Exposed Magazine March 2026

PROUDLY SUPPORTING

SHAFF CELEBRATES

2O YEARS OF BIG SCREEN ADVENTURE IN SHEFFIELD

EXPOSED AWARDS 2026 // SARA PRINSLOO // PROPER SKINT // EMILY PORTMAN // AMY MASON // LEO BUTLER

Treat your Mum! MOTHER’S DAY @ Cubana

Sunday 15th March

WE KNOW HOW IMPORTANT MUMS

Say “Thank you” to your Mum!

ARE!

Cubana is the perfect place to sit back and relax on their special day. Our full tapas menu is available for Mother’s Day with a selection of over 40 mouth-watering dishes. Plus our resident Magician and amazing Live Music will keep Mum entertained!

Close up Table Magic

>3pm-7pm: MM MAGIC

Prepare to be amazed by our resident magician Mark Maycock (MM MAGIC)

Happy Offers for Mother’s Day

Our Happy Tapas & H appy D rinks offers are availabl e until 6pm

Live Music

>4:30pm-6:30pm:

KATIE BOSWORTH

Katie performs a wide variety of music from RnB, Soul, Pop and many well-known classics

HAPPY TAPAS

Choose any 2 Tapas dishes for £12.95 or £5.00 off any of our set menus

>6:30pm-8:30pm:

SAMANTHA JADE

Sassy vocals and smooth saxophone with a jazzy facelift

HAPPY DRINKS

Choose from over 20 cocktails for only £7.00 each, plus discounted wines and beers

Improvers SOCIAL DANCING from 5pm

FREE Swing Dance class from 8.30pm

Live music from 9pm

THURSDAY

5

THURSDAY

12

THURSDAY

19

THURSDAY

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!”

JENNY SMITH

Jenny is a professional and versatile vocalist, and though rooted in jazz and popular music she effortlessly moves between many genres and styles. Her Band features some of the North’s finest jazz musicians. Playing jazz standards, Jenny presents a varied set of hard swing & Latin American influenced jazz.

NIAMH KAVANAGH & THE HIGH FIVES

Niamh Kavanagh & the High Fives are a gathering of sinners who know their only path to salvation is to perform music that will make the devil weep with joy. Singing at the crossroads of swinging jazz and blues, get ready to groove and experience the exhilarating atmosphere they create. If you want redemption, prepare to set the dance floor on fire, and let their infectious rhythm cleanse your soul.

MONTUNO JAZZ

Sheffield’s premier jazz, funk and soul collective draw on their massive core influences to bring you the absolute best in Swing, Jump Jive, Blues and Mambo. With a pedigree that spans Tramlines, Glastonbury and the Craig Charles Funk & Soul Show, expect favourites: from Basie, Ellington and Tito Puente to Big Joe Turner, Ray Charles & Ella Fitzgerald. Guaranteed to get The Big Swing dancing and the whole joint rocking!

SHEFFIELD UNIVERSITY BIG BAND

The University’s exciting ensemble organised and led entirely by current SU students. They play a variety of great music to the highest standard in a fun, and inclusive environment. A serious amount of brass.

BOOKNOWFOR MOTHER’SDAY

WHEN DINING IN A PARTY OF 4 OR MORE ON MOTHER’S DAY.

12. ADVENTURE TIME

Sheffield Adventure Film Festival (ShAFF) celebrates 20 years this month, bringing big-screen adventure back to the Showroom. Expect adrenaline-fuelled films, social events and a few surprises as the city’s much-loved celebration of outdoors culture reflects on its roots and looks ahead to the future.

16. STARS IN THE MAKING

From near-empty tables to a Michelin star, JÖRO’s rise has been anything but smooth. Luke French and Stacey Sherwood-French talk risk, resilience and why the future’s bright for the foodie scene in South Yorkshire.

34. SPELLING IT OUT

When AI-generated songs surfaced using her voice, Emily Portman felt the chill. With new album The Dominion of Spells on the way, she heads to The Greystones determined to show that the real thing still carries the power.

66. TRASH TALK

Sara Prinsloo is fighting back. As International Women’s Day approaches, the Sheffield-based artist opens up about class, anger and the assumptions placed on creative women – and why she’s turning every label thrown at her into fuel.

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)

GI’ US A HAND PLZ

Lowri Rennick, Max Hayward, Heather Paterson

AWARDS SEASON

Sod the Oscars – this is the one that matters. The Exposed Awards are back for 2026 with brand new categories, more local legends and absolutely none of that red carpet nonsense.

WHEN IS IT?

You can expect the usual big night craic 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!).

IN A NUTSHELL...

What? Exposed Awards 2026

When? 14 May

Where? Peddler Warehouse

'Ow Much? £50 seated // £25 standing*

Contact: nick@exposedmagazine. co.uk // 0114 2757709

*Tickets subject to VAT

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 floorfillers including a superb Arctic Monkeys cover. It’s a tough one to top, but we’ve pulled out all the stops once again and will have a bona fide Steel City legend taking to the mic at end of the ceremony.

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!

THE CATEGORIES

BEST NEW CAFE

NEW THE SHEFFIELD ARTS AND CULTURE AWARD

NEW THE SHEFFIELD WELLBEING AWARD

BEST INDEPENDENT RETAILER

THE HENDERSON'S RELISH MADE IN SHEFFIELD AWARD

BEST VEGAN OR VEGETARIAN RESTAURANT

BEST CAFE

BEST INDEPENDENT FASHION RETAILER

BEST NEW RESTAURANT

BEST NEW BAR

BEST TAKEAWAY

BEST CLUB

TRAMLINES AWARD FOR BEST LOCAL EVENT

THE SUSTAINABLE SHEFFIELD AWARD

BEST UNSIGNED BAND OR MUSICIAN

BEST TRADITIONAL PUB

BEST LOCAL BREWERY

BEST MICRO PUB

BEST LIVE VENUE

NEW THE SOCIAL HUB AWARD

BEST RESTAURANT

BEST BAR

A *BIG* SHOUTOUT

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

NEW COMMUNITY-LED MUSIC FESTIVAL TO LAUNCH

Sheffield’s DIY spirit has long thrived in its own spaces –from warehouse parties and community venues to the collectives and crews building things from scratch. This summer, a new festival is bringing that ethos into focus, with Higher Fields Festival set to make its debut in S2 on Saturday 27 June.

The grassroots, not-for-profit event will bring together a mix of DIY musicians, artists, collectives and local crews for a multi-stage outdoor programme running from midday – 9pm, followed by an official afterparty at Steamworks.

Built around the collaborative values that have long defined the city’s underground culture, Higher Fields aims to offer a platform for both emerging and established independent artists while ensuring everyone involved is properly supported. All proceeds from the event will be split evenly between performers and crew, reinforcing its commitment to

fairness and sustainability at grassroots level.

The festival is rooted in the communities that make Sheffield’s creative ecosystem tick – from promoters and independent labels to collectives and artists forging their own paths outside of traditional industry structures.

“Higher Fields is about celebrating the people who make music and art happen outside of the mainstream –the crews, the collectives, the

artists doing it themselves and their communities,” say the organisers. “This festival is built by the community, for the community.”

Several key players from the city’s DIY network are already on board as stage partners, including Gut Level, Hatch, Groundwork and Grub Records. A dedicated Community Stage, supported by the Sarah Nulty Foundation, will spotlight the next wave of local talent, with further collaborators and lineup

YAK ON TRACK

Lucy & Yak has confirmed the opening date for its hotly anticipated Sheffield store – and it’s not far off.

The socially and environmentally conscious lifestyle brand will open its fifteenth UK shop in the Heart of the City on Saturday 21 March 2026. Inside, shoppers can browse the latest drops alongside Lucy & Yak’s core collections, including newly launched brand L&Y. The line offers a softer, more tranquil take on the label’s playful silhouettes, with calming tones and prints designed for everyday wear.

True to form, the space pairs Lucy & Yak’s trademark pink palette with flashes of yellow for a bright, welcoming feel. A bespoke mural by local artist Mary Wortham is currently in progress, reinforcing the brand’s commitment to supporting creatives. The shop has also been designed with accessibility front of

mind, featuring a street-level entrance and thoughtfully planned changing rooms.

Sheffield will also become the brand’s flagship destination for circularity. The new Re:Yak Hub – an in-store studio space – will host mending, repairs and customisation sessions, alongside community workshops and events aimed at keeping clothes in circulation for longer.

Store manager Liz Green said: “We’re so excited to finally open the doors to our new Sheffield store – we appreciate everyone’s patience as we work on making it perfect. Sheffield is our first shop to have its own Re:Yak Hub – a space where our community can drop in for customisation, mending and repairing (to name a few). We can’t wait to meet you all in person!”

@lucyandyaksheffield

details expected in the coming weeks.

Higher Fields Festival will operate on a pay-what-you-feel basis, with tickets starting from £4, in an effort to keep the event accessible while supporting those behind it.

Higher Fields Festival takes place on Saturday 27 June 2026 in Sheffield, S2, from midday9pm, followed by an afterparty at Steamworks. Tickets are available now via Resident Advisor.

ELECTRIC STUDIOS ANNOUNCES FIRST ACTS

Toddla T, St Etienne, The Lemonheads, and Wilkinson among the first bookings announced for Sheffield’s new Electric Studios.

The programme includes headline shows from US alt-rock band The Lemonheads, Welsh rap collective Goldie Lookin Chain, indieelectronic outfit Saint Etienne and rising indie band Overpass. Also confirmed is Stop Making Sense Live, a touring show recreating the famed Talking Heads concert film, set to take place for one night in May.

On the club side, the Electric Loves series launches on 13 March with Worried About Henry, featuring drum and bass heavyweights Wilkinson, Camo & Krooked, Culture Shock and Harriet Jaxxon. The following night sees Gentleman’s

Dub Club headline alongside Mungo’s Hi Fi and Aziza Jaye. Later in the month, Toddla T brings his Steeze Factory party to the venue.

The launch comes following a controversial period regarding Electric Group’s takeover of the former Leadmill building. That transition has proved controversial within the city’s music community, with strong feelings on all sides about legacy, ownership issues and what comes next.

Alongside live and club events, Electric Studios says it will introduce free studio access for young people and develop a visual arts programme showcasing Sheffield artists. Further details are expected in the coming weeks.

electricstudios.co.uk

LEADMILL LAUNCHES CROWDFUNDER

Following The Leadmill’s acrimonious departure from its longtime home on Leadmill Road, the iconic music venue last month announced the launch of a public crowdfunding campaign to secure a new permanent space in the city.

After 45 years at its original site, members of the team plan to reopen at a new location, hosting live music, comedy, club nights, cinema and talks.

A spokesperson said of the move: “This isn’t about starting over – it’s about continuing something that Sheffield helped build. The address may change, but the purpose stays the same: bringing people together through culture, music and creativity.”

The campaign, titled #TheNewLeadmill – Powered by the People, is seeking £30k to help cover the deposit, fitout costs and long-term lease on a new premises, with organisers aiming to secure a permanent home and continue operating independent

More specifically, they say funds raised will be ringfenced for securing a new space, fitting out performance areas and bars, installing technical equipment, improving accessibility and reinstalling heritage items including its neon sign.

GREEN LIGHT FOR FAMOUS VENUE

Following the recent announcement of its closure, independent venue The Green Room on Devonshire Street is set to relaunch in June 2026 as The WaterBear Green Room.

The move secures the venue’s future following the retirement of its long-standing operator, who has overseen the space since the early 1990s.

The WaterBear Green Room will operate as a public live music venue in the evenings, while also serving as a daytime space for students of Waterbear Music College to rehearse, collaborate and develop their work.

Patrick Flynn, the outgoing Green Room owner, told Exposed: “It doesn’t feel like its been nearly 23 years since we opened the Green Room. Time flies when you’re having fun. I’ll take away lots of amazing memories with me and look forward to seeing what WaterBear do with the venue. We have always championed grassroots music over the years and it’s very important that it continues. It couldn’t be in safer hands.”

The building has played several roles in Sheffield’s cultural life over the years – first as Rickshaw, the city’s first Chinese restaurant, then Mr. Kite’s café bar, followed by Casablanca, and for the past 22 years, The Green Room itself.

Eve Massaad, Chief Marketing Officer at WaterBear, said: “Sheffield has always been a city that backs its own – and The Green Room is part of that story. We’re proud to be preserving what people already love about this space, while reimagining it as The WaterBear Green Room: a place that supports grassroots artists, welcomes the public, and gives emerging talent a stage to develop. At a time when venues like this are under pressure across the UK, securing its future feels meaningful for the city and the next generation of musicians.”

WaterBear opened its Sheffield campus in 2023 and has been developing partnerships across the city’s music network, alongside mentoring and performance opportunities for students. Its Brighton base includes two public venues operating as live stages and social spaces, a model that will now extend to the Devonshire Street site.

Further details about launch events and the venue’s 2026 programme will be announced in the coming months.

@waterbear_the_college_of_music

Sheffield Adventure Film Festival (ShAFF) turns 20 with its most ambitious edition yet, bringing a weekend of big screen adventure back to the heart of the city.

From Friday 20 to Sunday 22 March, more than a hundred films, conversations and free events will take over the Showroom Cinema, celebrating stories of endurance, sustainability and connection with the natural world. Two decades on from its first outing, festival founder Matt Heason tells us how ShAFF remains rooted in the place that shaped it.

“ShAFF has always been about telling the stories that bring us together through the outdoors, through challenge and through people,” says Matt. “It is about grit and beauty, but also humour, activism and community. That has always been Sheffield’s story too.”

A DOUBLE CELEBRATION

Heason founded the festival in 2006, building it into one of the UK’s most respected adventure film events. This year marks another milestone for him with the publication of his second book, Wild Rock, a guide to 100 easy scrambles across the UK. Like ShAFF, the book is about access – encouraging more people to explore wild spaces with confidence. It will be published in time for the festival, giving audiences the chance to celebrate both anniversaries in one go.

