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Chris Redmond

#214: 'Blahblahblah: Blah Humbug' @ Bristol Old Vic, 14th December 2015

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#214: 'Blahblahblah: Blah Humbug' @ Bristol Old Vic, 14th December 2015

       While there are multifarious ways in which to approach the festive season, broadly speaking there are two opposing ends of the spectrum. First is the shiny, cheery, entire house front-lit one, unflinchingly peddled to us through constant loops of Christmas music and every media source with which we come into contact; at the other there's those who see the bleak mid-winter for just what it is: bleak. For its December outing, Blahblahblah gave gleeful succour to those in the latter camp, indulging us with a bit of anti-Crimbo camaraderie.

       A festively abundant crowd made their way in from the dank December evening, picked up a mulled cider (courtesy of Blah), and packed out the Old Vic's Studio Theatre ready for the popular series' final show of 2015. 'Blah Humbug' was billed as an anti-slam to get us as far away from the oppressive form of glad tidings and enforced jollity as its line-up of eight spoken-word artists from across the UK could possibly muster.

       Anna Freeman, Blah's director-cum-host was ready as ever to set the tone and everybody appeared to be on-page that Christmas can indeed be a bit shite. So as to set a benchmark from which all had to land as far away from as possible, Freeman (who had been trawling the internet for such an artefact) relayed suggestions from a Christmas blog. The writer of this blog implored readers to do festive activities which were so sickeningly earnest and devoid of humour, it had Blah’s audience simultaneously cracking up and recoiling in horror.

       With each artist having two shots at reaching that anti-Christmas high (or is it low?) this was always going to be a chock-full, exhilarating, Grinch-inspired ride from a stellar line-up.

       Lucy English initiated proceedings and got the audience instantly sputtering and chuckling, imagining a holiday season in which she really could for once be the 'Christmas Bitch' – suggesting that she probably is actually quite good at and acquiescent to the Christmas 'thing' really. Second time ‘round she dabbled in something she is usually a bit unimpressed by, with a Christmas-themed send-up of experimental poetry. Her audience participation in said piece elicited some often disturbingly frank responses of awful Christmases past from spectators.

       In its juxtaposition with the compulsory cheer of the holiday period, there is always the potential for any sadness in it to be accentuated. The superb Salena Godden offered us a taste of this with a biographical poem, having visited her father’s long-lost grave around Christmas some years ago, though the sorrowful content was combined with tenacity and light in tone. Godden is warm and engaging, her second piece was positively carpe diem – a droll rejoinder to the ‘can’ts’ (try to precede that with ‘what a bunch of…’) of this world. She even utilised the talents of the audience in a conductor-like fashion to brilliant effect, getting them to imitate the can’ts protests of ‘whatever’, ‘doesn’t matter’ and ‘can’t be bothered’.

       Chris Redmond highlighted the discrepancy between the habitual Noel frivolity and the reality of what is happening now, far away, with direct reference to the war currently unfolding in Syria. His impassioned polemic was genuinely affecting, delivered with finesse and sardonic indignation. It provoked thoughts and no doubt left at least some of the audience members similarly angry. Redmond then wittily pondered the transition in his life from one of hedonistic twentysomething artiste to the domesticity of fatherhood around the motif of finding Phil Collins songs having a ‘good beat’ – something that would have been unconscionably lame previously.

       Jonny Fluffypunk was aptly humbug in his own absurdist way. First of all, he mused on how celebrities crave anonymity - it's the one thing we have that they don't, or for that matter will ever have again. In this hilariously surreal tale, Mick Jagger for instance was sighted on a London bus - his lips ‘like two sausages’ nonchalantly thrown onto a bun by a ‘cocksure teenager’. Other celebrities in this alternate universe were completing similarly bleak tasks, eagerly pining for obscurity. Later on, in his slightly grizzled Cockney tone, he gave a piercingly amusing riposte to the injustices of the political system, deftly pointing that Ian Duncan Smith’s shorthand moniker is a lot like that of irritable bowel syndrome.

