Vinyl Realm Hosts New Stage at DOCA Street Festival

Yeah, it’s a toasty secret I’ve been busting to spill the beans on for eons; and we’re gathered here today to announce the line-up!

Sometime ago I suggested a local affair for DOCA’s amazing street festival on 21st August, just a small marquee-fashioned area, I imagined, set aside to highlight our local acoustic musicians. Like most of my ideas though, I throw away all practicalities and left it up to a fellow worker to causally whisper it’s a Monday and I’d be working in the morning!

Similarly, though, Pete of Vinyl Realm wanted to do something along these lines, and I’m delighted to announce he has taken the project under his wing and only gone done it, with bells on. The idea has expanded to a full-sized stage, with a great line-up that I’m here today to tell you about.

So, well done to Pete, Loz, et all, who’ve worked tirelessly to sort this out. Next week I’ll be chatting with Loz of DOCA about carnival and the street festival in general, but for now, all eyes on this, set to be the loudest alternative corner of the street festival, ever!

At this point, times of the bands performing are unconfirmed, as it needs to coincide with acts on the main stage. While DOCA’s booking of some fantastic international acts each year, it leaves us eager to know what they’ve in store for August; it’s secret left for you to buy a programme. But do save some room in your wandering for the Vinyl Realm Presents stage at the corner St Johns and Long Street, bang outside the shop.


Ah, the new four-piece indie-rock band I’ve been harking on about recently, Daydream Runaways will be playing. Wiltshire-based Ben Heathcote on vocals, Cam Bianchi on Guitar, Nath Heathcote on Bass and drummer, Brad Kinsey. Citing influences from the likes of The Killers, The Strokes and Sam Fender, Airborne, they also praise Fleetwood Mac, The Stones and Talking Heads. We reviewed their excellent single Light the Spark a few months ago, and have high hopes for this youthful bunch.

cracked machine

Whisked away on one awesome, blissful journey through sound after just one listen of their debut album, I, Cosmonaut, Cracked Machine have been mentioned and rightfully praised on Devizine over the last year. Formed in Wiltshire also, in 2015, local space-rock hypnotists, weaving “mesmerising grooves, infectious riffs and layers of sonic texture to create compelling and original soundscapes which take fellow cosmic explorers on an exhilarating trip through the cosmos.” This is Pink Floyd likened space-rock, meeting ambient trance for a new generation, yet their second album, The Call Of The Void, reflects a harder, rock edge, we’re talking Hawkwind here, and it’s reverie style will hold you spellbound.


Deemed the headline act, Cracked Machine is a quartet of experienced musicians, brought together in a quest for aural mayhem; Bill Denton on guitar, Clive Noyes on keys samples and vocals, Chris Sutton on bass and Blazej Gradziel on drums. They play the Southgate today, and are a welcome blessing to our local scene.


Vibrant retro-rock fusion with folk and neo-gothic, Somerset/Hampshire’s Strange Folk UK is one I’ve not heard of, and look forward to. The band’s roots are in folk, and distinct rock aspirations are tempered by a recognisable folk vein running through their songs to varying degrees. Dark impressive vocals ride the crest of a truly great sound that transports the listener to another time.

Quoting their influences may divulge that time; sixties psychedelic legends such as Dylan, Janis Joplin, T-Rex, The Doors, Free, Hendrix, and Jethro Tull, there’s mod influences too like The Who, and Genesis, and harder rock like Zeppelin and Judas Priest.

Between bands, we announce acoustic artists, Devizes singer-songwriters, Marland favourite Tom Littlefair and the brilliant Ben Borrill, topped off with a local funky soul DJ set from Usaf. I’m truly delighted to bring you this news, reckoning this is addition is going to really add a whole new musical dimension to this already fantastic gem on Devizes event calendar. As well as all of DOCA’s exciting circus, street theatre side stalls, rides and games, it now stands at two stages large, double the fun!



Oh, and I do believe Devizine has the exclusive on this one; expect a plagiarising Gazelle or Herod along any moment. Please feel free to share our posts, but if republishing them observe copyright and quote Devizine as the source; basic etiquette, thanks!


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Solstice, or What-Christians-Macallit?

Summer Solstice is on Friday 21st June and English Heritage provides free Managed Open Access to Stonehenge as usual, under the conditions: no amplified music, no drones, no alcohol, no drugs, no drunken or disorderly behaviour, no camping, no sleeping bags, no large bags, no chairs, fires, Chinese lanterns, fireworks, candles, tea-lights or BBQs, no glass, no sharp or pointed objects, and, of course, no climbing on the stones; something we’ll return to in a bit.

