Henry Normal/ Jan Brierton- Buxton Pavilion Arts centre, 20/11/25

Buxton is colloquially described as a place where winter arrives early and summer arrives late. On a freezing November Thursday evening an audience arriving in coats and scarves were testimony to the fact that winter had arrived. However it became immediately apparent  that Henry and Jan were not going to allow low temperatures to lower the mood  for a glowing evening of warm humour, poetry, comedy and  wry observation.

I had seen them both before at the Morecambe poetry Festival where they were equally outstanding. Neither reprised their  sets from just a few months ago, such is the breadth and depth of their material.

It was an intriguing pairing. Normal is a distinguished and veteran multi published author with an impressive string of writing credits, including on television: Mrs Merton, the Royle family, Gavin and Stacey. He is an omnipresent broadcaster.

  Dubliner Jan Brierton will have been largely unknown to the bulk of the audience. Her first book ( “What day is it?”  Who gives a fuck) only came out in 2021. She has been making up for lost time ever since and read extensively from her second book: ”Everybody is a Poem”  Midlife in Rhymes.

A fashion stylist with a penchant for jump suits, she describes herself as an accidental poet, and excels at rhythm and rhyme and anything that rhymes with fuck. She is more John Cooper Clarke than Coleridge or Yeats. A touchstone for mid life women- and  a spokesperson for  men who have to deal with them.

She is also very funny. Memorably she  was  once described as  “not leaving a dry seat in the house”. Her knack is to write simply  about everyday things that all can relate to, whether it be the humour of sea swimming, or the poignant, achingly beautiful poem  to her deceased brother,  “The last Conversation we never had” – An Everyman piece for anyone who has ever been bereaved. She doesn’t write in her voice. She writes in our voice.

Henry Normal is a master of literary sleight of hand. His esoteric style complimented Brierton’s earthy fare perfectly . You and I see the moon, Normal sees the same moon that Nelson Mandela,  and Martin Luther King espied. He produces, and reads from,  poems on scraps of paper as if he had hastily prepared them in his lunch break. He hadn’t. They are carefully prepared, crafted, drafted and rehearsed.

He opened the evening, then allowed Brierton to close the first half. For the second half they inverted that order before closing with a call and response  “poem off” alternating as they sat on adjacent chairs- a sublime culmination to a fine evening.

Normal’s preparedness to give space to Brierton demonstrated a commendable lack of ego, and a justified confidence in his own material.  Both prospered as a consequence.

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Curved Air – Robin, Bilston, Wolverhampton 16/11/25

Curved Air- Robin Bilston, Wolverhampton

This was a legacy show for me. As the classic rock and pop era draws to a close so I pick off the odd group I missed first time around.

I was never a big prog rock fan and saw only two prog rock gigs, , Camel in 78, which bored me to tears, Genesis in 78, which with Phil Collins just on board was shaking off the prog rock shackles and morphing into incredibly successful pop- overall it was dull.

I was familiar with Curved Air’s early material though. Sonja Kristina was a legend, the first lead in Hair, and her marriage to the Police’s Stewart Copeland, then the richest group in the world must have helped her bank balance enormously.

Curved Air had three consecutive top 20 albums in the early 70’s riding on the success of the top 4 single “Back st luv” and loads of complementary press coverage- and that was pretty much it.

What of now? Sonja is 76 year old. The fire in the belly, her voice, and her performance ability is still there. But she had a frail appearance, announcing recent illness resulting in reduced mobility and some memory loss and frequently sat down on a stage chair.

Back st luv was sensational, enlivened by an outstanding guitar solo by Kirby Gregory. “Melinda”  ( about a girl who lived in a cupboard) and “Marie Antoinette” were sublime. “Vivaldi!” was zany brilliance

I am glad that I have seen her and the band, live  but worry as to whether her health can bear the dates into next year which are planned.

A 4.30pm Sunday afternoon start and a two hour show interspersed with a twenty minute tea break gave proceedings a somewhat surreal air. Finished for 6.30pm.