       Wilf Merttens added a more experimental, softly-spoken tone into the mix. Extremely erudite with literary allusions, his pieces were also full of wit, flitting from beautiful and sometimes dark imagery to irreverence. Holding the audience well, his poems seemed to intertwine real-life experiences with the more fantastical, recalling other performers we have seen from the extremely high-calibre line-ups at Blah this year.

       Oozing gritty Mancunian swagger with a slightly nerdy edge, Thick Richard was instantly spellbinding. Accessibly angry, pint in hand and snarling down the mic, his world is one of the urban down-and-out but with a flash of absurdism in the vein of Jonny Fluffypunk, perhaps indeed in the tradition of fellow leftfield Manchester wordsmiths John Cooper Clarke or Mark E Smith. In one piece he adopted the voice of an individual branded ‘scum of the earth’ – powerless and disdained by those with agency, captive by his environment and threatened by those around him – all executed with a blackly humorous tone.

       Vanessa Kisuule appeared to a raucous reception adopting the persona of a slightly jaded Mrs Christmas. Dressed in a garb suggesting North Pole crossed with fetish club, in her first performance she cleverly and comically explored themes of feminism in the context of social media as her Mrs Christmas responded to diverse tweets – chauvinistic trolls included – following the apparently public demise of her relationship with Father Christmas. In both pieces she enthralled the Blah crowd, with a cool, inventive delivery.

       It was ultimately down to the audience to decide a 'winner' through an admittedly unscientific measure of cheering. While every artist received rapturous applause, it was ultimately Thick Richard with his gloriously grim and darkly comic representations of urban working-class life that proved the least festive of all. His prize: some ‘seasonal aromatised wine’ (mulled wine to you and me) and shop’s own-brand chocolates!

       Audience thoroughly entertained, the overall impression was that one could have easily stayed seated all night captivated by the superb acts, reveling in the anti-Yuletide bonhomie. All that might be left to do would be to crack out a bottle of whiskey, bitch about Christmas and play some poker. Blah has constantly impressed all year and with so many ludicrously good artists, what a delectably Scrooge-esque crescendo Blah Humbug turned out to be.

 

Thomas P. Caddick

Photography: Darren Paul Thompson

 

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#199: 'Blahblahblah' w. Indigo Williams, Chris Redmond & Shagufta Iqbal @ Bristol Old Vic, 18th May 2015

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#199: 'Blahblahblah' w. Indigo Williams, Chris Redmond & Shagufta Iqbal @ Bristol Old Vic, 18th May 2015

       Triumphantly returning to Bristol Old Vic after the superb extended weekend of programming that was 'Blah's Big Weekend', the regular monthly instalment of ‘Blahblahblah' had the benefit of only having to provide an evening's-worth of entertainment (versus the Big Weekend's four consecutive days!), though also the disadvantage of having to shine independently from under the looming shadow of one of the best weekends of spoken-word programming in Bristol's recent memory.

       Thankfully, the line-up at this Mid-May event was strong. Event producer, poet and author Anna Freeman hosted the evening, introducing the Bristolian audience to the talents of Shagufta Iqbal and Indigo Williams, whilst reintroducing Chris Redmond to those that saw him spearhead his incredible touring band Tongue Fu during their roof-raising show at the 'Big Weekend'.

       Commencing proceedings, Shagufta Iqbal delivered a number of pieces that drew upon on her rural Punjabi heritage and her religious identity, in which she challenged where her place in the present should stand and explored where she can shape the future path for herself and others. Also confronting subjects such as sexual harassment, gentrification and gender equality, her set was crafted with purpose. Captivatingly intense in it’s content and seemingly disruptive to many of society's default narratives, Shagufta's voice proved a thought-provoking start to the evening, with many present likely to be keeping an eye open for her future development within the scene.

       Directly following Shagufta, Chris Redmond was to prove highly contrasting in both style and content (and indeed a canny display of scheduling strategy that kept the audience thoroughly on their toes!). Unable to perform the 'loop pedal'-based material that'd been advertised in some pre-event press, he'd thankfully arrived sporting an abundance of stage presence, charisma and enjoyable content with which he could entertain the crowd. Whether relaying fantastical tales about foxes, introspectively exploring the variance of his own attitude towards strangers on the tube, or belting out the call-and-response crowd-pleaser ‘Let The Pig Out!’, Redmond confidently whisked the audience through a superbly energetic and entertaining bout of spoken-word, textured with some great moments of reflection.

