Love is for Life (Not Only for Christmas Time) Says Hannah Collins

And so it begins, the build-up, the tension; come all ye faithful round yon virgins and three kings of orient are, spreading joy to the world while shepherds wash their socks and Batman smells. In which, in order to spread warm emotions of peace and unity for the one day, it’s obligatory to rush around like headless chickens for two months, verbally abuse drivers in traffic jams, inevitably cause accidents because we’re too consumed by what little Johnny wants this year to concentrate on our driving!

Or, how we’re still hungover from the work-do where we accidentally got off with the agency temp in sales who puked down her blouse before half four, and Gary fancied her, and now he’s going to be pissed with you. And ram B&M on black Friday, fight  to the death anyone who might grab the last Labubu doll, and Granny’s ditched us for some “gentleman friend,” who’s whisked her off to The Maldives, and well, if mum undercooks the pigs in blankets again I’m off down the pub, where did they put the batteries, and who lost the end to the bloody sellotape?!

A pastiche of the RSPCA slogan about puppies as pressies, Bristol-based vocalist, musician and producer, Hannah Collins has nailed it in her new Christmas song with a spin, Love is for Life (Not Only for Christmas Time.) The simple premise; if we can be nice to each other on Christmas Day, why can’t we for the rest of the year? How smug, bar humbug, great song, though!!

For if it sounds like the basis of a bitter anti-Christmas punk song, it’s subtle, ironically uplifting, and contains a simple piano riff with seasonal jingly bells. Released on the 28th of November, Hannah says, “in a materialistic world, love is the greatest gift we can give.”

Produced and mixed by Tim Oliver (Sinead O’Connor/Robert Plant) at Peter Gabriel’s Realworld Studios in Box, Wiltshire, featuring John Baggot (Massive Attack/Portishead/Robert Plant) on keys, and Eric Okafo on bass, it has a Motown lite sound and is reminiscent of a Mariah Carey singalong…..argh, I’m caught by the catchy hook, and I’m putting my decorations up now!!

It will be available to stream on all platforms from 28th November 2025. There will also be an original music video released on YouTube on 21st November, created by Olivia Kennedy from OK! Animations. 

Hannah is new to us, but tis said her, “inquisitive mind, creative spirit and interest in philosophy are overarching themes in her work; a golden thread flowing through her art, which is particularly resonant with the message of peace and goodwill at Christmas.” The press release asks, “can we keep the peace, love and charity going all year long, and not just at Christmas time?!” Have they not heard of dry January, winters of discontent, and seasonal affective disorder, damn your spritely song, Hannah?!!

“I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach,” Dickens wrote, “feel the magic in the atmosphere, I wonder why it’s only this time of year,” Hannah wrote similarly, and maybe her song has a lesson too, a seasonal catchy pop lesson I happen to love!


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JP Oldfield & Deadlight Dance Down The Cellar

I mean, Devizes own contemporary blues throwback, JP is getting bookings, and rightly so. He’s off to Trowbridge’s Lamb next Saturday for a double-bill with Joe Burke. Likewise our favourite Goth duo Deadlight Dance too, Tim showing me some fetching snaps from Friday night’s gig at Frome’s Tree House. But sometimes it’s nice to play an intimate home gig you DIY, so we’re down The Bear Hotel’s Cellar Bar, reviving a once beloved venue with alternative options to Devizes’ status quo…..

And it was; Nick Fletcher and Tim Emery were on the cobblestones first, attired marvellously macabre with whitewash faces; All Hallows’ Eve comes early for goths, and they don’t require Haribo! Equally terror-fically tenebrous was their set, sublimely shadowy synths, then their gloomy guitar rhythm fragments darkened by Nick’s howling vocals. When they came for air you could hear a pin drop.

Deadlight Dance found my inner-goth and devoured it some years ago, still their show improves like a fine Dracula’s blood-wine ….with age and nightly kills! They worked precisely through several tunes from their three albums, concentrating particularly on Chapter & Verse, last year’s gothic literary inspired outpouring. They sprinkled the set with covers, a synth-driven Cure’s Just Like Heaven, for example, quite different from the acoustic version on their breathtaking homage album, The Wiltshire Gothic.

They finished on their ghostly reverberating post-punk makeover of Heartbreak Hotel, because if you’re a goth duo planning to cover an Elvis Presley song, one about a lonely man jumping from a hotel window is apt. Then they stripped it back for an acoustic wandering through the crowd encore.

Herein lies the connection which made a double-bill of post-punk goth and rootsy blues work; JP Oldfield duties the plaintive projection of original southern blues, often termed gothic. Therein the expression of rural, economically disadvantaged African-American communities, and through his gorgeous bass vocal range, the metallicity of his resonator and pounding suitcase drum, it’s about as authentic as you’re going to get on our local circuit.

Yet if JP’s writing is foreboding and disquietude, in line with its influences, some of the darkest corners of his debut Bouffon wasn’t inclusive at this live show, and replaced by some outstanding, intricate and rightfully resonate guitar-work; plus there’s always the kazoo and his natural banter to brighten things up.

His latest single polished off an amazing set, No Rest, indeed. It embodies everything progressive about this rising star’s skill and bittersweet panache; a fellow who can hold an audience spellbound despite being, perhaps, an acquired taste. But I challenge anyone critical to stay whilst JP thrusts out House of the Rising Sun, making it his own, as it’s so befitting to his encapsulating style. Yet the broadest evaluation of JP Oldfield is simply that, through his dedication and blossoming experience he continuously improves. It is this then which encourages me to call this gig in, slight in attendees which it unfortunately was as the chills of autumn blast through, the best and most passionate I’ve seen JP play.

Mind you, I groaned about the weather shift to Nick of Deadlight Dance, who replied with positivity. Apparently, he likes Autumn, I joked, “that’s because you’re a goth and I’m a milkman!”

I do hope we can find more gigs down the Cellar Bar, and bring it back to its former glory, a sentiment I believe will be reflected by the live music hunters of Devizes.


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Joyrobber: an anonymous songwriter releasing debut track

When I first heard about Joyrobber, a one man, faceless and nameless musical project it’s fair to say my interested was piqued, and it’s fair to say that the press release I’ve seen is only creating more questions…

The project got underway in the summer of this year when the artist (whoever they might be) rediscovered some long-lost demos of a few previous unreleased tracks, and although Joyrobber doesn’t have a name for himself, he does have some big names behind the single, with vocals being engineered by the Wiltshire legend Jolyon Dixon and the song itself having been produced by Sugarpill Productions.

The song is called Jeremy Kyle, it’s a comedic, catchy take on the career of (you guessed it) Jeremy Kyle. At this point it probably is sounding like some sort of naff joke song that’s not really worth a listen, but surprisingly it’s sort of the opposite.

‘Jeremy Kyle’ has a light indie rock sort of feel – which I think we can all agree we’ve seen work very well locally, with bands like Nothing Rhymes with Orange and Burn the Midnight Oil taking the world by storm. It’s full of melodic guitar riffs, smooth vocals and punchy drum fills, and you can hear the value of both Sugarpill Productions and Jolyon Dixon throughout the track.

I’ve heard on the grapevine that luckily there’s more to come in the not-so-distant future as a few other lost demos have been found alongside this one. It really is worth a listen, I have to say when I first heard about the project I thought it would probably just be a sort of joke single, that I’d listen to once or twice to write this piece and then just forget, but it feels like it has a bigger potential and I would genuinely recommend it.

You can give it a listen here

Frome based band, Bellwether, to release new single

Formerly known as Judas Goat and the Bellwether, the now renamed band have announced the release of their latest single, “Drill Baby Drill” (coming out on the 27th November). I was given the pleasure of listening to it and you really couldn’t ask for anything better…

The band themselves have gained a loyal fanbase with their psychedelic blues-rock style, drawing inspiration from The Doors, Cream and Jefferson Airplane amongst others. After having most of this year packed with gigs all over Frome and the surrounding areas this new single is taking things up a notch for the band.

“Drill Baby Drill” starts with a heavy acoustic guitar riff, before leading into the smooth vocals of Sara Vian, the lead singer. By the chorus you’ve got pitch perfect harmonies layered with a mellow electric guitar line creating pure harmony. This continues throughout the song after being met with a steady drumbeat flowing with the song. All in all, it’s a delight.

And it’s nice to see that a clear message still shines through, over the song as a whole. It was originally inspired by the so-called ‘diablos musica’ (devil’s tritone). In simple terms a tritone in music is an interval, two notes that are a certain distance apart being played simultaneously and back in the day this was seen as unsettling and spooky – due to its dissonant sound. This was pretty much forgotten about until Black Sabbath came along and released ‘Black Sabbath’.

Sara Vian herself described it as “long branded as forbidden and dissonant, yet I discovered an article which claimed that medieval high clergymen imagined it to be the sound of the Holy Trinity; a paradox which became the perfect foundation to explore what’s going on in America right now!”

“Drill Baby Drill” really is worth a listen – it only takes one to have you hooked and playing it on repeat (I know I have).  Luckily for you readers, its being soft launched today (5th September) on Bandcamp

There’s also an official launch soiree on the 19th September at the Meet at Eight bar in Yeovil, where local heroes Long Sun will also be appearing (here)

And don’t forget to check out the Bellwethers themselves on whatever social medias you use: @bellwetherbanduk

Yesterday’s Tomorrow; Debut Album From Ursa Way and its Launch at the Tuppenny

If the eonian motivation of youths picking up guitars and forming bands has hit Gen Z enough that they’re two to a penny, I’m in the right place to discover one new to us, The Tuppenny…. 

An adept drummer pinched from Bristol, with the remaining homegrown members formed a  youthful and hopeful Swindon indie-rock four-piece called Ursa Way, and they’ve ploughed two years into their debut album Yesterday’s Tomorrow, launched on the night in question. Now was the time to show it off, and they did in an exceptionally accomplished and entertaining way.

If an early start to a Friday evening one weekend before the celebrated Swindon Shuffle was risky, especially being Thursdays are usually the favoured live music nights for The Tuppenny, seems the band are risk-takers, as diving straight in with a twelve track album is ambitious.

Generous to a loyal fanbase when the archetypal EP usually appears first, for the same fiver pricetag, but equally generous are the young punks and an assortment of others who’ve gathered to see them, as they applauded their efforts as if a new wave of hysteria was imminent, which it could well be. Though, this is Old Town, the epicentre of Swindon’s nightlife, where they’ve ingeniously adopted road closure blockades to create Swindon-fashioned alfresco dining areas!

Ursa Way played out their album, but unlike the shameless enterprise of a legend, I predict it was the bulk of their repertoire, and that’s acceptable for an upcoming band. More importantly they did it with bells on; the composition tight, the delivery confident. They seemed most comfortable with a melodic pace rather than thrashing it out, but at perkier tunes they still held it harmoniously.

In a roundabout way they confessed many of their songs were sporadic and spontaneous muses rather than poignantly planned thought processes, which was both amusing and honest, perhaps ironic too I figured after listening to the album. But not as amusing as complimenting Swindon, only to then ironically knock it in a song called Shit Town of Swindon!

While not the poetry of Keats, many of their co-written songs rise above the mocking of their hometown, which if only a standout track for its satirical title, others convey more concentrated narratives. There’s a sense of irony throughout though, if Yesterday’s Tomorrow is surely today, the title track is the penultimate one, and depicts a hungover hope of new horizons of a romantic interlude, in a Britpop style.

The album kicks off with Southbound, an evenly-paced contemporary punk-pop attitude sourced from millennial indie bands like Busted and McFly. Though this album flows brilliantly, it’s onto something decidedly more traditional punk two tracks in, then the aforementioned Shit Town of Swindon continues the style, Britpop influences gradually building. This one has to be anthemic in good time, particularly for their Swindonite fanbase.

Chasing the Sun four tunes in really picks up the pace, again with a comment on their hometown, but with optimism riding the narrative; there’s a clever and simple hook equal to the previous one here, proving these boys know how to construct a pop song with energy and enthusiasm.

A ballad, Just a Game follows, balancing the pace, and again proving something, that Ursa Way are no one trick pony. Noah’s Nosey Neighbour takes an almost prog-rock style to Britpop, creativity abound here too, this rocks with surprising substance, and we’re only halfway through this twelve-tracks-strong brilliant debut album.

With adroit contrasts in riffs, mainstream rock influences, perfectly placed hooks and intelligent lyrics, there’s promise in this album that Ursa Way are destined to create something much more memorable, but right now the potential signs are all encompassed in Yesterday’s Tomorrow. It ends with Another, a monstrously clever drifting Britpop tune seemingly about jealousy, dripping with edge and emotion.

They played this album out at The Tuppenny on Friday, reflecting the feeling we’ll be hearing more of this young band in the future, and the gig felt like a groundbreaking moment for them, in respect of that notion. 

LinkTree to Ursa Way

I love the Tuppenny, a hospitable tavern with universal appeal. Thursdays are the live music nights usually, but as I said, it’s Swindon Shuffle next weekend, see my recommendations here, I’m certain some were at the Tuppenny!


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The Lost Trades Float on New Single

I’ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quin…

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From a Cage to a Ballroom – J.P. Oldfield at the Bear Hotel, Devizes August 9th 2025


So it came to pass that Josh (aka J.P.) Oldfield wanted to promote a gig in Devizes, home town etc. And in so doing realised somebody else would have just released a new album, so invited them along – and that person said “yes” 🙂 And so it was born… a double header in the cellar bar at The Bear Hotel, Devizes was born. However, entry tokens soon sold out and the gig was moved to the Ballroom with its extended (crown noise Wooo-OOOOO-oooo) capacity. And it was created. And we say it was good.

by Ian Diddams
images by Ian Diddams

So step into the limelight Josh aka J.P. Oldfield dead on time, guitar in hand, standard waist-coated, open shirt and hat attired. And it was hot. Very hot. And he did perspire with much dampness with no towel, having rejected the advice from his fellow troubadour. And it was sweaty.

VERY sweaty.


J.P. is fairly new on the scene in mid-Wiltshire but he is already cutting his own swathe through the local music scene with gigs in the area and a slot recently at Trowbridge Festival. His delivery is a Johnny Cash style – deep voice, slightly countrified acoustic folk. Playing a mix of covers and his own thoughtful pieces he commands the stage – being about six feet tall tends to help!

The set list this time has no Cash … but does have interesting covers; now there are covers, and there are covers. Some are of the tribute band variety, pub sing-a-long, easy crowd pleasers variety, and others are take-a-song-and-put-an-own-twist on it. J.P.’s covers are very much in the latter ilk, where sometimes you are well into a song before you recognise its origins. This takes skill and no little panache to pull it off. Other originals in a similar vein sometimes hint at maybe an homage to a well known song … although not in this set, listen to J.P.’s “Last Orders” from his EP “Bouffon” and you may well be wondering if its a Billy Joel “Piano Man” cover 🙂


Josh opened with “Red Right Hand” – very much a Nick Cave rendition as J.P.’s voice fits the growling delivery so well. There is only one other cover in this set, “House of the Rising Sun” and that is very much a J.P. tweak. Otherwise everything is self penned originals – and we are the luckier for it too as his own slightly darker interpretation of the world shines forth.

In a town (Devizes) that is a beacon for lovers of independent live music, Josh’s arrival is a very welcome addition to an already existing cornucopia of delights. He describes his music as “Southern Gothic” and strives to encompass some dark humour and homages to classic literature and music in the process. Listen to the lyrics and it starts to stand out… and its possibly the first time you will hear a kazoo used in a “serious”, non comedy song to boot!

Josh’s set was as a support the right length, but nonetheless left me wanting more – catch him soon somewhere as a headliner.


J.P Oldfield’s E.P. Bouffon is available to buy from him directly (https://www.facebook.com/profile/61566328311883/)
or to stream (https://open.spotify.com/album/723T6qMJLpqOuyDR8Ly4WF)

Bear Hotel Setlist
1) Red Right Hand
2) The Preacher’s Noose
3) The Ghost of Spring Heeled Jack
https://open.spotify.com/track/3zGmZUsb1nM6ScRQkyTtLj
4) Wrong side of the Road
5) Speak in a Sunday Voice
6) House of the Rising Sun
7) Further From Heaven
8) No Rest






Crowned Lightbringer: New EP From Ruby Darbyshire

If I was bowled over backwards by Ruby’s teaser single last week, its title, Crowned Lightbringer, now also belongs to this five-track EP, released today, and as you might guess, you’re in for a treat…..

There’s so much incredible time, effort and adroitness pouring out of this it’s actually scary how talented Ruby Darbyshire is at such a young age, and in pondering the journey her music will take her. You’re left numb to what to listen to next, in awe, and spellbound by its harmonic perfection. There’s also a general theme of journey, often rinsed in ingenious metaphors, which connects you to Ruby’s world and imaginings, the hallmark of a musician who knows what buttons to press to engage an audience and leave them spellbound.

Ruby’s Scottish roots are displayed in a bagpipe instrumental bonus track, The Spirit of Jenny Whittle, the rest relies on her accomplished acoustic mood-setters, and the ambience is as ever, hauntingly choral, layered with dedication, folk emotive and saturninely uplifting soulfully, edifying a matured Ruby, compared to her debut EP. But if Crowned Lightbringer displays a whole new level for her music, what comes next will be anyone’s guess. It is, in my humble opinion, an EP which needs to be in everyone’s life.

Vocally it’s faultless too, profoundly as guiding as Nina Simone, as variable and soulful as Billie Holiday; comparisons of such high accolades, I know, I don’t know where else to go to balance her sublime vocal range. Lady Nade and Mayyadda the only contemporary likenesses I could fairly credit. Opening with Timekeeper, as deeply emotive as Crowned Lightbringer, chilling and as distant as an autumn zephyr. With a rustic vinyl crackle, Calling Hades captures a timeless acoustic goodness of underworldly Greek gods, with a romantically liberating hopefulness as its theme.

Black Dog has a deeper blues feel, yet sprinkled with northern celtic, spiritually-guiding us away from the omen of solitary, the Gytrash. Ruby is folk, primarily rooted and understanding of it. There’s much to unpick from her beautiful music tapestry here, I’ve only had a quick listen, couldn’t wait for a complete analysis before telling you how fantastic this EP is, but I believe, in time, this might be my personal fave! But hey, the title track follows, and we’ve mentioned this last week, it’s a metaphoric shanty which depicts perfectly where Ruby’s music is taking her and all the demons which might lurk on her journey.

All I know is this should put Ruby not a local circuit map, but on an international stage; I don’t flatter, and if you don’t take note more fool yourself. Listen, just, listen! 

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Steatopygous go Septic

If you believe AI, TikTok and the rest of it all suppress Gen Z’s outlets to convey anger and rage, resulting in a generation of…

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Talk in Code Announces New Single; More Than Friends

Atmospherically anthemic and reinforced with that infectious rhythmic groove we’ve come to love Talk in Code for, More Than Friends is chockfull of it, and it’s their latest single, to be released on Friday 22nd August 2025 via Regent Street Records….

Even if you’re accounted for now, happily married and matured like a fine wine, the recollections of a blossoming relationship and the eagerness versus apprehension it provokes will never be pushed down a dark alley of your memory lane; successful or epic fail, they live inside the mind forever, I’m afraid! Frontman, Chris Stevens said of the single, “we’ve all been there, in a situation waiting for the other to make the first move, to validate our feelings, or save face!”

I could tell you a few stories, but will save you the agony! Especially as the earliest would be set in the eighties, about getting hot under the collar over girls in rah-rah skirts, leg warmers and dippy-boppers! But that’s the beauty of this song’s simple premise; if you’re older the irresistible eighties feel to the sound assists you in extracting the emotions needed to savour a memory or two, and you’ll stare back up at your Morten Harket or Kim Wilde poster, should the blu-tac not have dried out, praying they’ll bless you with a cure to your longing!! Billy Joel, you charlatan, it isn’t that easy to tell her about it!

Whereas if you’re younger and, as gen z generally are, far more practical to be praying to Smash Hits pullout posters, you might relate the song’s narrative to a newfound emotion, sharable on TikTok. But the eighties vibe still functions as a mechanism, because, let’s face it, musical innovators of the eighties are the catalysts to contemporary pop. I was careful here not to suggest eighties music was better, though with my rose-tinted specs on, the thought was! 

And that’s what makes Talk in Code so universally engaging; it bridges a needed gap between eighties new wave electronica and nineties indie pop. In goes the synths, guitars riffs, the immortal choruses and rousing hooks, and what it exhausts is fresh and pumping, modern yet as timeless as Chris’s Adidas jackets, like someone slipped a rocket between the bum cheeks of Tony Hadley, and whip, zoom he’s top of the download chart faster than you could cry Oasis.

For the reflective mood to the band’s artistry, which this track seems to strengthen, More Than Friends might be considered typical for the band’s direction, but as ever, they are growers, and after a listen or three you’ll find the quintessential is challenged with each new release, because this band are tight, they’re professional, and bounded by great PR, management, and a truly loyal fanbase. A base which will be singing this back to them, in blue sunglasses, at their numerous live performances within the next month!

The single’s launch party is at the Vic, Swindon, on Friday 22nd August. Tickets HERE

Another cracker, Talk in Code. For everyone else, pre-save it HERE!


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“love you, bye” at Ustinov Studio, Bath, July 7th-10th 2025.

By Ian Diddams
Images by Luke Ashley Tame of Acadia Creative

Around 2 million women are victims of violence perpetrated by men every year, that’s 3,000 offences recorded every single day.

A year ago, Uncaged Theatre brought their work in progress production “Faith” to the Rondo Theatre. Its review can be found here. A year later they are about to take its completed version – now entitled “love you, bye” – to the Edinburgh Fringe and are warming up with a four-night run at Ustinov Studio, Bath. It has indeed come a long way since that nascent concept and has become a more rounded, holistic production …  which is still sphincter clenchingly, seat squirmingly uncomfortable watching at times – especially if you are male.

The number of offences has grown 37% in the last five years and violence against women and girls accounts for 20% of all recorded crime. That’s recorded. Not total, only what is actually told to the police.  

The fundamental premise and action of the play remains the same – four friends, a missing woman, the ramifications. The external pressures on the group of trial by social media and finger pointing, and on the missing woman of asking for it, being out alone after dark. The media’s gloss-over reporting with its own inherent racial and societal biases, the group’s individual coping mechanisms, personal even selfish concerns…  and collapse of trust…  all remain in this final product. But while “Faith” was a work in full, “love you, bye” uses the play as a glorified MacGuffin to the real message of the production.

A woman is killed by a man every three days in the UK. That’s 168 women murdered at the hands of a man every year.

As writer Meg Pickup – who plays Colly – says “We didn’t want to write a play just about the victim – we wanted to write about those still standing, and how they carry the weight. We wanted to create something that doesn’t just speak to grief, but to the fierce loyalty and messy beauty of a chosen family. The group at the centre of the play acts as a microcosm of society’s response to violence against women and girls.”

In the year ending March 2022, there were 194,683 sexual offences, of which 70,330 were rape. Thats reported rape, again not total, only what is actually told to the police.

Is the performance a lecture? Is it “entertainment”? These are the questions asked by Colly/Meg directly to the audience. The characters reflect people we all know. Some reading this review and seeing the production will have shared in the characters’ own experiences. It uses real audio of the likes of Trump, Marilyn Manson, Andrew Tate interspersed with real voicemails of ordinary people wishing each other well, saying “I love you”, saying “’bye”. The social imagery is stark, uncomfortable. How do we as a society that individually expresses love to partners and friends combine to create monsters that prey on the vulnerable? Why is it those that are in positions of authority to protect, instead abuse that position. We all know these cases – and also not those cases that the selective media with its own biases omits from our newsfeeds.

Only 3.2% of reported rape is even prosecuted. Then of that 3.2% only 62% are convicted.

The play part of the production includes two new characters from “Faith”. Firstly, a collective female character “Everywoman” who is represented by the three female protagonists in their drinking game of “Never Have I Ever” requiring a downed shot for every challenge that has happened to them which quickly becomes increasingly dark outlining their shared experiences of violence as females. And there is now “Not-All-Men” –  a, it must be said, loathsome character insisting that it’s all somewhat overblown and not widespread, and whose own words condemn himself for his self denial and lack of collective responsibility and empathy, while wallowing in the words of Richard III and King Lear to justify his position.

The broad indication is that, during the last year, of the 70,330 rapes reported to police only 1,378 led to a conviction…

“love you, bye” is performed by four actors with six parts. Meg Pickup – who also co-wrote the piece – excels as the bullish and frankly bullying Colly who in some ways actually – unbeknownst to her – reflects some of the toxically masculine traits she so despises, in her relationship with Kaia, played by Taruna Nalini. Both portray their failing relationship with skill, neither overegging the tragedy that is happening to them externally and internally nor shying away from the difficult concepts of the story. Taruna’s vulnerability is the perfect foil to Meg’s bullishness and in so doing they reflect the wider society the premise of the play explores. Taruna combines the pain and pleasure of a relationship that isn’t always equal, while carrying a secret from her youth in a different culture, different social mores that nonetheless has a profound lifelong effect – her ability as an actress to mix these emotions and repressed fears is masterful. Billie-Jo Rainbird plays the pivotal role of Mercy, slightly on the outside of her friendship group but devoted to them all and they to her. Her strength is subtle, not worn on her sleeve but she is clearly supportive of not only her friends but also her partner’s anxiety back at their flat, all played sweetly and calmly, a unifying force. Billie-Jo also designed the sound and lighting for the show as well as the digital program. These three also represent collectively “Everywoman”, a combined edifice of womanhood sharing their abuses in a drinking game. These are fast paced scenes delivered perfectly with all the hidden menace in their reported words starkly evident while externally they just blankly down their shots. That just leaves Mercy’s flatmate, the promiscuous devil-may-care gay friend, played by Nicholas Downton-Cooper. Nicholas captures the sexually blithe character of Theo with ease – then the unsure, worried, slightly selfish man concerned at how the world later perceives him. He flip flops this role with the strident, I’m-all-right-Jack delivery of the Not-All-Man character, the polar opposite of Theo’s character in many ways. Flip-flopping between two such opposite characters takes care and skill and Nicholas achieves this seamlessly, aided and abetted by just a pair of spectacles and a yellow shirt in his role changes. Evie Osbon is the directorial genius behind the show and between them all they deliver sixty-eight minutes of gripping, compulsive viewing. It is something everybody should see; the writing is precise, pertinent and pulls no punches.

… This is a conviction rate of less than 2%.

So – is this a lecture?  Is it entertainment? Are you uncomfortable? Find out for yourself – the show runs until Thursday 10th at Ustinov Studio Bath, and then at the Edinburgh Festival Fringe from August 19th-25th at 12:30 daily at the Bedlam Theatre (Venue 49), 11b Bristol Place EH1 1EZ.

Tickets from www.theatreroyal.org.uk/events/love-you-bye/ (Bath)
                          www.edfringe.com/tickets/whats-on/love-you-bye (Edinburgh)

REVIEW – Devizes Arts Festival– Kiki Dee & Carmelo Luggeri – Corn Exchange – Friday 30th May 2025

Still Got The Music In Her

By Andy Fawthrop

It’s been a while coming a-round but at long last Devizes’ very own Arts Festival finally kicked off last night for its two-week run.  And we started off, as is usual now, with a real belter of a concert in the Corn Exchange, this time featuring veteran performers Kiki Dee and Carmelo Luggeri…..

If you were after star quality, Kiki Dee has it in spades.  Recently celebrating her 60th year in the music industry, she has now released a whopping 40 singles, three EPs and 22 albums. She is one of the UK’s finest and most revered vocalists, and she’s sung with and for just about anybody who is anybody in this industry.

Pauline Matthews (as was) was born in Bradford, West Riding of Yorkshire in 1947.  At the age of 10 she won a local talent contest, and at 16 she had her first paid job as Kiki Dee in show business. She worked briefly as an apprentice hairdresser (she did my mother’s hair once – my feeble claim to fame!) and at Boots in Bradford during the day, while in the evenings she sang songs with a dance band in Leeds.  Initially with Fontana Records, known for her blue-eyed soul vocals, she was the first female singer from the UK to sign with Motown’s Tamla Records. She’s best known for the hit singles “Amoureuse” (1973), “I’ve Got the Music in Me” (1974) and “Don’t Go Breaking My Heart”, her 1976 duet with old Reg Dwight (Elton John), which reached Number One on the UK Singles Chart and the US Billboard Hot 100 chart.  Her 1981 single “Star” became the theme song for the talent show Opportunity Knocks when it was revived by the BBC in 1987.  

