. The premise didn’t sound so inspiring to me, and I thought I might have to hold my tongue. The actuality surprised me, it was absolutely brilliant!
Pythonesque humour delivered with skill on a local legend, deliberately naff props such as a paddling pool for the pond, and astutely scripted silliness, it was indigenous and hilariously original.
Authenticity deliberately skewed for amusement; they couldn’t have done this anywhere else but here, the setting of the beloved fable, which is amusing enough without the added gags. Francis Grose was a witty Victorian chubster and nothing more needs to upset the applecart about the origin of the moonrakers, as this wasn’t intending to proclaim historic fact checking rather to amuse, which a country gent in Harris Tweed with a carrot in his mouth pretending to be a donkey will inevitably achieve.
I don’t know where the Hoff got to, but he missed a rarer treat than reuniting with Pamela Anderson for a titillating slow-motion beach jog. Oh, and a whistle stop to Morrisons was a let down culturally compared to what was outside. Along the road I shrug at a classic bus, for its appearance would’ve been more expected trekking the Sahara than parked outside the faithfully traditional British Lion, and there was no explanation for it being there.
Nevertheless I’m one step away from the bar, pondering if there’s one thing expected in Devizes: it’s that The British Lion doesn’t change, because it doesn’t need to. With Devizes Arts Festival is full swing, they’ve arranged a Cwmbran roots trio called Whiskey River to play us some of their sublime classic rock covers, Celtically, with a deep southern Americana twist, as a free fringe event; I cannot argue with this.
Devizes live music aficionados amassed and were thankful, as if they needed an excuse for a pint and fundraising burger from the barbecue. The British Lion is a fond institution, Whiskey River was a great break from our usual circuit, The Lions put on a brilliant and well organised family event, Crammer Watch added to an already great day and those awesome actors with rakes did make us laugh as promised.
It was all too much for me, the White Bear and Southgate continued the music, but I needed a little lie down, while our roving reporter Andy outdone me, partying like Prince in 1999, so I’m also putting up his account of weekend adventures for it’s fuller, far more informative and factually accurate than mine, even if it doesn’t mention Pamela Anderson, because really, she didn’t show. Devizes though, doesn’t need Pam, the fun never stops here, Sunday proved it.
If Whitney Houston set a benchmark for female vocalists many did before her too, but while others were influenced by them, they never felt obliged to attain a sound precisely mimicking them, as, it seems to me, many modern female singers striving for pop success do with Whitney’s. And when they do, it sounds, well, manufactured and impassive. A Liverpudlian now residing in Bristol, Hannah Rose Platt releases a concept album tomorrow, Fragile Creatures, of which I’d compare more to like of Kate Bush, whereby Hannah can weave beautiful tapestries, adapting her voice to reflect the sentiment of her narrative, mood and style of the track; and there’s a lot going on in Fragile Creatures….
It is undoubtedly a concept album, anatomising the complex relationship between women and medicine throughout history. It explores how antiquated myths and misconceptions in the pursuit of science have impacted female health, while creating countless injustices and inequalities. If this comes across sounding more akin to a poignant lecture, Hannah Rose Platt shifts between a collection of musical influences to imprint her wisdom, causing Fragile Creatures to be an altering and compelling journey of prowess and refinement.
It opens introductorily with a spoken word sample of Helen Andelin’s Fascinating Womanhood, a controversial sixties manual encouraging women to uphold their conventional marital role. Ataraxia is as calming as the meaning of its Greek philosophical title, ambiently floating over an acoustic guitar riff and drumbeat, musically reflecting on Diazepam-flavoured tranquillity, as if conformity to the sample will land us all in a world to make Aldous Huxley quiver. In this, Hannah’s voice is bitter, eerie, to convey the point.