       Following a brief interval, Indigo Williams stepped under the spotlight as the concluding performer in the evening’s line-up. Composed and articulate, Williams was a likeable presence who quickly proved herself an understated powerhouse to behold. With stories of her experiences in London both as an individual and as a poetry workshop educator, she crafted vivid worlds of rich characters with her powerful command of language, painting scenarios of her own experience that were interwoven with themes that resonated with all.

       Often purposefully empowering in sentiment (at one point even getting the audience to shout their names out proudly en masse), the addition of her friendly authority and incredible ability to fuse intellect and emotion so ably made for an inspiring, reflective and truly impressive experience. On a number of occasions the impact of her words left one caught in reverence of the departing moment, before rushing to eagerly catch up with the next inevitable lyrical gem.

       Departing after a comfortable, confident performance that delivered expertly-crafted emotional hammer-blows from the most impressively succinct usage of language, Indigo Williams concluded another Blahblahblah event that ably demonstrated the breadth and quality of the spoken-word scene in the UK.

       Following the blockbuster that was ‘Blah’s Big Weekend’, the return to the comparatively bite-sized format of a single monthly event still managed to leave the appreciative Bristol crowd with bountiful intellectual nourishment, whilst maintaining the fantastic momentum of the growing 'Blahblahblah' platform.

 

Photography: Darren Paul Thompson

 

Anna Freeman / Indigo Williams / Chris Redmond / Shagufta Iqbal

Blahblahblah: Website / Facebook / Bristol Old Vic

 

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#198: 'Blah's Big Weekend' @ Bristol Old Vic & The Thunderbolt, Bristol - 30th April to 3rd May

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#198: 'Blah's Big Weekend' @ Bristol Old Vic & The Thunderbolt, Bristol - 30th April to 3rd May

       'Blah's Big Weekend' was billed as, "a ground-breaking collaboration between Tangent Books, Bristol Old Vic and The Thunderbolt Arts Pub... a huge and colourful celebration of words and a chance to engage with some of the best and brightest poetic minds in the UK."

       Having attended all the events in the program, we certainly agree with the statements above - it was fantastic!

       Thursday evening saw John Hegley entertain an audience with a selection of instruments, collaborators, spoken-word and song. Following his show, he kick-started a disco which he peppered with a range of activities in-between the audience's enjoyable bopping amongst swirling party lights and a plentiful helping of multi-coloured balloons.

       Friday started with a 'Talking Tea Party' in which the participants (loaded with plenty of soft drinks and cakes), were able to discuss 'The Future of Publishing' in a very open, informal and insightful fashion. Featuring Richard Jones (Tangent Books), Kate Johnson (Agent at Wolflit), Clive Birnie (Burning Eye Books), Stefan Mohammed (Author) and chaired by novelist, poet and performer Anna Freeman, the event proved a great success.

       Friday evening welcomed Bohdan Piasecki and Kate Tempest to Bristol Old Vic in a jam-packed, sold-out exhibit of refined spoken-word talent. A popular previous visitor to Blahblahblah, Bohdan regaled the audience with a selection of enjoyable, impactful pieces, before passing the spotlight on to Kate Tempest. No stranger to Bristol, Kate's performance reminded those eagerly amassed just how talented a performer she is, whilst introducing herself to the uninitiated with a fiercely passionate, exceptionally smart and inspiringly empathetic showcase of spoken-word mastery. Whether snappy snippets, mid-length classics or one staggering full-scale epic that unfolded over the course of what must have been fifteen minutes or so, she provided a truly unique live experience to the delight of the Bristol crowd.

       Saturday morning saw Jonny Fluffypunk entertain and educate an animated group of youngsters with the wonders of language and rhythm, after which award-winning writer Amy Mason commenced a creative workshop with a group of eager adult attendees.