You will be searched, and anything deemed unsuitable will be confiscated, other than that, have fun.

I appreciate this reasoning, our nanny-state concludes you are not to be trusted; you should be immune to this concept by now. Have no concern, they will create common sense for you and write it on a fluorescent signpost.

With workshops and bands, there’s a four-day pay-festival; setting you back £125 to camp per person, £325 for a campervan pitch, or £490 for glamping. Yet through a pastel illustration, its rather deceiving website shows an idyllic festival with the ancient monument just a hedgerow behind. What may be the closest festival to Stonehenge for Solstice, is actually over two and a half miles away in Winterbourne Stoke. That said, I believe they bus it up to the stones in time for sunrise; road closures and traffic jams worked in, I’m hoping.

Cashing in on our desire to recapture ancient ideologies is not exclusive to this festival, English Heritage hides the hiked-up parking charges in small print, on another section of their website, away from the main Conditions of Entry page. Hardly surprising, after last year’s dispute, the opposition headed by the Loyal Arthurian Warband, and as Titular Head and Chosen Chief of what has become known as The Warrior/Political arm of the modern Druid Movement, Uther Pendragon.

Devizine spoke to Arthur last year, when the heat was the parking charges. Seems English Heritage will not compromise, while it costs tourists just a fiver anyother day, on the one day guaranteed to pull a crowd of homegrown visitors, they triple the tax. Deemed a “pay to pray” policy, Arthur persists on this mission. The most bizarre twist in this fiasco is this year’s EH website designers, who’ve decided to use a picture of St George slaying the dragon to advertise. One may appreciate the reasoning for rules, but the reasoning for using Christian symbology to advertise a pagan feast? The only possible explanation I conjure is it’s a veiled satirical stab at Arthur, who declared, he is one dragon they “will not slay.”

The notion they’re suggesting Christianity should convert solstice is so absurd I blocked it from my mind. Yet, I was shocked at what research churned up. Despite the impossibility of Mary, with child, travelling across Israel, and shepherds off -season during winter, Christian websites maintain Jesus was born at Christmas, and that the sun mimics the death and resurrection of him. If the idea the Earth’s solar orbit never occurred until after the birth of Jesus isn’t a hard-enough pill to swallow, they now continue to suggest summer solstice is actually St John the Baptist’s birthday bash.

Justified by the verse of John 3:30, declaring, “he [Jesus] must increase, but I must decrease,” this reflects the sun at the summer solstice trailing its forte, while the winter sun gains, it is no new theory, however outlandish.

Is this what’s happening now, I shudder? Are English Heritage supporting the idea that summer solstice be replaced by a Christian celebration, or just condescendingly mocking Arthur? Is the winter solstice (Christmas) and the spring equinox (Easter) not enough for them? The final nail in the coffin for ancient faiths; here, have Beltane too while you’re at it. Perhaps they think, I ponder to myself, that if solstice was Christian no one would attempt to climb the stones, as you’ll never see the congregation of Salisbury Cathedral drunkenly jeering on daredevils halfway up the spire!

It’s what it all boils down to, this ill-conceived stereotype of pagans; those wild and reckless heathens. And, if I’m brutally honest, clambering up an ancient monument that you’re supposed to be worshipping, while bits of crumble beneath your muddy CATs is the only part of the ritual which bothers me. I did ask Arthur how he felt about this in our interview last year, he didn’t get back to me prior to its publication, but did afterwards, and here’s what he had to say:

(There’s) “not nearly as many ‘climbers’ as there were, and this little tale is how and why,” he said. “A few years ago, there was a ‘climber’ and the guy in front of me was yelling ‘get off the bloody stones!’

‘That’s rich coming from you’ I said, ‘you were up there last year!’

To which he spun around and very indignantly said; ‘No I wasn’t, that was the year before.’

In fact, he had been pictured atop of the stones in the Guardian, which is why I made the remark, but think about it; the first year he’s up there, the second he’s not and by the third he’s part of the ‘self-policing’. Like I say, they may come for the wrong reasons, but they return for the right ones.”

So, if the druids strive for an awakening in us, may be the Christians could accept paganism has its place in modern society. The Earth is really what we need to worship after all, in this era of looming ecological doom. Our ancestors could teach us a thing or twenty about conservation.

Radical I know, best we can hope for I guess is a peaceful solstice at our county’s most famous landmark, try our best to ignore just why EH would choose Christian symbolism to represent a pagan feast. The mind boggles; hope they don’t fall off of our flat Earth!

