Exposed Magazine October 2025

CABARET VOLTAIRE

SHEFFIELD’S ELECTRONIC PIONEERS MARK HALF A CENTURY OF SOUND

SIMON ARMITAGE // KAT EATON // MATHEW J HALL // SHAUN RYDER // DEAD LIKE HARRY // MELVILLE // NEWS, REVIEWS & PREVIEWS

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1

WEDNESDAY

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

“ A

raucous mix of live music

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

PHIL JOHNSON

The backbone of many fantastic Jazz and Swing acts takes centre stage. Armed not with drumsticks but his Organ and a microphone. Backed by Pierro Tucci, Chris Walker and John Watterson for a night of Jazz and Swing dancefloor fillers. These guys pack a heavy swingin’ sound.

RYAN TAYLOR

Organ-wielding funkmeister Ryan Taylor returns to Big Swing with his trio of equally handsome badasses. Featuring Phil Johnson on drums and Chris Walker on guitar, Ryan and the boys bring rip-roaring, riotous jazz, swing and Latin grooves to get down to on a Wednesday night.

WEDNESDAY

THE DIZZY CLUB

Sheffield’s most loved, long standing swing band. Their music often crosses the genre divide simply because they are so interesting musically. Influences of Hot Club, 40’s swing, Blue note Soul and Sinatra often with Latin rhythms gives them an edge.

WEDNESDAY

LOUIS LOUIS LOUIS

Playing classic Swing, Jump-Jive, Ska and red-hot Rhythm & Blues, guaranteed to get your feet tapping and your legs flapping! Thumping slap bass, honking saxophone, raucous four-part vocal harmonies and a driving piano boogie. Playing the hits of Louis Prima, Ray Charles, Louis Armstrong, Nina Simone, Toots & The Maytals, Louis Jordan and more!

WEDNESDAY

DANNY MADDOCKS

Join us for a night of Gypsy Jazz with the heavy Swinging and highly accomplished guitarist Danny Maddocks! Danny’s passion for jazz has taken him to prestigious venues like Birmingham Symphony Hall and Ronnie Scotts Jazz Club. This dynamic trio’s vintage vibes and Gypsy Jazz classics will keep your toes tapping all night long. Sizzling!

CASINO . RESTAURANT . BAR

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AND MIDDAY FRI SUN

20. SYNTHS OF STEEL

Cabaret Voltaire return to their radical roots with a raw, retrospective live show at Sensoria this month, marking 50 years of DIY sonic subversion and made in Sheffield spirit. Ash Birch spoke with Chris Watson and Stephen Mallinder to hear how we can expect tape loops, tributes – and absolutely no disco pop.

26.

SOUND BITES

Strobe lights, DnB bangers on the speakers and a course you’re required to lick right off the plate – Ash Bagshaw explains why 53 Degrees Norse are on a mission to do fine-dining for people who don’t like fine-dining.

37.

CRUSHING IT

Shaun Ryder reflects with Rosie Brennan on 30 years of 'It’s Great When You’re Straight…Yeah', from LA crack dens to seaside rooftops, ahead of Black Grape’s upcoming return.

58.

WORDPLAY

Poet laureate Simon Armitage on swapping the page for the stage with L Y R – a bold blend of spoken word and cinematic sound, landing at Off the Shelf for one night only.

62.

COLLAGE CARNAGE

Melville gets the risograph treatment in a new zine – expect plenty of cut-and-paste chaos and a launch night more about Guinness than gallery talk.

GAFFERS

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FINANCE

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GRAFTERS

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Marc Barker (Design Dogsbody)

GI’ US A HAND PLZ

IRosie Brennan, Ruby Deakin, Mark Perkins, Heather Paterson

Exposed is published monthly by

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IN FULL BLOOM // @marcabarkerphotography

This stunning mural popped up around the corner from Exposed HQ last month. Situated at the entrance to Kelham Island Museum, it was painted by artist Tech Moon as part of Lick of Paint –the city’s first street art festival. Head to lickofpaintfest.com for an interactive map where you can track down all the walls by following a short city centre trail.

CITY VIEWS

STORIES FROM THE HEART OF THE STEEL CITY

RUBY DEAKIN

Everyone knows that Sheffield is one of the greenest cities in the country. I didn’t really understand just how green it was until I started living elsewhere. In concrete towns, treeless streets feel empty, neighbourhoods without parks and green spaces lack unity, and wildlife in urban areas is nowhere to be found. I didn’t know how good I had it, being born and bred in Sheffield, until the green started to fade.

For a few years, the outdoor city was my classroom. I left school at 11 to be home-educated and, within a year, was plunged into the struggle to preserve the greenery that defined the Sheffield I’d grown up in. The street tree saga is now a notorious chapter in Sheffield’s activist history, with news of the mass felling of mature trees reaching far and wide. When the trees started disappearing, it felt like the city was losing its essence. But, as every Sheffield native can attest, we don’t let anything go down without a fight.

I remember often driving around the city with my mum on an average day, suddenly changing course to trail a chipper or cherry picker heading for the next tree destined for the chop. I always felt like the trees were Sheffield residents just as much as I was – rooted firmly in the earth, and most of them had been here much longer than I had. They’re connected to their surroundings, intertwined with the roads and the communities that look after them.

I regularly walk along the street considered the site of the campaign’s final victory in 2018. Meersbrook Park Road – still recognised as one of the leafiest avenues in Sheffield – is a physical reminder of the campaign,

SOLIDARITY IS WOVEN INTO THE FABRIC OF SHEFFIELD, AND THE FIGHT TO SAVE OUR STREET TREES WILL BE REMEMBERED AS A PIVOTAL MOMENT WHEN PEACEFUL PROTEST WON AGAINST ALL ODDS.”

imprinted with signs of resistance. One half-felled lime tree, known locally as ‘Stumpy’, retains the Y-shape it was cut back to before protestors put a stop to the work. Despite sharp cuts at the end of its limbs, new growth has since sprouted, and Stumpy remains a living memorial preserving the collective memory of the struggle that took place.

A tree might seem a daft thing to feel so strongly about, but the campaign stood for much more than just stopping the chop. It was a testament to the strength of community spirit and the power of collective action in reclaiming our streets and neighbourhoods. Though thousands of healthy trees were lost, many more were saved. Solidarity is woven into the fabric of Sheffield, and the fight to save our street trees will be remembered as a pivotal moment when peaceful protest won against all odds.

So many amazing initiatives came out of those tumultuous few years – from art groups connecting people to the trees in their neighbourhoods to live music and comedy events raising funds for the campaign. The struggle created a community of people unafraid to hold authority to account, and I’m proud to have been part of it.

It was undoubtedly an unusual education, but being exposed to such an important local campaign at that age made me an activist at heart. Trees are living memories, and their existence preserves the streets of Sheffield as sites of important historical change. Standing tall, they actively resist the memory of the campaign fading from Sheffield’s conscience – making sure none of us forget the strength of solidarity in this evergreen city.

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Off the Shelf Festival of Words

Sheffield’s much-loved literary festival is back this autumn, celebrating its 34th edition with an eclectic programme of more than 60 events running from 10 October to 10 November 2025.

One of the longest-running literary festivals in the UK, Off the Shelf has earned a reputation for bringing together some of the brightest minds and most recognisable names in literature, performance, and culture. Delivered by the University of Sheffield, the 2025 lineup once again balances international stars, national voices, and homegrown talent – all right here in the Steel City.

Audiences can look forward to appearances from Olivier award-winning actress Alison Steadman, celebrated poet Lemn Sissay OBE, novelist Mick Herron, comedian and Sheffield native Graham Fellows (a.k.a. John Shuttleworth), historian and broadcaster Lucy Worsley, presenter John Suchet, and actor Nigel Planer of The Young Ones fame. The UK’s Poet Laureate Simon Armitage will also take to the stage, first reading from his new collections Dwell and New Cemetery, before joining his band LYR for a unique blend of poetry and music.

The international strand of the programme features some heavyweight names. Korean author Bora Chung introduces her new work The Midnight Timetable, building on the success of her Bookershortlisted Cursed Bunny, while Japanese best-seller Mizuki Tsujimura – whose books have sold more than 10 million copies worldwide – will present her latest novel Lost Souls Meet Under a Full Moon

Closer to home, Sheffield

writer Jamie Taylor will revisit the story of Studio Electrophonique, the suburban studio that helped launch the city’s electronic sound. Local literary stars Helen Mort and Sunjeev Sahota also feature, alongside acclaimed broadcaster Kenan Malik, who will discuss his book Not So Black and White

There’s also a strong historical and political thread running through the month. Tracy Borman returns with more Tudor intrigue, Stuart Maconie makes a welcome comeback, and Afghan rapper

and activist Sonita Alizada shares her extraordinary story of resilience and resistance after escaping a forced marriage.

Professor Vanessa Toulmin, Director of City, Culture & Public Engagement at the University of Sheffield, told Exposed: “This year’s exceptional line-up continues the festival’s tradition of welcoming diverse voices and big ideas. Whether you’re a lifelong book lover or simply curious about the written word, there’s something here for you.”

With poetry, history, comedy, politics, music,

memoir and more, Off the Shelf offers something for everyone – a month-long celebration of words and ideas that’s firmly rooted in Sheffield’s cultural calendar.

See the full programme and purchase tickets from offtheshelf.org.uk.

Head to page 58 for an exclusive chat with LYR – the band featuring Poet Laureate Simon Armitage with Melt Yourself Down’s Richard Walters & Patrick Pearson.

BREWED AWAKENING

Sheffield’s favourite Vietnamese café is going back to its roots – with a brand-new roastery in Kelham Island and a bold mission to put Asian coffee on the UK map.

When Jim and Melissa Rose opened the doors to Năm Sông in 2017, they were taking a leap of faith. Inspired by a backpacking trip across Southeast Asia, the couple returned to Sheffield with a love for Vietnamese coffee culture – and a bold idea to introduce it to the city.

“We just kind of thought, why not really?” Jim tells Exposed. “We’d finished uni, travelled around Asia and fell in love with Vietnam especially. On our first day in Saigon we tried cà phê sữa đá – Vietnamese coffee with condensed milk – and we were blown away. It tasted chocolatey, caramelly, unlike anything we’d had before. And we certainly hadn’t seen anything like it in Sheffield.”

What began as a quirky café in Broomhill with Vietnamese banh mi baguettes and traditional ‘phin filter’ brews soon evolved into something bigger. Over the years, Năm Sông experimented with expansion, adding new locations in Leeds, Cutlery Works and Dyson Place. But the rapid growth took its toll. “We spread ourselves too thin,” Jim admits. “We moved too quickly and it stopped being fun for us and the team. Me and Melissa just looked at each other one day and said, are we happy? And we weren’t.”

That honest reflection led them back to their roots. Today, Năm Sông is thriving once more with its single, much-loved site in Broomhill and a conscious return to the business's original inspiration: Vietnamese phin filter coffee.

And now, in the heart of Kelham Island, the next evolution is taking shape – a dedicated roastery space, housing their very own production and distribution hub for specialty coffees exclusively sourced from Asia.

“To our knowledge, we’re the only company in the UK doing this –

specialising purely in Asian specialty coffee,” Jim explains. “Vietnam is the world’s second-largest producer of coffee, but people rarely think of that region when they think of high-end brews. We want to change that.”

The space is being used for a bigger push into wholesale and retail, with a range of bespoke products available online, in-store and at a stand in Red Brick Market.

In particular, they’re championing the phin filter – a traditional Vietnamese brewing method that has become Năm Sông’s signature. “It produces a drink that's like a cross between a filter coffee and an espresso,” says Jim. “There are no paper filters, it’s sustainable and it tastes really unique.”

They’re not just showing, either – they’re teaching. Head to their socials and you’ll find straighforward instructional reels, guides and in-store demonstrations to help customers brew phin filter coffee at home. As such, the new roastery space will be used not just for production, but as a backdrop for sharing stories and celebrating the culture behind the coffee.

