Si's Sights And Sounds

The husband and wife duo behind Belfast-Derry indie quintet The Jepettos tell us about their past, present and future musical journey

It's been over a year since your first EP, Start A New People, was released. What have you been getting up to since?

Ruth: We've had a great wee year, gigging and promoting the EP on numerous radio stations, and playing festival gigs alongside Tiny Tempah, The Foo Fighters and The Black Keys. Last summer, we released a music video short film, which has always been a bit of an ambition of ours. Mike wrote the narrative, the first of his to have been made into a movie. We've also written new material, to be released in April.

So how did the musical journey begin, for both of you?

Ruth: Mike and I met at a gig fifteen years ago. Since we've been together, we've always messed about writing songs and putting on shows for our families, with my brother and sister who are also musicians. Some of our song ideas are quite old, but our sound has been honed through many years of writing songs together in our bedroom. The Jepettos came to be after we had been songwriting for some time and had just finished in another band. We became good friends with Emma Flanagan (clarinet/recorder player), Colm Hinds (bassist) and Dan Kerr (drummer), and began to work on the EP that became Start A New People.

Did either of you have a favourite instrument at school, or did you prefer to sing?

Ruth: My Nana is a piano teacher, so I played piano for years. But really, vocals were always my main instrument. Although I was in the choir at school, music truly came alive for me outside of school. I learnt how to sing properly after taking part in loads of stage productions as a kid in Belfast, although I have a much more laid back approach nowadays.

You have a unique record design and approach to music videos which seems keen on telling a story through visuals and music...

Mike: Yes, I'm quite interested in telling stories through different mediums. I hope that I'll get more opportunities to write screenplays through sight and sound off the back of our first video (watch it below).

Last year, I likened you to Lisa Hannigan, Duke Special and Belle & Sebastian. Are they among your inspirations?

Ruth: Yeah... I love Lisa, she has such texture in her vocals. Duke has been a local hero of ours for years and we were very honoured to have him playing on the piano in" Goldrush". We've worked with him previously too, in The Lowly Knights.

You've received much critical praise. Has it helped you as songwriters, or has it not really affected you as such?

Mike: It's always great to hear people, especially rock critics, like what you're putting out there, but we are really fussy, and we really need to like what we are producing otherwise we won't get anything out of it.

The band seems like a real family affair.

Mike: Yes... We have two daughters, and our eldest is a natural in front of the camera. She's not phased by the stage at all, so we have her come on the radio and stage whenever possible to give her experience. The younger one couldn't be persuaded, however...

What should audiences expect when they go to watch The Jepettos?

Ruth: Hopefully, an earful of catchy songs.

Where do you and the rest of the band see yourselves at the end of 2013?

Ruth: A New Year's Eve party!

The Jepettos' first EP, Start A New People, is available to download at iTunes, Bandcamp and Amazon. The band themselves will be performing at the Cellar Bar, Draperstown, on Saturday February 9. For more information, follow The Jepettos on Facebook.

The popular music festival opens in a blaze of glory at Derry-Londonderry's Glassworks Church

"We wanted a church that was small, would light up and play some wonderful music."

With those words, Other Voices producer Phil King signifies the end of a very long and worthwhile journey. We may not be in County Kerry this year, but the Glassworks Church on Great James' Street is trussed up just like you would expect St. James' Church in Dingle to be for such an event; with colour, crowds, musicians and techicians everywhere. We're in a church that, according to the Derry Journal's Julie Ann Campbell, "hasn't seen much action in the last few decades besides the odd disco and, for a time, Bedlam vintage market." Well, it's about to see a lot of action tonight and in the next couple of nights.

The question is, can it rise to the occasion? Let's find out...

DAMIEN DEMPSEY

Our host, Aidan Gillen (he of The Wire and Game Of Thrones, for you uninitated folk out there), introduces Damien Dempsey as "a real Dublin voice, a real Irish voice... who knocks out one hit after another". Tonight, Dempsey knocks out an eclectic, if slightly inconsistent, mixture of styles that amount to something both homely and moody. What he seems to lack in stage presence, he makes up with energy and all round musical power; the beat of the drums, the thump of the bass and the strength of the vocals are really felt by everyone in the venue. Call it "balladry with balls".

The positives far outweigh the negatives here. Whether you're a fan or not, it is difficult not to admire the rich sound, the meaningful lyrics (be they English or Irish) and the great care Dempsey puts into his instrumentations. As a neutral, I enjoy Dempsey's gentle, affable rapport with the crowd and the way he crosses a wide variety of genres, from folk, country & western to even Bob Marley. That one of his refrains sounds a little too Nickleback for my liking is forgotten by the time we hear his final number, which leaves the entire audience swaying and smiling. In my view, he deserves a standing ovation for that alone.

SOAK

Derry's latest rising star - although arguably, she has already risen - hasn't even reached the mike yet, and there's deafening applause all round. As we're about to find out, she more than deserves it, but what's more of note at this moment in time are her rather, ahem, unorthodox footwear. I'll let her explain:

"When I reached a certain amount of Twitter followers, I vowed I would dress like a dragon. Only part of the costume arrived."

So there you are. Bridie Monds-Watson, aka SOAK, has come to perform for us in a pair of dragon feet. On this evidence, one already wonders if we'll not be able to smile during this set. And so it proves.

Whether you're sitting back and enjoying SOAK's pleasant, delicate, clear and unforced vocals, impressed by the remarkable maturity of her guitar playing (one must remember she is still only sixteen), or amused by her close-to-home, easy-going sense of humour (including, but not limited to, performing in her socks and later another pair of shoes), there really is something for everyone here.

This all-too-brief four song set is both charming and surprising in its graceful simplicity.

SAVAGES

They're "steely, dark, thrilling and hypnotic", according to Aidan Gillen. Yes, all-girl punk band Savages are definitely that. But their dynamism is a true jolt to the senses, really out of context with what we have heard so far this evening.

The question is, though: does it work? Well, sort of. There's little or no comedy here, just flat-out punk rock, creepy soul, hammering instruments and an almost consistently fast tempo. While they definitely have presence, not to mention a couple of groovy tunes, there's little cohesion to the set, and they do feel a little distant, not just from the audience, but from the venue itself. In a nutshell: their rather savage nature (how apt!) isn't bad in its own right, it just doesn't feel right for the moment.

NEIL HANNON

For his first, and hopefully not last, set with a full band - and not just any full band, but Thomas Walsh and the Duckworth Lewis Method! - in the City Of Culture during 2013, Neil Hannon has gone the Damien Dempsey route and chosen a nicely eclectic mix of songs from different albums. As with SOAK, the set is not long enough, but there is still much to enjoy here.

A slightly nervy but no less touching rendition of "Sunrise" gets us underway before the band take centre stage and join Hannon for "Bad Ambassador". While it's clear that Hannon can't quite hit the high notes the way he used to, he makes up for it with a more blues-y and soul-ful approach to the song. Things get a little more problematic when we come to "At The Indie Disco" - it turns out that Hannon has never performed it live with a full band before, and trouble looms when the band begin playing out of sync with Hannon. Fortunately Hannon's sense of humour easily rubs off on the band and the audience, and we just shrug it off, enjoying a hugely singable rendition of an effortlessly catchy tune.

"A Lady Of A Certain Age" is performed so smoothly that you feel like you can just, as Gary Lightbody would say, shut your eyes and sing to everyone... which is exactly what I, and no doubt many others, feel like doing. The rest of the set is a mixed bag - if "Meeting Mr. Miandad", from The Duckworth Lewis Method, is perfection, "National Express" comes across as a slightly flat finale. To me, the latter song has never quite "worked" live - but its position as one of his most iconic tunes makes it a must-hear. And in fairness, the audience seem to like it.

As Hannon takes his final bow, it's time to leave the Glassworks and re-enter the city streets, knowing that tonight has set a very high standard for everything that will follow at Other Voices Derry.

Other Voices runs until Sunday February 10. For more information, check out the official site or follow Other Voices on Facebook.

(All photos courtesy of Lorcan Doherty Photography.)

The Glassworks audience are given another treat in the form of four outstanding female vocalists - and much more

Another night, another occasion for much quality tuneage as the crowds gather in the Glassworks church for the second night running. The opening night has already set a very high standard. Will tonight's four acts match, or even better, Neil Hannon, SOAK, Damien Dempsey and Savages? Time to find out...