But, as a wiseman once said, for want of a peaceful solstice, try Avebury. The National Trust website has the details for this slighter, more tranquil solstice gathering, and takes a far less religious approach in its design too! The car park will be open from 0900 on Thursday 20 June 2019. Parking here is £7 all day (0930 to 1830 in summer) £4 after 1500. Motorbikes can park for free, but the carpark gets full very quickly. NT advise public transport, which is doable from Devizes, Marlborough and Swindon.

There is no on-road parking in Avebury itself or Beckhampton, West Kennet and Winterbourne Monkton. The villages are patrolled regularly by Traffic Enforcement Officers and if you park illegally you may be fined or even find your vehicle is removed. Silbury Hill car park will also be closed overnight during this period.

The only campsite in Avebury has only space for under 100 tents. It opens at 9am on Thursday 20th and closes and must be cleared by 2pm on Saturday. You can camp for free, but don’t forget to have a valid parking ticket, and no dogs unless they’re assistance dogs. Other official campsites nearby: Postern Hill Caravan & Camping Site, nr Savernake Forest – 0845 130 8224 or 01672 515195 Blackland Lakes, Calne. 01249 810 943 or Bell Caravan Park and Camping, Lydeway nr Devizes, 01380 840 230

Me? Oh, I’ll be working on solstice; I’ll stop to see the sunrise, probably between Lavington and Urchfont somewhere; despite I see it every morning and never grow tired of it. Might even take a tea-light with me, stick that in your pipe and smoke it EH!


Billy Green 3; Should not be Moved

On my holibobs last week, local Geordie Britpop/mod musician Bill Green of trio Billy Green 3, (not to be confused with the British-Upper Canadian scout who saw victory at the Battle of Stoney Creek, naturally) messaged a YouTube link to his debut single, “I Should be Moved.” Promised to get on it this week, finally made it; procrastination rules, but glad I did.

Impartial towards Britpop, it’s not Marmite, I take it or leave it. In my defence, during the era rave was the thing, Madchester just a slice and not a principally progressive slice when compared with breakbeat. To shock horror of Oasis fans, I sauntered past them on the NME Stage at Glasto 94; never heard of them, never cared to; I was hunting hi-tech party vibes, not a Beatles tribute.

I try to decipher if my appreciation of the genre has matured, or if it’s the forceful sixties-mod element which, while present in Britpop generally, seems particularly prominent in Billy Green 3’s style. The words and riff echo a Britpop classic for catchiness, studio noise and tambourine intro and, especially, the chorus though, rings the simplicity of sixties mod. With the modern component of a perfectly placed sample, the circle is complete, Samuel L Jackson’s one-liner as Pulp Fiction’s Jules Winnfield completes it. “Sounds great, Bill,” I replied after a tinny listen on my phone’s speaker, because it does. Grown on me more, now I’ve got it on loud.

If anything, the magnitude of this slick three-minute ride spurs me bookmark Billy Green’s next local gig, though none listed yet; watch this space. Meanwhile I wanted to gage Billy about what the recording side equates to. “I assume it’s an original song,” I asked, “written by you?” and fired several other minor questions all at once, at least England was one-nil up…. at that point.

“First recording with the new project, me and a young lad called Harvey Schorah on drums, backing Vox and all-round vibes,” Bill replied. “I wrote the words and music, played guitar, bass and sang lead and backing vocals. Martin Spencer [The Badger Set, Potterne] produced. He’s a magician, essentially, he took the song in my head and made it come out of the speakers; just love this creative process in addition to the recent live shows.”

On what this will spur, Billy explained, “second song in mixing as we speak, and then hopefully will work out how to put them out as a mini EP.” Posted on their Facebook page today, we may get a listen to it, Lose Our Way, at 7pm.

Drafting my next question, for the review lead us onto football, I mouthed my thoughts that England are sitting back on a 1-0 and then, oh dear (or words to that effect!)


“Brilliant,” Billy added, “the review, not the football, they were poor on the first half apart from the penalty, still time though; being a Newcastle fan sometimes optimism is all you have!”

This fell appropriately onto my last question; does Bill think Newcastle had a scene during the Britpop era to rival Manchester?

