Ash at the Cardiff Tramshed

With apparent modesty, Ash initially booked the Cardiff show in their 2019 tour into the Globe - capacity 350, apparently - but were forced, though demand, to relocate in across town, to the Tramshed - capacity 1000; and by the end of the night, with the audience packed together, sardine-like, it was clear that the trio, from Downpatrick, Northern Ireland, are still hugely popular, 25 years on from their emergence.

Supporting were Novacub, led by Louise Bartle and featuring her fellow Bloc Party alumnus Russell Lissack (also a sometime member of Ash) on guitar. Very likeable melodic indie-rock, with a lightness of touch which seemed at odds with what appear to be some angsty lyrics.

Inevitably the headliners’ set focussed on the latest album, “Islands”, the almost-hit single “Buzzkill” being a stand-out; but with classic debut album “1977” also well represented. Personal highlights included singalongs to “Oh Yeah” and “Shining Light”; bass-player Mark’s crowd-surfing during “Angel Interceptor”; and the general raucousness of the whole thing. Tim Wheeler does not have the most powerful of voices, but he’s a charming front-man and, of course, a gifted songwriter, whose sensitivity shines through the punkiness. The final song in the encore was “Burn Baby Burn”, which topped off an almost perfect evening. My fourth experience of seeing them live – hopefully not the last.

"Once Upon A Time In... Hollywood" / "Annie" / "Club Tropicana"

Quentin Tarantino’s “Once Upon A Time In… Hollywood” is a meticulously assembled love letter to a vintage Hollywood on the brink of change in the late 1960s. It tells the tale of a few days in the real and professional lives of an almost-washed-up action star, Rick Dalton – brilliantly played by Leo DiCaprio - and Cliff Booth, his even more obsolescent stuntman (Brad Pitt), whose lives intersect (eventually) with those of fresh-faced, optimistic Sharon Tate (Margot Robbie), and the sinister faux-hippies of Manson family. It is leisurely, almost meditative in tone, at least until the violent, history-rewriting climax. Beautifully done.

Most local theatre-makers appear to have disappeared off to Edinburgh; thus, the only work I’ve got to see in recent weeks are large-scale touring musicals at the Wales Millennium Centre. Most recently was the 1930s-set Broadway classic “Annie”,  which I found quite cheering; a little less so was 1980’s pop-fest “Club Tropicana” – a somewhat more cynical confection.

Craig Revel Horwood in "Annie" (photo: Paul Coltas)

Edinburgh Fringe Shows / Homeless World Cup

This is the time of year when all theatrical activity ceases everywhere except in Edinburgh, so I thought I might as well flag up my reviews of those productions I’ve seen in Cardiff which are playing on the Festival Fringe – all of them solo shows, as it happens.

Carys Eleri’s multimedia take on love and loneliness, “Lovecraft” returns, last year’s run having been curtailed due to a bereavement; National Theatre Wales are showcasing two of their N.H.S. monologues, including Rachel Trezise’s abortion-themed “Cotton Fingers”; Dirty Protest are offering Sian Owen’s Newport odyssey “How To Be Brave”; Jonny Cotsen muses on his experience of a lifetime of deafness in “Louder Is Not Always Clearer”; and the Royal Welsh College of Music and Drama are bringing Benjamin McCann’s apocalyptic “Grit”. There’s also a non-Welsh show which played at The Other Room: “Laurie Black – Space Cadette”.

 

Carys Eleri (Photo - Kirsten McTernan)

Meanwhile, in Cardiff, the Homeless World Cup, backed spiritual and financially by Welsh actor Michael Sheen has been happening, which was well worth popping down to see in the city’s Bute Park, whether to check out the four-a-side sporting action, or other events, including musical entertainment in the evening. On Thursday, I managed to see the much-acclaimed relative indie newcomers Mellt, who were very impressive; as well as one of the finest bands ever to come out of Wales, The Joy Formidable, led by charismatic guitar heroine Ritzy, who mentioned that they were marking their tenth anniversary. Some very powerful, emotional songs, anchored by some jazz-tinged bass-playing; with the genial mood enhanced by the rabble-rousing drummer. Lovely stuff.

The Joy Formidable (with Michael Sheen side of stage)