LITTLE GREEN CARS

When I see and hear Little Green Cars standing around a microphone and singing old-timey, folksy indie rock with only an acoustic guitar and tambourine to accompany them, I'm reminded of what might happen if The Carpenters had become a quintet. Nice and intimate though the performance is, you can't help but wonder if the band have more to offer than this.

As it turns out, they do. When Stevie Appleby, Donagh Seaver O'Leary, Dylan Lynch, Adam O'Regan and lead singer Faye O'Rourke take to their instruments and spread across the stage, O'Rourke's voice becomes prominent and the band's true appeal is recognised. If their music is a pleasantly entertaining brew, reminiscent of slipping into a nice warm bath after a hard days' work, it is O'Rourke's vocals which will resonate strongest - deep and understatedly commanding, with shades of Sharleen Spiteri and Chrissie Hynde.

BRONAGH GALLAGHER

If Paul Casey - performing as part of the backing band here tonight, incidentally - has established himself as Derry's Mr. Reliable, Bronagh Gallagher is becoming Derry's Miss Reliable. When the Pulp Fiction star takes the stage you are guaranteed sweet, passionate soul with a strong sprinkling of local humour and a touch of jazz - no more, no less.

Tonight she literally takes us, with apologies to Marc Cohn, walking in Memphis - or at least sets out to recreate the atmosphere of a 1970s Memphis church, with a spirit and attitude worthy of the legendary Al Green. This comes through most effectively on "Love Will Find You". Other highlights of this refreshingly laid back set, which goes down a treat in such surroundings, are the knowingly ironic storytelling of "Not A Star" and the smooth jive of "Fool".

JESCA HOOP

For Jesca Hoop, the journey to the North West of Ireland has been a long one, from California via Manchester via Dingle to Derry. The question is, has she been worth waiting for?

When she takes to the stage and starts singing by herself, the feeling one initially gets is of watching what might happen if Lisa Hannigan decided to audition in a Tim Burton movie. That is to say, a sweet, melodic nightingale voice, an eccentric haircut, and the loveable quirks cranked up a notch, but to likeable rather than unbearable proportions.

That she makes a few mistakes early on doesn't matter, as the crowd are more than into the swing of things by now. The haphazard nature of her material is also irrelevant, as the all round gist of the set is so warm, bouncy and technically remarkable (the use of instruments to create an effective midtempo calypso is particularly impressive) that one can't help but go along with it. Forget Lisa Hannigan, there's aspects of Belle & Sebastian here. The irresistible "Ode To Banksy", with its fine pace and consistently off-the-wall humour, is the perfect conclusion to the set, marking her out as the star of the evening.

That is, until...

MARINA AND THE DIAMONDS

What is it about Wales and weirdness and, might I add, downright brilliance when it comes to the music scene? Gruff Rhys of Super Furry Animals fame has never looked like the most normal guy in the world on stage, but when one considers the quality of his tuneage - The Sunday Times once said that he "seems incapable of writing a melody that isn't utterly lovely" - does that matter?

On tonight's evidence, similar things could be said about every one's favourite synathesia sufferer, Greek-Welsh songbird Marina Diamandis. For the curious, Diamandis means "diamonds" in Greek - hence the band name, although Diamandis prefers to think of The Diamonds not as her backing band, but as her fans. With that in mind, there's diamonds everywhere this evening.

If Little Green Cars are promising, Bronagh Gallagher dependable, and Jesca Hoop delightfully quirky, Diamandis is hypnotic - a blend of presence, energy, vibrancy and sweetness that oozes effortlessly from singer to band to audience to television viewers. Tunes on show tonight include the catchy "Bubblegum Bitch", the creepily mesmeric "I Am Not A Robot" and the extremely witty "Hollywood". It's hard not to be won over by her intelligent lyrics and likable demeanour. Apparently, she has a real fondless for we Irish, and it shows.

Arguably, Diamandis is better when singing with greater passion and at a high tempo, but the overall ambience of the set allows one to overlook any minor inconsistencies. By the time she concludes, with "How To Be A Heartbreaker", you feel like she still has much more to offer us.

Beth Orton, Daughter, James Yorkston and Little Bear have some pretty big shoes to fill...

For more information on Other Voices, check out the official site or follow Other Voices on Facebook.

(Photos: Lorcan Doherty Photography and City Of Culture 2013.)

Other Voices bows out of Derry-Londonderry in a surprisingly eclectic manner

It's the end of the line for Other Voices Derry as the final four "big" names prepare to step onto the now Legenderry stage of the old Glassworks church. And once again, it's a question of whether or not they'll rise to the occasion...

LITTLE BEAR

It's not Little Bear's fault, but when they step onto the Glassworks stage I'm unfortunately reminded of what happened when David Bowie dislocated his shoulder in the run up to Oxegen 2004. Into his place stepped the overhyped, over-marketed and over-played The Darkness, and an otherwise fine festival finished on a damp squib. There's no danger of that happening tonight, however. For despite their unexpected promotion to centre stage at the expense of the unfortunate Two Door Cinema Club (and their laryngitis affected lead singer), Steven McCool and his highly regarded band mates - Mark O'Doherty, Ryan Griffiths and Conor Mason - produce an affably tuneful set that highly excited and strongly resonates with the packed church. McCool comments during the set that it's "amazing to be sharing the stage with three Gods". Except McCool and company do far more than support these "Gods" - they complement them.

Their gratefulness for the unexpected opportunity they've been given shines through on stage. They dovetail nicely with one another, seem very much at ease with their material, and transcend their obvious rawness to present us with an earnestly experimental indie set featuring splashes of folk here and there. If the Snow Patrol-esque singalongs don't quite come off, they deserve kudos for trying. Both their overall reception and my gut tell me that in the near future, they will no longer be "little" Bears.

DAUGHTER

Daughter are a very different beast to Little Bear. The majority of their set is laced with an eerie, freaky ambience akin to Portishead and Radiohead, which is fine if you're in the mood for it, but it also comes across as disappointedly dreary and detached. Lead singer Elena Tonra is really the epitome of the entire performance; for the most part, her massive fringe and perpetually sorrowful demeanour overshadow her strong presence and vocals. For every fine guitar riff or drum beat there's an equally mournful lyric; it's sort of schizophrenic.

Fortunately, the dominance of the vocals, the professionalism of the band and Tonra's growing confidence throughout the set eventually win you over. The strength and spirit of the band's final number is such that despite the rather odd nature of the performance, the overall effect is a positive one.

JAMES YORKSTON

Imagine if Daniel O'Donnell had met Johnny Cash in Scotland and trained the first person they saw; then you'd have James Yorkston. The amiable Scot's self-depreciating humour and Barry White-esque drawl (he jokingly blames this on a little "incident") stand out nicely in a very smooth performance.

Even if his drollery isn't enough to raise the spirits of the Derry public (and it is), he still has a lot to offer. The varying pace and jauntiness of his folk tunes give him and his talented accompanist Emma Smith plenty of time and space to shine in these surroundings. His "raspy voice", a jocular subject between the songs, is actually a rather priceless asset during them. Whether it sounds as good when he's doing Tina Turner on karaoke afterwards, as he claims he is, is another matter entirely...

BETH ORTON

One could be forgiven for being initially taken aback when they see a seemingly weary Beth Orton performing with her fellow singer-guitarist - and now husband - Sam Amidon in a very country and western manner. It, and most of the songs we will hear in this setlist, including the William Blake-inspired "Poison Tree" seem alien to those of us who were raised on the Trailer Parks, Central Reservations and Daybreakers of this world.

But really, Orton has just honed and toned down her style to remain in context with the times. What we hear from her tonight is as much of a "regeneration" project for her as Neil Hannon's similarly titled album of 2001 was - for all the differing instrumentals back then, Hannon's wit and drive remained intact. As do Orton's vocals and songwriting skills. Artists never really surrender the essence of who they are, and as the set goes along, one slowly but surely realises this. A song like "Mystery" for example, would feel quite at home in the pre-Comfort Of Strangers era, and the speedy enunciation and effective projection of "Dawn Chorus" is an example of Orton at her very best. The uncertain transitional phase she seemed in when she released Comfort Of Strangers (it was six years before she released another album) seems a thing of the past. Maybe, as she says during the set, Amidon has been the "brain" she has needed to calm her nerves and get her back on track?