STORIES FOR THE MOMENT

The film programme speaks directly to the moment we are living in. From record-breaking feats to quiet acts of resilience, this year’s selection reflects a changing world and the communities pushing for a more inclusive outdoors.

Highlights include The Finisher, following Jasmin Paris through the

brutal Barkley Marathons, and IAN, a portrait of ageing and movement that is as funny as it is uplifting.

In a year when Olympic athletes take centre stage globally, the festival offers its own reflection on performance, purpose and the cost of elite ambition. Films such as Janja Garnbret: Big Five, The Track and Annika look beyond the medals to examine the psychological and political pressures behind them. Closer to home, A Trip to Mam Tor delivers snowboarding in the heart of the Peak District, proving that adventure is never far from the outdoor city's doorstep.

FOLLOWING THE WATER

A defining thread running through this year’s programme is water. From wild swims and personal pilgrimage to land defence and Indigenous rights, films including A River Runs Through Them, To the Sea, Undammed and Bad River ask urgent questions about who controls access to the water that sustains us.

These are global stories, but they resonate strongly with local activism around river health and outdoor equity

across South Yorkshire, reinforcing ShAFF’s reputation for programming that connects the international with the intensely local.

Notably, 2026 marks the first time the festival has programmed such a significant number of films featuring adventurers aged 60 and above. From Dear Heart to More Like Paul, these works explore what it means to keep moving as the world – and our bodies – change. A dedicated panel across the weekend will dig deeper into these themes, balancing reflection with celebration.

BEYOND THE FILMS

Away from the big screen, ShAFF spills into public space. Free panels, talks and events will animate Paternoster Row, where a new exhibition of adventure photography will be displayed in the festival gazebos. Live discussions will tackle ageing whilst adventuring, access, climate and community activism, keeping key parts of the programme open and accessible to all.

The event is sponsored by Rab, the Sheffield-based brand known for its commitment to performance, sustainability and repair. Rab will be on site all weekend offering free gear repair workshops and a hands-on session on extending the life of your outdoor kit. They're also sponsoring the final Climbing Works International Festival that same weekend, where spectators can watch elite international, Olympic and amateur climbers in action (tickets on sale 9 March at climbingworks.com).

And of course, no 20th anniversary would be complete without a knees-up. Saturday night will see audiences, guests and the team come together totoast two decades of Sheffield stories on screen at the Showroom, before an afterparty at Sidney & Matilda running til 4am.

So whether you're a seasoned regular or stepping into the adventure for the first time, there's something for everyone to experience at this year's milestone event.

Head to shaff.co.uk to view the listings and book your place.

PESSIMISTS ASSUMED PEOPLE WOULD STAY AT HOME AND WATCH FILMS ON THEIR PHONES. BUT WE’VE SAID THAT GOING TO THE CINEMA – AND FILM FESTIVALS IN PARTICULAR – IS ALL ABOUT COMMUNITY.” MATT HEASON, SHAFF FOUNDER

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

Scan to register your interest

FROM EXHILARATING SHORTS TO THOUGHTFULLY

CRAFTED FEATURE LENGTHS, HERE ARE EXPOSED’S TOP PICKS FROM THIS YEAR’S PACKED PROGRAMME.

THE EDGE OF EXISTENCE

A feature documentary that follows electronics teacher and father of two Cam Cameron, as he attempts to survive for 50 days on the UK’s most remote island, Rockall – one of the most isolated and inhospitable places on Earth.

A TRIP TO MAM TOR

Mam Tor gully is a steep and narrow face in the Peak District which hasn’t held skiable conditions for the last 10 years. On a winter’s morning, against a backdrop of a fiery northern sunrise, a Sheffield snowboarder sets out to have a look…

A LIFE IN TANDEM

In the wake of his incurable cancer diagnosis and the death of his brother, Luke sets off on a tandem bike expedition from Bristol to Beijing, not expecting to live long enough to reach his destination

WEAK LAYERS

A female-driven ski comedy set at Lake Tahoe that follows three passionate and lovably rowdy local women on a quest to win a world famous 72-hour short ski film competition. The film dissects modern ski culture while championing the tight-knit local communities found in ski towns the world throughout.

LIFE AFTER PLASTIC

In the face of broken bones, self-doubt, and the search for her climbing identity, competition climber Molly ThompsonSmith fights her way to the Olympics. Along the way, she shares experiences and insights with fellow climber Caroline Ciavaldini.

SPLIT

follow the physical and mental journeys of best friends Tom and James - both environmentalists, both airline pilots and both inexperienced in the Arctic - as they embark and reflect on a remote splitboard expedition in Greenland.

THE ART OF BEA-ING

Set against the raw beauty of Sheffield’s wild waters, this intimate short film follows Bea, a woman in her forties who discovered she was autistic later in life. After receiving her diagnosis, Bea found solace and strength not in traditional therapy, but in the icy embrace of open water.

THIS JUNGO LIFE

This feature-length takes viewers deep inside the hidden lives of young refugees and asylum seekers from Sudan and South Sudan, living and sleeping rough on the streets of Morocco; forced to flee violence and instability in Libya, and unable to return home due to ongoing war and conflict.

CHAMPIONS OF THE GOLDEN VALLEY

In the remote mountain villages of Bamyan, Afghanistan, a newfound passion for skiing attracts young athletes from rival ethnic groups to the slopes. With minimal gear and makeshift wooden skis, the determined ski coach Alishah Farhang organizes a thrilling ski race that fosters camaraderie, joy, and triumph.

ALPHA

A 30-minute documentary following Ed Jackson, Niall McCann and Darren Edwards – three men with life-changing spinal cord injuries – as they attempt to cross Vatnajökull, the largest ice cap in Western Europe, without guides, support or safety crews.

Following last month’s Michelin triumph, Phil Turner speaks to JÖRO co-owners Luke French and Stacey Sherwood-French about bringing Sheffield its first star in ten years and proving the doubters wrong.

There was a point when JÖRO felt like a mistake.

The restaurant that last month was deservedly awarded South Yorkshire’s first Michelin star began with empty tables, blunt criticism from sceptical diners and two owners wondering whether they had gambled everything for nothing.

“We were dead,” Luke French recalls. “Some weeks I could count the guests on two hands.”

Those early months were defined by risk and resilience. Stacey SherwoodFrench didn’t take a wage for two years. Luke went without a salary for one. They had left the relative security of a successful business to create something different in Sheffield: modern, ingredient-led, globally influenced cooking in a city that, at the time, leaned heavily towards pubs and price-conscious dining.

“People told us it wouldn’t work,” Stacey says. “We had guests come in, look at the menu and tell us straight it was too much for Sheffield. But we knew we had more to give.”

For Luke, that belief had formed decades earlier. As a teenager he read Humble Pie by Gordon Ramsay and quietly set himself a goal: one day he would become a Michelin-starred chef. At the time, that ambition felt distant and abstract. When JÖRO first opened, the aim was not stars or national headlines. It was creative freedom. The chance to build something personal.

The concept drew from the couple’s travels, their experiences eating around the world, and a desire to bring that energy back to Sheffield. It was bold, stripped-back and different. Too different, some thought.

The turning point came in the form of a review by food critic Tom Parker Bowles. Before that, bookings were managed on pen and paper. After it, the phone would not stop ringing. Industry figures started visiting. Word spread beyond the city. What had felt precarious suddenly felt possible.

Momentum gathered steadily. Over the years JÖRO appeared on countless best restaurant lists (they’re currently number 43 in the National Restaurant Awards Top 100) and built a loyal following. Yet the physical constraints of the original site began to weigh heavily.

“In the old space, the walls were closing in,” Luke says. “Physically and mentally. If the kitchen’s cluttered, my head’s cluttered. Creativity needs space.”

The move to their new site marked a statement of intent. Designed entirely by Luke and Stacey, the restaurant is expansive, calm and adaptable. The kitchen itself is modular, built so it can

evolve as the menu evolves. It is not just a new backdrop, but a structure designed for growth.

When the Michelin ceremony arrived, confidence was tempered with realism. “You never know,” Stacey explains. “People get invited and go home with nothing.”

They had seen it happen before. Friends in the industry had endured the heartbreak. Even with encouraging signals – glowing inspections, dish accolades, increasing national attention – nothing is guaranteed.

As the ceremony unfolded, stars were announced one by one. Their name had not yet been called. Then, after a moment of confusion on stage, it appeared on screen.

“I nearly passed out,” Luke admits.

The aftermath was immediate. Website traffic spiked. Booking systems faltered under demand. Messages poured in from peers, guests and long-time supporters who had followed the journey from day one.

What surprised them most was how many people had been quietly rooting for them. “We underestimated how many people were watching,” Stacey says. “People came up to us and said they’d followed the story for years.”

For Sheffield, the achievement carries weight. While neighbouring regions have long boasted starred restaurants, South Yorkshire had been waiting. JÖRO’s win feels collective as much as personal.

“It’s massive for Sheffield,” Stacey says. “We feel that responsibility.”

But celebration exists alongside hard reality. The hospitality industry remains under immense pressure. Rising costs, energy bills and VAT create a landscape where headline revenue does not always

translate into healthy margins.

“Revenue’s the highest it’s ever been,” Luke says. “Profit’s the lowest. We spent £70,000 on electricity last year. Nearly £20,000 of that in two months. It’s brutal.”

Every penny earned has been reinvested. The couple could have chosen to stay in their original, more profitable site. They could have banked stability. Instead, they doubled down.

“That place enabled us to do this,” Stacey says. “We didn’t just take the money and run. We’ve put everything back into building something bigger.”

The star will bring new guests and heightened expectation. It may also bring pressure. Yet the ethos remains unchanged. JÖRO’s service is deliberately warm and unpretentious. Chefs deliver dishes themselves. The atmosphere is Yorkshire-friendly, grounded and human.

The ambition now is not simply to retain the accolade, but to continue evolving. The trajectory, as Luke describes it, is still upward. The kitchen team is strong. The foundations are solid.

JÖRO’s story is not solely about fine dining or industry recognition. It is about resilience in the face of doubt. About reinvention when creativity stalls. About betting on yourself when logic suggests caution.

There was a moment when closure felt like a real possibility. When the dining room was quiet and the future uncertain. A decade later, that same restaurant stands at the forefront of South Yorkshire’s culinary scene, and if the past ten years prove anything, it is this: sometimes the brink of closure is exactly where greatness begins. jororestaurant.co.uk

HEADING OFF THE EATEN

TRACK

JÖRO's well-deserved Michelin star is a win for South Yorkshire – and a reminder that the best dining experiences aren't just found in town centres. Words: Joseph Food

You might say it’s been a long time coming – but last month, JÖRO finally brought home a Michelin star for Sheffield. The city’s first in over a decade.

Frankly, I wasn’t the least bit surprised. I still remember my first visit back in early 2017, not long after they opened on the ground floor of the Krynkl building. I left completely floored by the range and depth of flavours, most of which came from seasonal, locally sourced veg (a single carrot on one dish somehow had me questioning everything I thought I knew about food). Even then, it felt like a matter of when, not if, that star would arrive.

And while there probably aren’t many – if any –Michelin-starred restaurants that began life in a stack of shipping containers, JÖRO’s growth has always felt nailed on. So when the team moved to the beautifully restored Oughtibridge Mill in 2024 –around 6 miles north of the

city centre – it seemed to make perfect sense for the restaurant’s evolution.

Still, not everyone saw it that way. I heard the usual grumbles from some friends – “too far”, “wrong side of the city”, “risky move”. As a proud north Sheffielder, I was particularly keen to rally against that idea – but more than that, I think it missed the bigger picture.

Because if the past few years have shown us anything, it’s that people are more than willing to travel for something special. We’ve seen a quiet but clear shift: for many modern

diners – and indeed, most people seeking out leisure in general – the focus is on unique experiences. They want to slow down, make a day or night of it and potentially discover somewhere new in the process. And in Sheffield, that can often mean heading into the suburbs. Some of the best food in the city is now being served in neighbourhoods you might once have overlooked for date night. Think Orange Bird in Hillsborough, right at the forefront of the area’s culinary regeneration. Bench in leafy Nether Edge, with its

ever-changing small plates and laid-back atmosphere. North Town, well worth the trip up Abbeydale Road for the best pasta in the city (my humble opinion). Or the brilliant No Name tucked away on Crookes High Street. These places aren’t just holding their own – they’re top of the list.

This is probably more a reminder to myself than anyone else – we’re just as guilty as anyone of focusing too much on the city centre in these pages. And fair enough, really. It’s packed with brilliant independents and only getting better. But for Sheffield to really flourish, we need strong, standout destinations across a range of postcodes – not just in town. Different parts of the city each bring something different to the table, giving locals and tourists alike a reason to explore and dig a little deeper. So next time you’re planning a meal to remember, don’t just look to the centre – look outwards.

We discover how IberiCo has become Sheffield’s go-to for midweek wine, weekend catch-ups and tapas done properly...

WORDS:JOSEPH FOOD PHOTOS: MARC BARKER

When Daniel Márquez Pedrosa first opened IberiCo, it wasn’t with plans for a restaurant empire. In fact, it wasn’t even a restaurant.

“I started first on Hickmott Road,” he says, joining Exposed at one of the restaurant's cosy corner tables. “I had a little shop focused on Spanish products and we built up a customer base.”

That was summer 2020. Dan fitted out an empty unit himself, poured in his savings and began importing Spanish produce with help from his dad, who shipped goods over from Spain before post-Brexit rules tightened.

The idea was simple: an eat-in deli with a few tables, somewhere people could sit and enjoy small bites built around quality ingredients. Then Covid restrictions returned. “We had to become a shop again. Everything shut down,” he recalls. “But people couldn’t go out, so they bought food and products to have at home instead. It kept us going.”

