With the current climate, and the news of a new, and not
much wanted Prime Minister, a political play is just what we need.
Twice Over compares the political climate when our only two
women Prime Minister’s have be in office; with the use of two women, both in
their 20’s but at different time points (the 80’s and 2017) we see how ideals
have changed, how attitudes have changed yet the confidence in politics
remaining the same.
This production is very simple; two performers, a guitar,
basic lighting and basic set. For something with intricate and complex issues
in its narrative, this simplicity is all that is really needed to bring the
concept across.
Part poetry, part scripted, part verbatim, I found it
difficult to follow. The writing was
interesting and I loved the approach taken, but I couldn’t define the
difference in these writing styles and suddenly we would be hearing rhyming
couplets, the next an almost political speech. If there was an added dramatic
change to these, whether this was performative or even a lighting change, it would have complimented it more and gave
more complexity.
The music was beautiful – again, simple but really effective
and gave a nice break to the very hard going narration.
I really applaud the Twice Over production for taking on such an important subject, triumphing women and feminism. There is a way to go with this production, with a little tweaking, it could be a really hard-hitting production. Never the less, with politics in the current times, it is definitely worth seeing.
Ollie Horn, a young comedian by chance decides to move to
Japan. He has no experience in TV, as an actor or presenter, but almost
overnight, becomes semi famous on Japanese television.
Horn brings his comic styling as well as evidence in the
form of video to tell us about his time in Japan, why he went, what he
experienced and why he was on their tele.
Horn is energetic, in good timing and definitely funny. He
does well to explain Japanese culture but is admittedly still slightly clueless
after admittingly not integrating as much as he should. His antics are nothing
short of what you would expect from the hyper realistic and unusual Japan.
If you have been to Japan, the jokes land a little funnier –
true statements about how clean the country is and the polite interactions of
the Japanese is a general ‘stereotype’ but also rings true; comedy based on
these observations just jumps a little further for the experienced traveller.
His comic timing is on point – bringing a statement to us,
this is often accompanied by a short video clip, sometimes rewound, zoomed in
to emphasise, adding meaning, a purpose and additional laughter; we do not have
to imagine, we plainly see – seeing is definitely believing.
Lastly, Horn interacts with us well – his confidence illuminates his story telling, and while not every gag gets a laugh, he continues a momentum that never stops. Laughter or not, Horn can put on an honest and funny performance.
Sometimes it’s quite nice to see a celebrity on stage. In Wales, they feel like they are in abundance on the Welsh Theatre scene, with the pool of the industry in this country being small. So it was a surprise to watch For All I Care, and not realising until after that the performer was Hannah Daniel of Keeping Faith fame.
This surprise is a good surprise. I entered the performance
and found myself so engrossed that it was not until I read later on that day of
who she was; a performer who I (only too recently) had just seen in a huge
binge of Keeping Faith series 1 and 2.
For All I Care is a one woman show looking at mental
health, Wales and the magic that is the NHS. Daniel takes on around 6
characters in total – we see majority of the play focussing on the relationship
between Clara and Nyri; two very different women leading very different lives.
Clara is a young woman suffering with her mental health, and attempted suicide.
Nyri is a mental health nurse who tries to help Clara, but she is not totally
altogether herself. Daniel also takes on other intermittent characters such as
Marco, the mental health Doctor, Nyri’s son, Alex the younger man Nyri sleeps
with and ‘The Devil’; Clara’s controlling crime boss.
Daniel does a brilliant job of chopping and changing these
characters – to help with this the basic staging has 3 microphones hanging from
the ceiling. She picks these up when another character comes in to the scene,
into the main character’s story. This creates a barrier; it is so disassociated
and almost hyper-real that it works; it suspends our disbelief and we see that
other person, almost as if another actor had walked in. My only criticism is
that we know Daniel is capable of more, and for me, it felt like there needed
to be more definition of each character, whether this meant more of a physical
change, more pronounced vocal differences or both.
The narrative itself is a fresh take on mental health; with
this once taboo subject being encouraged more into main media and society,
there’s many a play I have seen where the medical professional is clean nosed
and almost angelic. Clara has real problems; real psychological issues. And while
Nyri may not be to this level, her life is not perfect; she still makes
mistakes, she has her own issues and her own past. She is more relatable and
more likeable than other productions that make us almost shake our head at the
lack of realism to a medical character.