Amidon's cover of "The Streets Of Derry" is a little disappointing, paling in comparison to - in my opinion - Cara Dillon's definitive version of said song, but it's the only false note of sorts in an otherwise fine set that concludes with a mature performance of the Trailer Park classic "She Cries Your Name". Perhaps, with everyone about to bid farewell to Derry, "Thinking About Tomorrow" might have been more apt, but she's chosen a good tune to finish on nonetheless.

So long, Other Voices. We've been lucky to have you.

(Photos courtesy of Robert Emmett Photography.)

The latest production of Brian Friel's Performances, directed by Adrian Dunbar, is a valuable character study and strong visual showcase, a powerful advertisement for theatre during the City Of Culture year

At its core, Brian Friel's Performances appears to have a well-worn concept, with its focus on an embittered, frustrated composer constructing a symphony with the help of a "muse" – Shakespeare In Love, anyone? But to these eyes, Performances offers much more – it's a series of fine melodies, varied harmonies, striking visuals and committed performances that combine to form a solid prism through which one can view the possibilities of theatre as a medium of sights and sounds. It may not be for everyone – some may think of it as Dustin Hoffman's Quartet without the jolly amiability and conventional narrative. But if Performances lacks the crowd pleasing nature of Quartet and its ilk, its value as a character study and visual showcase is unquestionable.

The entire play takes place in the mind of PhD student Anezka Ungrova, played by Masha Dakic. Through a series of imaginary conversations with the long dead Czech composer Leos Janacek, played by Allan Corduner, Anezka functions as our audience surrogate as she seeks to get to the bottom of what made this man tick while he was composing his "manifesto on love", "Intimate Letters". The conventional belief is that Janacek was predominantly inspired by his love for and correspondence with the much younger, married Kamila Stosslova (seen here only through Janacek's visions). However, Janacek is extremely dismissive of his "muse", but Anezka is clever enough to realise that he is not "telling" her the whole story, so to speak; and from here on, it's a case of finding out if Anezka's persistence and the power of music – as heard here from the Brodsky Quartet – will succeed in breaking down Janacek's stubborn facade and revealing the ultimate truth about the artist.

The impressive set design and lighting, as good as any I've seen on the stage, give the audience the impression of looking into another world. But that is also true of every character on stage. It's like Anezka And Allan– if I can use the male lead's real name here – Through The Looking Glass, where the stubborn composer sees a vision ripe with the possibilities of life, and where the eager student discovers that the object of her attention isn't who she thought he was. If Aneska's mirror to the past is shattering, Janacek's mirror to the past is enlightening, albeit at the cost of much emotional pain. This is conveyed superbly by Corduner, who seems to be taking cues from a restrained Al Pacino in his performance, and Dakic, whose flashy determination recalls a young Nicole Kidman.

Credit director Adrian Dunbar, too, for framing the play in such a way that the actors and musicians are allowed to take centre stage despite the excellent production values. Being able to see the gestures of the characters in their shadows while we are listening to the extremely wordy – arguably too wordy – dialogue is a priceless asset in a production such as this one. And, lest the play feel too much like a downer, there are moments of light humour sprinkled into the mix.

If Performances is lacking in any way, it's that for all that’s here, you still feel like there's much more to be learnt about a composer like Janacek. As was the case with Richard Eyre’s Iris, the running length is a minor drawback. Still, the thoroughness and professionalism on display here make the play well worth catching, and a strong advertisement for North West Theatre during the City Of Culture Year.

Performances runs until Saturday February 23 in the Great Hall at the University Of Ulster's Magee Campus. To book tickets, visit the Millennium Forum website.

(This review originally appeared in the Derry News on Monday February 18, 2013.)

Belfast-based jazz musician Rebecca Montgomery on her passion for drumming and learning from some of the best local artists in the business

If you stopped to ask Rebecca Montgomery about herself, then it’s fair to say that "music", "jazz" and "rhythm" would be the first words out of her mouth. Recently singled out by Gary Kelly at Culture Northern Ireland for her "impressive", "manic, Gene Krupa-esque" drumming, the Belfast musician is currently enjoying a weekly slot with the Fiona Scott Trotter Band at Bert's Jazz Bar in The Merchant Hotel. We catch up with her in advance of her next live performance...

As far back as you can remember, did you always want to be a musician?

Yes I did... music is my passion, and I can't imagine my life without it. I am a great believer in "feeling the music" and am in a different world when I'm sitting behind the drum kit. It all began when I was about seven years old and started to learn the piano; I always knew I wanted to learn an instrument, but I had to find the one for me, and because we had a piano in the family home, I started there.

I took my exams up to Grade 7 and participated in numerous small festivals and competitions along the way. However, when learning the piano and finding my feet in the music world, I found that learning the rhythmic side of an instrument had always been my strength. Indeed, I used to get told off for tapping the rhythm with my feet while sitting at the piano! But it wasn't 'til the age of fourteen when I realised that I wanted to perform on stage, and that the piano wouldn't be for me if I truly wanted to do this.

It so happened that a couple of my friends had drum kits, and when I went to their houses and sat down with the equipment, I wouldn't move until I'd mastered the rhythm I wanted to play. My next hurdle was persuading my parents that this new found musical interest wasn't a phase. So I constructed a makeshift drum kit with my first pair of drum sticks and some old books, and played along to some different CDs. Once my mother and father saw that the books were completely battered, they and I knew that I had found my instrument – and my first proper drum kit was only a couple of weeks away.

What attracted you to the jazz scene? Why jazz, of all genres?

I joined the Jazz Band during my fourth year in school, which is taken by Ken Jordan, founder and director of the Ulster Youth Jazz Orchestra (UYJO). During a three-day summer course which took place before the school year began, I had literally just started reading drum charts, and found Victor Lopez's arrangement of "The Chicken" in front of me. Before I had time to panic at the sight of it, I had missed the drum cue.

So, after a bout of self-criticism I listened to, learnt from and played along with some previous UYJO CDs for the rest of the summer. Back at school, I swung through "The Lady Is A Tramp" at the first Jazz Band Rehearsal, and three weeks later, I had the brass hits off! For the rest of my school career, Big Band became my focus, and in 2005 I joined the UYJO for seven years. I get such a buzz from the syncopation, hits, swing, hi hats on the off beat and the domination of the bass line that you find in jazz music.

But it wasn't until I went to university, in 2009, when I realised how different Big Band drumming was to playing in a smaller band. Tutoring from jazz pianist Paul McIntyre and drummer David Lyttle helped change my approach and style completely. By this stage, I wanted to play pure jazz, and about a year later, I met jazz musician John Trotter, who has since been my mentor in addition to one of the most influential musicians in my musical development and appreciation of jazz.

How significant do you believe the drums are overall in sound, both on stage and in a recording studio?

Trying not to be biased, of course, I believe they have great significance on stage. The drums provide the groove and when the feel of the music changes, I believe it should be the drummer who makes that significant change. Then again, I could say the same thing about bass players, or keyboard players... It's really all about working together as a band.

How were you "spotted" on the music scene, so to speak?

I did many gigs around Ireland with Ken Jordan and the UYJO over a seven-year period, and also toured with them to France in 2010. Without Ken's opportunities, encouragement and patience, I probably wouldn't even be answering this question. Being a drummer with the UYJO led me to discover both a love for jazz and confidence through playing. For this, I can't thank him enough.

Then, two years ago, I was asked if I wanted to do a gig in Bert's Jazz Bar at the Merchant Hotel, Belfast. I had heard of Bert's before, but it was relatively new at the time so I didn't know what to expect. All I knew was that I was extremely nervous. As far as I was concerned, I was a big band drummer and I hadn't quite mastered the small band technique or style.

But then I met John Trotter’s daughter, Fiona Scott Trotter. Fiona is one of Ireland's finest Jazz singers. And I got so much buzz from playing with her and a band in Bert's that first time that I had to go back the following week, and the week after... but I knew I still had a lot of work to do. As the weeks flew by, however, I learnt more, listened more, played more and was encouraged more.

Now I am playing with the Fiona Scott Trotter Band in Bert's Jazz Bar every Friday night, with John Trotter on keys and Gay McIntyre on Alto Sax and Clarinet. Throughout the past year, these musicians have not only guided me as a player, but taught me different styles, rhythms and genres through their experience, music and love for what they do. I've also played numerous festivals, including the Limavady Jazz Festival, Guinness Cork Jazz Festival (with the Harry Connolly Band) and the City Of Derry Jazz Festival.