The name signals quality – a reference to the black Iberian pig and to the Iberian peninsula itself. “I wanted something that had the ‘co’ at the end as well, like a company.” More than branding, it was about identity: proper Spanish products, done properly.

Brexit continued to complicate imports, making small mixed shipments unworkable. Around the same time, a unit became available in Dyson Place. The landlord owned both properties and offered Dan the chance to move. Initially, he planned to scale up the deli concept.

What changed things was finding a Spanish chef.

“Absolute luckiest person in the world,” he says of meeting Silvia, who remains head chef today. A friend of a friend connected them. “We sat, we chatted, we connected straight away.”

They opened on Friday 13 August 2021, less than two weeks after getting the keys. “It felt like everyone we knew came over,” he says of that first night. “It was crazy.” Post-lockdown Sheffield was ready and raring to go out again.

From the start, IberiCo’s ethos was straightforward: cooking from scratch with good products and challenging what he sees as a poor reputation for

tapas in the UK. Cutting corners –batch-buying frozen products and pre-made sauces – was never an option. “I didn’t want to be like a chain… this wasn’t ever going to be the start of a franchise. If we don’t succeed, it’s not going to be because of quality.”

That commitment shows in small details, like making croquetas by hand each week rather than buying them in. It also shapes how the menu evolves. They don’t overhaul it seasonally. Instead, specials act as a testing ground. “If people go crazy and we run out of it the first night, then we know.”

Above all, it has to feel welcoming. Success isn’t expansion. It’s regulars spreading the word, coming back and feeling right at home when they do.

Dan leaves us while we take our tall chairs at the pintxos bar, designed for casual walk-ins to enjoy a few well-priced dishes (£5–£7 on Pintxos Tuesdays). Two crisp Alhambras land on the counter and we pick through a selection of tapas, brought out fresh and within minutes of ordering.

First up, fresh, warm bread with oil and balsamic – simple, but exactly what you want while you decide where to dive in.

The Jamón Ibérico platter arrived like royalty, lauded on the menu as ‘the king of Spanish charcuterie’. Silky, marbled slices with that deep, nutty sweetness you only get from quality cuts.

Patatas bravas followed – proper homemade crunchy wedges rather than apologetic cubes smothered with alioli

and a smoky brava sauce.

The Galician beef picanha was a standout. Barbecued to perfection, with a blush in the middle and a char that tasted of real flame rather than a grill pan. The asadillo pepper salad cut through the richness with a soft sweetness and a hint of acidity.

Then came the Iberico pork pluma mini burger – a small thing, but packing a punch. The pork was juicy and deeply savoury, lifted by crisp red onion and a sharp caper salad that stopped it from tipping into indulgent overload.

Finally, the gambas rebozadas – two XL Argentinian prawns in crisp panko jackets. Crunchy on the outside, sweet and tender within, they're textbook crowd-pleasers.

Around us, plates are wiped clean with bread, glasses refilled with Rioja and Albariño, and I remark that the atmosphere feels more summer payday weekend than a Tuesday evening in February.

Dan smiles. “We’ve got a lot of people who have been with us from the beginning,” he says. “It’s a real, authentic Spanish atmosphere – it has to be – and I think what defines us is our honesty. It’s open to all and everyone’-s welcome. When someone brings a friend and you prove them right, that’s our job done.”

Web: ibericosheffield.com

Insta: @iberico_sheffield

Visit: 2 Dyson Place S11 8XX

We are a local Sheffield Pilates studio based on the border of S10/S11 on Nethergreen Road. We offer group classes and private sessions in Reformer, Mat and Tower Pilates. We are experienced instructors with over 14 years experience combined and our studio is a welcoming and supportive environment – whether you have never done Pilates before or are an experienced practitioner. Come along and feel the benefits yourself –you’ll leave feeling stronger, healthier and more connected.

Follow us on Instagram@Reformer.Inc or drop us an email at info@reformerinc.com

The Secret’s Out

Hidden above The Old Shoe in Orchard Square, behind a graffiti-marked fire exit and a phone number scrawled on the wall, Not Open; Don’t Come doesn’t exactly scream for attention. And that’s kind of the point.

WORDS: ASHLEY BIRCH

When Mike Pomranz opened the speakeasy-style wine bar last summer, he knew he was taking a gamble. Sheffield isn’t short on great places to drink, but a loft-style wine bar built on irony, curiosity and conversation – accessed by calling ahead – was far from a sure thing.

“I definitely felt like I was taking a risk opening a speakeasy wine bar,” he says. “Either part of that would have been risky on its own.”

The concept leans into the theatre of secrecy, but only just. The door might be hard to find, but the intention isn’t exclusion – it’s intrigue. A playful nod to speakeasy culture that quickly dissolves once you’re inside.

“The whole idea was to be a bit of a joke on the speakeasy concept,” Pomranz explains.

“Then once you’re in, it's like you're at a friend's apartment.”

What people discover when they make the call is something unexpected. Instead of a cramped backroom, the space opens up into a wide, airy loft filled with mismatched seating, kitchen-style service and a steady hum of conversation.

“People always say it’s much larger than they expected,” Pomranz says. “It’s a big, open loft space, and especially on Saturdays when we’re rammed, there’s a really good energy. It feels like an impromptu loft party rather than a quiet wine bar.”

That atmosphere is central to what makes Not Open; Don’t Come work. For all its tonguein-cheek presentation, the experience itself is disarmingly welcoming. There’s no

pressure to know what you’re talking about, no expectation of expertise – just an open invitation to explore.

“You can taste everything if you want,” Pomranz says. “We try to give every single person the same experience and help them discover something new.”

That ethos extends to the bar’s ever-changing selection, with more than two dozen wines available by the glass at any one time, sourced from across Europe and beyond. It’s less about prestige and more about discovery – helping people move beyond the familiar and find something new.

“A lot of places push people towards the same familiar wines,” he says. “We want you to try things that challenge your perception of what wine

can be.”

Even the most sceptical visitors tend to come around.

“People come in and order a beer, then get swept up in the excitement,” Pomranz says. “By the end of the night, they’re drinking wine. We just want to get people excited about it.”

It speaks to a broader shift in drinking culture. As habits change and nights out become less frequent but more intentional, experience has started to matter more than volume.

“I’ve been saying for years that people would rather pay more and get more value for the experience,” Pomranz explains. “If you’re going to be sipping something, you want it to be special. It becomes a point of conversation, not just intoxication.”

After a steady start built on word-of-mouth, curiosity and loyal regulars, the bar eventually hit its tipping point, helped along by a viral Instagram reel highlighting its speakeasy charm. From Exposed, no less – we’ll allow ourselves that one.

“It was night and day,” Pomranz says. “Our followers doubled overnight, and our sales doubled overnight. It was like, okay, that made a difference.”

But viral moments don’t sustain venues on their own. What’s kept Not Open; Don’t Come busy in the months since is something simpler: the feeling people get when they walk through the door.

“I genuinely think we’re probably the best wine bar in the city,” Pomranz says. “We serve the widest variety of wine and offer really personalised service. People come back for that.”

In a city built on independence, experimentation and word-of-mouth, it turns out you don’t need a sign outside to build something successful. Just a phone number, an open mind, and a space that makes people want to stay.

@nodc.co.uk

THERE’S A COMMON MISCONCEPTION THAT WINE AT NO;DC COMES WITH A HEFTY PRICE TAG, BUT THE REALITY IS A THOUGHTFUL BY-THE-GLASS SELECTION SPREAD ACROSS THREE ACCESSIBLE PRICE POINTS. HERE, MIKE RECOMMENDS ONE TO TRY FROM EACH.

£7 Fridge

Georgiev/Milkov Groovy Mavrud 2024 - Bulgaria

This unique chilled light red -produced from the indigenous Bulgarian grape Mavrud -tastes like spoonfuls of vanilla flecked strawberry yoghurt, teeth biting into juicy, jewelled cranberries and bright, cinnamon spiced cherries. We source it from a tiny two-man importer, both with roots in Eastern Europe.

£9 Fridge

Il Ceo Vespri Frizzante 2023 - Italy

Much of our wine list is reverse engineered: Our wine buyer Rachel first drank this sparkling Vespaiola -- a grape native to the Veneto region of Italy -- alongside the canals of Venice. She then hunted down its UK importer to bring those flavors of gentle sea breeze, ripe segments of mandarin and thick lemon curd spread on fresh brioche into the fridges of NO;DC.

£12 Fridge

Mountain People Parva Bacchus 2023 - Wales

Dave Morris was one of the first pioneers of biodynamic winemaking in the UK. That arduous process shines through in his Burgundy barrel-aged Mountain People Parva Bacchus, resulting in a white wine as vibrant and green as the Welsh countryside: zippy, perfumed elderflower, mouthwatering lime sherbet and the first bite of really good, crisp, green apple.

From morning coffee and flaky pastries to laid-back brunches and intimate evenings, our menu evolves throughout the day. We cook with the best seasonal ingredients, working closely with local producers, and bring people together over food made to share.

Join us after dark for small plates rooted in our families’ Italian dining culture – generous dishes placed at the centre of the table, ready for everyone to dig in. It’s relaxed, sociable and made for long evenings with good company.

Planning something special? From birthdays to big celebrations, our space is available for private hire with bespoke options for groups of all sizes.

Come along and check out the new menu at Caffè Tucci – same passion, fresh Neapolitan flavours and the kind of big-hearted hospitality that comes through in every single mouthful

Come and see us at 49 Surrey street or 655 Ecclesall road

Find us on Insta: caffe_tucci_sheffield Facebook: Caffè Tucci | Sheffield

On an ever-busy stretch of Ecclesall Road, just a stone’s-throw from the lush glass pavilions of Sheffield Botanical Gardens, sits The Botanical Arms – a cosy neighbourhood boozer with deep local roots.

WORDS: JOSEPH FOOD PHOTOGRAPHY: MARC BARKER

For co-owner Richard Tims, this venture is as much personal as it is professional. “I left Sheffield FC last year,” he tells Exposed. “I sort of took a bit of time out, really, and then the idea of taking on a pub started to take hold.”

Encouraged by support from his son, who works in brewing, and business partners with hands-on experience in the industry, the idea gathered pace –and before long, Eccy Road had a new addition.

Location, he says, was everything. “We had a look at a couple of pubs on Ecclesall Road, but I really wanted something up this end in particular. This area seems to be buzzing and when a former café unit became available, we went for it.”

The result is a bright, welcoming space that nods proudly to its green-fingered neighbour. The name itself is a tribute to the nearby gardens, where Richard spent much of his childhood. “I was brought up on Ecclesall Road. And as a young lad, my mother used to let me wander into Botanical Gardens and it was always a special place for me – and, of course, the city as a whole.”

His memories of the gardens in the late 60s and early 70s are vivid. “The greenhouse was a bit run down. The middle one was for plants and the right-hand one, believe it or not, was a birdhouse. The left-hand one was for fish.” Inside the birdhouse were two macaw parrots. And in the fish house? “Piranhas –red belly piranha.”

Those early visits inspired the pub’s interior. Look closely and you’ll spot

parrots, fish and squirrels – the latter of course famously associated with the gardens. There’s even a tribute to Robert Marnock, the gardens’ designer in 1833. And then there’s the monkey tale. Richard explains that when the gardens first opened in Victorian times, hot air ballooning was all the rage. “They set one off from the Botanical Gardens, this husband and wife. But it wouldn’t go because the husband was too heavy, so the wife went on her own.” Accompanying her was a monkey, allegedly, who was unceremoniously dropped from the balloon with a parachute as it ascended.

“It is an absolutely crackers story,” says Richard. “We don’t know what happened to the monkey, but hopefully it was a safe landing.” The wife, for the record, crashlanded in Conisbrough Castle.

A framed image of the airborne monkey now hangs inside the pub – a conversation starter if ever there was one.

Beyond the plant-based touches and local folklore, the small but perfectly formed aims to strike a careful balance. With cask-led and craft-heavy venues already catered for in the area, The Botanical Arms sits comfortably in between.

As such, you’ll find premium lagers and local drops from the likes of Thornbridge on tap, plus the odd craft option and a thoughtfully curated wine list. There are canned cocktails for those who fancy one, but as Richard puts it, “we haven’t really got the space or the time to be doing a Tom Cruise here!”

The emphasis instead is on atmosphere

and community. “Friendly and relaxed, really. We’re not elitist, we’re not snobby.” It’s a place designed for connection –something Richard believes people are craving more than ever. “After Covid, I think people have realised how important these places are. These smaller, cosy spaces are great for interaction and become real community hubs.”

There’s outdoor seating planned for summer, perfect for people-watching as the sunshine returns to Sheffield. “This end is now really buzzing,” he says, pointing out the cluster of restaurants and bars that have revitalised the area. “It’s got a great feel to it – whether you’re a local or a student settling into the area. It’s a nice mix.”

There are personal touches throughout – including two small rose ornaments Richard bought for his mum when he was a 12 on a trip to Skegness. “She died recently, so that’s a nod to me mother.” Nearby sit two salt and pepper hedgehogs from her home.

It is these details – part history lesson, part love letter to family and place – that give this small watering hole a real sense of warmth and care.

“Give it a try,” Richard says to anyone unsure about joining the micropub movement. “You’re guaranteed a friendly welcome and no gimmicks here – just somewhere to sit and enjoy a good pint.”

And really… what more could you ask for than that?

@thebotanicalarms

507 Ecclesall Road

TURNING UP THE HEAT

Tucked into the corner of Dyson Place, just off Sharrow Vale Road, Six and a Half shows you exactly what 'fire dining' is about the moment you walk in. Flames flicker from the open kitchen, logs crackle, the glow of the fire drawing your eye straight to the grill, where meat, fish and vegetables char away nicely. It’s not about neatly lined gas hobs or induction rings. Just wood, fire, and plenty of heat.