  1. Armin
  2. It Happened Today
  3. Stay Human
  4. Time Games
  5. Melinda (More or Less)
  6. Propositions
  7. Easy
  8. Screw
  9. Marie Antoinette
  10. The Purple Speed Queen
  11. Metamorphosis
  12. Vivaldi
  13. Back Street Luv
  14. Midnight Wire
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Moulin Rouge – Birmingham Hippodrome

*****

Wow. The most spectacular stage musical I have ever seen.

The most expensive theatre ticket I have ever bought- for the most lavish production that I have ever seen. there is probably an equivalence there. Could the zany opulence of Baz Luhrmanns’ 2001 film be realised on stage? yes!

Hurst St was transformed into Montmartre and the Pigalle as this surreal spectacular unfolded. I hd worried that it would be impossible to translate the gaudy phantasmagoria of the film onto stage. Those fears were not realised, instead we re presented with an in person three dimension version.

Cameron Blakely is outstanding as the lecherous, lascivious, louche master of ceremonies Harold Zidler. Verity Thompson is divine as courtesan and leading lady Satine. James Bryers excels as the Duke in a very comely lilac suit. Nate Landskroner is the alternative male love suitor and possesses an outstanding voice, not least on “Your song” one of three big set piece numbers, the other being the opening “lady marmalade” oozing sex and attitude, and a stunning “Bad Romance” with a choreographed Sony Tayeh routine which Lady Ga Ga herself would do well to copy.

All told there are over seventy songs, 160 songwriters and thirty music publishers all of whom require royalties.

Director Alex Timbers draws the magic together. Catherine Zuber’s costumes are magnificent, saucy and skimpy

 
 
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The sensational 60’s Experience – Buxton Opera House

 

A variety show  splitting the Fortunes and Vanity Fare in the first half and the Trems and Beaky Mick and Tich in the second.

The first half was boosted with ensemble versions of “Spirit in the Sky” and “You are my world” but let down by a lacklustre Searchers feature including Mike Spencer with the likes of “Needles and pins” which emasculated the original  versions. However for some reason Vanity Fare decided that it would be a good idea to include a drum solo. Drum solos are never a good idea and disappeared from live shows for a reason- they are awful. This performance made the point well.

The second half was illuminated, and the evening saved, by a superb set from the Trems, featuring Mick Brown culminating in a wonderful acapella “Silence is Golden” – then deflated  by a poor closing  set from Beaky Mick and Titch doomed by a combination of songs that were simply not good enough. “Xanadu” and that is it. The original Dave Dee and Dozy are dead. Ken Howard and Alan Blaikley wrote their hit songs Hold Tight, Bend It Zabadack and the legend of Xanadu. Promoters Stageright are squeezing a lot out of a little.

An audience predominantly in their 70’s loved it but the evening hardly did justice to the golden era of pop.

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La Palma- Netflix mini series

****

An oddity , a big budget Norwegian disaster movie which isn’t a Noire.

Four episodes, and under four hours it is tightly scripted, pacy and with enough twists and turns to overcome the fact that we all know that a volcanos is going to erupt resulting in a deadly   tsunami.

The CGI are pretty good, because it is Norwegian all the women are hot and the tone more reflective than an American production.

Yes the plot teeters on the absurd, but it is still  a lot of fun.

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Deliver me From Nowhere- Springsteen Biopic film review

If you like Springsteen you will like this film, if you don’t, you wont. It certainly lacks the crossover appeal of Dylan’s “Complete Unknown”.

I have been a fan since Born to Run, fifty years. Essentially this is the story of the making of the album “Nebraska” one of his less accessible and more obscure releases.

Jeremy White is convincing and compelling as Bruce. Odessa Young is hot as love interest Fay. Steve Cooper tries a little too hard while directing to make this left field. A film about depression is likely to be depressing- not a good tag line for a a big budget movie.

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Pin Ups- David Bowie, album review

I bought this on release, and loved it. I still do.

As stand alone interpretations of songs it is hit and miss, as an insight into  what influenced Bowie it is essential and invaluable.