But by the second tune, Curious Mixture, a drifting acoustic vibe, Hannah’s voice is as silky and smooth as Kylie, which shifts to a sharper more indie-punk feel as the songs progress. There’s a definite Bristol trip hop scene there too, causing me to consider Portishead as an influence. By the fourth tune we’re blessed with the most gorgeous ballad to Mary Magdalene, reminding me of Daisy Chapman’s folk angle. It’s at this conjunction I realise Hannah is reciting her deepest thoughts and observations on the theme, historically, and they’re gender ecumenical rather than bitter stabs of feminist vendetta. I didn’t feel under attack as a guy listening to this, provided I ponder the meanings Hannah so poignantly expresses.
This is eleven tracks strong, melding myths of pseudoscience, superstition and patriarchy with medicine and chronicles of the resilient and defiant women who unyieldingly fought for equality and autonomy. At times it’s Kate Bush vocalising for Massive Attack, as is the tune The Yellow Wallpaper, at others, such as La Grande Hysterie, it’s a contemporary Alanis Morissette’s Jagged Little Pill covered by Siouxsie and the Banshees. It ends playfully like musical theatre, but penultimately is horrific and beautiful in equal measure.
The album is a themed anthology. Each song has its own narrative, weaving into each other. From the tale of Anne Greene, accused of infanticide under the Concealment of Birth of Bastards Act, and pardoned after being revived from hanging to reflections on the health gap that lingers to this day. There’s so much more I still need to discover exploring its sheer brilliance as a concept and how the music compliments it.
Hannah explains the concept, “This record is both an offering and a tribute to female pioneers in medicine; and an endeavour to honour, and give voice to, the unsung heroines in the history of our health. What struck me most during the research and creation of this album was the deeply ingrained, sinister nature of myth and misconception surrounding women’s health, and the harmful, cyclical dismissal of experiences; decade after decade, century after century, often reinforced by outdated and dangerous practices. My hope is that listeners will not only be intrigued by these stories but also inspired to dig deeper and empowered to challenge the systems that have long ignored or misrepresented women’s voices, as this dismissal remains so prevalent today.”
At this I could agreeably sigh, like any poignant art which usually preaches to the converted those who really need to take heed of its message will likely overlook it. Nevertheless, if others cite Fragile Creatures as the work of an upcoming artist, I’d favour to compare the depth and production of this fantastic album to Dark Side of the Moon. And with that the right audience might spare its lesson a thought. A high but deserved accolade, in considering it took Pink Floyd seven albums to accomplish this magnum opus, when this is Hannah Rose Platt’s second; what comes next will be astounding because Fragile Creatures is a sublime keeper.
The advance single Curious Mixture is out now.Full album is released tomorrow (April 25th) via Xtra Mile Recordings and mastered at Abbey Road, with production and playing from Ed Harcourt. Launch party is Friday 25th at Rough Trade, Bristol.
Jam-packed July! If there’s always lots to do throughout the year, July especially so! Here’s what we’ve found in the wilds of Wiltshire this coming week….
Everything listed here is on our event calendar; go there for links and more info, as it takes too much time to link them all in. It may also be updated as more events come to our attention, so check in later in the week too!
Ongoing: A Wiltshire Thatcher: A Photographic Journey Through Victorian Wessex runs at Wiltshire Museum, Devizes, until the end of August; review here.
Marlborough Open Studios is running until 28th July.
Wednesday 24th
Acoustic Jam at the Southgate, Devizes.
James Morton’s Groove Den at the Bell, Bath. Edinburgh Previews at The Rondo Theatre, Sophie Duker & Garrett Millerick.
Thursday 25th
Womad opens its gates, for some very lucky people!
Open Mic at the Crown, Aldbourne.
Free Music in the Foyer of the Neeld, Chippenham from 7:30pm with Meg, and Kane Pollastrone
Mark Thomas’s Gaffa Tapes at Pound Arts, Corsham.
Loonaloop at The Beehive, Swindon.
Edinburgh Previews at The Rondo Theatre, Bath, Chloe Petts & Katie Norris. The Peter Gill Live Rock ‘n’ Roll Big Band at Chapel Arts.