During her career she’s sung backing vocals for Dusty Springfield, was one of the backing vocalists on Love Affair’s 1968 UK number one single Everlasting Love, sang backing vocals on various Elton John recordings, such as “All the Girls Love Alice” from Goodbye Yellow Brick Road and various tracks on Rock of the Westies, played as support act to Queen at their Hyde Park concert in front of a crowd of 150,000 people, and performed at Live Aid in 1985, reprising “Don’t Go Breaking My Heart” with John, and performing backing vocals on the other songs in his set. On top of that she’s won awards for her Musical Theatre roles in Willy Russell’s Blood Brothers, in which she took on the role originally played by Barbara Dickson for the 1988 production and recording, and received an Olivier Award nomination in 1989 in the Best Actress in a Musical category.  

But all of that is history!  Nowadays, or at least for the last twenty years or so, she’s continued to move forward with the music that she creates with Carmelo Luggeri. Kiki says Carmelo is her favourite guitarist and he co-writes and produces all their songs.  

Dee released the live album Almost Naked, a joint effort with Carmelo in 1995, followed by the studio albums Where Rivers Meet (1998) and The Walk Of Faith (2005). In September 2013, Dee and Luggeri released their third studio album, A Place Where I Can Go, on Spellbound Records. They have been touring together ever since and have played alongside such musical luminaries as Roger Taylor, Jack Bruce, Fish, Paul Young, Tom Robinson, Graham Gouldman and Madeline Bell.  

Carmelo Luggeri’s abilities as a guitarist, composer and producer have taken him on a rich and interesting musical path over his career. Born in England of Italian parents, Carmelo was mainly self-taught with some classical training.  Working with comedian and television personality Billy Connolly he created the “Watzin’ Matilda” re-work used for the hugely successful 1995 “World Tour Of Australia” TV series. In 1998 Carmelo produced the track “Stealin” for the film “Still Crazy” starring Jimmy Nail.  Carmelo has also worked with US singer Andy Williams, Paul Rodgers (Free, Bad Company), Ray Cooper (Elton John band), Gus Dudgeon, Stuart Epps, Romy Haag and singer songwriter Ralph McTell.

Carmelo and Kiki’s paths first crossed when he produced a collection of bonus tracks for “The Very Best of Kiki Dee” album, and, under the guidance of their manager Steve Brown they took on a new musical direction together, playing acoustic concerts, starting with an appearance at The Royal

Albert Hall for World AIDS Day in 1994. It was quite a departure for Carmelo at this point as he was essentially an electric player but this marked the beginning of their now 25 year collaboration where acoustic guitar is at the foundation of their sound.

Sorry for the long introductory pre-amble, but just wanted to reprise the careers of these two wonderful musicians.  And I guess you’d have to say that represents as good a musical pedigree as you’re ever going to get, so the expectations for the large crowd were, to say the least, pretty high.

And we weren’t to be disappointed one bit. Kicking off with “Get What You Wish For” and the first of several musical career anecdotes, we were suddenly there at “Don’t Go Breaking My Heart”!  Like most people I thought this would be the wrap-up song or the encore, but Kiki clearly wanted to get the song on the table early.  Using, not unexpectedly, a completely different acoustic arrangement, with a rather slower tempo, her rendition allowed the lyrics to really shine through, and to deliver some really pathos.

Cracking on with anecdotes about meeting David Hockney in Malibu, and working with Dusty Springfield, we had the self-penned “Small Mercies”. She then mined a rich vein of beautifully-arranged covers – Kate Bush’s “Running Up That Hill”, Robert Palmer’s “Every Kinda People”, and Neil Young’s “Harvest Moon”.

Following “a nice glass of red” and a costume change, the second half continued in much the same vein, with Kiki interspersing the songs with more anecdotes.  Early up we had her big hit “Amoureuse”, partly sung in the original French, a jazzy cover of Leonard Cohen’s “Dance Me To The End Of Love” (featuring a touching cameo when she danced with a member of the audience whilst Carmelo commanded the stage with some fabulous guitar work).  We then had a run of the pair’s own compositions – “Amen and Goodbye”, “She’s Smiling Now”, “You Can’t Fix The Maybe” and “Until We Meet Again” – before finishing with an upbeat and rousing version of “I’ve Got The Music In Me”.  Getting an encore was a mere formality by this stage, but their choice was a strange one – a very quiet number entitled “If You Ever Need Someone”, and a harmonised version of The Beatles’ “Blackbird”.  Cue lots of cheering and a great ovation.

Kiki showed us that, at 78, she’s definitely still got it.  Her voice is, expectedly, not as strong and pure as in her youth, but it’s still bloody good, hitting all the notes perfectly, and still delivering plenty of soulfulness and meaning.  Carmelo demonstrated throughout to be no mere prop or accompaniment to the big star on his left, but a real guitar craftsman in his own right.  His subtle and effective use of loops and pedals to add depth and colour to every number, coupled with several changes of guitars and tunings, proved a real revelation.  His introductions and solos were beautifully crafted, drawing much applause, and plenty of genuine praise from Kiki.

As a duo they harmonised well, and were very clearly extremely comfortable in each other’s company on stage.  Their rapport with each other, and with the audience, added considerably to the quality and the professionalism of the show.

This was the third or fourth time I’d seen these guys, and I’d have to say that they only get better and better.  A really solid two and a half hour show, filled with great songs, hilarious anecdotes and superb guitar work – what more could you possibly want?  I absolutely loved and, it seemed, so did the packed audience.  

A cracker of a concert to kick off this year’s Devizes Arts Festival!

Learn more at www.kikiandcarmelo.com/carmelo-luggeri/  

The Devizes Arts Festival continues until Sunday 15th June at various venues around the town.  Tickets can be booked at Devizes Books or online at  www.devizesartsfestival.org.uk  


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Clock Radio Turf Out The Maniacs

The first full album by Wiltshire’s finest purveyors of psychedelic indie shenanigans, Clock Radio, was knocked out to an unsuspecting world last week. It’s called Turfin’ Out The Maniacs, which perhaps should be fact-checked as it sounds to me like they’re letting them all in, as they arrive on yellow submarines and check into Frank Zappa’s 200 five-rhombus rated motels…..

Self-described as “easily triggered, dishonest, cryptic yet flirty deluded jangle rockers,” Clock Radio have produced a string of catchy slacker pop wonders here, as they continuously reach inside the box, like they’re four elfish Rowan Atkinsons all cast as Paul Atreides. But one thing is for certain, Chris Genner, Oliver Daltrey, Gary Martin and Fraser Wilson will entertain you.

Turfin’ Out The Maniacs sound like the results of the Coral offering The Divine Comedy a hashpipe in a moulded teenage boy’s bedroom; that’s a compliment by the way.

The opening tune Blood on Chrome certainly reeks of that breezy retrospection of Merseyside garage bands or sixties surf-rock, with an added preliminary Quo guitar riffs. Stoned at the Dojo, which follows emphasises the mock lounge style of The Divine Comedy. It’s vaudeville throughout, all Bonzo Dog Doo-Dah Band’s twirling circus, and an accordion welcomes in the next song, yet the tempo is upbeat indie rock. Handsome Weeping Man might leave you questioning if it’s necessary to connote the narrative, but it will leave you amused.

Clock Radio knows precisely what buttons to press to evoke a mood, and press them with free will. To say it’s a tad bonkers, it’s only a tad, and Mountains Beyond the Sun kindles a gentle side, drifting surf-rock, sunny side of the street vibe.

There’s ten three minute heroes on this impressive debut album, recorded, mixed and mastered by Dominic Bailey-Clay at Nine Volt Leap Studios, with Fender Rhodes piano, percussion by Dominic and a triangle by Shoshi B. If we’re content with getting halfway through and assuming they’ve calmed slightly, No Death takes us back onto the weird and wonderfully expressed if questionable muses of the opening.

Turfin’ Out The Maniacs is a comfy yet nippy prank, like being stung in the bottom but launching away from it to splash into a chocolate lake. Not so unlike Noël Coward playing a Bond villain, with Bowie as Bond; something you couldn’t imagine happening, but being Marie-Georges Méliès directed it and it’s on FilmFour at 3am, you might as well grab a bag of cheesy puffs and thirty grams of Amber Leaf, stay up watch it in your pants. “Cactus is cooler, I’m no Ferris Bueller, I do as I’m told,” is just one line I’m cherry picking to illustrate my point, you’ll be amused and rocked in plentiful equal measure.

It has an acoustic ending called Complex 5 which will leave you incarcerated in the meandering yet meticulous peculiarly pulp portrayals of Clock Radio, as if you melted into a bubble sofa. It is available now on the streaming platforms, or buy the digital album from Bandcamp.


Bands At The Bridge

Organised by Kingston Media – to raise money for Dorothy House and Wiltshire Air Ambulance – the 3rd of May saw Bands At The Bridge come to the Bridge Inn, Horton …

With the sun peeking out and the rain clouds temporarily parting I had the opportunity to head on down to Bands on The Bridge, a mini festival-style event at the Bridge Inn on the outskirts of Devizes. Organised by Kingston Media – in a step away from their usual publicity/catering work – the event saw eight bands and solo performers stretched across the afternoon and evening of the Bank Holiday Saturday, all in aid of Dorothy House and Wiltshire Air Ambulance.

From the moment of entering, you could feel a strong sense of excitement, and although the crowd wasn’t big, they definitely had the enthusiasm side nailed as each of the performers was met with cheers and dancing.  

The first band I had the opportunity to see that evening was Burn the Midnight Oil. They started with a cover of Dreams and soon had everyone singing along, before launching into a set of original songs, which saw dancing, cowboy hats and even people howling like wolves for a short time (there was more context to it than that, I promise!).

Although all songs they played – other than one – were originals, they played them which such skill that without knowing their setlist beforehand you wouldn’t have known that they weren’t just covers of songs that you just didn’t know, which can take a lot of skill to do right. All their songs were great, but I’d like to give a mention specifically to Scapegoat and Werewolf, which were my two favourites of the evening. It was clear their focus was on well played and polished originals, which they were fantastic at and which the audience clearly appreciated. 

Dreamcatcher came quickly next, a band that originally started as a Fleetwood Mac tribute, but their tastes broadened to encompass a load more songs of the same sort of style – although rest assured, they still had a healthy dose of Fleetwood throughout. Their 45 minutes setlist saw a variety of different songs, broken strings and even the sun (for a short appearance, which had everyone cheering) with a main focus on stuff from the 60s and 70s, the sort of songs that everyone would know and have a little dance to.

The Dreamcatchers played well, and despite the small crowds, it was clear the audience enjoyed their material and it fit in well for that kind of event. 

By far the most appreciated band of the evening were The 789s, a Bristol based events band. It’s fair to say they were some of the most skilled players of the evening, with their four-person line up seeing drums, bass, guitar and vocals. Once again, their setlist focused on well-known and easily danceable songs, seeing performances of Come On Eileen, Don’t Look Back In Anger and many more that had everyone excited.

I had a quick chat with their lead singer Ally who said a lot of the songs she enjoys performing are 70s funk and disco style numbers and that that was what she grew up with around the house. Their high energy songs soon had everyone up dancing and singing along and it seemed that 45 minutes wasn’t enough for the audience, after two back-to-back encores at the end of their set leading to a few extra songs, which were just as impressive as – if not better – than the rest of their set.

With their skilled instrumentalists, incredible talented singers and a well-polished setlist I thought it was perfect for this kind of event and clearly the rest of the audience agreed. Ally went on to say that the energy people gave her made it a really fun gig to be playing at.  

The last performance of the evening saw headliner Almost Elton take to the stage. By this point the audience were invested in whatever performance would come next, so he was met with a great reception after setting up a keyboard and mic followed by a quick outfit change into a feathered coat and a not entirely convincing wig.

He had a longer set than others, and being an Elton John tribute act ran through all the favourite songs of Mr John – even bringing some random audience members on stage to ‘help’ with the vocals on Don’t Go Breaking My Heart. It was a good way to round off an event like this, everyone knew the songs, everyone sang along and everyone danced. 

All in all, Kingston Media pulled off an enjoyable event with some fantastic performers throughout the evening. As well as the four I’ve babbled about above I’ve heard great things of both Jane Bennet’s and The Sitting Ducks’ sets (and actually all of the rest of the performers) and was sad to miss them.

Although the crowds were a little small, that is completely normal and to be expected for the first year of this sort of event (and in fact, their first ever event of this type). They had the traditional festival atmosphere nailed and a great venue to go along with it. So, here’s hoping for it to be done again next year, maybe with a bit more sun though?! 


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Phil Cooper is Playing Solitaire

Trowbridge singer-songwriter and one third of The Lost Trades, Phil Cooper has actually been doing more than playing solitaire, he’s released a new solo album called Playing Solitaire…..

Released yesterday (2nd May) Playing Solitaire is Phil’s first solo album in five years. The last being These Revelation Games in 2020, which was a varied bunch where Phil experimented extensively. Perhaps lockdown inspired artists to scrutinise and pilot new ideas, though through his part in the Americana harmony trio The Lost Trades, fronting the harder rocking The Slight Band, and BCC project, where Phil dives into synth-pop, he’s never been one to shy away from testing new waters. But the principle beauty of Phil’s work lies in the simplicity of his idiosyncratic and solitary acoustic outpourings, a clear and clean line of self-reflection, drenched in honesty and poignancy, and that’s precisely what you’re getting with Playing Solitaire.

Apologise for the delay in announcing this; I had to take one more listen this morning, before deciding if I should call this his best work to date, as he’s a prolific artist with an outstanding discography already. But I think I can safely say, because of the wonderful way this flows, coalescing in mood and style, I think I can safely suggest that it is.

If an all-out anarchistic thrash of rock n roll is what you require, this isn’t for you. For everyone else Playing Solitaire is beautifully crafted and passive, gorgeously taut and accomplished. There’s no whimsical introduction. “Look out world, I’m here to stay,” Phil confidently announces without warning; good! Because Phil knows precisely how to construct a song, and it’s this dedication to composition where he shines best. The opening song, Still Holding My Breath is quintessential Phil Cooper. It’s the acme of his observational writing, a homage to the notion hard work pays off, a characteristic we know Phil well for.

Moving to the next tune, romantic dejection is his soft play centre topic, and oh, how you wrote that note, disregarding how it might be interpreted by the receiver; perhaps we’ve all been there. If it’s a personal reflection, you identify, and the magic lies at the feet of this contemplation, the very magic of Phil’s words, song and ability to combine them, hard at work. And this is an observation we could make to summarise the whole album.

That Easy Road, is remarkable heart on a sleeve content again, it drifts with a stormy sea metaphor to convince himself he’s loved. Another peace of mind ballad follows, then Bijou comments on struggling grassroots music venues, and even if I’m not a musician, it’s exceptionally touching and poignant. The passion Phil delivers this with and the construction of the riff, it’s my personal favourite on the album, maybe replacing Road Songs, my past fav Phil Cooper tune. 

Halfway mark of this ten strong album, and we’re in another foreboding place with Beauty in the Cracks, a frustration at progression, perhaps. Uptempo, and we’re on a lighter note next, followed by a live favourite, They Will Call Us Angels. Eric Bogle fashioned or Guthrie, even, if we suggest an Americana route, but we’ve definitely arrived folk inspired by his work with The Lost Trades. Phil glows through a moving account of a frontline medic, and it’s something kinda wonderful.

Maybe Phil lessened on the deeper narrative in the middle of this album and left three moreish golden nuggets to finish on. Directionless is as it says on the tin, it drifts, and rises halfway through. And we finalise akin to where we began, a little self-help guide type lyrics, but hey, Phil is always on-point. It is an almost one-man choral twinkle, defining Phil as a perfectionist.  

If you worked with Phil in an office, he might be the friendly confidant you relay you’ve prepped nothing for this meeting, and he’ll assure you he’s done equally poorly, and then, at the meeting he’d turn up with a full presentation! Not a show-off by any means, just a dedicated precisian, motivated to the hilt, but seemingly oblivious of the haphazardness of the more spontaneous type, and that’s a rare trait in a musician, making for something individual, solitary, like the one who plays solitaire when they could engage in a two-player game, usually with our Jamie!

This album gets top marks as it reflects his personality sublimely, even by title, and you take a little bit of Phil Cooper away with you. In other news, The Lost Trades are back in the picture since the departure of Tamsin Quin. Jess Vincent takes her place as the third Lost Trader, their touring dates are announced, and we look forward to seeing them with the new addition. For now, Playing Solitaire is out, and you can find it HERE.


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Theatre Review: Everybody’s Talking About Jamie by Devizes Music Academy

An effervescent musical, full of promising young talent

Written by: Melissa Loveday

Images by: Gail Foster

After the success of SIX last year, Devizes Music Academy is beginning to make a name for itself with its second musical production, Everybody’s Talking About Jamie, which featured two electrifying performances on 19th April at Devizes School….

And wow! What an incredible show it was! Bringing this musical sensation to life – including Northern accents, multiple set and costume changes and complex dance numbers – was ambitious. Yet after only a week of rehearsals, 23 talented young performers, aged just 13 to 18, poured their hearts and souls into a performance that was dynamic, professional and full of impressive talent. It had heart, humour and heels so high I wouldn’t be able to walk in them, let alone dance!

Everybody’s Talking About Jamie

From the opening scene, it was packed with raucous energy and perfectly delivered sass that immediately transported us to a gritty Sheffield comprehensive, where Year 11s contend with the wonderful and frightening possibilities that lie ahead of each of them. Jamie New, an openly gay 16-year-old who dreams of becoming a drag queen, was instantly likeable as he and the rest of the cast swept us into his pop-fantastic daydream ‘And You Don’t Even Know It’.

Everybody’s Talking About Jamie

Inspired by the BBC Three documentary Jamie: Drag Queen at 16, Everybody’s Talking About Jamie was written by Tom MaCrae with music by Dan Gillespie Sells, from an idea by Jonathan Butterell. First produced by Sheffield Theatres, the show took London’s West End by storm in late 2017 and has brought infectious joy to audiences ever since.  

Everybody’s Talking About Jamie

But this is a story about more than a boy wanting to wear a dress. It’s a multi-layered tale of family and friendship, and having the courage to step into the person you were always meant to be. Set in a working-class area of South Yorkshire, England, the story is grounded in a world that’s relatable, keeping it from becoming overly sentimental. Instead, it feels edgy and vibrant, whilst not shying away from the struggles individual characters face.  

What made this amateur ‘Teen Edition’ so special was the thrill of watching real teenagers bring these teen characters to life. Under Jemma Brown’s expert direction, with vocal coaching by Teresa Isaacson and choreography by Sarah Davies, the cast delivered a level of talent that could easily hold its own on a West End stage.

Everybody’s Talking About Jamie

The whole ensemble was brilliantly cast, with every member delivering a believable storyline through genuine and multi-dimensional acting, powerful vocals and sharp choreography.

Jacob Leggett was made to play Jamie. At just 15, he brought the perfect mix of camp charisma and youthful innocence to the role, whilst also capturing Jamie’s wit, cheekiness and vulnerability. His rendition of ‘Wall In My Head’ was captivating, building beautifully into an emotional crescendo that gave me chills!  

Everybody’s Talking About Jamie

Meanwhile, Ruby Phipps gave Pritti, Jamie’s loyal, studious best friend, a quietly headstrong presence. Her solo ‘Beautiful’ was sung with elegant control, allowing each phrase the space and diction needed to feel both precise and spontaneous. Although she and other cast members weren’t Muslim, the production honoured the spirit of diversity by respectfully representing the Muslim community, complete with hijabs.

As a parent, I was moved by Lisa Grime’s portrayal of Jamie’s mum, Margaret, especially her song ‘He’s My Boy’. It was heartfelt and mature, with excellent vocal range, and had me reflecting on the bittersweet truth that while we strive to shield our children from pain, life will inevitably hurt them, and yet we thrive on seeing them live authentically. Our children, in all their brilliance and vulnerability, are our greatest accomplishments.

Everybody’s Talking About Jamie

Another standout came from Cory White, who doubled as the school bully and Jamie’s dad, who’s harsh lines stung, but showed subtle remorse that added depth to his characterisation.

Ted Maughan was commanding as Hugo and playful as Loco Chanelle, offering a refreshing contrast with his confident spoken-word delivery style and lively American accent.

Everybody’s Talking About Jamie

The set design was simple but effective, with props such as a balloon arch for the prom scene creating a party feel. Transitions between classroom, kitchen, bus stop and prom seemed to happen as if by magic, enhanced by effective lighting and seamless costume changes, from school uniforms to dazzling prom gowns. The spotlight reveal of Jamie’s red dress was especially powerful, leaving the audience wanting more.

Dynamic choreography and colourful harmonies elevated the production, from coordinated group numbers to breakout moments allowing individual characters to shine. Particularly memorable was the schoolgirls’ clapping routine in ‘Spotlight’, reminding us of the characters’ young age, while a dance duet between Cory White and Chloe Whitcombe during Margaret’s ‘If I Met Myself Again’ added a poignant, dreamlike quality to the song. But I especially loved the title number ‘Everybody’s Talking About Jamie’, which kicked off Act II, with its excited, gossipy feel, as multiple characters bounced their individual lines off each other before erupting into an energetic and synchronised dance sequence that had the whole room buzzing!

Everybody’s Talking About Jamie

It’s genuinely hard to believe this was amateur musical theatre. The level of professionalism, emotional authenticity and pure talent displayed by every single cast member absolutely blew me away. These young performers truly brought a little bit of glitter to the grey.

With so much promising young talent on our doorstep, it begs the question: what’s next Devizes Music Academy? Whatever it is, I can’t wait!

You can catch an abridged version of Everybody’s Talking About Jamie at the Fulltone Festival, The Green, Devizes, on Friday 25 July. For tickets, visit www.fto.org.uk


Beauty & the Beast; Devizes Musical Theatre at its Best

It was a fantastically successful opening night for Devizes Musical Theatre at Dauntsey’s School for their latest show, Disney’s Beauty and the Beast, and I returned home still singing Be My Guest and Gaston; they’re still stuck in my head now truth be told, and I’m not usually one for musicals!

Remaining faithful to Disney’s 1991 adaption of the French fairy tale by Barbot de Villeneuve, widely regarded as one of the greatest animated films of all time, new director Georgia Watson and the entire team at Devizes Musical Theatre pulled out all the stops last night; amateur dramatics has never been this good, surely?!

Already clued up on the plot, as my daughter had a “thing” for the film when little, didn’t prevent me thoroughly enjoying this show, rather it’s likely it aided it; familiarity transformed from film to stage is kingpin to a universally welcomed musical, which this is. Aside from the stellar performances, it was arduously and thoughtfully produced with attention to detail, especially the costume design; they were brilliant. Easy for a cartoonist, but how do you recreate inanimate objects such as a clock and teapot as characters on stage, I wondered beforehand, but not now!

And in this, commendations in particular go to Tia Shafee and Oli Beech, also Sarah Williams, Natalie Angus and Claire Abraham, all for adding those comical elements as candlesticks, clocks and teapots. Yet it was up to Georgia Saunders to add the sparkle, as the compassionate bookworm protagonist Belle, and her relationships with Samuel Phillis as the troubled Beast, Gareth Lloyd as the bawdy egomaniac Gaston, and Graham Day portraying her troubled inventor father, all of which were played confidently and rapturously.  

Interactions between Gareth and his literal sidekick LeFou, played with camp hilarity by Adam Sturges were comedy gold, as was the “silly girls” fighting for Gaston’s affections, Georgia Claridge, Mimi Martin, Laura Bartle, and Bronwyn Hall. With special shout to Pip Emm who was last night’s Chip, a role which takes on a different young actor each performance, everyone on that stage looked to be loving the spotlight and this enthusiasm shone through, reflecting back off the audience in awe.

It never fails to amaze me how much work and effort goes into Devizes Musical Theatre’s shows, and how professional they are. Beauty & The Beast runs until Saturday 5th April, with a matinee performance on the final Saturday. Ticket holders are in for a real treat, anyone looking for a ticket should act fast as the last rose petal is about to drop; last look there were some left for tonight, the rest is already sold out. At £16 a pop, you’d pay more at the bar in a West End theatre for a glass of fizzy pop, or for parking.


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Cracked Machine at The Southgate

If many space-rock acts have more band member changes than most other musicians change their socks, Hawkwind are the exemplar of the tendency. There might be some scientific theory for this, equally there may not. What is more probable is that it is an occupational hazard for members to get as lost in space as Dr. Zachary Smith. Cracked Machine, here tonight to provide the entertainment at the Devizes’ Southgate, are also prone to getting through some keyboardists and drummers, though if the lead guitarist-frontman and bassist remain steadfast, this propensity is not the only element to them comparable with Hawkwind, and that’s a good thing in my opinion…..

If you’ve any hazy recollection of a maintaining a horizontal posture in a bedroom for the duration of a scratched long player with a gatefold sleeve, staring at patterns either in the mould on the wall or blu-tacked Mandelbrot set posters covering them up, in a smoky haze proportionate to your memories and stenching of wood burner and red Leb, whether only with a bong for a friend or a few stragglers with no more conversation than the bong, save a few comments like “oh wow, man, can you see it?!” then Cracked Machine is the band to seek such fond memories, and bring them to the forefront of your fragile cerebral cortex, through a preponderance of sublime bassy rock bliss.

For if space-rock is a natural progression from Led Zeppelin, Flyod or Hendrix’s overextended bridges of swirling sonic electric guitar skullduggery and wobbly sound effects, Cracked Machine nailed it some years ago and show no sign of altering their methodology. In fact, the tendency is to get harder. Though Hawkwind allowed vocals, Frome’s Ozric Tentacles may be a better comparison for space-rock aficionados.

In this, it’s been some years since I’ve caught up with them live, despite reviewing albums one, two and three. It was left up to Ben Niamor and Andy Fawthrop to review their last two appearances at the Southgate, respectively in November 2022, and October 2018. For me, I will always have the 2019 Devizes Street Festival, when Pete of Vinyl Realm paid and hosted our local stage idea on the corner of St John’s and townsfolk slow-roasted on deckchairs while Cracked Machine’s definitive sound caressed their very souls. But while Cracked Machine’s lineup has changed since then, their devotion to the sound and ability to knock it out to the shimmering rafters, isn’t. 

In that, I knew what I was letting myself in for. It was another one of those birthday things for me, which always seems to charge me with ever-increasing speed. There wasn’t actually much else happening in town Saturday night, much I would’ve missed this for a wanton jig to Motown or some-other such-like, elsewhere. Suppose I had the option to go down the Bin afterwards, but as it was advised by Vince Bell who I met on the bus, such a recommendation had to be taken with a pinch of salt, and was best at 52 to get a taxi direct to my duvet! For a while there though, it was a party, as it is in The Southgate, with it’s no frills hospitable atmosphere, affordable range of drinks, and general “proper pub” tenet. The affectionately dubbed “Gate” doesn’t change like band members of a space-rock band, and it’s a cracking party there more often than not.

Tom Harris kicked off the proceedings with his guitar, belting vocals and the expressions of a hyperalgesic at the dentist. Impossible to fault, Tom delivers the banter as well as his songs, divides covers equally from originals, so if he’s not charming an emotive blues ballad of his own pen, it’s perhaps a scatological one or he’s made amusing entertainment from a slyly chosen cover. Rob Thomas’ Santana summer smoothie reflects the unusually clement climate for March, and Tenacious D’s hilarious Tribute was surely perfect for Tom, and he handled them with might, until drummer Gary Martin arrived from a support slot at the Pump with Clock Radio, and the main act was completed and ready to rock.

They didn’t come up for air throughout these lengthy compositions of prog rock formulated instrumentals, and as a result of not taking advantage of the customary break, their set ran off too early. Landlord Dave encouraged them to pull something else out of the bag, saving the necessity of the crowd’s cliche call for an encore, which you know would’ve happened anyway. To which they considered how to continue, yet what elapsed was another drifting spacey masterpiece of fifteen minutes or more. We loved it.