Contemporaneously two factors were at play.  Firstly, He was in an absurdly creative personal  phase with new product being produced with mesmerising speed and regularity. Secondly, Bryan Ferry released his own covers album, “These Foolish Things” which was artistically more daring.

Ferry’s choice spanned several decades from 1930s standards such as the title track through 1950s Elvis Presley to Bob Dylan and the Rolling Stones. They were not crowd pleasers, they were simply his choice, playful,  thoughtful and daringly pitting  Lesley Gore against Bob Dylan, seeing  pop as a  continuum. Ferry succeeded in becoming an auteur in  way that Bowie does not attempt.

Frankly, David’s selection has  less depth ,but his picks of songs that he listened to, and influenced him are no less relevant or significant. Ken Scott has been quoted as suggesting that originally Bowie’s London Boys was going to be rerecorded and the verses split between each cover song.

The result is a Mod styled farewell to the 60’s ( there are two Who compositions).The Kinks “Where have all the Good Times Gone?” has genuine poignancy, “Anyway, Anyhow Anywhere “ reprises Mod defiance perfectly showcasing Woodmansey replacement Dunbar’s skills impressively.

My personal favourite is Pink Floyd’s “See Emily Play” a plaintiff ,fey, rearrangement which captures Syd’s wackiness perfectly.

Bowie had an ear for a hit single, and “Sorrow” fits the bill perfectly, ironically a song that Bryan Ferry could easily have chosen for himself. He subsequently covered Ferry/ Roxy’s sublime “If there Is Something” with Tin machine.

Intriguingly Bowie also recorded Springsteen’s “It’s Hard to be a Saint in the City”. A nod  to the extended narrative style which he had previously explored in  “Width..”, Cygnet Committee” and Bewlay Bros” and was to do again with “Sweet Thing” but omitted it from the final album. His Rolling Stones cover “Let’s spend the Night Together, oddly appears on the next album “Aladdin Sane”.

If all this gives the impression of  a significant, but rag bag, collection that is probably because it is. The amphetamine speed “Rosalyn” gives the origin for “ Hang onto Yourself”. The arrangement of “Sorrow” begats “Absolute beginners”

If you want to know what was on David’s turntable at Haddon hall, Pin Up’s is essential listening, but it looks back, and gives no indication of what is to come.

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Todd Rundgren – Alexandra theatre, Birmingham, UK, 28/10/25

It is to Todd’s credit that he elected to play an intimate 1340 seater music hall, inevitably sold out, to provide his fans with an opportunity to enjoy his show close up

Rundgren bestrides the rock and pop era as a musical polymath, musician, singer, producer and arranger. As that era draws inexorably to a close he finished the show poignantly with “Last Ride” and “Fade Away”

The show was both a testament to why he has been so successful – and why he hasn’t. It featured  bewildering array of great songs in various styles all of which combined both to delight and frustrate as the changes of style and tempo produced a jarring rhythm and vibe.

I am not your typical Todd head. I had only seen him before live once, but had followed his career as a producer and musician since the early 70’s. Apart from “Love is the Answer” I have no particular favourites nor setlist expectations. I could take the evening as Ifound it. By contrast many around me had travelled many miles ( Cornwall, Wales, Ireland and Scandinavia)

The only other time I have seen him live was in 1979 at Knebworth This was the setlist then:

  1. Last of the New Wave Riders
  2. Back on the Street
  3. Abandon City
  4. Love of the Common Man(
  5. The Last Ride
  6. Freedom Fighters
  7. The Seven Rays
  8. Love Alone
  9. Gangrene
  10. The Death of Rock and Roll
  11. Initiation
  12. Anyway, Anyhow, Anywhere(The Who cover) (tribute to Keith Moon)
  13. Couldn’t I Just Tell You
  14. Encore:
  15. Real Man
  16. Just One Victory
  17. Love is the Answer