WORDS:JOSEPH FOOD PHOTOS: MARC BARKER

So… what is fire dining? It’s pretty much what is says on the tin – and incredibly effective. In a nutshell, pretty much everything – from starters to desserts – spends time cooking over natural wood, harnessing flame and smoke to build flavour you just can’t fake. It’s elemental, instinctive and a little unpredictable. But that’s all part of the fun.

“It’s a brilliant feeling when the fire’s blazing and it’s a busy service,” says head chef and owner Leslie Buddington. “You have to pay close attention – it’s not like you’ve got timers and temperature settings to help out. But when it’s done right, the flavours are unbeatable.”

That flavour-first approach runs through the whole menu. “We rely on quality produce heavily for the end result,” he explains. “The menu’s quite simple in terms of there’s not too much going on the plate, but big flavours are really important to us. It’s about letting good ingredients and fire do the work.”

Leslie is Sheffield born and already well known on the city’s food scene, having spent eight years at Brocco on the Park before going private for four years, cooking in people’s homes and travelling the world. Open-fire outdoors cooking at corporate events inspired the initial concept, and the more personable experience of cooking as a private chef in client’s kitchens shaped the atmosphere of Six and a Half.

“I’ve done a lot of cooking in people’s houses, speaking to guests while I’m cooking. That’s the sort of vibe I was looking to bring here.” The result is a space that feels welcoming and relaxed

rather than formal – somewhere you can get dressed up for if you want to, but just as easily come straight from work, order a few sharers and settle in. “I always wanted to create something that felt accessible and welcoming to everyone. The service is relaxed and friendly, but the team really know their stuff too.”

The menu is built around small sharing dishes, with around four plates between two people usually hitting the sweet spot. You might start with nibbles like smoked almonds or woodfired flatbread with confit garlic hummus and chilli, before moving on to something bigger.

And while fire might make you think of American BBQ-style steaks and ribs, Leslie is keen to challenge that assumption. “Some people do think it’s going to be an absolute meat fest, but they’re often pleasantly surprised – especially with our vegetable dishes, which we get really good reviews of.”

The jerk roasted celeriac with celeriac sauce and crispy leek has become one of the most popular dishes, packed with smoke and spice. Tandoori Jerusalem artichokes with lime yoghurt and almonds, or wood-fired squash with wild mushrooms and peppercorn butter, also prove that vegetables can more than hold their own over fire.

Of course, there’s plenty for meat and fish lovers too – shawarma lamb ribs with garlic yoghurt and smoked tomatoes, onglet steak with smoked pancetta butter and bonfire peppers, or roasted skate wing with flamed mussels and green curry sauce. The influences are global – Indian, Thai,

British and beyond. “We take flavours and inspiration from all over the world,” explains Leslie. “It’s a pretty universal way of cooking, so we’re not constrained by one cuisine.”

Drinks are given just as much thought as the food. The wine list and cocktail menu have been carefully curated by district manager Amy, designed to stand up to the bold flavours coming off the grill. Expect everything from a crisp Albariño and a Burgundy Chardonnay to a full-bodied Rioja or a textured Romanian orange wine, alongside cocktails such as a smoky margarita with mezcal and smoked salt, and classics like a Negroni.

Menus shift every few weeks as produce changes, keeping things fresh and giving regulars a reason to return. Sunday lunches are now firmly on the

agenda and growing in popularity, with plans to open up the terrace in summer and host a series of al fresco cookouts also in the offing.

A year in from opening, Leslie is pleased with how things are shaping up.. “The feedback’s been absolutely fantastic. A lot of people come because they’ve been recommended by someone else, which is always the best compliment. We’re still building, still refining things, but the aim’s always the same – keep the flavours big, keep it welcoming and just keep getting better.”

6B Dyson Place S11 8XX sixandahalf.co.uk @sixandahalfsheffield 0114 348 3621

Fire dining.

Cooking over an open wood fire brings us back to basics. To the simple act of taking great quality ingredients and transforming them over flames.

Carefully matching the type of wood to the food, we manage the temperature through our senses. We see, hear, smell and feel the creation of every dish, as the flavours build and deepen. Using instincts honed through experience. Join us and eat where we cook, witnessing our chefs at work. Welcome to the warmth.

Join us on Mothers day and show her she’s the best with a gorgeous roast or let us cook for you while you enjoy a tasty Easter weekend treat

PREVIEW

BACK ONLINE

Sheffield–Zimbabwe artist Caide Online returns after three years away with ‘UNMASTERED’ – a raw, self-produced project blending grime, rap and afrofusion. Words: Lowri Rennick

How would you describe yourself as an artist?

I produce my own beats and sound – I’m very DIY and hands-on. I like to infuse a lot of my culture and, from growing up in Zimbabwe to moving here, I’ve learnt a lot about different musical palates. I’d have to say I’m a very DIY, introspective artist who utilises sound notes from Zimbabwe as well as the UK’s grungy grime style and just cooks it all up in one big gumbo pot.

Is there a reason that doing your own production is so important to you?

When I started making music, I was behind a lot of the production and less to do with the lyrics, so it was something that naturally progressed. I’ve been fortunate enough to keep learning new skills and, as time has gone on, I can hear how I want it to be inside my own head.

You recently took three years off from music. How do you think this has shaped your new sound?

Definitely, I’m glad that I had these three years out. It opened my eyes to how fragile music is in the moment of making it. It showed me that if I don’t do something with this music, it’s just going to stay there. I need to do something with my music and let others experience it, and hopefully they can enjoy it just as much as I enjoyed creating it. I feel like I’ve grown up a bit. Prior to this release I was doing a lot more grime, more underground music. Now it’s a lot more rap-influenced – even my rhyming patterns have more maturity, which is very personally refreshing.

What was the inspiration behind UNMASTERED?

My friend and I said the whole concept –like the name – is supposed to be rough and not ready, but I was trying to convey that raw energy from back when we were in his bedroom where there wasn’t any pressure. It wasn’t some big music studio with all the bells and whistles, you know? It’s almost like a rebellion and just claiming control. Even the sound of the tape itself is kind of like an ode to that. Everyone’s chasing that perfection in music, but I don’t want it to be like that.

You mentioned that both your Sheffield and your Zimbabwean background are fundamental to your style. How would you say these both come across on the latest project?

I always try to implement certain aspects. I’d say the most Sheffield track on the tape is probably ‘period’ – you know that cheekiness, like ‘I’m living sideways’? That represents my whole journey. My most Zimbabwean one is probably ‘bill it’. I had to steal that track from my friend because he wasn’t going to release it, and I thought, ‘no, this resonates with me and I need this as part of the project’. Just to give that little breather for people, to carry on the journey of Unmastered. It’s got afrobeats, afrofusion. I like the beat.

Do you have a favourite track or one that’s particularly meaningful to you? It’s going to go under the radar, but ‘M&&d’. It’s a real favourite track of mine because it’s so old, but it still sounds really fresh. I remember making the beat as if it were yesterday. The track is so simple but the lyrics are so hard. It’s one of those tracks where, once you sit down and listen to what I’m saying, you think, ‘alright, okay, this guy can rap’.

UNMASTERED is out on streaming platforms now. Follow @caideonline for updates and new releases.

WATCH THE VIDEO FOR DIRTEE HABITS HERE:

LILY ALLEN

7 MAR // CITY HALL // £41–£86

Seven years off the road? Consider it over. Lily Allen hits Sheffield with Lily Allen Performs West End Girl, playing her acclaimed new album live and in full, exactly as it unfolds on the record. Expect razor-sharp lyrics, big pop moments and a more intimate theatre setting chosen to let the new material shine. One night only – don’t miss it. sheffieldcityhall.co.uk

THE CRIBS

20 MAR // FOUNDRY // £33

Wakefield’s finest return with their first new album in over five years, led by punchy single ‘Summer Seizures’. For the Jarman brothers, Selling A Vibe is their most introspective album yet, written after a much-needed pause from the release-tour treadmill. Expect grit, hooks and proper indie catharsis. foundrysu.com

ALEX JAMES’ BRITPOP CLASSICAL

21 MAR // CITY HALL // £35–£70

Parklife meets the philharmonic. Blur bassist Alex James brings Britpop Classical to Sheffield, reworking 90s anthems with a full orchestra and live band. Joined by Simon Fowler, Saffron and Gary Stringer, expect era-defining hits from Blur, Oasis, Pulp and more – only bigger, bolder and gloriously symphonic.

sheffieldcityhall.co.uk

HAPPY MONDAYS

22 MAR // OCTAGON CENTRE // £42.50

Step On into Madchester history as Happy Mondays roll into Sheffield with their baggy, acid house swagger intact. From Pills ’n’ Thrills and Bellyaches to ‘Step On’ and ‘Kinky Afro’, the hits still hit hard. Expect Shaun Ryder’s snarl, Bez’s chaos and that unmistakable groove – now powered by longtime collaborator Mikey Shine on bass. Part gig, part party, all attitude. performancevenues.group.shef. ac.uk

TAKUYA NAKAMURA

26 MAR // FOUNDRY // £17.50

NYC polymath Takuya Nakamura lands in Sheffield with Pleasure Seekers, performed live in the UK for the first time. Joined by electronic drummer CurrencyAudio, he flips jungle, juke and footwork into a high-voltage, rhythm-led set that blurs the line between club night and live experiment.

foundrysu.com

SPELLING IT OUT

After AI-generated songs mimicking her voice surfaced online, folk singer Emily Portman explains how she’s doubled down on what truly matters – human connection, live performance and the power of story.

You’re bringing The Dominion of Spells to The Greystones this month – what can a Sheffield audience expect from these new songs live?If you like folk stories and lore woven into contemporary songs, this gig might be for you. The new songs explore shapeshifting and midlife metamorphosis, and along the way we encounter some otherworldly characters – from fairy queens to owl goddesses. I’ll be playing piano, which is new for me, alongside my trusty banjo.

I’m excited to be performing the new material with Lucy Revis on cello – many will know her from the brilliant band Before Breakfast. Louis Campbell has also played in Sheffield many times, both with Martin Simpson and in his wonderful duo with Owen Spafford. Louis is a bit of a guitar wizard and together we’re creating a dreamy, layered sound that centres the vocal harmonies and the storytelling.

There’s a strong storytelling thread running through your music. Where did your formative creative influences come from?

I was an avid reader as a child and always loved folktales. I started recording my own songs about fairies and magic around the age of eight, when my dad set me up with a tape recorder and a little sampler keyboard. My parents’ record collection was a big source of inspiration, and Joni Mitchell in particular shaped me as I was growing up. Later on, Angela Carter’s novels inspired my writing, alongside the folk songs I immersed myself in whilst studying traditional music

The album follows a midlife heroine through dark woods. What attracted you to this narrative?

In all honesty, I had a bit of a midlife crisis. It was unexpected because I’d felt pretty comfortable about turning 40 – but this stage of life can bring all sorts of upheaval. I found myself writing again: about motherhood, about carving out space to be creative and about the challenges I was navigating. I began

discovering folk tales that mirrored my own experiences, and those of my friends. Gradually, the album took shape as a story about finding wonder in the everyday, and how creativity can be a lifeline through difficult times – those dark woods. Unearthing those old tales helped me reconnect with a sense of magic in ordinary life.

Earlier this year, AI-generated recordings mimicking your voice were released online and wrongly credited to you. How did it feel to hear ‘yourself’ singing songs you’d never written? It was creepy and uncanny, to say the least. The technology isn’t sophisticated enough yet to fully replicate my voice, but it was close enough to confuse some listeners – and I don’t blame them. We should be able to trust that the artist we’re listening to is real, and this kind of AI fraud really undermines that trust.

The songs had the hallmarks of my style – the fairytale imagery and folk influence – but they lacked depth. The lyrics often didn’t really make sense. It comforted me that human songwriting is still better. Although I tried to laugh it off, it is disturbing that this technology is so unregulated and that fraud like this can happen with no consequences for whoever’s behind it. It’s mining musicians’ music without our consent and the laws need to catch up to protect our creative work.

Did it change how you approached the latest record?

It made me more determined than ever to make the record happen. It spurred me on to run a Kickstarter campaign to help raise the funds, and that process really renewed my faith in human kindness. Ultimately, so many good people want to support grassroots musicians and independent Sheffield-based labels like Hudson, who are bringing my record out. This whole experience has reminded me how many people truly value and champion our vibrant local and national folk scene. They come to gigs, buy merch

and remind us that it’s all worthwhile. You’re touring with Louis Campbell and Lucy Revis. How has this new live line-up shaped the sound of these songs on stage?

Louis and Lucy have added so much to these new songs. Louis’s playing is subtle and sensitive – I love the textures he weaves and the atmosphere he brings to each track, and his guitar has become the backbone of many of the songs.

Lucy is a natural harmoniser, and it’s such a joy to sing alongside her. Her cello brings depth and warmth, beautifully complementing the brightness of my banjo. I feel very lucky to be working with them both and I’m excited to see how our music continues to evolve on tour.

There’s something intimate about the backroom of The Greystones. What kind of energy do you hope a Sheffield audience brings into the room?

I know the backroom well – I actually live about 30 seconds away from The Greystones. It’s always lively, friendly and buzzing. And there’s good beer too. As a relative newcomer to Sheffield, I’ve really landed on my feet living so close to such a brilliant venue. I’ve had so many great nights there as a gig-goer, so it feels fitting that my first home gig with the new band will be at The Greystones. It’s going to be an extra-special show –not least because it’s the last night of the tour, so we’ll be well warmed up by then. And as an added bonus, I’ll get to sleep in my own bed afterwards.

If an AI version of you turned up at your Sheffield gig, what would it never be able to replicate?

Ha! What a horrifying thought. It would never be able to replicate the feeling. As a performer, I respond to the mood in the room – it shapes the way I sing and play, and even the way we banter between songs. It’s an exchange.