If the template of Cracked Machine’s sound is arguably narrow, and narrative is vague due to only being expressions of instruments, their nature is stylised, and works wonders, creating a spellbinding ambience. Cracked Machine are always welcomed by the Southgate regulars, for even if the pub strives to diversify, it’s electric blues and prog rock which they favour, and this, with those wobbly keyboard noises and subtly placed samples, is simply a psychedelic progression from it which is decades old, yet Cracked Machine proves it’s worth in the modern world.

Space rock, or acid rock, a direct descendant of Pink Floyd and Zep’s tolkienesque The Battle of Evermore, also acts as the bridge from rock to electronica and ambient house, a bridge the guarding troll usually confounds most rock subgenres with a riddle and renders them unable to cross, that’s why I love it, and that’s while I will only have good things to say about Cracked Machine.


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Between the Lines; Melksham’s Upcoming Teen Band

We remain in awe of the deserved success of indie-pop band The Sunnies, which has continued to flourish since winning Take the Stage at the Neeld two years ago. But is their hometown ready for the next big teen sensation? If so, I’m predicting it will be Between the Lines, because it should be Between the Lines…..

Last weekend The Sunnies headlined a town council’s 4Youth “Next Gen Gig” at The Melksham Assembly Hall. Being just a smidgen over the age limit I missed this, but a video of the support act, Between The Lines, shared on social media caught my eye, or at least, my ear!

Formed five months after The Sunnies took the Neeld’s stage, in October 2023, Between The Lines are smooth indie-rock female-fronted four-piece, consisting of bassist Belle upfront, lead guitarist George, and Ethan and Louis, who both switch between drums and guitars, the latter being the rhythm guitarist.

They put out a demo single, Fading Time earlier this year, with an irresistible classic rock riff, some nonchalant and confident vocals, and an enchanting hook. It’s raw, for sure, but a grower. Its ingredients blend wonderfully, painting a melancholic picture of adolescent romance; the tune is moreish, and blossoming to bursting point with potential.

“Fading Time was the only song we recorded in that session,” George explained, as I thought I should catch up with them, sooner rather than later, “but there are exciting new ones due to be released very soon.” I look forward to hearing them; progression feels imminent with this promising new band; you should keep an eye out for them.

With the band members currently studying music courses at either college or sixth form, I always like asking teenage groups what their music teachers thought of their band, poorly assuming it’ll break the ice! Even if referencing their education is highly unlikely to do that, I tend to stereotype teachers in retrospection of my own, wondering if they retain the doddery notion rock music is the “work of the devil,” and attempt to throw classical violin at them, or they’ve modernised, least enough to be hip to be square on a Huey Lewis level!

Louis answered this one, elucidating George’s and his music teacher had, “supported our band on multiple occasions, with gig opportunities and equipment in the past, and has always been enthusiastic about it. Fortunately, no classical violins!” Ah, got you. Our music teachers used to be funky too, though only in the archaic definition of being unpleasantly smelly!

Ethan expanded on this, and moved onto their first few gigs. “My drum teacher was always telling me to form a band and after talking with Isobel,” He said, “she was adamant to get something going. Through music GCSE, we started Between The Lines, playing songs with each other for assignments and eventually starting regular rehearsals. We’re still new to the gigging scene, and have performed at the Kings Arms in Melksham and The Queen’s Head in Box.” The latter being a fortunate venue to play so early, Ethan also went on to reveal they’re on the bills for Box Revels in May and CorFest at Corsham’s rugby club on June 21st.

George explained how they’d heard of The Sunnies before they had formed, upon me cheekily asking them if they thought they were the next big thing to come out of Melksham; you’ve got to big yourself up in the Sham, they’ve got a golden arches, and Henry Moule inventor of the dry earth toilet, as claims to fame!

“Well, hopefully!” he laughed, but remained modest. “It really was great to play with people that you’ve looked up to, in a way, and of course they bring such an energetic and fun performance which is something to be fond of. As for us, it’s exciting to see lots of new people enjoy what we do and it brings a lot of motivation for us to keep moving forward and expand as much as we can, it’s only up from here.”

Based solely on this single, I strongly hope and suspect it will be, so we moved on to the demo, Fading Time. I suggested the opening riff reminded me of the intro to Sweet Home Alabama combined with a dollop of Natalie Imbruglia’s Torn, even if it’s showing my age, it’s an accolade. I wondered if this smooth feel-good indie-pop rock was the kind of quality they were going for.

“The song itself came from a simple melody idea that I had for ages never necessarily taking any inspiration from others,” George expressed, “and we bounced back and forth from each other’s ideas until we recorded it in the short space of time we had.”

Ethan expanded on the backstory of Fading Time, in answering that cliche question I fired at them about their working process. “So far,” he clarified, “our originals have stemmed from one idea. For example, ‘Fading Time’ came from a melody idea from George and our unreleased single developed from a project I created for a college assignment. We then developed the song together to add a little bit of each other’s personality in our parts. We are fairly new to songwriting as we’re mainly a cover band but we all develop our own little ideas and send them to each other!”

Their current repertoire includes covers of The Foo Fighters, Radiohead, and Chris Isaak, among others. “We try to choose covers that are both crowd-pleasers and that reflect the same vibes as our originals,” Belle expressed.

Between The Lines’ website cites Radiohead and Matt Maltese as influences, Belle expanded on this, “as the main lyricist of the band,” she suggested she took inspiration from “very poetic artists, like Boygenius, Fiona Apple and Bon Iver. Ethan focuses on instrumentation, inspired by Big Thief and Better Oblivion Community Centre. George is all about the hooks and guitar riffs, he’s influenced by Wallows. Louis works on a strong rhythm, taking from Foo Fighters and Seal.” 

Phew, at least the last two my dilapidating database has heard of! You’ve got to love Seal, I saw him live once, but he didn’t do Kiss From a Rose nor Crazy, just balanced a beach ball on his nose and clapped his flippers. That was the last time I went to a gig at the Sea Life Centre.

As a finale, I pondered what’s in the band name, perhaps they met in a history class about WWII, you know, between enemy lines … .perhaps, ah, forget it, I’ll get my coat! When actually, Belle revealed rather than history, they did meet in GCSE music, “doing a project for the Christmas concert!” Not too far off the mark then, just the wrong lesson, which goes in line with my own schooling. I was often found in the wrong lesson, and if I was in the right one, I tended to be somewhere else mentally; kind of explains a lot.

“Choosing a name for the band was quite difficult,” Belle said, signalling her vast music knowledge supersedes her age, “everyone suggested different names every day. Ethan suggested the name In Between The Spaces, which reminded me of two things – Between The Bars by Elliot Smith and especially the album Between The Lines by Janis Ian. After numerous ideas for names we decided on Between the Lines!

Deliberating on a band name is important, it might fatefully fade into obscurity as the competition of a tough market to break takes its toll, or it could be that name in lights for decades to come. I wish Between The Lines all the very best with their ambitious beginnings, and very much hope the result is the latter.

I advise you to support new local talent and follow their socials, TikTok, and website here, as while I’m no clairvoyant, I know what I like, and predict we will be hearing a lot more good stuff from Between The Lines in the near future…..


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Static Moves at The Three Crowns Devizes

Bussing into Devizes Saturday evening, a gaggle (I believe is the appropriate collective noun) of twenty-something girls from Bath already on-board, disembark at The Market Place. One cries out her desperation for the loo, but there’s no detours to another bar en-route for relief, they’re steadfast to their destination, The Three Crowns; a wise choice….

I’m heading that way too, trying to pick up pace and overtake them, so as not to convey I’m some creepy codger following them from the bus! Some lads intervened with a wolf-whistle down the Brittox, I gathered at them and not me. I’ll quip with them to break the ice, in hope they see it’s coincidental that our destinations are the same. It worked, they seemed unconcerned, and giggly.

With a fresh lick of paint it really didn’t need in comparison with others, and a scrumptious selection of designer burgers, The Three Crowns is the go-to pub for gen z coming of age, millennials, and a number of elder diehard party heads who still think they’ve “got it,” because they have, bless ‘em!

But the greatest thing about these cross-generational gatherings at The Three Crowns is the carefree atmosphere without division. Everybody is here to enjoy themselves. They crave a live band to throw high-energy covers at them, era-spanning songs they know, love and can sing along with, and they’ll party trouble-free together. Younger attendees will high five the elders, and dad dancers mingle without mockery, I hoped!!

I’m at the back gate chatting to landlord Simon while tonight’s band is sound checking. It’s this Marlborough-Swindon based band’s debut at The Three Crowns, but I assure him what I suspected, that Static Moves will fit like a glove. Not wanting to blow my own trumpet, but I was bloody right an’ all!

Static Moves are a side-burns, flat caps and pork pie wearing, two-Clives five-piece covers band with keyboards, in self-promoting black t-shirts. Even if these other elements don’t convey Static Moves are bringing a touch of new wave eighties mod retrospection to the table, any band boasting two Clives is a win-win!

Being honest, there have been occasions when I’ve dropped into the Crowns to see a great cover band, yet my desire for originals redirects my zimmer frame over to the trusty Gate, and I’m faced with two half-reviews; not this time. Static Moves are irresistible, and enthral any audience.

The systematics of Static Moves’ repertoire appears to be anything which can be delivered loud and proud like it’s Coventry in 1980 or Madchester in 1990. If a particular song choice isn’t, they make it so it is. Taking no prisoners they were greyhounds out of the starting traps, rarely coming up for air, save a short break.

The frontman isn’t Luciano Pavarotti, needs not to be, but is commandeering, can hold a note, and a dynamic showman, with a habit of launching his tambourine either airborne or into the crowd.

The band compliment the lively mannerisms, though fairly recently formed, all members hold a wealth of experience, which shows. It looks like a tight ship, a new drummer slipping into the kind of camaraderie which reflects onto the audience; they’re having fun, you will too.

Static Moves compact a party into their pocket, and, for want of a less Potterhead analogy, like a Choranaptyxis it expands to fit the available space when they catapult it out upon an anticipated crowd. They told me they were working on some originals, we’ll hold the front page.

There were components to their set, it kicked off seventies, absolutely scorched Primal Scream’s Rocks, then launched tongue-in-cheek into early eighties pop hits like Nena’s 99 Red Balloons, Kim Wilde’s Kids in America and even found time to make one-hit-wonder Tiffany’s smash their own! As you might imagine, this was my personal summit, ‘cos I bought those singles, but I also observed all generations present acknowledging and lapping up those bubblegum classics.

It moved as swiftly as their tempo onto tracks I’d consider were their own favourites, the more less commercial punk anthems like The Buzzcocks, by which time they had the audience eating out of their hands and could’ve pulled any cheesy bygone slush puppy out of their bag and still rinsed it! As it was they took to The Beastie Boys’ Fight for your Right, which was only amusing until they followed it with a grand attempt at Smells Like Teen Spirit.

Despite the diversity, the template of loud and proud prevented pigeonholing, a party band with a big sack of crowd-pleasers and an unrivalled enthusiasm to deliver them. The finale alongside Billy Idol, were millennial showboats, Britpop anthems, you know the one from The Killers, and yeah, they did Wonderwall, but while I deem that cliché, they did it well, and it always gives the youngsters an opportunity to show everyone they have torches on their phones!

Ahem, that’s irrelevant against the positivity of a diverse crowd throwing away their cares for a moment and enjoying themselves. That’s what’s infectious; you’re duty bound to follow suit with a band like Static Moves. I couldn’t physically leave until the deal was fully sealed.

The Three Crowns revel in this infection, and is the reason it bucks the trend of a decline in pub culture. Here is a Devizes lesson in how to do it, they deserve the praise but don’t really need it. Stalwart for a number of years now, most know the Three Crowns is a testament to a memorable night, including, it seems, girls bussing in from Bath. 


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Electric Dream Comes True; Cephid’s Sparks in the Darkness at The Rondo

A sublime evening of electronic elegance was had at Bath’s humble Rondo Theatre last night, where Cephid’s album, Sparks in The Darkness, was played out exclusively to a packed house. It was, in a word, breathtaking….

The type of genius who built a laser-harp at seventeen years old, Cephid‘s composer, producer and multi-instrumentalist Moray McDonald is bound by modesty, and appeared, prior to the show, understandingly nervous about the prospect of performing. He hadn’t contemplated ever reproducing this masterwork on stage, for the project began as a collection of demos he created “for fun.” “With all my focus being on creating an album that would live up to the grand ideas in my head,” he explained, “I didn’t stop to think about whether this music could be performed in a live environment.”

Seems he shies from being centre of attention, his comfort zone on stage favouring the many occasions he hides as a keyboardist in prog rock bands. Moray, currently residing in Lavington, cut his teeth touring with progressive rock and metal artists such as That Joe Payne, Godsticks, Kim Seviour and Ghost Community, more recently he remixed for OMD.

Moray was adamant this was a totally exclusive show which wouldn’t be taken on the road, although it has the magnitude of doing so. The show was produced and promoted by his partner Charlotte, who’s theatrical flamboyance encourages Moray to overcome his reservedness. Therefore a communal air bloomed in the audience, that this was a one-off treat, and we were the lucky few; because we were.

Being I was there to review, it probably didn’t help his anxiety any telling him I’d seen Kraftwerk at a Tribal Gathering of yore, where from every tent of every subgenre ravers descended to observe the roots of it all. “Kraftwerk was the beginning of everything,” he agreed.

While it’s an accurate summary of the origins of electronic pop music, Sparks in The Darkness delves beyond this for inspiration. It’s orchestral on a Jean-Michel Jarre level; even if the show wasn’t to the same scale it was in spirit. It nodded to the trial phase of electronic music, prog-rock’s psychedelic swirls found in Pink Floyd, Led Zeppelin et al, and continues to the ambient house pioneers like The KLF and Orb. It rests on the heyday of electronica, the quirky experiments of new wave post-punk like New Order, and early US electro outfits, like Newcleus. Yet it incorporates contemporary technological advances, the variety of modern subgenres stemming from it, and it evoked in me a fascination with the history of electronic sound.

To contemplate futurist Luigi Russolo’s 1913 The Art of Noises theories, that music would change due to the ear becoming accustomed to mechanical, industrial and urban noises, and the dadaists flouting this, is to consider the eighties clunkiness of the engine sampling of the aptly named Art of Noise, or Yello, or the piercing hubbub of acid house’s 303s, for the sake of artistic expressionism rather than melodious music. Sparks in The Darkness doesn’t go there, it doesn’t tumultuously provoke, rather it’s polyphonically beautiful, sampleless, and tonally complimentary on the ear. In this, the decades of electronic music progression has become an epoch, therefore a “folk” music, effectively turning music full circle; Cephid is on that cusp, and proved it last night.

But not before That Joe Payne, who later returned to the stage to provide vocals for Cephid, supported with an astounding original set. With just keyboard and voice he acoustically gifted us with a one-man rock opera, the like I’d never seen before. Combining camp comedy with tragedy, reminiscent of Elton John’s heyday and expressed divinely with the vast vocal range of Freddie Mercury, this was delicious vaudeville. Though I cite these clear influences, they broke the mould when they made That Joe Payne, and that is the only shame about this highly entertaining character.

If That Joe Payne was something which bucked my norm in the nicest of methods, the whole evening was equally different for me, who these days is used to traditional rock, folk, or blues bands, and even with a history of dance music under my belt, this wasn’t a rave anymore than it was a gig in the tradition of, even if the effect was similar. This was a showcase of modernism, an electronica fantasy in fruition. If at any point I likened it to something visually, it was Howard Jones meets Orbital, and that’s a high compliment.

The Rondo ignited with laser lights after the interval, colouring the subtle smoke machine output, and doused with a building ambient drone. Moray appeared onstage with electric percussionist Graham Brown, both dressed in white bodysuits with scarlet tie-belts. Layers developed and the album was played out sublimely, stretched to fit the show. The skill of the pair, to unite in sound and highlight exactly how these tunes were accomplished was insightful, and amazing. The only analogue instrument being a snare, the rest was digital technology caressed to evolve the most refined musical topography, an audio landscape masterpiece.

The grand finale was the usage of the triangular centrepiece, the laser harp Moray created at seventeen but had never used publicaly. Even if many in the crowd were connected in some way to Moray or the team, akin to a family party, everyone was held spellbound when the laser harp strings lit up, and Moray took position behind it.

If the perfect composition of this groundbreaking sound, with the laser show and theatrical performance wasn’t enough to convince anyone in the crowd to the monumental importance to the artist, and the rare and wonderful occasion this was, it was Moray’s expression of sheer joy, at the audience’s standing ovation. It was confirmation that this project, so immensely well received, is surely the testament, plus an ego boost, to the diffidence of a creative genius!

You might have missed this show, but you can (and should) buy the album HERE.


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SwinterFest Broke Me Out of Hibernation!

Like a hedgehog poking his nose out of the bracken, just a few hours on the Sunday at Swinterfest was enough to cure me of my hibernation, which seems to lengthen with each year and causes me to worry the attraction of warm, cosy nights in might seclude me forevermore, and I’ll never see a chap strum a guitar again!

I was only at the Beehive for ten minutes before wishing I’d got here sooner, three days sooner! Swindon Shuffle organisers decided to create a winter version for last weekend, and speaking with both Ed Dyer and Jamie Hill of Swindon Link and Ink, they were wary if it would be as successful as their annual summer extravaganza. Exhausted by Sunday but still positively beaming with enthusiasm, I’m glad to report Ed signed the event off as a huge triumph.

Crowds turned out to the respective pub venues on each day; Thursday at the Hop, Friday at the Vic, Saturday at The Castle, and Sunday at the Beehive. A colossal selection of the South West’s finest musical talent united to raise some wonga for the Prospect Hospice, as they do with The Swindon Shuffle and My Dad’s Bigger Than Your Dad festival. 

The team assembled for the final showdown at the Beehive, which is a crazy-good watering hole aptly on Prospect Hill; I could resist no more. From Courting Ghosts and Canute’s Plastic Army to Will Lawton, George Wilding to I See Orange I sadly missed many of my favourites, even our wonderful M3G and Devizes-own Nothing Rhymes With Orange; what can I say in my defence? Would central heating, cosy sofa or homemade stew cut the crust?!

Despite it being a whistle-stop, I was so glad to be reunited with Swindon’s premier Americana collective Concrete Prairie. At one point I was close to becoming their groupie, unfortunately our paths haven’t crossed for a while. Seconds into their set why I’ve claimed they’re better than sliced bread came flooding back. They were, for want of a technical evaluation, absolutely and steadfastly, one-hundred and fifty percent on fire.

I don’t know if it was the fact the Beehive is one of their favourite venues to play, if time had eroded my expectations of them, or they’ve polished their already proficient skills, or maybe because they opted for their more high-energy originals, or possibly now those songs have become classics fans chant them back at them, but wow, just wow!

I was introduced to Clarie, their new fiddler, previously informed she fitted like a glove into this astounding band, and they weren’t fibbing. It is in their unification where sparks fly, if individually they’d reach a level of greatness naturally, together they’re solid and tight. Concrete Prairie is the whole deal for dark and foreboding themed country-blues-rock which takes you on a mood-changing journey; they could play disco and still rouse the hairs on the back of your neck, dammit! (they don’t though, for the record!)

Prior to their invigorating explosion I was delighted to find a new love. From Newport, Joe Kelly & The Royal Pharmacy were truly a blessing. Described as a chameleonic presence, in so much as he plays solo, or his masterful originals are fleshed out with the three-part vocal harmonies, guitar and keyboard combo of his backing band the Royal Pharmacy. Joe explained the versatility of his band contained missing elements today, of drums and bass, which when added could evoke the harder rock ambience of a five-piece, on occasions, but the harmonious delivery of folk-rock masterpieces was plentiful for me to decide this outfit is something I could perpetually return to.

Perfectly pitched between smooth and rustic, Joe’s authentic raspy call of expressionism is breathtakingly emotive, his canvas is projected outwards but his brush operates inwards. It conveys that timeless fidelity and sense of personal reflection and identification of Guthrie or Dylan, with the gusto of Geldof or Petty. It is, in a word, gorgeous; music for the soul.

Through his self made independent record label, Dirty Carrot Records, there’s a selection of their recordings to check out, I recommend you do, and they’re showcasing their local circuit with five other artists on the books. Joe Kelly & The Royal Pharmacy timelessly embrace every classic element of folk-rock, the emotional poignancy, sincere homespun fashion, the evoking sound, and project them outwards nothing short of sublimely, encapsulating an audience you really need to be in!

And that was only two of the thirty three acts booked to perform at the inaugural Swinterfest last weekend; imagine the length of my waffling if I’d see anymore! Jamie at Swindon Link wore the Swinterfest T-shirt out and gave a more comprehensive evaluation, here. Me? I’m more of a Catchphrase contestant than a music journalist, I just say what I see, and those bottles won’t deliver themselves, so, I had to retire from the bustling Beehive, disappearing into the night; milk and honey not mixing well this time. Shame, because I missed Erin Bardwell and the Subject A gang, and SN Dubstation, despite knowing they’re both up my street and knocking loudly on my door.

The most important part to all this was questioning the big chief organiser of the Shuffle and now Swinterfest, Ed Dyer, if he’d make this an annual thing, and there was absolutely no sign of doubt in his tone that he would. Interestingly he suggested incorporating other arts into the mix, suggesting comedy, poetry and drama. The idea was to separate it from the music dominated Shuffle, so it lives in its own domain and isn’t viewed more simply as a winter version of the Shuffle. But as Jamie expressed, what they know best is music, so they went with that to begin with, and they certainly do!


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IDLES’ at Block Party

With their only UK shows of the year quickly approaching, the 1st and 2nd August will see IDLES’ and music festival Block Party take over…

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Devizes Musical Theatre’s Next Production; Beauty & The Beast

If I had to be magically turned into a candlestick or a teapot, I believe I’d rather be a teapot than have a wax candle on fire wedged into the top of my head! Fear not, it’s not a worry I’m losing any sleep over, rather the kind of bizarre fleeting notion which popped into my mind when previewing Devizes Musical Theatre’s next production, Beauty & The Beast….

The wardrobe is definitely out of the question, anyway I digress! For if there’s one local amateur theatre collective to make you question the definition of “amateur” it’s Devizes Musical Theatre, in my experience. To pay a king’s ransom for a West End production is to expect, much less assume, you’re in for a treat, but to see the dedication and hours of labour which goes into an amateur production like those of Devizes Musical Theatre, is the surprise element, that the magic isn’t so far from a professional production.

So, get ready, Gaston, for a tale as old as time, as Devizes Musical Theatre’s curtain is rising once again for Beauty and the Beast. It’s running from Wednesday 2nd April – Saturday 5th April 2025, at Dauntsey’s School’s Memorial Hall in West Lavington and tickets are available now at www.devizesmusicaltheatre.co.uk or Devizes Books.

Devizes Musical Theatre’s last sold-out show was Sister Act back in March 2024, of which I reviewed and said “it’s the combination of their motivation and exceptional effort which makes this such a dynamic show, coupled with the elementary notion, Sister Act has universal appeal and is simply fun on a stick!” But no one listens to me, so please note the show was nominated for Best Musical and Best Publicity at the prestigious Rose Bowl Awards.

“Tickets are already flying off the shelves,” we’re informed, so don’t miss your chance to experience the magic of live theatre right here in our community. Whether you laughed with the nuns, hissed at Curtis and his baddies in Sister Act, or you’re a newcomer to the DMT productions, this show is guaranteed to leave you spellbound; be their guests, be their guests, be their guests!


“Jerusalem” at the Mission Theatre, Bath, January 21st-25th.

By Ian Diddams
Images by Gail Foster

What is reality? Is it the cold light of everyday activities? Is it the symbiosis of contemporary time and ancient natural forces beyond our ken? Is it the raddled memories of mind altering drugs? Or is it a mixture of all of those combined, as personal perception sways between LSD flashbacks, inexplicable encounters, and simple bullshit?


Next Stage Theatre Company bring Jez Butterworth’s 2009 play “Jerusalem” to The Mission Theatre, Bath, this week. In a thinly disguised setting of Pewsey (Wiltshire), which is named Flintock but where the pubs names are all real pubs, the play centres on the character of Johnny “Rooster” Byron (Richard Chivers) who along with other characters in the play are based on actual Pewsey-ites, some of which still live in Pewsey today.

The story is a twenty-four hour period of Byron’s life, focussed on fair day on St. George’s day, and his interactions with his loyal friend Ginger (Sam Fynn), various hanger-on young people (“rats” as he calls them) Davey (Bryan Mulry), Pea (Sophia Punt), Lee (Jonathan Taft), Tanya (Miranda Webb), the senile Professor (Dave Dunn), somewhat dodgy publican Wesley (Brian Hudd), ex-girlfriend Dawn (Tania Lyons), local council officials intent on evicting him Mrs Fawcett (Tania Lyons) and Mr. Parsons (Andrew Ellison), Byron’s son Marky (Spike Fynn), and the lost teen Phaedra (Dilys Hughes) and her angry dad Troy (Andrew Ellison).

As the course of the day and night unwind, we experience Byron’s warped vision of his world as he tells ridiculously tall and impossible tales interspersed with somewhat surreal anecdotes and harsh truths. We see he is a very flawed character – he is in no way a hero, and very much an anti-hero. His criminal and abusive nature is laid bare, where he despises everyone that surrounds him, even his longest lasting and loyal friend Ginger… with the exception of Marky his son, who he shows genuine affection for (while avoiding any paternal commitment), the Professor and seemingly fifteen year old Phaedra – about whom we are left with a rather disturbing suspicion as to their underlying relationship.


The set is wonderfully portrayed as a clearing in “Roosters Wood”, all ramshackle a mess as you could possibly imagine as an illegal encampment of a broken down caravan’s site surrounded by old garden implements, wood burning stove, boxes and crates, woodland detritus and the remains of Byron’s own drug addled vandalism amongst other assorted accoutrements. Ann Ellison directs the show with an exquisite touch over the banality and failure of Byron’s life – as well as creating the set along with Brian Fisher – and the performance though lasting over three hours rattles along at such a high pace there is never a dull moment. Neat little touches abound – as characters get drawn into Byron’s world, they become coated in straw and woodland detritus, while Byron himself stays clean of these. It is telling that as Lee is to leave Flintock for pastures new far away he is clean of all this woodland connection. Even the Professor ends up covered in straw as his own senile alternative reality merges seamlessly in the renegade aura of the campsite.

Tech is provided by Kris Nuttal, Brian Howe, and Andrew Ellison as they set the scenes of bright morning, sun dappled afternoon and dark and threatening evening. No spoilers here but some cleverly worked backlighting towards the end relieves the audience of unpleasantness while leaving nobody with any doubt as to what is happening. Vanessa Bishop leads costume to perfectly place the setting in the modern day.

Which leads us then back to the actors. A lovely mix of ages as befits the story, all sell their characters believably. I was so drawn in at one stage it was a jolt when I realised that I was watching a work of fiction, and this wasn’t “real” – so kudos to the company for creating a fully immersive environment here. Richard Chivers is quite simply superb as the thoroughly egocentric but dangerous Byron. Sam Fynn is wonderful as his lifelong and lost, almost desperately childlike, sidekick Ginger. The “teens” of Jonathan Taft, Bryan Murphy, Sophia Punt and Miranda Webb believingly display youthful male exuberance and teenage slapper. Dave Dunn portrays the heart tearingly sad bewildered and confused doddery old man. Brian Hudd is cringingly excellent in his portrayal of the seedy and low-level dodgy publican who is really no different to the teens while in his own way abusing them as much as Byron is.

