Exposed Magazine April 2026

GET TOGETHER RETURNS WITH ITS BIGGEST YEAR YET!

DÉSIRÉE REYNOLDS // ANDRO & EVE // GIRL IN THE YEAR ABOVE // EXPOSED AWARDS // PRIDE OF YORKSHIRE // NEWS, REVIEWS + PREVIEWS

salsainthesquare!

BANK HOLIDAY

MAY 3RD

First Bank Holiday Sunday in May

FREE OUTDOOR SALSA SPECTACULAR IN LEOPOLD SQUARE FROM 5pm UNTIL 10pm. Live 6-piece Salsa band... the amazing ‘RAICES CUBANA’

> Omar Puente: violin/vocals

> Oscar Martinez: congas

> Philip Kapadia: timbales

> Jimmy Martinez: bass

> Will Barry: keyboard

> Shanti Jayasinha: trumpet

Plus DJ ANNA DE ORTE (Direct from Barcelona) and DJ ROLY CABALLERO (Havana, Cuba) plus... Latin Shows/Animations, and so much more!

The party continues inside CUBANA from 10pm through to 2am:

BARRIO LATINO

BANK HOLIDAY FIESTA!

FOUR TOP DJS PLAYING OVER TWO FLOORS

> DOWNSTAIRS: > DJ ANNA DE ORTE (BARCELONA)

> DJ ROLY CABALLERO (HAVANA, CUBA)

- Reggaeton, Salsa, Samba, & Latin House

> UPSTAIRS: > DJ ANTONIO ( SABROSO)

> DJ SEAN WILSON

- Kizomba, Semba, Kudoro

Playing in the square from 6pm

OMAR PUENTE AND RAICES CUBANA

Raíces Cubanas, led by virtuoso violinist and musical director Omar Puente, Winner of the 2017 Lukas Award, have their roots in Cuban Son and Charanga (violins, trumpet, piano, bass, timbale, congas with a strong vocal front line) infused with Afro- Cuban jazz.

Omar has toured worldwide with Cuban greats such as the late Ruben Gonzalez, Orlando “Cachaíto” López, Guillermo Rubalcaba, supported Tito Puente, Omara Portuondo and jammed with the Afro-Cuban All Stars.

Over recent years he has performed, recorded and toured with British jazz stars Courtney Pine, Denis Baptiste, Gary Crosby among others.

APRIL/ BIG SWING Now on Thursdays!

Improvers

SOCIAL DANCING from 5pm

FREE Swing Dance class from 8.30pm

Live music from 9pm

THE BIG SWING IS AN EXCITING NIGHT OF UPBEAT JAZZ AND SWING EVERY THURSDAY @ CUBANA’S DOWNSTAIRS COCKTAIL BAR.

“ A raucous

mix of live music

and dancing that everyone can’t help getting involved in!”

Please note there is NO Big Swing on Thursday 2nd April due to the EASTER weekend and Maundy Thurday events @ Cubana

HOT FLAMINGO

Get ready for a night of sizzling Django Reinhardt-inspired hot swing with Hot Flamingo! Led by the captivating vocals of Molly Amour, this dynamic group features the driving rockabilly and Gypsy guitars of JD England and Antoine Gourdon, with Charlie Fothergill on clarinet and Kate Whittaker on double bass. Their vibrant energy and swingin’ tunes will keep you dancing and tapping your toes all night long.

THE BIG EASY

- STARTS 8.30pm FREE ENTRY ALL NIGHT!

An energetic swing band from Leeds, consisting of vocals, trumpet, sax, guitar, piano, double bass and drums. They give a lively and varied performance of the best swing from throughout the 20th century Their dynamic, energetic and often virtuosic performances make them great to watch. This no-nonsense music will get your toes tapping and onto the dance floor without question.

TESSA SMITH

Leeds Vocalist Tessa and her Applejacks are captivating. With a strong Lindy Hop background Tessa knows how to play for dancers and does so regularly all over the UK. Their music choice has a variety of flavours and will stretch your dancing to its optimum.

THE JIM BURKE BAND

Get ready for a night of good-time music with The Jim Burke Band! This Sheffield-based group of live music veterans blends blues, jazz, and ragtime into an energetic and entertaining show. For this special gig, they’ll be turning up the swing to keep our dancefloor moving, bringing their expert musicianship and lively rhythms to the floor. Expect plenty of toe-tapping, foot-stomping, and non-stop fun all night long! THURSDAY THURSDAY THURSDAY

2 COURSE

SUNDAY - THURSDAY

20: ALL TOGETHER NOW

Kelham’s Get Together returns bigger, bolder and later than ever –stretching across more venues with a stacked line-up of cult heroes and future favourites. New stages, after-dark energy and art-led exhibitions have been added to cement its status as Sheff’s most exciting one-day takeover. With just a month to go, we take a closer look at what to expect.

14: CITY VIEWS

From pirate radio in Norfolk Park to researching and rewriting Sheffield’s hidden histories, Désirée Reynolds reflects on the city that got under her skin. A personal story of music, identity and archives – and why digging deeper into the past matters now more than ever.

24: BRANCHING OUT

Switching from laid-back café to vibey candlelit dining spot in the eve, Restaurant Elm is fast becoming one of the city’s most talked-about tables. With two AA rosettes already under its belt, we paid a visit to see if the hype really holds up.

58: CELEBRATING A REYT QUEER DECADE

Ten years of queer joy and radical welcome – Andro & Eve founder Finn Warman reflects on a decade of building the spaces and events they once dreamed of. From cabaret to community care, we hear how the Sheffield-based collective has grown, and why its mission is still far from complete.

GAFFERS

Phil Turner (MD) phil@exposedmagazine.co.uk

Nick Hallam (Sales Director) nick@exposedmagazine.co.uk

FINANCE

Lis Ellis (Accounts) accounts@exposedmagazine.co.uk

GRAFTERS

Joe Food (Editor) joe@exposedmagazine.co.uk

Ash Birch (Online Editor) ash@exposedmagazine.co.uk

Lizzy Capps (Content Creator) lizzy@exposedmagazine.co.uk

Marc Barker (Design Dogsbody)

Lowri Rennick, Max Hayward, Heather Paterson

FINAL CHANCE TO VOTE

Last call, Sheffield – voting’s nearly up. Scan the code, back your favourites and have your say before the shortlist’s locked in on 17 April. Big night, big bragging right

WHEN IS IT?

You can expect the usual glitzy awards do taking place at Peddler Warehouse on Thursday 14 May promoting the best of the local scene spanning food, drink, culture, fashion, music and beyond –with all winners on the night chosen by you lovely lot and our group of local judges.

HOW TO VOTE

Simply by scanning the QR code on this page, me owd. Please note that voting will remain open until 17 April. Once the votes are counted, we’ll announce the shortlist for each category and hand over to our judging panel.

WHAT HAPPENS NEXT?

We tot up the votes, which return the top five for each shortlist. We then hand over to our panel of independent judges – experts in fields spanning music, hospitality and nightlife – who will rank them in their order of preference. The final results are split 50/50 between audience and judge votes (à la Strictly!).

MORE ABOUT THE NIGHT

Now a regular fixture at the awards, Chris Arnold will return on hosting duties and we’ll have some of Sheffield’s finest handing out awards throughout the night. Tickets are £50 (£25 standing) plus VAT, which includes entry to the event, drinks on arrival and food from some of the city’s finest street food traders – as well as plenty of live entertainment to get you in the party mood.

A VERY SPECIAL PERFORMANCE

Last year we had Malah Palinka seeing things out with some bangers including a superb Arctic Monkeys cover. It’s a tough one to top, but we’ve pulled out all the stops once again and we’ll have bona fide Steel City legend Steve Edwards taking to the mic. Nowt but floorfillers, guaranteed.

ON A LATE’UN?

The fabled awards afterparties will take place at a top-notch venue TBC. Top tip: it might be worth booking the next day off work... don’t say we didn’t warn you!

A *BIG*

SHOUTOUT

TO OUR WONDERFUL SPONSORS IPM GROUP AND VOTING PARTNER CUBANA – WITHOUT WHOM NONE OF THESE SHENANIGANS WOULD HAPPEN.

SHEFFIELD’S LATEST WAVE OF REGENERATION

Across Sheffield, a series of development projects are reshaping former industrial land, revitalising historic buildings and rethinking how people move around the city. From Neepsend to Attercliffe and the city centre to Gleadless Valley, new housing, transport upgrades and public spaces are taking shape as part of a broader plan to support growth and create more connected neighbourhoods.

One of the most eye-catching proposals centres on the former Cannon Brewery site in Neepsend. Social impact developer Capital & Centric has submitted detailed plans to Sheffield City Council to transform the historic location – once home to the UK’s best-selling Stones Bitter – into a mixed-use neighbourhood.

Phase one would deliver 252 apartments, forming part of around 500 homes proposed for the wider scheme. The plans combine restoration of existing industrial buildings with contemporary new blocks, alongside a range of shared amenities including a gym, co-working spaces, a residents’ lounge, a mini-cinema and a new urban park. Space for independent cafés and bars is also included.

The former brew house would be retained and converted into office space with food and drink operators on the ground floor, while the site’s distinctive water tower would be restored as a focal point within the green space.

Tom Wilmot, joint managing director at Capital & Centric, said: “We’re not building somewhere people sleep and leave. The cinema, the coworking, the lounge, and bags of green space – all that stuff is what turns a site into a community… Add in cafés and workspace on the doorstep and you’ve got a neighbourhood Neepsend can be proud of.”

The project has received £11.67m from the South Yorkshire Mayoral Combined Authority’s Brownfield Housing Fund. Demolition and remediation work is nearing completion, with construction expected to begin soon.

The developer is also progressing plans elsewhere in the city. Approval has been granted to transform land opposite Eyewitness Works into Fitzwilliam, a new neighbourhood that will deliver 192 rental homes alongside a planted courtyard, a rooftop terrace and shared spaces for work and socialising. six-storey scheme will also feature a rooftop terrace. As part of the wider 15-acre Mesters’ Village masterplan, it hopes to contribute to thousands of new homes, makers’ spaces, cafés and community facilities over the next decade.

A few miles away, another important part of

Sheffield’s industrial heritage is preparing for change. Attercliffe, once a powerhouse of the city’s manufacturing economy, is at the centre of a major regeneration effort that could deliver up to 3,000 new homes and around 1,500 jobs over the next decade to 15 years.

As part of that transformation, work has begun on transport and public realm improvements designed to support the arrival of new residents and businesses. The Connecting Sheffield: Attercliffe – Darnall – City Centre project aims to make travel between communities easier and safer while supporting local economic activity.

Private sector investment is also playing a key role. Citu is leading the Attercliffe Waterside development, which will introduce new homes and neighbourhood spaces designed around sustainable living and active travel.

Jonathan Wilson, managing director at Citu, said: “Attercliffe Waterside is about ambition through intentional regeneration, it’s about creating a new neighbourhood which feel connected and built for everyday life.”

Meanwhile, in Sheffield city centre, further work is under way to improve accessibility and public space around Leopold Street. The scheme aims to make it easier for people to move around while introducing new greenery and a small pocket park.

Under the plans, Leopold Street will become one-way, with traffic travelling towards the junction of Townhead Street, West Street and Church Street. The free Sheffield Connect SC1 bus will be able to turn left from Leopold Street to shorten journey times, while the existing bus shelter will be upgraded.

Blue badge parking, taxi ranks and loading facilities serving Orchard Square will remain, and new planting and outdoor seating areas will create more space for cafés and restaurants during warmer months. A new cycle crossing and relocated pedestrian crossing at the nearby tram junction are also intended to improve safety.

On the edge of the city centre, another major scheme is progressing at Furnace Hill. Capital & Centric and Great Places Housing Group have been appointed as development partners

to transform the brownfield site into a new residential neighbourhood and gateway into the city.

The joint venture plans to deliver around 750 homes, with a mix designed to broaden housing choice. One third of the homes will be affordable, one third available for home ownership and one third offered through build-to-rent.

Kate Josephs, chief executive of Sheffield City Council, said the schemes demonstrate the impact of strong collaboration between the public and private sectors.

“These developments show what is possible when strong local and national partnerships come together with a shared ambition for our city. Sheffield aims to set the standard in creating the kind of vibrant, connected places where people want to live, work and invest.”

Further south of the city centre, regeneration is also gathering pace in Gleadless Valley. Earlier this month, Alex Krachai was appointed independent chair of the Gleadless Valley Regeneration Board, which provides strategic oversight for the longterm programme.

The “Vision for the Valley” plan, published at the end of 2025, outlines 12 major projects to be delivered over the next decade. Proposals include around 1,100 new homes alongside upgrades to hundreds of existing properties, new and improved community hubs, four enhanced parks and better public transport and walking and cycling connections.

Early progress is already visible. Contractors have begun work on a new pocket park at Spotswood, due to open this summer, while demolition of the former John O’Gaunt pub is under way to create a new community space. Residents are currently being consulted on its future use, with options including a supervised youth area, playground, community garden or open green space.

Together, the projects illustrate an exciting future and a city in transition. We’ll be keeping a keen eye on their progress in future issues of Exposed, but all public consultations can be found online now at sheffield.gov.uk.

CULTURE’S COMING HOME?

Sheffield’s cultural credentials have landed it on the longlist for UK City of Culture 2029 – a move that puts the city firmly in the running to showcase its creative scene on a national and international stage.

One of nine places across the UK to be selected, Sheffield will now receive £60,000 to develop a full bid, with the final winner set to be announced later this year.

Our reputation as a creative city has been building steadily, boosted by recent arrivals – from podcast festivals to new gallery spaces – and driven by a mix of globally recognised output and a deeply rooted grassroots scene. From music and film to gaming, performance and visual art, culture here tends to punch well above its weight.

And it’s not just a vibe – it’s a growing industry. Nearly 25,000 people work in the creative sector across the city region, contributing more than £1bn annually. Culture is increasingly central to long-term plans too, shaping everything from skills and education to regeneration and international profile.

The longlisting also reflects a number of major projects already in motion. These include Harmony Works, a new hub for music education, and Events Central, a planned cultural industries space on Fargate. Elsewhere, investment continues across Sheffield Museums, alongside ongoing development in Castlegate and wider growth in the city’s media and digital sectors.

What sets Sheffield’s bid apart, though, is its emphasis on being community-led. Rather than a top-down programme, the approach is rooted in collaboration – bringing together residents, artists, organisations and businesses to shape what 2029 could look like.

The proposed themes – Our Voice, Our Place, Our People – point to an effort that stretches beyond the centre, taking in neighbourhoods across all seven hills and reflecting Sheffield: a city of makers, activists, performers and storytellers.

We are incredibly proud that our city has been longlisted for UK City of Culture 2029. Sheffield inspires and our city has always been powered by creativity. We don’t just put culture on a stage, we live it, make it and share it with the world. Grown from the ground up, our culture is shaped by everyone that calls Sheffield home.”

CLLR TOM HUNT, LEADER OF SHEFFIELD CITY COUNCIL

A GAMECHANGING £45M CRUCIBLE SHAKE-UP WAS ANNOUNCED LAST MONTH

Plans for a £45m transformation of Sheffield Theatres’ Crucible are moving forward – with the redevelopment set to play a key role in keeping the World Snooker Championship in Sheffield long term.

The proposed redevelopment of the Grade II listed venue is being framed as a once-in-ageneration investment, aimed at reworking the iconic space for both theatre and sport.

At the centre of the plans is a more flexible auditorium. Capacity could increase by up to 50% when needed, while a new ‘in the round’ format would allow productions to fully surround the audience. Crucially, the design would also allow the space to shift back to its traditional layout, giving the venue the ability to adapt depending on the event.

In practical terms, it means a Crucible that can do more – from large-scale productions to its existing role as the home of snooker – while opening the door to new collaborations and ways of staging work.

The overall project is expected to cost £45m, with up to £35m anticipated from national and local government. A further £10m would come from private and philanthropic backing, with early conversations already underway.