For All I Care is a lovely piece; it provides a fresh narrative, and really has the ability to showcase a performer as a solo talent, with some minor tweaking.
Music echoed around the valley, the time had come. Radio Rhondda had come to the Rhondda Fach with its supporters and volunteers. The hills surrounding the area, nestled between the villages of Tylorstown and Ferndale were alive with the sounds of people enjoying themselves as the music reached out on the airwaves. Community radio had come to the communities of the Rhondda Fach.
A beautiful sunny day, the pleasant and atmospheric venue of the Scoops & Smiles Diner/Parlour in Oakland Terrace which had been the premises of the former Lockyer and Pacey Garage and forecourt. How many cars had been bought or stopped to refuel there over the years? Present day traffic hooted as they drove past; water fountains were available to all (as were toilet facilities) plus a cool area inside the Diner or at the rear of the building.
Colourful balloons adorned the area provided by ‘Just for you’ of Ferndale, there were stalls offering information on Cancer Research and Dwr Cymru/Welsh Water as they continue their essential work throughout the area renewing water pipes. Representatives from the Police were also present. The central part of the programme was the Official launch of Radio Rhondda in the Rhondda Fach, which was performed by the Deputy Mayor, Councillor Susan Morgans (Ferndale Ward) and Councillor Jack Harries (Maerdy Ward). The diner offered all the delights and descriptive flavours of ice cream in cones and tubs – marshmallows on crepes – plus their usual food fare. Children dug deep into sweet bottles that were offered to them, finding themselves lucky to receive various extra goodies. Face painting with the logo of the station was available. Free key rings and notices promoted the event. A Raffle was held with prizes donated by local businesses.
Commentators promoted the Radio station, introducing their main
programme holders and interviewing local people. There was a miscellany of
music provided by their own presenters, including Lorraine Jones and a chat
about gardening from Terry Walton. Musical compositions were provided by the
group Fiddlers Elbow (where were you, Gerhard Kress?) The Arts Factory Ferndale
duo of Ben and Louise provided a melody of songs which received phone calls
from people who knew them having tuned into the station. Thanks and appreciation
to Louise for mentioning our group RCT Creative Writers.
It was a warm day, which offered entertainment and
conversations with people who soon became friends. Sun cream and Sunhats were
the essential requirements on this day.
Thank you to Radio Rhondda and all who supported and
volunteered for this event. Please come again.
Perhaps like WAM (Mike Church) and Voices from the Bridge
(Rob Cullen) you should go “On Tour” People
in the Rhondda Fach are friendly and creative persons although we often feel forgotten!
Focus Wales in one of the nation’s premier music showcase festivals. Held in Wrexham, it brings together some of the best people in the music industry for three days of talks, meetings, and, of course, musical sets. The best of both emerging and more established talent from Wales and beyond featured on various stages around the town centre. Headliners on Friday night, 9Bach were excellent, as per usual. But apart from these giants of the Welsh folk scene, who else stood out? Here are my personal ‘ones to watch’ from this year’s festival:
Hannah Willwood
Hailing from Snowdonia and currently studying in Leeds,
Hannah Willwood and her band created the most incredible sound during their
set. Blending jazz, folk and indie, her music is at once familiar yet fresh and
unique. With resonances of an earlier era, it is a sound that intrigues,
mesmerises, and captivates. This girl is going places.
https://www.youtube.com/watch?v=4HWV9zkb3gg
Katie Mac
If I had to pick a winner for Best Performance at this
year’s festival, I would award it to Katie Mac. The singer-songwriter from
Huyton played an absolute blinder from start to finish. She delivered such an
enthralling set that I became completely absorbed in the experience. Here was a
prime example of quality songwriting overlaid with some incredibly accomplished
musicianship.
https://www.youtube.com/watch?v=gfJA0Pep42o
Albert Jones
He proved popular with the Old Bar No.7 crowd. And it wasn’t
just his interaction with the audience that made this performer standout. Take
a listen to Albert Jones and you will find a vocal that is incredibly soulful and
wonderfully versatile. Comparisons with James Morrison are inevitable. But to
try and pin down his sound is much more difficult. Whether blues, country, folk
or pop, it seems that Jones can turn his hand to anything. A really engaging
performer.
https://www.youtube.com/watch?v=umPZ2oXymks
The Dunwells
What a stonker of a set from The Dunwells. Full of energy, enthusiasm and real excitement, every
song seemed to be a crowd-pleasing anthem. They not only succeeded in winning
over a raucous, increasingly drink-fuelled crowd. They managed to encourage
some well-judged audience participation that only added to the feel-good
factor, rounding off the festival (for me at least) in style.
