This past weekend, The Manc Audio had the honour of going along to one of the North West’s biggest and, for our money, one of the UK’s best festivals in Kendal Calling 2023 and boy did we have an ace time — so, naturally, we wanted to put together a little review.
Spoilers: it was really, REALLY good. To quote the organisers themselves, “There was something very special in the air this year”. They weren’t wrong — you could feel it.
Nestled in a little valley behind the lush treelines of Lowther Deer Park near Penrith and the Lake District, Kendal Calling music and arts festival returned for 2023 quite literally bigger and better than ever, boasting a sellout crowd of 40,000 and some of the best names the weekend has ever hosted.
Started way back in 2006 with less than a thousand people attending, Kendal Calling has not only become Cumbria’s largest festival but a Great British favourite and after going along for the first time, it didn’t take us long to figure out why.
One of the most live music scenic settings you could hope for
Us busy Manc worker bees were still bustling away on Thursday, so we unfortunately couldn’t make it along to see the handful of artists who played the opening night but, luckily, we had a few friends who all went along to confirm it was just as wonderful as it looked.
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With the likes of Scouting for Girls, Gengahr and Black Honey getting things started before the legendary Nile Rodgers & Chic polished off a class first night, the hordes of gig-goers began trickling into the site and by the time we arrived on Friday, the party was in full swing.
As we battled our way up the big hill from our parking spot to the festival entrance (bring a trolley, guys — don’t be muppets like us), we got a second wind when we heard Example playing through the forest and raced to pitch our tent, crack that first tin and start enjoying ourselves.
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But even before we made it to where the music was, we couldn’t help but take in the gorgeous Cumbrian countryside dappled with every colour imaginable — and that was just people’s bucket hats. Seriously though, seeing the sea of tents, flags flying high, music lovers sharing booze and tunes and just generally having a good time was a real antidote after a long week.
Credit: Abbie JenningsCredit: George HarrisonCredit: Tom Martin
The Northerners showing everyone how it’s done
By the time we got into the festival proper, we couldn’t have asked for better timing and a warmer welcome than the wonderful sound of Wigan‘s very own, The Lathums, serenading the packed-out main stage. Dreamland stuff.
That felt like the case throughout the festival, in fact; every hour or so it felt like we were treated to either a Manc band or a nearby North West favourite on one of the nine stages. The crowd felt like it was largely comprised of people from the North too, which gave the whole weekend an added layer of familiarity.
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Be it the Happy Mondays, The Lottery Winners, Mel C or Reverend and the Makers, up-and-coming Manc artist Phoebe Green, the Kaiser Chiefs, Circa Waves or the one and only Rick Astley, just to name a few, there were countless Northern acts to enjoy and it came as no surprise that they smashed their slots harder than anyone.
It was only fitting that probably the biggest moment of the weekend came when the Mayor of Greater Manchester himself, Andy Burnham, surprised everyone on stage by introducing Blossoms for the headline set, celebrating the North and Stockport, specifically, on Saturday night.
Come rain or shine, the British festival spirit was unshakeable
Much to our delight, the sun was shining as well; in fact, we were treated to plenty of it throughout the weekend considering the forecast we were facing on the drive up, and you know what Brits are like when the sun is and they’ve had a beer or two.
Yes, the wind and rain eventually came and made it feel like a proper UK festival — people rushing around after flying tent pegs and trying not to slip on the increasingly muddy walk from the campsite to the arena simply becoming part of the routine — but it was genuinely all part of the fun.
As our new mates from Leigh said during their dynamite set on the main stage, “We don’t mind a bit of rain do we!?”. We didn’t, not one bit, especially when the lineup was stacked with so much talent.
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Putting our regional bias aside, some of our top picks would have to be post-punk outfit DEADLETTER, who were simply insane (we still have the bruises to prove it), the mighty Frank Turner — who joined The Lottery Winners on the main stage in a truly unforgettable moment — The Hunna and, of course, Kasabian because their Friday headline set was absolutely dynamite.
Kendal Calling after dark was quite the experience…
And then came the late-night DJ sets, after parties and all-round craziness that ensued after the headliners finished their respective slots at 11pm, which we’re pretty sure we’ll never be able to fully put into words, so that should give you enough of a hint.
One thing we loved about Kendal Calling 2023 so much was how mixed the crowd was, with people of all different ages and cultural backgrounds turning up to enjoy the festivities. There were so many young families there having the time of their lives and what a way to introduce kids to the festival scene.