Some of my most magical moments on stage have come from that crackle of shared energy between musicians and audience, when everything falls into sync. I really believe nothing can replace the magic of live human performance.

I think we’ve got many years to go before an AI could perform a song with real nuance, or respond instinctively to a crowd. And even if it could … why would we want it to, when there are so many real musicians out there doing amazing things? Surely human connection is at the heart of what music is all about.

Dominion of Spells is released on 1 May, and Emily plays The Greystones on 22 March. Tickets (£18) available from mygreystones.co.uk.

I THINK WE’VE GOT MANY YEARS TO GO BEFORE AN AI COULD PERFORM A SONG WITH REAL NUANCE, OR RESPOND INSTINCTIVELY TO A CROWD.”

SIDNEY & MATILDA TEAM TAKE ON FLOAT ALONG FESTIVAL AND REVEAL HUGE LINEUP

Now in its fifth year, Float Along Festival is entering a bold new chapter under the stewardship of the team behind the much-loved local venue.

Paul ‘Tufty’ Tuffs, James Watkins, James Lawson and Mark Riddington have stepped in as the festival’s new organisers and today announced that White Lies will headline The Octagon on Saturday 26th September, as part of the biggest lineup the festival has seen yet.

White Lies will be joined across the day by Sprints, Opus Kink, Man/Woman/ Chainsaw, Your Mate’s Ex, Oslo Twins, Spanish Horses, Maximilian Tanner and Faint Paint, with more names still to come. Stages will stretch across Sidney and Matilda, Corporation and The Octagon, bringing a full day of live music into the heart of the city.

Paul ‘Tufty’ Tuffs said: “We’re privileged to continue the legacy that Float Along has built up, and endeavour to grow a well-respected annual Sheffield event into the biggest and best value city

centre festival of the year.

“We’ve grown the festival this year. We’re doing bigger venues and we’ve got bigger bookings for it. The team have excelled in booking some huge names for Float Along 2026.”

White Lies represent a landmark moment for the festival. Watkins, who led the charge on the booking, believes they strike the right balance for an Octagon headline slot. “When you have an Octagon headliner, you need a band that would get played on Radio 1 and Radio 6,” he said. “White Lies have a foot in the mainstream as well as staying true to the festival.”

Watkins added: “It’s great to have a festival headlined by a band with the calibre and longevity of White Lies, paired with some really exciting newer acts like Man/Woman/Chainsaw and

Sprints. There’s a strong chance you may never see either of those bands in venues as intimate as Corporation or Sidney & Matilda again.”

Alongside established names, the bill retains the forward-thinking identity that has defined Float Along from the start. “It should be a relevant festival for new music,” Tufty said. “There should be something in it for everyone.

“I genuinely recommend buying your tickets early, as they’re currently at an accessible price point which we feel represents exceptional value considering the quality of the line-up.”

With Tier 1 tickets currently priced at £40, Float Along 2026 is one to get in early on. It’s gonna be a big one. Tickets are available now via dice. fm.com.

the feeling

£35.00, Doors 7:30pm

friday 20 march 2026 the cribs

£30.00, Doors 7:30pm

saturday 21 march 2026

uk foo fighters

£20.00, Doors 7:00pm

thursday 26 march 2026

takuya makamura

£17.0, Doors 7:30pm

saturday 28 march 2026 unknown mortal orchestra

£27.20, Doors 7:30pm

tuesday 31 march 2026

james blake

‘trying times’ album launch show

£19.00, Doors 7:30pm

friday 10 april 2026

m60

£16.00, Doors 7:30pm

thursday 16 april 2026 idlewild

£32.50, Doors 7:30pm

wednesday 11 march 2026

sam nicoresti

£16.50, Doors 6:30pm

saturday 14 march 2026

amy mason

£15.00, Doors 6:00pm

sunday 15 march 2026

mc hammersmith

£17.50, Doors 6:30pm

wednesday 18 march 2026

eric rushton

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

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

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 friday 25 SEPT 2026

CELYA AB

£19.00, Doors 7:00pm friday 25 SEPT 2026

jazz emu

THURSDAY 21 MAY 2026

la rumba x foundry present

NUBIYAN TWIST

£22.50, Doors 7:30pm

thursday 9 july 2026

electric six

£21.50, Doors 7:00pm

thursday 9 july 2026

nik kershaw

£32.50, Doors 7:30pm

saturday 12 sept 2026

THE molotovs

£15.00, 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

MORGAN REES

£21.00, Doors 7:30pm

SATURDAY 7 NOV 2026

HANNAH EAST

£24.00, Doors 2:00PM / 7:00PM WEDNESDAY 11 NOV 2026

THE DARK ROOM

£13.00, Doors 7:00pm friday 20 march 2026

alasdair beckett-king

£20.00, Doors 7:00pm

wednesday 15 april2026

cally beaton

£20.00, Doors 6:30pm

£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

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

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

£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

SHEFFIELD’S EXCITING LIVE MUSIC COLLAB POWERED BY EXPOSED AND JOE GREEN

SEE THE SESSIONS LIVE AT THE EXPOSED INSTAGRAM @EXPMAGSHEFF

EACH MONTH, WE INVITE LOCAL ARTISTS TO GREENY’S REHEARSAL SPACE TO LAY DOWN A STRIPPED-BACK LIVE SESSION. ONE TAKE. NO DO-OVERS. THIS MONTH FEATURES CITY PARKING – A BAND WHO SHOT INTO THE SPOTLIGHT WITH THEIR DEBUT SINGLE, ONLY TO FIND THAT MOMENTUM AND MENTAL HEALTH DON’T ALWAYS MOVE AT THE SAME PACE. WORDS : ASH BIRCH

CITY PARKING

City Parking begin their Red Light Session with a Sheffield classic – a cover of Pulp’s ‘I Spy’. “I just think it’s a great track,” Jade Cook says simply. “So, yeah, I thought we could give it a go. Hopefully we’ve done it justice.”

Their take stays faithful to the original’s skeletal tension, though there’s a noticeable bite to it. “It’s our take on it, without trying to make it too much of our own,” Dan Baird explains.

Jade adds: “It’s a bit more aggressive. It’s hard to hold back the aggression, because it is already quite an angry song – it’s got like a dark, saucy energy… I think it adds a bit more grit to it.”

From there, they move into their debut release, ‘It’s Mad Round Here’ – the song that quietly detonated everything. “It’s kind of the track that kickstarted all of this, really, and none of this would probably be happening if it weren’t for that little song,” Jade reflects. For a band with what she calls a “very tiny discography”, it became a calling card that travelled far beyond their expectations.

After that came ‘Carl’, released in 2024 – a wiry, groove-led track that drew some flattering comparisons. “It got the Talking Heads comparisons,” Jade laughs. “Which was quite nice… I really enjoy doing ‘Carl’, it’s got a nice groove to it. We all enjoy doing that one.”

What’s striking is how quickly all of this escalated. ‘It’s Mad Round Here’ was their first release, yet it found its way to BBC 6 Music tastemaker Steve Lamacq via Richard Hawley’s manager, Graham Wrench. The band didn’t even know it was happening. “We didn’t know we were getting played until after it happened,” Dan recalls. “Someone messaged on Instagram… and we were just sitting there like, what’s going on?”

Suddenly there were invitations to showcase gigs, The Great Escape in Brighton, a slot at The Lexington’s birthday party in London and festival offers rolling in. “All off like one song,” Dan says, still sounding slightly stunned. There was even a homemade City Parking T-shirt gifted to Lamacq – “the only City Parking T-shirt to ever exist” – which he later wore at The Great Escape.

Then came Tramlines. The band opened the festival in one of the tents – a huge moment, especially so early in their story. But with the buzz came something more complicated.

“There was quite a lot of imposter syndrome,” Jade admits. “It kind of felt like, what did we do? Some of the offers that we got and some of the things that happened, some bands have to wait a long time for that to happen. Or it never does.”

Behind the scenes, the pace was taking its toll. Long drives. New cities. Little time to process what was happening. “You don’t realise how far away some of these places are until you’re actually physically doing it,” Jade says. “I’m quite an anxious person and I was dealing with quite a lot of anxiety at the time.”

Jade remembers having panic attacks on the motorway on the way to gigs, only to arrive and step straight onto the stage pretending nothing had happened. To cope, she created a persona to inhabit under the lights. “I tried to become somebody else,” she explains, “it was just a way of getting a bit more confidence.” But the mask wasn’t always easy to maintain. “I’m not very good at pretending to be something I’m not,” she admits.

Eventually, after pushing through Tramlines, they were booked to play Rock N Roll Circus. On the day of the show, Jade made the call to cancel. “Something in me just snapped – I can’t do it anymore. I’m tired, I’m worn down… I’m not enjoying this anymore. It’s not fun.”

Part of that struggle was OCD – something Jade speaks about with a frankness that feels both brave and necessary. “I had really bad OCD,” she says. “And OCD isn’t just what people think, right? It’s a lot more than that.” Her intrusive thoughts centred on catastrophe. “My OCD was about thinking, ‘I’m gonna die. I’m gonna die.’”

The disruption to routine – constant travel, unfamiliar places – intensified it. “I’m a routine person and that routine being broken was throwing a massive spanner in the works for the OCD.” The band stepped back. From the outside, it looked like momentum had stalled just as it peaked. In reality, it was survival.

Now, though, there’s perspective – and a sense of reclamation. Jade has done the therapy, put in the work. “The OCD has kind of taken a backseat, which is nice,” she says. In its absence, the band has come back into focus not as pressure, but as purpose.

“This has kind of become my lifeline now,” she explains. “When you get depressed, it’s nice to have a place to put those loads and to escape into a different reality… it’s nice to do that again and to be able to enjoy it.”

The new material expands the same slightly off-kilter City Parking universe – night-time scenes, strange characters, inner monologues. “It’s kind of all set in the same universe as the other stuff we put out really,” Jade says. The band are currently working on their debut album, building on those early singles and shaping them into something more cohesive and ambitious. Dan reckons it’s a step forward: “It’s got a little bit more substance to it.”

Their first gig back is supporting Pale Blue Eyes at Hallamshire Hotel on 12 March, which is already sold out.

For a band whose story so far has been defined by sudden acceleration, City Parking’s Red Light Session feels like a reset. Three songs. One take. No do-overs. But this feels a lot like a second take for the band – and with a debut album on the horizon, the next chapter looks set to unfold at their own pace.

Lies Sprints

A BOLT FROM THE BLUE(S)

Blues with bite, riffs with heart — Lightning Threads open up about their new album, touring and the magic of a hometown crowd.

Eh up, Lightning Threads. You’ll be kicking off your tour at The Greystones on 1 May – how important is that to you?

Sheffield is our home! We booked our first gigs at The Cremorne, The Washington, The Greystones and the O2 Academy, before launching our debut album at The Leadmill in 2023. We were all musicians in Sheffield before forming Lightning Threads, and have had the privilege of watching, performing alongside and being inspired by some incredibly talented people. Early on, we were also booked by Martin Bedford and the Honey Bee Blues Club, who continue championing and putting on blues and blues-inspired music in the city. We've played up and down the UK, but I don't think there's any other city quite like it.

Blues has historically been political. Do you see your music as social commentary in any way?

If you think about the American gospel music from which the blues and then rock ’n’ roll emerged, these were communal events in Black churches where communities would come together. Blues is about feeling something together. Especially today, it's easy to feel anger, frustration, guilt and sadness at the state of the world, but blues is also about joy, catharsis and love. Our songs are therapy. They're about acknowledging the bad times head-on so we can push through to the good: adversity, money worries, relationships, despair... it’s about expressing these so we can move on to hope.

Does Trinkets build on your existing sound, or does it mark a shift for you?

If our debut record was exploring our musical identity, then this one focuses in on the riffs, melodies and psychedelic moments we love to create. We wanted Trinkets to really showcase what we're about and also bring some more upbeat numbers to the catalogue. The theme of Trinkets is encapsulated by the artwork: a series of photographs taken at The Warehouse, Yellow Arch Studios. As we navigate through life, we pick up trinkets – moments, mementos and memories – along the way. For better or for worse, they define who we are, and yet in the end they will all be left behind. So really, the only important question is to ask: are you satisfied?

BLUES IS ABOUT FEELING SOMETHING TOGETHER”

What musical influences shaped this new record?

Our influences are really wide-ranging. Masters of electric blues such as BB King, Rory Gallagher, Gary Clark Jr., Cream and The Doors will always be there in our sound, but we were also directly inspired by recent music from Marcus King, Chris Stapleton and Rival Sons, and I think you can hear their spirit in the album.

Which track always goes down a treat at gigs?

Wild One has been on the setlist for a while now and is always fun to play live. Inspired by a night out in Sheffield, it’s bluesy, upbeat and rocky at the same time, with a great riff behind it.

What’s the most memorable moment

you’ve experienced on stage so far? We've had some incredible gigs at festivals and venues up and down the country, but my favourite memories come from those nights where everything falls into place: the venue and promoter have been great; the crowd are there – they’ve turned up in numbers, they’re present and they're up for a great time. Headlining The Leadmill was one of those nights, as was the first time we headlined The Cluny in Newcastle, and when we supported DeWolff at The 100 Club in London.

Are there any key messages you’d like to send to local gig-goers who might fancy a bit of this?

Come and let your guard down. There will be parts of our set where you’ll be clapping and moving. Others will bring you to a halt or have you lost in a soundscape. We always want to take the audience with us and, at the end of the night, feel like they were part of a moment. Let’s make a happening.

Lightning Threads kick off their 2026 tour and launch their new record at The Greystones on 1 May, joined by special guests TC & the Hoodoo Shakers. Tickets: mygreystones.co.uk

TAYLORMANIA

SPELL SONGS

THE MACCABEES AND LOYLE CARNER HEADLINE SUMMER ALL-DAYERS

WHERE: KIRKSTALL ABBEY WHEN: FRIDAY 31 JULY & SATURDAY 1 AUGUST

There is something special about live music soundtracking a 12th century ruin. As the sun dips and the lights flicker on, Kirkstall Abbey shifts from historic landmark to one of Yorkshire’s most striking open-air venues.