“We’ve had so many customers over the years send us their travel photos from Asia. We’ve put them up on the walls at Năm Sông. People come in and go, ‘I’ve been there!’ and it sparks all these memories. That’s what this is about, really – more than just coffee. It’s about helping people reconnect with those experiences and shine a light on a part of the world that’s often overlooked in the coffee world.”

As the roastery takes shape, the focus remains on showcasing Asian-grown coffee – while staying true to the stories and flavours that first sparked the idea for Năm Sông.

And if you’ve never tried a traditional Vietnamese coffee, now might be the

time. “It’s still our biggest seller,” Jim says. “Even though we’re technically a restaurant now, we sell more phin filters than anything else. People just love it.”

Stainless steel phin coffee filters are priced at £14 for the 8oz size and £20 for the 12oz. A full coffee set – including a filter, condensed milk and 220g of roasted coffee – costs £28. Browse the full range online at namsong.co.uk and stay updated on socials by following @wearenamsong

MAKE IT AT HOME

Scan the QR code for a simple guide to making delicious Vietnamese coffee using the phin filter.

HIDDEN GEM

From serving up mouth-watering homemade pasta to hosting gatherings for the city’s art scene, this tucked-away spot in the heart of Kelham punches well above its weight in both a culinary and cultural sense.

Run by Steve Miccoli and his team, family-owned restaurant and bar Isabellas has been quietly serving up proper Italian hospitality for the past four years. Upstairs is a welcoming restaurant where everything – from the sauces to the pasta fillings – is made fresh, while downstairs you’ll find a relaxed cocktail lounge with table service.

“We’re probably one of the only places in Kelham where you can come in for drinks and be served at your table,” Steve says. “People often think we’re just a restaurant, but the bar downstairs is perfect for cocktails after work, a chilled drink or a weekend night out. People really like the table service aspect – they feel looked after.”

And speaking of drinks, the menu has recently had a seasonal refresh thanks to their in-house mixologists. Expect top-quality spirits, Italian spritzes and fresh flavours that change with the time of year.

Food-wise, the kitchen is led by Sicilian head chef Salvatore, and the latest menu is a mix of old favourites and fresh ideas. Dishes like the mushroom gorgonzola tagliatelle and king prawn linguine have stood the test of time, while new additions such as the ragu cannelloni are already proving popular.

Midweek visitors are well looked after too. From 5 to 7pm there’s a Happy Hour featuring 2-for-£14 cocktails, plus a little Mediterranean touch in the form of aperitivo – order any alcoholic drink and you’ll get a free slice of freshly made pizza. It’s the kind of laid-back vibe that makes you want to stay for tea.

At the weekend, Isabellas steps things up with a bottomless brunch that might just be one of the best value offerings in Sheffield. For £40, you get a full homemade meal – pizza, pasta or risotto – and 90 minutes of

unlimited drinks. Not just the usual options either: think premium wines and spirits, beers on draught, limoncello spritzes and gin and vodka mixers.

There’s also a private events space upstairs, perfect for everything from birthdays and baby showers to corporate dos and networking lunches. With room for 38 guests, the team can put together either a full sit-down meal or a homemade buffet with fresh pizzas, salads and bruschettas.

More recently, the venue has served as a hub for the city’s creative scene. Their PAC nights bring together three of life’s greatest pleasures – pizza, art and cocktails – celebrating the work of local artists with diners. Book in and you’ll get a pizza, a print of your choice, a specially customised pizza box and a bespoke cocktail for £30 (£20 without the drink). They run on the last Thursday of every month.

Isabellas might not make the most noise in an increasingly vibrant neighbourhood, but that’s part of the charm. It’s relaxed, friendly and genuinely passionate about what it does – and once you’ve been, there’s a good chance you’ll be back. As Steve says, “We always get return custom… once people find us, they usually stick around.”

We joined Cabaret Voltaire’s Stephen Mallinder and Chris Watson for a 'Candide' chat ahead of their sold-out 50th anniversary celebration at Sensoria Festival.

WORDS: ASH BIRCH

Fifty years ago, Cabaret Voltaire stunned the Sheffield Students’ Union Refectory with a chaotic night of experimentation that the ‘70s students in attendence weren’t prepared for (or particularly appreciative of). Now, five decades on, the Sheffield electronic institution’s two surviving members, Stephen Mallinder and Chris Watson, can reflect fondly on a show that was never really intended for anyone outside the group themselves.

“The audience weren’t significant,” says Chris Watson. “It didn’t really matter who was there, to be honest. The fact was that we were there doing this live set – that was the interesting, exciting thing. We were doing it for ourselves.”

“Honestly, we were there under false pretences,” Stephen Mallinder adds, laughing. “The poster sort of inferred we were a disco pop or rock band – it wasn’t advertised as experimental at all. So people turned up expecting disco and were like, what the fuck is this?”

Despite the inflammatory atmosphere at their debut show, remembered by both as more of a rugby club crowd of engineering students than a hotbed of radicalism, the 1975 gig marked the beginning of something entirely new. “It went very badly wrong,” says Watson, “but that was the best part about it. That’s what we were about. Cabaret Voltaire were always interested in what was unpopular and exploring that.”

They hadn’t even planned on becoming a band in the traditional sense. They were artists and provocateurs, drawn together by a shared interest in music, tape loops, film, art and the countercultural spirit of Dada. “We could have been sculptors or poets or filmmakers,” says Watson. “But in Sheffield at that time, music was the most immediate way of expressing ourselves.”

CABARET VOLTAIRE WERE ALWAYS INTERESTED IN WHAT WAS UNPOPULAR AND EXPLORING THAT.”

“We didn’t even know if we were going to do any more gigs,” Mallinder adds. “It was about provocation, about challenging people. The idea of becoming a ‘band’ wasn’t really the goal.”

At the time, Sheffield was not known for its live music culture. “There wasn’t much of anything. A few free gigs in Weston Park, but that was about it. There wasn’t a scene,” says Mallinder. “If you grew up in Manchester or Liverpool, you were almost automatically part of some music tradition. In Sheffield, we were just on our own.”

And yet, that isolation helped shape them. The city’s post-industrial landscape and South Yorkshire’s socialist spirit bled into the band’s output. “You reflect the environment you’re in,” Mallinder explains. “It was a hard city. It wasn’t conscious, but I think that sound, that intensity, got into our molecules. At the same time, we were also trying to transcend it – reaching out to things like science fiction, outer space and the future. It was this weird synergy between bricks and mortar and deep space.”

Their influence is everywhere – even if, as Mallinder puts it, they’ve often been like a “watermark on the city –something you can’t always see, but it’s there in the sound.”

From The Human League, Arctic Monkeys and Jarvis Cocker to Warp Records and working-class kids buying their first synths, Cabaret Voltaire’s legacy is undeniable. “I was just with Pete from Saint Etienne,” Mallinder recalls, “and he told me the first record he bought was Sluggin’ for Jesus. It’s funny how these things ripple out.”

It’s not just about influence, though – it’s about access. “For me, it was about finding a way in,” Watson says. “We were working class lads and music gave us a way to reach people. We weren’t part of any industry. We had to make our own tools, our own spaces. That was the appeal.”

Cabaret Voltaire helped rewrite the rules, showing that music didn’t need to be polished or industry-approved. “We showed people you could use the tools around you,” Mallinder says. “We worked in a loft, built our own studios, ran our own labels. That’s

an important legacy – we empowered people to make things on their own terms.”

As Mallinder puts it, “Throw the instruction manual in the bin and figure it out yourself. That’s what we did.”

The upcoming anniversary show has been shaped not only by nostalgia, but by loss. Following the death of fellow founding member Richard H. Kirk in 2021 – who had continued to perform under the Cabaret Voltaire name –Mallinder and Watson began revisiting their early work. It was, Mallinder admits, an emotional process. “Richard runs through all of this,” he says. “We wanted to do something that includes him. This is Richard’s stuff – he’s here with us.”

Choosing to stage the show with Sensoria made perfect sense as the relationship runs deep (notwithstanding the obvious loan of the festival’s name from the band’s backcatalogue) both Mallinder and Watson have worked with the festival for years on talks and shows and they now help lead

its creative direction as Patrons.

“It just felt right,” says Watson. “Joe and Nigel do a great job with it – it’s about ideas, experimentation, collaboration. It’s not a commercial thing. That’s exactly the kind of environment Cabaret Voltaire belongs in.”

The show itself will span the breadth of the band’s career, from their first EP to the later Chicago material,

with new visuals and a tribute piece called Tinsley, created by Watson. “We’re not trying to reinvent The Cabs,” says Mallinder. “We want to stay truthful to the original material – but it’s still a live show, and that gives it a different energy.”

That energy, remarkably, still echoes the spirit of that first gig, 50 years ago. “In a funny way, the way we started – it was always just, ‘let’s have a go and

see what happens,’” Mallinder says. “And that’s still what we’re doing.”

Cabaret Voltaire’s 50th anniversary show takes place at Forge Warehouse on 25 October, presented by Sensoria Festival. You can check out the full Sensoria programme of events here at sensoria. org.uk.

Nestled inside the Krynkl building in Shalesmoor, 53 Degrees Norse is far from your average tasting menu spot. With its strobe lights, heavily graffitied walls and thumping drum & bass soundtrack, the space feels more like a Berlin club than a fine dining restaurant. But that’s exactly the point.

“I didn’t want to work somewhere where my creativity was blocked,” says Ashley Bagshaw, the restaurant’s head chef and owner. “I’ve done the years in traditional kitchens, but I wanted to do something different. This is who I am.”

The name – a nod to the coordinates of Sheffield and a callback to Ashley’s earlier pop-up days under 53 Degrees North – represents a rebrand and rebirth. After a stint at Steel Yard, the restaurant moved to a new site in Krynkl and reimagined the space entirely.

The experience is designed to be immersive from start to finish –lighting changes with the courses, surround sound envelops the room and, on some evenings, disco lights and ABBA come on for the dessert courses. “We want people to feel like this is their night out, not just a meal. It’s a nightclub with food.”

with your senses.”

The menu changes monthly and often features unexpected combinations and nostalgic nods. A recent dessert disguised as a Jammy Dodger turned out to be made with cheese.

UFO sherbet sweets and foam bananas make surprise appearances. “People might say, ‘It’s about playing with people’s perceptions,’” Ashley explains. “That’s the point – your brain is telling you it shouldn’t work. But it does.”

One of the restaurant’s most talked-about courses is ‘Lick It Up’ – where guests are encouraged to eat straight off the plate with their tongue or scoop up food with their hands. “Everyone’s done it. If the food’s that good, why not?” he shrugs.

Despite the playful energy and bold menu, affordability is a key part of the ethos. The 13–15 course tasting menu comes in at a price designed to be accessible.

And the food? Playful, bold and boundary-pushing dishes with Scandi and Asian influences. Ashley has no interest in playing it safe. “We’ve done a dish where it’s mullet with Thai green curry and Haribo ice cream,” he laughs. “Individually it sounds odd –but together, it works. It messes

“I could charge a hundred quid, easy,” Ashley says. “But that’s not the point. I don’t want to charge people a fortune here in Sheffield. I want this to be a regular thing that people can afford – not just a once-a-year treat.”

Service follows the same philosophy. No scripted spiels,

no hovering waiters and zero snobbery. “I want people to feel like they’re coming to a mate’s house,” Ashley says. “No one’s judging your outfit or your wine knowledge. Everyone’s equal when they walk through the door. That’s how it should be.”

That local approach extends behind the scenes too. Almost everything in the venue is handmade and sourced from South Yorkshire – from the ceramics and menu holders to the beer from Triple Point and even the locally produced artwork covering the walls.

When it comes to the food, sustainability is key. “We use everything – leftover trimmings become meat for another

COMING SOON

dish, even oyster shells go to a ceramicist to make plates. Nothing gets wasted.” The ethos, he adds, is simple: “flavour first, no fuss and a bit of fun.”