https://www.youtube.com/watch?v=eSGZPAClZgM
If God Were a Woman / Beta Test
The inaugural Focus Wales Short Film Festival had an excellent shortlist of eight films. All independent, all made to a high standard, my personal front-runners were If God Were a Woman and Beta Test. The former is a provocative and thought-provoking spoken word from Evrah Rose, made all the more so by the choice of director Joe Edwards to film in a derelict Church. The latter is an American production that is very much in the mould of Black Mirror. It sees Eric Holt enter into a simulated world to relive some of his favourite memories. But then a glitch in the programme leaves him facing much darker stuff.
The Young
Artist’s Festival (YAF) is a week-long, annual event run by The Other Room,
Cardiff’s only pub theatre. For the festival, the theatre invites between 35-50
participants from Wales’ emerging creative scene into their doors to gain
invaluable experience working with their peers.
The
initiative is open to actors, writers, directors and stage managers and aims to
provide an opportunity to explore their chosen discipline, encourage
collaboration and artistic risk-taking. The participants are shown the value of
hard work with an intense, but rewarding, week. They’re given the opportunity
to work with new, contemporary work. But the ultimate aim is for participants
to gain confidence, grow and keep creating beyond YAF.
The week
starts with various workshops and talks from The Other Room’s staff and
industry professionals from a broad range of backgrounds. These workshops
include casting, starting and maintaining a company, arts council applications,
marketing, community theatre as well as sessions for skill-sharing and
networking. They also have specific workshops within their respective
disciplines with industry professionals.
The participants are then introduced to their companies, comprised of a group of actors, one director and one writer, and start working towards their end-of-week goals. Actors and directors present a performance of a given commissioned script and a dramatic rehearsed reading of their writer’s script. Writers write that ten-minute play whilst stage managers make it all happen.
Actors
The actors workshop this year was with Keiron Self and had a
specific focus on how an actor interprets text. The actors from YAF tell me
this was vital for the short rehearsal period they had. You don’t have long to
get to know your character, and it’s especially important in shorter pieces
where characters rely more on performance for characterisation.
Once the actors are in the
rehearsal room they have a couple of days to get off book before their first
performance. Something some saw as a somewhat daunting task, having never done
it in such a short space of time before. However, they realise it’s perfectly
possible and that the experience is vital for them moving forward. Especially
when preparing for auditions or working in the fringe environment where time to
learn lines is limited.
The performances at the end of the week come and go, but it’s
really about the experience of the week, of putting yourself out there and on
stage that seems to last beyond the week for the actors.
Directors
The directors had a workshop with Simon Harris, who focused
on doing text work before rehearsals and working with new writing. The
directors tell me this was great experience going in. Often their teaching has
focused on working in the room and once again, the workshop complimented the
direction process for the week.
The directors also have a production meeting with stage
managers where they set out their vision and discuss the possibilities. This is
something few of the directors had done before and again, it’s something that
really helps with their personal growth.
Directors also expressed the experience of being able to work
with a writer and have them in the room. Directing for rehearsed reading is something
that kept coming up also. Directing with a specific focus on displaying the
writing, which is different from directing the commissioned piece. Directing
both during the week is a valuable experience to take away.
The trust and support given to directors to control not one,
but two pieces of theatre, be placed in a room full of actors and deliver their
own vision is something the directors also spoke highly of. The support from
The Other Room’s artistic director Dan Jones and YAF producer Claire Bottomly was
a big part of the director’s experience.
Stage
Managers
As previously mentioned, the directors and stage managers
have a production meeting near the start of the week. For the stage managers
this is something none of them had done in this way before and is extremely
helpful moving into YAF.
The stage managers are very hands-on during the week. With the
support of a professional stage manager, in 2019 being Kristian Rhodes, they
effectively make the shows happen. Bringing the director’s visions to life by
sorting set, sourcing props and arranging lighting and sound. They’re present
in some of the rehearsal process and get to tech a run of the final
performances.
Overall, the experience is positive for the stage managers.
They’re constantly busy and feel like they’re just on the job. But, crucially,
have that support from a senior stage manager and The Other Room staff.