Spike Fynn gets Marky spot on as a conflicted nine year old …  “Do I love my dad? Do I like my dad even? Do I trust my dad?”. He sells his character precisely through his physical acting as much as Butterworth’s lines. Tania Lyons and Andrew Ellison double up their parts seamlessly – to the extent that especially for Tania I hadn’t even realised she played two parts until I checked the program after the show! And Dilys Hughes as Phaedra is quite sublime…  ethereal, fairy like, other worldly…  and even when that dreamy existence comes crashing into real life, she still keeps an entirely child like innocence despite our suspicions that what happened in Byron’s caravan may not be so innocent…

So – back to reality. Or various versions of it. From fairies and elves, tall tales and taller creatures, nature’s ancient powers. Drugs. Dreams. Cognitive breakdown. Youthful inexperience and ignorance. Bullshit. All of these variations feature prominently in Jez Butterworth’s powerful text, culminating in Byron’s final monologue as his life crumbles around him and he calls upon everything in his warped mind to help him as he subconsciously seeks an answer to the big question, which he has already passed the point of rationalising…

What IS reality?

“Jerusalem” by Jez Butterworth is performed by Next Stage Theatre Company at The Mission Theatre, Bath between January 21st to 24th at 7.30pm, with a matinee on Saturday at 2 pm.

Tickets from https://www.missiontheatre.co.uk/tickets or on the door if any left.

Devizine Review of 2024 Part 1: Jan to July

Featured Image: Gail Foster

All other image usage here was credited on the original articles, to locate sources again would take a long time, so please accept my apologises. If you see an image you own and wish to be credited for it, please ask. Thank you.

Okay so, three days into 2025 and my chicken kiev parped at me. Is this an augury?! A prediction of how this year is going to play out?! Even my dinners will be farting in my general direction? Que sera sera, we’re not looking forwards, we’re looking backwards, at how 2024 passed here at Devizine Towers…..

Start with stats, ‘cos after 2023’s doubling on hits from 2022, we failed to make a similar hike, achieving about 9% less hits than 2023. I’m not going to lose sleep over it, it was a great year, but figure there’s a few reasons for this drop. Firstly, despite a shock general election, I’ve tried to avoid controversy and local political satirical slants as much as possible. Unfortunately it’s often me playing the grumpy old toad which gains attention, but I really wanted to focus more on arts and entertainment news, as that’s our ethos, the spoof and opinion articles are just me, abusing the platform to magisterially backseat drive.

Result, though; we rid ourselves of Tory tyrants, in parliament at least, there’s still work to be done to obliterate the impact and ingrained cluelessness of elitist robbery of the working class and have a fairer system for all. What’s my opinion of Starmer so far? Not impressive, that’s for sure, but by comparison with the circus of thieves which was the last government I think we’re in a better place overall. I’m certainly not going to jump the bandwagon in disparaging him, knowing the alternative is this growing trend for fascism. Though it’s not the shouty sort of fascism of the Third Reich, it’s more ignorance is bliss, pie n chips, pint in hand C3PO gammon nescience. But, enough said about that!

Other reasons for the slight drop in hits could be due to the rising cost, my own fatigue and motivation to head out; I do worry what will become of Devizine with my aging and possible inability to get to gigs and events. A massive thank you must go to our contributors, then. Though submissions can be sporadic, we always need budding writers, especially younger ones to keep what we’ve built here, and report on happenings, because left up to local press we’d be doomed; they seem to favour national clickbait headlines over supporting local arts and entertainment, but likely they deem it is their only way to keep their heads above financial waters. I can’t blame them, but I can have a sly quip or two about it!

It is the accolades we receive from those talented locals which we promote and highlight which keeps me going with Devizine, and I thank them for motivating me. That is therefore where the concentration should be now, not on politics.

Another is top secret, but if you’ve been contemplating that Devizine simply isn’t funny anymore, I’ll reveal my best jokes are being saved for a book I’m near to finishing. I think you’ll like it, it’s absolute filth! And lastly, currently I’m so utterly fed up with social media. It’s all so bloody serious, nothing is taken with a pinch of salt, nothing is carefree or amusing. And if I do publish something on there for fun, the jokes fly over someone’s head, they take it the wrong way, get offended and execute a witch hunt against me. It’s all so petty and obnoxious, akin to road rage, rather than the creative outlet of its potential, and likely, original intention.

If it’s not bombarding me with targeted adverts as a constant reminder I’m getting old, like care homes and life insurance, it’s flooded with utter crap, often using AI to illustrate misinformation and promote the rightwing bias of the owners, attempting to sway the masses; and it works too, that’s why they do it.

As a result I’ve massively reduced my screen time for such wet fart dribbles. I’ll share our articles on our social media platforms, but rarely feel inclined to interact with the gusto I once did. It is a shame, and it means you need to bookmark our wonderful website and check into it generically rather than wait for your social media platform to prompt you. Otherwise, fuck it, I’m doing this for bugger all reason, nearly as less than a few pennies it might yet generate. A fundraiser event may be a necessity now, at least an excuse for a much-needed party to lift my spirits! It is January though, a depressing little bugger, our annual review usually turns into whinge!

January

January I’m usually in hibernation, many are, so previews of events to come are more common as I hide in my hubby hole. Last year we ran ones on The Magic Teapot Gathering, the first line up announcements for My Dad’s Bigger Than Your Dad Festival, N’Faly Kouyaté of the Afro-Celt Sound System coming to Wiltshire Music Centre, and of course, the Bradford Roots Festival of which dragged me out of my cosy pit for! Two previews for new initiatives in Devizes worthy of previewing in January too were Palooza, a house night to happen in March, and Devizes Youth Action Group’s U18 gigs, both at The Exchange.

We announced a Lego Club starting at Devizes Library, and looked at courses in the art of chocolate at HollyChocs. I reviewed The Importance of Being Earnest at the Wharf Theatre. Andy ventured out to Long Street Blues Club, but for me, it seems the year begins with The Bradford Roots Festival, blooming lovely that occasion is, then I go back into winter hiding again!

Bookworm time, and Jan saw a review of Sorrel Pitts’ novel Broken Shadows; undoubtedly the best read we’ve ever reported on. And of course, recorded music reviews came thick and fast during those winter months. Albums from Billy Green 3, Richard Wileman and Daisy Chapman. Singles from Sienna Wileman, Nothing Rhymes With Orange, and Ushti Baba.

In the news, politics was brewing for a general election, we talked to the Melksham-Devizes Primary on where best to place our vote. We also reported on the sewage in the Kennet, and the MP who voted to strip legal duty on water companies to reduce harm caused by storm overflows. Yet regardless of all of this, the highest hitting article of the month by far was about a lost dildo found by dog walkers in Quakers Walk; you can’t make up a golden scoop like that!!


February

Still wintery, we looked into SoupChick’s new art gallery in Shambles, Valentina, celebrated thirty years of the Devizes Writers Group, the Kidical Mass bike ride calling for safer streets in Devizes, the Worton & Marston Brownies needing volunteers, and the Swindon Palestine Solidarity charity dinner. But my personal favourite was Darren and The Chocolate Factory, when I joined a family workshop at HollyChocs!

Other memorable events of Feb cannot be topped after Gaz Brookfield’s Village Hall Tour arrived in West Lavington. Though I also recall with fondness the Errol Linton Band at Long Street Blues Club, The Worried Men at the Pump, and Deadlight Dance at The Southgate. Ian gave us a review of Vince Bell at the Southgate, and Carrie at The Rondo Theatre. And we welcomed a new writer, Florence Lee who reported on Devizes Youth Action Group’s First Club Night.

Music in review came from Cracked Machine, The Lost Trades, The Jon Amor Trio, Jol Rose, and  Talk in Code. We previewed The Beat at The Cheese and Grain, the Jesus Jones tour, Devizes Pride, Gaz Brookfield, Mantonfest 2024, The Scribes at The Pump, and that The Marley Experience was coming to Devizes.


March

Politically we had a clue to the change in the tide, with a historic Lib Dem win in Marlborough Town Council, shame the trend didn’t carry onto the GE there. We reported on a Palestinian Children Memorial in Swindon, and a Palestine protest at Labour Party fundraiser. We had a recap on the good work Devizes Clean Up Squad do, and opinionated on Wiltshire Council’s threats of prosecution against Wiltshire Music Events’ posters in Devizes. 

I think the hero of the month goes to our bravest 7-year-old, Chloe, who slept out for Devizes OpenDoors. Though Chloe’s feat might yet have been slightly upstaged by our Brian, who discovered Led Zeppelin’s mystery thatcher, became a national hero to prog rock fans, and was the subject of a Wiltshire Museum exhibit.

We previewed FearFree’s fashion show at the Condado Lounge, Devizes Musical Theatre’s Sister Act at Dauntseys, our Shelly on the wheels of steel at the Muck & Dunder, and Devizes Arts Festival. Andy went to Cinelli Brothers at Long Street Blues Club, Ian gave a review of “RENT” at The Rondo Theatre. I had two unforgettable nights out, when Ian Siegal joined the Jon Amor Trio at the  Southgate, and the first Palooza got me dancing my socks off for my birthday at The Exchange.

An album from Deadlight Dance and singles from M3G, Atari Pilot, and Life in Mono got covered, and we rediscovered our Chrissy from as yet unformed band Burn The Midnight Oil, providing vocals for drum n bass tracks. Oh yeah, I had a rant at those ranting about the Glastonbury line-up too!


April

April fools, of course, when we headlined “Devizes Road Resurfacing Plan Abolished Due to Dinosaur Fossil in Pothole!” The rest, though, was sadly true. Wiltshire Police Crime Commissioner Philip Wilkinson lied through his teeth, Amnesty in Salisbury responded to the Rwanda Bill, and Michelle Donelan’s fake magazine campaign leaflet was promoted by drink driving fox hunter Jonathan Seed. Meanwhile, Wiltshire Council continued to gloat about prosecuting fly posters, attacking Adrenaline Stompers in Westbury this time, whilst The Marley Experience concert in Devizes was attacked by some nasty Facebook posts, falsely claiming it was cancelled. 

But away from nastiness, Chloe raised £600 for Devizes OpenDoors and we previewed Devizes Lions’ sponsored walk for the homeless charity too. The Peppermill started an open mic. We also previewed Simply The Best; Tina Turner Tribute at the Corn Exchange, The Female of the Species fundraising this time for Rainbow Early Years in Trowbridge, two teenage punks bands appearing at the Pump, Steatopygous & SHOX, a Bradford Roots session special with Bill in the Lowground, Daisy Chapman & Thieves, the Patsy Gamble Jazz Trio in Bromham, White Horse Opera’s Puccini’s “La Boheme” at Lavington School,

Six:Teen Edition, Devizes Music Academy’s first show, Palooza’s second night at The Exchange, and Swindon Jazz & Soul Festival, which I attended and loved!

Reviews also from James and the Cold Gun, Lucky Number Seven, Nobody’s Dad, The Real Cheesemakers at The Pump. Jinder and Mark Harrison at the Queens Head in Box. Barrelhouse at The Southgate. Roughcut Rebels and The Clones at the Three Crowns. Shox & Steatopygous supporting Menthol Lungs at The Pump. The Lost Trades at The Piggy Bank. Six:Teen Edition. “Skylight” at the Rondo Theatre. “The Thrill of Love” and “And Then There Were None” at the Wharf Theatre, and The Marley Experience came to Devizes and everyone loved it regardless of the grandstanding whingers!

May

A month of ups and downs, we previewed Professor Elemental, Madam Misfit and the Real Cheesemakers at The Barge on Honeystreet, Frome Festival, White Horse Opera’s Mathieson Trust fundraiser with Anup Biswas and The Brand New Heavies at the Cheese and Grain. We reviewed music from LilyPetals, Courting Ghosts, Nothing Rhymes With Orange and Poppy Rose.

We talked about Affordable school costs for all, Swindon families uniting in memory of innocent children killed in conflict, and while Vicar Gerry Lynch faced a soaking at Pottenre fete, St James Devizes Vicar Keith Brindle was honoured as a Canon of Salisbury Cathedral! But sad news was to hear Devizes International Street Festival was cancelled, and funding was needed to keep Confetti Battle going ahead. And Tonka Bean was closing too.

Events picked up though, Ben hailed the Beaux Gris Gris gig the best Devizes has ever seen. Meanwhile I was with Illingworth and catching up with George Wilding at the Crown in Bishops Cannings. Andy attended Peter Knight’s Gigspanner at Pound Arts Centre. Ian covered “The Incident Room” at the Rondo Theatre, “Sister Act” at St. Augustine’s, and “The Thrill of Love” at The Wharf Theatre. There was a homecoming gig for Nothing Rhymes With Orange at the Three Crowns, and another one of those nights when I went on a round robin tour of live music in Devizes, at Long Street, The Southgate and Three Crowns. The only time for a spoof article that month was for one headlined “Labour Party Could Change Star Wars Day to ‘Sci-Fi’ Day so to Not Offend Trekkies!”

June

June is about going out! Ben gave us reviews of Jim Blair and the Mojo Makers at The Beehive, Swindon, and Robert Vincent & Ryan Davis PAs at Marlborough’s Sound Knowledge. I caught I See Orange at The Pump with Devizes-own Steatopygous.

Ian checked out “The Collaborators” at the Rondo Theatre, and “Where’s The Cat? Live!” at the Wharf Theatre, and then there was Devizes Arts Festival which we all covered as extensively as possible.

A Junco Shakers at The British Lion, The Slambovian Circus of Dreams, The Sound Of Blue Note, Duo Tutti, Martin Simpson, Belinda Kirk, Lucy Porter, Ida Pelliccioli, Adam Rutherford, Edward Cross Quintet, Dr. Phil Hammond, Jolly Roger and The Cable Street Collective all reviewed, mainly by Andy, but a few by myself and Ian too, even had one from the Wharf’s own John Winterton. What a great year for Devizes Arts Festival, my personal favourite? Easy, that was Lady Nade.

All this and I still found time to preview Devizes Scooter Rally, the return of Devizes Youth Action Group gig nights, and FullTone Festival’s youth-supporting extra day. Review music from Talk in Code and Rosie Jay. But if anything kept me busiest, it was interviewing candidates for our MP post, Green Party candidate for Melksham-Devizes Catherine Read, Labour candidate Kerry Postlewhite and Lib Dem candidate Brian Matthew. It was an honour to meet them all, and I enjoyed chatting to them in New Society. Any one of them had the potential to do a more honest job, but there was something about Brian which made me think, hey, that’s the guy for the job; the best thing about it, a majority agreed with me; crazy times!!

July

And so, it came to be. After fourteen tiresome years of Conservative lies and robbery, continuously leaning further into far right extremism, openly promoting hate and dividing the nation, they got thrown out of there, but didn’t take it on the chin! “Michelle Gonelan Makes History,” was one article we published to make fun of the knicker-twisted attitude of those poor losers. Furious Tory supporters took to local Facebook groups, and we made fun of that too, with a headline deliberately in caps-lock, “WOK SNOWFLICKS GIT THERE KICKS ON DEVIZS ISSUES (BIT BETTER) THIS ELEKTION!” And then, even our county council leader wept like a baby over the new government scrapping the Stonehenge Tunnel! Oh, such fun!!

We continued to focus on DOCA’s fundraising efforts, and took a recap visit to Devizes OpenDoors too. But July is festival season, and we were too knee-deep in sunny vibes to worry about the disgruntled minority upset with the election result.

Firstly, it was a shame Devizes Scooter Rally and the Full-Tone Festival had to be one same weekend, such that I attempted to do both but spent most of my time cruising from one to the other, great though they both were. And it was a time when our recommendations came to pass, as Meg was booked for a rather smashing MantonFest, and The Sarah C Ryan band played DOCA’s Picnic in the Park, in which I played compere, in a giraffe onesie! Happy days.

Ian went to My Dad’s Bigger Than Your Dad Festival, in Old Town Gardens, Swindon, and I popped over to check out Minety, and crowned it the best local festival I’ve been to. Other great nights out included Talk in Code & Laissez Faire at The Southgate, Ian reporting on The Rob Lear Band at The Piggy Bank, Calne, “Faith” at the Rondo Theatre, and “Macbeth” at Cleeve House, Seend.

We also previewed the next season at the Wharf Theatre and announced there were only a few remaining tickets for Trowbridge Festival. Events, events, events, that’s what summer is for, not worrying about politics, it all ends with the same poor results. I believe it doesn’t matter who is at number ten, and while it’s probably better to have the last lot gone, we will never recover this financial pothole until we ALL face up to the fact the cost of Brexit has ruined us, and until we accept it and freely discuss without prejudice and arguing, what we can best do to recover from it, instead of blaming the current government for problems rooted in politics long before they won, we will see those comforts the UK have become accustomed to drop from us one by one. The closure of venues, pubs, shops, event organisers, the hardship of creatives, the general disillusionment that a new government can fix it overnight, all paints a very gloomy picture. Therefore, as I said at the beginning, I’m done with politics, and feel Devizine should focus on supporting the arts and entertainment as much as possible.

And that’s the end of the first half of this 2024 review, we’ll see a lack of political matters during the last six months of the year, and a new ethos of positivity in the face of such gloom…..I hope!!      


Burn the Midnight Oil; New Devizes-Based Band You’ll Be Hearing a Lot About….

Far from burning the midnight oil, it’s a weekday afternoon and I’m with a cuppa, at a rehearsal for a blossoming Devizes-based trio, Burn the Midnight Oil. If you’ve ever thought nothing great comes from open mics, this might be the thing to change your mind….

It’s early days, forming in September, they’ve created a corporate identity, recorded a three-track demo they’re planning to launch, are busy writing more songs, and sound as if they’ve been on the local circuit forever. I wanted to catch up with Burn the Midnight Oil to find out how they’ve come so far so quickly, dig a little deeper into their backgrounds and generally poke my nose into their business.

First clue, they’ve varying areas and degrees of experience in music, but have found common ground through their medical issues. Front girl Chrissy, aka Steen, spoke of her PMDD, GAD and ADHD, and coming to faith during Covid at Devizes’ St James. “There was a day I was like, really, really sobbing my heart out, and praying,” she expressed, claiming she heard the “biggest, boomiest voice ever say ‘sing,’ and two weeks later I was having videocall with a huge hip hop artist who was part of Foreign Beggars, which were massive during the 90s and early noughties.” Landing a deal working for a record label Chrissy liaised with drum and bass producers, who asked her to “jump in on the tracks,” and she supplied vocals on tunes from artists like Beskar.

“It feels a bit serendipitous,” she said, “because I had no experience working as a social media manager, I had no business connecting with somebody who’s quite prestigious and I had no right to just jump on some tracks and with my first EP release going straight onto one of the biggest drum & bass labels in the UK.” To which she compared the unforeseen development to meeting the band members, Andy ‘Big Bird’ Jacobs and bassist Chris Lane.

Chrissy explained Chris has Marfan syndrome, “I’ve known Chris for a while, but he’s very introverted,” she elucidated, progressing onto finding a mutual neurodivergent connection and being a support system for each other. Chrissy formed a duo with a bassist called One Trick Pony, performed at a few open mics and organised charity fundraisers at the Southgate over the past two Christmases. When the bassist was unavailable due to other band commitments Chris stepped in, and they spawned the idea to reform the duo under a new name. Though not present at the beginning of our chat, Chris did turn up toward the end, either shy or forgetful as to just how many bands he’s currently engaged in!

Present and vocal throughout, lead guitarist Andy, told of a car accident which affected his nerves, and most of the dexterity in his fingers. Prior to this, Andy spoke of being a “very successful professional guitarist in London,” a session and theatrical guitar player, citing Shirley Bassey as an artist he had worked with.

“I could still play a bit,” he explained, “but my career was over, which was a bit of a downer.” Playing his part in an amateur blues band, Andy went into social care management, “but Covid triggered an illness in me called Barry Syndrome,” he told me, “Which completely paralysed me from my neck down overnight. I was in hospital for six months. My wife was told I probably wouldn’t last the night. On the two occasions I didn’t see her for six months because there was no access, I was told I’d never walk again.”

Andy put his recovery down to the bicycle in the gym, and though he didn’t imagine he would play guitar again, he expressed, “it was all a bit tragic and horrible, but slowly I got a little bit back and I started picking the guitar up again. After about six months, I came out of hospital. I just started playing again, just acoustic, and I that’s when I went up to The Crown [open mic at The Crown, Bishops Cannings] and I played a couple of pieces there.” Within those pieces, he asked Chrissy to sing them.

They trialled a drummer, “but he wasn’t the right fit and he knew he wasn’t,” Chrissy said. “So he very graciously said I’m going to walk away from this because I’m not the right drummer for you, which is a really nice thing to say. But I think we’re percussive enough with how we play.” Considering their medical tribulations they joked about getting the legendary one-armed drummer from Def Leppard. “You know, like one arm, one leg, not as long as they’re opposite sides of one another, one each side, that would be silly!”

Now, if music is therapeutic, I wanted to gage if that was their reasoning for the band, but burning the midnight oil isn’t best medically advised over a strong cup of coco and an early night! Chrissy explained the band name derived from her staying awake all night drafting the songwriting, rather than the notion they were rock, rolling, and burning the candle at both ends.

Chrissy passionately talked of being a survivor of domestic abuse. “If you’re a woman with ADHD, you’re more likely to attract people with narcissistic tendencies,” she explained, justifying her “horrible cycle” she’s trying to break, “of quite abusive relationships,” and how this is reflected in her songwriting. “There’s a lot of resilience and hope that comes from the songs. I’m on a journey of healing. I think we’re all on a journey of healing, and I’ve always used the music as a form of therapy. If I can get my experiences onto paper, it’s like I’m not affected by it.”

Andy agreed, spoke of his consistent neurological pain, “but when I’m playing it just goes. I don’t think about it. I’m just so intense in the music. I mean, it’s just my passion.” He began reminiscing of his instant attraction to guitar when, on his first day at secondary school, the music teacher putting a guitar in his hand, and that was his calling.  “I wanted to be a professional guitar player, and nothing would stop me.”

If this is all beginning to feel like I’m in a support group here, the proof is the pudding, and the three tracks they’ve put down so far suggests otherwise. With harmonica and wavering strings opening, Lock Up has a rootsy blues feel, Chrissy’s vocals poignantly express the theme of the arrival of mysterious and dubious fellow, expertly, and the whole vibe is nonchalant and smooth.

Scapegoat ushers in a more upbeat bluegrass air, with a deadpan subject, and Werewolf posing similar tenet, yet tips back into blues, and probably contains the most beguiling hook. Throughout though, there’s an intelligent balance between Americana and UK folk-rock, bags of potential, and the stylised promise of a blossoming band heading for something far greater.

In trying to think of a suitable female-fronted comparison, I changed to consider The Doors in the end, for the composition of three individuals with varying influences combining to create a timeless sound is how I’d pitch them both. On songwriting Chrissy connoted a song she was working on called Devil You Know, “because statistically you’re more likely, as a woman, to be raped by somebody you know,” she said. “It’s not about being dragged into the bushes, and that’s been my experience I’m really trying to connect with, those darker sides of life experiences, because life’s hard, it’s not any an easy ride for anyone.” Using a metaphor comparing a paper cut to a broken leg, Chrissy conveyed an expression she said she was fond of, that “pain is pain. I really want to connect with people of over-shared experiences like this, in the hopes that music could be healing.”

It’s the most common conviction of dedicated singer-songwriters to want your audience to identify with your outpourings, otherwise your voice is just an instrument, and you are just a pop singer. Though within the masses of potential for Burn the Midnight Oil I hear scope for commercial viability, it’s through their personal reflections and devotion to support one another which I feel will strengthen their ability to convey the image they desire. After a successful first gig last weekend at The Kings Arms in Amesbury, arranged by Wiltshire Music Events, Burn the Midnight Oil are looking forward to a fundraiser at the Devizes Southgate on Sunday 22nd December. See the poster below, there’s raffle prizes et al.

Chrissy has a solo set at the Lamb in Urchfont this afternoon (15th Dec) supporting Vince Bell, the most modest of Devizes acoustic legends, who Chrissy cited as assisting her in developing her songwriting talent. Promising things are afoot here, and you’ll be chuffed with yourself to witness it blossoming, I believe.

“Seeing us as a brand and my understanding of working in the industry,” Chrissy figured, “is like, actually the music isn’t the product, we’re the product and I really want to share that journey, make it personal for everybody.”

With folk songs drafted about the origins of tiramisu, odes to Morticia and Gomez Addams, Steen justified her thought processes and random muses, the latter being an “epitome of a really healthy, loving relationship,” in a tenacious yet optimistic manner to direct her developing subjects didn’t all focus on “the bad things that happened to me.” Though I find it’s the ability to use such as metaphoric examples and include them into a combination which will really make the hairs on the back of our necks stand up, and they’ve the greatest potential to do this.

 I’m hoping one day I can write a happy song,” she mused, “but the style is, well, you know, you don’t choose the songs, the songs choose you.” And so ensued a conversation about the differences between the melancholy of Dylan and wild romantic images Springsteen tended to paint, for there’s always exceptions to the rule, they both broke their own style at times, but pictures, I think you’ve got this one now; Burn the Midnight Oil is a name we will be hearing a lot of over next year.


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“A Streetcar Named Desire” at The Rondo Theatre, Larkhall, Bath, November 27th-30th.

by Ian Diddams
Images by Josie Mae-Ross and Infrogmation

Tennessee Williams’ quasi autobiographical drama “A Streetcar Named Desire” was first performed in 1947 as the world emerged from years of global conflict. That war had changed things for ever in many ways …  while in others, many things remained the same. Williams’ own family’s misfortunes and situations are threaded throughout the play, but while those may have been in reality based in the 30s and 40s the issues he raises – of misogyny, bigotry, domestic abuse, violence, homophobia, and social snobbery – are as obvious today as they were almost eighty years ago.

As titles go though, it may well have been simply named “The Fall and Fall….  And Fall of Blanche DuBois”

The eponymous streetcar ran on the line of that name in New Orleans until around the time the play was first performed. Its simple plot is that of Blanche DuBois and her fall from status, grace and finally sanity. Surrounding her is her sister Stella, who abandoned their cocooned life years before, Stella’s husband Stanley, a course, uncultured “Polak,” and their abusive relationship is mirrored by their neighbours Steve and Eunice.

A glimmer of light comes Blanche’s way in the guise of Mitch, seemingly gentler and more appreciative …  until he turns, showing his shared heritage with the other men. Blanche descends into madness as her airs and graces so vilified by Stanley slip away to expose her own seedy recent past, and her own bigotries, while exposing the other womenfolk’s tightrope walk through their marriages.

This is not a light play. It would come with plenty of trigger warnings – domestic violence, homophobia, rape, alcohol abuse, to name but a few of them. That the company present these challenging aspects convincingly without descending into casual titillation or merely seeking to shock is tribute to their acting skills, the direction of Heidi Street, and the set and technical wizardry on display.

There is another aspect to heighten the senses, and bring New Orleans’ Latin Quarter into this pleasant eastern suburb of genteel Bath, UK. The show’s very own jazz band of Tom Turner, Peter Tucker and Yvonne Paulley providing the appropriate Louisiana style soundtrack to complete this exquisite holistic production.

Not content with playing clarinet as above, Yvonne also appears as the Nurse and a rose seller with a fine command of Spanish, and in-between those two demands also produced the show. Accompanying her and is another clearly ridiculously talented man, Tom Turner swapping his saxophone to play the Doctor as the stranger whose kindness Blanche, for a final time, relies on. Toby Skelton is another all-rounder who aside from stage managing all of this also appears as the Young Man, while Riza Domi is obviously far more sensible, with just the one role of Pablo, one of Stanley’s poker playing buddies.

Neighbourly Steve and Eunice are subtly portrayed by Tim Carter and Sophie Kerr, all lovey-dovey and lustful – until the pans begin to fly. Tim Hounsome sensitively plays Mitch, Blanche’s almost love interest – until his urges almost overtake him and finally his own prejudices come through. Stella is sympathetically portrayed by the excellent Lauren Arena-McCann who as an American herself – albeit from New York State and not Louisiana also doubled up as unofficial voice coach! Her portrayal of an oppressed wife trapped in a caustic, abusive relationship in which she acquiesces easily to her own lustful urges, while protecting her sister from a world Blanche cannot comprehend is painfully perfect. Matt Rushton delivers Stanley cringingly well too…  his physical presence, large voice and overbearing character is full of unspoken menace the entire play; of course, to Stella but also to his drinking and poker buddies who he controls through fear.