Momentum has been building behind the scenes, including a recent visit to Sheffield by the Prime Minister, who met with business and philanthropic figures to encourage support for the redevelopment. The Crucible has been positioned in those discussions as a key cultural asset –sometimes described as a ‘national theatre of the north’.

The plans also tie into wider regeneration

efforts across the city centre, linking the future of the venue to Sheffield’s broader cultural and economic ambitions.

During the redevelopment, the Crucible and the Tanya Moiseiwitsch Playhouse are expected to close temporarily. Sheffield Theatres will continue its programme across its other venues – the Lyceum and the Montgomery – while also taking work on the road across the UK and internationally. Work is expected to begin in summer 2028, with construction taking around 18 months.

“I had the pleasure of recently visiting Sheffield, the home of the oldest football club in the world, to encourage partners to support a major redevelopment of the iconic Crucible Theatre to keep sport and culture thriving in this city.

“I’m delighted this £45 million of funding will support the venue to continue to develop world-class theatre and stay host to the famous World Snooker Championships for many years to come.”

PRIME MINISTER KEIR STARMER

“This proposal to upgrade the Crucible is a major vote of confidence in Sheffield’s future. The planned refurbishment would strengthen one of the UK’s most important cultural assets by modernising the building, expanding its capacity, and ensuring it continues to shine on a global stage.”

CLLR TOM HUNT, LEADER OF SHEFFIELD CITY COUNCIL

STORIES FROM THE HEART OF THE STEEL CITY

CITY VIEWS DÉSIRÉE REYNOLDS

AS TOLD TO JOE FOOD

PHOTO: JUAN DE LEON-PADMORE

I was born and bred in Clapham, South London, and I’m very proud of that. But I’m also very proud of living in Sheffield. I call myself someone who came up north and stayed – not quite from here, not quite a visitor either. It’s an interesting place to be, and an interesting place right now.

Coming to Sheffield was a shock. I’d come from a very Black and people-ofcolour-centred space into what felt like the opposite. I arrived as a student in the early 90s, studying cultural studies which gave me film, literature, cultural theory, creative writing – all the things I’d always been drawn to.

I wasn’t a typical student, I worked constantly to fund my way through uni – youth services, a Black media organisation, Sheffield Independent Film. I was already building a life here without really planning to. I always thought I’d go home to London, but then Sheffield started to get under my skin.

A big part of that was music. I got involved in pirate radio not long after arriving. I’d listened to it in London, but I’d never been to a studio. Then suddenly I’m in some scuzzy flat in Norfolk Park with sticky floors, being told to put a tune on by the DJ while he nips to the toilet. That was our introduction – sink or swim.

We swam. Me and my DJ partner, Sister Temptress – I was Lady D – ended up with our own show. We were on every week, playing hip hop, R&B, jungle, jazz. It wasn’t cheesy R&B that people might think of – it was subversive, femaleheavy, full of attitude and a promise of a life that we were in control of. That music reflected where we were at as young women.

It was chaotic, illegal and exhilarating. We were breaking the law, but it didn’t feel like that. We just wanted to hear our music, loud and unapologetic. That was the point.

From there I moved into club DJing – Donkey Mans, Hideway, Leadmill, Factory, house parties, anywhere that would have us. It was exciting but

precarious. As women, we weren’t paid properly – sometimes not at all. We weren’t always safe either. Looking back now I think, what were we doing? But at the time you don’t think about danger, you just want to play your tunes.

That whole scene really shaped my Sheffield experience. It also showed me how the city worked. Black music was pushed to the edges at first – there was this idea that Black audiences brought trouble. Then suddenly it became profitable and mainstream and got pulled into the centre. That shift says a lot.

Alongside all of that, I was always writing. I’ve been writing since I was a kid. My mum says I used to tell her I’d write the book of her life when I was about ten years old. And in a way, I have – bits of her and my family creep into what I do.

Then life shifted again. I had children, and parenting – especially with neurodiverse kids – takes everything. It’s not just parenting, it’s advocacy, paperwork, systems, constant negotiation. You disappear into it for a while.

But that idea of gaps – between what you’re told and what you know – never left me. Growing up, school told one version of history, home told another. My dad would talk about figures and stories I’d never heard of but who walked the same streets I did. That disconnect stayed with me.

Years later, that’s what brought me into the archives.

I have always loved archives and the stories that you can discover. It is literally time travel but also a reconnection to a sense of self, diaspora personhood, finding Edwardian, Victorian, Tudor or medieval family. I got a commission to write a short story about Sheffield. I didn’t know if I could – I still felt like an outsider. I went looking for a Sheffield history that I had not seen, one that was just beneath the surface. I found a Black baby girl from Ghana buried in 1902, Sheffield General cemetery.

I realised if there was one story, there were many. I went into the archives –and what I found at first was frustrating.

Images of tools sent to plantations, abolition material, but nothing about what came before. I kept thinking: the Sheffield story doesn’t start with abolition. There must be more.

So, I kept digging.

Then 2020 happened. During a big Zoom call with institutions suddenly interested in the Black British experience, I said out loud that the archives needed a writer in residence to unpick this stuff. And they said yes.

I hadn’t planned it. I just didn’t want to see any more pictures of those bloody hoes.

I spent six months in the archives. It felt like reclamation. I started finding stories of Black, Asian, Chinese people in Sheffield stretching back far further than people assume. It challenges that idea that communities of colour are somehow new. We’ve always been here.

That work became Dig Where You Stand. It’s about conversation, about naming the gaps. Because if you don’t name the problem, you can’t fix it.

And there are problems. Sheffield has changed. It’s still got so much going for it, but I think it’s lost some of that strong working-class voice, that instinct to stand up for the most vulnerable. Anti-racist movements, anti-apartheid activism, solidarities with global workers movements – that history is here. And to forget that is a shame. Capitalism isn’t interested in equity, a few people getting richer doesn’t make it great for everyone.

For me, Sheffield is complicated. It needs to work on its race consciousness, access to resources and agency but there really isn’t anything like our parks on a sunny day, our communities, the art here or a random old white lady on the bus telling me she wishes her husband was called Jose instead of Gerald.

I do have hope.

Otherwise, I wouldn’t still be here.

For more information on Désirée’s writing and work, head to desireereynolds.co.uk.

I ALWAYS THOUGHT I’D GO HOME TO LONDON, BUT THEN SHEFFIELD STARTED TO GET UNDER MY SKIN.”

doing their bit ALWAYS AN ALTERNATIVE

WHAT’S THE POINT?

Anthony Olaseinde talks to Exposed about the vital work of Always an Alternative – a Sheffield charity challenges knife norms while changing young lives.

In a city where conversations around knife crime can often feel stuck between fear and fatalism, one Sheffield charity is asking a deceptively simple question –what’s the point?

For Anthony ‘Ant’ Olaseinde, founder of Always an Alternative, that question became the foundation of a project that is as practical as it is provocative. What’s the Point? builds on earlier work from 2023, exploring how something as ordinary as a kitchen knife can shape how safe people feel – particularly young people in supported housing.

The findings are striking. Across 13 supported living settings in South Yorkshire, 77 participants took part in the project, ranging from staff to residents aged 16 and above. What emerged was not just a conversation about knives, but about perception, fear and everyday life.

At the heart of the project is a simple intervention – replacing standard kitchen knives with rounded, ‘pointless’ safety knives. The results suggest this small change has a big psychological impact. Nearly all participants initially viewed standard knives as potential weapons, yet after the switch, 97.4% said the safety knives made them feel safer.

For Ant, the idea didn’t come from theory, but from observation.

“I wanted to look at the relationship between people and knife crime,” he explains. “What’s the scariest part of any knife? Obviously, it’s the point.”

That thinking led him to test whether removing that single feature could shift how people feel – especially in environments where tensions can run high. Rather than generalising, he took the work directly into spaces where young people are statistically more likely to encounter violence or trauma.

The feedback was immediate. “It made a positive difference almost instantly –anxiety around those knives dropped in

that environment.”

The project data backs that up. Before the introduction of safety knives, more than three quarters of participants reported moderate to high levels of worry about knives being used where they lived or worked. Afterwards, that dropped dramatically, with over 90% reporting little to no concern.

Perhaps more revealing is how people actually use knives. The study found that around 60% of participants only used the pointed tip to open packaging, not prepare food.

It raises an obvious question – if the point is rarely needed, why keep it?

But What’s the Point? is about more than design. It opens up a wider conversation about knife crime itself – and how it has become an almost accepted part of life.

‘Knife crime has become normalised over the years,’ the report states, highlighting how frequent media coverage shapes public perception.

Ant sees this normalisation first-hand through his work. “It’s seen as normal,” he says plainly. “That’s why it’s about education. Everyone’s got to be on the same page.”

That ethos runs through everything Always an Alternative does. Rather than preaching, Ant focuses on listening.

“I just go to the kids. I have an idea of what might work, but for the most part, it’s working with the young people,” he says. “I respect everyone. They tell me what they want. I go away and I create.”

It’s a grounded, collaborative approach that extends beyond research projects. The charity runs mobile youth clubs across Sheffield, bringing activities, food and safe spaces directly into communities.

“We need that bridge between young people and authorities,’ says Ant. ‘If there’s no one in their area to support them, young people just do what they please. Unfortunately, a lot of the time that’s

WE NEED THAT BRIDGE BETWEEN YOUNG PEOPLE AND AUTHORITIES”

Following the report, AAA teamed up with Samuel Staniforth Ltd to produce two sets of safety kitchen knives now available to purchase. Scan the QR to see the product range and find out more about the collaboration.

antisocial behaviour.”

The charity also runs knife amnesty initiatives. So far, 137 knives have been taken off the streets through their work – a figure that speaks to both the scale of the issue and the impact of grassroots action.

Ant’s long-term ambition is clear, but grounded.

“I’d like to have a role in South Yorkshire, but my position won’t be sat behind a desk telling people what to do. I’d be out there myself, seeing what works.”

There is also a growing push to expand the safety knife concept further. Ant believes they should be standard in environments where young people are most at risk, pointing specifically to children’s homes and supported accommodation.

The report supports this recommendation, suggesting that wider adoption could reduce anxiety, improve independence and shift how knives are perceived – from weapons back to tools.

By focusing on small, tangible changes – and by listening to the people most affected – he and the team are showing that solutions do not always have to be complex to be effective.

As Ant explains, the work starts with a simple principle – ask why, then act on what you learn.

Find out more: alwaysanalternative. org.ukuk. Socials: @aaamindset.

Kelham’s much-loved all-day fest brings its boldest edition yet...

Sheffield’s Get Together returns this May with its most ambitious outing to date, stretching further across Kelham Island and Neepsend and packing in more music, art and late-night energy than ever before. Now in its sixth year, the independent festival has carved out a reputation for bringing together emerging talent and boundary-pushing names – and 2026 looks set to raise the bar again.

THE LINE-UP: BIG NAMES, FUTURE FAVOURITES

Leading the charge are co-headliners Fat Dog, whose chaotic, high-octane live shows have made them one of the UK’s most talked-about live acts, alongside noughties NME favourites The Horrors, returning with material from their latest album Night Life. Taking things into the early hours is electroclash mainstay Erol Alkan, heading up an expanded latenight programme.

Elsewhere, the bill leans into Get Together’s knack for blending the cult with the cutting edge. Expect a set from Gwenno, whose otherworldly indie-pop continues to win acclaim, plus Alexis Taylor of Hot Chip fame bringing his distinct electronic songwriting to the stage. Returning favourite Lynks promises another unpredictable, highcamp performance.

Further down the line-up, there’s a strong showing from rising names including Lauren Auder and SILVERWINGKILLER, alongside a sprawling list of new additions – from Stealing Sheep and Voka Gentle to Pys Melyn and TV For Cats – offering plenty of opportunity for discovery across the day.

NEW FOR 2026

Following last year’s fifth anniversary, Get Together has gone all in on expansion. Four new stages – both

indoor and outdoor – have been added, alongside additional venues across Kelham Island and Neepsend. The result is a bigger footprint and a more navigable festival, with organisers promising fewer clashes and more breathing room between sets.

Set times will also begin earlier, giving punters the chance to fully explore the programme without the usual festival rush. Steady away, like.

INTO THE NIGHT: FRESH AFTER-DARK ENERGY

As the sun goes down, Get Together leans further into late-night territory with Into The Night. Curated club nights and DJ sets will run across multiple venues, with Erol Alkan joined by Manchester sound artist Tom Sharkett and a host of selectors keeping things moving well past midnight.

CURIOUS THOUGHTS: SPACE TO SLOW DOWN

Another new addition for 2026 is Curious Thoughts, a dedicated space for conversation, creativity and a bit of breathing space away from the stages. The programme includes talks, art installations and a pop-up bookshop from Real Magic Books, alongside a poster exhibition curated by Sheffield illustrator Tom J Newell and collaborators.

There’s even a Curious Cocktail bar and chill-out area – a welcome addition for those looking to pace themselves across the day.

ART AT ITS HEART

Get Together’s Artist in Residence programme continues to bring visual art into the heart of the festival. Following previous contributors including Cold War Steve, this year welcomes Welsh artist Pete Fowler, known for his eradefining work with Super Furry Animals and beyond.

Fowler will present new pieces created especially for the festival, adding another layer of personality to the already vibrant setting. Some perfect content for the ‘gram, right here.

SCRAN, SUPS AND VIBES

Beyond the stages, Get Together continues to champion Sheffield’s independent spirit. A Peddler-curated Food Village will showcase some of the city’s best street food, while Kelham Island Brewery’s Beer Mile returns with a line-up of top-tier brewers from across the country.

It’s this balance – music, art, food and community – that has helped Get Together grow into one of Sheffield’s most distinctive festivals. In 2026, with more space, more ideas and more going on than ever, it feels less like a one-day event and more like a full takeover of the area.

Get your comfiest dancing shoes on. You’re going to need them.

Tier 1 tickets (£47.50 + bf) are on sale now at gettogetherfestival.com. More updates on socials at @gettogetherfest.

EVERY YEAR WE PUSH THE BOAT OUT TO MAKE THE NEXT EDITION EVEN BETTER. 2026 IS NO DIFFERENT, WITH NEW ELEMENTS WE’VE WANTED TO INTRODUCE SINCE DAY ONE – POSTER SHOWS, INTERESTING TALKS AND LATE-NIGHT PROGRAMMING, WITH PLENTY MORE TO SEE AND DO. WE’RE ALSO ADDING OUR FIRST OUTDOOR STAGE, OUR OWN TAKE ON THE YARD PARTIES WE’VE EXPERIENCED AT FESTIVALS AROUND THE WORLD. ALONGSIDE THIS, EXPECT OVER 20 MORE BANDS, THREE ADDITIONAL VENUES AND EXTRA SPACE, MAKING IT EASIER TO EXPLORE THE AREA IN ALL ITS GLORY.” KIERAN COSBY, GET TOGETHER FOUNDER

GET TOGETHER THROUGH THE YEARS – SOME OF OUR FAVOURITE MOMENTS SO FAR

The inaugural edition in 2021 was headlined by South Yorkshire’s-own Self Esteem – just as her gamechanging single ‘I Do This All The Time’ had landed – alongside acts like Black Honey, Ibibio Sound Machine and Dream Wife.

NEW INDOOR/ OUTDOOR STAGES AND VENUES

• ALDER

• CHURCH – TEMPLE OF FUN

• GRAFTERS

• HEIST BREW CO NEEPSEND SOCIAL CLUB PEDDLER WAREHOUSE

• THE OLD WORKSHOP

• THE VICTORIA

• YELLOW ARCH

FOOD AND DRINK RESTAURANT ELM

A café by day and one of Sheffield’s most talkedabout restaurants by night, Restaurant Elm is already making serious waves – and it’s only just getting started

WORDS: JOSEPH FOOD PHOTOGRAPHY: MARC BARKER

On the ever-bustling Glossop Road, one of the city’s most exciting culinary spots has been quietly turning heads and earning critical acclaim. By day, Elm is a bright, easygoing café – the kind of place you drop into for a quick coffee and end up lingering over brunch. Come evening, though, the lights soften, candles flicker, vinyl spins behind the bar and the space shifts into Restaurant Elm – a confident, designled dining spot drawing food lovers from across the north.