What's been your most satisfying and enjoyable live performance to date?

Definitely another tough question! I love playing in Bert's every week, but I should probably also single out recent big band gigs with the Ken Jordan Jazz Orchestra, soul gigs with Manukahunney, and of course the first gig of the 'Satchmo' Tour.

Ah, yes, the "Satchmo" Tour! Tell us more...

"Satchmo" – A Tribute To Louis Armstrong– is a project directed and co-ordinated by trumpeter Rick Swann. Rick and I have studied and performed many times together both at university and through the UYJO. We’ve taken very much a Dixieland approach to this tour, with John Trotter (trombone), Gay McIntyre (clarinet), Jon Somers (guitar/banjo) and David McCracken (bass) joining Rick and me in the band line-up.

The opening night, in Derry's Playhouse Theatre, was great; we sold out and had a very positive response from the audience! I’m really looking forward to the rest of the tour, and, of course, to further tours and jazz festivals in the future.

The "Satchmo" Tour resumes on Friday March 1 in Dublin’s Civic Theatre. For more information on the tour, check it out on Facebook or on Rebecca Montgomery’s official site, www.rebeccamontgomerydrums.com.

The Belfast-born author and playwright chats about her latest novel in front of an expectant Derry audience

BBC Radio Ulster's Marie-Louise Muir welcomes the "very versatile and multi-talented" Lucy Caldwell into Derry-Londonderry's Cafe Blooms to equally warm applause. Her latest piece of literature, All The Beggars Riding, tells the story of Patrick, a plastic surgeon from Belfast who begins an affair with Jane, a work colleague from his part-time job at the Harley Street clinic in London. Meanwhile, back in Belfast, his wife falls pregnant, but he doesn't stop his affair, and soon afterwards, Jane falls pregnant too. And neither wife nor mistress has found out about one another...

The novel – rather racy stuff, if you hear the extract Caldwell reads – is told from the viewpoint of Jane’s daughter, Lara. She's struggling to write her memoir, and believes that visualising the scenario from inside her mother’s head will help her to understand the way her parents work. It's like, as Muir puts it, having a discussion with yourself on how you became a writer.

The book will soon be read on BBC Radio 4's Book At Bedtime by Mrs. James McAvoy herself, Anne-Marie Duff, and it has also been chosen for the One City, One Book initiative later this year; it will be the reading material for the cities of Derry and Belfast during the month of May.

A delighted Caldwell proclaims her pleasure at being able to perform her first public reading of the novel in Cafe Blooms, the "best location in the city" in her eyes, before she reads her extract to us. It's an interesting section, one that gives us the idea of living through the narrator and finding out where the passionate affair materialised. But what an idea – how can a man and a woman have two different families, and never the twain shall meet?

"It all started with a dream I had several years ago", Caldwell says. "In my dream, a doctor was living a double life. And at the time, I was researching my second novel which was set in Bahrain, and wasn't looking for a new idea at all. But the 'double life' stayed with me, and I found myself looking for similar stories in newspapers and magazines. I found so many examples. Recently I met a journalist who told me her uncle's next-door neighbour had had a boy and a girl with two families, and had even called them the same names so he wouldn't get them confused!"

The lack of moral-finger pointing in the book is striking. While one would think that "having two families on the go" is extremely wrong and morally reprehensible, there's no morality in the story as such. It's just a case of both wife and mistress wanting to have a good life, and one never feels like blaming the father.

Caldwell realises that moralising things in the book would have been "too easy" and believed, when writing the book, that fiction could underline the need to understand. She took much inspiration from Nathaniel Kahn’s documentary "My Architect", where Kahn set out to understand his own father once he grew up and his father had died.

"The film is not made with a shred of recrimination or bitterness, just to need to really, truly understand a situation, a situation which Jane never sets herself up to be in to begin with. She can't make friends and cuts herself off from her disapproving parents. No one likes to find themselves in such a state of affairs, but through decision-making you can end up so far from the person you thought you'd be, or thought you were. My book sets out to explore this."

It gets deeper too, with Jane reaching the end of her tether after becoming pregnant for a second time and going to confront Patrick’s wife in Belfast. And it's here where Lara’s memoir collapses; she doesn't remember much, but she remembers that her mother was pregnant and that Patrick hasn’t admitted his own wife's pregnancy. Will Lara be able to understand why her mother stayed with Patrick for so long and why she did what she did? That appears to be the mystery of All The Beggars Riding, in addition to whether this plastic surgeon, one who continuously fixes people's faces, cannot fix his own life.

While also a playwright, Caldwell seems particularly happy to have conceived this idea as a novel: "I think a novel, any novel, is the best way of conveying imagination, reflectivity and consciousness. Radio's a very imaginative medium too because you can be really wide-ranging with it; it always feels like the voice inside your head. With theatre, it's really hard, because it's more about what the characters are doing rather than what they are saying. The key, for me, is to always be in control of the medium you’re working in."

Despite currently being based in London, Caldwell remains very true to her roots. She's done all her radio work with Heather Lorimer at BBC NI, and has always tried to get her plays premieres in Belfast.

Going on to discuss her writing in general, Caldwell recalls just how much writers can learn from fellow literary minded people: "People thought I was telling my life story in my first novel, Where They Were Missed, which was set between Belfast and Donegal. So for my second novel, The Meeting Point, I wanted to do something bigger, bolder and more imaginative.

"Three years later I found myself struggling with a 100,000 word draft. I had a sinking feeling it was going nowhere, and one of my readers, a freelance editor, felt the same way. So I tried to get a job, and realised I didn't know what to do! I didn’t even have a CV. It was then when I heard Indian author Kiran Desai had also been at her wits' end when writing her second novel, but she managed to pull herself together and write it. Her inspiring, self-depreciating wisdom gave me the spark I needed to complete the novel."

It all ties in with a line from Chekhov's The Seagull, one that Caldwell thinks of a lot: "The most important thing is the ability to endure, and keep on enduring." Such wise words have kept her going throughout a profession that seems to have more than its fair share of peaks and troughs.

"When a book isn't working, or if I'm struggling to keep going, I always remind myself that there are levels of having a bad day or a difficult job. Enduring a disappointing review or a negative comment is nothing compared to listening to people and hearing their stories. While I was researching The Meeting Point in Bahrain and Iraq, I had the incredible privilege of meeting numerous novelists and poets. It's all about balancing the highs and lows."

For all the highs, however, it will be a while before Caldwell has the stamina to write her next novel, considering the amount of work, travel and "emotional complexities" that are likely to come with it. Although if anyone was to approach her about film rights for All The Beggars Riding, "it'd be great!"

For more about Lucy Caldwell, and All The Beggars Riding, check out her official website at www.lucycaldwell.com.

Derry-Londonderry comes, sings and conquers as a musical world record is smashed in Ebrington Square

"We didn't break the record... we smashed it."

When adjudicator Martin Mullan spoke those words, a packed out Ebrington Square broke into raptures.

Because for a matter of minutes, it no longer seemed like a hard knock life for the men, women and children who had crowded into the cultural centre of the capital of the North West. Forget Tomorrow... the sun had come out for them that day, at least metaphorically.

Derry-Londonderry had needed 4,501 individuals to break the Guinness World Record for the Largest Choreographed Song And Dance Routine in the world. They got 5,482. Yes, nearly 5,500 people performed the above routine, conceived by Sandra Biddle and originally performed by her Foyle School Of Speech And Drama. And they did it in such a spirited manner that you couldn't help but be swept up in the goodwill of it all.

Better still, all proceeds from the event, which was sponsored by Roma Downey and supported by the likes of Derry actor Andrew Simpson, went to the Foyle Hospice.

Watch the routine, as performed by the Ebrington Square crowd, below. The soloist is Meabdh Parr.

For more photos from the event, check out our Facebook page.

Derry born Kim Vaughan and her talented musical collective enchant children and adults with a charming take on Roald Dahl's twisted version of the famous tale

As a lifelong Roald Dahl fan, I am extremely curious when joining the audience of various ages in Derry's Playhouse Theatre. How will Kim Vaughan and her Quercus Ensemble – playing as a full collective of more than ten musicians, for the first time – tackle his cult classic of a Revolting Rhyme, Little Red Riding Hood And The Wolf? More than that, will they do justice to the poem? Even the best of Dahl's audio and/or visual adaptations, filmic or otherwise, have failed to capture the true magic of the written word. But the endeavour in what we are about to see is more than commendable – it is memorable.