Which simply leaves Blanche DuBois. Lucy Upward is the very essence of Southern belle – sophisticated, used to the finer things in life, seeking to move in the right social circles…  but exposing the cracks in that edifice as the story unfolds.  Delicious flirtatiousness, demure repose, increasing intemperance and the slide into insanity as her Walter Mitty world collapses around her. Lucy captures these airs, moods, and madness perfectly – she IS Blanche DuBois.

The set is a marvel – a perfect setting to portray a cramped two room apartment in the confines of a community theatre. Muslin roman blinds provide discreet views of more intimate – and jarring – moments while the rake of the stalls provides the upstairs flat from Stella and Stanley’s own. Costumes by Chrissie Fry as ever from her, capture the times and characters so well, from Blanche’s diminished trousseau to Stanley’s slobbish attire replete with hideous bowling shirt.

There is false hope, there is pain, there is self-delusion, there is despair. But overall, at the Rondo this week, with a sold out run, there is a Streetcar…  named Desire.







“A Monster Calls” at The Mission Theatre, Bath, November 26th-30th.

by Ian Diddams
Images by Rowan Bendle and Ann Ellison

When is a Monster not a Monster? When is a good person not good? When is a bad person not bad? When is wisdom not positive? When is being invisible a terrible thing? What is the truth?

Bristol Old Vic took Patrick Ness’ novel “A Monster Calls”, based on an idea of Siobhan Dowd, and with the help of Adam Peck created this quasi-fantasy tale of an adolescent coming to terms with teenage angst, awakenings and the complex realities of the adult world. Whilst not harnessing Sondheim (“Into The Woods”), Wilde (“The Picture of Dorian Gray”) and Shakespeare (Macbeth’s witches) nonetheless tiny elements share some areas of those three…  but more of that later…

Next Stage Theatre Company” perform this powerful story of growing up this week at The Mission Theatre, Bath, in the round. A cast of eleven mixed youth and adults form the principal and secondary characters and general ensemble Greek chorus style seamlessly. Directed by Alexa Garner she has carefully crafted this beautiful tale into the powerful vehicle that intensifies its emotions as the play progresses. It is a simplistic play at face value – young teen faces bullying, adult repression, nightmares, and the worst scenario imaginable at such a youthful age and eventually learns the solution to dealing with life. In this regard the youth orientated novel by Ness is quite clear – but its more than just teenage angst. This is a play of onion skins, where if desired peeling away each layer reveals more and more philosophical and at times disturbing facts – possibly about oneself.

The primary character is Conor O’Malley wonderfully portrayed by Fin Hancorn. Its an emotional role and Fin clearly digs deep into himself to reflect all the emotions demanded of his character – he was clearly emotionally drained at the final curtain last night, full kudos for a young actor. He is more than ably contrasted by the Monster, superbly portrayed by Nicky Wilkins as the overbearing and at times demonic, Freddy Kruger like, Yew Tree …  that despite the name and the presence reveals his true purpose at the play’s end.

Conor’s main protagonists are played by Jonathan Taft as the arch bully Harry, and his two henchpersons Sully (Poppy Birch-Langley) and the fully convincing as the unconvinced bully Anton (George Chivers). Treading that wary line between teachers that “don’t get it” while simultaneously caring for their charges are Bob Constantine as Mr. Marl, and particularly Perrine Maillot as Miss Godfrey. Adding insult to injury are two of Connor’s family members, estranged Dad (Mayur Batt) who has lost all realistic connection to his son whilst trying to clumsily help him – and failing, and Grandma (Kay Franksen) who redeems herself at the end after being impervious to teenage needs or Conor’s own wants. Members of the cast also appear throughout as that Greek chorus style ensemble.

Not everyone is against Conor though – Lily is Conor’s best friend (Millie Sharma) though Conor drives her away to a position of frustrated friend looking on from afar. That just leaves Conor’s mum, beautifully portrayed by Hayley Fitton-Cook as her health deteriorates, the one character throughout that maintains a caring, loving, and symbiotic relationship with Conor. The stage chemistry between these two is palpable and reaches its peak in the beautifully surreal healing scene that is played out in their minds but enacted with no spoken word, other than a song, and dance and mime and the use of Makaton to communicate through their void. The Monster plays his part also in the scene as the barrier between them whilst being the source of the hope of healing.

Overall the play works through multiple layers …  themes reoccur though not always obviously. The Monster tells a tale of an apothecary – a practicer of old medicine of plants and herbs – while then being the last chance cure from his bark. The overarching meme however is how good and bad can be mixed – a bad pious parson, a good greedy apothecary, the misery of invisibility and the pain of being visible.  These are all flipsides to perceptions; the complexities of adulthood that Conor is beginning to enter and where self-delusion is the greatest barrier of all.

Which just leaves the creatives to praise. The set (Alexa Garner, Liz Wilson, Brian Fisher) is a simple one with excellent use of various props in multiple uses – a hatstand becomes a grandfather clock becomes a hospital I.V. pole, stools also represent industrial mechanisation and so on. The pièce de résistance is undoubtedly the yew tree plinth on which the monster spends most of the show, and height differentials are subtly crafted where the Mission’s layout provides. Costume is simple and contemporary – clever use of school ties to juxtapose the earthy woodland nature of the yew tree, a simple hospital gown and the ethereal Monster garb. Lighting and sound (Kris Nuttall, Rowan Bendle) were subtle but oh so effective – the soundtrack was sublime. Alexa, director, was full of praise for her hard working stage manager – the ironic sign of a great stage manager being that you never know they are there!) Liz Wilson. Choreography totally spot on (Hayley Fitton-Cook and Dynamic Stage Action)

So what of Sondheim, Wilde, and Shakespeare? Shades of “No-one is alone” the worst thing of not being talked about is not being talked about… and is the Monster leading – or controlling Conor? These themes all whirl around this play constantly…  until finally all is made clear.

“If you speak the truth – you’ll be able to face anything.”


“A Monster Calls” is performed by “Next Stage Theatre Company” at The Mission Theatre, Bath nightly at 7.30pm from Tuesday 26th November until Saturday 30th November 2024.

Tickets from https://www.missiontheatre.co.uk/tickets?category=A%20Monster%20Calls

Hansel & Gretel: Panto at the Wharf!

Images: Chris Watkins Media

It was lovely to spend Sunday afternoon at Devizes’ Wharf Theatre, to see how this year’s pantomime Hansel & Gretel, is coming along. If my preview is behind me now, or if “oh, no, it isn’t,” I’m happy to confirm ticket holders are in for a real treat, and those without a ticket I urge you to be as quick as a quick thing being quick…..

Tickets for panto at the Wharf sell out fast every year, rightfully. I believe there’s only a handful left. It may beg the question why I’m here to preview it at all, but with our Ian hot on the scene of anything theatrical these days, I’ve missed being at our communal little theatre. While I may not be so knowledgeable on Shakespeare’s plays, I know what I like, and I’m smitten for a great panto.

First time panto co-director Karen Ellis, who works with Jessica Bone, told me there’s a slightly different approach this year. I couldn’t tell, Jack & The Beanstalk was wonderful last year, Hansel & Gretel is going to be as amazing as a gingerbread house decorated with sweeties!

A few sweets need tweaking, I’m at an early rehearsal, neighbouring seats are occupied with ladders and paint pots. Opening night is Friday 29th November, and with extra dates added the show runs until Saturday 7th December, with matinees on the Saturdays. With professionalism abound from what’s essentially an amateur production, from my sneaky peek alone, I’ve no doubt, this show is going to absolutely sparkle and thrill young and old equally. 

It was interesting, though, to see the inner workings of a panto developing, the many elements needing synchronisation I wouldn’t have contemplated before now, and the attention to detail to something which might seem somewhat improvised to an outsider. It might be a couple of hours of quality family entertainment to you, but from script, expertly crafted by The Wharf Writers’ Group, to this stage where only a few I’s need dotting and T’s crossing, has taken a year of hard work from a thoroughly dedicated group of very talented people.

And the hard work explodes like a supernova. As any panto should, the narrative is slight and loosely based on the Brothers Grimm fairy-tale. The show concentrates on slapstick, corny gags, drag, parodies of pop songs, slight tragedy, and a huge dollop of funny banter and audience participation, with a sprinkling of storyline. Brush up on your children’s TV show themes, anything more might be deemed a spoiler, but I can assure you, you’re going to love it; all these elements are in grand abundance, and it thoroughly entertained me.

Starter for ten, neither Hansel, parts shared by two great young actors, Rory Lee and Tamsin Antignani, nor Gretel, similarly played by Emily Edwards and Gigi Underwood, are the protagonists here, rather the main parts depict an investigating police officer, Buttons, and his love interest, comically named Carrie Okie. The latter is played superbly by Georgina Claridge, also responsible for choreography, and the former, Officer Buttons is sublimely brought to life by Darcey Oswin; both masterful and confidently versatile in acting and singing, they work together like the perfect double-act.

Adam Sturges’ thespianism flare, with a natural ability for improv makes for the quintessential dame; he remained in character and high heels when I chatted to him outside! Is this the first pantomime dame to have a son, I wondered? Shaken, but not stirred and played by Lucas Dowling.

Likewise, Helen Pritchard makes for an excellent witch, and there’s supposed to be a compliment in there! Lesley Scholes is hilarious as a discluded fairy godmother, and the randomly placed comical duo is supplied brilliantly by Oli Beech and Liz Sharman.

Other singing and dancing characters are cast aptly, with Archer Leigh, Jo Benyon-Tucker, Cathy Chappell, Corrin Bishop, Poppy Lamb-Hughes, Emily Webb and Ben Bryan. It wouldn’t be Christmas without a panto, and even a Grinch like me, after watching just a rehearsal for this early in November, could sense sleigh bells jingling and ring-tingle tingling all the way home!

I cannot guarantee your Brussel sprouts will be perfectly timed to coincide with the turkey, but I can assure you without doubt, Hansel & Gretel at The Wharf Theatre will warm your hearts and send you home smiling from elf ear to elf ear!

But hurry and be lucky to pick up the few remaining tickets HERE.


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“The Real Inspector Hound”, at the Rondo Theatre, Larkhall, Bath, November 8th 2024.


by Ian Diddams
images by Playing Up Theatre Company

When is a mousetrap not a mousetrap? When it’s written by Tom Stoppard…
If you have seen “The Mousetrap” you may find elements of “The Real Inspector Hound” quite familiar. Or alternatively, if once having seen “The Real inspector Hound” you then progress to seeing “The Mousetrap” you may find elements of that show quite familiar…

“The Mousetrap” of course being a play by Agatha Christie that is the London West End’s longest running play, performed ever since 1952 with only a lockdown enforced break in all that time. Famously, audiences are asked not to reveal the solution.  Tom Stoppard, allegedly, found this requirement somewhat tedious and so set out to write his own, similar, play.  You would ideally want to see both however to fully understand what he created.

“The Real Inspector Hound” is also famously known for being a play-within-a-play; that is, a play in a theatre where the story is about a play. Stoppard though arguably takes this one step further especially as the surreal activities of the second half of the play unfold, as it becomes a play within a play within a play…  the complexities of what that entails are best learned by seeing Stoppard’s excellently bizarre play!

The Playing Up Theatre Company present this show this week at the Rondo, Theatre, Larkhall, on the eastern extremities of Bath. In it they take Stoppard’s already surreal comedy and add even more layers to it…  not only is their performance of Stoppard’s urine extraction of Agatha Christie, but they have added hilarious homages to “The Play That Goes Wrong,” “Acorn Antiques” and even “Monty Python,” especially in the first half – the second half is bonkers enough to not need any additional layers, but the surrealism is excellently portrayed with good pace and no blinking of an eyebrow – audiences need to stay awake and in tune and to have listened attentively to the opening fifteen minutes to get all the nuances going on!

Stoppard used to be a theatre critic himself, and uses this knowledge as a vehicle to extract the urine to that demographic. The two critics, Moon and Birdboot, played by Andrew Chapman and Simon Shorrock respectively, certainly portray two characters full of self-importance and one upmanship, though from opposite ends of the ethical spectrum and the two actors capture this interaction excellently. James Coy adeptly and gruffly spins his way around the stage in a wheelchair as the physically challenged brother-in-law Major Magnus Muldoon, overly protective of his sister-in-law and threatening dark retribution to any man displaying intentions towards her. But is he what he seems to be ?

The star of the show – if one may be permitted to pick any one actor out of a superb line out anyway – for me though was Anne Hipperson as Mrs. Drudge the housekeeper. Her self-confessed homage to Mrs Overall from “Acorn Antiques” is perfect – some exquisite comedic timing. The only thing missing from the portrayal was Stoppard failing, sadly, to provide her with a line of “Two sugars” during the painfully brilliant coffee scene.

Simon Gascoyne, smooth, suave, and sophisticated wooer of women was played by Jordan Phillpots, oozing self-confidence and smarm from every pore, while Felicity Cunningham, played by Leah Brine, the breathless, suspicious, doubly wooed young lady was suitably, deliciously aghast at the abhorrent menfolk in her life.

Then there was the almost obligatory femme fatale for such country house whodunnits – Sophie Brooks as Lady Cynthia Muldoon. Outwardly a devoted wife to her missing husband, but privately a hot bed of passion for passing fancies, Sophie mixed M’Lady’s brooding, sultry character in the farcical first act, and surreal second half to perfection, another actor with perfect comedic timing.


Which leaves just Inspector Hound himself – as ever perfectly played by the ever talented Richard Chivers. Or then again – is he the “Real Inspector Hound”?


That leaves just one more character on stage … mentioned several times, but hidden, then revealed – twice. No names, no pack drill, but the character never puts a foot out of place, and remains faultlessly in character and on stage for the entire show.

The set, by cast and crew, is a simple one as befits a typical country house murder mystery, with the use of the Rondo’s rear “cubby hole” option as the theatre seats used by Moon and Birdboot. Costumes fitted the period setting of 1930s upper class types, and technical design, operation and support was handled with aplomb by Darian Nelson and Emily Smith. This just leaves kudos for wonderful direction by Darian Nelson, abetted by superb stage management – also stepping into the fold of tech team for technical reasons – by Diluki O’Beirne.

I can’t praise this performance enough. From the pure delivery of Stoppard’s farcical surrealism, to the directorial tweaks and homages so well delivered by the cast, to use of Bluetooth technology to really sell on stage audio, everything gelled so well.

So all that remains now is to advise you all – go and see this play wherever you can and see if you can spot who is…  “The Real Inspector Hound.”





The Mist; New Single from Meg

Chippenham’s young folk singer-songwriter Meg, or M3G if you want to get numeric, will release her 6th single The Mist on Friday 18th October, and it’s got me thinking about the film Rain Man….

Showing my age, I saw it at the flicks in 88! Tom Cruise was everywhere in the late eighties, and this film began like any other. Cruise, an egomaniac businessman, but in his reassociation with his lost brother, played by Dustin Hoffman, surprisingly bucked the trend of Cruise’s Hollywood template. For the masses it was an awakening, raising awareness of and offering a fascinating insight into autism.

In an interview for Devizine conducted by my daughter, this celebrated upcoming singer-songwriter was comfortable discussing her autism. “I honestly don’t think I would be doing this if I wasn’t autistic, in a weird way,” Meg explained, “All of my songs are about me in some respect and it’s a part of me I can’t escape.” The Mist echoes this sentiment, precisely and wholeheartedly.

At the time of the 2023 interview, Meg figured the single they were discussing, Together was the only song she had written about autism, but connoting her later tunes, I believe others are, perhaps none more than The Mist. It is the most evocative and poignant on the subject, and being, as Meg said herself, “it’s part of who I am and I really value that part,” I’ll boldly declare this is the best of her singles to date.

We’ve come so far since Rain Man in understanding, identifying, and accepting autism spectrum disorder. The most important factor, I believe, is that everyone is an individual. Ergo, while at the time we may have considered Rain Man this insight into the autistic mind, it was, actually, only ever an insight into the character of Rain Man.

This song is on a similar level, as Meg opens up and expresses her deepest thoughts on sociability and correlation versus serenity and solitary, angelically. The line in the song, “my piece of mind got up and left my side, said I’d be better off without them,” is a haunting example. It is also a fascinating insight, to Meg’s sentience, yet in essence, it too is a beautifully crafted song with powerful ambience.

In thoughtful prose it drifts, still as the night air, and candidly as chilly, as if Meg invites you into the depths of her consciousness. It is a tested formula, astute honestly in songwriting, to leave a listener believing they’ve taken a piece of the singer’s life with them, and in turn, identified with it. Yet Meg does this so utterly uniquely it could only be her thoughts done her way, that’s the only hook needed; we’ve all put a square peg in a round hole. The solitariness of her delivery matches the theme and it combines into something wholesomely composed, yet sublimely forsaken.

Even the production matches the solitary of the sound, Meg provides her own backing vocals, to create layers of angelic voice, choral, like her thoughts reverberating, questioning or venerating her meaning. She will also produce and master her own work, so it is solely her outpouring, untainted by another’s input. And that is what makes it work so wonderfully. That is why Meg can hold a crowd willing to intensively listen, spellbound; I’ve witnessed this first hand, first time at the Pump, last time at the Tuppeny, it is something worth savouring timeover. If The Mist is a metaphor for the hindrance which obscures Meg from relating to others, it is also our musical Rain Man, a fascinating insight to how one’s personal autism conducts their innermost thoughts. And that, my friend, is how you write a masterpiece!

The Mist is out Friday 18th, check in then, on M3G’s Spotify page to hear it!


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Chatting with Josh Oldfield on Blues, Inspiration, and Drums in Suitcases!

I was chatting to Josh Oldfield last week, a Devizes singer-songwriter I believe we’ll be hearing a lot more of. Though this interview was pending before I’d had the opportunity to see him perform, coincidentally the Sunday before I was fortunate enough to, at a private party….

And it was worth a fortune, Josh has confident stage presence, a guitar soloist with soothing baritone vocals, white shirt and waistcoat, and a vintage suitcase foot-drum akin to a travelling Southern bluesman of yesteryear.  Connoting retrospective style, the drum gives depth to an otherwise acoustic set, and the show is quirky, but oozing with professionalism, like a one-man skiffle band. It’s something different from the norm, locally, which was the starting point to our chat.

Josh amended my description as ‘slightly different,’ “it’s a fair bit different,” he suggested, “and I didn’t mean to do it on purpose, it’s just naturally how it came out.” Fresh from Peggy-Sue’s local showcasing Don’t Stop the Music Radio Show on Swindon 105.5, he said it went “fantastic; there seemed to be people into it. And I don’t actually know what I’m doing, but it’s something different!”

Pinning his sound only for want of conveying it to you, I jested he caused me to think a ‘skiffle George Ezra!’ Said with upmost respect, despite Ezra’s commercial success, he never waivers his style, possibly opening a door to others with deep vocal range. Josh ducked the Ezra comparison, concentrating on the skiffle and deepness of his range. “Skiffle’s perfect. It’s something I should have realised with gigs; people seem to like originally. Years ago I’d try and move away from how deep my voice is, because it’s not popular. Professionals and singing teachers will tell you, that because my voice is baritone, they’re like, oh, you got to learn higher range for popular music.”

I supposed that was the appeal. “Well, yeah,” Josh continued, “turns out people like hearing the lower ranges, as it’s not so common, and maybe there’s a comeback now, where people are kind of picking that up a little bit more.” We waffled for some considerable time on the templates and expectancies of modern pop vocals, compared to a unique time of yore when a voice was a personal signature. Josh cited Tom Waits and Nick Cave as influences, favouring “obscure stuff,” over contemporary pop.

He first picked up a guitar at thirteen. “My dad just had a guitar knocking around the house. He used to play a bit, but didn’t really play anymore,” but stressed he didn’t start singing until recently. A couple of months ago he sang at the open mic at the Cellar Bar, “the first time my mum ever heard me sing, and I’m like thirty now. Singing is not something I’ve been doing naturally throughout the whole thing.”

Josh comes across an earnest perfectionist, one who solitarily hones his craft and doesn’t unleash anything until it’s mastered, ergo he’s new on the scene but ‘oven-ready’ to give an impressive show. If now is that time to break the local scene, there’s a valid reason. Given the all-clear from being diagnosed with testicular cancer last year, at twenty-nine years old, Josh expressed, “essentially that’s what ended up pushing me to want to pursue music. I was like, ‘I’ve kind of been given a second chance,’ you know? That was the main drive.”

At the party Josh pulled some finely penned originals out of his bag as well as adapted covers of crowd-pleasing pop, such as Tainted Love; the set was instantly prodigious. On writing he expressed songs were, “flowing out. They’re just coming. I was being asked last night, what’s this song about? I don’t really have a clue what they’re about. They’re just literally being put down on paper and then, there’s a meaning in there somewhere, you know? It’s more like transposing them. There was a song I wrote on Monday, and I played it on Tuesday on the radio, because it just kind of happened. But then, when I was trying to look at what it was about it, well, I mean, I was watching Clarkson’s Farm the day before. So, there was some stuff about a farm in there, so maybe it’s linked to that in some way!”

Capturing a moment no matter how inconsequential at the time, naturally crafting art sourced from it when inspiration strikes, and being as impossible to summarise how and why as it is to transmit a dream, is key to creative genius. That question put him under the spotlight, but he came up trumps!

Our conversation diverted to breaking the local circuits, the balance of adapting to certain venues and niches, as while many want cover bands, few prefer original acts locally, and I affirmed Josh’s self-penned vintage style would suit the matured blues aficionados of Devizes. Though we covered the upcoming more youthful indie-punk scene and talked of Kieran at the Pump. “That’s more what I remember,” Josh stressed after hearing me on the blues penchant of town. “Back in the day, the whole Sheer Music thing in Devizes. When that disappeared, I thought music in Devizes had disappeared. I thought it was all just, you know, pubs getting cover bands. But getting into it, there’s quite a big scene. It’s just finding it.”

That’s why we, and people like Peggy-Sue are here! Josh is sourcing all the right channels and appears on Fantasy Radio on the 10th of October.

We continued onto the one-man band thing, and that authentic suitcase drum. “It’s from America,” Josh explained, “it’s a suitcase with the basic drum built in. There’s a Pan American drum company, only two companies in the world that do it.” I imagined axemen of yore stopping at the crossroads and selling their soul to the devil with it! “Well, yeah, that’s the thing,” he replied, “I want to play instruments where I can take them anywhere. So I got the kazoo as well. I can take that anywhere. I can play acoustic guitar anywhere. I can sing anywhere. When I think blues, there’s electric, but then there’s the kind of, sitting on the front porch, playing kind; playing just cause you want play,” which led us onto old-archaic bluesmen, of which there could be no doubt Josh has done his homework, alluding to RL Burnside and others. “No one knew about him until he was like sixty something. He was a sharecrop farmer, and he just lived out there. He had like sixteen children or something, you know? But he didn’t care. And that’s really for me where that kind of foundation comes from,” he said, explaining the story of a blues song he played at the party.

“That old style of blues, I’m trying to lean towards, to be honest, has a lot in common with punk,” he said and triggered a tangent on pigeonholing when roots intertwine, which developed onto open mic nights.

“Everyone I’ve met has been through the open mics, and I like playing them,” Josh reacted. “There’s this kind of community around it. Yeah, it can be a bit musician convention, and again, you mentioned Vince Bell, you know that’s where I met Vince. Me and him are looking to play a couple of shows together hopefully later this year.”

Playing with the ethos of taking music back to its roots makes Josh flexible, his music fits into folk and blues, so it’s apt to work with acoustic folk singers like Vince, and Josh mentioned working with Jamie Tyler of The Worried Men too, electric blues, a different kettle of fish, but still fits like a glove. “The live reaction to stuff seems to be great,” he added. “It’s that people like the music, to be honest, more than anything else that always surprises me. It’s like we were getting messages in while I was on the radio yesterday and people saying that they were really loving it and stuff and that’s surprising.”

If Josh Oldfield is modest and wears his heart on his sleeve, it’s a common sign of a creative prodigy. He admitted, “I’m very reserved, introverted. In fact, part of the reason I like playing music is because I don’t have to be in the crowd. I don’t like being in crowds. So if I’m playing the music, I’m not in the crowd!” There’s logic there, but in the brief time I saw Josh play, I’m convinced of what I said at the beginning, I believe we’ll be hearing a lot more of him.

Book Josh Oldfield with Marland Music HERE.

Follow him on social media, links are here Facebook. Instagram


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Information Camouflaged by Three Daft Monkeys

Daft monkeys, three of ‘em, and I was proved wrong. It seems monkeys are indigenous to Cornwall, and they bring their monkey business to you with their stupendous new album, Information Camouflage…

Believing is not always seeing; I see four members of Cornish gypsy-folk Three Daft Monkeys, assuming one doesn’t wish to identify as simian, at least not a daft one! Describing their latest release as “a rich, life-affirming tapestry that masterfully blends world folk inspirations with wild punk-infused energy and modern storytelling,” they’re not fibbing about that, it’s fast, furious with pithy prose and bonkers beats.

Imagine Dylan warbled The Times They Are A-Changin’ with samples, brazen fiddles, a cidered Cornish choir and breakneck Balkan beats at a west country festival chock full of drunken jester-hat wearing revellers, if you care to, and you’ll be nowhere near as potty as the opening to Information Camouflage, Power to the Peaceful, causing me to believe, as I suspected, I’m going to like this, a lot.

I’m going to like it because I’m eclectic and yearn for the alternative, the quirky and curious counterculture, and this bears such hallmarks. But importantly, it does so proficiently, with traditional punkish elements, but not amateurishly, as punk was, debatably, in days of yore.

Dipping into a melting pot of whatever happens to tickle their fancy without the confines of mundane normality, the title track follows, levels down the tempo, slightly, with a gypsy-ska bounce. It’s continuing with the trenchant epigrammatic against tedious and deceitful conventions, a running theme which intensifies. The Fiji Mermaid, which follows, however, is dreamy psychedelic vaudeville, and frivolous.

First formed at the dawn of the millennium, they regularly supported The Levellers, and the next three songs reflect that tension and angered resistance to conformity. There’s an acute and poignant side to 3 Daft Monkeys, it’s fierce and floods you in fiddles and free party vibes, yet retains subtle elements of circus noir. In other words, no deep meaning is going to prevent you jigging barefoot in mud, with no idea or care what happened to your boots.

But it’s not the meld of the opposite sides, fun and seriousness, for that’s common, rather the balance of the two. If Bob Marley’s Kaya is joyful and Survival is militant, Exodus finds that perfect balance, Information Camouflage is 3 Daft Monkeys’ Exodus. This is My Call, is a prime example of this, rising and falling musically and equally in mood. Easily, which follows eight tracks in, returns us to the airy, with subtle bhangra vibes.

It’s from a vast melting pot of influences which makes the best-defined “scrumpy & western” brew of UK folk, 3 Daft Monkeys stir the pot with gusto, edge and expertise. The final three tunes to this eleven track strong masterpiece doesn’t wait for you to get onboard, it’s a frenzied fiddles finale, a west country hoedown, with an acapella last tune.

All this album has done, other than entertain me highly, is confirm that, if they were playing a festival I’m at, and my mates wanted to go do something different, I’d be saying “see you later,” and making haste for the stage 3 Daft Monkeys are on!

3 Daft Monkeys funded this project with a huge independent CrowdFunder campaign, showing clearly how loved this band is by their ever-increasing global fan base.

Information Camouflage is available now as download and CD from www.3daftmonkeys.co.uk/SHOP .Release date for online streaming platforms: 1st November 2024. There’s an autumn tour on their website, closest to here is the Exchange, Bristol on November 2nd.

“This is not just an album, but an experience,” the band explained, “a kaleidoscopic journey through sound and emotion that celebrates life, love, and the resilient human spirit. It’s a testament to 3 Daft Monkeys’ dedication to their craft and their unwavering connection with their fans, offering a soundtrack that invites you to dance, reflect, and revel in the magic of music.”


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Few Remaining Tickets for The Importance of Being Earnest at West Lavington Manor House and Garden

Tickets are limited and selling fast for a staged reading of Oscar Wilde’s most renowned comedy masterpiece, The Importance of Being Earnest, performed in the glorious setting of West Lavington Manor House and garden, on Sunday 8th September 2024….