This summer, Live at Kirkstall Abbey returns bigger than before – stretching across two weekends for the first time –with two heavyweight nights leading the charge.

Friday 31 July sees The Maccabees play their only northern headline show of the year. On Saturday 1 August, Loyle Carner tops the debut Above All Else – a brandnew all-dayer curated by Futuresound.

THE MACCABEES – STILL HITTING HOME

When The Maccabees bowed out in 2017, they left at their peak. No slow fade, no awkward encore. So their 2024 return felt less like a comeback and more like a celebration – festival stages packed, crowds singing every word.

Kirkstall is the only northern headline date on their summer run, and the support bill is stacked. Maximo Park arrive armed with 2024’s Stream of Life and two decades of indie bangers. Everything Everything bring the restless invention of Get to Heaven, now ten years young. Mystery Jets add shimmering

psych warmth, while Fiona-Lee steps up as one of the bill’s most exciting new voices ahead of her forthcoming Every Woman EP.

As for The Maccabees, their catalogue has only grown in stature. From the scrappy fizz of Colour It In to the Mercury-nominated sweep of Given To The Wild – home to Ivor Novellowinning anthem ‘Pelican’ – through to the chart-topping Marks To Prove It, these are songs built for arms-aloft summer evenings.

ABOVE ALL ELSE – AN EXCITING NEW CHAPTER

If Friday is indie nostalgia done right, Saturday looks firmly forward. Above All Else is a new addition to the series – an all-day celebration of music, arts and culture with Loyle Carner at its centre. Few UK artists have matched Carner’s ability to balance vulnerability with sharp, lyrical clarity. Latest album Hopefully! finds him reflecting on fatherhood and family with warmth and honesty, building on a decade that has taken him from Yesterday’s Gone through Not Waving, But Drowning and hugo to arena-level acclaim.

The supporting cast matches the ambition. Jordan Rakei brings genreblurring soul. Kokoroko promise groove-

heavy joy rooted in afrobeat and jazz. Kofi Stone and Dublin collective Bricknasty round out a bill that feels curated rather than crowded.

With its all-dayer format, Above All Else is less about rushing between sets and more about settling into the atmosphere – discovering new favourites as the day unfolds.

A GROWING SUMMER INSTITUTION

Launched in 2024, Live at Kirkstall Abbey welcomed more than 15,000 people in its first year. Now curated by Leeds-based Futuresound Events, it returns with renewed confidence and an expanded programme.

Alongside The Maccabees and Loyle Carner, this summer also features The Streets performing A Grand Don’t Come for Free, The Sunshine Underground celebrating Raise The Alarm, plus the return of the Kirkstall Abbey Comedy Festival.

Two nights. Two very different moods. One of Yorkshire’s most atmospheric backdrops.

Tickets for both events are on sale now via futuresoundgroup.com. Follow @futuresoundlive for the latest updates.

Backstage Pass

Since February is the month of love, I’d just like to formally tell you all just how much we love you. Thank you to everyone who shared the love over Feb and came down to watch some incredible shows and dance the night away at our club nights!

As December Falls closed out the month with an insane sold-out show, and just because it was a Thursday night, that didn’t stop anyone from crowd surfing, dancing and screaming along; even with the knowledge of having to work the next morning! We are now into the semi-finals of Metal 2 The Masses, getting closer and closer to seeing which band will perform at this year’s Bloodstock Festival. If you want your say, then join us through March to vote for your favourites to get them to the final.

It’s been takeover after takeover for club nights alongside your regularly scheduled events, everything from Florence and The Machine, Sam Fender, our monthly instalment of Revolution and so much more and nothing is slowing us down. If you’re looking for a club night that’s just for you then make sure you see what we have going on.

I would now like to take this opportunity to provide a very important PSA. If you missed the memo, it’s our 25th Birthday… So we’re going to be throwing some serious parties this year, and we’re starting it off by rolling the drink prices back to the same price as they were when we opened in 2001.

We opened our doors with 50p Vodka Mixers, so on Monday, 9 March… We’re doing it again. If you want your bank account to think you’re living in the early 2000’s for one night only, then get your tickets now!

BIG RIFFS, BIGGER DROPS AND DANCEFLOORS THAT DON’T QUIT – MARCH BRINGS ARENA ENERGY, UNDERGROUND EDGE

AND LATENIGHT CHAOS TO THE STEEL CITY.

GIGS GALORE

STVW: PUNK RAVE

6 Mar // £20(+bf)

German songwriter, producer and DJ Steve Witzlsperger – aka STVW – brings his explosive ‘PUNK RAVE’ to town. Fusing melodic dance with pop-punk, emo and rock, his high-energy set features live electric guitar and, for his special PUNK RAVE (LIVE) show, an added drummer for full-throttle, gig-level chaos.

WITCH FEVER

22 Mar // £15(+bf)

After tearing through arenas with Volbeat and standout sets at Outbreak Festival and 2000 Trees Festival, the Manchester doom-punks are swapping big stages for sweat-soaked intimacy. Expect grunge heaviness, gothic melody and politically charged bite.

OCEAN GROVE

7 Mar // £20(+bf)

Nu metal chaos meets DIY ambition as Ocean Grove roll up. The Melbourne trio – recently signed to Sharptone Records – deal in their own genre-bending ‘Oddworld Music’, fusing Korn-sized riffs with alt-rock hooks. Fresh from global tours and 2024’s ODDWORLD, you’re guaranteed high-energy mayhem.

RESISTANZ FESTIVAL

3-5 APR // Ticket types vary: £40.97-£125(+bf)

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.

JOIN THE CLUB

March is stacked with club chaos at Corporation. Kicking things off on 6 March, Bad Reputation marks International Women’s Day with a takeover celebrating heavy-hitting artists from Paramore to Evanescence and Hot Milk.

On 14 March, Slam Dunk – The Club Night lands in Sheffield for a one-off party packed with favourites from past and present festival line-ups – plus ticket and merch giveaways on the night.

Then 16 March sees Monday Corp go full green for a St Patrick’s Day special. Expect big tunes, bigger energy and drinks from 90p – proof that Mondays in Sheffield are anything but quiet.

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

All tickets and listings can be found corporation.org.uk

With Bristolian comic Amy Mason headed to Sheffield next month as part of her UK tour ‘Behold!’, Exposed nabbed her to reflect on her path to humour, the Edinburgh Fringe Festival and what to expect from her new show tacking our relationship with the online world.

With Behold! on the brink of its nationwide tour, can you tell us a bit about the show and how it came together?

It’s a show about my reliance on my phone and the world online, and the ways I relate to people through the internet. It’s based on something that really happened to me: I got some adult items – let’s say – anonymously delivered to me in the post. I have no idea where they came from or why I got them, so I started trying to work it out. It turns out that I was hacked, and the hacker sent them to me. Depending on how you look at it, it’s either quite sinister or quite kind.

How would you describe your humour? I get compared to Jo Brand quite often. I think I’m quite deadpan, but I’d say I’m not as cynical as Jo Brand. I think off stage I feel like I’ve just been beamed down from space and I’m quite confused about the world.

How did your stage persona emerge? My stage persona was completely organic; I didn’t really think it through or try to adopt anything. Some people who inspired me are Rob Auton, Edward Aczel and Jo Brand – people who aren’t

afraid to take their time, and people who don’t laugh at their own jokes. I don’t laugh and I don’t really smile very often on stage.

What are your hopes for the Behold! tour?

This is the biggest tour I’ve done. I want to go places and build audiences. I’ve got a lot of followers on social media, but actually meeting people and being in a room with people who bought tickets for you – it’s the nicest feeling ever. And I love going to different places in the UK as well. I’ve got kids and I don’t get out very much.

Was there a particular moment in your comedy career when you first felt like you could ‘make it’?

I mean, I still feel up and down about things. It doesn’t feel like progress is a straight line. But a time that was transformative for me was when Bridget Christie saw me at a gig and, when I came off, she just held my hand and told me that I was great. That was just so lovely that I cried. Her words have really kept me going when I’ve doubted myself because I’m like, ‘Bridget Christie thinks you’re good.’ I believe her over anybody else, really.

Behold! was received brilliantly at the Edinburgh Fringe – what was your experience at the festival?

I actually loved doing my show, especially this show. I didn’t mind doing it every day because I can be quite free with it. I could sort of muck around and change things if I wanted to, so I really enjoyed that. I think there’s a lot of pressure on you when you’re up there, and it can feel quite competitive, even if you don’t want it to. You walk past everyone’s posters and awards, and it can be difficult to just concentrate on your show. But it can be really fulfilling. I really enjoyed it and said I want to go again this year.

What made you pursue stand-up?

I really enjoy the immediacy of it. I like having an idea in the day and being able

I FEEL LIKE I’VE JUST BEEN BEAMED DOWN FROM SPACE AND I’M QUITE CONFUSED ABOUT THE WORLD.”

to go and perform it that night. I’d always fancied doing it, but I thought I’d be way too scared. I challenged myself to do it and realised I really liked it. I especially liked the social aspect. I started when my daughter was 10 months old and I was a bit miserable – my career had gone by the wayside. So going out to open mics a couple of times a week and building a community of other comedians was really good. It’s great for your confidence. There’s a great community between comedians, especially female comedians. Some of my best friends are people I’ve been on the bill with.

What reaction are you looking for from your audience?

I just hope they find it really, really funny. It is rude and crude, but that’s not my fault! That’s the fault of the people who sent me those things in the post. I’d

also like people to notice things that they do and notice things about the way they interact with the world that they haven’t thought about before.

Is there anything else you’d like to add? I’ve also just launched a podcast with comedians Harriet Dyer and Lindsey Santoro called Social Moths. It’s available on all platforms and it’s about some similar things from my show, like spending too much time in your house and wanting to get out and meet people more. @amymasoncomedy

Amy Mason’s Behold! will be touring from February to April 2026, including a night at Sheffield’s Foundry (Raynor Lounge) on 14 March. Tickets available from amymason.com.

THE LADIES FOOTBALL CLUB

CRUCIBLE // 28 FEB-28 MAR // £15–£44

As the First World War rages, Sheffield’s women swap factory shifts for football boots, discovering fresh purpose on the pitch. What begins as lunchtime kickabouts soon draws crowds of 50,000, but forces beyond the touchline threaten to blow the whistle on their rise. Written by Stefano Massini and adapted by Tim Firth, this stirring new drama celebrates a game-changing chapter in sporting history.

sheffieldtheatres.co.uk

DEATH ON THE NILE

LYCEUM // 10-14 MAR // £15£60.50

Following the sell-out tour of Murder on the Orient Express, the European premiere of this thrilling production reunites writer Ken Ludwig and director Lucy Bailey. On board a luxurious cruise under the heat of the Egyptian sun, a couple’s idyllic honeymoon is cut short by a brutal murder. As secrets that have been buried in the sands of time finally resurface, can the world-famous detective, Hercule Poirot, untangle the web of lies and solve another crime?

sheffieldtheatres.co.uk

LIVING

PLAYHOUSE // 14 MAR-4 APR // £28

A Sheffield Theatres production by Leo Butler, this sweeping state-of-the-nation drama begins in 1969, as young couple Kathy and Brian settle into a big old house on Burngreave Road with babies on the way and big plans ahead. But life – with its kids, cash worries and shifting politics – has other ideas. Spanning fifty-five years from Thatcher to Trump, Living asks whether love and home can survive a changing world.

sheffieldtheatres.co.uk

TAYLOR WESSING PHOTO PORTRAIT PRIZE 25 MILLENNIUM GALLERY // UNTIL 10 MAY 2026 // DONATIONS ACCEPTED

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

WHO LUMIOX CAN HELP

LumiOx is for anyone ready to recover, repair, and perform at their best.

o Athletes and active individuals improving recovery and performance

o Professionals battling fatigue, stress, or burnout

o Those managing pain, inflammation, or injury

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Set entirely in a Sheffield living room, award-winning playwright Leo Butler’s ambitious new drama charts half a century of change – and brings it to the Tanya Moiseiwitsch Playhouse this month.

WORDS: Joseph food

When I catch up with Leo Butler over Zoom, he’s in what he calls his ‘working shed’ – a small garden hideaway at his south-east London home. “I’ve got a record player in here, books and guitar, you know?” he says, the cigarette in hand and slightly ruffled hair entirely on brand with what you might expect from a playwright. “I've actually just been working on a few bits of the script to send through to the publisher.”

Leo may now be based in the capital, but Sheffield is never too far away. This month, he returns to his home city with Living, a new state-of-the-nation drama opening at the Tanya Moiseiwitsch Playhouse as part of Sheffield Theatres’ spring season.

The vision for the play was sparked during a visit to his family home on Burngreave Road, where his parents moved in the early 70s and where Leo grew up through the 70s, 80s and 90s. “I was just sat in the living room with my parents and brother and our kids – nothing exciting was happening,” he recalls. “And then I just looked around the room and thought, God, all this –three different generations of people. All the different experiences, not just family experiences, personal experiences – and then the wider changes in the world, everything.”

Then came some something of a

eureka moment. “The idea was: wouldn’t it be great to have a play that was all set in the one room, like the one I’m sat in? You didn’t move, you didn’t leave.” With a framework in place, the concept grew bolder: “At some point I thought, what if you had a scene for every single year from 1969 to the present day? I thought that would be a play I’d like to see, and in the writing of it, I could see what I discovered for myself.”

The result is an ambitious sweep through more than half a century of change – 55 years in 55 scenes – without ever leaving the same household, as history unfolds outside its four walls. “But it’s not a political collage,” he is keen to stress. “It’s a family story primarily. And then the politics comes after that.”