Writers
The writers start their week in a writing workshop with a
professional playwright. This year, and the year I did it in 2017, it was with
Matthew Bulgo. Bulgo is an excellent playwright and I can say from experience, very
good at leading a workshop. He focuses this one on structure and writing for
short-form, which is key for the week moving forward. All writers expressed how
helpful this was on many levels.
Bulgo also returns to offer feedback, which is also offered
by The Other Room’s staff throughout the week.
The writers spend the first half of the festival writing a
ten-minute play. Something that sounds quite scary at first, but from watching
the scripts performed at the end, easily possible to a good standard.
Writers then go into the rehearsal room on the Friday and Saturday
to see their scripts rehearsed. This is a new experience for some, as is what
happens in the afternoon on the Saturday when their scripts are performed in a
dramatic rehearsed reading.
The writers seem to be the most stressed during the week, but as a result the most relieved and happiest at the end when they see their work. It’s an intense but rewarding week and in some cases the writers take their scripts and develop them further.
Speaking to participants from all disciplines, it’s clear
they’re there for similar reasons. To make connections and friends, learn,
explore, grow, reignite a passion, re-motivate, progress ideas, bounce off
others, practice professionalism and a collaborative process in a supportive
environment.
By the end it’s clear the week has been valuable, often in
more ways than they realise. It gives participants a sense of pride if they
need it or helps to ground them if they’re more critical. To realise that not
everything has to be a masterpiece, and anything produced within a week won’t
be perfect. But that it can be done. It shows them that this can be done and
all it takes is a bit of hard work and the knowledge, which YAF provides, to do
it.
When I did the Young Artists Festival in 2017, it didn’t seem
much different. The main difference is it seems more focused on creating an
environment of collaboration. Not that it wasn’t there in 2017. It’s hard to
really progress YAF every year, because it’s always been a really great week
for anyone involved. They’ve always been aware that people are different and
always tried to cater to everyone, making young artists feel comfortable in an
environment that, for many, is fairly alien – the world of professional theatre
making.
Post is a solo, immersive play written and performed by Xavier de Sousa. Xavier’s play is an intimate and vocal production that creates a traditionally Portuguese and friendly atmosphere. There’s nothing more accommodating then attending a show that has tasty smells fuming in to your nostrils and discovering different methods of cooking and learning about new ethnic dishes, whilst getting served.
Post is all about joining Xavier at a grand table for some delicious portuguese food and merrily discussing hot topics around the dinner table whilst you eat. Xavier chose four people to voluntarily accompany him at the dining table on set which had a variety of sweet smelling foods such as homemade bread, soup, Green wine and Cachaca, which is a strong Portuguese spirit he served for shots.
https://vimeo.com/190589379
Once the beautifully infused scents, tastes and imagery of the set began to feel like a warm heavenly paradise, Xavier was ready to present his questions. After he’d selectively chosen who to be seated around the table to discuss national matters, it got a lot more interesting and compelling. The primal talk was on challenges the nation faces, especially as we are heading towards Brexit.
The semi-focus revolved around factors in political and geographical landscapes. It was great to see Xavier invite down different ethnic groups to the table as this made the show even more crucial to watch. The conversations were far from demoralising to hear as they were all uniquely angled. Answered with the intention to help openly express, relate it individually or encourage significant family memories.
Post is a play that exploits different topics in a safe, non-judgmental environment exploring what it means to be and feel a migrant in this day and age. As well as conforming to a culture to gain acceptance, followed by the exposure of non-friendly and ignorant people, who feel more confident to be openly racist and discriminative towards opposing ethnic minorities during this moment in history.
Xavier did a great job in keeping the humour alive and not excluding the audience by offering and serving food whilst conversations commenced! Xavier defiantly made a great host! Overall Post was fun and engaging to experience as whether you were involved in the conversation or not, the topics were self-identifying to all.
In the deep underbelly of the vaults, we are lead into a almost parisian but definite tomb that sways with the changing of times.
There are corners with dark and erie images of dirt and skulls, a glimpse of the universe in a coffin, shrines and so on. We are gently lead through these in the damp, and dusty wannabe catacombs.
The Church of the Sturdy Virgin is an immersive experience of the dead but also of humility. We are prompted to take it all very seriously but there are times of poking fun at the dead and the way different people grieve, celebrating death, and sometimes we are even poked at. But we are engaged and told to take this seriously and so, we are dutiful.