Everyone who knows Dahl's poem (read it here) will be aware of its tone: tongue planted firmly in cheek with dashes of horror and humour. Not to mention its rather unorthodox ending. Imagine to yourself, what if Little Red Riding Hood had both the nous and weaponry to fight back? And did? And, more than that, shamelessly paraded the fruit of her triumph over her would-be captor (in this case, a wolfskin jacket)? Well, Paul Patterson's musical adaptation has all these elements; and more, including an inebriate of a local grandma for extra laughs. You may argue that said laughs seem cheap, but their inclusion is essential in the midst of such a playful atmosphere.

Through strong orchestral compositions, skilled instrumentals and expressive acting – in short, impressive sight, sound and movement – the Ensemble bring the poem to life in front of a small group of excited children and contented adults. Played expertly by the Ensemble, Patterson's music – alternately boisterous, light-hearted, mysterious and gently horrifying when called for – accompanies actress Sara Dylan as she narrates and acts her way throughout the poem and beyond. The musicians, including Vaughan herself on cello, Ruth McGinley on piano and Sarah Murphy on flute, provide a strong background for an equally strong showcase of emoting and enunciation from Dylan. If the orchestra create the mood, Dylan truly brings the room alive. And how.

The Quentin Blake illustration projected on the wall behind the orchestra seems irrelevant as Dylan steals the show with her mouth, movement and mimicry. Playing every single one of the characters, she acts as if the whole thing is a good natured horror movie; that is to say, funny, lively and creepy without being too scary. After all, it is a show for kids. And Dylan's presence – effortlessly quirky without going over the top – reassuringly guides this show to the finish line in a consistently intriguing manner worthy of its inspiration. Dahl would be proud.

This version of Little Red Riding Hood was performed at the inaugural Humdinger! Children's Book Festival in Derry-Londonderry, and runs until Monday March 11. For more on the Quercus Ensemble, check out their official site.

(Photography by Gerry Temple.)

Already a music tutor, pianist, musical director and member of a jazz quartet, Ballymena born Sarah Loughridge has gone one step further and written her own musical production. We went to find out more about the musical and its hugely talented composer

Sarah Loughridge doesn't believe that the thought of being a musician ever crossed her mind when she was a child. "I was one of those children who, from week to week, kept on changing their minds about what they wanted to be when they grew up. I went through phases, imagining myself as a vet, architect, teacher and so on. Never a musician."

Yet looking back, it seemed virtually inevitable that she would find herself at the keys. The piano keys, that is. We are, after all, talking to a young woman who has been playing piano, singing and performing since age five, and is currently working towards her Licentiate Diploma. More than that, she comes from a musical family; her father is a singer and her sisters are both accomplished pianists in addition to being a music teacher and a music therapist.

Her love and knowledge of different musical genres grew into what it is today through a rich and varied involvement with the choirs, orchestra, jazz bands and various music groups at her school. "My teachers often commented that if a subject wasn’t music related, it was of complete inconvenience to me!", laughs Loughridge.

"I owe a lot to Heather Montgomery", she says. "Throughout my seven years at Dalriada, she helped and encouraged me with all my musical endeavours, whether inside or outside of school. It was also her who put me and three other pupils together to form the Riada Dixie Jazz Quartet, and we performed every weekend in hotels and restaurants across the country. It was at this point, at the age of seventeen, that I felt that I could and should become a professional musician."

Everything escalated from there. Not long afterwards, in 2008, Loughridge moved to Derry-Londonderry to study music, and soon found herself filling in as accompanist and repetiteur for the university choir, accompanying many different singers over the next three years.

"One singer, Sophie Shiels, got me in touch with Derry-born actor, director, producer and all-round decent bloke Kieran Griffiths. Towards the end of my final year at Magee, he called me to ask if I'd like to be the musical director for a show I’d never heard of, with actors I'd never heard of – apparently, Peter Corry's a big deal? – and work with a director I'd never heard of. Naturally, I said yes!"

And so began a four-month period of hard work, many laughs and, on a personal level for Loughridge, a massive learning curve, all from performing the Northern Irish Premiere of Jason Robert Brown’s "The Last Five Years" in Derry’s Playhouse Theatre in September 2011. (Click here for our review.)

"I'd been involved in plenty of shows both on stage and off", Loughridge says, "but had never MD'd before, so to be able to pull off a show like that and get the reviews we did was a big achievement. However, like any industry, unless you're at the top of your game you can't just rely on one job to get you by. And in my case, I couldn't rely on performing alone. So I branched out into other areas like teaching, composing and more recently, piano tuning! Performing still plays a large part in my life though: I've just finished a two-year residency in the Everglades Hotel, and play drums and whistle in a ceilidh band made up of myself, my two sisters and my brother-in-law."

To Loughridge, musical theatre has been a passion of hers since she was involved in a school production of Les Miserables at fourteen. But back then, did she "dream a dream" of composing her own musical? Not quite yet.

"I always enjoyed composing, but it wasn't until after I graduated in 2011 that I started taking it more seriously. Since then, I have composed and arranged music for full orchestras, string quartets, jazz bands and choral groups."

It did take a little longer for the penny to drop with regards to composing her own musical, though. "I didn't have lot of work lined up towards the end of 2012, but was itching to do another show. So, liking a challenge, I decided to come up with my own, and I came across the story of Faust while researching different story lines. I was instantly intrigued by the character."

According to the author, Faust is the story of one man's struggle to achieve complete omniscience and how his actions affect the lives of those around him. While studying, Faust is confronted by the Devil who makes a pact with him with a range of consequences but ultimately all leading to Faust's demise. Because of Faust's selfish actions, we see the main female character Margaret imprisoned for drowning her baby, and Richard, Faust's closest friend and confidante, accused of several mysterious and brutal murders in the Whitechapel district of London.

"I've set Faust in 1880s London, which lends itself very easily to the same musical genres as the likes of Les Miserables, Phantom Of The Opera and Jekyll & Hyde... potential auditionees, take note, as that's exactly the type of audition song I'm looking for!" says Loughridge, smiling. "But back to the composition itself. And when it came to that, I knew exactly what I wanted, the aforementioned genres with some modern twists. Frank Wildhorn, who composed Jekyll & Hyde, was definitely a big influence but there's a lot of my own stamp in there too."

Loughridge adds that if anyone is expecting a comedy out of Faust, they'll be bitterly disappointed... but "assures" us that there will be comic relief in an otherwise "dark and tragic" tale. She is hoping that the show will have an impact on the audience, whether it is through the music, the love story between Faust and Margaret, or the fact that they may be "still trying to get their heads around the different consequences of the pact between Faust and the Devil days after!"

If Faust comes off, it will undoubtedly be a highlight of this gifted young lady's musical journey, to go with performing with tribute bands Flash Harry and Rumours Of Fleetwood Mac in the Odyssey to a crowd of 10,000 people.

She clearly thrives on the unexpected: "I think that some of my most enjoyable, satisfying moments are those where I've been taken completely out of my comfort zone and have performed in the most random of places, be it a ceilidh on a tiny island off the Mull of Kintyre, or a weekend of live classical music to a packed Bennigans! These are the kind of gigs that really test your nerve, and I believe that they have made me an even better performer."

And, judging by the creation of Faust, a better all round musician too.

Auditions for Faust are scheduled to take place this June in the Braid Arts Centre, Ballymena. For more information on Faust, check out the official website or find Faust - The Musical on Facebook. Also check out the Facebook page for Sarah Loughridge's production company, Final Bow Productions.

Famed contemporary artist Hofesh Shechter raises the bar for City Of Culture 2013 with a spectacular fusion of sight, sound and movement

Original, innovative, multi-layered, consistently kinetic and, above all, exciting, Hofesh Shechter's Political Mother, Derry-Londonderry Uncut (hereafter Political Mother) draws upon a series of cultures, instruments, voices, movements and beats to create a music and dance spectacle worthy of the city it's being staged in. While the sound of the drums and the moves of the dancers will probably linger longest in the minds of the thousands present at Ebrington’s Vital Venue, Political Mother amounts to much more. It's an audio-visual treat, a series of stunning sights and talented artists that are impossible to look away from. It's a show where numerous cultures intersperse with one another to create a sometimes haphazard but overall unforgettable kaleidoscope. In other words, it's the perfect fit for our turbulent times, and has set the benchmark for everything that will follow it in this cultural celebration in North West Ireland.