Still, political affairs – both domestic and nationwide – pulse through the play’s DNA. Debates around entering the Common Market echo alongside Brexit. The Vietnam War sits in uneasy conversation with the invasion of Iraq. Yet amid repeated conflict, there are glimmers of hope that feel pointedly contemporary. “We’ve been in volatile places before. It’s easy to forget that. And by remembering that, you realise what’s important. It’s the people in your life – whether that’s family or friends – no matter how many differences of opinion. At the base of things, if we look after and take care of each other, we can get through it.”

There’s always an element of personal experience, research and imagination involved.”

Technically, Living is as intricate as it is expansive. With a cast of eight playing multiple roles across five decades, the logistics were formidable. “There’s never a blackout. The scenes just sort of drop into each other,” he explains. “Sometimes there’s scenes where there’s eight characters on stage all kind of talking at the same time. It’s like writing a dance, but we’ve got a great director in Abigail Graham and an absolutely fantastic cast.”

Bringing the play home feels both surreal and timely – it comes 25 years after his debut, Redundant, another Sheffield-set work that premiered at the Royal Court Theatre. Butler grew up watching shows at the Crucible and performing at the Playhouse with Sheffield Youth Theatre, and reaching this point feels significant. “It’s magic,” he says of this milestone. “It’s always been a big ambition of mine to have something produced in my hometown and put it in front of audiences because – without it sounding eggy – they’re kind of my people.”

I JUST LOOKED AROUND THE ROOM AND THOUGHT, GOD, ALL THIS – THREE DIFFERENT GENERATIONS OF PEOPLE. ALL THE DIFFERENT EXPERIENCES…”

Living is based in Pitsmoor and Burngreave – areas Leo feels have not often been centred on Sheffield stages. “I’ve personally not seen anything that’s really rooted in that area and the diversity of that area,” he says. “Pitsmoor’s had a rough ride in terms of its reputation… but the community feels so strong. People band together and are proud of where they are from.”

While the play draws deeply on his own upbringing – “it started from a very personal place” – it isn’t a strict memoir. “There are elements of my own experience in lots of the characters… but it’s not explicitly autobiographical.

His hope is that Living will move and unsettle in equal measure. More than anything, he wants audiences to find something that resonates, even if the play resists neat conclusions. “It doesn’t necessarily leave you with easy answers. There are a lot of questions about where we’re going.”

And for any emerging local writers looking on? The advice is direct: “Be fearless and be bold. Don’t write the thing that you think people want to see. Just write the thing that you want to see… Life is too short. Just get it on the page now. Your experience and your thoughts and your imagination are as valuable as anybody’s.”

Living runs at the Tanya Moiseiwitsch Playhouse from 14 Mar–4 Apr. Tickets available from sheffieldtheatres.co.uk.

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LISTEN UP PODCAST PICK

DISCOVERING DOOM

Producer Adam Batty discusses the making of MF DOOM: Long Island to Leeds, a podcast created in Sheffield and co-presented with musician AFRODEUTSCHE, tracing the masked rapper’s remarkable and little-known final chapter in Yorkshire.

For people who might not know him beyond the mask, how would you explain who MF DOOM was?

MF DOOM was a highly influential rapper, producer, graffiti artist and all-round cultural phenomenon who emerged from the New York independent hip hop scene in the late 1990s. He wore a mask, concealing his identity, and was probably most famous on a commercial level for collaborations with the likes of Gorillaz. Q-Tip, the legendary MC and producer from A Tribe Called Quest, coined the term ‘your favourite rapper’s favourite rapper’ to describe DOOM – an elegant way of saying that, while you might not personally be familiar with his work, the chances are that the people you admire within hip hop culture probably were. DOOM was born Daniel Dumile in Hounslow in the 1970s, when his mother was visiting relatives in the city. A couple of weeks later, Daniel and his mother returned to her home in the United States and life carried on as normal until 2010 when, upon returning to the US following his first tour overseas, Dumile was prevented from re-entering

the country by border officials. At that point DOOM all but disappeared from public view, with speculation rife as to where he might be. Some said he’d retired to the Caribbean, while rumours on Reddit claimed he’d made a life for himself in Fiji. Our documentary set out to discover the truth behind all the speculation – and in 2023 news emerged that he had actually died in my hometown of Leeds.

How did that discovery land with you personally?

The idea that he could have been sat next to me on the bus or having a coffee in my favourite café really sparked my imagination. DOOM took a lot of inspiration from comic books, which is something I’m also passionate about, so the thought that he might have been a regular in my local comic shop particularly blew my mind.

I found out that DOOM had been living in Leeds at the same time as many other fans when the findings of an inquest into the circumstances of his death were made public in 2023. I just remember thinking: what on earth? It didn’t seem real. I must have relayed the story of him living in Leeds a hundred times now, and each time the reaction has been the same: shock and ‘WTF?’. With the show, I really set out to capture the essence of that feeling.

He is one of hip hop’s most reclusive figures. How did you approach telling the story of someone who actively guarded his privacy?

In the end, we just embraced that part of him. This comes up in the show, but as a fan of MF DOOM I actually feel like a

custodian of maintaining that sense of mystery. That probably sounds like an odd thing for a journalist to admit, but it felt both in keeping with the story we were trying to tell and respectful to our subject and the people he’s left behind. I feel we’ve achieved a good balance: the story doesn’t suffer from leaning into the mystery. With something like that, there’s always a risk it could become anticlimactic or unsatisfying, but I think it’s worked out well.

Did you uncover anything about his time in Yorkshire that genuinely surprised you?

One of the great things about a project like this is that loads of people approach you with their own stories once they hear what you’re doing. Suddenly everybody had a tale – from friends who think they might have served him in a pub to a guy who ‘accidentally’ performed as a session musician for him. My favourite story is about DOOM’s supposed love of remote-control cars, which saw him spend thousands of pounds in a hobby shop on the outskirts of Leeds. Apparently, something went wrong with one of the cars and he ended up leaving the company a one-star Trustpilot review.

The podcast was made here in Sheffield at Persephonica. How important was it to make this story in the north rather than in the capital?

I’d actually go as far as saying it was essential that we made this show in the north. I want to show the next generation that we can produce big projects like this in a place like Sheffield – that we’re allowed to, for want of a better term – as that didn’t necessarily feel like the case when I was growing up in West Yorkshire 20 years ago.

You’ve lived here for 15 years now. Has the city influenced the way you approach storytelling?

Definitely. It’s difficult to be around some of the people we have in Sheffield and not feel inspired to do things differently. I think that’s a northern thing too – we’re natural raconteurs, we have the gift of the gab. When I think of storytelling, I think of listening to my dad chatting with his mates in the pub or working men’s club. It’s a very specific type of chatter that comes from those spaces: part tall tale, part harsh reality, often filled with humour and a sense of mythology. You’d never quite know what was true or what was exaggerated and, in a way, MF DOOM: Long Island to Leeds feeds off that too. I mean, it’s partly set in a social club – the Brudenell Social Club – but it also carries that sense of urban legend and thrives on the spirit of it.

IT WAS ESSENTIAL THAT WE MADE THIS SHOW IN THE NORTH… I WANT TO SHOW THE NEXT GENERATION THAT WE CAN PRODUCE PROJECTS LIKE THIS IN SHEFFIELD”

The soundtrack comes from Matt Helders. How did that collaboration come about, and what does he bring to the atmosphere of the series?

Helders is a massive DOOM fan himself. Back in 2008 he included a track by him on his Late Night Tales mix, so I knew he had a hip hop streak. But it was only when I came to work with Dino Sofos and the team at Persephonica that the idea of Helders actually coming on board was raised. The phrase Helders used was ‘DOOM-adjacent’ – we wanted something that captured the spirit of Dumile’s music without sounding forced

or too on the nose. It’s music inspired by DOOM, but with its own identity. A lot of the music was recorded on period-appropriate instruments too. For example, the second episode is set during DOOM’s formative years in the 1980s, so Helders reworked our main theme using synths and drum machines from that era to create something authentic.

Finally, what do you hope listeners in South Yorkshire take away from the series?

For me, the real takeaway for listeners in this part of the world is one of ambition:

we are making world-shaping content here in South Yorkshire, and the work that Persephonica is putting out from a small office in Sheffield’s Leah’s Yard is influencing the world of podcasting in much the same way that Warp Films has shaped modern British film. It really deserves to be celebrated and shouted about. I find that incredibly inspiring as a regular guy from a working-class background in the north of England.

ESTATE OF PLAY

Proudly working-class, self-taught and Sheff through and through, Proper Skint on turning her lens on the city’s estates, pubs and people – and challenging who gets to tell those stories.

First of all, for those who don’t know, can you introduce yourself to the Exposed readership?

I’m a working-class, self-taught photographer from Sheffield who goes by the name Proper Skint. I enjoy documenting anything and everything working class, be it the vices of the weekend’s antics or the working-class communities and everything that encapsulates them.

What first inspired you to pick up a camera?

The lack of working-class documentation in and around Sheffield. I kept thinking, why is nobody doing this? We should be proud to show off our city, warts and

all. You’ve got established names in the northeast and Lancashire, but why not here? For me, that has to change.

What’s changed since – and equally, what hasn’t changed in your approach? What hasn’t changed is my subject matter and keeping the authenticity of it. What has changed is acknowledging that I have to build on my confidence when it comes to approaching someone for a shot, which I know will come over time.

Where are your favourite spots or areas in Sheffield and South Yorkshire to shoot?

Working-class areas, town, football stadiums, pubs. No one day is ever the

same and that’s what I enjoy when it comes to these subjects, as they’re so diverse in terms of mood and timing.

Are there particular neighbourhoods or communities you feel especially connected to?

There are a few places. Growing up, I moved a few times, but a good chunk of my youth was spent in the Woodthorpe area. However, when you’ve grown up on a council estate, they all hold a level of familiarity.

On that note, The Estate is a recent set of pictures you’ve taken – tell us about what drew you to that space?

The tower blocks still dominate a fair bit of the Sheffield skyline, alongside the maisonettes, and that in itself is iconic. I was also drawn to it because it still has that nostalgia of a workingclass community – the feeling of land that time forgot. These areas shouldn’t be forgotten as they hold so many memories and they’re the places that helped shape us.

It’s International Women’s Day this month. What challenges does being a street photographer present that aren’t typically faced by men?

Photography is a very male-dominated area, so women are already on the back foot and can be mocked, harassed, racially abused, or seen as weaker or less than. However, that narrative is being challenged and I know for sure what I bring to the table. That in itself is empowering and makes me want to break down even more barriers.

Which female creatives have inspired or influenced what you do?

nothing can stop you. Create a good network and keep persevering. Always remember why you started in the first place, don’t put too much pressure on yourself and it should all come naturally. Do what makes you feel fulfilled.

Are there any projects or themes you’re keen to explore next?

PHOTOGRAPHY IS A VERY MALEDOMINATED AREA, SO WOMEN ARE ALREADY ON THE BACK FOOT… HOWEVER, THAT NARRATIVE IS BEING CHALLENGED”

The main female photographers who have inspired me, and who I can relate to on a working-class level, are Shirley Baker, Tish Murtha and Anne Worthington, just to name a few. They all show really poignant moments in time in terms of change, but also the struggles the working class faced, which I feel is still just as relevant even now, all these years later. I also admire how they captured resilience against adversity, while making the most out of what little they had.

On that note, what advice would you give to aspiring women photographers? If you know your worth and have the determination to focus on what you want to do, then keep pushing boundaries. If you enjoy what you do,

I don’t want to give too much away on that one as it’s all about the element of surprise and I like to keep people guessing – otherwise where’s the fun in that? All I will say is that I’m exploring a few different topics, one being personality and a carefree attitude.

How can people in Sheffield support your work and that of other creatives in the city?

The best way people can support my work, and that of other creatives, is by word of mouth or something as simple as a reshare on socials such as Instagram, as it doesn’t cost a single penny to promote. The other is a direct message to physically purchase a piece of work, and by supporting independent shops that stock creatives’ work, like Gravel Pit at Leah’s Yard.

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MORE THAN A GAME

The Ladies Football Club, a new production from Sheffield Theatres, tells the story of the city’s factory women during the first world war and how a kickabout during wartime grew into something far bigger. Keira Manning caught up with Jessica Baglow, who plays Rosalyn, to talk football, physical theatre and why this story still hits home.

What drew you to the role of Rosalyn in the production? Was there something particular about her story or personality that resonated with you? It was really Elizabeth Newman who drew me to the production. I’ve loved working with her before and the prospect of doing it here in this iconic Yorkshire theatre was exciting. Rosalyn’s cool – she’s a supportive part of the team and eager to get stuck in. She’s a goalkeeper and comes from a family of brothers, like me.

One of her lines is: “I come from a family of brothers who, when I asked to play football, they’d always put me in goal, because they didn’t want to be in goal cause the goalies never get to score.” That resonated with me because I remember playing cricket with my brothers and my dad as a kid and they’d always put me as wicketkeeper. I was young and didn’t understand the game, but I was like, I don’t want to be wicketkeeper!

What was your first impression when you read the script?

It was an interesting read because there’s so much physicality in it. It’s a really intense piece and it only really makes sense once you see that side of things. We’re working with Frantic Assembly, who are amazing, looking at movement and storytelling with bodies, and Scott creates these incredible pictures.

The lyricism of the script is interesting because it moves from being quite literal to something slightly exaggerated – like heightened realism. Combined with light and sound, when all these elements come together it’s going to look great.

How would you describe Rosalyn’s journey in the play? What challenges or moments of growth does she experience on and off the pitch? They all go through a similar journey of growth as a team. At the beginning they’re amateur, unsure of their skill and just having a laugh, but by the end they realise the power they hold.

Physically that will come across in how we handle the ball at the start – it grows and becomes more assured throughout the play.

Did you have to train or learn any football skills for the stage?