So how did it go? It was an anthology, rather than greatest hits, set, which suited me fine. Individually there were some great songs, but collectively it hung together a little awkwardly. I knew every song, so familiarity was not a problem, but songs sat against each other with little obvious connection. If individually they were your personal favourites, then fine, otherwise it was sometime a challenging listen. the slow funk of “I think you know” is sluggish, and it took the more melodious, if predictable, “Secret Society” to engage the audience. “Weakness” was ponderous. “Stood up ” was lightweight as was “lost Horizon”. It took a blistering “Buffalo Grass” ( with trademark guitar hero guitar solos) to ignite the band before the highlight of the evening, the glorious, smouldering, waltz time ballad, “Beloved infidel”, which is amongst his finest compositions.

In an odd gear change we then slipped into the formulaic “hit me like a train” which sounded like an Aerosmith rocker, over Keith Richard’s “Honky Tonk women” riff. the irony of a Rolling Stones indebted Aerosmith copy was rich. Then another gear change, “Wouldnt You like to know” was pure Doobie bros circa “Black water” with beautiful acoustic guitar and harmonies. Continuing the high, Todd then slipped into “Sweet” which not only sounded like Hall and Oats, it sounded as though they were singing and performing it too! Sublime nonetheless, pure soul, and funk.

Another gear change – the rocker “woman’s world” which sounds as though it should be sung by a woman- Pat Benatar maybe. A little too Ame]rican formulaic for my tastes. Would love to see Ted Nugent perform this- not least because it has a “Cat scratch fever” guitar break. Gear Change. “Afterlife” was delicate, doleful, and wistful and very Steely Dan

Gear change. “Going Down with the ship” is a novelty song in the way that 10cc’s “Dreadlock holiday” is . i hated it on record. But live it is zany, ridiculous and great fun. It is a performance song- Kid Creole and the Coconuts would love it. and we all did the hand movements…

Gear change- an acapella “Honest work” which featured four of the harmonising band members. Outstanding and wonderful in equal measure

Gear Change. “Rock Love” rocked and should have closed the show. “God said” was routine but enjoyable, “Fascist Christ” limped along as a rappy piece of nonsense.

Gear Change. “Hawking” was a ponderous ballad, beautifully arranged as a “Hall and oats” number , complete with sax solo, and completely out of place. “Worldwide epiphany” is another formula rocker, it isn’t an epiphany and was an inadequate set closer.

The greatest his segue encore satisfied those that wanted to hear them- i felt they added little to the evening.

How About a Little Fanfare?

I Think You Know

Secret Society

Weakness

Stood Up

Lost Horizon

Buffalo Grass

Beloved Infidel

Hit Me Like a Train

Wouldn’t You Like to Know

Sweet

Kindness

Woman’s World

Afterlife

Down With the Ship

Honest Work

Rock Love

God Said

Fascist Christ

Hawking

Worldwide Epiphany

Encore:

I Saw the Light / Can We Still Be Friends / Hello It’s Me

The Last Ride

Fade Away

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Billy Mitchell & Bob Fox The hub, St  Marys Church Lichfield- 24/10/25

After fifty years gig going this was my first proper folk gig apart from Barry McGuire in the eve of Destruction era and Lindisfarne who I would describe as folk rock

The Hub is a superb venue only 20 minutes drive from where I live but the gig failed to take off for me. Sold out, the audience was almost entirely 70 years old plus, the music largely dreary. I quickly remembered why I do not go to folk concerts.

Billy Mitchell looked ridiculously youthful and energetic, Bob was similarly engaged  both sang well. The music was dreary, the audience loved it, I didn’t.