Even more remarkably, at first glance Political Mother doesn't seem to make much sense. One moment, you see a dancer dressed as a samurai, feigning his own death. Then, a series of dancers march out onto the stage in harmony. At other times, you see a singer with a monster mask, and then another singer who thinks he's Freddie Mercury. Early on, you see and hear a series of drummers suited up like British soldiers playing Arabic music... all while string instrumentalists, a wall of guitarists and even more drummers are at work in literally every other corner of a multi-levelled (can I say three-dimensional?) stage. Sometimes simultaneously. It is an absolutely overwhelming experience, maybe too much so at times, but it's always intriguing.

To Shechter and his troupe, contrasting cultures always appears to be the name of the game, from British to the Middle East to the Far East; at one point, the drumming reminds this observer of the legendary Tao drummers at the Edinburgh Fringe Festival of 2009. And not for one moment do the moves of the dancers feel mechanical – no matter what dancer you watch, or which way they are looking, there is always something interesting to see.

Some may dismiss Political Mother as a pretentious series of bright flashes and loud bangs. But I personally see it as a hyper-stylised, colourful, energetic "silent" (in that speech is irrelevant) movie that does not lend itself to any one genre, and is all the better for it. Maybe, then, Political Mother should be best remembered for its sights, rather than its sounds? More as a feast for the eyes than for the ears? Not necessarily. Not when you consider the finale, played out to Joni Mitchell’s "Both Sides Now", a stirring classic previously made famous by undoubtedly the finest scene in Richard Curtis's uneven but endearing Love Actually. In fact, a minor comparison with Love Actually is somehow apt. Like Curtis's film, you watch Shechter's composition and think that logically, it shouldn't work. But it does. And it certainly seems like the kind of thing you can enjoy again and again. Furthermore, the best moments truly are indelible.

Political Mother is the sort of work that may leave some of its viewers slightly baffled. Yes, it really is what it advertises itself to be: a massive slice of heavy rock riffs, drum beats, dance, energy and so on. But what is it all about? The dancing, the music or just flashes and bangs dressed up as something more highbrow? Does it really have that much to say?

Ultimately, the best way to sum up Political Mother is probably not to sum it up at all. It's something that transcends easy answers. As Roald Dahl put it in Matilda, fine writing, or art – which Political Mother undoubtedly is – will always make you feel like you are an active participant, rather than a passive spectator. And when watching it, one need not worry about the movements that he or she does not understand – the best thing to do is stand back, and allow the choreography to wash around you, like some of the greatest harmonies and melodies ever written.

(Photos courtesy of Lorcan Doherty Photography.)

Watch out Starbucks, Costa, Cafe Soul, Cafe Del Mondo and even the most Legenderry of Warehouses... you have company. After many years of waiting, Caffé Nero is in Derry... and we went to check it out

A unit in the Richmond Centre that once sold all kinds of computer games, and was even, at one point in my lifetime, a Manchester United "superstore", has been converted into Derry-Londonderry's first ever Caffé Nero. It's arguably the least known of the Big Three of coffee houses – not as ubiquitous as Costa, not as big a brand as Starbucks – but to this observers' eyes, this is one reason why Nero ranks as the best of the three.

In my humble opinion, Caffé Nero's lower-key status allows it to retain a sense of mystery, in addition to a spacious, homely, indie vibe that always makes you feel welcome when you step through its doors. And its arrival in Derry, perfectly timed to coincide with the City Of Culture year, is a collateral boon for both the general public and its new staff, all of whom are taking to their jobs like clockwork.

This particular Nero branch actually opened much sooner and easier than everyone had expected, with some not even realising it was open until they checked the Richmond Centre Facebook page. But to Romanian-born manager, Lorena Grigore, this was no hindrance; rather, she is "thrilled" at the prospect of taking charge here.

"I used to work for Caffé Nero in Ballymena", smiles Grigore, her Italian-sounding accent giving a hint to the continental flavour of the café itself. "When the opportunity arrived to become manager here, I just jumped at it.

"With the shops and the theatres, particularly the Millennium Forum and Playhouse, so close by, it's more than a nice place, it's also very well placed. We want to bring a taste of Italy and a relaxing atmosphere to Derry, and the response to our efforts has been very pleasing so far."

Indeed, there's pretty much something for everyone here. A detailed and attractive menu which offers all sorts of coffees, teas, deserts, sandwiches, snacks, smoothies and so on, waiting to be enjoyed on a couch, at a table, indoors or outdoors, whether you're stopping to chat, to eat, or to work on your laptop. All while accompanied by pleasant lighting, interesting artwork and an obscure but rarely twee soundtrack. In short, a quintessential low-key coffee house.

One hopes that Caffé Nero can take advantage of the close-knit nature of Derry's city centre and become a crucial coffee corner in the City Of Culture. Maybe even much more than that.

Along with a famous local DJ, Bobby Gillespie and his crew send warm musical shockwaves around Derry-Londonderry on an ice cold night

The stage of Ebrington's Vital Venue is bathed in red as a weary looking guy with the hangdog expression of Ian McCulloch gets his records ready. It's renowned Belfast DJ and film composer David Holmes, best known for his adaptability and all round jive. The gaps in the Venue crowd, most likely the result of a traditional St. Patrick's Day hangover, do not seem to deter Holmes or the various onlookers. Can both he and Primal Scream fill those gaps and set the Venue alight?

What follows is extremely deafening, beginning with a mixture of drawn out, dry and funky musical notes scattered all over the place alongside a symphonic light show. As so many of the equally scattered crowd stand there, transfixed on the stage, it feels like Close Encounters Of The Third Kind come to life in the 21st century, a moment very much in keeping with the John Williams spectacular of the night before. From that moment on, one ponders: what exactly is Holmes trying to do here? Sometimes, it sounds like he is using jungle music to tell the tale of wild animals traipsing through a rainforest, and at other times, he’s flat out channelling early '80s Irish punk. The bludgeon and bluster in between challenges Hofesh Shechter’s Political Mother as the sort of thing you really need earplugs for.

Unfortunately for Holmes, our encounter with his music never feels close. As a composer and DJ, he has earned his praise; but in this sort of venue everything seems a bit detached. His deliberate attempt to "tie in" with the tone of the night comes across as a little suffocating and not entirely suitable for the arena. It's a warm up exercise for the band, a little like being shaken into action, but not really stirred. "Admirable" and "interesting" are probably the best compliments one could offer Holmes here.

Now take those adjectives, change "admirable" to "intimate", add "energetic" & "welcoming" and you'll have an almost perfect summation of Primal Scream on the night. Although in actuality, for all the efforts of guitarists Andrew Innes & Barrie Cadogan, keyboard player Martin Duffy, drummer Darrin Mooney and radiant bassist Simone Butler – and they are commendable – this is really lead singer Bobby Gillespie's show. Like an even lankier Brett Anderson, a less reserved Simon Fowler or a more extroverted Tim Burgess, Gillespie slinks around the stage throughout each number, slowly but surely coercing the ever-growing audience into a blissfully hypnotic state. He's almost like Captain Jack Sparrow minus the excessive camp and costuming, an everyman one minute, a God-like presence the next, effortlessly firing out singable refrains while the rest of the band professionally cooperate. Even more remarkably, he never loses respect for his audience, clearly relishing the opportunity of his only Northern Irish gig in 2013.

And "2013" fittingly starts and ends this memorable set. The extremely versatile mix of musical genres on show, from Rolling Stones-inspired rock to country & western to even rap, pass themselves on to a now fully attentive audience beguiled by the highly effective use of lighting and spot effects. Most memorable, perhaps, are the sight of extremely bizarre silhouettes on stage during "Burning Wheel", dancing and clapping away to the cleverly encore-reserved favourites "Loaded" and "Rocks", and probably, above all, the joyous and unifying effect of the famous "Come together as one..." refrain on the Derry crowd.

In that moment alone, the atmosphere in the Venue is worthy of any concert venue in the world, marking out the evening as a more than welcome dose of "Culturecide" – yes, that song does feature in the set list – for the City Of Culture during the seemingly endless wintry weather.