Ashley is clear about what 53 Degrees Norse isn’t – it’s not fine dining, not formal and definitely not for those wanting a quiet night out. But for those ready to be challenged, entertained and well-fed, it’s a breath of fresh air in the city’s food scene.

“I’m not chasing Michelin stars,” he says. “I just want people to come in, have a laugh, eat something mad and leave buzzing.”

53degreesnorse.co.uk // @53degreesnorse

On the first Saturday of every month, Norse will host a live DJ and dish up a bumper 20-course menu to work your way through. Well worth booking ahead, mind. We’ve had a sneak peek at the upcoming November offering too – with dishes ranging from cod vindaloo to roasted nori ice cream sandwiches, take it from us, it’ll be another mind-blowing culinary journey costing a very reasonable £50 for 15 courses (£100 with alcohol pairing).

MAKING WAVES

A fresh arrival is has shaken up Sheffield’s waterside, as Canadian outfit The Tavern Collective launches its first-ever UK venue at Victoria Quays.

Tavern on the Quays opened on 22 September, taking over a Grade II listed set of arches beneath the Quays Hotel – a previously-unused space dating back to 1855 now restored to showcase its original stone, brick and steel.

“We want Tavern on the Quays to become the place to be and a real neighbourhood hangout,” said Rene Ortiz, UK & Ireland Director for Northland Restaurant Group. “It’s a beautiful building, full of history, but renovated in a modern way.”

The 5,000 sq ft bar and restaurant seats 90 diners with a generous bar area. Further phases will expand to 9,000 sq ft, adding two private dining arches, a 200-capacity ballroom for weddings and parties, and an outdoor patio overlooking the water. Forty local staff have already joined the team.

On the menu: global comfort food meets pub classics, with sharing plates at the heart. Expect Detroit-style deep dish pizzas, Canadian poutine and cocktails devised with Diageo mixologists – many with nods to Sheffield’s musical heritage.

The design blends North America’s modern tavern style with a British setting, described as “laidback steampunk vibes” – playful, eclectic and offbeat. Their bulldog mascot, JD, fronts the logo, and yes, dogs are welcome, with their own menu from local boutique Ruby and Sophia’s.

Opening offers include £1 off pints, Happy Hour deals and a lunchtime deep-dish slice for £5.

“We can’t wait to show Sheffield what The Tavern Collective is all about,” added Ortiz. “From our mascot to menu twists and throwback tunes – and as sponsors of the mighty Sheffield Steelers – we’re here to make some noise.”

@thetaverncollectiveuk

Back in the Swing

Sheffield’s iconic Abbeydale Picture House is stirring back to life, as True North Brew Co. prepares to unveil Abbeydale Ballroom on Thursday 2 October.

Closed since March, the vast basement space –once home to Picture House Social – is entering Stage One of an ambitious transformation. The independent hospitality group is reviving the Grade II listed building’s former ballroom, shuffleboard court, diner, bar and terrace, blending restored historic features with bold new design.

The first step in a long-term restoration of the Picture House, Abbeydale Ballroom will re-emerge as a vibrant social hub, offering pool, sport screenings, entertainment, food and drink. Future plans include live music, comedy, festivals and art events, with the wider renovation aiming to re-establish the landmark as a cultural cornerstone for the city.

“We want Abbeydale Ballroom to set the tone for everything that follows within Abbeydale Picture House,” said Kane Yeardley, True North owner. “It’s ambitious, but we’re all in.”

To preserve authenticity, True North is working with previous occupants CADS (Creative Arts Development Space), alongside heritage experts and local architects. The project also looks outward, aiming to attract footfall for nearby independents while offering a fresh destination for Sheffield nights out.

For a group whose portfolio already includes Kelham’s Riverside, the Forum, The Broadfield and the Punch Bowl, the Ballroom represents their boldest venture yet.

As Yeardley put it: “This is where it really begins.”

@abbeydaleballroom

10% OFF ON CHRISTMAS BOOKINGS MADE DURING OCTOBER PRIVATE DINING AVAILABLE FROM 2-12 PEOPLE

Perched on the edge of the Peak District, The Peacock at Owler Bar has always been a striking spot. With rolling countryside views, historic bones and a prime location bridging Sheffield and the Peaks, it’s long had the makings of a destination pub. But until recently, it had slipped into decline. Enter Longbow Venues Group founder Rob Hattersley, who took it on at the end of last year and gave it a fresh lease of life.

“We completed on it in November, and we turned it around in two and a half weeks with a £400,000 investment,” Rob recalls. “We wanted to be open for the December trade, so we’d been working behind the scenes for months. As soon as we completed, we were ready to go.”

The focus was transformation without losing heritage. “It’s the most amazing listed building,” Rob says. “It had become a run-down chain pub, but it deserved better. We wanted it to have a sense of everyday luxury. Somewhere you can come in with walking boots and the dog, but also feel like it’s a step up from a standard pub. We’ve used lovely fabrics, wallpapers, fixed seating, light fittings – we’ve really transformed it into a very beautiful pub.”

At the heart of the Peacock is the food, which elevates classic pub dishes while catering for all diets. “We’ve looked at the staples people expect from a pub, but raised the game,” Rob explains. “Take our pies – the pastry is all handmade, the meat is top quality. Our fish and chips use gluten free batter and gluten free beer. I’m coeliac myself, so I know how hard it is to go out and get a proper meal without being limited to a couple of options. At the Peacock, 95% of the main menu is gluten free.”

There’s imagination woven through

the dishes too. “We wanted to do a Scotch egg but make it different. So we’ve done them with pork and chorizo, or Indianinspired spices. Everything’s cooked fresh, so we can be adaptable to any dietary requirement.”

The drinks list keeps things rooted in Sheffield and the Peaks. “We’ve got local breweries like Thornbridge, Kelham Island and Abbeydale on the pumps, wines from Hattersley Wines in Bakewell, coffee from Sheffield’s Cafeology,” Rob says. “It’s about supporting the local economy and building proper relationships with suppliers.”

With its position just outside the city and at the gateway to the Peaks, The Peacock has fast become a hub for walkers, ramblers and day-trippers.

“There are so many incredible walks on the doorstep,” says Rob. “It’s perfect for people to park up, go out for a walk and come back for something to eat. What we didn’t anticipate was how much it’s become a meeting spot – people come from Sheffield, Chesterfield and the Peak District villages to meet in the middle for lunch.”

Heritage is central to Longbow’s ethos, and The Peacock at Owler Bar is no exception. “It’s a listed building built

by the Duke of Rutland, originally a traveller’s rest,” Rob explains. “It’s always been an inn or pub, and we wanted to keep that alive. We’d never go into a new build – it’s about keeping the character and history of these places intact.”

So far, the response has been overwhelmingly positive. “People say it feels fresh, modern, different to anywhere else in the area,” Rob says. “Some might notice it’s a little more expensive than before, but we’re using the best local produce and everything is cooked fresh – the quality reflects the price. And we’re conscious about keeping it accessible too, with deals like fish Fridays, kids eat free and our new loyalty scheme.” That loyalty programme runs across the Longbow estate, giving customers points back for every pound spent. “It’s a way of saying thank you and giving something back to the people who support us,” says Rob.

With its mix of history, elevated food, local drinks and a welcoming atmosphere for ramblers, families and locals alike, The Peacock is already proving itself as one of Sheffield’s brightest revived pubs. “It’s all about creating somewhere beautiful that people want to come back to,” Rob reflects. “And I think we’ve done that here.”

Enjoy more for less

At The Peacock at Owler Bar

Seasonal Set Menu

Taste the best of the season.

Choose 2 courses for £21.95 or 3 courses for £26.95, available Monday to Saturday.

With fresh flavours, local ingredients and plenty of gluten-free, vegetarian and vegan options, there’s something for everyone to enjoy.

Kids Eat Free

Make family dining simple and stress-free.

Children aged 12 and under eat free when dining with an adult enjoying two courses or our set menu.

Little ones can enjoy a tasty, balanced meal that is made with the same care as yours, while you sit back and savour the occasion.

Fish Frydays

Make Fridays the highlight of your week.

Join us every Friday from midday and start the weekend the right way.

Enjoy freshly cooked fish & chips served with minted mushy peas, homemade tartare sauce and your choice of drink — all for £17.95.

Soul-jazz singer Kat Eaton drops new single 'Break Free' ahead of her third album What Happens Now – and a Sheffield date at Crookes Social Club is in the diary.

“Whenever we’ve really pushed for something, it almost inevitably hasn’t worked. There’s the realisation that the moment you stop gripping so tightly, things seem to fall into place.”

Kat Eaton is reflecting on the theme of her new single 'Break Free' as our Zoom call gets going. She’s midway through a late lunch after spending a fair chunk of the day figuring out how to set up a Shopify account – “the glamorous life of a musician, eh?” – but talk quickly turns from the admin grind to the bigger picture.

The new single is due out a couple of days after we speak, and it will be the opener on upcoming album What Happens Now, due to be released March 2026. Written by her long-time collaborator and husband Nick, the track struck her instantly. “It was cool and curious,” she recalls. “It starts as a bit of a slow build but then goes into fourto-the-floor choruses where it drives forward, so it kind of felt like a perfect opener.”

Thematically, the song captures a sense of release: letting go of control and seeing what happens when you stop pushing so hard. Kat explains this philosophy has crept into her own life over the past few years. Rather than clinging to certainty, she’s found power in the flow – the ups and downs of being a self-employed musician, the unpredictability that comes with that and the realisation that doors often open when you stop trying to force them. That looseness also runs through What Happens Now. She and Nick wrote much of it with their band in mind, aiming for tracks that could breathe, grow on stage and inspire collaboration.

Watching Gregory Porter’s group while touring with them was a turning point in that respect. “Seeing how they develop songs live made us want to create music that was just as jammable and fun, where we could really think about the instrumentation and how the band are going to come together.”

Recording took place at Konk Studios in London, with mastering at Abbey Road. Both spaces carry serious musical weight, though Kat has her own surreal story from the latter venue: she recorded there as part of the choir for the ABBA Voyage production, becoming part of the live show itself in the process. “I’m actually an ABBAtar now, in perpetuity,” she laughs. “So technically I’m part of ABBA forever.”

While the album waits in the wings, live performance is now firmly on the agenda. Alongside a run of UK and European shows this autumn, Kat returns to Sheffield for a special date at Crookes Social Club on 13 November. It’ll be her last hometown gig for a while, and she’s clearly looking

forward to getting in front of a local crowd. The venue is a major plus point too, embodying the grassroots spirit that keeps music scenes thriving. “It’s integral that we support venues like Crookes [Social Club],” she stresses.

“The venue has so much history and character, and for someone who grew up playing in social clubs and pubs, it feels a bit like a fitting full-circle moment. I love the people working there and the community that goes there; it’s run by people who are truly passionate about music.”

Attendees can expect a high-energy fivepiece band on the night, joined by support act Smith & Liddle, with a few surprises in store. There’s also talk of bringing back a much bigger line-up for next year’s full album tour. Until then, the Crookes show offers a more intimate chance to hear material from What Happens Now alongside familiar favourites.

Before our call winds down, the conversation turns to life on tour with Kat and the band. Her backstage rider? Ginger, honey, lemon, tea, tasty real ales, wine and a hot meal – “as long as it’s not just chips.” In the tour van, playlists veer from the likes of Olivia Dean to Crookes legend himself Joe Cocker. And, perhaps most tellingly, when asked about her favourite venues, it’s the smaller, more intimate rooms she picks out every time.

“When there’s hardly any divide between audience and the stage – they’re the ones that always work well for us. The energy is just palpable.”

Kat Eaton plays Crookes Social Club on Thursday 13 November. Tickets (£18) available now from kateaton.com.