The project is a collaboration between brothers Nik and Jon Daughtry – both designers by trade – and chef Nathan Wall, formerly of Jöro and Fischer’s at Baslow. It’s a collaboration that’s grown naturally, born out of a run of ‘Bistro-Pop’ nights that steadily built momentum. As Nik explains: “A couple of years ago, we started doing bistro pop nights, where we’d showcase different chefs in the evenings. Nathan did one and it was just completely different… we kind of just thought, when can we get him back?”

That question ended up answering itself. After a string of increasingly popular pop-ups, the trio decided to make it permanent. Restaurant Elm became a partnership roughly 10 months ago – and in that short time, it’s already picked up two AA rosettes, an achievement that places it firmly among the region’s top-tier dining destinations.

What makes Elm work isn’t just the food, though that’s central. It’s the clarity of vision across everything else. Nathan’s approach is refreshingly straightforward: “I cook food I actually want to eat. I’ve worked in kitchens where you’re putting up dishes you’re not that into, and I never wanted that. Everything on the menu is there because I believe in it.” That ethos carries through to a menu that evolves gradually rather than resetting wholesale, shifting with the seasons and the kitchen’s instincts.

Around that, Nik and Jon have pooled their considerable design skills to build a space that sets the tone just right. “I

want to work in a place that I’d want to live in,” Nik says, and that balance shows. It’s stylish without being stiff, relaxed without losing its sense of occasion. You can come for a romantic corner table or settle into the hum of a busy Saturday night – either way, it feels like a good fit for Sheffield these days: cool but not showy or pretentious.

There’s also a strong sense of thoughtfulness running beneath the surface. Elm operates with a low-waste mindset, with crossover between the daytime café and evening restaurant, and a focus on ethically sourced products – from Day Drug coffee through to a tightly curated list of low intervention wines. Even the small touches matter: receipts presented in keepsake wallets, postcards marking milestones, details designed to turn a meal into something more memorable.

And then there’s the atmosphere –something the team are clearly proud of. “It’s not a hushed environment –everybody’s having a nice time and that’s encouraged,” says Nik. A curated playlist, lighting and front-of-house all play their part, creating an experience that feels cohesive rather than staged. As he puts it, people don’t just come for the food: “the service, the music, the overall vibe – all of those things are so important.”

That approach seems to be resonating. Regulars are becoming friends, word is spreading beyond the Steel City, and bookings are filling up with diners regularly travelling across the Pennines and further afield to see what the fuss is about.

So, the food.

We were treated to five dishes from the seven-course tasting menu (£75), which feels more than fair for the level Elm is operating at. It opens simply, but perfectly – warm treacle bread, baked fresh that day, with cultured butter. The smell alone tells you everything you need to know, and it becomes clear this is something you’ll want to ration across the early courses.

That instinct pays off when the roasted

Jerusalem artichoke lands – paired with a vintage cheddar custard, artichoke sauce, chive oil and roasted yeast. It’s rich, savoury and deeply comforting, with the treacle bread acting as the perfect tool for mopping up every last bit of that cheeselaced sauce.

Next, Yorkshire peas cooked in lardo arrive with pickled girolles and a generous snowfall of grated Wakebridge cheese – somewhere between a Pecorino and something more local in character.

Nasturtium herb oil cuts through with a peppery lift, bringing brightness to what could otherwise lean too heavy. It’s a delicious, delightfully earthy dish.

The duck course is where things really step up. Rich breast and braised leg come together with pumpkin seed, carrot and orange purée, chicory marmalade and a proper, glossy duck jus. It’s confident cooking – bold, balanced and clearly a standout.

Desserts, though, are where Elm seems to have found another gear. A jasmine tea and ginger fruit cake arrives topped with a slab of Baron Bigod, alongside white port and vanilla syrup, Sheffield honey and a punchy pickled walnut ketchup. It sounds unlikely on paper but

lands brilliantly, moving between sweet, savoury and sharp without losing control.

A pre-dessert of chocolate namelaka –Japanese for “ultra-creamy” and, fittingly, almost impossibly smooth – hides a core of miso caramel, finished with torched black sesame for a subtle smokiness. It’s a small dish but one that lingers.

Finally, a caramelised whey and white chocolate parfait closes things out, with rhubarb jam, ginger sugar tuile, sour cream and yuzu bringing balance and lift. It’s a fitting end – technical without feeling overworked, and a neat reflection of the kitchen’s wider approach.

If Elm is still in its first year, it doesn’t feel like it. This is a restaurant that already knows exactly what it is – and, more importantly, what it wants to become.

There’s a sense they’re only just getting started, too. And while the two rosettes have arrived quickly, there’s a sense that greater things could well be on the horizon.

Nik sums it up: “We’re definitely not resting on our laurels. It’s been amazing how quickly it’s grown, but we’re not looking at it like we’ve made it. We just want to keep pushing it forward, keep improving, and see how far we can take it.” elmsheffield.co.uk // @restaurant_elm

WELCOME TO THE NEIGHBOURHOOD

Another month, another slew of fresh openings to explore on the Steel City food and drink scene. We take a quick look at the pick of the bunch….

MARIA

Arriving in the heart of the city last month, Maria is inspired by traditional Italian trattorias and named in homage to chef Ronnie’s nan. It’s from the team behind the award-winning bench in Nether Edge, so you know you’re in good hands here. Expect big flavour small plates, unbeatable aperitivo vibes and a solid negroni that won’t break the bank. Bell-bloody-issimo.

@trattoria_maria

FORBICI

Now up and running in Millennium Square, Forbici brings authentic Neapolitan biga dough pizza to Sheffield – with a few Steel City twists thrown in for good measure. No awkward pizza cutters here either: it’s scissors all the way, keeping the base fluffy and the toppings where they belong. Even Marco Pierre White’s a fan after visiting their Manchester spot, which is about as solid a co-sign as you’ll get.

@forbicirestaurants

WATT BAR

A bar that’s been “coming soon” for what feels like forever – because it basically has – Watt Bar finally opened on 27 March. Tucked behind the Hubs building on Charles Street, inside a repurposed substation, you’ll know it by the big bright yellow doors. Inside: quality drinks and Creole-inspired scran from Goobers Fine Dirty Dining. Worth the wait? Looks like it.

@watt_bar

RAFTERS

Above a window shop, in a leafy and unassuming stretch of the city, sits one of the most storied premium restaurants the city has to offer. It’s welcomed thousands of guests under various owners across its near 40-year history, but has always retained its quality, currently holding three AA rosettes and a Michelin Guide listing, if you’re into that sort of thing.

WORDS: ASH BIRCH PHOTOS: MARC BARKER PHOTOGRAPHY

But for the team and current driving force at Rafters, Head Chef Dan Conlon and Restaurant Manager Ben Ward, it’s about taking the restaurant to the next level and making it somewhere they would want to come and eat as much as work.

“I think in the past year we’ve really tried to up the level and focus on what we are as a restaurant,” says Dan. “There’s been a switch in us.”

The restaurant is still owned by Alistair Myers, who took sole control in 2024, but it is testament to the trust Dan and Ben have built that they are now the face of the restaurant, entrusted with taking it forward.

An objective they are quietly confident about achieving. Despite their reticence to get in front of our cameras, when they talk about the restaurant, the food and the service, there’s an assuredness and, more importantly, a vision for what the future holds for the Oakbrook Road establishment.

“I’d say we’ve come into our own in the last couple of years,” Dan reflects. “The last 18 months has been a real change where we’ve tried to adapt and move forward.”

There is, perhaps, still a preconception that Rafters is a stuffy space, stuck in the 2000s. Having sat down for their 10-course tasting menu, I can tell you the service and environment are far from stiff, while the food is blisteringly

innovative and incredibly tasty.

It’s not about trying to feel like some version of The Bear, although Ben has the appropriate piercings, tats and tunnels. For both Dan and Ben, it’s been about softening the edges while taking regulars who expect a certain experience on that journey with them.

“People think we’re this stiff, oldschool restaurant,” Dan says. “But we want people to feel comfortable. We don’t want people to sit there in silence. We want them to come with friends, dress how they want and enjoy it.”

Ben is even more direct: “We’re just a premium restaurant served by down to earth people that care about it.”

That shift hasn’t come overnight. Both have effectively grown up in the restaurant. Dan joined in 2014 and worked his way through the ranks, while Ben first stepped into Rafters as a 16-year-old pot washer before returning years later and rising to restaurant manager. Promoted into their current roles in 2020, it’s only in the past 18 months that things have really clicked.

“We want it to make it feel more comfortable… it’s just what feels right for us. How do we want to be served? How do we want to eat?” explains Ben.

Part of that has been shaking off the weight of reputation. Rafters has long been known as a go-to for special occasions – a place to impress, a place to behave. That legacy still lingers.

“It was always known as that Valentine’s restaurant,” Dan says. “The fancy restaurant in Sheffield. And we are a good restaurant, but we’re not a fancy restaurant as such.”

“I do sometimes think people think they can’t come,” Ben adds. “Like they haven’t got a suit or a nice dress. That’s not what this is.”

Instead, what they’re building feels more personal – a reflection of two people who have spent over a decade learning not just how a restaurant should run, but how it should feel.

The food follows a similar philosophy. There’s a clear grounding in British produce, but not in a way that feels rigid or forced.

“British where possible,” Dan says. “We’ll use what’s best on the island, but I take influence from everywhere. We’ve

got Southeast Asian dishes, we’ve had Indian influences, American barbecue. It’s not just one thing.”

That balance defines the menu.

Local ingredients, global ideas, filtered through a kitchen that clearly enjoys what it’s doing. Snacks arrive quickly and confidently – small bites packed with flavour – before moving into dishes built around strong proteins and even stronger sauces. It’s thoughtful without being overworked, creative without tipping into gimmick.

Out front, the approach is just as considered.

“For me, it’s about the guest not having to ask for anything,” Ben says. “From hanging your coat when you arrive, to never letting your glass be empty. Just being there, looking after them from start to finish.”

There’s an intensity to that level of service, but it never feels overbearing. Instead, it allows the room to do what it’s meant to do.

“You’re here to make memories,” Dan says. “You don’t want to think about what’s going on outside. You’re here for the evening, and to enjoy it.”

That idea of an evening is important. Rafters is not somewhere you drop into for a quick bite. It’s somewhere you settle into – curtains drawn, the outside world softened, the pace deliberately slowed.

“You kind of forget where you are,” Ben says. “You’re above a shop on a crossroads, but you don’t feel like that. You just relax into it.”

Crucially, the changes are landing.

“People say it’s better every time they come,” Ben says.

“You get that comment a lot,” Dan adds. “‘We came six months ago, a year ago, and it’s improved.’”

And for new diners, the reaction is often one of surprise.

“They’ll say, ‘I drive past all the time, I didn’t know it was like this,’” Ben says. Which, in many ways, is the point.

For all its history and accolades, Rafters is no longer content to be defined by what it was. What Dan and Ben are building feels quieter than a full rebrand, but more meaningful than one too – a gradual, confident shift into something that reflects the people running it now.

“I think we’re on the path,” Dan says. “I don’t think we’re there yet, but we’re moving.”

raftersrestaurant.co.uk

SPOTLIGHT ON: CORNERSTONE @ DYSON PLACE

Tucked into the courtyard at Dyson Place, just off Sharrow Vale Road, Cornerstone @ Dyson Place has been quietly building something special since opening in 2021. In that time, it’s become a go-to social spot for Sheffield locals –somewhere that works just as well for a laid-back brunch as it does for evening plates and alfresco drinks when the sun makes an appearance.

Opened in 2021 and based within a beautifully restored former mission hall – once a gathering place for the Parish of Sharrow – the venue leans into that community history, reimagining it for a new generation. That sense of community still lingers, just now with espresso machines, cocktail shakers and plates built for sharing.

That sense of togetherness is something co-founder Richard Massarella traces back to his own upbringing.

“I come from a large family where sharing food and conversation was our way of sharing time together. Cornerstone is an extension of that,’ he tells Exposed. “We’ve created spaces for sharing time with a menu that supports local, a team that enjoys coming to work and dishes that reflects our passion for artisan produce.”

There’s a clear and simple ethos: no one leaves hungry, everyone is welcome. Richard explains that it’s less about turning tables and more about creating an environment where guests feel at ease – whether that’s a quick coffee and pastry, a working lunch, or a long, unhurried evening dinner with friends.

Food plays a central role, but it’s never overcomplicated. Rooted in Italian influence, the menu champions

locally sourced ingredients and a network of passionate suppliers. “My life in hospitality has taught me that the best venues are a collection of simple things done well,” says Richard. “At the cornerstone of any good venue is good food, sourced locally, made thoughtfully and served with a welcome to match the quality. That’s what we’ve built. Ask anyone who has been. It works.”

That flexibility carries through the entire menu. You can build your own

experience here, whether that’s a spread of plates to share or a more traditional three-course approach. The aim is straightforward: let people eat how they want to eat.

And then there’s the setting. The spacious terrace comes into its own as the weather warms, offering a laid-back spot for alfresco drinks and dining. It’s here that the venue really earns its stripes, with punters spilling out into the courtyard to make the most of those fleeting Sheffield sunshine moments.

In a neighbourhood full of strong independents, Cornerstone has settled into its role as an all-rounder – part café, part restaurant, part social hub, with something for just about everyone.

EVENT COMING UP?

Beyond day-to-day dining, Cornerstone is also carving out a reputation as a flexible events space. The venue is available for private hire, with tailored packages for everything from birthdays and baby showers to weddings and larger celebrations.

For bookings, head to cornerstonerestaurants.co.uk. Follow them on socials at @cornerstoneatdysonplace.

We are a small independent Spanish Tapas Restaurant In Dyson Place, Sheffield. We pride ourselves on offering authentic homemade Spanish food, We import only the highest quality meat, cheese, olive oil, wine and even crisps you won’t find anywhere else!

FOOD AND DRINK book club

BOOK CLUB… WITH BITE

A NEW KIND OF SUNDAY SOCIAL IS LANDING IN SHEFFIELD – AND THIS ONE COMES WITH CAKE

If your ideal Sunday morning involves coffee, carbs and a bit of creative inspiration, this one’s got your name all over it.

A brand-new series called Cookbook Club is arriving at Victoria’s Clubhouse Social this summer, and it’s basically everything we love about a good book club – just with significantly better snacks.

Created by our sister company, Meze Publishing, Cookbook Club swaps novels for beautifully crafted cookbooks, bringing the people behind them into the room for a relaxed, sociable morning of chat, learning and, crucially, eating.

Each session spotlights a different cookbook and its creator – a chance to hear the stories behind the recipes, pick up a few tips, and ask the kind of questions you’d normally be Googling mid-bake.

Meet the First Guest: Maisam Algirgeet

Kicking things off on Sunday 5th July, Cookbook Club welcomes its first guest – and it’s a good one.

Maisam Algirgeet first caught the public’s eye on The Great British Bake Off back in 2022, where, at just 18, she stood out for her calm, unfussy approach and quietly confident baking style.

Since then, she’s built a huge following online, sharing simple, no-stress recipes that have struck a chord with home bakers everywhere. (Her no-knead bread alone has racked up tens of millions of views – not bad going.)

Her story is just as rich as her baking. Born in Libya and raised in the UK from the age of nine, Maisam brings a mix of cultures and influences to the kitchen –

and speaks five languages while she’s at it.

What really comes through, though, is her love of the process – the science, the feel, and the satisfaction of getting a bake just right.

The Book: La Maisam

At the heart of the morning is Maisam’s debut cookbook, La Maisam – a guide designed to take the stress out of baking and build confidence from the ground up.

It’s aimed at everyone from total beginners to those looking to fall back in love with baking, with each chapter focusing on simple techniques and approachable recipes. We’re talking fluffy focaccia, flaky croissants and the kind of cakes worth grafting for on a Sunday afternoon.