However, if you didn’t have little ones to put to bed and fancied staying up until the early hours in a forest lit by neon, multi-coloured lanterns and, or raving in a tent to one of the most unique electronic sets we’ve ever heard by DJ Yoda, you could — it was all there for you.
There was even an acoustic guitarist called Matthew One Man recreating club classics with an acoustic guitar and loop pedal whilst a truly indescribable musical theatre company called the Rimski’s Yard performed around him and some bloke with a big afro shoved a firework up his arse. Yes, of course, we have video evidence:
The truth is, we probably didn’t even scratch the surface when it came to experiencing everything this festival had to offer but based on what we did get to see during our time at Kendal Calling 2023 left a huge impression and we know what we’ll be doing again this time next year.
An unmissable Whitney Houston tribute event is returning to Greater Manchester
Thomas Melia
A much-adored and cherished Whitney Houston tribute show is returning to Greater Manchester later this year for not one but two different shows, each channelling the charisma and energy of the pop legend.
To celebrate the 10th anniversary of the phenomenal theatre production, ‘Queen of the Night’, the show is visiting a multitude of stages and venues all across the UK.
0161 had to receive at least one date on this tour, partly due to being the music capital of the North and also due to the fact that this is a city many fans of the 80s diva will forever hold close to their hearts.
Houston played her final ever concert performance of her career here in this very city back in 2010, taking up residence in AO Arena for two nights of world-renowned ballads and mesmerising live vocals.
This tribute show is set to include some of the diva’s biggest and much-loved hits like ‘I Will Always Love You’, ‘How Will I Know’ and ‘The Greatest Love of All’, the audience is sure to be singing along.
Adenike Adewale is taking on the role of the American R’n’B Pop singer and is no stranger to the stage or TV, featuring on The Voice in 2021 where she sang a Whitney classic, making it to the semi-finals.
Fast forward to 1 June and the tour returns to Greater Manchester and legendary city centre space, Bridgewater Hall: an incredible room more than fit for renditions of the powerhouse vocalist.
A pair of stunning venues, two stunning shows and one incomparable voice.
It’s not only our lovely region the Queen of the Night experience will be visiting; our friends over at The Hoot have plenty of nearby opportunities to sing along too, with Yorkshire dates in Hull, Halifax, Harrogate and Bradford to name a few.
I’m definitely saving all my love for when this show visits us later this year in March, and after I buy out the front row for all my friends I’ll certainly relate to the smash 1993 single ‘I Have Nothing’.
Tickets are on sale already now – you can grab yours HERE.
Better Man has bombed at the box office – but is the Robbie Williams biopic any good?
Danny Jones
So, Robbie Williams’ biopic Better Man has been out for a little while now and the question on many people’s lips – you know, apart from ‘why is he a monkey?’ – is, quite simply, is it any good?
Many of you may have already seen it, others may have absolutely no interest in hearing about Robbie‘s already well-publicised exploits (be they in ape form or otherwise), or maybe you’ve just been waiting to hear whether it’s any good before heading out to the cinema.
Well, if you’re judging it purely by the current headlines circulating online, you’d be forgiven for thinking it’s absolute rubbish. So far, Better Man has ‘tanked’ at the box office, making just over $1 million compared to a budget of nearly $110m (£90.8m).
However, given how pivotal the US viewing figures are, a big chunk of the commercial disappointment has come down to Americans largely not knowing who Robbie Williams even is and it’s no surprise that it’s done a little better here in the UK – though still not stellar. But again, ticket sales aside, is it good?
Better Man – Review
I wasn’t sure a (very good) CGI monkey Robbie Williams film was going to be any good either based solely on the trailer, but they nailed it.
*Once again, some spoilers ahead – though it is his life story, so we’re not really spoiling anything…
I’ll start this off by admitting that for all his foibles and controversies of the years, I am a Robbie fan; his music was always on in my house as a kid and well into my teens. Being born in the mid-90s, he was probably one of the first big pop stars to ever enter my world.
Growing up obsessed with football too, a charismatic, mainstream rock and roll-spirited figure in the mainstream who also loved the beautiful game and even took influence from chants heard around the grounds in his songwriting always made him extra appealing to me.
All that is just to say that I’m fully aware there’s probably some bias here, so I’ll still try to be as impartial and ‘objective’ as you can be with a film review. But back to the point, the short answer is yes: it’s good – very good, in my opinion.