Throughout our rather short life span (we haven't even approached our first birthday yet!) Si's Sights And Sounds has sought to bring you the best from the City Of Culture 2013. But for every rise, there's a fall...

As a cultural rebirth takes place in other parts of town, a death takes place in another. For every new coffee house, sports store, exhibition or train line that opens, or re-opens, there's a HMV that closes.

Few may bat an eyelid, let alone shed a tear, at this news, especially in the days of modern online shopping. Sad as it is that the friendly and accommodating HMV staff are losing their place of work, the advent of Kindles, iTunes and Amazon have contributed to an unassailable decline, even a near-death, in regular, traditional retail marketing. Why travel to buy expensive records when you can do it more cheaply from the comfort of your own home?

Yet there is undeniable sympathy for the HMVs of this world, especially from the generation that grew up with them - and the Virgins. These were the major record stores that gave us our first and arguably best insight to the music and film universe - without them, we may never have developed such large and varied vinyl, tape, CD, VHS, DVD and Blu-Ray collections. I can still remember being overawed by my first visit to the Virgin Megastore in Birmingham, UK, in 1993 - everything I needed or wanted to know about entertainment was under one roof. The excitement and memories the Virgin Megastores and HMVs gave us - it didn't matter whether you were buying a product or standing there listening to your favourite song - will never be forgotten. These institutions were more than just a job for those who worked in them - they created all sorts of friendly and audio-visual memories that online retail cannot touch. When you hear Gotye's "Giving Me A Chance" play over the speakers in the rapidly emptying Derry HMV, it makes you wish that the powers-that-be would give the staff another chance...

But we must also admit that the writing has been on the wall for high street music retailers for years. The prices they charged - nearly twenty years ago, a CD cost me around £15 - sound extortionate now, especially in this very tough economic climate. With hindsight, Richard Branson's decision to leave his Virgin Megastores in the hands of their management several years ago - remember how suddenly all the stores were renamed Zavvi? - seems an extremely wise one. The way things are going, who's to say that Waterstones - the likes of which we will probably never see in Derry - won't suffer the same fate as Our Price, Virgin and now HMV?

It is now left for Cool Discs to become both the Championship Vinyl - you have seen High Fidelity, right? - and the major record retailer of Derry-Londonderry by themselves. And while I am certain they will do a great job of it, you do wonder and worry about what HMV's demise will eventually mean for Lee Mason's popular store.

As I leave HMV and stroll out into the frozen Derry streets again, I look across the road and notice that another "institution" is on the verge of closure, a place I bought some really good shirts from.

And I think to myself: For fcuk's sake, it never ends...

Two award winning authors from Down Under are thrilled to be visiting Derry-Londonderry

Tuesday April 2 will see the two inaugural Australian Children's Laureates pay a visit to Derry's Verbal Arts Centre. Boori Monty Pryor and Alison Lester will be reading their work and partaking in a question and answer session hosted by Joe Mahon, Lesser Spotted Culture, beginning at 10:30am.

The occasion is part of the Verbal Arts Centre's programme of events for City of Culture 2013, entitled Disobey Gravity.

The VAC's Learning & Skills Development Officer, Catherine McGrotty, says, "Disobey Gravity aims to saturate the city in great books, brilliant stories, exciting literary events, and, most importantly, promote reading for pleasure in 2013 and beyond. This particular event focuses on the important role reading has in the lives of children."

The award winning Australian authors were invited to Ireland by Arts Council NI Chief Executive Roisin McDonough to encourage creative interactions between the countries, hopefully leading to future collaborations in children's creativity. She believes there is much to be learned from the Laureates about how they use literature to connect with young people.

"What is certain is that Boori and Alison, here to share Australia's experience of the value of instilling a love of books in children, will give fresh impetus to all of us who are committed to the development of our young people through literature and the arts."

Both Laureates express their delight at visiting Ireland.

Pryor writes, "Ireland. I know you get a wee bit colder in the winter and not much warmer in the summertime. But summertime is always ready to shine from inside the hearts of your people."

Lester says, "I can’t wait to come to Ireland. I’ve been wanting to visit for as long as I’ve been able to read, I guess, because so many of the books I love are set in Ireland."

There will be two free children’s workshops held in the Verbal Arts Centre, Derry-Londonderry, in the afternoon. Boori Monty Pryor will be holding a participation based, storytelling workshop for children aged 6-10 years old and Alison Lester will be hosting a book making workshop for children aged 11-14 years old. Both will take place between 1:30 – 2:30pm.

Email communications@verbalartscentre.co.uk to book a place or for more information.

The Musical Theatre Tutor chats to Si's Sights And Sounds about reprising her first proper lead in a musical – Maria from The Sound Of Music

During the Easter Break, Letterkenny's Encore Performing Arts Academy will perform at Strabane's Alley Theatre for the first time with a four-night run of The Sound Of Music. Encore PAA's musical theatre tutor, Magee College graduate Laura Douglas, will be playing the role of Maria Von Trapp for two nights.

We catch up with her in advance of the performances...

Was singing and acting always for you?

I didn't actually consider it until about 5th year in school! I can still remember when the careers advisors came in to discuss possibilities with our year, and telling the woman advising me that maybe, maybe, I wanted to go to drama school. Out came this huge book full of careers and where to train for them, and up went my hopes. Then, not long after she flung it open and began searching, she announced, "Here. Law. Lawyers act in court all the time."

Surely not the reaction you were expecting...?

Yeah, I doubted law was the career for me. So the "A"-Levels I chose were English, ICT, Performing Arts and French. In my final year, I played Aunt Eller in the school production of Oklahoma!– and that's when I realised I had to perform. But with no prior training, I decided to go to university and complete a degree in Drama with Music.

During that time period, I made my own opportunities to sing, act, direct and produce... Delving into other aspects of theatre was just terrific. And in final year I got my first proper lead in a musical – Maria in The Sound Of Music.

The same role you're playing this week!

Indeed! The first time I played Maria, it was with the Ballywillan Drama Group. It was an honour to work with such an established group, and as an aspiring performer, it felt brilliant to get an extended run. Ballywillan currently produce the longest running amateur shows. It all gave me a good idea about what "performing for real" is like!

How does it feel to be involved in The Sound Of Music?

It's just a great family show, and I love working with the groups of children playing the Von Trapps. You grow so close to everyone in this show because it's such an intimate production.

Have you ever drawn inspiration from any famous singers or actors when playing Maria?

I have seen the show performed professionally six times, both on tour and in the West End, and each time, Maria has been so different. When I play her, though I always try to put my own spin on her; it's such an iconic role, but it is nice to be able to play her the way I want. This time, I went into rehearsals already knowing the lines I would speak and sing; I feel my acting has come across as much freer and more spontaneous as a result. I'm also fortunate to be working with Rebecca Thompson, the producer, director and choreographer; being a performer herself, the unique insight she gives is invaluable.

What are you looking forward to most about this production?

Getting up there and performing alongside my little troop of Von Trapps! It is a really beautiful musical, and to me, nothing can beat the feeling of the nuns singing "Climb Every Mountain" in four-part harmony while the Von Trapps are on their way to a new life together. It’s extremely moving.

What kind of experience can the audience hope for?

A "family show", a classic musical for all ages, as The Sound Of Music always has been and always will be just that. But I think Rebecca's own spin on the show will make it even more fresh and exciting.

What does the future hold for Laura Douglas?

During my final year at university, I auditioned at two schools for Masters in Musical Theatre, and got into AMTA in London and AMDA in New York with a $10,000 scholarship. I am currently still auditioning. Watch this space...

Laura Douglas will play Maria in The Sound Of Music at Strabane's Alley Theatre on Wednesday April 3 and Thursday April 4, with the show running until Saturday April 6. To book your tickets, click here.

Si's Sights And Sounds is blown away by the chronicle of Belfast punk Godfather Terri Hooley

Husband-and-wife duo Glenn Leyburn and Lisa Barros D'Sa's Good Vibrations is like "Teenage Kicks" brought to life, as lively, energising and relatable as the aforementioned song. It's a superb piece of work, one that may well become most famous not for being the greatest of its kind, but for capturing the same timelessly unifying effect as The Undertones' iconic 1977 tune and an equally iconic film, released that same year, about a galaxy far, far away. Good Vibrations isn't the first, nor will it be the last, movie that illustrates the highs and lows of musical muscle in a time of crisis (or crises?), but its timeliness, setting and powerhouse performances raise it to another level entirely. It's less a biopic than a well-paced, consistently riveting and sometimes bitingly funny tale about chasing one’s aspirations in extremely turbulent times, a more endearing Killing Bono minus the sloppiness.