What to Expect on the Day

The morning starts at 9.30am in Clubhouse Social, before heading upstairs to The Chapel for a relaxed talk and Q&A with Maisam herself.

Expect superb coffee and a slice of something special from The Cake Table, created by Victoria’s Head Chef Emma Tophill-Reed and inspired by recipes from La Maisam. So yes, you’ll quite literally be eating your way through the book.

Tickets are £25, which gets you entry, coffee, cake, a proper good morning out – and a signed copy of La Maisam to take home and put straight to use.

Fancy It?

If you like your Sundays slow, sociable and sugar-dusted, this feels like a solid addition to the calendar.

SCAN THE QR CODE TO SECURE YOUR SPACE!

BAMBOO DOOR

If you’ve spent any time around Leopold Square over the past decade, chances are you’ve popped in for something fruity at Bamboo Door. The lively tiki bar tucked just off the square has been doing its thing since 2014 now – and in an industry where venues can come and go quicker than a round of shots, that’s no small feat.

From the outset, the aim was simple: transport people out of Sheffield city centre and into something a little more exotic. “When people walk in here, they walk into a little tropical Caribbean paradise,” explains owner David Pickard. “It’s very different to anything you come across here and we’ve doubled down on that.”

That escapism still sits at the heart of Bamboo Door today. Think flaming garnishes, fruity blends and bartenders who are as much part of the experience as the drinks themselves. “Fun, setting things on fire, fruity drinks – that’s what a tiki bar is about” says David. “It’s that feeling of escapism.”

And Bamboo Door isn’t just surviving – it’s evolving, with a brand-new drinks menu landing on 16 April. It’s a collaborative effort between management and staff – and, crucially, it’s been properly road-tested.

So what can you expect?

There’s a nod to the classics, naturally, alongside a Bamboo Door ‘faves’ section – drinks that have refused to die, even after a decade. “We’ve never really been able to get these ones off the menu because people still regularly request them 12 years later.”

Case in point: the Solero – a mangoheavy crowd-pleaser that “just tastes like the lolly” – and the house favourite Bamboo Door cocktail, a signature

cocktail with toffee apple flavours and Guatemalan rum blend.

Beyond that, things get playful. There are sharers served in oversized shells, treasure chest cocktails built for groups and a fresh batch of new creations with names like ‘Swizzle Me Timbers’ and ‘Hakuna Cachaça’. It’s all very on-brand: big flavours, bigger presentation and just enough chaos to keep things interesting.

Importantly, the menu isn’t just for drinkers. “There are plenty of people that don’t drink anymore and still come here and have a great night with most cocktails available alcohol-free. Umbrella included.”

And if you’re the indecisive type, the launch itself might be the perfect way in. The team are toying with a tasting-style event, giving guests the chance to sample smaller versions of multiple cocktails before committing.

Beyond the bar, timing couldn’t be better. With Leopold Square heading into its busiest months – outdoor events, DJs and the return of staples like salsa in the square – Bamboo Door sits right in the middle of it all. It’s the kind of place you can dip into for one and end up staying all night, or just as easily settle into for something slower midweek.

And that duality is kind of the point. As David puts it: “Bamboo Door delivers two things – whether that’s a relaxed, intimate cocktail with your partner, or a

TIKI TAKEOVER

Bamboo Door’s brand-new drinks menu lands on 16 April, bringing a fresh batch of tropical cocktails, sharers and signature serves into the mix.

Expect bold flavours, playful presentation and plenty of chances to try something new –especially if the team roll out their tastingstyle launch event.

Keep an eye on their socials for full details.

full-blown Friday or Saturday session that spills into the early hours.”

Alongside the new menu, the team are also leaning further into drinks-led experiences, with regular tasting events starting to take shape. Hosted with brand ambassadors, the sessions guide guests through four or five different rums, paired with a welcome cocktail and plenty of chat along the way. “You get a free cocktail on arrival… and you leave feeling merry,” says David. “It’s about giving people something a bit different midweek.”

Whatever you’re looking for, the pitch is simple: if you haven’t been yet, you’re overdue. And if you have, there’s about to be a whole new menu’s worth of reasons to come back.

bamboodoor.co.uk // @bamboo_door

THE SWEET SPOT

Max Scotford’s craft chocolate business has grown from small-batch beginnings to sites in London, with York and Nottingham next – but it’s Sheffield where the idea took hold.

WORDS: JOSEPH FOOD PHOTOGRAPHY: MARC BARKER

It’s clear, sitting inside Chocolate Bar at Leah’s Yard, this isn’t just another run-of-the-mill city centre café. The age range is far more varied than your usual hipster spot, it’s got a sense of playfulness running through it, and everything revolves around one thing that you might associate more with Brussels than Sheffield – chocolate.

For Max Scotford, that’s exactly the point.

What started as a hobby – roasting cocoa beans by hand, figuring things out batch by batch – has grown into something much bigger. Bullion Chocolate runs out of a factory in Kelham Island, and Chocolate Bar now has a growing footprint that stretches from Sheffield to London’s Tower Bridge and, soon, York and Nottingham. But the core idea hasn’t shifted: make proper bean-tobar chocolate, and get more people to care about it.

We meet in the Leah’s Yard site, a space that feels intentionally different. It’s not trying to compete with the city’s coffee heavyweights even though the flat white I’m drinking more than hits the spot. Instead, it leans into chocolate as an

experience – something Scotford admits was a bit of a gamble.

“There was no market research. It was just like, let’s have a go and see if it works,” he says. “But we were confident in what we could offer as a café-bar.”

That instinct has paid off. The concept here – build-your-own hot chocolates, theatrical toppings, boozy additions, a menu that shifts with the seasons – has been refined over time, and it’s now the blueprint for expansion. London came next, followed by plans for York and Nottingham, each site slightly adapted to its surroundings but rooted in the same idea: make craft chocolate accessible.

It hasn’t all been smooth. Max is candid about the early risk. Funding the Leah’s Yard opening meant pulling together Kickstarter money, savings and even Bitcoin – all in, with wages to cover and no guarantee it would land.

“It was like an all or nothing,” he says. “But Sheffield backed us from the off and we now feel part of the furniture in this hub of independents.”

That pressure still informs how the business grows. There’s a clear sense that each new site has to earn its place. Nottingham, for example, made sense not just because of the space, but because the city centre has the busy footfall. York, meanwhile, taps into tourism and its historic links to chocolate. These aren’t random pins on a map – they’re calculated steps.

If Sheffield was about building a loyal base, London forced a rethink. There, Bullion couldn’t rely on brand reputation. It needed something visual, something immediate. Enter the nowviral marshmallow topping – torched, oversized and tailor-made for TikTok.

One influencer video racked up hundreds of thousands of views in a day, and suddenly queues followed. Weekly takings jumped dramatically, and the Chocolate Bar concept evolved again –more theatre, more customisation, more reasons to stop scrolling and step inside.

But underneath the spectacle is

something more grounded, and Max is quick to bring it back to the product itself. Everything is made from bean to bar in Sheffield. No palm oil, no unnecessary additives – just cocoa beans and cane sugar. It’s a level of control and transparency that’s still rare in the UK, where most high street chocolate leans heavily on mass production.

That gap between perception and reality is something he’s constantly working against.

“I think the undervaluing of the product,” he says, when asked about misconceptions. “People see £6.50 for a chocolate bar and think it’s expensive, but they don’t always see everything that goes into it – where the beans are from, the people growing them, the weeks it takes to make. If you compared it to something like wine or coffee, where people are happy to spend more for quality, it starts to make more sense. It’s just about getting people to understand what they’re actually paying for.”

That’s where Chocolate Bar plays a different role to Bullion itself. If Bullion is the product – black and gold packaging, high-end gifting – then Chocolate Bar is the gateway, a way of “drip feeding” the craft chocolate story without overwhelming people.

It’s also why the space works so well in the evening. Open late, alcohol optional, it’s become a kind of middle ground –somewhere to meet, read, work, or just enjoy a delicious drinking chocolate and soft serve combo in peace.

“Accessible is probably the best word,” he says. “If we can get people through the door, then over time they start to understand what goes into it. That’s the aim really.”

And that accessibility is what underpins the next phase. More sites, yes, but also something bigger back home.

The long-term ambition isn’t just expansion for expansion’s sake. It’s about Sheffield itself.

Max talks about creating a proper visitor attraction – an interactive chocolate space in the city centre where people can see the process, take part in workshops, understand what goes into making chocolate from scratch in a fun way. Something part museum, part factory, part experience.

“I’d like to put Sheffield on the map for craft chocolate,” he says simply. “We’re one of a small number of companies in the UK actually making chocolate from scratch, and it’s such an incredible, visual process. We’re hugely proud of what we do, where we’re from and going to continue shouting about it.”

chocolate-bar.co.uk @chocolatebaruk

SIX AND A HALF

Fire dining.

Cooking over open wood fire brings us back to basics — great ingredients, bold flavour and dishes shaped by flame.

Join us and dine where we cook, with our chefs at the heart of the restaurant.

Sunny days are better on the terrace Enjoy our terrace menu for laid-back lunches, afternoon drinks and fire-cooked favourites. The Terrace is open Wednesday to Saturday 12pm to 8pm and Sunday 12pm to 4pm 61/2 DYSON PL, SHARROW, SHEFFIELD S11 8XX PHONE: 0114 348 3621 MENU: SIXANDAHALF.CO.UK

Set back on a leafy stretch of Psalter Lane, Life + Lemons is rethinking how women’s health is approached – one conversation at a time.

Tucked just off Psalter Lane, where the traffic softens into something quieter and greener, you’ll find a clinic that looks anything but clinical. Life + Lemons sits back from the road – a former garage, no less – now reworked into a calm, light-filled space that feels a world away from rushed appointments and waiting rooms. In fact, you can’t help but exhale the second you step inside.

That transformation didn’t come easy. “It was a lot of flat-out work to turn it into what you see today,” clinic director Kim Shepherd tells Exposed, recalling the early state of the building, once piled high with books, carpets and years of forgotten storage. Three months of backto-back graft later, the space opened just before Christmas – a soft launch under pressure, followed by a full start in January.

But Life + Lemons isn’t just about aesthetics. The clinic itself is rooted in something far more personal. For Kim, it began with her own experience of feeling “passed pillar to post” in the healthcare system, unable to find answers or support through conventional routes.

“So I had to find something else that worked for me,” she explains. Acupuncture became part of that process – not a quick fix, but a tool that helped her reconnect with her own health. From there, a career pivot followed. A former corporate marketer, Kim retrained with a full degree in acupuncture, driven by a desire to support other women who had found themselves in similar positions.

That focus still defines the clinic today.

Life + Lemons specialises in women’s health, particularly areas that are often misunderstood or under-supported –fertility, endometriosis, chronic pelvic pain, hormonal conditions like PCOS. It’s not positioned as an alternative to

Western medicine, but something that works alongside it.

“We work with consultants, we work with GPs,” says Kim. “We’re filling that gap where there is this massive lack of care and support for women.”

Step inside and that ethos is reflected in how the place runs. There’s no conveyor belt of appointments here. Instead, the clinic builds out from conversation – often starting with a call or an email, giving patients the space to talk through their experiences properly, sometimes for the first time.

“It’s never just symptom shooting. We’re looking at that whole bigger picture – it’s a holistic process.”

That broader view extends to the team around her. Alongside three acupuncturists, the clinic now brings together a nutritional therapist, hypnotherapist, massage therapists and soon a clinical psychologist focused on women's health and pregnancy loss. The aim is collaborative care – practitioners working together rather than in isolation, tailoring treatment plans that evolve with each patient.

It’s a model that’s already resonating. Since opening, demand has been, in Kim’s words, “chaotically busy, but in the

best possible way.” Patients come with a range of issues, but the feedback tends to land in similar territory – relief, progress and in some cases, what she describes as “life-changing” results, particularly for those managing chronic pain or navigating fertility journeys.

There’s also an eye on where things are heading next. Kim is currently developing a more data-led approach to treatment, integrating wearable health tech and patient metrics to build more personalised programmes of care. It’s early days, but the ambition is clear – to combine traditional practice with a more measurable, modern framework.

Still, for all the forward-thinking ideas, the heart of Life + Lemons remains firmly human. At its core, it’s about being heard – something Kim felt was missing from her own experience, and something she’s determined to build into every part of the clinic.

For anyone unsure about taking that first step, her approach is simple: start with a conversation. “We’re completely honest about if we can help or not, but we also have a network of trusted specialists we can refer people on to,” she says. “Either way, you’ll come away with a clearer idea of what to do next.”

For more information on treatments and to book your discovery call, head to lifeandlemons.clinic.

BIG DAYS, PEAK VIEWS

Wedding season is just around the corner, and The Maynard is ready with panoramic views, elegant interiors and a seamless approach to the big day.

The Maynard describes itself as ‘where countryside romance meets contemporary elegance’ – how do you bring those two elements together for couples on their wedding day?

Weddings take place in our stunning Chatsworth Suite, which boasts its own exclusive entrance and access to a private garden with scenic Hope Valley views. The venue perfectly balances romantic scenery with carefully curated decorative details, blending countryside charm with contemporary elegance for a truly memorable day.

How do the Peak District views enhance the atmosphere and photography of a wedding here?

The Peak District views provide a breathtaking backdrop for every wedding, creating an atmosphere of natural beauty and serenity. They elevate both the setting and the photography, ensuring that every moment, from the ceremony to the evening celebration, captures the essence of the day in stunning surroundings.

The Chatsworth Suite is central to your wedding offering – what can couples expect from the moment they step inside?

The Chatsworth Suite is a neutral, open space flooded with natural light from both sides, creating an airy and welcoming atmosphere. A decorative feature ceiling adds a touch of elegance, while the overall design feels both romantic and special, making it the perfect canvas for any wedding celebration.

You can host up to 130 guests for the

wedding breakfast and 180 in the evening – how do you ensure the day still feels personal and intimate at that scale?

Our dedicated Wedding Coordinators work closely with each couple to tailor every detail of the day around them and their guests. From the ceremony to the evening reception, we ensure a seamless transition that maintains an intimate and personal atmosphere, no matter the size of your celebration.

From the first dance to the final farewell, how is the venue designed to make the day feel seamless?

Our dedicated Wedding Coordinators, supported by the experienced Maynard team, ensure every part of your day runs seamlessly from start to finish. All wedding guest areas are accessed via the same exclusive entrance, allowing for smooth transitions throughout the celebration and effortless movement between spaces for both daytime and evening events.

Your wedding fayres and showcases bring together local suppliers – how do these events help couples shape their vision?

At our wedding fayres, we bring together an eclectic mix of trusted local suppliers, from florists and stylists to make-up artists and wedding cake designers. Throughout the year, our showcases present the Chatsworth Suite in either a ceremony setting or as a wedding breakfast, highlighting different styles and trends. Couples can meet and chat directly with suppliers to explore ideas and tailor services to their vision, helping them bring their dream wedding to life.

What kind of support does your team offer couples in the run-up to the big day?

We offer comprehensive support to couples, including show rounds, reviewing available dates, explaining wedding packages and discussing catering options. We also host walkthroughs so couples can visualise their day, ask questions and ensure every detail is perfectly planned.

How flexible are you when it comes to tailoring packages to reflect a couple’s personality?

We work closely with couples to bring their vision to life. We believe what we offer suits a variety of styles and tastes, with our bronze, silver and gold package options. As a Coeliac UK-accredited venue, we flexibly cater to dietary requirements. To ensure packages are tailored to each couple, we suggest different serving styles such as full-table sharing boards or a classic wedding breakfast to reflect their personality.

To find out more, request a package, book a viewing or order a brochure, head to the-maynard. com/weddings.

FASHION THE 92 ACADEMY

After nearly a decade at the sharp end of Sheffield’s grooming scene, one of the region’s most respected barber shops is turning its focus beyond its own chairs, with a bespoke product range and a purpose-built space dedicated to supporting and developing the next generation of talent.