“Prior to Britpop I think,” He suggested, “later 80s, there was a label called Woosh, my mate’s band, the Nivens were on there and ran on Flexi discs. There’s a retrospective out called C87 which was named after the NMEs C86, but a couple of decades later, they’re on there, so jangly guitar pop; the Nivens actually opened for the Smiths. Club nights at the Broken Doll and the Riverside, basically was my musical apprenticeship, introduced me to so many great bands. Moving into the 90s, there was more of a grunge scene with Cranes etc, now there is a resurgent drone scene with a hotel in Byker putting on Japanese noise artists, it’s a bit bonkers.”

“Bonkers could describe any current pop scene in the UK though,” I scoffed.

“Fair point,” Bill nodded, “Alan McGee doing his bit for guitar bands with the Creation23 label, and This Feeling are putting on some good nights. I work in London a bit, so have been to a few of their club nights. Met up with the now defunct the Shimmer Band from Bristol, who I thought were destined for great things. DMAs came out of that scene, from Australia, and are now heading festivals, think Shame came up through there, my mate’s band Free Money are booked in, they even did the last Lexus ad, which is a bit mad. I guess I’ll always be a fan of the get a group of mates together and play in a garage until someone notices you route.”

Well, that’s been the ethos for many a decade and never did the garage scene of the sixties any harm. Stuff the Simon Cowell karaoke TV show fiasco, Billy Green 3 is archaic in fashion, just enough to know the score, yet fledgling to fit into the burgeoning music scene here; I think “I Should be Moved,” puts a stamp on that; take a listen and decide for yourself.


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Legally Blonde Jnr Comes to Devizes

You got into Harvard Law?

What? Like, it’s hard?

Hey, get your flaxen Barnett around this; Legally Blonde, rom-com, chick-flick adaptation of Amanda Brown’s novel of the same name is eighteen years old. Yeah, like, I know right. Two years later they made the sequel; although a smash at the box office, it never raised a reviewer’s eyebrow, banally crashing the blonde versus brunette joke which Archie Comics carried for over seventy years.

Yet the initial movie stands the test of time, I like it and chick-flick generally isn’t my thing; lack of spaceships blowing things up, see?! The foreseeable gags enhanced by Reese Witherspoon’s amusing characteristics, at a time when The Spice Girls’ run of “girl power” was fading. Challenging the blonde stereotype with comical narrative was a peg in female equality and certainly the break for Reese; ummm, Reese Witherspoon…… where was I? Oh yes, female equality.


Like many trailblazing films, it received a theatrical reworking by 2007. Premiered on Broadway, Legally Blonde had an efficacious three-year-run at London’s Savoy and picked up many awards. Now, directed by Oliver Phipps and Hayley Baxter with musical direction from Naomi Ibbetson, it has found its way, least a “Jnr” version, to our own Wharf Theatre.

Legally Blonde Jr. The Musical opens at the Wharf Wednesday 24th July, runs until Saturday 27th (7.30pm each evening with a 2.30pm Saturday Matinee) and promises to be pink: “The Musical is a fun and sassy journey of self-empowerment and expanding horizons, with instantly recognizable songs, this show will leave cast members and audiences alike seeing pink!”

Plot being, if the film passed you by: The Delta Nu sorority president, Elle Woods, seems to have it all; good looks, a relationship with the campus catch and a great taste in clothes. However, her life is turned upside down when her boyfriend, Warner, dumps her to attend Harvard Law School. Determined not to lose him Elle uses hard work and a fair degree of charm to get a place there herself so that she can prove she is serious and win him back. Whilst there she tackles stereotypes, snobbery and scandal but she also makes some great new friends along the way and gradually discovers how her new found knowledge of the law can really help others.

With music and lyrics by Laurence O’Keefe and Nell Benjamin, again it’s a rousing and prevalent choice for the delightfully quaint Wharf Theatre. Tickets, £12 with under 16s £10, can be purchased from Ticketsource, at the Devizes Community Hub and Library on Sheep Street, or by ringing 03336 663 366. To find out what else is on at the Wharf pick up a Spring/Summer brochure which is available from the Community Hub and Library and many other outlets around Devizes.


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PREVIEW – White Horse Opera sing Gilbert & Sullivan’s “The Mikado” – Saturday 15th June @ St Mary’s Church, Devizes

A Bit of Nanki-Poo in The Vize

By Andy Fawthrop


Do you like opera? What about “light” opera? With rather a lot of comedy thrown in? Good – because you’re really going to love this!

Last night I was privileged to attend the full dress rehearsal for “The Mikado” by the splendid White Horse Opera company. I was expecting something perhaps still a little rough round the edges, maybe the odd fluffed line, the occasional note or cue to be missed, but there was really none of that. The company had been rehearsing for months, had chosen their principals carefully, and were absolutely up for it.