WHEN THERE’S HARDLY ANY DIVIDE BETWEEN AUDIENCE AND THE STAGE – THEY’RE THE ONES THAT ALWAYS WORK WELL FOR US. THE ENERGY IS JUST PALPABLE.”

Black Grape have announced an extensive UK tour this winter, including a Sheffield date at the O2 Academy on 4 December. The tour marks the 30th anniversary of their Number 1 debut album It’s Great When You’re Straight…Yeah. Formed in the wake of Happy Mondays’ split, Black Grape fused Shaun Ryder’s madcap vision with the lyrical flair of Kermit (aka Paul Leveridge), formerly of the Ruthless Rap Assassins. Now, three decades on, they’re back on the road, with 90s Britpop legends Dodgy joining them as main support.

Exposed's Rosie Brennan caught up with frontman Shaun Ryder to talk milestones, the passing of time and the chaos of making that iconic record.

So, you’re back on the road in November and December. How does it feel to be heading out again?

It’s always a pleasure to get back on the road with the Black Grape guys. I love it – it’s fantastic, yeah.

This tour marks 30 years since It’s Great When You’re Straight…Yeah hit Number 1. How does that feel?

It’s great. I mean, in one way it feels like a hundred years ago, and in another way it seems like five minutes. As you get older, time really speeds up. In secondary school, five years feels like twenty… now five years goes by in a week. It’s weird like that. But yeah, I’m still here, still breathing, still touring that f***ing album.

Did you ever think you’d still be playing it three decades on?

Defo, yeah. You don’t retire in this game – you just go on till you drop dead, like Tommy Cooper or something.

I mean, what else can I do except be in music and f*** about in the entertainment game? I always wanted to be in it for life – it’s a privilege, really.

Tell me about the making of that first album

We made it all over the place. Black Grape was an American deal – when the Mondays ended, I was pretty much straight on a plane to LA. We didn’t even have a name for the band yet.

We only picked a name because we couldn’t get paid until we had one. While we were mixing, Kermit walked in the studio with a can of black grape soda. We just went, “Right, that’ll do.”

We ended up on the sleeve of It’s Great When You’re Straight… Yeah stood on the roof of an amusement arcade – I think in

Skegness – and smoking crack in a cupboard in Los Angeles with all the recording gear. We did some of it in Wales too – the Stone Roses were there at the time doing Second Coming. You can imagine, right? So yeah, it was all over the place, both mentally and physically.

Happy memories, then? What I can remember, yeah –haha.

Do you have a favourite track from that album, or one you’re especially excited about playing live?

Pretty much every time we go out, we end up doing most of the tracks off that album. ‘Reverend Black Grape’, ‘A Big Day in the North’, all of them really.

When we’re doing Black Grape shows – especially this upcoming tour – we’ll throw in some from Orange Head and Pop Voodoo too. We’ll pretty much cover everything.

You’ve got Dodgy supporting –how did that come about?

I remember a couple of tunes they had in the 90s. Alan McGee said, “Do you mind if we get Dodgy on the tour?” and I said, “No, have what you want – get the singing choir from Asda doing Christmas carols if you want.”

I’d pay good money to see that. Yeah, especially me and Kermit on stage with them.

You’re playing Sheffield on 4 December – what do you think of the city and the crowds here? Sheffield’s Sheffield, innit. It’s always had a different attitude. They don’t go shouting about who they are like the Mancs or the Scousers, but there’s great talent here. It’s just a cool place really.

I do know some cool people from Sheffield – don’t ask me their names though, I can’t remember them!

Black Grape play Network on 4 December. Tickets (£32.50) available from fatsoma.com.

WEIGHING IN

Exposed catches up with Sheffield singersongwriter Mathew J Hall to talk Full Weight – a gutsy, genre-bending new EP full of bold sounds and big emotions.

WORDS: JOSEPH FOOD

You’ve called Full Weight a bold new chapter. What feels different with this record?

I think this record is a little more experimental – there are really heavily produced tracks like ‘Weight of Love’ and ‘Lady Luck’, and really minimal pieces like ‘Creature of Comfort’. I’ve finally found a way to listen to myself when it comes to the direction of the tracks, and go with my own instincts and taste.

The press notes mention a private archive of hundreds of songs. How did you whittle that down to the six on this EP – and what was the rule for what made the cut?

The core of the writing began in lockdown – as we all know, there was little else to do. I started having fun making demos and drinking cocktails, amongst the chaos outside. A hell of a lot of material came out of that period and beyond – some great, some average, some poor. I guess it was just my job to pick out the great ones. Easy, right?

‘Weight of Love’ is a hard-hitting, driving track and lyrically deals with some difficult themes and experiences in your personal life. Could you speak a bit about how you found the process of putting pen to paper on it?

‘Weight of Love’ is a really personal song to me – something I wouldn’t want to lay out flat and give the game away. I feel like the more emotional songs should let the listener find their own story. I don’t really find it hard writing those kinds of pieces – it’s having the confidence to release them that’s the hardest part.

Conversely, ‘5:32’ has a catchy disco

bassline and shimmering synths. How important was it to have that contrast of sounds on the record – the rockier cuts and the more danceable tunes?

‘5:32’ just started out as a demo of me and a collaborator trying our best to make a disco track – not bad for a first stab, eh? I wasn’t really thinking about the record as a whole, just working on it track by track. I guess that’s why I made the project an EP – so it has more chance to be a short, diverse offering. The concept album comes next!

Influence-wise, the likes of Aldous Harding and Amen Dunes get namechecked alongside Neil Young and Jeff Buckley. What specifically are you borrowing from these artists?

I’d say Aldous Harding and Amen Dunes sort of live in a world of no fear – well, that’s what I take from their records. From listening to the music and watching every interview online – I mean every interview – I guess they helped me want to be bold, and not ask whether what I’m doing is OK to friends or peers. And with Jeff Buckley and Neil Young – I’m just forever trying to be them in every way.

QUICKFIRE QS

One song you wish you’d written?

You say “no one is really a solo artist.” Who are the friends and trusted collaborators behind Full Weight, and what did each unlock?

I had two main collaborators on this record. One is Andy Martin (Eno Ono) – he’s my main writing partner. We shaped a lot of the demos together and have made music for over ten years now. At the time of making the record, The Beatles: Get Back doc came out – we talked for hours about that and forgot about the music we were making! I reckon I’ve watched the whole thing at least five times.

The other main collaborator is David Glover (Tecna Studios). He helped mix and produce the songs with me. He’s the ultimate vibe machine and brought laughter – and a good hug – to help me deliver some of the more delicate moments.

Having made music around these parts for years, it’s natural that this record has that Sheffield stamp on it. What corners of the city – places, people, experiences – found their way into these songs?

As I mentioned earlier, the making of the record began in lockdown – in my bedroom with a set of speakers and a computer. So it was basically me and my family for four months, all doing each other’s heads in. As time progressed, the record developed more in my studio in Kelham Island. The chippy down the road played a big part in it too, I guess –Hicks Chip Shop.

It was mostly made with the help of the collaborators mentioned earlier: My studio (The Closed Shop Studios) and Glover’s studio (Tecna Studios).

Finally, what do you hope people take away from this EP?

In a world of YouTube Shorts and limited attention spans, just someone listening to a track and feeling something – that’s more than enough for me.

Full Weight is released on 3 October. Mat plays the Hallamshire Hotel on 24 October and tickets (£10) are available now from fatsoma.com.

I wish I’d written ‘Dancing Queen’ – it’s the perfect song. You can choose any collaborator for your next record. Who is it?

Cameron Winter (Geese) – his peculiar low voice mixed with my high voice could be a match made in heaven. Hallamshire Hotel on 24 Oct – what’s the vow for that night in one sentence?

To give an honest representation of myself – and maybe not leave it seven years until the next one.

JUST SOMEONE LISTENING TO A TRACK AND FEELING SOMETHING –THAT’S MORE THAN ENOUGH FOR ME."

wednesday 1 oct 2025

footprints jazz club: ancient infinity orchestra

£16.00/£18.00, Doors 7:30pm

friday 3 OCT 2025 mat hook

£12.50, Doors 6:30pm

WEDNESDAY 8 OCT 2025

VISTAS

£16.00, Doors 7:30pm

FRIDAY 10 OCT 2025

NEW MODEL ARMY

£27.50, Doors 7:30pm

saturday 11 OCT 2025

the outcharms

£13.00, Doors 7:30pm

wednesday 15 oct 2025

panic shack

£18.00, Doors 7:00pm

FRIDAY 17 OCT 2025

THE WEDDING PRESENT

£30.00, Doors 7:30pm

SUNDAY 19 OCT 2025

NEWDAD

£18.50, Doors 7:00pm

monday 20 oct 2025

new dawn fades

a play about joy divison & manchester

£22.50, Doors 7:00pm

tuesday 21 OCT 2025 of monsters and men

£15.00, Doors 7:30pm

friday 24 oct 2025

remember monday

£22.50, Doors 7:00pm

saturday 25 OCT 2025

spacey jane

£28.50, Doors 7:30pm

tuesday 28 oct 2025

rianne downey

£15.00, Doors 7:00pm

wednesday 29 oct 2025

footprints jazz club: moses yoofee trio

£18.50, Doors 7:30pm

thursday 30 oct 2025

the enemy

£28.00, Doors 7:30pm

friday 31 oct 2025

sananda maitreya

£40.00, Doors 7:30pm

monday 3 nov 2025

rory

£25.00, Doors 7:00pm

thursday 6 nov 2025

djembe kingdom

£20.00, Doors 7:00pm

saturday 8 nov 2025

ibibio sound machine

£25.00, Doors 7:00pm

monday 10 nov 2025

jamie webster

£25.00, Doors 7:00pm

tuesday 11 nov 2025

sprints

£22.50, Doors 7:00pm

thursday 13 nov 2025

halina rice

£17.50, Doors 7:30pm

friday 14 nov 2025

Craig charles funk & soul house party

£19.00, Doors 7:00pm

saturday 22 nov 2025

amble

£22.50, Doors 7:30pm

sunday 23 nov 2025

ash

£27.00, Doors 7:00pm

thursday 27 nov 2025

cast

£35.00, Doors 7:30pm

friday 28 nov 2025

beth mccarthy

£19.00, Doors 7:00pm

friday 29 nov 2025

COLDPLACE

£24.00, Doors 7:30pm

monday 1 dec 2025

wheatus

£27.50, Doors 7:30pm

thursday 4 dec 2025

inspiral carpets

£28.50, Doors 7:30pm

friday 5 dec 2025

bad manners

£27.50, Doors 7:30pm

SATURDAY 6 dec 2025

808 state ex:el live

£30.00, Doors 7:00pm

wednesday 10 dec 2025

the slow readers club

£27.50, Doors 7:30pm

friday 12 dec 2025

the clause

£15.00, Doors 7:30pm

saturday 13 dec 2025

indiepalooza

£26.00, Doors 7:00pm

friday 19 dec 2025

badly drawn boy

£32.0, Doors 7:00pm

friday 23 jan 2026

Arctic numpties

£18.50, Doors 7:00pm

saturday 31 jan 2026

vukovi

£22.50, Doors 7:00pm

saturday 7 feb 2026

the lilacs

£14.00, Doors 7:00pm

saturday 14 feb 2026

good neighbours

£14.00, Doors 7:00pm

friday 20 feb 2026

manchester calling

£20.00, Doors 6:30pm

friday 27 feb 2026

elvana

£29.50, Doors 7:00pm

saturday 21 mar 2026

uk foo fighters

£20.00, Doors 7:00pm

saturday 7 mar 2026

the feeling

£35.00, Doors 7:30pm friday 20 feb 2026

the cribs

£14.00, Doors 7:00pm saturday 25 april 2026

the britpop hour with marc burrows

£18.00, Doors 6:30pm all shows open to the public (14+ unless stated otherwise) tickets available from foundrysu.com box office: 0114 222 8777

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

scan for tickets

Sheffield stalwarts Dead Like Harry stir again...