If you’re similarly fond of the frenetic, funny and ferocious showman, you’ll obviously have a vested interest in looking back on his career thru a (somewhat simian) Lens, but even if you’re not, I still think you can get a lot of of the film and a greater insight into a captivating life story.
Monkey see, monkey do—make me sad, very sad…
This scene (among many) had us welling up. (Credit: Paramount Pictures)
For starters, put simply: as daft as it may seem, the monkey thing does work. It may come across like a strange gimmick when you first see the trailers but it doesn’t take much digging to realise that there’s quite a well-thought-out three-pronged approach behind it.
One of the first things the 50-year-old singer said on the press tour for this film is that he’s always felt “unevolved” and it’s something that’s brought up a couple of times in the film itself, so making him an ape rather than a modern Homo sapien is one way to way to communicate that.
Plus, not only does it obviously make any sad moments – and there are a lot of them – even more emotional and tear-jerking, especially during the scenes during Robbie’s childhood, but it also plays into the sad reality that he’s felt like a performing monkey for the majority of his life.
When you stop and think about the reasoning behind it feels a lot more considered than on first impression, and it certainly helps you empathise and, more importantly, sympathise with the troubled character you’re seeing on screen.
Robert vs Robbie
A very clever movie poster to boot.
And that’s pretty much the rub right there: this was always going to be at least a somewhat self-indulgent watch, not just because it’s a biopic but because it’s Robbie and that’s what his persona is about – but it is and always has been a performance in every sense of the word and the film does a great job of trying to distinguish ‘Robbie’ from Robert.
From seeing the origins behind being given that name specifically, his younger years and affectionate albeit mostly fraught relationship with his father; how the boom of Take That engulfed his entire world and even more so once he went solo, as well as the version of himself he’s shown to the world for last three decades, it’s clear he’s often struggled to find the line between the two himself.
It’s also very important to state the cheeky, cocksure Robbie Williams you were expecting to watch the rise of throughout this biopic has wrestled with a much lower opinion of himself than you could ever imagine. It’s a driving force behind the film and manifests in all manner of problematic and unpleasant ways, just as it did in real life. You see him see a lot of them in the crowd throughout the duration, in fact.
Because for anyone who isn’t aware, a lot of Robbie’s experiences are problematic and unpleasant; the early days as a boyband commodity, his substance abuse, struggles with mental health and beyond are all laid bare on screen in fairly graphic detail at times. A lot of the situations these issues spring from would feel hard to believe were it not for the fact it’s a true story with very little embellishment, if at all.
Manchester references are a bonus
One of the things that did stand out as a particularly surreal aspect of the film was the handful of references to Robbie’s intersection with Mancunian culture, which simultaneously felt familiar and somehow like going back in time to peep behind the curtain at a world that very few saw first-hand.
Again, the behind-the-scenes examination of how Take That transpired and those very dangerous, inappropriate and frankly unlawful series of events in nightclubs over on the likes of Canal Street feels like a fever dream (as it did for Robbie).
Perhaps the biggest buzz we got was the not-so-surprise appearance by the Gallagher brothers and ‘The Robster’s obsession with Oasis. The look is exactly what you’d expect and Liam‘s accent might not be perfect but it still gave us a thrill without feeling like pointless lip service.
All that being said, is the much-talked Robbie biopic a good enough film to warrant popping out to the pictures? Well, I’d certainly say so. Not only are the visuals and the CGI itself pretty flawless, but the motion capture is done so well that it never felt like I was taken out of the film at any point – even the very particular Stoke and Cheshire accents of Robbie and Gary Barlow are very convincing.
We knew there was going to be lots of humour too but there’s also a lot of impressive stuff the director does that I wasn’t expecting.
One of those is the transitions: there are lots of clever tonal switches done with great camerawork and effects (particularly during one driving sequence and some of the flashback frames) and they really do help covertly shift the mood so some of the darker moments don’t give you full on whiplash.
And lastly, the director’s fingerprints can be felt all over the movie as Michael Gracey’s The Greatest Showman pedigree certainly makes sections of the film feel more like a musical than I was expecting – but in a good way. Big bold cabaret choreography fitting of the man himself.
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After all, we all know most Robbie tunes are bangers but seeing them brought to life in these new and interesting ways really does make Better Man a better film than we’d even hoped for and it’s certainly good enough to be performing a lot better than it is at the box office right now. Maybe give it a go.
As far as I’m concerned, big stunning set pieces like this are just the tip when it comes to what makes the Robbie biopic a good film.
Danny Jones -
31st July 2023 