We’ve had a good kickabout in rehearsals and Scott, our movement director, has a strong understanding of football to build on. However, on stage it all translates through movement. It’s not literal but more of a metaphor for football. We’re lifting each other up, with aerial kicks and time-bending movements, so not necessarily traditional football skills.

The production is rooted in the region’s wartime history. As a South Yorkshire local, what has it meant to you to perform this story in the very city where it’s set?

It’s so nice to be back in Yorkshire. I was born in Doncaster but left when I was two, so I haven’t really grown up here. That said, the majority of the jobs I’ve done as an actor have been in Yorkshire, so I keep getting pulled back, which I think speaks to its creativity as a county. It means a lot – it’s my heart’s home.

How do you personally relate to the production? Have any experiences aided your performance?

At the time the play is set, these women were defying stereotypes and rules that prevented them from being athletic

and involved. I think sport, especially women’s football, draws in women who are non-conforming and creates a space where people can feel accepted. The focus is centred on physicality rather than image.

As a queer person, the number of queer athletes in women’s sport is really inspiring. And the theme of being brave, taking on a challenge where you might lose – that’s the life of an actor.

Football is central to the play – but it’s also about community, resilience and identity. How do those themes come through?

We don’t start out as a perfect team. There are squabbles, bickering and tension within our community as women in the factory, and the love of the game brings us together. And as a goalkeeper, if you let a goal in, you’ve got to keep going.

There’s a quote from a book by an adventurer that goes, “When you think you’re screwed, you’re probably only 70 percent screwed.”

How do you think the story will be received by audiences? What messages are you hoping will come across in the performance?

The main thing I’ve learnt is that women’s football was massive during the first world war. There were more than 100 teams playing across the country and then, as soon as the war ended and

the men came home, it was banned for 50 years.

I really hope people understand that where we are now hasn’t been easily achieved. The women playing today are standing on the shoulders of giants. I hope audiences see how fragile rights are, the things we take for granted and how easily they could be taken away again.

Does that feel particularly relevant today?

I really think so, especially with political changes happening across the world. Roe v Wade, for example, where something thought permanent was taken from us. It’s very relevant and there’s still a long way to go to close the gender gap, in sport and beyond.

The play’s run will coincide with International Women’s Day – do you think the story will inspire young women?

That’s definitely the intention. The final image of the play, which I won’t give away, is hopefully going to do that. Seeing yourself reflected is a really powerful thing and if you go through life not being reflected, you feel like you don’t exist.

The Ladies Football Club runs at the Crucible Theatre 28 Feb-28 Mar. Tickets (£15-£44) are available from sheffieldtheatres.co.uk.

PUSHING BACK

As International Women’s Day approaches, visual media artist Sara Prinsloo talks to Exposed about class, pigeonholing and why she's reclaiming ‘trashy’ as a badge of power.

Manchester rockers Nihilists. How do you think your art intersects with music? Ah, music is life! I’ve always been a bit of a music obsessive. I honestly couldn’t live or paint without it. Art and music are both massive creative outlets. They let you explore who you are in different but equally exciting ways. And when you bring the two together, something bigger can happen.

I’d say the intersection is in the layering and the honesty. We’re using different mediums, but we’re both trying to make sense of the same emotional and social noise. I think that’s why music and art works so well together: they reach people differently, but they’re both emotional languages.

Hi Sara, for those who don’t know, could you introduce yourself and what you’re all about to the Exposed readers? Yo, thanks for having me! I’ve been practising art and working creatively for a while now. My work covers all sorts of subjects, but at its core it’s about identity and different kinds of struggles – personal, social, cultural. There’s also a lot of humour in there. That’s usually how I deal with difficult situations, so it naturally finds its way into my work too.

What have you been up to since the last time we caught up?

Last year was a big one for me. I won a mentorship programme with Lick of Paint Festival, which was super exciting, so you might’ve spotted some of my new murals popping up around the city.

Alastair and Meg at Lick of Paint have been incredible. They’ve really welcomed me into a new way of working that’s allowed me to paint at a much bigger scale and in public spaces. There’s something special about creating work that’s free to see and accessible to everyone. That’s something I care about a lot.

You recently collaborated with

When Alleged Productions requested my art for the Nihilists music video, it felt like a natural meeting point. Kelli from Alleged selected my picket art and hand-stitched balaclava for the video ‘Climbing Over Bodies’ because she wanted to create something that encouraged thought against the current media landscape, which is hell-bent on fostering hatred and divide.

Musically, John Patterson builds compositions in layers, almost the way I construct visual work – adding texture, tension and contrast until something emotionally honest emerges. And James Mudriczki’s lyricism, rooted in lived experience, latenight thoughts and what he calls ‘brain fondue’, mirrors the way I draw from personal history and internal dialogue.

Your work draws heavily on lived experience – how do those memories continue to shape your artistic voice today? There have always been parts of my own life that have made me angry. I get frustrated by how the world operates, especially for people who don’t have money or privilege behind them. A lot of my experiences have been shaped by two things: being a woman and being skint. Both come with their own vulnerabilities.

I’ve found myself in some dark or uncomfortable situations because of that, and those moments have taught me a lot about how society views you, what people think they’re entitled to and what assumptions they make. But they’ve also taught me about resilience, love and solidarity. I think a lot of working-class women will recognise that

duality.

Even recently, a man drove past me late at night. He stopped his car and asked me, “How much?” That kind of moment lingers. It makes you question how you’re seen, how you’re valued. I’m still processing it, and that’s usually when the work begins. I imagine it’ll find its way into something I make soon.

With International Women’s Day coming up, some of your work, such as the Trashy Ladies series, feels particularly resonant in its challenge to norms around femininity and beauty – how do you think society’s expectations shape the way female artists are perceived or pigeon-holed? I’ve been called chavvy, trashy, loutish – all the labels society throws at women who don’t fit the mould. But I play with that. I lean into it for myself and other women like me. It’s a kind of thick skin you develop when you’ve been subjected to certain circumstances. And it’s not negative. When you push ‘trashy’ to the edge, it becomes about power, authenticity and authorship.

Female artists are often pigeon-holed as decorative, ‘crafty’ or only talking about

‘women’s issues’. But we need to push against that. Society still filters women through expectations around beauty, sexiness and softness. There’s a pressure to be visually appealing, quiet and digestible. That’s not me, and I don’t think it should define anyone’s work. Sure, maybe my work sells less than someone who avoids difficult subjects, but those are exactly the conversations that matter.

How do you think contemporary art can contribute to conversations about women’s voices and women’s stories?

Contemporary art has an incredible ability to speak and to voice its creators’ perspectives that viewers may not have considered otherwise. It’s a platform for women to share their stories without being filtered through someone else’s idea of what being a woman means. Again, it’s that chance to share honestly and a great way to push against the expectations society places on women. Art lets these voices exist. It helps us learn and offers a chance for change. Great, innit!

On that note, are there any Sheffield-based women

creatives you feel are doing particularly exciting or important work at the moment?

Photographers @lili_takesflicks and @proper.skint would be my Sheffield go-to. Both are producing work that gets my attention for different reasons. Ruby Fox, who’s also a resident at my studio, KIAC, is creating incredible installations, transforming spaces into entirely new worlds with her set design skills.

There’s also a lot happening with New Wave, the minority-

genders night at House Skatepark. It’s not just about skateboarding, but building a community. From 28 Feb to 14 March they’re hosting a queer history of skateboarding exhibition from the 1960s to the present day. That’s an event to head to.

Finally, how can people support what you do? Take a look at my website and socials!

saraprinsloo.co.uk @saraprinslooart

Sheffield’s queer scene keeps up the energy this March with a glorious mix of parties, performances, community meet-ups and creative spaces to warm you through the final days of winter.

Rainbow Minds (every Wed) continues to be a safe and supportive café-style social at the Wellbeing Centre on Sharrow Lane, running 5.30 to 7.30pm for LGBTQ+ folks aged 18 and over who might be feeling isolated or just fancy a cuppa and a chat. The Over 50s LGBTQ+ Group (Thu 12 Mar) meets at Weston Park Museum, offering a dementia- and neurodivergent-friendly peer support space for older members of the community. SAYiT is also hosting its bi-monthly Working with LGBTQ+ Young People Forum (Wed 11 Mar) online, a chance for local professionals to connect and share ideas on best practice. If you’re after somewhere to shake off the week, there’s no shortage of unforgettable nights out. Things kick off at Gut Level with Tavern Party featuring

PDA (Fri 6 Mar), with Berlin-based DJs Tam Tam and DJ Subaru bringing party energy, cold pints and big tunes for a night of dancing. The following night, Gut Level is back at it with Private Regcords featuring Kiosk (Sat 7 Mar) on the final stop of their Heaven Sent / Sure Shot tour, joined by Buffee and an afterparty to take you into the early hours. Foundry hosts Grapefruit (Thu 12 Mar), the big, bold LGBTQIA+ club night that’s all about fruity vibes and feelgood anthems, running from 11.30pm to 3.30am. Dirty Funking Queers (Fri 13 Mar) take over Gut Level for a spring celebration. Expect Ik0nixx, Elwood and HausKlown behind the decks, spinning house, acid and bass all night long. Still got some energy left? Rat Party (Sat 14 Mar) returns to Gut Level with residents

Roxanne and IYESHA joined by Leeds selector Zesty and Sheffield’s Gracie T for a night of club and bass-driven heat. If comedy or creativity is more your speed, you’re sorted. Over at The Beaten Track, Worms in Progress (Sat 14 Mar) is a queer comedy night with Bróccán Tyzack-Carlin trying out brand new material in a fun, intimate setting. KWR Life Drawing V10 (Wed 18 Mar) is back at The Victoria. It’s a laid-back, self-led drawing session in a queer-friendly pub, where you can sketch from a live model, have a drink and enjoy the calm vibe. Then orbyss (Sun 22 Mar) brings something a little different to Gut Level. This is a gentle, ambient evening of downtempo music designed to offer a space to rest and connect. It’s part of a UK-wide queer tour that champions slower, softer community events, with a line-up including Betty, MYNA, TB316 and Teleopath playing from 5pm to 10pm.

Two big shows close out the month in very different styles. Nether Green Working Men’s Club is hosting a Charity Drag Night (Fri 27 Mar) in memory of Adam Salter, raising funds for Rainbows Hospice as part of Kas’s London Marathon campaign. Expect performances from drag queen Jelly Cube and live tunes from local band Simplified in what promises to be a heartfelt, uplifting night. Then things get weird and wonderful at The Lughole with Sesame Sleaze (Sat 28 Mar), a wild drag parody of your favourite childhood puppets gone completely rogue. Brought to you by the Haus of Piecost, this one is filthy, anarchic and completely off the wall. You’ll need Lughole membership to get in, so make sure you’re signed up before the night. For something low-key and wholesome to end the month, Rainbow Gamers (Sun 29 Mar) returns at Treehouse Board Game Café. This welcoming monthly social invites LGBTQ+ folks to meet, relax and play board games. It’s free to attend but ticketed in advance, so book ahead and then grab your drinks and snacks at the bar and settle in for a chilled Sunday. Whether you’re here for the dancing, the drawing, the drag or just a chance to hang out with great people, Sheffield’s LGBTQ+ scene has something going on for you this March. Get your calendar sorted, bring your mates and make the most of everything this city has to offer. That’s your lot for this month. Make sure to check out the latest event announcements at facebook.com/ sheffieldlgbtevents

LION AROUND

This summer, 300 life-sized lion, lioness and cub sculptures will prowl the streets of South Yorkshire as Pride of Yorkshire arrives in Sheffield, Barnsley, Rotherham and Doncaster.

Sheffield-based street artist Megan Russell, aka Peachzz, is best known for her kingfisher mural The Reverie in Pounds Park. For Pride of Yorkshire she’s swapping giant walls for a smaller canvas, but her love of wildlife is still front and centre.

What’s your design about?

“My design’s quite a simple concept: it’s lions… on lions! I’ve painted lions climbing through trees, with berries and parts of their natural habitat wrapping around the sculpture so the lion carries its environment with it. I like to paint things that support animals and wildlife. Seeing these beautiful animals is a reminder that they exist alongside us and deserve to be looked after.”

This is a bit different to your usual work?

“Very! I normally paint massive murals and rarely get the chance to work smaller. I’ve been spray-painting for about 15 years, and hand painting was something I was quite scared of. I recently decided to use mostly hand paint for environmental reasons and realised I shouldn’t have worried. When you paint big, you’re expressive, but with this you get into the nitty-gritty detail and can really push how precise you can be. I’ve used mostly wall

paint with just a touch of spray paint on top. I still like keeping a bit of that messy energy.”

So, how did you first get into art?

“I always told my grandma I wanted to be an artist. We used to paint together and she inspired me massively. Then, when I was a teenager, I started spray painting in abandoned factories (don’t do it, kids!). I just found something I loved, and when you find that, you’ve got to be bold and just keep doing it.”

Why did you want to be part of Pride of Yorkshire?

“I liked the challenge. Working at this scale is refreshing and it’s for an amazing cause. When you put art in public spaces it connects communities in a powerful way and people become part of the

artwork. You don’t control how people interact with it, and that’s the best bit. Seeing people react to your work is quite addictive. I’ve seen people take wedding photos in front of my mural and tag me, which is surreal. It makes me emotional, but in a lovely way.”

Why is Sheffield special to you?

“It has a really welcoming art community. People are supportive and it’s a super creative city. There are loads of independent places and a real community feel. I wouldn’t be here without other artists encouraging me.”

Any advice for young creatives?

“Just keep playing and doing what you enjoy. Social media makes you compare yourself to other people, but you’ve got to find what makes you happy and ignore the noise.”

You can see more of Peachzz’s work at @_peachzz

For more information about Pride of Yorkshire, visit prideofyorkshire.org and follow them on socials at Pride of Yorkshire.