WORDS: JOE FOOD

Thirteen years since their last full-length, Dead Like Harry are back – wiser, more grounded and with a fresh love for the craft that first bound them together. The newly reformed band will drop Visions of a Dream on Friday 14 November, then walk it straight onto home turf that night with an album launch show at The Greystones.

The reunion was as impulsive as can be for a band once described as “like a Yorkshire E Street Band juggernaut”. It started, fittingly, with the two songwriting siblings, Matthew and Sam Taylor, paying a visit to the Boss himself. “It all started with the drive back from a Springsteen gig,” recalls Matthew Taylor. “Both Sam and I started writing that week. Being at a point in life where you’re looking back as well as forwards – it’s a great place creatively.”

Sam remembers the same jolt of energy. “We went to the show at Villa Park and it was so good it just gave us that re-inspiration for getting the band back together doing some stuff,” he says. “That week we started writing and contacted the other founding members, John Redgrave and Robin Baker.”

From there, momentum built quickly. Producer and multi-instrumentalist John had built Bear Pit Studios at the bottom of his garden in Sheffield, so a hub was established. Former members were sounded out, a couple of new faces joined, and the music flowed.

“It felt so natural,” Sam says. “We weren’t trying to recreate the past. We just started playing together again, writing songs and recording. Suddenly it all clicked.”

Old DLH records were often roadtested live, then captured on tape. This time they flipped the process. “Previous albums were largely a recording of what we’d spent hours honing in the rehearsal room and on stage,” says producer and multi-instrumentalist John. “Visions of a Dream was built in the studio, throwing ideas at each song. Some songs had as many as 240 tracks. Not all playing at once but they all need dropping in and cutting out and shaping. This studio approach has meant that the songs are rich with parts and textures, both delicate and massive.”

New approaches have meant a natural shift in sonic palette, thanks in part to Redgrave’s introduction of gear like the UDO Super 6 synth and Erica Synths Perkons drum machine – somewhat unlikely tools for a band previously associated with bluesy Americana influences.

Sam expands on the evolution: “There’s drum machines and synths in there… mixed with the more 70s classic singersongwriter sounds. It’s found a beautiful space – 80s-tinged, but still raw and rootsy.”

Lyrically, the album mines memory and reflects on their journey from their mid-noughties hype days to now. Matthew sketches the arc: “‘Afterglow’ is about the memories of the busy years. ‘Boardwalk Nights’ is the venue where we learned our craft. ‘August’ is about those early years – teenagers to young adults in Sheffield – then the touring years and festivals. ‘Visions….’ felt like a dream sequence through my life – it seemed to write itself.”

That last song became the album’s compass. Written “on a cold February evening” at the piano, Matthew brought

it in the next day. John suggested a drum loop and to “soak the production in synthesisers”, giving the recording an other-worldly feel that set the tone for the rest of the record.

Sam frames the broader theme simply: “It’s an album about looking backwards and looking forwards… letting go of things that have been and building on the new now.” The closing track even brings the band’s children into the process – a small, sweet nod to important new chapters in life.

The latest incarnation brings back drummer Gratz Szewczyk and adds vocalist Rebecca Van Cleave, whose harmonies and songwriting instincts widen the canvas. “The whole thing has felt very collaborative,” says Sam.

And while DLH’s sound still nods westward – Fleetwood Mac have long been a touchstone – the roots are pure Sheffield.

The band formed in the late 90s, released four albums, and came through a scene built on venues like the Boardwalk and promoters who gave local bands room to grow. That connection never went away, even when life did its thing. “We never had a ‘split’ moment,” says Sam. “Life just happened – people moved, had families, started other projects. But the love for it never left.”

No surprise, then, that the comeback show is at The Greystones – a spiritual home and the right size for songs that feel intimate yet pack a punch. The date doubles as release day for the nine-track album, recorded over 18 months and released on Sweet Irene Records.

Sam’s own three-word stab at a tag? “Synth-soaked, ethereal and stadiumready” – a neat summary of a record that embraces a new type of atmosphere without losing its guitar-driven heart. He picks ‘Burying the Ghosts’ as a personal high point, a song about “letting go of things that had been… with nothing but love.”

Don’t call it a one-off, however. The follow-up is already in motion. “Now we’ve found the sound and the way of working, there’s a canvas to move forward with,” says Sam. “We’re not chasing anything – just making music with people we love.”

Visions of a Dream is out Friday 14 November, with the launch party at The Greystones the same night. Tickets (£15) available at mygreystones.co.uk.

LISTEN TO VISIONS OF A DREAM

FAINT PAINT

10 OCT // LANTERN THEATRE // £11

Sheffield four-piece crafting melodic, emotionally rich guitar music with a cinematic edge. Formed by long-time friends, including ex-High Hazels drummer Anthony Barlow, their dreamy textures, tight harmonies and sharp melodies blend the classic with the strange to create something intimate, distinctive and quietly powerful.

LANTERNTHEATRE.ORG.UK

THE DIVINE COMEDY

16 OCT // CITY HALL // £32.95

Eccentric orchestra pop outfit return with Rainy Sunday Afternoon, their 13th album. Recorded at Abbey Road, it blends Neil Hannon’s wit, melancholy and orchestral pop flair. Fresh from writing songs for blockbuster Wonka and the success of Charmed Life, expect a career-spanning, characterful and richly emotive live show.

SHEFFIELDCITYHALL.CO.UK

SELF ESTEEM

18 OCT // UTILITA ARENA // £42.50

Self Esteem, aka Rebecca Lucy Taylor, returns home for her biggest Sheffield to date. Part of a major UK tour behind new album A Complicated Woman, expect anthems, singalongs and a euphoric hometown crowd. Support comes from Nadine Shah and Moonchild Sanelly.

UTILITAARENASHEFFIELD.CO.UK

NUBIYAN TWIST

18 OCT // SIDNEY & MATILDA // £14

Nubiyan Twist present NT Soundsystem – a stripped-back, dancefloor-focused trio reworking Find Your Flame in a live soundsystem style with brass. Expect dub, jungle, amapiano, garage and more. A La Rumba favourite, the band draw deep from UK jazz, global grooves and soundsystem culture, fronted by powerhouse vocalist Aziza Jaye.

SIDNEYANDMATILDA.COM

THE PHARCYDE

22 OCT // NETWORK // £27.50 Hip hop trailblazers The Pharcyde return to celebrate 30 years of Labcabincalifornia. Known for their jazz, soul and funk-infused sound, they helped define an era alongside A Tribe Called Quest and De La Soul. Expect a high-energy set following sold-out shows across Europe and festival appearances with The Roots.

NETWORKSHEFFIELD.CO.UK

FRIGHT CLUB

Combine spooky season, the return of Sheffield’s students and Corp’s trademark mix of loud, genre-spanning live shows, and you get a smorgasbord of events – from General Levy commanding the main room to messrs Dick and Dom taking over the decks.

OUR TOP PICKS THIS MONTH

Kid Kapichi - Guest DJ Set // 3 Oct

When the amps cool down, Kid Kapichi turn their razor-sharp energy towards the decks. Expect a raucous mix of guitar-driven carnage and floor-filling anthems: Fontaines D.C., The Dare, Arctic Monkeys, IDLES and more collide with curveball party slammers from the likes of Outkast and Justice. No half measures, no filler; just wall-to-wall bangers.

BANJO RIFFS, TASSEL TWISTS!

Novocaine Festival // 4 Oct

Discover fresh sounds at the first edition of this high-octane festival. Showcasing rising rock, metal and alternative acts, it promises a monumental day of music and community. Headlined by The Five Hundred, with Bleed Again, Night Thieves and more on the lineup.

Dick & Dom - Guest DJ Set // 17 Oct

Dick N Dom hit Corp for the first time ever with a Friday night DJ takeover packed with chaos, nostalgia and throwback anthems. Expect classic tunes, laugh-out-loud antics and full-on Bungalow energy all night in the main room.

General Levy - Guest DJ Set // 24 Oct

Jungle is massive! The veteran MC and all-round partystarter takes over the Main Room decks for a night of high energy vibes. Expect everything ska to rock steady, calypso to soul, hip hop and reggae, and of course, plenty of jungle and drum n bass.

Corp has never been one for the drab – expect daft, alternative fun in spades. From Finnish barnyard bluegrass rockers Steve ‘n’ Seagulls bringing their Dark Side of the Moo tour (21 Oct) to tassel-twirling, rock ’n’ roll mayhem with Burning Hell Burlesque (11 Oct), it’s Sheffield’s home of everything weird and wonderful.

THE ULTIMATE HALLOWEEN VENUE

Get ready for a four-night fright fest as Corporation transforms into the ultimate Halloween destination. It all kicks off with Nightmare on Milton Street (Thurs 30 Oct), Sheffield’s scariest night out, featuring haunting décor, creepy performers and four rooms of chaotic music. On Friday 31 Oct, Corpse Fest unleashes three rooms of spine-tingling anthems and heavy chaos – costumes are a must. Spooky Deeds brings the terror on Saturday 1 Nov with bloodpumping bangers and twisted throwbacks. Finally, Monday Corp (3 Nov) wraps things up with terrifyingly cheap drinks and haunted club vibes. Dress up and party hard – if you dare.

For the full listings and advance tickets to each event, head to corporation.org.uk.

IN OTHER NEWS…. FRESH FRIDAYS

Corp Friday has had a full glow-up. Now built around high energy and total freedom, it’s a multi-room club night where you can vibe shift on demand. Expect genre takeovers, guest DJs and everything from crowd-surfing chaos in Drop! (Sheffield’s longest-running rock and metal night) to pop anthems, throwbacks, DnB, house and more. The indie room lands on the first Friday of each month. Drinks stay studentfriendly – £1.30 vodka mixers, £6 for 6 J-Bombs, £3.20 coloured pints. Advance tickets come with priority queue access, a free Corp Bomb on entry and always cost less than paying on the door.

CORP… IN A CAN!

If you’ve been to Corp, you’ll know all about Corp pints. They’re practically a Sheffield nightlife institution! Now what started as an April Fool’s joke has turned into something the punters are getting. Corp pints are now available in cans – Blue, Tropical, Lime or Red. Smaller in size but stronger in punch, they’re exclusive to their home venues for now, with plans to stock them elsewhere soon… keep your eyes peeled! PS: you can still grab the original pints at the bar, but the cans add a new way to enjoy the cult favourite.

Keep up to date with all the latest announcements and updates by following @corpsheffield on socials!

Sheffield, it’s time to limber up those vocal cords and polish your best dance moves – because CosyJoes has landed on West Street, and it’s here to make your nights a whole lot louder.

Already a bit of a cult favourite in Newcastle, CosyJoes is part bar, part nightclub, part karaoke free-for-all – and 100% party. Downstairs it’s wall-to-wall floorfillers from the 60s through to the 00s, while upstairs it’s all about karaoke, whether you fancy belting out a ballad on the free stage or booking one of the six private pods with your mates for a singalong session with full VIP service.

“It’s a feel-good party bar – no pretentiousness, just fun,” co-owner Richie tells us. “From the moment you step inside, the energy hits you.”

And he’s not exaggerating. As well as the dance-through-the-decades soundtrack, CosyJoes like to mix in a few interactive touches. “We do DJ games – like Fistful of Dollars, where the DJ controls a camera, zooms in on the craziest dancer and they’ll win a round of drinks,” says manager Joe. “It’s all about getting everyone involved, not just sticking on a playlist.”

For those who like to go big, the upstairs karaoke pods come with packages to match – think bottles of prosecco, spirits, mixers

and two hours of private hire. “Normally it’s a couple of hundred quid, but right now everything’s 50% off as part of our opening offer,” says Richie. “It’s our way of saying hello, Sheffield.”