Kelham Barber has built its name steadily – first in Kelham Island, then with a second site at Leah's Yard –earning awards and a reputation that has seem them share their knowledge with shops around the glove in the process. Now founder Lawrence Wheen is taking nearly 25 years of experience in the industry and funnelling it into something that reaches beyond his own shop floor: a tightly curated product range and, from a dedicated space at 92 Burton Road in Kelham Arcade, the 92 Academy.

The product came first, and it was never about slapping a logo on someone else’s formula. “I started looking at it just after Covid,” Lawrence tells Exposed. “It only really gained traction once I found a manufacturer. The process of getting the products made and through all the testing took maybe two years.” What emerged is a concise six-piece range built around what the team were already using day in, day out – matte texture powder, high shine pomade, strong matte clay, a lighter styling cream for longer or curlier hair, and a matte pomade that sits between cream and clay.

Simple, direct and deliberately separate from Kelham Barber itself, the name 92 reflects the address of the first shop. Lawrence was clear he didn’t want ‘Kelham Clay’ or anything that might muddy the waters when working with others. “I want to work with as many shops as possible,” he says. “There’s always a bit of a conflict of interest in this industry.” Creating a standalone brand removes that tension, opening the door to collaboration rather than competition.

The graft behind it, though, was real. “I’ll be honest – I underestimated how hard it’d be,” he admits. From manufacturing hurdles to trademark complications – including a proposed opposition thanks to football’s ‘Class of 92’ – the process came with more layers than expected. But the range is now live, stocked and already gaining traction. “We've had really strong feedback from everyone who purchased. It’s been nothing but positive so far,” he says of the response.

It was through building the product line that the bigger idea started to form. “Off the back of the product, I started thinking about the things we could have done with when we were starting out – a bit more support.” Like many small barber shops, Kelham Barber began as a tight operation where everyone was cutting hair flat out, juggling marketing, social media and admin on the side. There wasn’t time to step back and refine skills, let alone produce polished content.

That’s where the 92 Academy comes in. The Kelham Arcade space has been designed as a flexible, neutral environment – somewhere barbers can step outside their day-to-day setting

WE'RE PASSIONATE ABOUT SHARING EXPERIENCE AND BRINGING NEW PEOPLE INTO THE INDUSTRY IN A POSITIVE WAY.”

and focus properly. “Once you’re out of that shop setting, it’s a lot easier,” says Lawrence. “You’re not stuck in the same patterns and you’re not working to that time constraint.” Instead of filming between back-to-back appointments, barbers can cherry-pick a model, refine their skills and document it properly. “We’ll take you through some techniques, show you how to use the right products in the right way. We’ll film it, chop it up – and you leave with content.”

It’s practical and creative in equal measure – upskilling paired with readymade social assets. For teams who feel like they’ve “missed the boat” on content, it offers a reset without shutting their own shop for days on end. The space itself can be stripped back or built up depending on the shoot, avoiding the visual clutter of a live barber shop. In short, it’s controlled, collaborative and designed with working barbers in mind.

Longer term, Lawrence wants the Academy to go deeper than content days. “I want to offer beginners’ courses. We're really passionate about sharing experience and bringing new people into the industry in a positive way.”

He’s candid about the mixed quality of some training routes, with qualifications sometimes handed out too lightly. Having trained internationally and developed barbers from scratch within his own team, he sees 92 as a chance to raise standards properly – and accessibly. An academy built around genuine gaps in the industry, creating a space where barbering talents can sharpen up together.

number92.uk / @number92

Lies Sprints

AISLING BEA: OLDER THAN JESUS

7PM | OCTAGON CENTRE

THU APR‘26

BAFTA and British Comedy Award-winning Irish stand-up

Aisling Bea is finally hitting the road. As seen on Taskmaster, 8 out of 10 cats, and Last One Laughing.

THE ROSADOCS

7PM | OCTAGON CENTRE

SUN SEPT‘26

7PM | OCTAGON CENTRE

Katy Ellis, a self-confessed ‘Swiftie’ with an incredible live band and dancers will deliver the most authentic recreation of a Taylor Swift Eras experience.

7

MON SEPT‘26

SPELL SONGS

7PM | OCTAGON CENTRE

Renowned for their enthralling live performances that expertly blend virtuosic kora, electroharp, cello, Indian harmonium and more, gorgeously layered with musical and linguistic influences spanning from Orkney to Senegal.

7PM | OCTAGON CENTRE

NOV‘26

FRI APR‘26

Sheffield’s own rising indie fivepiece The Rosadocs return home for a huge headline show at the Octagon as part of their first-ever UK headline tour.

27

JALEN

7PM | OCTAGON CENTRE

NGONDA MON APR‘26

With his sound inspired by classic and contemporary soul, the incredible voice of Jalen Ngonda has been featured on The Graham Norton show and Later with Jools Holland.

29

DON

BROCO TUE SEP‘26

OCT‘26

7PM | OCTAGON CENTRE

One of the UK’s most dynamic and forward-thinking rock bands. Be part of the first audiences to hear the new album Nightmare Tripping on this round of live shows.

THE WONDER STUFF

Join The Wonder Stuff as they celebrate their 40th anniversary! Plus very special guests Inspiral Carpets. 7PM | OCTAGON CENTRE

WED NOV‘26

NISH KUMAR: ANGRY HUMOUR FROM A REALLY NICE GUY

6.30PM | OCTAGON CENTRE

Celebrating over 40 years as a live performer, Eddi Reader has effortlessly developed into one of popular music’s most thrilling and affecting performers. 25

Lambchop return to Europe and the UK for a new series of intimate piano performances. Frontman Kurt Wagner will be joing by his close collaborator on the recent Lambchop albums The Bible and Showtunes, Andrew Broder. 7PM | OCTAGON CENTRE

Bongo’s Bingo is THE definitive bingo experience. It’s a wild shared social extravaganza.

Expect big cash prizes, dance-offs, rave intervals and more all here at the Octagon Centre! UPCOMING DATES

4 SAT APR‘26

9 SAT MAY‘26

MAY‘26

PREVIEW

THE STAGE IS SET

Babyshambles, Embrace and Casisdead join final wave for Rock N Roll Circus Sheffield 2026

Running from 27–30 August, the festival’s latest announcement rounds off one of its most ambitious programmes to date, blending iconic British acts with landmark album performances and a new generation of emerging talent. They join previously announced names including The Kooks, Milburn, Miles Kane, The Streets, Wunderhorse and Richard Ashcroft.

Friday’s line-up sees Babyshambles lead the latest additions, marking a return to the festival for frontman Peter Doherty. “There’s something about Rock N Roll Circus that sticks with you,” he said. “It’s not just the music, it’s the whole world they build around it.”

They’ll appear ahead of The Streets’ full performance of A Grand Don’t Come For Free, alongside Casisdead, Hak Baker, KhakiKid and Sheffield’s own Ellur, bringing together a diverse mix of indie, rap and alternative sounds under the Big Top.

Across the weekend, organisers continue to spotlight emerging artists, including several with deep musical lineage. Thursday’s opening night features Spanish Horses, which includes Albert Cocker – son of Pulp frontman Jarvis Cocker – alongside Cruz Beckham and

The Breakers, making their first festival appearance of the year with a Britpopinspired set.

They’re joined by fast-rising indie outfit The Clause, newcomers Fletchr Fletchr and Australian surf-rock band Day We Ran, adding fresh energy to a night already headlined by The Kooks

performing Inside In / Inside Out in full, plus Milburn and Miles Kane.

The next generation continues into Sunday, where Villanelle – fronted by Gene Gallagher – appear on a stacked closing bill led by Richard Ashcroft. Embrace, The Fratellis and Cast also feature, alongside Sheffield favourites Everly Pregnant Brothers.

Saturday centres on Wunderhorse, one of the UK’s most talked-about live bands, supported by Baxter Dury, English Teacher and a wave of rising names including Gurriers, Basht. and The Molotovs.

Reverend and The Makers frontman Jon McClure, reflecting on the city’s musical identity, said: “This city’s always had it – the bands, the people, the culture – but we’ve never been the loudest about it. Rock N Roll Circus is Sheffield stepping up and saying: this is who we are.”

More than just a music festival, Rock N Roll Circus continues to carve out its niche with immersive performance woven throughout the site, from aerialists to fire performers, creating a theatrical experience beyond the main stage.

All headline sets take place inside the festival’s Big Top, offering an intimate atmosphere while keeping crowds sheltered from the elements.

Festival Director Ali O’Reilly described the 2026 edition as a defining moment.

“This is exactly what Rock N Roll Circus is about – bringing together iconic artists, celebrating huge records and giving a platform to the next generation coming through.”

Tickets and more information are available now from rocknrollcircus. co.uk

From Peaky Blinders soundtrack fame to making the people of Sheff squeak, Exposed caught Jennifer Ball from Girl in the Year Above to fill in the blanks of the band’s recent success.

WORDS: LOWRI RENNICK

Can you tell me a bit about your band?

We are a six-piece Celtic-inspired band and we only started about a year ago. It’s been a meteoric rise, if you will. It’s been really good. When we started doing it, I was like, ‘I’m not doing this lightly, guys. If we’re going to do this band, we’re going to fucking do this band.’ So we all just put loads of effort in. And it’s paying off now.

With Cornish and Irish heritage in the band, how do these identities influence the music you write?

I don’t think a lot of people know that Cornwall is Celtic, and I don’t think a lot of people know the heritage of it. It’s got its own language and culture and everything. So it’s actually really nice to get that out into the world a little bit. The guys in the band all knew that, and they love that I’m into that trad stuff. For them, obviously growing up around it all, it’s nice to keep it as the beating heart of the band. When we write songs, I don’t shy away from doing little trills and flicks. Even if the song’s quite heavy or rocky or poppy, it’s nice to just dribble it across the top. It feels good. It feels ‘family’.

You lived in Sheffield for a while – how did this have an impact on your musical career?

I went to a lot of trad sessions in Sheffield at Fagan’s. My auntie and uncle run the sessions there, so I go quite a lot. My mum is Northern, from around Sheffield, and when I was about eight my brothers and I went up to stay with our uncle. They took us to a trad night there, and I loved it so much that it really stuck in my head. When I got older, I was like, ‘yeah, I’d move to Sheffield’. Just before lockdown, my boyfriend at the time and I moved there. I started working at Laundry, the

hair salon, and I’m now a part-owner and run two more in London. To me, Sheffield was full of music and fun. It felt good. It felt really warm.

Your Massive Attack ‘Teardrop’ cover is in the new Peaky Blinders film. How did this all come about, and what has it meant for the band?

I met Ant, who basically did all the tracks for the film and season four, years ago in London. I’d do my friend’s hair and, as a trade, she’d take me out because she knew London really well and I’d just moved there. Ant’s from Sheffield and we got on really well. A couple of years later, he messaged me after I started posting music. He was like, ‘you should come into the studio with your band and we’ll try it out, because I think there’s something here’. Now he’s partly my manager and our producer. We’d record in his studio and, in the midst of all that, he was doing all the Peaky [Blinders] stuff. They were looking for the right voice for this track, and he said to Cillian Murphy, ‘I’ve got something, we should try this’. I went in one night and we just did it. He sent it over and they said it was perfect. Over the next few months, they got all the guys in,

so they’re all playing on the track.

Can you tell us about the inspiration behind your new song, ‘Mama, My Heart Is Achin’’?

Well, Mama died when I was about 13, and I’ve always been a little bit bitter about it, I guess. I wrote it on the walk to work. Some of the lyrics are about not being very sympathetic towards people. Then other bits came later, when I started to find more joy in life. Realising that Mum is here, she’s always going to be here, and I have amazing people around me and I love this band – everything started feeling more hopeful and defiant. So now the song is much more upbeat, even though it’s about grief. You can still feel quite powerful after losing someone.

What can we expect from your gig at Sidney and Matilda next month?

You should expect a lot of silliness and a lot of fun but also, in the midst of all that, some really fucking emotional, ‘rip your heart out’ songs. And then some really, really fun songs. It hits the full spectrum of emotions. We’re going to leave people on something crazy. We’re going to leave them feeling huge. Might leave some people thinking about aliens. I’d love everybody to pretend they’re mice and squeak instead of clapping. Imagine a whole room doing that. The nice thing is, loads of the people I knew in Sheffield were just so silly, and I loved it. They were so up for everything – it was just such a nice way of being.

‘Mama, My Heart Is Achin’’ is out now and the band play Sidney & Matilda on 25 May. Follow @ girlintheyearabove on socials for releases and tour updates.

THEY WERE LOOKING FOR THE RIGHT VOICE FOR THIS TRACK, AND HE SAID TO CILLIAN MURPHY, ‘I’VE GOT SOMETHING, WE SHOULD TRY THIS.’”

PREVIEW

DONNYFEST ’26 BACK WITH A BANG!

DonnyFest is back at Eco-Power Stadium on Saturday 6 June, and this year’s lineup feels like its most confident step forward yet. What started as a regional day festival is quickly turning into something much bigger, with more than 9,000 people expected through the gates.

At the top of the bill is Jamie Webster, whose live shows tend to blur the line between gig and mass singalong. If you’ve seen him before, you’ll know the drill –big choruses, arms round shoulders, and a crowd that does half the work for him.

There’s solid support across the main stage too. Sea Girls bring their sharp, radio-ready indie, while Ash continue to prove why they’ve stuck around for so long. Lucy Spraggan rounds things out with something a bit more personal and stripped back in tone.

Elsewhere, the festival’s second stage leans into that quieter side. The Acoustic Stage is headlined by Newton Faulkner, whose looping guitar style still stands out years on. Kyle Falconer, Chris Helme and Tom Hingley add a run of familiar northern voices that should suit the setting.

Importantly, it’s not all touring names. ADMT flies the flag for Doncaster and the wider South Yorkshire scene, and feels like a natural fit on a bill that’s trying to balance scale with something local.

If indie’s not your thing, the dance lineup is stacked with a different kind of energy. The Red Bull-powered stage brings in Tom Zanetti and Fergie, alongside a mix that dips into early 2000s

nostalgia and club staples – Ultrabeat, Livin’ Joy featuring Luzahnn and Kevin & Perry Go Large included. Expect that part of the site to carry on long after the guitars stop.

What makes DonnyFest interesting is the setting. It’s not a field in the middle of nowhere – you’re in a stadium – but it still leans into the usual festival extras like food traders and stalls. It gives it a slightly different feel, especially if you’re not sold on camping or full weekend commitments.

Tickets start at £45. Whether you’re going for the singalongs, the dance stage or just something easy to dip in and out of for the day, it’s shaping up to be one of the bigger South Yorkshire dates this summer.