Yet again – another gem in the entertainment crown of Devizes – we are so lucky to have these people doing this stuff!


This particular bit of nonsense, a “comic opera” in two acts, with music by Arthur Sullivan and words by W.S. Gilbert, their ninth of fourteen operatic collaboration, opened in March 1885, in London, where it ran at the Savoy Theatre for 672 performances, the second-longest run for any work of musical theatre, and one of the longest runs of any theatre piece up to that time. Since then it’s been translated into numerous languages, and is one of the most frequently played musical theatre pieces in history. The setting is Japan, an exotic locale far away from Britain, which allowed Gilbert to satirise British politics and institutions more freely by disguising them as Japanese. And the company has done an excellent job of the now-traditional exercise in updating the lyrics of some songs to reflect politics Britain in 2019. Particularly pointed was Ko-Ko’s (The Lord High Executioner’s) song about who he’d like to execute (“I’ve got a little list, and they’ll none of them be missed”).


It’s always difficult, and sometimes a little invidious, to pick out individual performances but I think it’s worth mentioning particularly Graham Billing, who delivered a hilariously nervous and dithering Ko-Ko, Charles Leeming as a wonderfully pompous and self-important Pooh-Bar (Lord High Everything Else), Lisa House as Yum-Yum, and the resilient Ian Diddams, playing The Mikado splendidly as a power-crazed modern dictator. But there were strong performances all round, from every member of the cast. It was so obvious that they were thoroughly enjoying what they do, delivering a top-notch production.

I’m not going to give the plot away, nor would I even attempt to summarise the complicated ins and outs leading to the hilarious denouement – suffice to say that the story is stuffed with disguises, mistaken identities, the fickleness of emotions, and the usual human drivers of fear and greed. The main characters ham it up splendidly, and deliver the songs with confidence and panache, squeezing every last drop of comedy out of the script.


Given that it’s performed in modern dress, sung in English, and is a laugh-a-minute, it’s completely accessible and enjoyable. So, even if you thought that you didn’t like “opera”, I can assure you that you are going to love this. Thoroughly entertaining stuff!

It’s going to be performed on Saturday 15th June at St Mary’s church at 7.30pm. Tickets are an absolute bargain at only a tenner, and are available via Ticketsource or the company’s website at


Future productions by WHO include:

• Wednesday 30th Oct to Saturday 2nd November @ Lavington School – Bizet’s “Carmen”
• Tuesday 17th December – venue TBA – Christmas Concert
• Friday 20th March 2020 – venue TBA – Spring Concert

And if you’re interested in getting involved yourself, whether singing, playing or behind the scenes, just head over to their website. You can also support them by becoming a “Friend” of the company for £20 p.a. Remember – they are an amateur company, supported by volunteer efforts and by voluntary contributions from their supporters.


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Reggae, Reggae, Reggae, in…. Devizes Arts Festival?! Barbdwire Bring a Taste of Coventry to Town

All Photos used with kind permission of Gail Foster



From a talk by CBE award-winning English foreign correspondent and BBC News world affairs editor, John Simpson, to the Sub-Organist at Durham Cathedral, Francesca Massey, the Devizes Arts Festival has kicked off this week, better than Tottenham. Their showcase, more varied than ever before, truly caters for all; you just need to either research, or hear me bashing on to find something suitable for you.

Personally, my time came Saturday, when the Corn Exchange was blessed with sweet, sweet reggae music! You know I love thee, local music scene, but my ongoing quest to encourage more reggae in these backwaters came to an apex last night.


Perhaps a hard sell in Devizes, yet a genre I’ll push until the wheels fall off. Yep, said wheels won’t last to shove Devizes into the streets of downtown Kingston Jamaica, but our great hall was lively and the modest audience appreciative of what Coventry based Barbdwire delivered.

Without doubt Barbdwire could produce a “beginners guide to reggae,” without watering down or succumbing to commercialisation. For all sub-genres were presented to us last night, with tremendous panache and sublime competence.


I often wonder how irritated Ziggy Marley gets when interviews adopt the cliché angle of his father, recollecting him once stating, “reggae is not a one-man-music, it’s a people music.” An apt quote for Barbdwire, the band a varied bunch. While originator and drummer, Trevor Evans, the former Specials roadie-once drummer, characteristically oozes a reggae archetypal, bassist Chelly’s persona rings out dub and the proficient trombonist has Two-Tone band written all over him, trumpeter John Pudge, clearly the youngest, doesn’t appear represent any reggae stereotype.