So why bring the concept here? Richie grins: “I’ve been coming to Sheffield for years and I love it. Honestly, the friendliest people I’ve ever met. It’s always had that buzz about it, from the Kingdom days right through to now – so West Street just felt like the perfect spot.”

With free entry, a proper mix of music, and the option to take the mic yourself, CosyJoes is aiming to be the kind of venue where everyone feels welcome. “We want people to come in, sing, dance, laugh –whether you’re 18 or 80,” says Richie.

And with doors open late seven nights a week (Sunday–Thursday 9pm–3am, Friday 7pm–3am, Saturday 12pm–3am), there’s no excuse not to drop in.

CosyJoes Sheffield is at 173–179 West Street. Opening offer: 50% off everything until 16 October.

@cosyjoessheffield

PREVIEW

No Bounds Festival 2025

10–12 October

A Citywide Celebration of Sound, Vision and Thought Returns to South Yorks

No Bounds is back this October, expanding across more than 16 venues in Sheffield and Rotherham for a packed weekend of boundarypushing music, art, film and discussion. Now in its eighth year, the festival continues to champion radical creativity and community, combining big names with emerging voices and local collectives.

Fresh off the back of a stacked programme reveal, new additions include an exclusive b2b set from Interplanetary Criminal and Sheffield’s own Silva Bumpa, and the mighty Josey Rebelle joining the Saturday lineup. Expect club sets, live AV, installations, masterclasses and performances that bring together some of the most forwardthinking artists around.

This year’s art strand sees a major expansion, headlined by switch room, a collaborative show from Amy Carter Gordon and Damian Hale. Spread across Castle House and Sheffield Hallam’s Institute of Technology, the project fuses projections, soundscapes and immersive installations. Hale –whose previous credits include visuals for The Rolling Stones, Sigur Rós and Jay-Z – leads a team transforming Castle House’s basement into an audio-visual journey through Sheffield’s industrial past and ecological future.

At the Strines Building, switch room continues with Bloom in 360, a spatial performance from Hale and composer Will Dutta, featuring music by electronic pioneers Plaid.

Also returning is the 3D version of Storm Cloud, drawing inspiration from John Ruskin and Sheffield’s own climate activism.

Further afield, Dani Abulahawa’s Saltwater Crossing takes over GLOAM Gallery with moving reflections on Palestinian life, while Arts Catalyst hosts Rashad Becker and Bint Mbareh at SADACCA on the IKLECTIK 12.4 Martin Audio Sound System – the same system powering this year’s Algorave showcase and community events.

Wellbeing offerings return with Drone Yoga and Sonic Sound Baths, and Mikk Murray opens his Kelham Island studio for a quiet, powerful exploration of nature and resistance.

The cinema strand offers a rich selection of films across themes of ecology, diaspora and experimental sound. Highlights include Tales From A Hard City – A Journey Inside A Cult Film from Memory Dance and Preemptive Listening by Aura Satz, featuring music from Laurie Spiegel, Moor Mother and Sarah Davachi.

On the discourse front, a standout panel tackles “The State of Independents: Grassroots to International” with WARP Records’ James Burton and Kynant/Refuge Worldwide’s Richard Akingbehin, among others.

With more than 16 venues and a deep commitment to platforming diverse voices, No Bounds remains one of the UK’s most vital experimental festivals – rooted in Sheffield’s DIY ethos and looking firmly to the future.

LINE-UP HIGHLIGHTS

Joy Orbison

These New Puritans (live A/V)

Interplanetary Criminal

96 Back (live)

Amy Carter-Gordon

Aba Shanti-I

Big Ang

The Black Dog (live)

Chris Duckenfield

Damian Hale

Dani Abulahawa

Factory Floor (live)

Flower Storm (live A/V)

Josey Rebelle

Josi Devil

Jungyals and Gays

Lo Shea

MC Yallah & Debmaster

Mark Fell & Rian

Treanor curate...

...and many more, plus Sheffield collectives like Algorave, Footprints, Off Me

Nut Records and The Beatriarchy.

CRAFT, CRYSTALS AND CREATIVITY COLLIDE AT THIS RELAXED DIY JEWELLERY SHOP

You’ll find Miss Crystal tucked to the side of the Peace Gardens, a thoughtfully curated space that’s part jewellery shop, part creative workshop and part crystal treasure trove. It’s run by Lea – a trained jewellery artist with a background in metalwork, who came to Sheffield to study and ended up staying to build something really special.

Inside, it’s a mix of shiny things and crafty fun. The crystal corner has everything from small, affordable pieces to serious statement stones – including natural sapphires, emeralds, titanium quartz and 24k gold, all ethically sourced and beautifully displayed. There are shelves of ready-made jewellery to browse, or you can sit down and design

your own. And then there are the workshops – where things get properly hands-on.

“Starting from £25 you can make a bracelet with crystals you choose yourself,” says Lea. “Some people add silver or jade too – you decide how much or little to spend. There’s no pressure, just a nice atmosphere and a chance to be creative.” Everything’s laid out so you can play with different combinations, sizes and shapes before you make your final piece.

Workshops aren’t just for solo visits either. They’re popular for hen dos, birthdays, kids’ parties and corporate team days. Up to 14 people can work on jewellery at once, and there’s even a projector in the shop – so you can mix

presentations with creative play, if you’re doing something more business-y.

There’s also a more advanced side for anyone who wants to go beyond beads and thread. Silver ring and pendantmaking sessions let you work with professional tools and learn texturing, shaping and polishing techniques. If you’re interested in jade, you can try carving or painting too – a fitting nod to Lea’s Chinese heritage, and something you won’t find in many other places locally.

The vibe at Miss Crystal is relaxed, friendly and surprisingly meditative –especially when you’re working away on a piece. Whether you’re after a thoughtful gift (vouchers available), a crafty afternoon or just a quiet browse among some beautiful stones, it’s a very laidback place to spend time.

Crystal workshops run on Monday, Wednesday, Friday and Saturday. Silver jewellery workshops take place on Friday and Sunday.

Booking ahead is a good idea, especially at weekends – but you’re always welcome to pop in for a chat and a look around.

Miss Crystal, Unit 4 , St. Pauls Parade, S1 2JL, or visit misscrystal. uk to see what’s on offer. Follow @misscrystal007 for updates on socials.

GETTING READY TO ROAR

We head into the lion’s den for the making of the region’s next big sculpture trail

When the Pride of Yorkshire trail roars into life in Summer 2026, visitors will see 150 lions and 150 lion cubs brightening streets across Sheffield, Barnsley, Rotherham and Doncaster. But behind the scenes, the real roar is coming from a Sheffield workshop where each one is being brought to life – with a lot of elbow grease and even more pride.

That workshop is Simpsons Patterns, a small but mighty team with a 20-year track record of craftsmanship. They were also behind the Bears of Sheffield back in 2021 – and they’re back for this much bigger sequel.

For Director Alex Goddard, who started at Simpsons as an apprentice, the Bears project was a defining moment.

“It was brilliant. I just remember everyone in the city talking about it at the time – the buzz and the feel around the city – it’s a vivid memory.”

“We ticked a lot of boxes for the charity. We could do the scanning, right through to creating the patterns and the high-quality GRP models at the end of it.”

This time around, the pressure is on – and the scale is next level.

“The Pride of Yorkshire is the same sort of manufacturing process as the Bears, but this is on another level. There’s a lot more production planning needed.”

“We were already at full capacity before the project – so we’ve brought two new guys in. The project is helping us grow. It’s now a three-man team on the lions; two are making them and another one sprays them and gets them ready for delivery.”

So why come back for more?

For Alex, it’s personal. “The number one thing is the story and the meaning behind it –Sheffield Children’s Hospital. A lot of us here are Sheffield people. So it’s close to everyone here. It’s

something you’re proud of.”

“From a business perspective, it’s a fantastic project to be involved in. Especially with the exposure your business gets. You get vision and visibility over a longer period. We’ve got 18 months to do this project, and it will have everyone in South Yorkshire interested and talking about it.”

In the workshop, Connor Walsh is leading the hands-on build. He’s deep in GRP (glassreinforced plastic) production, which is, frankly, graft. “We get the moulds off the pattern makers, we give it a couple of coats of release agent so it doesn’t stick, then gel coat, then a layer of 300g matting to give it the shape and get the air out, then 600g matting. We do it all in individual pieces, then we use a bonding agent and strips of fibreglass, so it’s not going to fall to bits. We need to make sure they’re solid.”

“We’re nearly done on the males. We have three left to do this next week. 50 females and 100 cubs. Hoping to finish at the

end of December.”

Will he be glad when the male lions are done?

“Oh yeah, the head’s a nightmare! I can’t wait!”

“It’s a hard job to do. It’s a very tricky mould to get in. Just making it is hard. There’s a lot of tight spaces in the legs, especially. You’ve got to get your arm in it to get the air bubbles out. We have overalls on, but you get covered in resin. It’s intricate work to make sure it’s spot-on. It’s harder than it looks, but it’s 100% worth it.”

“I’ve got a young daughter myself who’s three years old –and she’ll more than likely be going to the hospital at some point. So, if we can generate that much money for it – that’s brilliant. Once they’ve been painted and you see them, it’s unbelievable. To see them get transformed again, I’m sure my daughter will love to see what her dad’s made.”

Before any fibreglass is laid, it all starts in digital. Joe Faulks, one of the CAD engineers at Simpsons, said: “We were given

three small figures to scan and produce a mould from, which took a couple of weeks.”

From CAD screens to sticky overalls, the scale of the operation is matched only by the passion. Asked what makes Alex proud to be from Yorkshire, he doesn’t hesitate:

“I just think it’s the people. Yorkshire people have that Yorkshire grit and determination. And when we have to – the people of Yorkshire come together and get behind things. I’m hoping that’s what people do with this project. Let’s pull together, get stuck in, and get involved!”

Cheryl Davidson, Project Lead for Pride of Yorkshire, adds: “We’re proud to have Simpson Patterns on board. Their craftsmanship is turning our vision into reality, making the creation of the sculptures feel effortless and inspiring.”

The lions hit the streets in summer 2026 raising funds for Sheffield Children’s and giving the region another chance to come together.

Music, film and digital arts collide this autumn as Sensoria returns with gigs, installations and one-off experiences across the city.

WORDS: MARK PERKINS

Whether you’re dipping your toes into a handful of events or immersing yourself in every corner of the Sensoria Festival, one thing is certain: it will be a unique experience. This celebration of digital arts, music and film has become a staple of our vibrant festival scene, and this year’s line-up promises to captivate the senses more than ever. While the main programme hits its stride in early October, events begin in mid-September and roll on well into November.

A little trivia for you: the festival takes its name from a track by legendary Sheffield band Cabaret Voltaire. To mark the band’s 50th anniversary, Steven Mallinder and Chris Watson are

reuniting for an exclusive performance on 25 October at the Forge Warehouse. Given Sensoria’s knack for delivering unforgettable one-off events, this gig is shaping up to be one of the musical highlights of the year.

But that’s just the beginning. Fans of experimental music won’t want to miss Kaitlyn Aurelia Smith. Known for her mesmerising electronic soundscapes and intricate layering, this live performance will be a rare treat for UK audiences, and is firmly on the list of unmissable shows.

For anyone with an interest in Sheffield’s creative legacy, Sensoria is shining a spotlight on one of the city’s most iconic names: Warp Records.

Warpvision, at the Drama Studio, promises an audiovisual journey through the archives of the pioneering label, which has shaped electronic and experimental music since its beginnings in 1989.

Another standout comes courtesy of SCAPA, the Manchester-based Ghanaian musician, who’s bringing her Nsebe project to life. Expect an electrifying blend of Afro-electro beats and immersive visuals, with a live performance from members of the Nsebe Collective followed by a two-day installation at SADACCA on The Wicker. Presented through a 12-speaker, 7.1.4 audio system, it promises a sensory experience unlike anything you’ve encountered.