Children’s author Michael Rosen is at the Cheese & Grain, Frome.
Friday 26th
The Unpredictables at The Raven, Poulshot.
Kenavon Venture Music Night at Devizes Wharf. Guided Tour of the Lost Pubs of Devizes with John Griven. Devizes Scooter Rally opens for the weekend. Full Tone Festival: Six on the Green with NRWO & Ruby Darbyshire, Fulltone opens officially on Saturday.
Glamarama at The Crown, Aldbourne.
Trowbridge Festival opens. Be Like Will at The Red Admiral, Trowbridge.
The Bookshop Band at Pound Arts, Corsham.
Nin UK, Korn Again and the Spouky Kids at The Vic, Swindon. Prime Youth Theatre’s Grimm Tales at Swindon Arts Centre opens and runs until 27th July. The Ultimate Classic Rock Show at the Wyvern Theatre. KillerTones at The Moonrakers, Swindon.
Death is a Girl at the Three Horseshoes, Bradford-on-Avon.
Little(ish) Women at The Rondo Theatre, Bath. Dan Whitehouse – A Night Of Glass at Chapel Arts.
Heathen Apostles at the Tree House, Frome.
Flocksteady Live at The Baa, Salisbury, with Captain Accident & the Disasters headlining.
Saturday 27th
FullTone Festival continues in Devizes. Devizes Scooter Rally continues in Devizes. The Roughcut Rebels at The Three Crowns.
Trowbridge Festival continues.
Calne Bike Meet.
The Hardcore Troubadours at The Crown, Aldbourne.
The Red Bstrds, Hometown Devilry & Dee Dee at The Old Road Tavern, Chippenham.
Kiri Pritchard-McLean: Peacock at Pound Arts, Corsham.
Modern Evils at The Vic, Swindon.
41 Fords at The Seven Stars, Winsley. The Fortunate Sons at the Three Horseshoes, Bradford-on-Avon.
Edinburgh Previews at The Rondo Theatre, Bath: Sara Barron & Jonny Pelham. Mark Thomas: Gaffa Tapes at The Rondo Theatre. Matt Joe Gow at Chapel Arts.
Heathen Apostles at the Tree House, Frome.
Bristol Comic & Gaming Con
Sunday 28th
Guided Tour: Heritage Walk of Devizes with John Griven. Red Sun at The Southgate, Devizes.
Potterne Festival
Owl Fest: Wiltshire Blues & Soul Club, Lacock.
Chippenham Morris Dancers at The Barge, HoneyStreet.
Summer Festival Brunch at Civic, Trowbridge.
Barton Street Regulators at the Three Horseshoes, Bradford-on-Avon.
Simon Kempston & Jake Puntis at Schtuum in the Queen’s Head, Box.
The Dom Dilemma at the Bell, Bath.
4 of Hearts at Richard Jefferies Museum, Swindon 1pm. Marlborough Academy of Dance and Drama at the Wyvern Theatre, Swindon.
The Mayor of Salisbury’s Birthday Bash at Salisbury Market Place.
Monday 29th
Family Workshop: Victorian Portrait Photography brought to life! at Wiltshire Museum, Devizes.
Tuesday 30th
Summer African Jazz Session at Jazz Knights, Royal Oak, Swindon.
Chris Murphy & Barney Kenny at the Bell, Bath.
Important note: events which come to our attention from now on, will be updated on the Event Calendar and NOT HERE. So, be sure to check in from time to time, use the Event Calendar to find more info on everything listed on here, and for ticket links, etc. Use the Event Calendar to check for updates and planning ahead.
Did we miss you out? Did you tell us about your event? It’s not that we don’t like you, it’s because Devizine uses many sources to collate these listings, and sometimes we miss a few things. Listing your event here is free, but please make it easier for me by messaging or emailing the info, and then, and this is the really important part, make sure I’ve added it and let me know if not!
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