I snatched a quick tête-à-tête with John, attired in a T-shirt embossed with “Roots, Rock, Reggae,” I was keen on querying his t-shirt gainsays against his instrument choice, brass sections being generally considered ska-related. We discussed how Barbdwire play to the audience; their ability to pull any of reggae’s subgenres out of their hat makes the band flexible, supporting The Specials, as their next gig, or Holli Cook, as they did last week.


But centre of attention last night in Devizes, this band were an epiphany for some residents and a universal accreditation for those reggae lovers. In our preview I said, “(Two-Tone) may have challenged punk with chicness akin to mod, but today, these subcultures are inconsequential, we can bundle it all into one retrospective burlesque, select whatever element of any we care to, and fuse them without pretence or offense; one reason why a group like Barb’d Wire is fresh and electrifying.”


Well, while reproducing their album Time Has Come’s originals did just that, their choice of covers was equally extensive. From ska favourites like Baba Brook’s version of Herbie Hancock’s Watermelon Man and the Wailer’s debut hit Simmer Down, they also exposed the audience to roots, with Max Romeo’s Chase the Devil, Horace Andy’s Skylarking, renowned for his later work with Massive Attack, and even dub, akin to its master King Tubby.


There were versions of reggae classics, like Uptown Top Ranking, and all harmonised by the beautifully melodic and confident vocals of Cherelle Harding, a singer who could roll on a lovers tune with the finesse of Phillis Dillon to convert without haste to toast a stepper’s riddim, at one point verging on dancehall with a wonderfully luminous interpretation of Sister Nancy’s Bam-Bam.

Make no mistake, this diversity was not delivered reggae-lite, rather an expertise and rounded acknowledgement to the many faces of Jamaica’s music export, and delivered to us adhering to all the positivity and joyfulness the genre celebrates. As an apt example, they gathered outside to meet and greet, where they were applauded with respect vowed to add our town to their tour map; something I’ll hold against them, as this was an outstanding performance!


Long live the Devizes Arts Festival then, hopeful they’ll consider the evening a success and plan in, as they are already planning 2020, something else reggae-related. Following on, this week sees Strange Face at The Bear today (Sunday) where the Adventures with a Lost Nick Drake Recording takes place.

Monday and Christian Garrick & John Etheridge presents Strings on Fire at The Exchange. Tuesday is The Shakespeare Smackdown, and Wednesday String Sisters are at St Andrews Church.

An Audience with Bob Flowerdew at the Town Hall, also Wednesday, and Thursday, Atila Sings the Nat King Cole Story at the Town Hall. Oh, and next Saturday has a whole host of FREE fringe events across town. Check the website for booking details, but hurry, Friday’s Moscow Drug Club event is sold out. If cancelations occur find posts on the Arts Festival Facebook page, and I’ll promise to share them as soon as I spot them; have a great festival!

You Can Help Liam?

Liam is the most caring and loving boy that unfortunately cannot live a life of his dreams.

He nearly lost his life three days after his birth when he suffered Hypoglycaemia and associated brain injury. Liam was treated for severe sepsis and as a result of this trauma he now suffers from multi-focal epilepsy, global developmental delay and is also visually impaired. He has difficulty communicating and moving about safely, therefore he has special educational needs.

Now 6 years old, none of the medications he’s prescribed for his epilepsy have helped him in any way, they make him feel nauseous, restless and agitated. Even with four years of continual medical review and dosage titration there has been no improvement in Liam’s health.

Recently his family discovered there may be another hope for Liam. they found a medical doctor in Egypt that specializes in healing brain injuries by combining medical and holistic approaches. She’s had many successes in the past 35 years helping children with epilepsy and other neurological conditions, who similarly, had no other options left.

Liam’s family would like to raise money to take Liam to Egypt to undergo this treatment. The treatment involves daily visits to surgery, injecting supplements, adjusting diet and lifestyle advice that will attempt to regenerate Liam’s brain and hopefully help him to live a more fulfilling life.

Liam’s mum from Devizes, Martina Pangrazzi is a single mother with two other children, the cost of the treatment and taking time away from work while having the means to care for her other two children while she is away is overwhelming.

Can we get their campaign to required £7,000? Can you help Liam? Give what you can here.

Martina would greatly appreciate any help; it will make a huge difference to Liam’s life. In her work, Martina helps people overcome their anxieties, depression and stress, but unfortunately, she cannot help her son, and needs your help. “This seems to be the only option we have,” she said.


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