On sale now at donnyfest.co.uk

FEET

4 APR // YELLOW ARCH // £16.50

Fresh from a run supporting The Royston Club, Coventry five-piece FEET hit Sheffield on their own headline tour. Expect wonky guitars, off-kilter rhythms and a sharp blend of Baggy groove and Britpop bite, honed across releases like Make It Up. Loose, lively and built for smaller rooms, this one’s set to be a proper indie sweat.

fatsoma.com

CRIMEWAVE

9 APR // THE WASHINGTON // FREE

After sharing stages with Kim Gordon, George Clanton and Machinedrum, Jake Wilkinson aka Crimewave lands in Sheffield fresh from his Fool’s Gold debut. New album SCENES plays like a continuous DJ set, threading glitchedout guitars, fractured breaks and clubfloor euphoria with something darker lurking underneath. fatsoma.com

YUNGBLUD

11 APR // UTILITA ARENA

SHEFFIELD // FROM £64.49

Doncaster’s own YUNGBLUD kicks off his IDOLS UK Tour with a huge hometown opener at Sheffield Arena. Built around his latest record IDOLS – a bold, emotionally charged rock opera – expect full-throttle energy, massive hooks and a high-impact live show to match.

ticketmaster.co.uk

IDLEWILD

16 APR // FOUNDRY // 7:30PM

Scottish alt-rock mainstays Idlewild mark three decades together with a 2026 tour, fresh from their self-titled tenth album. From their chaotic, punk-leaning early days to the richly melodic sound that carried them into the mainstream, their evolution has been as compelling as it is enduring.

foundrysu.com

WORLD NEW

23 APR // SIDNEY & MATILDA // £11 – £13

London outfit World News bring their bittersweet blend of post-punk, indie and shoegaze to S&M. Jangly guitars, moody hooks and a nostalgic edge run through recent EPs Escape and Mindsnap, with early praise from The Fader and Stereogum marking them as ones to watch. Throwback but forwardfacing, this is smart, atmospheric indie done right. fatsoma.com

m60

£16.00, Doors 7:30pm

thursday 16 april 2026

idlewild

£32.50, Doors 7:30pm

friday 17 april 2026

seb lowe

£14.00, Doors 7:30pm

saturday 18 april 2026

the denabys

£10.00, Doors 7:30pm

wednesday 22 april 2026

skindred

album launch show

£15.50, Doors 7:30pm

saturday 25 april 2026

one night in nashville

£24.00, Doors 7:30pm

friday 1 may 2026

just radiohead

£17.50, Doors 7:30pm

saturday 2 may 2026

the smiths ltd

£20.00, Doors 7:00pm

wednesday 15 april2026

cally beaton

£20.00, Doors 6:30pm

wednesday 15 april 2026

jessica fostekew

£17.00, Doors 7:00pm

saturday 25 april 2026 the britpop hour with marc burrows

£18.00, Doors 6:30pm tuesday 16 june 2026

saturday 2 may 2026

reverand & the makers

album launch show

£20.00, Doors 7:00pm

saturday 9 may 2026

fleetwood bac

£20.00, Doors 7:00pm

friday 15 MAY 2026

LIVEWIRE AC/DC SHOW

£20.00, Doors 7:00pm

tHURSDAY 21 MAY 2026 la rumba x foundry present

NUBIYAN TWIST

£22.50, Doors 7:30pm

saturday 23 may 2026

timi dakolo

£30.00, Doors 6:00pm

wednesday 27 may 2026

ana carla maza

£25.00, Doors 7:00pm

thursday 4 june 2026

marmozets

£20.00, Doors 7:30pm

friday 26 june 2026

electric six

£21.50, Doors 7:00pm

thursday 9 july 2026

nik kershaw

£32.50, Doors 7:30pm

saturday 26 SEPT 2026

jazz emu

£22.00, Doors 6:30pm friday 2 OCT 2026

MICHAEL SPICER

£22.00, Doors 7:00pm TUESDAY 20 OCT 2026

CHRISTOPHER HALL-PIZAZZ

£23.00, Doors 7:00pm FRIDAY 23 OCT 2026

Friday 4 sept 2026

the bootleg beatles

£28.50, Doors 7:30pm

saturday 12 sept 2026

THE molotovs

£15.00, Doors 7:30pm

Wednesday 7 oct 2026

madra salach

£17.50, Doors 7:30pm

thursday 15 oct 2026

the wanted 2.0

£27.00, Doors 7:00pm

friday 23 OCT 2026

THE UNDERTONES

£32.50, Doors 7:30pm friday 30 OCT 2026

COLDPLACE

THE WORLD’S LEADING TRIBUTE TO COLDPLAY

£24.00, Doors 7:30pm

friday 13 NOV 2026

THE TUMBLING PADDIES

£25.00, Doors 7:30pm

saturday 21 NOV 2026

the smyths

£20.00, Doors 7:30pm

saturday 28 nov 2026

the bracknall

£20.00, Doors 7:00pm

amy matthews

£14.00, Doors 6:30PM WEDNESDAY 11 NOV 2026

THE DARK ROOM

£20.00, Doors 6:30pm friday 20 NOV 2026

ginger johnson

mc hammersmith

£17.50, Doors 7:00pm

friday 25 SEPT 2026

CELYA AB

£19.00, Doors 7:00pm

MORGAN REES

£21.00, Doors 7:30pm SATURDAY 7 NOV 2026

HANNAH EAST

£24.00, Doors 2:00PM / 7:00PM

all shows open to the public (14+ unless stated otherwise) tickets available from foundrysu.com box office: 0114 222 8777

£28.00, Doors 7:00pm wednesday 25 NOV 2026

mark simmons

£20.00, Doors 6:30pm

foundry, sheffield students’ union western bank, s10 2tg foundrysu.com - foundry@sheffield.ac.uk @foundrysheffield scan for tickets

DECKS APPEAL

Last month, the top of Fargate turned into an open-air stage as DJ AG brought his viral livestream sets back to Sheffield, drawing crowds to celebrate the city’s music scene and the launch of a new opportunity for emerging talent.

The event marked the launch of a fully funded scholarship from WaterBear College of Music, created in partnership with DJ AG, which will offer one artist a place on the college’s BA Honours Professional Music degree in 2026.

The scholarship covers full tuition fees for the three-year course at WaterBear’s Sheffield campus and includes mentoring support. It is open to artists working across performance, production, electronic music, music business and songwriting.

The well-attended livestream became a celebration of Sheffield’s musical community. Lord Mayor Safiya Saeed joined the action, while Reverend and the Makers, Steve Bracknall and Royal Oak FC led the crowd in a rousing rendition of Silence Is Talking.

Students from WaterBear and the Slambarz programme also took to the mic and decks, highlighting the next generation of the regional music industry.

One of the standout moments came when Sheffield MC Forca joined vocalist Steve Edwards on stage for a performance of ‘World, Hold On’, bringing together two generations and genres of the city’s music scene.

Applications for the DJ AG WaterBear scholarship close on 30 June 2026. Full details and eligibility criteria will be available through WaterBear’s website.

The initiative aims to support emerging talent and strengthen Sheffield’s reputation as a city where new music continues to grow, collaborate and reach audiences far beyond South Yorkshire and across the UK.

waterbear.org.uk/Sheffield

CARNALL MUSICAL HITS THE BIG STAGE

Sheffield’s Joe Carnall Jr, best known as the frontman of Milburn, has seen his musical How Could I Forget? picked up by Sheffield Theatres following its successful debut in 2025. The production premiered to sell-out performances at the University of Sheffield’s Drama Studio in May, where it received strong reviews, and the musician has since performed songs from the show with cast members at live events.

Written by Carnall and directed by Laura Partridge, the show acts as a love letter to grandparents, exploring the emotional impact of Alzheimer’s on both those living with the condition and the families around them. The musical is inspired by the writer’s own experience, having lost his grandfather to the disease.

Set in Sheffield, the play follows Billy, a young man navigating student life and family responsibilities while his grandfather faces Alzheimer’s. The narrative moves between past and present, memory and reality, with moments from different decades colliding around a living room piano.

Ahead of the new run, Carnall told Exposed: “It’s an honour to finally get How Could I Forget? onto the Sheffield Theatres stage. We received such a warm and powerful response after the previews in 2025 – this seemed like the natural next step.

“Writing a musical is a long, old process and this is a milestone moment: today the Broadfield, tomorrow Broadway. Or summat like that”

The show will be staged at the Tanya Moiseiwitsch Playhouse from 9–11 October 2026. The 2pm performance on Saturday 10 October will be a dementiafriendly showing, ensuring it’s accessible to anyone who may wish to attend.

Tickets are available now from sheffieldtheatres.co.uk

Backstage Pass

We love seeing people bring their friends to their shows at Corp – there’s nothing better than supporting the people in your life. However, if you’re coming down to support a mate at their gig, we strongly advise against heading on stage to film your Instagram story and disconnecting an amp mid-show. Your friend probably won’t thank you for that.

We said farewell to Ferocious Dog as they played their final Sheffield show on their last tour, and everyone made sure to give them the send-off they deserved. It’s been a big month for crowd surfing, and we’ve seen you taking part in every room in the building.

And for club nights – did we play scenes from Heated Rivalry on the big screen? Yes. Yes, we did.

We said we would, and we did. March saw one of our first 25th birthday celebrations, with a major throwback to 50p drinks at Monday Corp. You showed up – and not just our homegrown regulars either. One group even made the trip from Birmingham for the night. We can’t thank you enough for making one of our first birthday parties such a success.

We’re now deep in planning mode ahead of Resistanz over the bank holiday weekend, so if you’re looking for something to kick off April, make sure you grab your tickets to our three-day festival.

Love,

GIGS GALORE

BIG RIFFS, BIGGER NIGHTS AND A FESTIVAL TO KICK IT ALL OFF –

APRIL’S STACKED. FROM INDUSTRIAL TAKEOVERS TO CULT ROCK RETURNS AND CHAOTIC CLUB NIGHTS, HERE’S WHAT’S FILLING CORP’S CALENDAR THIS MONTH.

RESISTANZ FESTIVAL

3-5 APR // Ticket types vary: £40.97-£125

Industrial beats, electro anthems and alternative energy take over the city as Resistanz Festival returns! Spanning Corporation and Trafalgar Warehouse, the three-day Easter weekender promises more than 40 international and homegrown live acts and DJs, plus exclusive sets and immersive entertainment.

MOUTH CULTURE

10 APR // £16

Fast-rising Leicester trio Mouth Culture bring their explosive live show to town following the success of their critically-acclaimed EP Whatever The Weather. With a run of punchy singles and a debut album on the horizon, expect big hooks, bigger energy and a band firmly on the rise.

HACKNEY COLLIERY BAND

17 APR // £22.50

East London’s Hackney Colliery Band bring their genre-blurring brass energy to the stage. Fifteen years in, the nine-piece remain as bold as ever, with new record Collaborations: Volume Two on the way. Proof that sticking nine people on stage and ignoring the rulebook still works.

TYKETTO

24 APR // £29.50

US hard rockers Tyketto return with their sixth album Closer To The Sun, bringing a fresh run of anthems from of this criminally underrated quintet originally founded in New York. With a seasoned lineup behind Danny Vaughn, this is a chance to catch a cult favourite still going strong.

JOIN THE CLUB

Two big nights are locked in for late-night revellers at Corp this month. On Friday 3 April, the legendary Cassyette returns for a Rock Room takeover – expect a high-energy mix of alt, metal and rock, alongside Corporation’s resident DJs keeping the Drop moving all night. Then on Saturday 11 April, the Attitude Era Club Night steps into the ring for a WrestleMania pre-party with a twist: superstar entrance themes, nu metal staples, costume competition chaos, divorced dad rock hits and a few surprises thrown in for good measure. Happy days.

PS: all club nights are strictly 18+, obvs.

TICKETS (SUBJECT TO BOOKING FEES) AND FULL LISTINGS CAN BE FOUND AT CORPORATION. ORG.UK.

A decade of queer joy, radical welcome and community care – Andro & Eve founder Finn Warman reflects on 10 years of building the spaces and events they once dreamed of.

Andro & Eve is celebrating 10 years this year – when you look back to the beginning, what was the original vision and what gap did you feel needed filling?

It was always about making spaces where LGBTQ+ people felt safer and where queer culture was the focus, whether that be films, drag kings, performance or creative workshops. What’s been nice about reflecting on reaching 10 years of Andro & Eve is how we’ve stayed true to our original vision – to create the spaces we could only dream about when we were growing up. We felt there was a real gap for spaces where it's more than okay to remain sober, where you’re greeted like an old friend and where artists who are often marginalised are centred.

Has that mission evolved over the past decade?

Not so much, to be honest. Although the scale at which we work has increased, we’re still here to create unique, feel-good and accessible events to celebrate queer culture, and provide opportunities for people to come together and develop their understanding. This might mean sharing a really eclectic mix of acts at our queer cabaret – A Reyt Queer Do – or delivering our Gender Awareness Training to workplaces throughout the UK.

One thing that has developed, particularly since 2020, is our focus on longer-term programmes of creative workshops for our community. This enables us to work in a deeper way with a wider range of

people, and partner with other groups and organisations in South Yorkshire, which is important for breaking down barriers and broadening access to queer culture and art.

What have been some of the biggest standout moments over those 10 years?

I am consistently overjoyed at the audience demand for The Kingdom Come – our drag king cabaret. It is now the largest drag king cabaret in the UK outside of London, regularly attracting 300 people to watch a line-up made up solely of drag kings. That’s huge in a scene that is still sadly influenced by misogyny and does not platform drag kings. The atmosphere, like at all our events, is so warm and supportive.

Other standout moments would have to include our first Reyt Queer Extravaganza in 2022, a collaboration with Ghetto Fabulous, where we took over The Leadmill, with over 25 performers taking to the catwalk. The other special moments are the ones that are less visible but just as impactful, like our long-standing relationship with Lesbian Asylum Support Sheffield, or the many Northern LGBTQ+ artists and creatives we’ve provided opportunities to over the years, helping them develop their skills and careers.

How do you go about making sure your events feel genuinely welcoming to a wide range of people within the LGBTQ+ community?

One of our core values is to be

representative and accessible. This means addressing the structural inequalities and systemic oppressions that may mean someone doesn’t feel welcome or able to access our spaces. Working with antiracist practices is key to this. We’re always thinking about what we can do to ensure tickets are affordable (we use sliding-scale ticket pricing), that wheelchair users have access, that music isn’t too loud or overwhelming, and that people have plenty of notice of when events are taking place. Most importantly, we ensure the artists we work with represent a wide range of identities within the LGBTQ+ community. We cannot be what we cannot see.

How important is it that spaces like yours offer not just entertainment, but connection and understanding too?

It’s very important – we live in a society where people feel increasingly isolated, where trans people are denied access to gender-affirming healthcare and many LGBTQ+ people are struggling with poor mental health. LGBTQ+ people also have the unique challenge of often needing to find their own ‘chosen family’ to affirm and celebrate their identities. While we love our large-scale performance events, we’ve struggled over the years to find a way to offer smaller, more regular events for folks to connect – that’s why we now

have a membership offer. Members get access to six member-only events a year, which range from creative workshops to socials and talks. Members also get a range of other benefits, so people can support our work and have more opportunities for connection.

Reyt Queer Extravaganza sounds like a suitably huge celebration – why did this feel like the right event to mark the anniversary, and what can audiences expect from the night?

Well, the first Reyt Queer Extravaganza went down a storm and we’ve wanted to recreate it ever since. When we got funding, we knew we could build on that success – working again with Ghetto Fabulous, who created the concept of a catwalk show where all kinds of queer performance are platformed. It’s highenergy, celebratory and communityfocused. It’s not just about drag kings or queens – there are dancers, burlesque artists, singers, plus a cast of community performers who will make their catwalk debut. That feels really Andro & Eve, and so right to mark 10 years. Expect 15+ artists taking to the stage, a DJ, two incredible hosts and a crowd of 300+ people cheering them on (some seating available!).

Is there anything you’d still love to do with Andro & Eve that you haven’t had the chance to do yet?

Over the last year we’ve been working on We Contain Multitudes – a project amplifying the voices of trans and nonbinary folks in South Yorkshire, with creative writing workshops in Sheffield and Doncaster, and we’ve just produced a collaborative zine. We’d love to build on this to create more art that represents the voices of our community in even more impactful and wide-reaching ways. We just need more funding to enable this –no easy task in this climate, but we are determined to keep showing up for our community.

If you could sum up what Andro & Eve has meant to you and the community over the last decade in a few words, what would you say?

I think I’ll share something an audience member shared with us anonymously about a year ago. They said, ‘There are some spaces and gatherings that feel like hope, and like a different world is possible. Andro & Eve is one of those spaces.’

I couldn’t have said it better myself.

For more information on upcoming events and projects, head to androandeve.com. Follow @ androwandeve for socials.

From late-night shenanigans to celebrations of cult film favourites, here are some top picks for the diary this month...

Sheffield’s LGBTQ+ scene is blooming this April with a packed calendar of thoughtful talks, club nights, drag bingo and community catch-ups. Rainbow Minds (every Wed) continues at the Wellbeing Centre, offering a cosy LGBTQ+ café social from 5.30pm to 7.30pm, perfect for meeting new people or just relaxing with a cuppa. Over at Weston Park Museum, the Over 50s LGBTQ+ Group (Thu 9 Apr) welcomes older queer folks for dementia- and neurodivergent-friendly peer support in a calm and welcoming space.

