Ahead of their upcoming tour next year, we got the chance to one-half of legendary DJing duo, Fabio and Grooverider, who’ll be coming to Manchester early next year.
‘The Godfathers of Drum and Bass’ were there at the very start of it all and have been able to see how the genre, along with offshoots like jungle, has evolved over the years — so it’s only right that they be the ones to deliver a real education to ravers and newcomers this January.
Bringing their ‘History of Jungle and Drum & Bass‘ to the Manchester Academy on Saturday, 13 January, 0161 is just one of three places that have been chosen for the limited run of shows and, as Fabio told us on the call, it because this city has a rich relationship with the genre and pioneering underground music in general.
So you’ve got the tour starting in the New Year and it’s a very limited run of shows — what can you tell us about what you’ve got in store?
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What we’ve got in store is the best of live drum and bass and something very unique. It’s a great show and honestly, even if I wasn’t involved in this I’d go along and definitely enjoy it.
It’s everything that we expected and with a project like this, it’s not something that’s not really been done before, especially not with an orchestra of this size, anyway.
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We want it to sound authentic and that’s what’s happened with the band; The [Outlook] Orchestra‘s amazing, the musicians are great and it’s a very entertaining two hours.
How have you found building this as a full production with the Orchestra and fine-tuning everyone’s performances on stage?
Well, over the course of our careers in general, it’s just got a lot tighter and we’ve all got a lot more confident. You’ve got to remember when this all started we’d never done anything like it before, you know — we’re DJs and we were on BBC Radio 1 for 14 years and then Kiss for seven.
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Public speaking is a completely different thing than speaking in front of a mic, so that was really daunting at first, I’ve got to say; the first one we did I was really nervous and we still get that sense of anticipation, but where it was a bit around the edge at the start, the audience didn’t know that and now I’d say it’s almost 100% the way we want it.
We’ve been doing it two years now and, yeah, it’s just a process of tweaking those fine margins and getting your timings right — when you’ve got 40 musicians, even if you’re a millisecond off it can kind of throw everything.
Sounds like you’ve really nailed it. The idea of a ‘History of Jungle and Drum & Bass’ — how far back are you going into the genre and how do you think it’s changed over the years?
So we go back to 1992. It’s crazy for us to think that was 31 years ago, but yeah, we’re going right back to the beginning and we literally break up the set into years: ’92-93, 94-96 and so on into the 2000s.
I think it has changed over time and you can certainly hear it when you compare the likes of the first track we do, Johnny L’s ‘Hurt You So’, which is kind of like jungle techno, to the modern-day stuff which gets on the radio now, it’s different. But that’s the great thing about both genres, they move on real quick.
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Say if you’re a drum and bass head now and took a year off and then came back, you’d be like, ‘What is this?’ but drum and bass is always like that, every single year.
It’s going through a great time at the moment, probably the best in three decades. It’s bigger now than I think that it’s ever been and I think it’s because it’s been accepted by the public get it; they understand it more and it’s less of a niche.
People have always known about house music but now people actually recognise the big names like Chase and Status, Pendulum and so on. It’s in a very healthy place and I know some of the real purists are a little bit p*ssed and feel it’s gone a bit commercial but the underground scene is still there and I don’t think that will ever die.
DJ Fabio (right), Grooverider and The Outlook Orchestra are set to school Manchester on jungle and all things drum and bass.
Yeah, and I suppose that’s what the beauty of events like these is you can play to both of those crowds. Do you find the audience has that mix?
Well, that’s why we’ve tried to get that fine balance between big tunes that your everyday, casual listener will recognise as well as keep some underground stuff in so the real ‘heads’ can come and dive into it.
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It’s been very deliberate and we’ve sat down to really think about how to strike that combination and it’s another thing that’s been done really well.
And, obviously, you guys are London kings but how big a role do you think Manchester has played in the scene and how it’s progressed?
Oh man, it’s always been really important. Going back to A Guy Called Gerald who was one of the first truly big English producers, when people listened to ‘Voodoo Ray‘, even the Americans thought was a guy from New York and he’s a bit of an unsung hero really.
He made some of the first jungle tunes as well, so we’ve always felt the influence and link with Manchester, especially over the last 10 to 15 years when it’s been really, really strong here.
You know, you’ve got DRS and, of course, had Marcus Intellect, God bless his soul, who always flew the flag for Manchester, you know what I’m saying? And, um, you know, there’s a really healthy, uh, seed in Manchester.
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Strategy, Dogger, Mindstate: a lot of those guys are very important to drum and Bass and a lot of them grew up knowing each other as well, which is cool. We’ve also got Jenna G in the show and not only is she from Manchester but she’s one of the real highlights of the show, she’s absolutely amazing.
Also, it’s really important that we put on a good show because the Manchester music crowd know their sh*t as well — you can’t really con them.
Absolutely, and in terms of artists right now, whether they’re from Manchester or elsewhere, who’s really exciting you at the minute?
I mean, the staple is obviouslyChase and Status who have helped get [the genre] some radio play to the point where there were four drum and bass tracks in the top 40 just last year. Absolutely insane.
Hedex and all those guys are also helping grow the underground scene but, honestly, there’s too many names to mention that lifting up others so we’re in a real good spot at the minute.
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Are there any favourite Manchester venues that come to mind?
Band on the Wall — I LOVE it in there and, of course, Warehouse Project which is basically flying the flag for drum and bass across Britain right now. WHP is possibly the hottest venue in the UK so, yeah, Manchester was always a no-brainer and we’re really looking forward to coming there.
Nice, and lastly, if you could describe the upcoming shows in three words what would they be?
It was a pleasure chatting with Fabio; both he and Grooverider are not just radio veterans but drum and bass royalty.
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From the glimpses we’ve caught of what the set looks and sounds like with the full might of The Outlook Orchestra behind them, this thing is going to be blockbuster.
There are still tickets left to see all three live at Manchester Academy on Saturday, 13 January HERE.
Featured Images — Supplied/@matthiggs (via Instagram)
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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.
Danny Jones -
8th December 2023 