       The afternoon hosted the second of two Talking Tea Party's, this time focusing on the increasing overlaps between the worlds of spoken-word and theatre. Featuring Chris Redmond, Jonny Fluffypunk, Amy Mason, Vanessa Kisuule, Sharon Clark (Bristol Old Vic) and Anna Freeman, it proved another tea-and-cake-fuelled success, in which ideas were discussed, knowledge shared and good times had.

       Mid-afternoon saw Vanessa Kisuule welcoming the public to Bristol Old Vic as the appointed 'Poet in Residence'. Crafting tailor-made poems on request, then committing the newly-formed pieces to paper with a vintage typewriter, she captured snapshots in time and offered them to her audiences gratis, providing an original and lasting memory for those fortunate enough to pass by.

       Also adding a lasting memory was the performance of Chris Redmond's 'Tongue Fu' band, which concluded Saturday's events. Backed by a team of talented musicians (including Bellatrix of 'Dizraeli and the Small Gods' - the double-bass playing, Female World Champion Beatboxer), Redmond launched a rowdy party of incredible energy and superb artistry from those on stage. Inviting poets to the mic, they were to perform a selection of their work with unrehearsed accompaniment from the band. Whilst this improvisational collaboration certainly had the potential to nosedive amidst a chaotic tangle of words and noise, the result was quite the opposite. Matching and evolving the sentiment of the music to reflect the words of the poets, the two art forms intertwined in a way that enhanced the collective impact impressively; the soundscape rose and fell with the poems with a reactive fluidity, morphing between lapping waves or crashing sonic tides accordingly. With Chris Redmond both performing and introducing a wealth of lyrical talent - Anna Freeman, Vanessa Kisuule, Tim Clare and the force-of-nature that was Salena Godden - the line-up proved exactly the catalyst that was needed to fully realise the Tongue Fu premise.

       Not only did Saturday's closing event offer a fantastic execution of an inspiringly unique concept, but it also provided a truly one-off performance, born of in-the-moment magic that will remain exclusive to those in attendance. Clapping and cheering wildly in appreciation, Tongue Fu was undoubtedly a very popular addition for Bristol's beaming and energised audience.

       'Kick-Back Sunday', the final day of programming, saw events shift a mile or two across Bristol to The Thunderbolt Arts Pub. Fuelled by local ales and some tasty home-cooked chilli, Blah's Big Weekend concluded with sneak-peaks at forthcoming Edinburgh shows from Angie Belcher (and her alter-ego Odious Vex), Tim Clare and Harry Baker. A spectrum of styles and content was on display, with plenty for all to enjoy amidst a laid-back, Sunday atmosphere. The odd technical glitch or duff line was present throughout proceedings, but the forgiving, informal context of the event and the eagerness of the crowds to see new pre-Edinburgh material meant they were but small bumps in an enjoyable conclusion to the weekend.

       Blah's Big Weekend was superb. That so much top-quality programming was packed into such a short space of time was both a real triumph for the organisers and a clear joy for both those performing and attending. The snowballing momentum of spoken-word as a medium is fascinating, entertaining, inspiring and indeed thrilling to watch unfold, and once again, Blahblahblah has positioned itself at the forefront of the movement.  

 

Photography: Darren Paul Thompson

 

 

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#99: 'Tongue Fu Tapes: Vol.1' (CD Review)

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#99: 'Tongue Fu Tapes: Vol.1' (CD Review)

       First established in 2007, 'Tongue Fu' has achieved an impressive reputation in recent years for its forward-thinking approach to spoken-word nights in London. Built upon the creative foundation set down by lyrical impresario Chris Redmond and musical composer Riaan Vosloo, the linguistically pugnacious Tongue Fu constantly seeks new ways to experiment with the concept of live performance.

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#41: 'Blahblahblah' w. Chris Redmond @ Bristol Old Vic - 3rd September 2012

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#41: 'Blahblahblah' w. Chris Redmond @ Bristol Old Vic - 3rd September 2012

         A fitting verb that could be used to describe the current growth of Bristol’s ‘spoken word’ scene would undeniably be 'flourishing', judging by the recent happenings in our fine city. The previous event in August, which took place aboard the Hotwells Grain Barge, saw a huge leap forward by supplying an ambitious and extensive line-up that offered healthy dollops of wordplay for the sell-out audience present.

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