If you’ve ever taken a train through the picturesque Hope Valley, you’ll know the iconic route. This year Sensoria celebrates the bicentennial of the modern railway with two events. At the Millennium Gallery, Polyhymns: Peak Tracks is a 40-minute installation blending improvised music, field recordings and oral histories from locals who’ve lived and worked along the line. The project culminates in a live performance by Emergence Collective, who will respond in real time to footage of the train journey, creating a dynamic and everevolving event.

For something more serene, Tracey Welch’s exhibition Echoes of the Water is set in and around the Victoria Junction café on the canal. This free installation invites visitors to pause and reflect on the beauty of nature through Welch’s striking photography.

The historic John Lewis building again plays a central role in this year’s festival, hosting Playground of Sound. A highlight is the Giant 303 interactive artwork, inspired by the legendary Roland TB-303 synthesiser — a treat for music lovers and anyone with a nostalgic fondness for oldschool electronic sounds.

Sheffield Concerteenies will also be premiering The Big Dreaming at City Hall. Aimed at children aged three to seven (and their families), the enchanting show combines live music, digital animation and narration based on Michael Rosen and Daniel Egnéus’s beautifully illustrated book.

For industry professionals and creative enthusiasts, the Sensoria Pro Day returns to the Showroom as a hub for exchanging ideas from the worlds of music, digital arts and film. Highlights include a behind-the-scenes look at Netflix’s forthcoming animation of Roald Dahl’s The Twits, alongside the ever-popular scoring contest where participants reimagine the soundtrack to a short film. Head to sensoria.org.uk for full event details, times, venues and the latest updates.

2

DAVIESTHINK AHEAD

25 7.30PM | OCTAGON CENTRE

Beloved comedian and TV star returns with hilarious new stand-up, mixing sharp wit, life stories, and decade-honed observational humor.

WHAT’S

ON AT PERFORMANCE VENUES

20 THE MIDNIGHT TIMETABLE –BORA CHUNG MON OCT’ 25 7PM | DRAMA STUDIO

The new novel from Bora Chung, author of the International Booker Prize shortlisted Cursed Bunny.

21 GOOD, OCCASIONALLY RHYMING – ROB STEPNEY & KATHY CLUGSTON

25 7PM | DRAMA STUDIO 24 THE POEMS: 40 YEARS IN THE NORTH – ANN SANSOM, PETER SANSOM & BETH DAVIES

STUDIO

“Best Indie Retailer” & “Best Vintage Store” 3 years in a row! voted

Exposed exclusive o er: Quote code “EXPOSED15” for 15% o in store until 2.11.25

Alongside a host of talent from the literary world, this year’s Off the Shelf Festival welcomes one very well-known author in a slightly different guise. Formed from the combined creative heft of current poet laureate Simon Armitage (yes, that fella from your GCSEs), singersongwriter Richard Walters and multi-instrumentalist/producer Patrick J Pearson, the L Y R trio will bring their utterly unique sound to Sheffield’s Octagon on 15 October. Ahead of that, Exposed caught up with Simon and Richard to talk about the band’s unlikely origins, the joys of musical collaboration and why this could so easily have all been “really shit”.

Words: Ash Birch Photos: Grace Lightman

I had the pleasure of being on a call with a bona fide national treasure last month. No, not Richard Walters’ cat, who bobbed in and out of frame throughout, but none other than current poet laureate Simon Armitage.

Simon makes up one third of LYR’s musical tripod, alongside Richard and today’s missing third member, producer Patrick J Pearson. Still, as Simon points out, by happy accident I bear a passing resemblance to the multiinstrumentalist, albeit a worse-looking, and definitely less talented version, so it sort of feels like he was there in spirit.

With my role as emergency

understudy now firmly in place, we move on to the band’s name – L Y R –and its muddled origin story.

“We originally wanted full stops between the letters,” says Simon, “but our first record label thought that would harm search results, so they took them out.”

“It didn’t seem to harm R.E.M, though.”

The name was never supposed to be pronounced ‘liar’ (which is what I’ve been doing!), the acronym actually stands for Land Yacht Regatta, a phrase chosen more for how it felt than what it meant. “We all live in different parts of

the UK, and we’re all coming at this from slightly different angles,” Simon explains. “We wanted something that was like a three-way contradiction but actually ran nicely as a phrase – you know, like Sheffield Ski Village.”

With that cleared up, we discuss why Simon, no stranger to Off the Shelf, has chosen to perform with the band rather than in a more traditional author slot. “It’s always been a festival that’s willing to experiment a little bit and work with hybrid art forms,” he says. “But they invited us – that’s the short answer – and it felt like a good fit.”

“Some festivals come and go but Off the Shelf feeds into the energy of Sheffield. There’s a kind of family feel to the arts in the city.”

Richard also notes a distinct difference in the crowd compared to a ‘regular’ gig. “There’s no better listening audience than readers. They’re calm, they listen. People walk away surprised because it’s not what they expected. They think it’ll be Simon reading over ambient soundscapes – but it’s not that. It pushes people a bit.”

The centuries-old position of poet laureate has always offered its incumbent the chance to share and flex their creativity – but few previous titleholders have attempted to drag it into the present day with quite as much bold enthusiasm as Simon. While it’s true that predecessors have set their pieces to music before, L Y R is a very different proposition. This isn’t poetry with a backing track. It’s a proper, intentional band.

But it is still spoken word set to music

and could quite easily be – for want of a better word – shit. “One way that this could be really shit is that it would be very experimental,” Simon says. “I hate experimental work. I don’t want to see people’s workings out – I want to see the finished product. All three of us agreed early on that we’re interested in moving people with what we do, not alienating people through challenging and difficult noises.”

Richard is equally protective. “This project is like an untouchable joy for me,” he says. “I do a lot of writing for other projects, but this is something I do because I love it. We’re all close friends now, and there’s a real joy in being in a gang.”

The band began over a decade ago when Richard – a fan of Simon’s poetry since his school days – reached out to ask if he could set some of it to music. “We had this idea of a spoken word project that straddled two worlds,” he recalls. A dictaphone was posted back and forth across the country, recordings swapped and layered, eventually culminating in something rich, strange and utterly compelling.

Although L Y R’s working methods

often involve sending files back and forth online, they recently spent a few days together in a studio and knocked out the bones of 12 or 13 new tracks. “We’d been storing a lot up that needed expression,” says Simon. “There’s no substitute for being together in a room.”

Their roles aren’t fixed. Sometimes Simon starts with the words. Sometimes a song begins with Richard and builds outwards. Occasionally there’s even a touch of harmonising – of sorts. “There’s one song we wrote for a project in Barnsley called A Natural History, and it finishes with a three-part harmony for about 25 seconds,” Simon says. “I lent my voice to that. First time I did it, I don’t think the others were expecting it.”

He was also handed a guitar once at a festival. “I suspect I wasn’t plugged in,” he adds, deadpan.

Though Simon doesn’t sing, the contrast between his delivery and Richard’s vocals forms a key part of L Y R’s power. “There’s a sort of conversation going on,” he explains. “Richard often articulates something from a different point of view – or the opposite one. There’s a dialogue between speech and song. You can’t quite anticipate who’s going to take the load-bearing parts of a track.” Thematically, that contrast is mirrored

in the music. “There are often desperate, sad or annoyed lyrics,” Richard says, “but they’re matched with this euphoric sound underneath. It just works.”

Simon agrees. “That contradiction – sad words with beautiful music – has always been attractive.”

Alongside their album work, the band has found a niche creating commissioned pieces. They’ve recently performed at the Proms with a 17-minute piece about the Shipping Forecast. Another previous work focused on the Category D mining villages in Durham. “There’s something creatively affirming about telling someone else’s story,” Richard says. “It feels like we’re part of something bigger.”

So, what’s next?

A new album is pencilled for March, and the Sheffield show will likely get a sneak preview of some of the material. “They’ll either be guinea pigs,” says Simon, “or it’ll be a world premiere. One and the same thing, often.”

An evening with Simon Armitage and L Y R takes place on 15 October at the Octagon. Tickets £20/25 are available from offtheshelf.org.uk.

HAUNTING SEASON

Black Bright Theatre’s’s eerie, atmospheric folk tale swoops back into town

WORDS: RUBY DEAKIN PHOTOGRAPHY: AI NARAPOL

It’s been a jam-packed year for Sheffield-based theatre group Black Bright Theatre. Co-founded in 2021 by Helen Denning and Madeleine Farnhill, the company is committed to telling female-led stories on stage, combining the nuances of lived experiences with weird, supernatural folk horror elements.

Their latest production, Birdwatching, explores intersectional queer and neurodivergent identities, receiving enormous praise at theatre festivals both at home and internationally. They’ll be taking a brand-new, revamped version of Birdwatching on tour across the North of England this autumn, visiting The University of Sheffield Drama Studio on 4 November.

The play’s three central characters – Poppy, Amelia and Lauren – were forged from writer Madeleine’s exploration of her own identity, reflecting on her experiences as a queer, latediagnosed neurodivergent young woman. The character of Lauren, played by Ellen Trevaskiss, particularly draws on Madeleine’s

feelings of social exclusion and the challenges she faced growing up.

“Lauren felt like a conduit for me to explore those feelings, and then Poppy and Amelia emerged as this very complex codependent friendship,” Madeleine explained. “Their upbringing and their experiences shape them, and just the fact that they’re young women in a very voyeuristic, judgmental world. They find life challenging, they find friendships challenging, and they don’t know who they are yet. That’s where we meet them all in the beginning of the play.”

Last summer, the group took Birdwatching to the Edinburgh Fringe festival, where it was nominated for the Birds of Paradise ‘Exceptional Theatre’ award by Neurodiverse Review. In their first week they claimed a 9.50am slot – an unusual fit for a folk horror show – but still managed to bring in rave reviews from early-bird critics.

Helen, producer of Birdwatching, said: “It actually worked in our favour because we got a lot of reviewers in those first few days. By the time we

moved to the other venue, there was already a bit of buzz around the show.”

Mimi Millmore, who plays Amelia, said: “We made so many connections with different people who were performing in horror. Going to the Fringe with something you genuinely feel so proud of is such a liberating thing, and you want to get out there as much as possible.”

Mimi is originally from Northern Ireland, and though her character Amelia was not intentionally written as Irish, her story deeply resonates with the experiences of many young women in her home country.

“Northern Ireland is the most dangerous state for a woman to live in in Europe,” she explained. “Amelia has so much paranoia because she was followed home.

I’m always hearing things on the news from back in Belfast about women getting followed and attacked. This is a Sheffield story that travels up to Northumberland, but it reaches a wider community in so many ways.”

Beginning their new tour in Newcastle on 25 October, they’ll travel through Harrogate, Scarborough, Sheffield and Salford, before closing in Leeds on 11 November. Despite a tightly packed schedule of performances over the past 12 months, the team found time to flesh out the script ahead of the tour, incorporating moments of non-dialogue and expressive movement into the show.

“With the revamped script, I’m excited to see what it’s like on its feet,” said Mimi. “It’s going to get me in the real spirit for Halloween, so I can’t wait for that.”

Madeleine added: “The script feels a lot more grounded in itself. I’m excited to be working with Mimi and Ellen again. We just really trust each other, and we make really cool things.”

Birdwatching will be heading to The University of Sheffield Drama Studio on 4 November, with tickets available at performancevenues. group.shef.ac.uk. Follow @ blackbrighttheatre for updates on socials.

TAPESTRIES

This October sees the launch of Tapestries of Life – A Retrospective, a 36-page zine from the faceless collage artist Melville, produced in collaboration with Sheffield’s Koji Press. The release marks the debut of Koji’s new publishing imprint, koji:edition, and will be celebrated with what’s sure to be a lively launch night at the Dog and Partridge on 9 October.