The month kicks off with Tales of the Suburbs: LGBTQ+ Lives Behind Net Curtains (Wed 1 Apr) at Juno Books. This fascinating talk uncovers hidden histories of queer life in Britain’s suburbs with social historian John Grindrod. Gut Level hosts Soft Landing (Sat 4 Apr), a warm and wonky dance night with Charlie Satsumas and Frazer spinning disco, boogie and cosmic pop – a comfy party for the feet and soul. Then Another Neuroqueer Party (Tue 7 Apr) returns, blending short talks and a neurodivergent-flavoured DJ set in a chilled, interactive environment. Entry is free, but Gut Level membership is required for both nights.

Next up is the double-header, Communal Pleasure (Fri 10 Apr) at Gut Level. First up is Party Lines, a discussion on dance music and its role in shaping modern Britain with author Ed Gillett and journalist Daniel Dylan Wray. After the chat, the night turns up the volume with a proper party featuring Bud Light Boyz, Dankle B2B Yanny and DJ Fingerblast B2B Trancey Beaker taking turns behind the decks.

For those after glitter and giggles, the Hoppy Easter Slags and Drags Bingo (Sat 11 Apr) hops into the Bagshawe Arms with drag, prizes and plenty of silly fun for just a fiver. Comedy fans can catch Jessica Fostekew (Wed 15 Apr) at the Foundry, bringing her acclaimed standup show packed with personal insights, big laughs and some dolphin-based epiphanies. And if you’re looking to dance the night away, CADS is the place for Disco Divas: Spring Fling (Fri 17 Apr). I’ll be back spinning disco-pop and dancefloor classics for LGBTQ+ women and non-binary sapphics from 7pm to midnight. Advance tickets are £5 or £7 on the door, with proceeds going to SAYiT and Steel City Sapphics. That same night, Gut Level hosts Shell Company (Fri 17 Apr) alongside Kop-Z and Porter Brook

for a night of live music mixing ambient, post-rock, spoken word and experimental electronics.

Two contrasting events close out the party season. The Rocky Horror Picture Show (Sat 25 Apr) celebrates its 50th anniversary at Sheffield City Hall with original cast members, a live shadow cast, costume contests and cult chaos. Meanwhile, Sidney & Matilda hosts The Last (Maybe) Nightowls (Sat 25 Apr), the final dance party (for now) from the beloved queer night. Expect classic party bangers, sweat, silliness and a heartfelt goodbye – or perhaps just a see-youlater. And finally, wrap up the month with Rainbow Gamers (Sun 26 Apr) at Treehouse Café. This relaxed board game social for LGBTQ+ folks is ticketed in advance, offering an accessible, lowpressure space to meet new mates and play old favourites.

Whether you’re after talks and history, drag and dancing, or just a quiet table and some cards, April in Sheffield has you covered. Grab your diary, grab your friends and make the most of it all.

That’s your lot for this month. Make sure to check out the latest event announcements at facebook.com/ sheffieldlgbtevents.

Exposed’s Lowri Rennick hears how this year’s event is set to be bigger, bolder and brighter than ever before

Kelham Pride will take over Kelham Island for the third year running on 20 June 2026.

The free, one-day event promises to be bigger than ever, with more stalls, more stages and more acts – not to mention a packed parade to kick things off.

Organised by Kelham Island and Neepsend Community Alliance (KINCA) in collaboration with Love Kelham CIC, the festival will span nine venues across the neighbourhood, giving attendees plenty of space to celebrate and catch performances.

Matt Holmes, part of the organising team, told Exposed: “Kelham and Neepsend as a community is very inclusive, understanding and progressive.

“I think Pride is very ‘Kelham’, and the reason it’s a success is because of the people, the businesses and the local support.”

Participating venues include local favourites such as Yellow Arch Studios, Alder, Factory Floor, Neepsend Social Club and Riverside, among others.

As well as hosting events throughout the day, many venues will run afterparties from 9pm onwards, with what KINCA chair Ben McGarry describes as “slightly

more bawdy acts” scheduled later to avoid clashing with the daytime’s familyfriendly focus.

Ben said: “We want to show everybody that this neighbourhood is a very safe, welcoming area. Whether you’re gay, straight, transgender or a refugee or asylum seeker.

“If you’re a family with kids, or if you’re scared of going alone, this is somewhere you can come to by yourself.

“You will end up talking to somebody, because that’s just the nature of Sheffield.”

Kelham Pride is entirely volunteer-led and delivered an estimated £0.5 million boost to Sheffield’s local economy in 2025.

With each year building on the last, Matt reflected on the wider importance of Pride: “Kelham Pride is a one-day event, but there are another 364 days of the year where you need to carry on that same level of belonging, community and feeling of a safe haven.”

The festival encourages all attendees to follow a shared set of values to keep

the event welcoming and inclusive. These include a zero-tolerance approach to prejudice or harassment in any form, alongside the active inclusion of the full diversity of gender identities.

Those wishing to take part in the parade can sign up via the Kelham Pride website. With 1,800 walkers last year, organisers are hoping to grow the numbers again in 2026.

Performers, stallholders and sponsors can also apply through the website.

In keeping with that community spirit, local brewers will once again create a Pride beer, with attendees invited to help name it.

With food, drink, performances and stalls spread across Kelham Island, they key to ensure that Kelham Pride offers something for everyone.

“Anybody can come in on the day and be part of the parade and have a great time,” said Matt. “Bring your flags, bring your whistles, bring your friends – just get involved. Get dressed up, show your colours.”

For more info head to kelhampride. com. Follow @kelhampride on socials for the latest updates.

WE WANT TO SHOW EVERYBODY THAT THIS NEIGHBOURHOOD

IS A VERY SAFE, WELCOMING AREA”

PREVIEW

NEUROQUEER MUSIC @ GUT LEVEL

Gut Level hosts Neuroqueer Music this April – an evening blending talks, discussion, creativity and sound to explore identity, queerness and neurodivergence. Led by Sheffield Hallam’s Chris Bailey and the University of Sheffield’s David Shannon, the night brings together music, theory and community. Max Hayward spoke to Bailey ahead of the event.

Why do you believe music is such a powerful way to explore neurodivergence, identity and queerness?

Music is about feeling. Identity is about feeling. Identities are marginalised are delegitimised and doubted because we have created a society that is highly suspicious of feeling, so I think that creating spaces full of music is a good way of welcoming feeling into the room.

Can you give a short summary of the night and what people can look forward to getting up to?

The night is a mix of talks, a workshop and plenty of music. David Shannon and I will be talking about what neuroqueer music might mean. My talk will be linking theory to the Manic Street Preachers' first album, Generation Terrorists, for instance. We will also be joined by Sol E. Nte who will be running and neuroqueer comics / zine workshop. We met Sol at the previous event, which reflects how we would like to bring other people on board with this thing. Our friend Matthew has created a playlist, and I'll be Djing at the end of the night. There's also space for anyone to go and do their own thing, and the bar will be open!

How important are events like this for marginalized communities in Sheffield?

I think getting people together is a really important thing. We live in a society that so often works at the level of the individual rather than the level of the collective. So people can often feel isolated. Coming together with other people who might feel and see the world similarly to you can be really powerful. Sheffield is a great place for this because I've always felt part of creative and inclusive communities in Sheffield.

Do you see this becoming a regular event in Sheffield?

Hopefully! The event in April is the second one - the first was in October last year and we were so pleased that so many people turned up! We have three more planned for later in the year, all at Gut Level - including one where we are putting on some bands.

What do you hope individuals take

away from this night, more than just the experience?

A sense of community and connectedness with others would be nice. And an idea of how academic theory and research about people's lives can be helpful in helping understand our own experiences, and those of others.

What musicians do you think capture neuroqueer music the best?

I don't want to be too prescriptive about what neuroqueer music might be. I think in some senses it can mean that the musician(s) involved are themselves

neurodivergent and / or queer. But we are also thinking about music in context, where the listener has their own interpretation of what the music is about. Can I just say that it's a vibe, rather than a genre?

What kind of atmosphere are you hoping people feel at the event? We want to create a safe and comfortable environment for anyone who attends. Gut Level are already good at doing this so we just have to make sure we make people feel welcome in what is already a nice space.

NEUROQUEER MUSIC TAKES PLACE AT GUT LEVEL IN SHEFFIELD ON TUESDAY 7 APRIL, FROM 7PM TO 10.30PM. ENTRY IS FREE, BUT YOU MUST BE A GUT LEVEL MEMBER TO ATTEND. USE THE QR CODE TO SIGN

GREEN ROOM

EASTER WEEKENDER 2ND - 6TH APRIL.

THURSDAY

OPEN MIC 8PM START – FULL BAND GEAR PROVIDED.

FRIDAY

6PM THE RED LINE

6.45PM HELL YEAH BROTHERS

7.30PM THREE OF SWORDS

8.15PM KASE STUDIES

9PM THE DOMINO EFFECT

9.45PM THE BLOODY MARYS

10:15PM DJ (TBC)

SATURDAY

2PM JOSHUA LOMAS

2.45 PM JIMMY MADDON

3.30PM JASON QUINSEY

4.15PM COLD BONES LULLABIES

5PM CROWNED HYENAS

5.45PM CONCRETE CATS

6.30PM BROOK HODGES

7.15PM RO EGGLESTON

8PM MARK LEAFF

8.45PMVELCROTEDDYBEAR

9.30PM THE BORED AND IGNORED

10.15PM DAUGHTERS OF THE FLAMING SWORD

11PM OSPREY 11:30 DJ (TBC)

SUNDAY

2PM OGNIZLATA YELETENKO

2.45PM STEVEN KIER

3.30PM SCARLETT

4.15PM GORDON POCKET

5PM KNIEVAL

5.45PM JOE DEWICK

6.30PM LUDDITES

7.15PM KETTLE BLACK

8PM HOLD FAST

8.45PM AT THE ARCADE

9:15PM DJ JASON RICHFORD

MONDAY

OPEN MIC 8PM START – FULL BAND GEAR PROVIDED.

Exposed headed down to Moor Walk, where – just off the escalators – a seemingly empty industrial unit is hiding something far more colourful. Peer through the window and you’ll find some of South Yorkshire’s bestknown artists bringing a pride of big cat sculptures to life, each one bound for the streets this summer as part of Pride of Yorkshire – a 150-strong public art trail raising money for Sheffield Children’s Hospital Charity.

WORDS: JOSEPH FOOD PHOTOGRAPHY: MARC BARKER

“I think it captures people’s imagination because it’s something different,” says corporate partnerships manager Holly Newton-Steele. “That’s how we try and run as a charity. It’s not just about people donating money to us – we want to do something innovative where people get a bit of value for the money and everyone can get involved.”

That approach has helped turn the trails into genuine regional events. This year’s lions will be spread across Sheffield, Barnsley, Doncaster and Rotherham – a reflection of the hospital’s wider reach.

“A third of the children we see come from outside of Sheffield,” Holly explains. “So it’s really important to us that we’re in communities right across the region.”

Alongside the 150 large lions designed by professional artists, another 150 cub sculptures will be decorated by schools and community groups across the region. For many schools, it builds on a tradition started with previous trails and they will soon have a third for the

collection.

Back inside the Moor workshop, that wider community effort is beginning to take shape as artists transform blank fibreglass forms into colourful centrepieces.

Pete McKee is one of the bestknown names involved in the project, contributing two sculptures of his own. Like many of the artists in the room, he relishes the creative challenge that comes with each new animal.

“The first challenge is what you’re going to do with the sculpture,” he says. “And how you can theme that – using the animal as the starting point or using the charity’s objectives. It’s that fine balance between creating a nice piece of art but also having a sympathetic message.”

One of McKee’s lions leans directly into that balance. The design ties into the British Transplant Games – which has significant personal significance to him – and uses humour to highlight organ donation and transplant awareness.

Drawing inspiration from the classic board game Operation, it features a playful twist on the familiar imagery.

Elsewhere in the studio, Zoe Genders is working on a lion inspired by the compassion of NHS staff. Known for her bold, graphic style, she has adapted her approach slightly for the project. “It does have my usual colours and style,” she says, “but it’s a lot more child-friendly… lots of love hearts and cheerful things.” The design reflects the warmth and positivity that families encounter when they pass through the hospital.

For street artist Bubba 2000, the process has been deliberately playful and intuitive. Much of his work evolves as he responds to the surface in front of him rather than following a plan. “You’re feeding the inner child,” he says. “You’re trying to keep that inner child going.” His sculpture also incorporates hidden details designed to reward closer inspection, turning the finished piece into something of a visual treasure hunt.

Lisa O’Hara has taken inspiration from Sheffield’s sporting heritage, producing a design themed around snooker – a nod to the city’s global reputation as the home of the World Championship. Her initial proposal leaned heavily into psychedelic music imagery before evolving into something more focused on the game itself. “I did an application and it was quite busy and psychedelic,” she explains. “Then they said: could you focus it more towards snooker?” The final design retains her colourful, energetic style while celebrating one of the city’s most recognisable exports.

For many of the artists involved, the shared workshop space has been an unexpected highlight. Creatives are often used to working alone, so the opportunity to create alongside others – even briefly – has brought a new dynamic to the process. McKee notes that seeing how others approach their work can be inspiring: “You can be on your own little island at times, so it’s interesting and reassuring that you can see fellow artists and see how they approach things.”

For Bubba 2000, the atmosphere even echoes his art school days. “It’s like being back at Norton College in the 90s,” he laughs, pointing to the sociable environment that has developed among the artists. “Everyone’s super supportive of everyone else.”

That sense of collaboration is something Holly believes will resonate with the public once the trail launches. The workshop itself has already become a small attraction, with curious passersby stopping to peer through the windows as the sculptures gradually take shape.

“It’s really vibrant and colourful,” she

PUBLIC ART IS FOR EVERYONE… THAT’S REALLY IMPORTANT.”

says. “The artists are always smiling and chatting – it’s just really lovely seeing it come to life.”

If the earlier trails are anything to go by, the finished sculptures will quickly become part of South Yorkshire’s landscape – appearing in family photos, social feeds and weekend itineraries as people set out with trail maps in hand.

For McKee, that sense of discovery is at the heart of the project’s appeal. “To be able to create a trail of these beautifully decorated animals and families can go around discovering them together… each one’s a new experience,” he says. “It’s something that’s a little out of the ordinary and perfect for summer holidays.”

Bubba believes those moments can leave a lasting impression, particularly for younger visitors encountering art outside a gallery setting. “It’s hopefully something that will stick with them,” he says. “They’ll remember going out trying to find them all. Public art is for everyone, no snobbery involved. That’s really important.”

For more information, head to prideofyorkshire.org.

DATES FOR THE DIARY

7 May

Public preview event bringing all sculptures together for the first time.

7 June

Sculptures installed across South Yorkshire.

12 June

Official Pride of Yorkshire launch and press day.

June – September

13-week sculpture trail across Sheffield, Barnsley, Rotherham and Doncaster.

Early October

Farewell event at Meadowhall.

Mid October

Charity auction

DEATH ON THE NILE @LYCEUM THEATRE

There’s a reason that, almost a century since they were first written, many of Agatha Christie’s books continue to be brought back to life on stage and in star-studded film franchises. Combine a reassuring ‘cosy crime’ structure –murder occurs, twists are revealed, the truth slowly emerges, order is restored – with nostalgic period settings and immersive environments, and the appeal becomes clear. Then there is the matter of a fastidious but undeniably charming little Belgian man: one Hercule Poirot.

Mark Hadfield plays the famed detective with the requisite charisma and stage presence, plus a dash of cheekiness thrown in. This often comes to the fore in scenes with his old chum Colonel Race, played in jocular fashion by Bob Barrett, and right from the opening scene where Poirot previews his eventful trip down the Nile on a mist-laden stage, it’s clear that the audience is in good hands.

However, this is not an entirely faithful homage to the original. Writer Ken Ludwig trims a few characters –presumably to keep the narrative tight – while introducing two new additions: a highly strung museum curator with an axe to grind and a fading actor with

equal reason to feel slighted.