Obviously Lady Eleanor was excellent, Galway Shawl was touching, and that’s about it

The set list included:

Rocking Chair

The Bonnie Gateshead Lass

Shiftin’ to the Toon

The Devil’s Ground

Dance to your Daddy

Rambling Rover

The Collier Laddie’s Wife

Born at the Right Time

The Galway Shaw

Old Peculiar Feeling

Lady Eleanor

My first and last folk gig

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Haunting Julia – Sutton Arts theatre, Sutton Coldfield

*****

Haunting Julia- Sutton Arts Theatre

A welcome revival of Alan Ayckbourn’s  1994 play, the first part of a trilogy  of Things That  Go Bump. The 2002 play Snake in the Grass ,and  Life and Beth,  being parts two and three. The inspiration for the play  came  from the stage adaptation of The Woman in Black. This is not populist   Ayckbourn,  and marks his move  towards more contemporary themes rather than  social realism.  Sutton Arts lay before us a  Halloween  spine chiller- thriller  which explores suicide and Psychic claims

 We are introduced  to Julia Lukin, a nineteen-year-old brilliant musician who committed suicide twelve years earlier, who haunts the three men closest to her, through both the supernatural and in their memories. Special effects are largely eschewed in favour of good acting and a tense script – but rest assure of some delicious spooky surprises and moments, courtesy of David Ashton and his team  on lighting and sound. the lights flicker and things go bump…

the set pre show- it was a full house

This is a  ghost story, about  three men, and their relationships to Julia, a gifted musician who took her life aged nineteen in which the  conventions of the ghost story format are challenged.

The tale  features:

Joe Lukin, ( David Stone) Julia’s father,  who  has never let his daughter go, convinced there are unanswered questions about her death.

Andy Rollinson, ( Alan Groucott)  Julia’s student boyfriend, now married with  a family.

Ken Chase, ( Ian Eaton) an unassuming, nervous, mysterious  man  who offers his services as a psychic to Joe.

There are also two voice parts in the play: one of Julia (or, more accurately, an actress imitating her voice speaking words the real Julia would probably never have said), and a sombre male voice talking about her death.

The entire play takes place in the Julia Lukin Music Centre, an uneasy mixture between a public music facility and shrine from Joe to his daughter. The room in question is Julia’s  ( improbably tidy ) room as a student , now with a walkway installed for public viewing.

In a format used only the second time in a full-length Ayckbourn play, Haunting Julia was written as  a ‘real-time’ play (Absent Friends being the first), with a single continuous scene running throughout the whole play. It was intended that the entire play would be performed without an interval to maximise the tension, but this is amateur theatre,  and  bar takings matter , so some mid show relief is provided!

Leah Fennell is outstanding as  the voice of Julia, whose parents push her to achieve things on their behalf,  bringing character to  a person who never appears on stage, articulating mystery and grief.

The play is set twelve years after the death of musician  Julia . To a modern day audience the sceptres of Kurt Cobain and Amy Winehouse are invoked. Her father, who still cannot come to terms with her death, has turned her student bed-sitting room into a museum which the public can visit – for himself it is a shrine to her memory .

The production team at Sutton  invariably  produce good sets. This one is no exception. With Martin Groves and his team working their magic once again.The single bed with the teddy bear on the pillow might at first seem to be a child’s bedroom, but the roped-off barrier around the bed soon suggests something else – and this barrier becomes essential to the themes of the play. They can build brick walls too!

This is a long play that has to be carried by just three actors. Luckily all three are capable of meeting the challenge of portraying  their  part in the events leading to Julia’s death.

David Stone   as Julia’s father  Joe, not only conveys his own pain but also helps us realise how oppressive he may have been as a parent to a gifted, but unhappy daughter. Garrulous, truculent, loquacious,  opinionated and arrogant , yet also vulnerable, and frightened that he may have been at fault. As a fellow grumpy old man I enjoyed his performance enormously.

Alan Groucott  gives a pleasingly nuanced performance as Andy, Julia’s former student boyfriend  whose exact relationship with her unravels in unsettling style  .

 Ian Eaton  excels  as  Ken Chase, the volunteer psychic who turns out to have had more to do with Julia than he is at first  willing to reveal.  Is he a conman, a crank, or a genuine visionary? Ian keeps us guessing.

This is veteran Director Claire Armstrong-Mills’ first Ayckbourn production, a real stunner . She was bold and  brave to take on this tricky  three hander. It was well worth waiting for. Sleep well everyone!  

Julia continues to haunt until  1st November.

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