Melville’s work has long been rooted in Sheffield’s social undercurrents – the overlooked corners of city life, the grit alongside the polish. His noholds-barred approach has found appreciative audiences online and at exhibitions – including one earlier this year, The Symptoms of Social Observation, which took place at Fagans and involved bassline-heavy DJ sets and vast amounts of Guinness. For him, this retrospective is a chance to pool his work and map out the journey so far. “It’s me essentially choosing the best bits, and the pieces that work well together,” he says. “There’s some really early stuff that never actually went in an exhibition, just put out on social media with an accompanying video. It’s about pulling together the work in a space where people can socialise in an easygoing environment. I want it to be a place where people can come and enjoy themselves, not feel out of place at – or bored.”

Alongside the trademark collages, the zine brings in other newer strands of his practice, including text-based pieces and video scripts made in collaboration with his long-term videographer Bloodshot Inc. “I always felt like I couldn’t express myself in writing, like it wasn’t for me, but I think I’m growing more confident in that,” Melville says. “It’s nice to find that you can actually express yourself in words. It’s a confidence thing. Another good thing about this collaboration with Koji is there’s no filter on what I can say in print, even with the more sensitive subjects.”

For Koji Press founder Charley

McKee, starting koji:edition has always been about creating space for artists to document their work in ways that feel authentic. “When I first set up Koji, I wanted it to be an opportunity for artists to be able to come in and use the machine to expand on what they want to say,” he explains. “I’ve always wanted to be part of independent press and publishing, and this is a really good opportunity to get different voices out there. That’s why I felt like Melville was a good fit – he speaks about class in a way that’s truthful and honest. It’s very important not to censor those voices.”

Risograph printing – a sustainable process that uses soy-based inks on rice paper – produces a grainy, textured

aesthetic that suits Melville’s raw style. Charley says: “The great thing about risograph is it gives a tactile feel. There’s a sort of earthiness to it – and we wanted use that to bring out certain elements of Melville’s work.”

For Melville, seeing his work in print brings a new kind of satisfaction. “I’ve had things in publications before, but a zine feels different. It’s nice to actually see it in real life, not just stuck online. It’s freeing in a way – like it gives me a clean slate, a new platform to jump from.”

The zine is limited to 100 copies, printed and bound in-house at Koji’s studio on Trafalgar Street. On launch night, spreads will be displayed on walls around the pub, with some framed prints also available. After which, copies of Melville (Tapestries of life – A Retrospective) will go on sale at kojipress. com from 10 October.

Looking ahead, Charley says this project is just the start. “This is the first in a line of publications we’re going to be doing – all with local and national artists. It’s very much the beginning of Koji Press as a collaborative printing press.”

For Melville, it’s both a milestone and a springboard. “It’s me looking back at what I’ve done so far, but also clearing space to move on. I want to push the character further – into more video work, maybe film – and keep building on the mystery.”

Join the launch of Melville (Tapestries of life – A Retrospective) at the Dog & Partridge on 9 Oct, 7.30pm. Zines will be available to buy on the night and later from kojipress.com.

18TH 2025

SEVENHILLSWHISKYFESTIVAL.CO.UK OR

“

THIS IS NOT JUST MY STORY.”

Words: Ruby Deakin Photography: Smart Banda Tafadzwa Muchenje’s play lays bare the impact of the UK’s hostile environment in a bold new show with SBC Theatre

The UK has always been home for Tafadzwa Muchenje. After leaving Zimbabwe at just six months old, he and his family built their lives in this country, immersing themselves in every opportunity that came their way.

One day, Tafadzwa returned home from university to find that his right to remain in the UK had been refused while his family were allowed to stay, and his journey towards a bright future suddenly came to a screeching halt. After three years of hard work, he’s ready to share his story through an immersive one-man theatre experience full of honesty and emotion, reminding us of the power of art to stand up to hostility and oppression.

Based in Sheffield, Stand & Be Counted is the UK’s first theatre company of sanctuary, empowering those with lived experiences to explore their stories in unique and creative ways. Their work is unapologetically political, believing that art has the power to change the world, rebuild empathy and forge solidarity. Having worked with the company for eight years as a collaborator and artistic adviser, Tafadzwa felt confident that the SBC team would handle his story with care and compassion.

“We’re living in incredibly hard and bleak times right now, and the rhetoric and the language and the misinformation is terrifying,” said Tafadzwa. “Theatre storytelling has a power to connect and unite people, and this is what I want. I want us to connect and to understand that there’s more between us than what divides us.”

Rosie MacPherson, director of Ripples and co-founder of SBC, said: “It’s a really important and powerful piece. It’s also incredibly hopeful and fun. It’s a good call to action for audiences who always ask us, what can we do? How do we be part of

pushing back against the rhetoric and the treatment of migrants in the UK? It feels like we really are building a movement from the show.”

Tafadzwa’s performance is truly electric. He takes audiences from hopeful beginnings in the Isle of Wight, journeying to the big city, slowly building to the point when everything came crashing down. The live sound and experimental set make the small room feel at times intensely claustrophobic and impossibly spacious, cutting between moments of playful, razor-sharp wit and heavy emotional expression.

“All of this really happened to me. I had just turned 18. It was a hostile environment at the time – the Windrush scandal was just about to happen. Naively, I didn’t think any of that would reach me. I didn’t think I’d be caught in that system,” Tafadzwa explained. “I was studying to be a performer, an actor, a writer. I wanted to tell stories, and there was this incredibly dark thing happening in our world, and I didn’t see anyone talking about it.”

At a crucial moment in the performance, the screens surrounding the stage light up one by one. Tafadzwa takes the audience beyond the bounds of the theatre by showing footage from

his personal journal, documenting his experiences and injecting the show with raw, unfiltered honesty. It’s a display of pure emotion, challenging Tafadzwa to explore new psychological layers in his performance.

“A lot of our process was me improvising, because I find that more freeing sometimes,” Tafadzwa said. “It was definitely a challenge in the beginning, having to go into parts of my brain that I’ve locked away and not really ever processed. I would struggle or avoid doing things because of how difficult it was for me to go into those places. Having the support of the SBC team made me comfortable to put pen to paper and reminded me that I’m not there anymore.”

Rosie added: “The most important thing is that the artist has got to be ready – you don’t owe the audience everything. You give what you want to give, and you keep the rest for yourself.”

The name Ripples had been floating around as a working title throughout the production process, and the team just couldn’t seem to shake it. It calls on the unexpected effects that one small action can have, and the possibility of spreading hope with the power of community.

Tafadzwa said: “It hit the nail on the head. One drop has such a ripple effect. The ripple effect of hostility on society, the ripple effects of mindless changes that the government makes, but also the ripple effect that you can have on your community if you were to change something and try to emit hope. We can be that ripple of change.”

Tafadzwa’s three years spent in limbo have left a lasting impression on his life. Though he was able to overturn the deportation letter after a long, hard battle, he must reapply for his limited leave to remain in the UK every two and a half years. He conveys his feelings of allconsuming paranoia, faced with constant reminders of a time when home became an unwelcoming environment, as it is for so many people seeking sanctuary.

“You’re forced to live a life where you feel like you don’t exist,” Tafadzwa explained. “You’re standing still, and life passes you by, and you’re just watching everything happen. To come out from that and try and regain your life, you constantly feel like you’re playing catchup. They broke me, but I won’t let them break me again, because I’m pushing forward.”

He added: “I am telling my story, but this is not just my story. This is the story of countless people who are going through this, and I just want them to feel heard and recognised.”

Find out more about the work of SBC Theatre and their upcoming productions at sbctheatre.co.uk

DANCING AT LUGHNASA @ THE CRUCIBLE THEATRE

Irish playwright Brian Friel finished writing Dancing at Lughnasa in 1989. It opened at the Abbey Theatre in Dublin the following year – a semi-autobiographical tale informed by his childhood in County Donegal, which went on to receive international acclaim for its universal themes of memory, loss, family ties and the fragility of contentment.

In director Elizabeth Newman’s take on the classic, the Crucible stage transforms into an immersive vision of rural Ireland in 1936. Front and centre is the Mundy family kitchen, warm and inviting, with an old turf-fired stove chugging away in the background. Washing lines and hills of hay surrounding the household reflect a sense of dutiful domesticity, while large stones etched with pagan symbols hint at something darker lurking over the back hills of Ballybeg.

The play is introduced by narrator Michael, whose recollections of a fateful summer spent with his mother, Christina, and her four unmarried sisters form the basis of the story. At first, the five sisters bustle away in contented enough fashion, the mundanity of their daily tasks briefly lifted by moments of cheeky humour, gossip and – of course –cathartic dancing whenever the wireless in the corner makes its presence felt.

But beneath the bonhomie and moral obligations lie deep-seated frustrations, along with anxieties about unwelcome winds of change blowing through their small town. The return of Father Jack, once a revered local priest, after 25 years of missionary work in Uganda, sparks concern amongst the parish – especially when he begins to exhibit signs of rejecting his Catholicism in favour of indigenous spiritual practices.

The tension is heightened further by the

return of Michael’s father, the unreliable Gerry, who left not long after Christina had their child out of wedlock. Following a quick ballroom sweep around the garden, he rekindles a fragile hope in her that some kind of future together might still be possible.

Socio-economic pressures weigh heavily too. The sisters scrape by on Kate’s schoolteacher’s wage, while Agnes and Rose earn a modest income knitting gloves to sell in town. But as pupil numbers dwindle and a new knitwear factory opens down the road, the household is left in a predicament so fraught that even Maggie’s ever-comforting gallows humour cannot ease it.

The dialogue is most captivating when the five sisters gather round the table, grappling with their trials, tribulations, hopes and dreams. Each play their role brilliantly: Kate, the stern matriarch clinging to tradition yet occasionally revealing a softer, more vulnerable side; poor, lovesick Christina, yearning for a husband with whom she might step out from under the shadow of stigma; effervescent Maggie, whose jokes and riddles mask uncomfortable truths staring them all in the face; and quiet, repressed Agnes, who takes a sideline seat while devoting her energies to protecting the innocent, childlike Rose.

As the first day of Lughnasa approaches, the weight of external pressures causes cracks to appear in the fragile foundations of the sisters’ interdependent lives. Nearly a century after the play’s setting, that same brittleness in personal circumstances and family life still resonates –perhaps helping to explain why it continues to pack such a hefty emotional punch for modern generations. 4/5

Dancing at Lughnasa runs at the Crucible Theatre until 4 Oct.

JANE AUSTEN’S EMMA

7-11 OCT // LYCEUM // £15-£46

Celebrate 250 years of Jane Austen with a sparkling new stage adaptation of Emma. Set in Regency-era Bath and Weymouth, it follows quickwitted Emma Woodhouse as her matchmaking meddling leads to tangled romances – and unexpected self-discovery.

SHEFFIELDTHEATRES. CO.UK

THE LION, THE WITCH AND THE WARDROBE

14-18 OCT // LYCEUM // £15-£56

Step through the wardrobe and into Narnia as the West End smash-hit The Lion, the Witch and the Wardrobe arrives at the Lyceum. Join the Pevensie children on a magical adventure filled with courage, sacrifice and love.

SHEFFIELDTHEATRES. CO.UK

BLACK IS THE COLOUR OF MY VOICE

17-18 OCT // CRUCIBLE // £20-£29

Inspired by Nina Simone’s life and music, Apphia Campbell’s acclaimed play follows a singer and activist reflecting on her journey from church-bound piano prodigy to jazz icon and Civil Rights leader, seeking redemption after her father’s death.

SHEFFIELDTHEATRES. CO.UK

NEW HORIZONS: GROWING

SHEFFIELD’S ART COLLECTION

18 OCT-25 JAN // MILLENIUM GALLERY // FREE

Celebrating a decade of Sheffield’s ever-evolving art collection. Featuring work by Lubna Chowdhary, Grayson Perry, Bridget Riley and more, the exhibition reflects today’s world while exploring how the city can continue building a collection for the future.

SHEFFIELDMUSEUMS.ORG

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