Split into ‘families’ we are taken on journeys to experience the different elements of burial, death, the afterlife from a comedy duo who show you how to embalm a member of the audience, to selecting a eulogy for our dearly departed that can be satirical, heartfelt or just societal.
The performers are always on point – they encompass their characters into their entire entity, enjoying the freedom of ad lib and engagement with the audience right from meeting us in the queue to the end when we leave, asking us to ‘Stay Sturdy’. At one moment there seems to be a confrontation from the ‘religious’ of the church and the more ‘spiritual’ yet this isn’t explored much more than a slight outburst and a mention of differences. I felt that this would have been great to explore some more – to show more of a darker, deeper and controversial side behind The Church of the Sturdy Virgin.
Over all I had a great time – I went in feeling apprehensive, as the wimp in me who shys away from horror films and shudders at the thought of ghosts, thought that I would find myself immersed in something my nerves just wouldn’t cope with. However, while subtle elements of this, The Church of the Sturdy Virgin was also fun, hilarious and did well to not only immerse us in their world, but break us out of our British shells and interact more.
Hi Adele, great to meet you, can you give our readers some background information on yourself please?
I am a theatre and opera director. I am from Port Talbot originally and live in Cardiff now. I’m about to make my Royal Opera House debut with Handel’s Berenice.
This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
I am obsessively listening to Berenice as I’m about to direct it! So my iPod is pretty much given over to that and to some of Handel’s other operas. It’s good to get a sense of where this piece fits into his wider body of work.
But the latest thing that I saw and was blown away by was a gig by Hen Ogledd. Their album, Mogic, has just come out and it’s just sensational. I’m a vinyl lover, so I’ll be listening to it on the record player!
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why? 1
Magical Mystery Tour – The Beatles
I’m going to immediately preface this by saying that this is by no means The Beatles’ best album (for me, that’s Revolver) but it is the one that changed my life. I was struggling to fit in in my teens in a world of grey concrete and everyone in head to toe adidas block colour tracksuit and gangster rap. After one very late night of underage drinking, a friend took me back to his house and said “check this out”. He put the film of Magical Mystery Tour on and immediately my entire world opened up. The colour, the surreality, the clothes and, of course, the music! I became obsessed with the backwards tapeloops, the kaleidoscope camera, the technicolour kaftans. I binned the tracksuit and immediately became a 60s throwback. That one encounter opened up everything to me: art, counter culture, the music scene, a whole world of new friends. And I can still quote that film word for word.
His ‘N’ Hers – Pulp
When my school mates did all start listening to Oasis and Blur I was firmly in the 3rd camp: I was a massive Pulp fan. Different Class is the album that cemented them as working class hero for the wierdo amongst us, and This is Hardcore saw them reach the pinnacle of their orchestral ambition, but His ‘N’ Hers is my favourite. It captures something very real about being an outsider in the 90s: when charity shops were packed full of incredible 60s clothing for pennies, the seedy glamour of the beachside dirty weekend B n Bs along Mumbles road, sticky indie clubs and lager and lime. It’s an album that celebrates the trashy, sexy, the working class. Jarvis Cocker is still my hero and nothing makes me dance and cry at the same time like “Do you Remember the First time”.
Work and Non-Work – Broadcast
I wrestled between this and Dots and Loops by Stereolab (which is a masterpiece) but Broadcast just pips them for me. Warp records seemed to be the coolest thing on the planet, and Broadcast’s music touched a nostalgic nerve for a period I didn’t even know. Their music seemed to be the subconscious by product of an alternative past: the mulch creepiness of Dario Argento’s fits, the sun saturated photography, the trippy wierdness of Public Information films. This album is incredibly beautiful and cinematic: every song on it lends itself to a film that has never been made. And perhaps the thing that pushes Broadcast’s work up the list for me is the tragic death of their singer and heart of the group Trish Keenan. She was a fashion icon and a poetic mind who went too soon.
The Hissing of Summer Lawns – Joni Mitchell
One night my boyfriend and I were driving very late down a pitch Black Country lane and we were listening to a radio show of Prince’s favourite songs. Suddenly this piece came on and it was so overwhelmingly beautiful, so totally perfect that we had to stop the car and just sit there in the dark listening. That song was Edith and the Kingpin from this strange and haunting album by the one and only Joni Mitchell. Poetically, every listen glistens with new meaning and her use of language is so incredible. “The helicopter lands on the Pan Am roof/ Like a dragonfly on a tomb”. Exquisite. Especially coming at you through that pure voice.
