There’s just over a week to go until The Lumineers take to the stage at the AO Arena, and the pandemic-enforced hiatus from the live music scene can’t have ended quickly enough for the band.
For Wesley Schultz and Jeremiah Fraites, who started performing together way back in 2005, it’s the live circuit where The Lumineers really come to life.
According to Wes, the audience is ‘like another instrument’.
Ever since releasing their self-titled debut album in 2012 – and that ever-present, chart-topping single Ho Hey – the audiences have flocked to their shows, singing and chanting every word right back at the band.
Nowhere, Wes says, is quite like a Manchester audience.
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“You’re all pretty rowdy!” he told The Manc during a chat this week.
“It’s some of the most rowdy, fun audiences you can find anywhere. I like audiences that aren’t worried about being overly polite – it’s like it’s uninhibited and that lends itself well to music.
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“For us, the audience is like another instrument. If we ever put out a live album you’ll hear a lot of the audience, because they’re singing with us and they’re adding things, and energy.
“So many of my favourite records growing up had that presence, that electricity.”
Obviously, for much of the last two years, bands like The Lumineers have lost this stage time, as the pandemic forced gigs to be cancelled for months on end.
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Their last tour, the III World Tour, was cut short because of Covid.
“I think we feel like we have unfinished business,” Wes said.
“We feel like we have a lot left to express that wasn’t.
The Lumineers. Credit: Danny Clinch
“And then you combine that with all of the pent-up emotion from the last two years that is gonna be out there on full display on stage.
“I think you’re going to see some of the best live music you’re ever going to see because bands, including us, have been just dying to get back out there.
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“There’s just been a lot of solitary confinement in everyone’s life and I think these concerts are, for those of us who don’t go to organised religion, this is our church.
“This is our way of feeling community and it’s a beautiful thing.”
That band-to-audience connection is something Wes and Jeremiah have tried to hang on to, even as their following has grown.
It’s a desire that will be tested on the 2 March when The Lumineers take to the stage at their AO Arena gig – the second time they’ve performed at the enormous venue.
The Lumineers in 2016 with Manchester United kits on. Credit: Facebook, The Lumineers
Wes continued: “There’s a desire to connect, no matter the size of the room. It’s supposed to feel like you’re at a house show, even if it’s an arena.
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“We’re supposed to feel like we’re sharing some secrets together.
“We’ve been so lucky to move up and play bigger venues, but it presents a whole new set of challenges because really what you’re going after is the thing you started with – you know that really beautiful connection you’d have with an audience if you were playing in someone’s living room.
“You’re trying to have that same experience in a big room, and I hope we’ve got better at that over the years.”
Wes said he remembers the arena dates were more than a little daunting at first.
“I remember we didn’t know what was going to happen but it went really well, and we were like ‘I can’t believe that worked’,” he laughed.
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Credit: AO Arena
“That’s the essence of being in a band – you have all these hopes but it’s like, the whole thing is kind of a wild ride, including playing this arena.”
The Lumineers are touring off the back of their fourth studio album, Brightside, and that means plenty of new material to join the likes of Ho Hey, Ophelia, and Gloria.
As with most musicians, the pair are enjoying testing out their new songs with a crowd at long last.
Wes said: “A.M. Radio’s been really fun to play live, it has a really anthemic chorus and the audience has been singing it back to us.
“That, and there’s a song off the record called Birthday that we actually made to entertain ourselves, and even people who’ve never heard it will join in screaming ‘IT’S ALRIGHT, IT’S ALRIGHT’ – they get it right away, there’s something really immediate.
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“I like it when people are putting their arms around each other, especially complete strangers, because that’s what we all need right now.
The Lumineers’ most recent album, Brightside.
“We need that celebratory mood and I think music was meant to bring people together.
“That’s what I love about music – when you see total strangers high-fiving, singing together, there’s some unification.
“I just love that about live music, it short-circuits all of our defences and leaves us more open.”
The Lumineers have chart-topping albums and huge world tours under their belts, but the thing they’re most proud of is much more wholesome than accolades.
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“Beyond anything, Jer and I will have been doing this for 10 years in April, and I’m most proud of the fact that we’ve managed to stay excited and having fun.
“I think the risk is that people lose that edge of childlike wonderment that keeps you going and doesn’t make things look formulaic.
“For me, I’m most proud of us for still being on the ball – still really wanting to play this music and being excited, like kids.
“It’s been 10 years and for me it’s the most positive sign that we’re still like little school kids. It’s a good feeling.”
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And what’s left on his bucket list? It’s something we can surely all agree with – “I really want to have a tequila with Bruce Springsteen.”
The Lumineers will perform at Manchester’s AO Arena on 2 March. You can get tickets through the venue or at Eventim here.
Featured image: Danny Clinch
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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.
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.
Daisy Jackson -
18th February 2022 