It’s undoubtedly Wilde’s magnum opus, a timeless hilarity of dissimulation getting out of control, which I cite as the influence of many classic comedy series, particularly Fawtly Towers and Rising Damp.  

It’s a promenade performance, moving from space to space, which means seating will be limited. The ‘stage’ consists of the Hall and garden of West Lavington Manor. The show promises to go on whatever the weather, so be prepared.

The Old Bag Theatre Company have assembled a superb, and unconventional cast to bring Wilde’s play to surprising life in a setting he would have adored.

All profits from the performance will be donated to The Nestling Trust,  a UK Charity established in 2013, with the support of people from a small community in Wiltshire, to give protection, and hope of a future, for destitute and abused children of Nepal, also to help provide basic healthcare and health education for people living in remote areas of the country without any medical facility. 

Performances take place on Sunday 8th September at 2pm and 6pm. The grounds will be open from Midday for browsing and picnics, camp chairs are allowed but not in the house. There will be a bar available. But remember, if you take muffins, eat them calmly!

Tickets are £20 (includes a glass of bubbly) available from HERE.

Enquiries to: oldbagtheatrecompany@gmail.com


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Soupchick in the Park

And there was me thinking nothing good comes out of a Monday! Today local bistro Soupchick, popular in the Devizes’ Shambles opened their second branch,…

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Family Easter Holiday Events

Devizine isn’t only about music and gigs for grownups, y’know? It’s about events for everyone. This Easter we’ve lots of things to do over the…

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The Next Season at the Wharf Theatre

Featured image by Chris Watkins

Autumn, finish your ice lolly, as we need to to start thinking about it! Our wonderful, one and only, theatre in Devizes is currently “dark,” for maintenance, installation of new equipment and stage enhancement. But there’s a new season coming soon, and tickets for a variety of performances beyond panto and into 2025 are up for grabs…

The theatrical term “gone dark” indicates the venue is closed to the public. No lights mean no show. Historically, when theatres go dark one is left lit light at the centre of the stage. It’s known as the “Ghost Light,” believed to guide spirits and ghosts around the building.

Wharf Theatre

While it may be a fire safety hazard too far for us today, candles were used in times gone by, and this may explain why many theatre’s often burned down in the Shakespearean era. I’m not a fountain of knowledge, I pinched it from the Wharf Theatre’s Facebook post! But we can’t have ghosts snapping up all the tickets for themselves, so here’s the lowdown on performances they’ve got lined up for us from August.


Sat 10th August: sees Rabbit Rabbit, a tribute to those cockney sparrows, Chas & Dave. Performed by the renowned trio, Triple Cream with their fantastic musicianship & witty banter, this show will have you smiling from ear to ear!

Mon 2nd – Sat 7th September: Abigail Newton directs British playwright Alan Bennett’s Talking Heads. Three dramatic monologues taken from the BBC TV series from 1988.

Thur 12th September: Devizes Film Club screens joyful British comedy Scrapper.

Fri 20th September: Relive Hancock’s Half Hour with award-winning theatre company, Hambledon Productions’ recreations of three, ‘lost’ episodes from the original television series. Missing from the BBC archives, this UK Tour will mark the very first time these hilarious scripts have been brought to life since their original broadcast.

Sat 28th September: Jazz Britannia. Britain’s best New Orleans jazz combo Baby Jools & The Jazzaholics take you on a musical journey through the birth of British Jazz. 

Mon 21st – Sat 26th October: Nic Proud adapts and directs Shakespeare’s Pericles, Prince of Tyre. A man on an endless voyage of peril, with romance and killing.

Sat 2nd Nov: Murder: Just What The Dr Ordered. From Isosceles Theatre Company who brought us a sold-out performance of The Man Who Left The Titanic last year. Set in Edinburgh, between 1827 and 1828, science and murder cling together in a dance of death.

7th Nov: Devizes Film Club screens Aki Kaurismäki’s Fallen Leaves, a Finnish film about a romance between a supermarket girl and a metalworker against a backdrop of economic disparity and war in Ukraine. Winner of the 2023 Cannes Film Festival Jury Prize.

Thu 28th Nov – Sat 7th Dec: Panto Time! This year the Wharf Theatre presents Hansel & Gretel. Karen Ellis & Jessica Bone take direction roles for the gingerbread house traditional pantomime. Alway popular, book this asap.

Mon 27th Jan – Sat 1st Feb: Veronica’s Room. John Winterton directs the first Wharf production of 2025, a chilling mystery thriller by the author of Rosemary’s Baby, exploring the thin line between fantasy and reality, madness and murder.

Tickets now on General Release HERE. Please note that Devizes Library is closed until 24 July which includes the Community Hub Box Office. Support our lovely local theatre.


MantonFest Magic, Again

With the danceable penultimate act attracting a packed crowd, I observed a young teenager, who, on spotting a disregarded beer bottle, picked it up and disposed of it properly. I’m at Mantonfest, the gem on Marlborough’s annual event calendar. I’m not surprised, having been a few times now, it has always been this pleasant and respectable; this year I reasoned why….

Kids these days, huh? Reacting appropriately, averting a potential trip hazard, I ask you?! Elsewhere, a younger girl is on her dad’s shoulders, pumping her arms in the air while the Queen tribute reenacts classics way beyond her years, and her dad bounces underneath; it’ll be one of countless priceless family memories to savour here today, just like Heidi of Barrelhouse giving out inflatable guitars, mics and more randomly, crocodiles!

For at Mantonfest’s very opening, parents are driven to joyful tears, as thirteen year-old Megan Mills from St John’s School swaps guitar for keys and confidently delivers an outstanding if short set, filled equally with talent and expression.

If, in past years I’ve pondered the wide age demographic at Mantonfest, Mills, the aspiring health and safety officer, the girl piggybacking her dad, the toddler clutching his inflatable croc, are examples as to why. It’s the festival’s fifteenth birthday, families have grown up with this, ergo, Mantonfest is an institution, they return habitually and hold it in such high esteem, even at teenage they respect this congenial ethos. It creates a matchless experience to justify me hailing Mantonfest as the friendliest festival you’re ever likely to attend.

It’s tradition which warrants the return of favoured acts, such as Madness-Bad Manners and overall Two-Tone act, Badness, back by popular demand. They blew the roof off last year, although they mimicked their show, they came up shining, and skanking again.

Similarly, the model set from Barrelhouse will never go grey. They are to Mantonfest what R2D2 is to Star Wars, appearing time over and never failing to delight with their perfectly pumped hoedown of vintage blues. To see Barrelhouse live is cake, to see them at MantonFest is the icing on that cake. Yep, there’s many repeating features at Mantonfests, but if it’s not broken ….

I’m standing with Chippenham’s wonderful folk singer-songwriter Meg, complimenting Mills for a likeness to her own expressive vocal range. Meg’s on next, which shouldn’t really be as the section is supposed to showcase talent from the town’s comprehensive, but as one band cancelled I was called for a suggestion and couldn’t imagine anyone more apt and deserved. At 17 now Meg has developed a name for herself, hard working her idiosyncratic style to play Chippenham’s Pride, Folk Festival and expanding to Minety and Trowbridge’s Pump. On her first of three gigs this weekend, she excitedly tells me how it went supporting Jools Holland. Such are local circuit barriers though, Meg’s not so widely known here, so even a short set is good to help her to venture eastwards, and they sure made her welcome.

Sublimely delivering three tunes of her own wares, Meg set the bar high for Rory & Tom, who followed by providing popular covers in a friendly and lively fashion. Elton-like pianist Sammy Till-Vattier polished off the youth section. Saw him last year, he’s the upcoming name to watch on the Marlborough circuit. His poignant crafted originals are emotionally poured out, he literally sweats solo talent, as his final piece verged on Serge Gainsbourg level, and in his language too; je l’ai aimé!

This opening section to Mantonfest debuted last year shouldn’t be viewed as a filler or talent contest, rather a taster of what’s to come for the family event.

Just like other neighbouring towns, Marlborough youths show dedication and talent. It fills one with confidence that music is safe in Gen Z hands, but more importantly is Mantonfest’s drive to showcase them. There’s no bolt-on gazebo miles away from the event’s main brace, they’re on the same stage which Toyah once graced.

There’s a part of me, though, which wishes the hordes who came for the finale crowd-pleasing tribute acts could’ve supported the local talent at the start, but I know, cookie crumbles this way.

Tributes were the order of the evening, but nestled between the St John’s section and them, the tradition of family continues. Josie Mackenzie is no stranger here, she pulled a blinder last year guest singing with The James Oliver Band. Taking front and centre this time with swing-style rockabilly-blues her new band the Radiotones wonderfully reintroduced fifties-early sixties classics in an Etta James fashion. Particularly stand-out was Ray Charles’, Hallelujah, I Love Her So. 

Then, Ol’ Man Witcomb And The Bergamots; wow! In different guises, especially one called Skedaddle, Witcomb family members have regularly played the festival as they live in the village, albeit a slot so early I missed them before. Took this with a pinch of salt, then, assuming this being a village custom, I wasn’t expecting  greatness; my biggest surprise this year. 

The old man referenced in the name is Chris Witcomb, bassist, wife Jane sings, boy, does Jane sing, and three sons back them on lead acoustic and electric guitars, and drums, like a Manton Carter Family!

If this ensemble was “formed for a bit of fun” as stated I’m truly in awe; they were as uniformed as any professional classic rock band, and handled some unusual and technically challenging covers, particularly poignant was Genesis’ Land of Confusion

Aside from their model set they even carried onstage banter with ease, apologising for performing Making Plans for Nigel for its possible election connotations! It was a gorgeous performance they really should take on the road, sitting somewhere between The Pretenders and Fleetwood Mac.

Between acts Fruci Fit Personal Training of Marlborough and Devizes gave a loud and proud exercise class, then, The Fab Four took the stage. Working through the Beatles discography with lighthearted panache, they’re another back by popular demand, and are a thoroughly entertaining tribute. Barrelhouse followed as evening set in, enough said. Coupled with the perfect weather, it was looking to be a most memorable Mantonfest.

A further three tributes to take us to the cumulation. Firstly, Forever Elton was enjoyable if technically mediocre. Badness did it again, stealing the show with upbeat Two-Tone re-enactments in newspaper suits but idiosyncratically making tributes stand-alone. The northern working-class banter is at invaluable comical proportions, but their musical proficiency too makes it a class homage. It’s a wonder how Queen tribute The Bohemians will top it, but surprisingly, according to my love of ska, and the fact Queen tributes are two to a penny, I think they did.

Tricky to perfect but a common choice to attribute, Queen is a national pride. To do this badly would be an epic fail. I’ve always thought this, ending up surprised with the results of previous Queen tributes I’ve bore witness to, but The Bohemians were undoubtedly the best. It was a show stopping finale, a sublime imitation of probably the finest rock band ever, if not, certainly the most popular. Throughout their performance I was equally held in awe at the precision and attention to detail, and simply enjoying the moment, as those rock classics were delivered with such skill and gusto.

Yet it is not only the excellence of all the acts which makes Mantonfest Mantonfest, rather the lesser ingredients, the beautiful setting, the simplicity of the arrangement and its dedication to hold dear its self-made traditions. But most importantly, and likely the sum of all other parts, it’s this trouble-free tenant akin to a Caribbean holiday (with rum punch,) which has seen a generation grow and be proud and respectable of this wonderful annual occasion. 

For me, it’s equally about Mills, Sammy et al, as it is for a tribute act knocking it out of Treacle Brolly, but I feel it is too for the many here who enjoy this gem year after year. Another Mantonfest ticked off, another astounding and memorable year, it never fails to impress me. 


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I See Orange at The Pump with Devizes-own Steatopygous!

Being our reporter Flo was unfortunately unable to attend the Devizes Youth Action Group’s second sell-out gig on Friday, I sought to catch up with stars of that show, Steatopygous, who were supporting at The Pump on Saturday too…

Three birds, one stone. The Pump’s overdue another praising plug from us, being such the absolutely fantastic venue we’re smitten about. A chance to finally hear Steatopygous for myself, a band Flo’s been raving about, is a second reason to be here tonight. Third is to tick Swindon’s I See Orange off my must-see list; jobs done within an exuberant night, ears still ringing this morning!

You realise the Spanish understandably keep all the best oranges for themselves and send us the tasteless non-perishable ones, right? Try oranges there and they’re the tastiest ever. Well, this is one of those which evidently slipped through the net. Their name pops up as if set in my algorithms, I See Orange at the Vic, at Minety, and so on; now I’ve seen I See Orange, effectively I saw Orange, past tense, but I would see I See Orange again, if this makes any sense?!

Nestled between two Swindon drummer and bassist grunge lads, a strikingly attractive Latino girl confidently thrashes out stylised and euphoric originals in a manner sublimely nodding at punk’s heyday, fused with a thousand post-punk influences. It’s loud, proud, it’s imagining The Sugarcubes played Nirvana style, the Smalltown Tigers aimed a smidgen more metal, but it certainly doesn’t hang around for you to pigeonhole it!

Three minute heroes is their punk traditional ethos, with doll symbolism, a bubble machine and a penchant for bending backwards whilst maintaining remarkable handling of her lead guitar. It was showy, tight and, dammit, I never knew grunge could be so sassy and alluring! I See Orange are ones to watch, lively, original, producing some electric shock recordings and their debut show at The Pump fitted like a glove; I was suitably wowed by their presence and dynamic sound.

Such is it that while most celebrated venues seek the big names past or present, The Pump strives to showcase the next big names, especially when promoted by Sheer. Though my attendances past tend to be established local greats, the smooth folk of The Lost Trades, of Will Lawton, or chap hop Professor Elemental, it was tonight I witnessed the legendary Pump, literally pumping out it’s full potential with the names the youth there will boast to future grandchildren they saw them in their prime. That’s the spirit of this once folk club now small axe, and it stamps Trowbridge on the live music map of the UK with unrivalled gusto.

We’ve passed a short lived era of doubt, when Wadworth flagship the Lamb, which contains The Pump, changed hands. Pleased to hear of a fairytale ending where the new owners welcome its addition and also hosts conventional music nights of its own, largely open mics; phew!

Indeed there’s an air of greater potential at the venue, despite already punching above its weight. Any musician should consider a gig there as a benchmark to their achievement. I know Devizes-own Steatopygous have been building to this point, working hard, and now, since Sheer promoter Kieran asked me for their contact details, and staged them under the Future Sound of Trowbridge banner, here they are again, thrown off any potentially patronisingly and perhaps amateurish connotations of “youth” or “teen band,” they’re here with their own pride and right, and largest fanbase tonight.

Steatopygous are a trio to repel stereotypically passé half-centenarians, who’d likely label them “witches,” being Fishy Rishi and his gang has receded us to medieval, yet it’s precisely these redeeming qualities I salute them for; I’m weird like that, historically! It’s punk in quintessence, and if you’re not offending someone you’re not doing it properly.

Riot grrrl is not only musical subgenre though, more counterculture tenet, an expression of feminist anarchy exposed equally via poetry, political standing and DIY zine culture as well as music, and it was through illustrating those punk-paste zines of the nineties I became aware of the movement and bands like Bikini Kill, encompassing it. Ode to my days of blim-holed Letraset, Pritt-Stick, and stapling your finger to photocopied pages for a return of 10p!

It deals with the anger and frustration of inequality. While considered socially acceptable for male musicians of past eras to express enraged emotions, the suppression of women to do likewise is riot grrrl’s angle, and Steatopygous embody this superbly. Such as it is, after they’ve screamed the house down, all is vented, so a chat with them was hospitable, intelligent, and involved subjects like completing their exams and future hopes.

On stage though, they’re a force, hammering out originals with thoughtful prose and screeching emotion, you cannot prevent them embedding their prose into your soul if you wanted them there, or not! On subjects keyed to the movement, yet contemporary, they shine. A cry to Israeli occupation of Gaza, for example, but their personal favourite shaming laddish behaviour, a quick blast called Little Boy.

If Nothing Rhymes With Orange set a high bar for current Devizes bands, Steatopygous will nuzzle underneath it and come up trumps via their own methods. I hope they don’t change this energy to be commercially viable, as it was a unique fuzzbox frenzied experience to savour and the young audience lapped it up.

Between these two divine outbursts saw perhaps a more archetype nod to punk roots. Hayden Lloyd as a Midlands trio provided a wonderfully delivered moment of sanity for elders present, blessed in the mod blues reminiscent of Paul Weller at his edgiest, and polishing his set with an astute cover of Hendrix’s Foxy Lady; deffo not riot grrrl! His was heaped in retrospection, of The Who and the progressive advances which got us to this stage, and it was done exceptionally well.

Another triple header night of excellent original music from the pride of Trowbridge, worthy of the short journey. The Pump is where it’s at, The Pump showcases what others wouldn’t dare to, and such is the other’s downfall. I saw Orange, that would’ve been enough to warrant an awesome night’s entertainment, Haydon and Steatopygous were bonus balls we’ll see headlining in future I don’t doubt for a second, both their performances last night surely sealed such a deal.

When Flo reported on the first Devizes Youth gig, she thought to interview Steatopygous, you can read it here, whereas I popped out for a damn tasty chicken burger from the stall down the street; it’s my reward for telling local live music aficionados The Pump is your pilgrimage!


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Situationships With Chloe Hepburn

A second single from Swindon Diva Chloe Hepburn, Situationships was released this week. With a deep rolling bassline, finger-click rhythm and silky soulful vocals,…

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Ruby, Sunday at the Gate

It’s a rarity that I should drag myself off the sofa on a Sunday these days, one usually reserved for the monthly Jon Amor…

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REVIEW – Devizes Arts Festival – Lucy Porter + Support @ Corn Exchange  6th June 2024

Funny You Should Say That

Andy Fawthrop

And finally it was time to see the girl we’ve all been seeing on the poster for the past few months! 

Last night Devizes Arts Festival presented its comedy big-hitter, the radio and TV star Lucy Porter.  And D-Town responded with another packed audience.

Lucy Porter is a stand-up comedian, and a regular face and voice on TV and radio panel shows. She loves a good quiz show, appearing on a Pointless Celebrity Special with Ed Byrne and being victorious on Celebrity Mastermind. She’s also appeared in QI, Live at the Apollo, Room 101 and heard on BBC Radio 4’s News Quiz.

She handled the start of the first half last night by telling us (perhaps unwisely) that she’d never been to D-Town before, and therefore felt justified in playing back to us some of the research she’d managed to dig up.  This was fairly gentle, if predictable, shtick – poking fun at our “posh” neighbours in Marlborough, relating the Moonrakers story, and throwing in various remarks about the K&A canal, the Caen Hill Flight and something she referred to as the “canoe marathon”.  It was amusing, but not really hitting the target.  Once she put her notes down and started to extemporise a little more, the audience thawed considerably, and the evening began to improve.  Her key task here was to warm the audience up for her chosen support act, and to flag the themes she’d be covering in the second half.

So it was time to welcome Sharon Wanjohi to the stage.  She’s an up and coming stand-up comedian with a varied act ranging from shock to absurd comedy, and has already appeared at a number of festivals and on TV.  She’s clearly still learning her craft, but last night she managed to win over an audience that was slightly nervous of someone they weren’t expecting.

Her self-deprecating style, covering themes of personal awakening, both spiritual and sexual, gradually began to hit home.  Asking if there were any black people in the audience, indeed whether being black was even legal in D-Town, began to bring the laughs.  And her interaction with a certain audience member about being lesbian was truly hilarious.  Her set was slightly rambling and disconnected, funny but not hilarious.  But there was no doubting the great reception she received in response to her warm, and sometimes personal, story-telling, and her relaxed easy-going style.  I’d definitely file her under the “one to watch” category.

And then, finally, after a very long interval, we finally had the star of the show.  Wearing a changed top (“sparkly on top, comfy below” as she put it), we were treated to a master-class in gentle, apparently rambling associative comedy.  Picking up on the obvious demographic of the audience, she homed in on one audience member who was clearly younger than the rest, and making great show of “explaining” some of the gags and references (just in case no-one got the point).  She also picked up with Sharon Wanjohi’s interlocutor from the first half, a tactic that worked extremely well.

She hit some obvious targets for a Radio 4 audience – the menopause, the male mid-life crisis, the desire to retire, increasing health issues.  But she played these well, riffing on her hypochondriac relationship with her GP Margaret (the cancerous spot thast turned out to be Nutella), about doing R2 singalongs with the guys painting her house, and on her thoughts about the “development” of Paul Hollywood.  There was a wonderful pastiche of The Sound Of Music and, right at the end, a great punchline about paint involving the chorus of “Relax”.  There were plenty of anecdotes relating to her own general laziness, her long-standing drinking pals, and her tendency to be impulsive.  Her story of just “winging it” on a mistaken appearance with Melvyn Bragg was superb.

It was, for the most part, very clean and straight-forward stuff.  There was nothing that could be considered “edgy”, there was nothing political, and there was (amazingly) no swearing.  As such, it probably kept most of the audience in their comfort zone for most of the time, but it was no less hilarious for all of that.

Overall, it was a good night’s entertainment, although I expect there’ll be a LOT of people waking up on Friday morning realising that they now knew what a Gold Star Lesbian is.  Go figure!

There’s more information on Lucy at www.lucyporter.co.uk/

Another great night at the Arts Festival, and thanks (yet again) to DAF for bringing such top-notch entertainment to our little town. 

The Devizes Arts Festival continues until Sunday 16th June at various venues around the town. 

Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk 


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Dirt Roads, A Plastic Army, and a Ruby; Saturday Evenings in Devizes Still Rock!

A joint effort of Darren Worrow and Andy Fawthrop

Buses, huh? Last time I strolled to the dual carriageway to catch one it was four minutes early and didn’t hang around for listless fogies with an appetite for entertainment. I glumly watched it blur past from fifty yards down the lane. This time I hotfooted it, my ageing heart pushed to its limits, and the delayed bus left me standing there for fifteen minutes! Once in Devizes, although far from Broadway, options for quality music and drink still overpowers those of neighbouring market towns; something we should be proud of….  

Post vegan market and a craft fair at the Corn Exchange, as evening sets in The Pelican prepares for its beloved karaoke, a couple of hobos strum a ditty by the fountain, and the amazingly talented Adam Woodhouse arrives at The Three Crowns. Yet I must bypass such significant options, it’s over to Long Street Blues Club, because when Ruby Darbyshire is in town, there’s no compromise from me.

I give a nod to Joe Hicks, likely the best support act I’ve witnessed at Long Street to date, yet at seventeen-years old, Ruby Darbyshire, I believe may’ve topped it. Her first time at the legendary club, she practised two blues songs to play them, one by Beth Orton, another more classic, although by subject her own composition Insomnia could be perceived as blues, and her overwhelming vocals blessed the club with these and a sprinkling of popular covers.

There’s a double-whammy of congratulations to organisers of Long Street, councillor Ian Hopkins who this week became Mayor, and his now wife, Liz, for their marriage in the same week. We wish them many happy years together. But dilemma dawns for me; though keen to hear a group composed of legends Horace Panter, Steve Walwyn and Ted Duggan, by name alone it’s fair to suggest accolades as standard, whereas it’s the first time Swindon’s gypsy-folk Canute’s Plastic Army are in town. They’re down our trusty Southgate, and since hearing a handful of their most impressive singles, and our ethos of supporting local acts, I must depart the club with haste.

Much as I would love to pretend this was all part of careful planning, it wasn’t! Believing our fantastic regular reviewer and part of the furniture at Long Street, Andy Fawthrop was still on his holibobs, I endeavoured to stay as long as possible in order to give fair praise to The Dirt Road Band, when all the time he was hiding behind me! So, it gives us an opportunity to merge our words and be comprehensive about a typically great Saturday night in Devizes.

After Ruby did her thing, which never fails to leave me suspended in awe, I stayed for two songs from The Dirt Road Band. Ruby rinsed beautiful versions of Joni Mitchell’s Big Yellow Taxi, and Prince’s Nothing Compares 2U, as regulars in her set, yet again, it’s in jazz renditions such as Erroll Garner’s Misty and Nina Simone’s Feeling Good, where her sublime vocal range is let loose, is something to behold, and the very reason I’m here at the club. Crowds flock this shy prodigy during the interval with congratulations, clearly it’s not just me who thinks this. 

The Dirt Road Band came on all guns blazing, in an impressive electric blues-rock fashion. I favour my blues rootsy, though tip my hat for their aptness to the Club’s favoured mode. Here below, is Andy’s take on them; I salute plus thank him for his expert thoughts, as ever. 


A recently-formed modern (super-)group, consisting of gig stalwarts Horace Panter (The Specials) on guitar and vocals, Steve Walwyn (DR. Feelgood) on bass, and Ted Duggan (Badfinger) on drums, these guys had all been around the block a few times. They knew how to play, how to drive a set-list and how to work the audience. 

They took a couple of numbers to really get going, but once they hit their groove there was nothing stopping them. Playing a single ninety-minute set they ripped through both original material and a few great covers. It was rock, it was blues, it was boogie-woogie, and they shifted these styles around with seemingly no effort.

Keeping the audience to a chit-chat to a minimum, they frequently segued from one number to another. There were some great riffs on the new songs, and there was a definite Feelgood vibe going on at times. It was no-nonsense, professional stuff, highly enjoyable. A cheering, standing ovation was rewarded with Get Your Kicks on Route 66.  By comparison to Beaux Gris Gris’ near three-hour performance the other week, ninety minutes felt very short, but it was quality not quantity that was on offer here. Good gig, good value. Definitely a band worth checking out.


Eyes back on me, then; thanks Andy! Without cloning technology I missed this, hot footing it again, this time to the Southgate. Dirt Road Band originally asked to play here, landlady Deborah thought they’d be better suited to Long Street, and so we are blessed with the presence of Canute’s Plastic Army, I understand it’s their inaugural visit tour trusty answer to a Devizes’ O2, though the guitarist plays also with welcomed regulars S’GO.

Based upon both the Army part of their name, and the strength of a few singles I’ve heard from them, such as the incredible Wild, I was first surprised to see they were but a duo! Nevertheless, through Anish Harrison’s intense and consuming vocals and the intricate guitarwork of Neil Mercer, they build layers through loop pedals and sheer expertise, to produce the euphoric gothic folk one would expect a full band to have produced.

There were a few technical hiccups with the PA, yet through warts and all, the duo gifted us with an inspiring, beautifully accomplished and unique sound. Whimsically gliding like fairies in mist, ringing out choral from just one voice, or bittersweet, they were reciting influences in subject from folklore and mythical prehistory in breathtaking splendour. I changed my mind, they are indeed an army, armed with allegory and an elated passion to deliver it.   

It’s Anglo-Saxon, or Celtic Pagan, reverberations of times of yore, wrapped punk and pirate-like. At times I likened them to Strange Folk, at others The Horses of the Gods, but mostly it was individual expression, and that’s the icing on their cake worthy of our perusal.

And that’s a wrap with dirty roads, a plastic army, and a gemstone. Through unforgettable acoustic goodness to an exclusive gothic folk duo, via a legendary supergroup of blues, you have to award Devizes, we’re still punching above our weight when it comes to valid options for a great night of live music, and, sadly, I didn’t even get the opportunity to head over to The Three Crowns for Adam; cloning technology, see? Get to it scientists, now!


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Shox & Steatopygous; Devizes Bands Support Menthol Lungs at The Pump’s Future Sound of Trowbridge

By Florence Lee

Images by Kiesha Films

‘They promised hardcore shenanigans which never fall below 180 bpm’

SHOX:

After seeing Shox in February I was expecting to have a great time, and for them to expand on their ideas which they showcased at the Devizes youth night; however, they managed to smash my expectations once again….

Their set list included ‘Back To School’ by the Deftones, ‘Florescent Adolescent’ by the Arctic Monkeys and ‘Drown’ by Bring Me The Horizon and included some insanely smooth add-in’s using the DJ set. The transition between playing ‘Happy Song’ by Bring Me The Horizon and ‘Killing in The Name’ by Rage Against the Machine had a syren playing and what I can only describe as ‘The music and voice that speaks to you before you go onto a terrifying roller coaster.’ I am not quite sure how to describe it, but I have never heard anything like it before. It was pretty incredible – it drew the audience in and it was a really interesting experience. Their set was very much a journey rather than just some music. SHOX have come on leaps and bounds since the youth night and with some more gigs under their belt, I can only imagine their sound will continue to develop.