Wozzeck – Berg
I discovered that I wanted to direct for stage when I sat down and watched Richard Jones’s production of Berg’s complex and terrifyingly hard opera based on the Buchner play. That production tore away any concepts I had of what theatre could be. The world on stage was so strange, so complete, and the performers were incredible musicians and amazing actors (Christopher Purves’ performance in that was one of immense human detail. All while singing some of the hardest music you’ve every heard over a full orchestra). Now I’m finally directing opera, this production is still the benchmark for me of what can be achieved. It’s really worth listening to: yes the music’s complex, but the tragedy of the story is brilliantly served here. Please note the version Adele describes is not available online. Instead we present The Hamburg Philharmonic State Orchestra, The Chorus of the Hamburg State Opera, Conducted by Bruno Maderna, Directed for television by Joachim Hess. Set design: Herbert Kirchhoff Costumes: Helmut Jürgens Recorded 1970, Hamburg State Opera.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
I’m going to chose Babies from His N’ Hers because I think it shows how complex pop music can be. Melancholic, strangely profound: it captures the sense of teenage boredom on a rainy Tuesday evening between school and… But it also never fails to get everyone on the dance floor, and it builds into a euphoric, semi-spiritual exorcism of raw sexuality and kitchen sink drama. I can’t listen to this without dancing!
Hi Lleucu great to meet you, can you give our readers some background information on yourself please?
I was raised in Talgarreg, Ceredigion and went to Ysgol Dyffryn Teifi in Llandysul. While still at school my friends and I set up the Welsh-language rock festival, Roc y Cnapan, in Ffostrasol. We had amazing bands such as Y Cyrff (who later became Catatonia), Ffa Coffi Pawb (later, Super Furry Animals), Crumblowers, Cerrig Melys and Datblygu playing in front of thousands of young people who came to the festival from all over Wales. After school I travelled around South America for a while and studied English literature at New College, Oxford. After working at various media and arts companies I ended up where I am now in Literature Wales. Poetry, spoken word and hip-hop have always inspired me, and I love the way these genres have developed and intersected over the years.
This chat is
specifically about music and the role it has played in your personal and
professional life. Firstly to start off what are you currently listening to?
These days I’m enjoying listening to Kendrick Lamar, Cardi B, Stormzy, Dave (the young political rapper from London. Check out his song Question Time) – exciting music with a message and an edge.
https://youtu.be/4ff6CjYBhoI
There’s also a lot of great music coming from Wales, such as Los Blancos, Adwaith, Y Pencadlys. And Olion by Mr has been playing endlessly in our house for the last couple of months.
https://youtu.be/iqMUGiAI5cE
We are interviewing a
range of people about their own musical inspiration, can you list 5
records/albums which have a personal resonance to you and why?
1 Velvet Underground & Nico – a funny, louche and weird album with surprisingly catchy songs. I listened to it a lot as a teenager (and still do), and it made me fantasise about moving to New York, wear black and live in a loft.
https://youtu.be/3qK82JvRY5s
2 Ride On by Christy Moore – my friends and family can vouch that this gets played a lot in our house and I know every single word to every song. His voice is hauntingly beautiful.
https://youtu.be/E-z7M3FZv4E
3 It Takes a Nation of Millions to Hold Us Back by Public Enemy – extremely influential album when I was younger and the band still sounds as fresh and urgent now. I saw them play at the Tramshed a couple of years ago and they were amazing.
https://youtu.be/UexhiKFCAAM
4 Libertino by Datblygu – without a doubt the most influential and exciting band ever in the Welsh-language, if not in any language. The combination of the musical genius of Patricia Morgan and the poetic desolation of Dave R Edwards makes any of Datblygu’s albums worthy of intense listening.
https://youtu.be/hjqZ4mX2cPI
5 Gold: Greatest Hits by ABBA – dancing round the kitchen to ABBA songs is a tradition I’ve proudly passed on to my children. Fun, classy, catchy, genius pop disco tunes which should be part of everybody’s lives.
https://youtu.be/2ZUX3j6WLiQ
Just to put you on the spot could you choose
one track from the five listed above and tell us why you have chosen this?
A toss-up between Cân i Gymru from Libertino by Datblygu and Dancing Queen by ABBA. Or perhaps Ride On by Christy Moore, or Don’t Believe the Hype by Public Enemy. I really can’t choose!L
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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