When the cast assemble on the luxury Nile steamer – impressively designed over two levels – drama is very much guaranteed from the off. Wealthy heiress Linnet (Libby Alexandra-Cooper) and husband Simon Doyle (Nye Occomore) are on honeymoon, but the latter’s scorned ex-lover, Jacqueline – a brilliantly unstable performance by Esme Hough – has seemingly tracked them across the globe to exact her revenge.

What follows is about an hour and a half of entertaining, occasionally hammy performances – and that’s no bad thing. In fact, it feels entirely appropriate for a 1930s, character-driven crime mystery where personalities are large, the action is dramatic and every pointed glance might hide something sinister.

Director Lucy Bailey keeps the production moving at a fair pace while still giving each member of the ensemble their moment to shine. There are also some genuinely effective touches of staging, particularly during the murder itself, where shadowy outlines of the suspects appear in the slatted backdrop behind the victim as the deed unfolds. It’s a striking visual device that ramps up the tension nicely, alongside a few jumpy moments that keep the audience from becoming too comfortable.

And then, of course, comes the pièce de résistance of any Poirot tale: the denouement. Here, the assembled suspects are duly gathered to unravel the mystery in meticulous fashion, aided by clever reconstructions and small visual callbacks to help illustrate moments the audience may have overlooked along the way.

It may not reinvent the wheel or attempt any radical reinterpretation of the classic story, but sometimes you simply don’t need to. Instead, this is two hours of solid, thoroughly enjoyable theatre – a chance to sit back, relax and let an engaging plot, a colourful cast of suspects and one very precise Belgian detective do exactly what they do best.

4/5 JF

THE SNOWDROP PROJECT

In a Sheffield print studio, survivors of modern slavery are reclaiming voice, confidence and community – using art not just to express what’s been lost, but to shape what comes next.

Words: Shakthi Thyagarajan

As the leaves fade to autumnal golds, oranges and reds, other hues dapple the crisp white sheets laid out across Carousel Print Studio’s workspaces. A group of women sit around a table, rolling ink across carved surfaces and pressing them carefully onto paper, creating abstract scenes of overlapping leaves, flowers, a corner of a doily, even a smiley face.

Just as nature slows in the colder months to rest and rebuild, these women are finding space to recover and reshape their lives after exploitation.

When you hear modern slavery, you might think of a fleeting headline, a snippet of political debate or a distant GCSE lesson. But behind the numbers –nearly 50 million people worldwide, more than 70% of them women and girls – are real lives.

Exploitation doesn’t only take a physical or economic toll. It leaves deep psychological scars. Recovery, then, is not just about practical support.

Based in Sheffield, the Snowdrop Project has supported survivors since 2012 through trauma-informed counselling, casework and specialist therapies, helping people rebuild confidence and regain control over their futures. At the heart of its work is a belief that healing must go beyond the surface. Through expressive therapies – art, language, music and movement – survivors reconnect with emotional parts of themselves in spaces grounded in trust and empathy.

It was through this approach that a collaboration with Carousel Print Studio emerged, supported by funding from Arts Council England and the Garfield Weston Foundation.

Over 16 weeks, the group returned to the studio, building not only technical skills but a quiet sense of confidence. Among them was Aamna*, who had last explored art more than six years earlier while living in a safe house after escaping exploitation – where her work had also been exhibited. Returning to it now, she puts it simply: “I felt good about practising art again.”

Throughout the sessions, she experimented with colour and natural forms, pressing ink into leaves and branches. “I learned to create designs with leaves and branches, playing with colours, which I really enjoyed,” she says. But what stayed with her most wasn’t just the

process – it was how she felt.

“I loved everything. I did not worry about what people will think about my artwork.”

Around the table, something else was taking shape. “During lessons it built a sense of family amongst peers and mentors,” she says. “I was creating artwork with my family.”

For Aamna, whose life had been marked by instability, that sense of belonging mattered deeply. “All my life I have moved to different places. I never experienced comfort or stability.”

In true artist fashion, past experience fed into her work.

The final design captures a deeply personal milestone: receiving keys to her first home. A hand reaches forward to open a window – her window – a simple act that signalled the return of agency. In a parallel image, she looks back through

that same window, reflecting on what it means to finally have a space of her own.

When the work was exhibited at the end of the workshop series, that personal moment became something shared.

“During the exhibition I felt empowered,” she says. “Having everyone come to see my artwork… I loved showing everyone my artwork.” She led visitors through the space herself, guiding them to her work with quiet pride.

Reflecting on the experience, she says: “Alhamdulillah, I learnt something new. I felt inspired… and more confident.”

Since the exhibition last December, Aamna’s artwork has travelled beyond the gallery. As part of Snowdrop’s Empower Her campaign – highlighting the gendered nature of modern slavery while celebrating the strength of survivors – her design was turned into a bookmark and shared at a panel and film screening in Sheffield. In the hands of strangers, her work became a point of connection and solidarity.

Now, as early spring brings fresh green back to Sheffield, Aamna is entering a new season of growth. She continues to attend weekly community and counselling sessions at Snowdrop’s red-brick offices. She opens her window when she chooses, looking out onto a city of sanctuary, drawing inspiration for whatever comes next.

*Name changed to protect identity To see how you can support the Snowdrop Project, head to snowdropproject.co.uk.

Where countryside romance meets contemporary elegance, The Maynard is a place to say “we do” in unforgettable style. Surrounded by Peak District views and refined charm, your wedding day is crafted to feel personal, seamless and truly memorable.

From your first step into the Chatsworth Suite to your final dance, The Maynard is designed for moments that feel effortlessly special.

Celebrate with up to 130 guests for your wedding breakfast and 180 in the evening, enjoy Peak District views and end your night in the Sir Don Bradman Suite.

With 18 further bedrooms for your guests, your wedding becomes a relaxed and joyful stay as well as a beautiful day.

Explore The Maynard at our free wedding fayres and showcases. Meet local suppliers, tour the Chatsworth Suite and gather inspiration for your perfect day.

Showcase - Sun 14th June | 12pm – 3pm

Fayre - Sun 27th September | 5.30pm – 8pm

Showcase - Tue 29th September | 12pm – 3pm

Showcase - Sun 29th November | 12pm – 3pm

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REVIEW

THE LADIES FOOTBALL CLUB @ CRUCIBLE THEATRE

Sheffield’s footballing history has long been a source of pride for its residents – and increasingly, as the city finds its voice on the national stage, it’s something that crops up time and again in frustrated conversations asking: ‘why don’t we make more of this?’. The sheer travesty that the National Football Museum is based in Manchester rather than, say, the place that actually founded the rules is something even United and Wednesdayites can agree on enthusiastically – and that’s a rare thing indeed.

So while we may not have the shiny landmarks befitting our role in creating modern football, we do have a wonderful theatre company bringing inspiring stories to the stage that are bound to resonate with local audiences. As such, you can imagine the buzz in the Crucible foyer on opening night for The Ladies Football Club – because if there’s anything guaranteed to whet a Sheffielder’s appetite, it’s a combination of the beautiful game and a true underdog story.

Stefano Massini’s dramatic verse play is inspired by the surge in women’s teams that formed while many men were away fighting in the First World War. Women working in factories began organising football matches, some of which drew huge crowds – most notably Dick, Kerr Ladies F.C., a Preston-based team who at times played in front of more than 50,000 spectators. In Tim Firth’s adaptation, the story moves to a munitions factory in Sheffield, where a group of workers – inspired by a breaktime kickabout – embark on an empowering journey that allows them to escape the bleak backdrop of war, and one that will eventually take them to the hallowed turf of Stamford Bridge.

Best friends Violet (Cara Theobold) – who explains that her dad wanted a centre-half for Wednesday while her mum was hoping for a nun – and Rosalyn (Jessica Baglow) – who boasts

a latent talent thanks to her brothers always sticking her in goal – emerge as the ringleaders of a ragtag team of 11 who are nothing if not diverse in personality. From firebrand socialist Hayley (Leah Brotherhead) to the mysteriously withdrawn Melanie (Clair Norris), booksmart newsagent’s daughter Olivia (Bettrys Jones) to the boisterous and consistently hilarious Justine (Anne Odeke), there’s plenty of clashing on the factory floor in the early scenes as they break up the monotony and vent frustrations with jibes and putdowns.

Completing the starting line-up are the initially timid, almost ghostlike Cheryl (Krupa Pattani), who rises to become team captain; the rebellious Berenice (Lesley Hart), fighting back against the tyranny of her devout priest father; the Joan of Arc-obsessed Brianna (Ellie Leach); the strictly tell-it-how-it-is Abigail (Charley Webb); and the often misunderstood and underappreciated Penelope (Chanel Waddock). The team’s exploits on the pitch eventually bring them all together as one, sticking two fingers to the factory owner upstairs whose attempts to ridicule them fall flat – that is, until the men return from war to reclaim “their” factories and pitches. Then, just for good measure, the FA

decides to ban women’s matches from all football grounds, citing spurious medical evidence and even threatening to fine clubs who go against this rule.

Taking place over two halves of 45 minutes (plus stoppages), it’s difficult to delve deeply into every character’s backstory. Instead, we’re given glimpses of the lives waiting beyond the factory gates – small flashes of home, family and the pressures that shape them. The play’s powerful closing sequence then fast-forwards through the women’s lives after the war, eventually bringing the story right up to the present day with the appearance of a young Lioness.

It’s a reminder that while women’s football has come on hugely in recent years, progress has never been straightforward. The trailblazers who first pulled on their boots and stepped onto the pitch did so in defiance of deeply ingrained gender norms – and their achievements were quickly curtailed when it suited patriarchal structures. The Ladies Football Club honours those pioneers while quietly asking a sobering question: if these gains were once erased so easily, how vigilant must we stay to protect them today?

OPERATION

MINCEMEAT

LYCEUM // 13-25 APR // £15-£76.50

Operation Mincemeat is the Olivier and Tony Award-winning musical taking the West End and Broadway by storm. Set in 1943, it tells the outrageous true story of a stolen corpse, a fake love letter and a daring mission to outwit Hitler. Fast-paced, sharp and darkly funny, it’s history told with bite.

sheffieldtheatres.co.uk

SHEFFIELD CERAMICS FESTIVAL

KELHAM ISLAND MUSEUM // 18-19 APRIL // TICKETS OTD

Sheffield Ceramics Festival returns to Kelham for its 12th edition. The hugely popular events brings together around 60 leading ceramic artists, potters and sculptors showcasing their work. It’s your chance to browse and shop for unique wares using a wide variety of styles and techniques, made in South Yorkshire and beyond. Online tickets go live this month from Eventbrite.

sheffieldceramicsfestival.com

BARNUM

LYCEUM // 28 APR-2 MAY // £15£71.50

Lee Mead stars as P.T. Barnum in this dazzling revival of the classic musical. Following his rise to fame on Any Dream Will Do, Mead leads a spectacular production packed with acrobats, actor-musicians and circus thrills. With unforgettable songs and big top energy, Barnum brings the legendary showman’s larger-than-life story back to the stage. sheffieldtheatres.co.uk

TAYLOR WESSING PHOTO PORTRAIT PRIZE 25

MILLENNIUM GALLERY // UNTIL 10 MAY 2026 // DONATIONS ACCEPTED

Coming direct from the National Portrait Gallery, the Taylor Wessing Photo Portrait Prize lands in Sheffield with more than 50 striking works from early career photographers, gifted amateurs and leading professionals. Showcasing the very best in contemporary portraiture, the exhibition captures tender moments and bold formal studies alike – offering a powerful look at how we see ourselves and one another.

sheffieldmuseums.org.uk

LIVING @ THE PLAYHOUSE

Sheffield playwright Leo Butler’s ambitious drama Living charts five decades of personal and political change in a sweeping state-of-the-nation tale.

In 1969, Kathy and Brian move into their home on Burngreave Road. A sparse set introduces their living room, and we rarely leave it as the years tick by. Domestic life unfolds as it so often does – children, fallouts, jobs, sex, illness and death – interwoven with national events heard on the wireless or seen on their television. From the moon landings to Orgreave, Vietnam to 9/11, the story stretches right through to the Covid pandemic and the war in Ukraine, all discussed – often in fiery fashion – by those in the room.

Kathy is the archetypal family anchor – a selfless, hardworking matriarch who carries on with seemingly inexhaustible resilience in the face of whatever life throws at her. As it turns out, that proves to be quite a lot. Liz White delivers a remarkable performance, ageing convincingly through the years and

continuing efforts to provide succour to her family, often with little appreciation coming the other way.

While Kathy’s values appear to remain the same throughout, Brian (Ken Doughty) goes from left-wing nonconformist to suited and booted beneficiary of the Thatcher yuppie era, even as miners and steelworkers in Sheffield faced persecution from the same government. What Living captures incredibly well is how individuals are shaped over time by a mix of cultural influences, political change and the simple luck – or misfortune – of the hand they’re dealt. It’s a particularly resonant reminder in today’s increasingly polarised climate.

Look no further than the couple’s children, Mike (Samuel Creasey) and Rebecca (Abby Vicky-Russell). Despite growing up in the same household, their

lives diverge along sharply different paths, leading them to radically opposing worldviews. It is a testament to the writing and quality of performance that proceedings never feel claustrophobic or dull. Instead, the audience runs the emotional gauntlet with the cast members, from roars of laughter at quips in a frequently funny script to gasps of horror when shown how cruelly loved ones can treat each other.

It’s a true tour de force of dramatic theatre. Despite its lengthy three-hour runtime, Living remains engrossing throughout, ultimately reminding us that while the outside world may frequently intrude, the things we can control are the relationships closest to us – and the stories we shape during our own brief sojourns through the decades.

4/5 JF

ARTIST PROFILE

EMMA BARNSLEY

WILD AT ART

Emma Barnsley is on a roll. After picking up street art at Lick of Paint last September, she’s already won Sheffield’s Best Street Art 2025 with ‘Spring into Life’. Now Lysia Wright chats to the artist about painting lions for the Pride of Yorkshire trail and championing wildlife in her work.

You described Spring into Life as your first proper wall mural and your first time using mostly spray paint – would you describe yourself as new to street art? What’s been your artistic journey?

I’ve been branching out into being a muralist. I wanted to use spray paint because it’s a much faster medium on walls. 2025 has been my real year of using it. I painted loads of Openreach boxes in my neighbourhood and started using spray paint for backgrounds to get a feel for it.

My first public art project was Birds of Sheffield – similar to the lions I’m doing now for Pride of Yorkshire. That was in 2021. I painted it in my garden, but it was out for the public to see, and that got me interested in working in public spaces.

Your pieces mostly feature wildlife –why is that? What draws you to it?

The beauty of nature is inspiring. I love foxes, native wildlife, but also more exotic animals. It’s a great excuse to use lots of colour – nature is full of it.

I think we’re getting a bit out of touch with nature. People are always on their

phones. I want to show wildlife in public spaces in a way that stops you in your tracks. We’re lucky to live somewhere like Sheffield, where nature is right on our doorstep.

What inspired Spring into Life?

I was working with Growing Greenhill, who focus on local wildlife. I’d already painted foxes, badgers, swans and squirrels on boxes, so I wanted to try something new, They were keen for it to be British wildlife, so I chose a bird, a bee and a butterfly, and built a colour palette around them. It’s in a spot where you

wouldn’t expect it – at the bottom of some flats – so it really brightens the area.

How’s the Pride of Yorkshire project going?

It’s going really well. I started quickly – I do paint fast – but then a bit of selfdoubt crept in, so I’ve slowed down. I’ve nearly finished the lion and just have the lioness left.

It’s been amazing working alongside other artists. I usually work alone, so it’s nice to feel part of that community. We all give each other pep talks – sometimes you just need someone to say that’s really good.

What’s next?

I’d love to do a really large mural. The one I’ve done so far wasn’t huge, so I want to go bigger – something on the side of a building.

I’ll need training on the lifts, but I’d love to do one this year. I’d like to learn from Peachzz and pick up some tips on tackling a massive mural. @emmabarnsley.art