Image: Kiesha Films

I wanted to know some more about them, so after getting in contact, I asked them a few questions. Jamie (drummer) and Ed (singer/rhythm guitarist) played together in primary school and wanted to get into a band in secondary school. So, when they joined they went out and looked for a band. Zac (guitarist) and Dylan (bassist) came along around two years later when they got paired to do an academic music project together. Once they had played a few times, they realised they had ‘great chemistry’ and formed SHOX. They are looking to start the rollout of their debut album called ‘To Be Honest, I Couldn’t Be Bothered’ and are hoping for a release in November. They also have a ‘Big announcement in the middle of June,’ which I am sure many are looking forward to. If you haven’t seen them live, I would really take the next opportunity!

Image: Kiesha Films

Steatopygous:

If you haven’t read my interview with Steatopygous, I would recommend reading it as you get the ‘inside scoop’ on what Steatopygous really means.

Image: Kiesha Films

In a nutshell, Steatopygous is a riot girl (and boy) band, which truly could not get any better. With front girl Poppy Hillier, playing guitar and singing, the memorising Eliza on bass and drummer Ewan. They played three originals: ‘Marie’s Wedding Song’, ‘Female CD’ and the new ‘Little Boy’. It is safe to say that since hearing Little Boy, it has not left my mind since. You can tell the song came from somewhere close to their hearts, and is now embedded within the audience’s. Both Female CD and Maire’s Wedding Song are also well written songs, that I cannot wait to be able to listen to online.

Image: Kiesha Films

With three admirably well executed Bikini Kill songs – Carnival, Feels Blind and Star Bellied Boy, they enticed the audience so much, we were demanding “one more song”. And wow, they performed Deception by le Tigre, which truly exploded the mosh pit, not that we had stopped dancing since Steatopygous had entered the stage. I just want to say an incredibly well done to Eliza, Poppy and Ewan, as during their set, they had to stop for a tech issue, but carried on, dare I say, better than before. As a performer myself, I can understand how gut wrenchingly scary it can be to play on stage, let alone have to stop and start again, and they dealt with it like the pros they are becoming. I have been told they are working towards an EP and I, like many others, am beyond excited to hear how it comes out. So, like SHOX, if your ears haven’t been blessed by the music of these beautiful people, then I would really take your opportunity.

Image: Kiesha Films

Menthol Lungs:

While I heard both Steatopygous and Shox before, I was pumped to be able to listen to Menthol Lungs as I hadn’t heard of them and all I can say now is that I was missing out. As soon as they started to play, I was transported into the world of Subhumans and Minor Threat and felt the immediate need to find my skateboard and go stagedive off a speaker stack! Their heavy punk rock music was awesome, and I was even more blown away when I realised that eight of their ten songs were originals!

Image: Kiesha Films

Menthol Lungs are anarchistic hardcore, which was appreciated by me and the crowd. The deeper meanings to what could have been simple lyrics, elevated their performance as they spoke for what they truly believe in. If I thought their performance couldn’t get any better, they then performed ‘The Combine Harvester’ by The Wurzels, which had the audience in stitches and singing along in true Devizes harvest-core fashion :-). I was lucky enough to be able to speak to the amazing Ava, who sings and ask a few questions about their band:


Image: Kiesha Films

Can you introduce your band?

‘We have Corey, who is on rhythm guitar. Sam, who couldn’t make it today, is on lead guitar – he is great.  Zeth right here is on drums, Fergus on bass and I am Ava. I do vocals.’

How did the band form?

‘So, about two years ago, I got kicked out of a sh**** pop, punk band, called Corner Shop Liquor. I then turned around to my mate James, an artist as well, and said “I want to start a new band, can you help me out?” and he introduced me to Corey who could play guitar. Then my fiancé Ash joined us as bassist, but then replacing Ash was Fergus; Fergus and Zeph kind of came as a package deal.’

‘We met Corey at a gig about a year and a half ago and so he vaguely knew us.’

‘Yeah, so about a year and a half ago, we got Zeph and Fergus in a band and we record some stuff and start rehearsing on Zeph’s farm, in some stables. We got our first gig last December.’

Special mention to their six-string bass, which I had to ask questions about:

‘May I just say your six string bass is insane. Looks sick’ – me!

‘There is actually a funny story about that. Fergus left one band rehearsal with a five string bass and he left it at the rehearsal space. When he came back, he had a six string bass with him. It’s brilliant.’

How do you write your songs?

‘So, usually Cory will sit down and write some riffs and upload them onto Songster. He will add some drums and lead guitar and a bit of bass. Then, I usually have some lyrics lying around in my notes app and write them up into a full song, or Corey will write lyrics as well. Then at rehearsals we see what works and it usually ends up in a song.’

How do you think tonight went?

‘Do you know what, it was killer. Best vocals I think I have ever managed, to be honest.’

 What’s your next step?

‘Next step … We have an album coming out hopefully later this year. We are hoping for August, but aiming for the end of the year. We have a gig coming up with Disorder in July. We love Disorder. July 25th – go buy your tickets!’


Thank you Ava for spending some time speaking to me; you and your band are great and I am thoroughly looking forward to seeing how you guys progress in the future!

Image: Kiesha Films

So, in conclusion, the audience and I had a brilliant time, dancing, sweating, slamming, singing and getting to know these sick bands. If these bands are not on your radar, please go give them a follow and see how they progress as the gifts they have for your ears are extensive and they have years beyond them of only getting better.

Finally, I just want to say a massive thank you to Kieran and everyone at the Pump. It is an incredibly special, intimate place, which holds thousands of memories for us kids. I wouldn’t be able to recommend going more. If you haven’t been, you are not just missing out on amazing music, but also an experience that you won’t be able to forget for years. Thank you for letting bands be able to share their music with everyone. What you are doing with ‘The Future Sound of Trowbridge’ is unbelievably special and loved by so many people.

P.S. the drummer from SHOX, Jamie, has a DJ set at the Pump on Trowbridge on the 10th of May. Go get your tickets!



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RowdeFest 2025!

Okay, I can’t keep the secret any longer or I’ll pop! While all the hard work is being organised by a lovely committee, because they…

PREVIEW – White Horse Opera’s Puccini’s “La Boheme”@ Lavington School, Devizes – Wednesday 10th, Friday 12th, and Saturday 13th April 2024

by Andy Fawthrop

A Sparkling Production

Last night I was privileged to sit in on the Dress Rehearsal for this wonderful production.  It was like having a private viewing of a great work of art, with a chance to see how it all came together, and to figure out what made the whole thing tick.  It was also a chance for cast and crew, together with Musical Director Roland Melia, and Stage Director Matt Dauncey to iron out any last-minute wrinkles.  There were a few but, as the song goes, too few to mention.  This show is absolutely ready to go live for the rest of the week!

Giacomo Puccini’s La Bohème is one of the most famous operas ever written, following the unforgettable story of two young bohemian lovers in Paris at the end of the 19th century. When young poet Rodolfo meets seamstress Mimì, it’s love at first sight. But, faced by the cruel realities of poverty and ill health, will the flame that burns between them flicker and die? Or will the timeless strength of their youthful passion withstand every trial and tribulation that life can throw at them? With a great love story comes a beautiful score, including arias like Musetta’s Waltz and ‘Yes, they call me Mimì’ (Si, mi chiamano Mimì).

A classic tale of tragic romance, La Bohème is a great opera for beginners and regulars alike. Director Matt had updated the setting to the 1960s, with fashion to match but, to me at least, it made little real difference to the superb quality of musical operatic delivery.  Using WHO’s trade-mark stripped back lines in terms of scenery backdrops, props, costumes and musical accompaniment, this was nevertheless a production that felt rich and full.

The four principals absolutely shone.  Guest tenor Robert Felstead (Rodolfo), and WHO stalwarts soprano Lisa House (Mimi), baritone Jon Paget (Marcello) and soprano Jess Phillips (Musetta) all put in superb performances.  And that’s not to diminish the quality of the rest of the cast in any way.  Contributions all round were spot on, and the staging was confident and upbeat.  The rapid interplay of dialogue singing during certain scenes meant that everyone had to be completely on their game and if there were any slip-ups I certainly didn’t spot them.

The whole production is sung in English in four acts, with a half-time interval. The programme provides excellent notes and a synopsis of the plot for each act, and the whole thing wraps up in about two hours.  These factors make the production accessible to all and easy to digest.  If you’ve not tried opera before, this is the sort of production that should change your mind, and I’d encourage anyone to give it a shot.  Equally those who are perhaps more familiar with the opera will not be disappointed, as what’s on offer here is a truly sparkling version of a classic.

Tickets are still available (both online and at Devizes Books) for performances tonight (Wednesday), and for Friday and Saturday.

Future WHO events:

Sat 18th May                       Top Of The Ops                                Seagrey, nr Chippenham

Fri 6th December              Christmas Concert                           St. Andrew’s Church, Devizes

2025 – La Belle Helene

More information on WHO is available HERE


Six:Teen Edition; Devizes Music Academy’s Historic Pop Blast Showcase!  

Images Used With Permission of Gail Foster

Last night at Devizes Corn Exchange I, and a packed house, witnessed the retelling of the six wives of Henry VIII, in an unique, contemporary and dazzling way. It was as if Andrew Lloyd Webber was directing Little Mix in a musical of Horrible Histories….

Without hindsight I admit, I was apprehensive it would be my cuppa. It was mostly the fact young Jess Self starred in it which drew me to it. Truly a natural born star, I’ve witnessed firsthand the range of dramatics she handles with sublime ease, yet I was concerned her talent may upstage the other students appearing in Devizes Music Academy’s inaugural showcase.

I wasn’t wrong about Jess’s talent, playing the part of Jane Seymour, her solo ballad much in the musical style she’s accustomed brought the house down, but I hadn’t predicted how exceptionally close to that pedestal the other cast members would attain. It was a bonded girl band, to all intents and purposes, akin to the non-uniformed Spice Girls, where each girl’s contrasting characteristics and personalities have the freedom to be played out, but the ingenious part was that both the individuality of each performer, and the characters of the wives of Henry VIII intertwined so wonderfully if the concept is difficult to imagine, it simply worked wonders through their dedication.

Image: Gail Foster

I mean, yeah, Devizes most prestigious stage, the quality of light and sound engineering, and the clever design of the dresses to mesh Tudor styles with contemporary fashion, all benefitted, but the magic truly was in the performance, as they boomed onto the stage brewing with both with the joy of performing and confidence of an established pop band on tour. Backed by the precise choreography of the remaining students, the six wives came out in a force of unison, as did they finalise the show with two additional numbers.

With just enough narrative to inform and not prevent it turning into a full blown play, rather a pastiche of a pop party, they jostled each other for the spotlight with amusing Gen Z banter and staged a song-off battle brimming with historic facts. It was uniquely brilliant.

Image: Gail Foster

Each took a solo pitch in the chronological order of the King’s wives. I tried to keep track of this despite mostly staring out of the classroom window during history lessons! Katherine of Aragon first, played enthusiastically and skilfully with the egotistical diva of Miley Cyrus, by Ruby Phipps, and you’d be forgiven to assume her astute and amusing quips and side-eye glances at the others would be a comical showstopper, much too was the confidence in her vocals.

Amelie Smith as Anne Boleyn followed. A contrasting but equally engaging performance, with the Cockney-pseudo-rap-singing fashion of Kate Nash. It was clear each modern pop sub-genre would be inclusive with each solo, and each performer’s personal attributes would be encased within their characters; the casting was defined with excellence.

Image: Gail Foster

Jane Seymour next, her family-orientated persona perfect for Jess Self to light up the stage with the aforementioned breathtaking musical ballad. Truly a star, but the others, I now know, are too.

It then all went all Europop for Anne of Cleves, adapting her Germanic roots in the House of La Marck as a tekno club intro was a stroke of humorous genius. Played with gusto and inimitable panache, the exceptionally talented Kelsey Husband took no prisoners in a neo-soul blast akin to Missy Elliot come attitude of P!nk in a period drama; wowzers, it was as cool as a cucumber!

Image: Gail Foster

Mia Jepson as Catherine Howard implemented a more punky, indie fusion, as if lead in a Republica style band. The result was spellbinding and contrasting, and performed with confidence, as if singing like a rock legend was child’s play to Mia!

Image: Gail Foster

The final wife Kateryn Parr, played with a certain brilliance by Lisa Grime returned the vibe superbly back to a soulful ballad, and through beautiful vocals the harsh realities of their fates begun to reside over the folly and excitement of fame, exactly the downside of Henry VIII’s wives and contemporary pop stars might equally face. And that was where the unique spin resided. I said from concept to production the idea was a stroke of genius, didn’t I?!

Sure, we’ve seen modern makeovers of biblical or historical stories in musicals, from the Romeo and Juliet adaptation West Side Story to Rice’s Jesus Christ Superstar, but nothing I know of which reflects a Gen Z pop concert to the letter, in so much as it was more a pop concert than play, and this conveyed the preference of the generation, and breathed zest and joy into a head-chopping historic referenced narrative.

Image: Gail Foster

A mahoosive congratulations to director and mentor Jemma Brown, and all the awesome students of Devizes Music Academy. It was absolutely fantastic, enough to take on tour, or perhaps, if you all became presenters of the History Channel, they’d move it to MTV and actually get viewers!!

While there’s many great local options for schools of performing arts, judged from the quality of this show alone, Devizes Music Academy shows real potential in creating current programs which would really engage the youth of today. 


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“RENT” at The Rondo Theatre, Bath, March 13th-16th 2024

Ian Diddams

Written by Jonathan Larson
Presented by Maple Theatre Company

It’s always hard reviewing a show that one has seen multiple times before, performed by differing companies. It’s also hard reviewing a show that is one of one’s favourite shows EVAH. And if that wasn’t hard enough…  Its far too hard to review a show that one has performed in oneself. It’s wrong to compare – its unfair and meaningless…  differing companies, differing directors, differing theatres.  So, ignoring the seven other productions I’ve seen including the one I bummed around in (quite literally – if you know you know) ….  Here goes…..


For those that know the story of “RENT” – you can skip this paragraph. Otherwise, Jonathan Larson’s story – a glorious homage to Puccini’s “La Boheme” – revolves around a group of bohemians in the lower east side of New York City and deals with topics such as homelessness, drug addiction, betrayal, and AIDS… as well as love, friendship, recovery, and hope. All wrapped up with a stunning score of often poignant, sometimes funny, always beautiful singing with six-part harmonies. If you want to know more …  duck go go is your friend as ever.

RENT on stage is usually set in a quasi-industrial area – and Maple Theatre Company don’t buck that trend (I doubt RENT heads would allow it to be honest!). Scaffolding creates multiple levels which are used excellently throughout the show and frames several areas for the action. ON stage props and setting is minimal, but I raise my hat to the wonderful use of moveable music flight cases with wooden tops that represent beds, side tables and THE cafe table (if you know, you know). Quite brilliant also was the use of 40-gallon steel oil drums …  where “drums” covers two definitions of that word.  Chapeau to Luke Hocket, set designer (who also produced the show) and his set team of Tom Courtier and Milly Hayward.

Directing a show like “RENT” is no easy task (not as hard as reviewing it obviously 😉) as the show is basically “the same” whoever does it (as it is so iconic – maybe after 400 years, like Shakespeare, some aspects will be changed, and we will get a RENT set on a spaceship …)  but Dionna Kate-Hargreaves set her own stamp on it in subtly brilliant ways. I mentioned the use of multiple levels already but the piece de resistance of the show is in many ways …  the drumming.  (If you know you know).

And speaking of drumming that brings us to the music – a six-piece band led by MD Kris Nock rocked out the show hidden subtly off stage but in full view (once you know, you know). I wonder if Kris’ toughest task (not as arduous as reviewing obviously) was teaching three actors to hit a large piece of metal in time with two sticks for some considerable time (if you know, you know).


Tech is as ever hidden away where no one can see them up in the attic of the Rondo, and technical director Tom Courtier and his crew slid their sliders and pushed their buttons and  lit their lights to full effect. (I’ve got a deep and meaningful understanding of tech). Rule number one in a theatre is never hack off the tech guys – they have hammers, and saws, and unlimited access to 240v at all times (if you know, you know) so – GREAT WORK GUYS!!!

That’s about it then. Set, Tech, props, direction, music.  Yup. That’ll do.


Ah.

Yes.  That lot that cavorts upon the stage.  Nearly forgot them. Starting with cavorting…  choreographer and dance captain Grace Egginton and Grace Shobbrook whipped the cast into a frenzy of whirling limbs when they weren’t singing.  And often when they were come to that. It must be said the Rondo’s stage is quite….  Bijou… particularly when by necessity a good half of it is taken up by aluminium scaffolding poles that don’t bend if you collide with them (if you know, you know) so the tightness of choreography is impressive.

And so – the cast. I’ve used the line about “strutting and fretting his hour upon the stage” before so I won’t use it again.  Ooops.

It takes a dedicated cast to work “RENT” – it is emotionally draining (if you know, you know), taking its toll on the actors’ own emotions. And this cast did Jonathan Larson proud. The ensemble – they always get listed last so here they are first cos that’s important (if you know, you know) so bravo Daisy Wilson, Morgan Hames, Georgi pepper, Steven Hockett, Jasmine Lye, Sophie smith, Milly Haywood, and Sarah Easterbrook…  All of whom also starred in the all-important cameo parts that just make “RENT” simply “work”. Special mention must be made though for Jasmine, who stepped up to play the role of the harassed waiter in the café scene due to cast unavailability this evening.  Cometh the hour, cometh the Jas!

I suppose that leaves the principals. *sigh*.  OK. Well…  ummm…  errr…

Well in all honesty they weren’t good. Nope. Not at all.

THEY WERE BELTING!!!  FANTASTIC!!!  MAGNIFICENT!!!

and other superlatives.

In no particular order…  Bryan Houce played Mark…  his portrayal got stronger and stronger throughout the performance as the middle-class wannabe with no confidence (that’s Mark – not Bryan!). Mimi was played superbly by Grace Egginton who quite rightly as a choreographer played the part of a striptease dancer very well.  (Hmmm…  that maybe came out a bit wrong?) 😉Roger Davis, all angst, and anger was quite phenomenal played by Josh Phillips.  Absolutely fantastic. Liberty Williams probably stole the show for “most likely to break a wine glass at forty feet” with her incredible top note harmonising as Joanne, and Naomi Marie as Benny (déjà vu here – if you know, you know) as the brooding, mean turncoat-comes-good ex-flatmate.

If I appear to be rushing through these principals, it’s because I could write war and peace about them otherwise. Next up – in her first ever principal role (which is hard to believe, if not as hard as reviewing of course) playing Maureen was Sarah Askew.  Now Sarah is no mean belter of a top noted harmony as well, as befits a rock band vocalist (if you know, you know) but …  well.  If you need a top MOO-ERR then Sarah is your girl (if you know, you know).  And then we have Davey Evans as Collins. Another wow moment.  Collins is a complex character to play especially with the range of emotions demanded of it, and Davey perfected them all. Great voice too. Which leaves last, but of course NEVER least…  Angel. George Friend. I had the pleasure of speaking with George before and after the show – he is reprising the role he played in 2017 – and he claimed (yeah right 😉) he couldn’t believe he could still reach the high notes he needed but they were well reached, another great performance.

So that’s it. I’ve reviewed a show that’s hard to review. A show that for an opening night was quite wonderful. And let us not forget either the debut show for a brand-new Bath based community theatre company.  Top job.


“RENT” runs until Saturday 16th March at 1930 each evening with a 1430 matinee on the 16th. Tickets can be bought from
https://www.ticketsource.co.uk/whats-on/bath/rondo-theatre/rent/e-mdxlbz

and I urge you to go.

And – don’t forget to MOOOO!  (if you know, you know).

You always said how lucky you were that we were all friends. But it was us, baby, who were the lucky ones.


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The Drum n Bass Huntr/s of Old Devizes Town

In true Royston Vasey style, unfortunately due to time and resources we don’t review international music as we did during lockdown, choosing to focus more on the original concept of local issues and talent, unless of course, we can find any vague link to someone around these parts; there’s a tenacious one with Beskar’s latest album of uplifting drum n bass…..

Proving the irony in Devizes singer Chrissy Chapman’s nom-de-plume, One Trick Pony, her stunning vocals feature on two tracks on the album, Liquid with Friends, released at the beginning of the month, and on a number of previous singles produced by Beskar. One of them is an astounding cover of Ella Fitzgerald’s Fever.

A chance opportunity for Chrissy, working as social media manager for 4NC¥ //DarkMode’s London headquarters during the pandemic, unveiled a hidden talent producing some spoken words for a Dust tune, which in turn led her to be introduced to Beskar, who since has enhanced many of his tracks with her prowess as a singer-songwriter. Now, under the pseudonym Huntr/s, Chrissy has fast climbed to recognition and popularity in drum and bass circles, though this doesn’t mean you’ll no longer see her acoustically perform on our local circuit too, I hope!

See? As the codger who was there for breakbeats slipping into acid house and creating a UK rave scene inspired equally from dub reggae as the less soulful German tekno, who danced through this progression, when hardcore fragmented into happy and dark, and celebrated what blew from it’s exhaust pipe, the “jungle” of drum n bass, and still coming up dancing, I find it slightly confuddling differentiating between the many subgenres drum n bass has separated into more recently. 

Take it as a senior moment, but I’m dubious about breakcore or dubstep, feel they’re heading in a direction I’m not looking to journey down. For me the split came at the end of the rave honeymoon, 1993. Andy C’s Origin Unknown caused heated debate, it was dark, directed away from the cheese on toast, carefree vibe of hi-hats and crashing piano breaks we were accustomed to. In just a few subsequent years I was waving A Guy Called Gerald’s Black Secret Technology CD around, but most of my mates waited for Goldie’s Timeless before accepting this new force, “intelligent” drum n bass.

It peaked at LTJ Bukem’s Logical Progression in 96, drum n bass no longer the jungle tumult you heard at raves, rather as the title suggested, here’s a style for the chill-out, for the after-party. And that’s where I left it, trundling off to the big beat sound of Jon Carter, The Chemical Brothers and Norman largin’ it. While what Beskar is laying down here is fresh and original, it makes no secret in nodding to its influences, to this peak of drum n bass, and for me, that works a treat.

The opening to Liquid with Friends is much like this, there’s the sparse drum n bass riffs of Photek, Hype et al, spacey ambient sounds of the Orb, KLF, and some uplifting vocals and piano breaks. There’s casual rap like Divine Bashim’s for William Orbit, there’s a spanning package offered here, flowing sweetly. The result is euphoric and enchanting throughout, but it’s the Huntr/s featured tracks, Home and Running which are the standouts, and I’m not just saying that, I’m backing it up with reasoning; because from cheesy hardcore to contemporary house, when any dance music genre breaks for some beautiful female vocals the soul is elevated.

Donna Summer proved that for Giorgio Moroder, Caron Wheeler did it for Soul II Soul in the late eighties, Rozalla took it to the rave, Heather Small did it for Mike Pickering, and a lounge style of house brought to the masses; dance music wouldn’t be what it is totally instrumental. Mickey Finn knew this with Urban Shakedown, and we did, we lived as one family, the vocal only enforced it into us! We were like, “damn that’s some powerful shit, we’d better live as one family now, or else!” I never did get any pocket money out of Mickey!

Beskar manages to amalgamate the lot without it becoming overcrowded there. Just as DJ Cam with the trip hop trend, funky jazz loops are allowed in. There’s a lot more going on with this album than breaks and beats, but it does this too with bells on. Silent River is one example to this experimental goodness, Inner City Life, the opening to Timeless meets Massive Attack, soulful vocals with layers of chill, and even subtle wailing guitars, akin Quincy Jones adding Slash to Micheal Jackson tunes, Beskar went there too; you magician! 

I’m taken back and in awe, our own Huntr/s’ contributions here embeds her voice to a history of female vocalists who uplifted the crowd, from Summer to Small, and that’s a high but deserved accolade for our Devizes girl!  


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In Retrospect With Gary Martian

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Christmas Greetings From Devizine!

Here’s our Christmas video Greeting, ho-ho-ho! Filmed on location at DOCA Winter Festival, Devizes, 2024 by Jess Worrow. Merry Christmas everyone!

The Importance of Being Earnest at the Wharf Theatre, Devizes

The Importance of Being Earnest is rather like a newfound interest in jazz, you must “unlearn” the four-beat pop you’re accustomed to, to fully appreciate it. You have to rewind, temporarily forget Rick Mayall and Ade Edmondson, forgo all farcical comedy from The Goon Show to Charlie Chaplin, and leave your Tardis in late Victorian England, then, you will laugh.….in a hoity-toity kinda fashion!

Opening Monday, it’s a sell-out at the Wharf Theatre in Devizes already, assuring me you know the plot and backstory; though I caught last night’s dress rehearsal, I’m not sure I need review it, only to assure ticket-holders they’re in for a good night, express, once again, why you gotta love our communal and hospitable town’s theatre, and maybe attempt to convince you I’m an intellectual!

One of the few plays I’ve read, I’m reminded how ironic and sardonic towards pomposity Oscar Wilde was, and how much trouble he got from it; surely making The Importance of Being Earnest a Victorian Men Behaving Badly, albeit written by a genius of twisting narrative the like I find unable to make a modern comparable.

I find myself wondering how, or even if it’s possible, to modernise it, as they did with Brewster’s Millions, for example. For it lambasts the snobbery of Victorian social etiquette as nonsensical, ridiculing the formalities of gentry as preposterous folly, and though it suggests insincerity and fabrications should be morally neutral, our protocols to be so feigned with social interactions has drastically improved through equality since, making this feel somewhat lost in time. Such is its ex-post facto beauty, concluding some things are best left the way they are. 

This leaves the happy ending scene questionable by today’s standards. In an unfeasible  modern twist it’s surely likely both Jack and Algernon would’ve been victims of their own circumstance; akin to a double-act of Basil Fawlty and Basil Fawlty. A modernisation of the play would end (spoiler alert) with the penultimate scene, where the ladies discover Earnest was a big, fat double-whammy fib to get in their knickers, and the boys would’ve been summoned to punishment for their deceptions, liable to sharp kicks to their respective groin-areas!

True, isn’t it? Modern girls wouldn’t have given these unsuitable and practically unhinged suitors the time of day! They’d receive only a two-finger salute, probably de-friended and condemned on Facebook, and they’d both be rung out to dry on Tinder, no matter how loaded they are! It is then, with a curiosity of Victorian ethics which makes this play so endearingly comical, classic and impossible to modernise; go tell Disney! 

Though, with a line in the play ironically defuncting happy endings I hadn’t picked up on till last night’s fantastic dramatisation of it, I strongly suspect that is precisely what Wilde was getting at, only leaving me ponder what he would think of our era today. There’s far more connotations to encrypt from this play than first meets the eye, but at least he wouldn’t be threatened with a bouquet of rotten vegetables from his boyfriend’s pop and in his attempt to sue the Lord, get banged up in the big house for it. More likely the Lord would get a wrap on the knuckles for a hate-crime; proving how far we’ve emancipated and why this play is so intriguing and poignant, if outmoded comically.

And it’s played out wonderfully, Rob Finlay plays steadfast Jack Worthing, Oliver Beech makes the perfect punster Algernon Moncrieff, and their conflicting characters ricochet off each other like they were performing this in Melksham’s Bounce House!

Sophie Kerr plays Gwendolen Fairfax, and Anna McGrail is Cecily Cardew, elegantly defining the constricted mannerisms of Victorian ladies, and Wilde’s attempts to satirise it. Comic gold from Debby Wilkinson as Lady Bracknell and Jess Bone as Miss Prism, particularly when the two finally clash. Rob Gill is the bumbling reverend, Tony Luscombe and Ian Diddams make the perfect butlers.

Lewis Cowen is one dedicated director who has made this play shine beyond the rafters of the Wharf. I think you’ll love it, being far more intellectual than me, and I finish with an oxymoron Oscar Wilde might be proud of me for; oh, awfully witty, what-what! Photographer Chris Watkins was there, trying to grab some images from him to illustrate this with, for now, I apologise for not taking photos, but guarantee you, it’s yet another stunning performance.


Trending….

Chapters, New Single From Kirsty Clinch

Okay, so, I’m a  little behind, recently opting to perfect my couch potato posture and consider hibernation, meaning I’ve not yet mentioned Kirsty Clinch’s…

Devizine’s Review of 2020; You Can’t Polish a Turd!

On Social and Political Matters……

For me the year can be summed up by one Tweet from the Eurosceptic MEP and creator of the Brexit Party, Nigel Farage. A knob-jockey inspired into politics when Enoch Powell visited his private school, of which ignored pleas from an English teacher who wrote to the headmaster encouraging him to reconsider Farage’s appointed prefect position, as he displayed clear signs of fascism. The lovable patriot, conspiring, compulsive liar photographed marching with National Front leader Martin Webster in 1979, who strongly denies his fascist ethos despite guest-speaking at a right-wing populist conference in Germany, hosted by its leader, the granddaughter of Adolf Hitler’s fiancé; yeah, him.

He tweeted “Christmas is cancelled. Thank you, China.” It magically contains every element of the utter diabolical, infuriating and catastrophic year we’ve most likely ever seen; blind traditionalist propaganda, undeniable xenophobia, unrefuted misinformation, and oh yes, the subject is covid19 related.

And now the end is near, an isolated New Year’s Eve of a year democracy prevailed against common sense. The bigoted, conceited blue-blooded clown we picked to lead us up our crazy-paved path of economic self-annihilation has presented us with an EU deal so similar to the one some crazy old hag, once prime minster delivered to us two years back it’s uncanny, and highly amusing that Bojo the clown himself mocked and ridiculed it at the time. I’d wager it’s just the beginning.

You can’t write humour this horrifically real, the love child of Stephen King and Spike Milligan couldn’t.

Still, I will attempt to polish the turd and review the year, as it’s somewhat tradition here on Devizine. The mainstay of the piece, to highlight what we’ve done, covered and accomplished with our friendly website of local entertainment and news and events, yet to holistically interrelate current affairs is unavoidable.

We have even separated the monster paragraphs with an easier, monthly photo montage, for the hard of thinking.

January

You get the impression it has been no walk in the park, but minor are my complaints against what others have suffered. Convenient surely is the pandemic in an era brewing with potential mass hysteria, the need to control a population paramount. An orthornavirae strain of a respiratory contamination first reported as infecting chickens in the twenties in North Dakota, a snip at 10,400km away from China.

Decidedly bizarre then, an entire race could be blamed and no egg fried rice bought, as featured in Farage’s audacious Tweet, being it’s relatively simple to generate in a lab, inconclusively originated at Wuhan’s Huanan Seafood Wholesale Market, rather spread from there, and debatably arrived via live bat or pangolin, mostly used in traditional Chinese medicine, a pseudoscience only the narrowminded minority in China trusts.

Ah, inconsistent pseudoscience, embellished, unfalsifiable claims, void of orderly practices when developing hypotheses and notably causing hoodwinked cohorts. Yet if we consider blaming an ethos, rather than a race, perhaps we could look closer to home for evidence of this trend of blind irrationality. Truth in Science, for example, an English bunch of Darwin-reputing deluded evangelicals who this year thought it’d be a grand and worthy idea to disguise their creationist agenda and pitch their preposterous pseudoscientific theory that homosexuality is a disease of the mind which can be cured with electro-shock treatment to alter the mind inline with the body’s gender, rather than change the body to suit the mind’s gender orientation, to schoolchildren!

Yep, these bible-bashing fruit-bats, one lower than flat earth theorists actually wrote to headmasters encouraging their homophobia to be spread to innocent minds, only to be picked up by a local headmaster of the LGBTQ community. Here’s an article on Devizine which never saw the light of day. Said that Truth in Science’s Facebook page is chockful with feedback of praise and appreciation, my comments seemed to instantly disappear, my messages to them unanswered. All I wanted was a fair-sided evaluation for an article, impossible if you zip up.

Justly, no one trusts me to paint an unbiased picture. This isn’t the Beeb, as I said in our 2017 annual review: The chances of impartiality here, equals the chances of Tories sticking to their manifesto. Rattling cages is fun, there’s no apologies I’m afraid, if I rattled yours, it just means you’re either mean or misguided.

Herein lies the issue, news travels so fast, we scroll through social media unable to digest and compose them to a greater picture, let alone muster any trust in what we read. I’m too comfortable to reside against the grain, everyone’s at it. I reserve my right to shamelessly side with the people rather than tax-avoiding multinationals and malevolent political barons; so now you know.

February

If you choose to support these twats that’s your own lookout, least someone should raise the alarm; you’d have thought ignoring World Health Organisation advise and not locking down your country until your mates made a packet on horseracing bets is systematic genocide and the government should be put on trial for this, combined with fraud and failure of duty. If not, ask why we’re the worst hit country in the world with this pandemic. Rather the current trend where the old blame the young, the young blame the old, the whites blame the blacks, the thin blame the fat, when none of us paid much attention to restrictions because they were delivered in a confused, nonsensical manner by those who don’t either, and mores to the pity, believe they’re above the calling of oppressive regulations.

If you choose to support these twats, you’re either a twat too, or trust what you read by those standing to profit from our desperation; ergo, twats. Theres no getting away from the fact you reep what you sow; and the harvest of 2020 was a colossal pile of twat.


Onto Devizine…. kind of.

For me what started as a local-based entertainment zine-like blog, changed into the only media I trust, cos I wrote the bollocks! But worser is the general obliteration of controversy, criticism and debate in other media. An argument lost by a conformer is shadowed behind a meme, or followed up with a witch hunt, a torrent of personal abuse and mockery, usually by inept grammar by a knuckle-dragging keyboard warrior with caps-lock stuck on; buy a fucking copy of the Oxford Guide to English Grammar or we’re all going to hell in a beautiful pale green boat.

We’re dangerously close to treating an Orwellian nightmare as a self-help guide, and despite fascists took a knockdown in the USA and common sense prevailed, the monster responded with a childish tantrum; what does this tell you? The simple fact, far right extremism is misled and selfish delinquency which history proves did no good to anyone, ever. Still the charade marches on, one guy finished a Facebook debate sharing a photo of his Boris “get Brexit done” tea-towel. I pondered when the idiot decided a photo of his tea towel would suffice to satisfy his opinion and convince others, before or after the wave of irony washed over his head in calling them Muppets.

I hate the term, it’s offensive. Offensive to Jim Henson’s creations; try snowflake or gammon, both judgemental sweeping generalisations but personally inoffensive to any individual, aside Peppa Pig. I wager you wander through Kent’s lorry park mocking the drivers and calling them snowflakes rather than tweeting; see how far you get.

So, the initial lockdown in March saw us bonded and dedicated, to the cause. We ice-skated through it, developed best methods to counteract the restrictions and still abide by them; it was kind of nice, peaceful and environmentally less impacting. But cracks in the ice developed under our feet, the idea covid19 was a flash in pan, akin to when Blitz sufferers asserted it’d all be over by Christmas, waned as we came to terms, we were in it for the duration.

Yet comparisons to WWII end there, lounging on the sofa for three months with Netflix and desperate peasants delivering essential foodstuff, like oysters, truffles and foie gras is hardly equivalent to the trench warfare of Normandy. Hypocritical is me, not only avoiding isolation as, like a nurse, my labour was temporarily clapped as key worker in March, I figured my site would only get hits if I wrote something about Covid19, and my ignorance to what the future resulted in clearly displayed in spoofy, ill-informed articles, Corona Virus and Devizine; Anyone got a Loo Roll? on the impending panic-buying inclination, and later, I Will Not Bleat About Coronavirus, Write it Out a Hundred Times…

The only thing I maintained in opinion to the subject, was that it should be light-hearted and amusing; fearing if we lose our sense of humour, all is lost. Am I wrong? Probably, it’s been a very serious year.

It was my first pandemic-related mention, hereafter nearly every article paid reference to it, no matter how disparate; it’s the tragedy which occupied the planet. But let’s go back, to oblivious January, when one could shake hands and knew where the pub was. Melksham got a splashpad, Devizes top councillors bleated it wasn’t fair, and they wanted a splashpad too. They planned ripping out the dilapidated brick shithouses on the Green and replacing it with a glorious splashpad, as if they cared about the youth of the town. I reported the feelings of grandeur, Splashpad, I’m all over it, Pal! A project long swept under the carpet, replaced with the delusion we’ll get an affordable railway station. As I said, convenient surely is the pandemic.

So many projects, so many previews of events, binned. Not realising at the time my usual listing, Half Term Worries Over; things to do with little ones during February half-term… would come to an abrupt halt. Many events previewed, the first being the Mayoral Fundraising Events, dates set for the Imberbus, and Chef Peter Vaughan & Indecision’s Alzheimer’s Support Chinese New Year celebration, to name but a few, I’m unaware if they survived or not.

March


On Music……

But it was the cold, early days of winter, when local concerns focused more on the tragic fire at Waiblingen Way. In conjunction with the incredible Liz Denbury, who worked tirelessly organising fundraising and ensuring donations of essentials went to the affected folk, we held a bash in commemoration and aid down that there Cellar Bar; remember?

It was in fact an idea by Daydream Runaways, who blew the low roof off the Cellar Bar at the finale. But variety was the order of the evening, with young pianist prodigy Will Foulstone kicking us off, opera with the amazing Chole Jordan, Irish folk with Mirko and Bran of the Celtic Roots Collective and the acoustic goodness of Ben Borrill. Thanks also has to go to the big man Mike Barham who set up the technical bits before heading off to a paid gig. At the time I vowed this will be the future of our events, smaller but more than the first birthday bash; never saw it coming, insert sad-face emoji.

We managed to host another gig, though, after lockdown when shopping was encouraged by In:Devizes, group Devizes Retailers and Independents, a assemblage of businesses set up to promote reopening of town. We rocked up in Brogans and used their garden to have a summer celebration. Mike set up again, and played this time, alongside the awesome Cath and Gouldy, aka, Sound Affects on their way to the Southgate, and Jamie R Hawkins accompanied Tamsin Quin with a breath-taking set. It was lovely to see friends on the local music scene, but it wasn’t the reopening for live music we anticipated.

Before all this live music was the backbone of Devizine, between Andy and myself we previewed Bradford Roots Music Festival, MantonFest, White Horse Opera’s Spring Concert, Neeld Hall’s Tribute to Eddie Cochran, and the return of Asa Murphy. We reviewed the Long Street Blues Club Weekender, Festival of Winter Ales, Chris O’Leary at Three Crowns, Jon Walsh, Phil Jinder Dewhurst, Mule and George Wilding at The White Bear, Skandal’s at Marlborough’s Lamb, and without forgetting the incredible weekly line-up at the Southgate; Jack Grace Band, Arnie Cottrell Tendency, Skedaddle, Navajo Dogs, Lewis Clark & The Essentials, King Street Turnaround, Celtic Roots Collective, Jamie, Tamsin, Phil, and Vince Bell.

The collection of Jamie R Hawkins, Tamsin Quin and Phil Cooper at the Gate was memorable, partly because they’re great, partly because, it was the last time we needed to refer to them as a collection (save for the time when Phil gave us the album, Revelation Games.) Such was the fate of live music for all, it was felt by their newly organised trio, The Lost Trades, whose debut gig came a week prior to lockdown, at the Pump, which our new writer Helen Robertson covered so nicely.

For me, the weekend before the doom and gloom consisted of a check-in at the Cavy, where the Day Breakers played, only to nip across to Devizes Sports Club, where the incredible Ruzz Guitar hosted a monster evening of blues, with his revue, Peter Gage, Innes Sibun and Jon Amor. It was a blowout, despite elbow greetings, I never figured it’d be the last.

It was a knee-jerk reaction which made me set up a virtual festival on the site. It was radical, but depleted due to my inability to keep up with an explosion of streamed events, where performers took to Facebook, YouTube sporadically, and other sites on a national scale, and far superior tech knowhow took over; alas there was Zoom. I was happy with this, and prompted streaming events such as Swindon’s “Static” Shuffle, and when PSG Choirs Showed Their True Lockdown Colours. Folk would message me, ask me how the virtual festival was going to work, and to be honest, I had no idea how to execute the idea, but it was worth a stab.

One thing which did change, musically, was we lowered our borders, being as the internet is outernational and local bands were now being watched by people from four corners of the world, Devizine began reviewing music sourced worldwide. Fair enough, innit?

The bleeding hearts of isolated artists and musicians, no gigs gave them time on their hands to produce some quality music, therefore our focus shifted to reviewing them, although we always did review records. Early local reviews of 2020 came from NerveEndings with the single Muddy Puddles, who later moved onto an album, For The People. Daydream Runaways’ live version of Light the Spark and Talk in Code’s Like That, who fantastically progressed through lockdown to a defining eighties electronica sound with later singles Taste the Sun and Secret.

We notified you of Sam Bishop’s crowdfunding for a quarantine song, One of a Kind, which was released and followed by Fallen Sky. Albums came too, we covered, Billy Green 3’s Still in January, and The Grated Hits of the Real Cheesemakers followed, With the former, later came a nugget of Billy Green’s past, revealing some lost demos of his nineties outfit, Still, evidently what the album was named after.

Whereas the sublime soul of Mayyadda from Minnesota was the first international artist featured this year, and from Shrewsbury, our review of Cosmic Rays’ album Hard to Destroy extended our presence elsewhere in the UK, I sworn to prioritise local music, with single reviews of Phil Cooper’s Without a Sound, TheTruzzy Boys’ debut Summertime, Courage (Leave it Behind), a new single from Talk in Code, and for Daydream Runaways’ single Gravity we gave them an extensive interview. This was followed by Crazy Stupid Love and compiled for an EP, Dreamlands, proving they’re a band continuously improving.

April

Probably the most diverse single around spring though was an epic drum n bass track produced right here in Devizes, featuring the vocals of Pewsey’s Cutsmith. Though while Falling by ReTone took us to new foundations, I ran a piece on the new blues sounds locally, as advised by Sheer Music’s Kieran Moore. Sheer, like all music promoters were, understandably, scrambling around in the dark for the beginnings of lockdown, streaming stuff. It wasn’t long before they became YouTube presenters! The Sheer podcast really is something special, in an era leaving local musicians as dry as Ghandi’s flip-flop, they present a show to make ‘em moist!

Spawned from this new blues article, one name which knocked me for six, prior to their YouTube adventures, was Devizes-own Joe Edwards. I figured now I was reviewing internationally; would it be fair to local musicians to suggest a favourite album of the year? However, Joe’s Keep on Running was always a hot contender from the start, and despite crashing the borders on what we will review, I believe it still is my favourite album of the year.

Other top local albums, many inspired from lockdown came flowing, perhaps the most sublime was Interval by Swindon’s reggae keyboardist virtuoso, Erin Bardwell. The prolific Bardwell later teamed with ex-Hotknive Dave Clifton for a project called Man on the Bridge.

Perhaps the most spacey, Devizes’ Cracked Machine’s third outing, Gates of Keras. Top local singles? Well, George Wilding never let us down with Postcard, from a Motorway, and after lockdown reappeared with his band Wilding, for Falling Dreams and later with a solo single, You Do You. Jon Amor was cooking with Peppercorn, which later led to a great if unexpected album, Remote Control.

There was a momentary lapse of reason, that live streaming was the musical staple diet of the now, when Mr Amor climbed out onto his roof to perform, like an ageless fifth Beatle. Blooming marvellous.

Growing up fast, Swindon’s pop singer Lottie J blasted out a modern pop classic with Cold Water, and no one could ignore Kirsty Clinch’s atmospheric country-pop goodness with Fit the Shoe.

Maybe though it wasn’t the ones recorded before, but our musicians on the live circuit coming out with singles to give them some pocket money, which was the best news. I suggest you take note of Ben Borrill’s Takes A Little Time, for example.

I made new friends through music, reviewing so many singles and EPs; Bath’s Long Coats, and JAY’s Sunset Remedy. Swindon’s composer Richard Wileman, guitarist Ryan Webb, and unforgettable Paul Lappin, who, after a couple of singles would later release the amazing acoustic Britpop album The Boy Who Wanted to Fly. Dirty and Smooth and Atari Pilot too, the latter gave us to cool singles, Right Crew, Wrong Captain, and later, Blank Pages. To Calne for End of Story and Chris Tweedie, and over the downs to Marlborough with Jon Veale’s Flick the Switch. I even discovered Hew Miller, a hidden gem in our own town.

May

But we geographically go so much further these days, even if not physically much more than taking the bins out. Outside our sphere we covered Essex’s Mr B & The Wolf, Limerick’s Emma Langford, London’s Gecko, and from the US, Shuffle & Bang, and Jim White. Johnny Lloyd, Skates & Wagons, My Darling Clementine, Micko and the Mellotronics, Typhoidmary, Frank Turner and Jon Snodgrass, Mango Thomas, Beans on Toast, Tankus the Henge; long may the list continue.

Bombino though, the tuareggae artist really impressed me, but I don’t like to pick a favourite, rather to push us onto another angle. I began reviewing stuff sent via my Boot Boy radio show, and covered a ska scene blossoming in South America. But as well as Neville Staple Band’s single Lockdown, The Bighead, the Bionic Rats, and Hugo Lobo teaming up with Lynval Golding and Val Douglas, we found reggae in Switzerland through Fruits Records, the awesome Cosmic Shuffling and progressive 808 Delavega.

So much music, is it going on a bit? Okay I’ll change the record, if you pardon the pun, but not until I’ve mentioned The Instrumental Sounds Of Ruzz Guitar’s Blues Revue, naturally, Sound Affects’ album Ley Lines, Tunnel Rat refurbing their studio, and Bristol’s freshest new hip hop act The Scribes. Ah, pause for breath.

Oh, and outside too, we did get a breather from lockdown and tiers, all Jamies for me, Mr R Hawkins was my first outing at the Gate and followed by Jamie Williams and the Roots Collective. Sad to have missed Two Man Ting and when The Big Yellow Bus Rocked the Gazebo, but hey, I thought we were out of the deep water.

June

Splashed straight back in again; “tiers” this time, sounds nicer than lockdown. Who knows what 2021 will bring, a vaccine, two vaccines, a mesh of both despite being ill-advised by experts? Just jab me, bitch, taxi me to the nearest gig, if venues still exist, by spring and I’ll shut up about it.


On Arts…..

Bugger, I’m going to need Google maps to find my local boozer. But yeah, they, whoever they are, think we’re all about music, but we cover anything arts and entertainment, you know? We previewed Andy Hamilton coming to Swindon’s Wyvern, Josie Long coming to Bath, The Return of the Wharf Theatre, and the county library tours of Truth Sluth: Epistemological Investigations for the Modern Age. Surely the best bit was being sent a private viewing of a new movie, Onus, by the Swindon filmmakers who gave us Follow the Crows.

I shared poems by Gail Foster, and reviewed her book Blossom. Desperate for subject matter I rewrote a short story Dizzy Heights. I featured artists Bryony Cox and Alan Watters, both selling their wares for the NHS, Ros Hewitt’s Glass Art open studio, Small Wonders Art Auction in aid of Arts Together and Asa Murphy published a children’s book, The Monkey with no Bum! I dunno, don’t ask.

July


On Food…

Despite my Oliver Twist pleads, we never get enough on the subject of grub. January saw us preview Peter Vaughan’s Chinese New Year dinner party in aid of Alzheimer’s Support and with music from Indecision, we covered DOCA’s Festival of Winter Ales, and looked forward to the Muck & Dunder’s Born 2 Rum festival, which was cancelled.

From here the dining experience reverted to takeaways, and I gave Sujay’s Jerk Pan Kitchen at big shout, and thought it best to wait until things reopened before singing Massimos’ praise, but I guess for now I should mention their awesome takeaway service next.

The Gourmet Brownie Kitchen supplied my welcomed Father’s Day gift, even nipped over to Swindon, in search of their best breakfast at the Butcher’s cafe, and recently I featured vegan blogger, Jill. Still though I need more food articles, as restaurants should take note, they’re extremely popular posts. Sadly, our while self-explanatory article, “We Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,” did quite well, at third most popular, the earlier “Eat Out to Help Out, Locally, Independently,” was our highest hitting of all; giving a sombre redefining of the term, dying to go out.

Back to my point though, food articles do so well, I’m not just after a free lunch, or maybe I am. But here, look, the fourth most popular article this year was our review of New Society, which was actually from 2019. Does lead us on nicely to the touchy subject of stats this year.

August


On Stats, Spoofs and the Future….

As well as an opportunity to review what we’ve done over the past year and to slag off the government, I also see this rather lengthy article which no one reads till the end of, a kind of AGM. It should be no surprise or disappointment, being this is a what’s-on guide, and being nothing was actually on, our stats failed to achieve what we hit in 2019. Though, it is with good news I report we did much better than 2018, and in the last couple of months hits have given me over the stats I predicted. Devizine is still out there, still a thing; just don’t hug it, for fuck’s sake.

I did, sometime ago, have a meeting with the publishers of Life In, RedPin. You may’ve seen Life in Devizes or various other local town names. The idea to put Devizine into print is something I’ve toyed with, but as it stands it seems unlikely. My pitch was terrible, my funds worse. If I did this it would cease to be a hobby and become a fulltime business, I’d need contributors, a sales department, I’d need an expert or ten, skills and a budget for five issues ahead of myself, and I tick none of those boxes. A risk too risky, I guess that’s why they call a risk a risk, watching the brilliant Ocelot reduced to online, publications suffer, the local newspaper house scrambling for news and desperately coming up with national clickbait gobbledygook, I know now is not the time to lick slices of tree with my wares.

So, for the near future I predict trickling along as ever. Other than irrational bursts of enthusiasm that this pandemic is coming to an end, I’ve given in updating our event calendar until such really happens. And it will, every clown has a silver lifeboat, or something like that.

September

Most popular articles then, as I said, desperation to return to normal is not just me, “Eat Out to Help Out, Locally, Independently,” was our highest hitting of all, whereas “We Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,” came in third. Nestled between two foodie articles our April Fools spoof came second. As much as it nags me, I have to hold up my hands and thank Danny Kruger for being a good sport. He shared our joke, Boris to Replace Danny Kruger as Devizes MP.

We do love a spoof though, and given a lack of events, I had time to rattle some off, A Pictorial Guide to Those Exempt from Wearing a Facemask, Guide to Local Facebook Groups pt1 (never followed up) The Tiers of a Clown, Sign the Seagull Survey, Bob! and Danny featuring again in The Ladies Shout as I go by, oh Danny, Where’s Your Facemask?! all being as popular as my two-part return of the once celebrated No Surprises columns, No Surprises Locked Down in Devizes.

Perhaps not so popular spoofs were The World’s Most Famous Fences! and Worst Pop Crimes of the Mid-Eighties! But what the hell, I enjoyed writing them. 


On Other News and Miscellaneous Articles……

I was right though, articles about lockdown or how we’re coping were gratefully received, and during this time, a needed assurance we weren’t becoming manically depressed or found a new definition of bored. Devizes together in Lockdown, After the Lock Down, Wiltshire is not Due a second Lockdown, the obvious but rather than bleating on the subject, how we celebrated VE Day in Devizes & Rowde, the Devizes Scooter Club auctioning their rally banner for the NHS, Town Council raising £750 to support the Devizes Mayor’s Charities, DOCA Announce Next Year’s Carnival & Street Festival Dates, DOCA’s Window Wanderland, and a Drive-In Harvest Festival! to boot. Town Council making Marlborough High Street a safer place, all came alongside great hope things would change, and pestering why not: The State of the Thing: Post Lockdown Devizine and How We Can Help, Open Music Venues, or Do They Hate Art? Opinion: House Party Organiser in Devizes Issued with £10,000 Fine.

 If Who Remembers our First Birthday Bash? Saw me reminiscing, I went back further when raves begun to hit the news. Covered it with Opinion: The End and Reawakening of Rave, and asked old skool ravers Would you Rave Through Covid? But we also highlighted others not adhering to restrictions With Rule of Six and Effects on Local Hunting and Blood Sports, it was nice to chat with Wiltshire Hunt Sabs.

October

Controversy always attracts a crowd, but couldn’t help myself highlighting misdoings. From internet scams, like The Artist Melinda Copyright Scam, tolocal trouble, Rowde Villagers Rally in Support of Residential Centre Facility, for instance, Sheer Music’s MVT Open Letter to Government, Help Pewsey Mum on her Campaign to free her Children from Abduction, important stuff like that. We try to help where we can, honest.

Most controversial though, me thinks, was our poor attempt at coverage of the international BLM issue. I’ve been waffling enough already to get into how I feel personally; been writing this “summary” for what feels like eons, time to shut up and advise you read these articles yourself, because no matter how you fair on the argument, xenophobia affects us all, even in the sticks. We therefore had a chat with BLM in the Stix and did a three-part look at the issue, the third part a conclusion and the middle bit, well, that came in light of Urchfont Parish Council turning down a youth art display; what a pompous notion highlighting the issue on a local level.

But campaigns and fundraising came in thick and fast, despite nought cash in anyone’s pockets to follow them up. I understand, but we featured Go Operation Teddy Bear, Devizes Wide Community Yard Sale, Hero Wayne Cherry Back in Action! Lucie’s Haircut Fundraiser for the Little Princess Trust, Crusader Vouchers, Julia’s House Gameathon, Devizes for Europe launching “Say #YES2ARealDeal” campaign, and of course, our superheroine Carmella’s ongoing campaigns.

November


In conclusion….

It has, in conclusion, been a hectic year, without the need for live music reviews, though some might’ve been nice! Here’s to a better day. We reserve our right to support local arts, music, and business, whatever the weather, and pandemic. We offered you, on top of the aforementioned; Father’s Day; Keeping Ideas Local, Floating Record Shop Moored on Kennet & Avon, Devizes Town Band Comes to You for Remembrance and Zoom Like an Egyptian: Wiltshire Museum Half-Term Activities! to name but a few in the wake of our move to online events, although they’ll never stream as effectively as being pissed in a pub alcove unable to find the loo.

We also did our easy-reading list type features which are the trend; Top Twenty Local Music CDs For Christmas and Fairy-Tale of New Park Street; And Better Local Christmas Songs! I went on my Devizine Christmas Shopping Challenge, and tried to tweak the website to include podcasts to fund our musicians.

Yeah, that one is put on hold, I couldn’t do it as I saw able to, but it needs work and I’ve another plan up my sleeve, just takes a bit of planning is all, which I guess is why they call it a plan in the first fucking place! You did blag a Free Afro-Beat, Cumbia and Funk Mix out of the deal. Maybe I could do more, but upwards and onwards, Devizine is now operating as both international music zine and local affairs. I maybe could separate them, but this means building a new audience and starting over. I like it as it is, and besides, I’m open to feedback, love to hear what you reckon, and will promise to act on suggestions, which is more than I can say for this fucking, cockwomble-led government; just leave it there shall we?!

The only gripe is that I ask that you have to believe in what I’m trying to do and supply me with the news, what you’re doing, creating or getting narked about, else I don’t know about it; hacked off with Face-sodding-Book, see?

Sure, you could put your trust in a real journalist through all their generalizations and unbiased writings, and grammar errors, or you could try here, where we deliver more than just a pint of semi. Look now at the going back to school debate, you know, I know, we all fucking know, senior school kids can stay at home because they can look after themselves while parents go to work, whereas primary kids can’t, so have to go back to school. It has nought to do with the spread of the virus, and everything to do with what’s best financially, and that, my friends, is not only the way this government have applied regulations throughout, but also not the kind of truths you’ll be reading in the newspapers.

All hail Devizine then, please do; I’m trying my fucking best amidst the wankology of Britain’s governing regime. I’m planning to rock on for another year, trapped in Blighty with flag-waving, panic-buying tossers until we’re queuing for bread or waging war on France like the good old days, namely the dark ages, let’s see where it gets us; with or without loo roll.

No, I’m not bitter; just slightly narked at the difficulties made in making people laugh by these idiots, so I find it apt to aim my satirical guns at them.

December