Terri Hooley, played in the film by Richard Dormer, is something of a legendary – or should that be LegenDerry, considering his influence on The Undertones? – figure in the Northern Irish punk scene. Famed for "discovering" not only Feargal Sharkey and company, but much lesser known bands such as Rudi and The Outcasts, Dormer plays Hooley as a man struggling to hold his personal life together in the midst of The Troubles, unemployment, rows with his failed politician of a father and starting a family with his girlfriend/wife Ruth, played sweetly by Jodie Whittaker. It would appear that the only thing for Hooley is to live, or at least try to live, the dream on what little money he has – and so is born "Good Vibrations", the "independent" record store and record label that is as inconceivable today as it was during the late 1970's. Watching Good Vibrations now, after the digital revolution has sent the whole industry spinning full circle and made it even harder to make a living through music, one can't help but feel nostalgic and regretful. The line is so fine between profession and hobby for musicians these days that it's upsetting.

Good Vibrations presents Hooley to the audience as a ne'er do well, ne'er give up sort who lived in the moment, for the moment, and rarely appeared to consider the long-term consequences. It is testimony to Dormer's magnificent, multi-faceted portrayal that we ultimately view Hooley as human, a guy not necessarily worth rooting for, but always worth following. He has little or no time for the self-loathing of John Cusack's Rob Gordon or the excessive angst of Ewan McGregor's Mark Renton. He's an exceptionally driven man child, a less conservative Dewey Finn who never discloses what truly drives him on – is it the music, the money, his father, his "friends", or Ruth? – and that makes the character endlessly fascinating. The joyous look on his face when he first hears "Teenage Kicks" and his reaction to the birth of his daughter will long be remembered.

To Terri Hooley, "Good Vibrations" isn't just a store, or a label, but a way of life; and if said way of life may have its pitfalls, to him, and no doubt many others, the experience of the highs is too great to resist. The price we have to pay for the lifestyle may catch up with us, but teenage dreams are hard to beat. Yet therein lies the ultimate, bittersweet horror of Good Vibrations, a stark reminder that as appealing as the entertainment industry may seem, you need a thick skin and tremendous persistence to survive. It's about getting the lucky breaks and making the right moves at the right time, and even capitalising on the zeitgeist may give you little more than short-term success and a temporary energy rush. If music may be the food of love, it's not necessarily food for life.

The next big event at Ebrington's Vital Venue in Derry-Londonderry is fast approaching. Si's Sights And Sounds offers five reasons why you should go and see the Londonderry Musical Society's production of "Annie"

You'll get to see and enjoy a show in the small but massive Vital Venue

Don’t be fooled by the slightly unflattering exterior – Ebrington's pride and joy only looks like a tent with a bit of colour splashed around it. Inside, it feels like an internationally renowned cultural arena, a cauldron of excitement brought to life by whoever is performing on stage. At best, its atmosphere feels worthy of any concert or theatrical venue in the world. Those who experienced the memorable Sons And Daughters extravaganza, the indelible kinetics of Political Mother or the intimate, welcoming energy of Primal Scream, not to mention the music of John Williams, can and will vouch for this. "Annie" is a community event in every sense of the word, another chance for the populace of Derry-Londonderry to "come together as one" as a certain Bobby Gillespie might say.

It is a hugely popular show, with lots of famous tunes and a good story

As Dominic Kearney pointed out recently in a piece for Culture Northern Ireland, the "Annie" bug is contagious at present. It's spreading throughout the city. And why shouldn't it be? The recent successful bid to break the World Record for the largest song and dance routine was built on not only the strength of the community, but also the strength of the show itself. Tunes such as "Maybe", "It's A Hard Knock Life" and "The Sun'll Come Out Tomorrow" have earned their place in musical history, as has the spirited and heart-warming nature of the musical's take on the traditional "rags-to-riches" narrative that everyone is so familiar with.

The crew are a bunch of professionals, dedicated to making your experience a memorable one

Director Deigh Reid, choreographer Venessa Chapman, musical director Jim Goodman and accompanist Ben McGonigle are among a handful of committed crew members that helped make last year's Londonderry Musical Society (LMS) Production of "The King And I" such an enjoyable, award-winning show. All four return this year along with new stage manager Caroline Gilliland, whose literally Legenderry experience with Bang On The Door and her own business could help inspire everyone backstage a step further.

Annie herself is a national star

In Lauryn Mulholland, the LMS have found an Annie with music in her blood. At the age of just fourteen, Buncrana-based Mulholland has sung the national anthem at the Donegal v Down match in Ballybofey and competed in the finals of the Childline All Ireland School Talent Search Competition. Recently, she told the Inish Times that getting the part of Annie ranked at the top of those achievements. Click here to watch her sing at the Helix in Dublin.

The talent of the whole cast is beyond reproach

Whether you choose to focus on Muire McCallion wailing about her "Little Girls", the graceful vocals of Katie Patton's similarly named character, the spirit of the award-winning Kate McCafferty's Molly, or the scene-stealing of the likes of Kris Doherty's Daddy Warbucks, David Keown's Rooster or Aoibheann Biddle's Lily, to name but a few, there really is something for everyone to watch here. And with an extraordinarily dedicated cast of all ages behind them, ready to sing their hearts out for the City Of Culture, we truly could be in for something special.

The Londonderry Musical Society's production of Annie takes place on Friday 12 and Saturday 13 April. Book your tickets online at www.millenniumforum.co.uk.

The lead singer, the non-sound of drums and a blistering opening are the best memories one can take from this fine but confused gig

When I heard an AlunaGeorge recording for the first time, I knew that I had stumbled across something equally unique and unusual; a diverse and mixed series of increasingly heavy techno beats, intriguingly sung by Aluna Dewji-Francis. To these ears, it was like a mixture of hip-hop and electronica, with maybe a sprinkling of New Order and Lily Allen. Underneath the loud instruments, vocals of yearning frustration could be heard, as if Dewji-Francis was painfully drumming her fingers away, waiting for a happy resolution that would never come. And the song ended far too soon.

Ironic, then, that the band's first live performance in Belfast is as promising, frustrating and truncated as their material to date appears to be. By the time Dewji-Francis, fellow band member George Reid and the rest of the AlunaGeorge crew literally step into the Limelight, we've already been waiting for two hours. The rumoured support that Derry-Londonderry punk band The Wonder Villains might provide never materialises, so the band have to work extra hard to lift a middling crowd.

Aluna Dewji-Francis

But lift it they do, with the 1980's style lighting and the extremely electric funk of opening numbers "Just A Touch" and "We Are Chosen" bringing plenty of excitement to the proceedings. Dewji-Francis slinks around the stage like a female leopard stalking her prey, except that you feel this leopard can change her spots. It's hugely promising stuff.

One might argue, however, that Dewji-Francis is changing her spots too much. As the gig goes on, we find that the band's performing and musical style does not easily define itself. Like a fearless cat-like creature one moment, but a tentative tabby the next, Dewji-Francis can't quite get her claws into this crowd. Nor can the rest of the band. It's not that they're not trying, but the novelty wears off quicker than expected. What begins as energising quickly becomes exhausting as the group, realising how little material they have, resort to almost desperate measures to impress. Minutes after Dewji-Francis has commanded the stage with an almost Goddess-like presence, she's tentatively tiptoeing over to the keyboards to help the band play and sing a cover of Montell Jordan's "This Is How We Do It". It comes across as a mix of the ethereal and the mundane. It's not versatility; it's unease. You don't quite know if you're set for "Black Velvet" or Black Grape. At least Dewji-Francis' winning smile keeps the set afloat.

Disaster strikes when the group’s drum machine – their MacBook – temporarily conks out. A baffled Dewji-Francis looks on. What can she do? What can the group do? Amuse the crowd with a couple of circus tunes on the keyboard, that’s what, and by the time the machine is repaired, Dewji-Francis is throwing herself into "Don’t Tell Me" and "Your Drums, Your Love" with more verve than ever. The spirit of the start of the set has been recaptured. Unfortunately, the aforementioned songs are the last we'll hear on the night.

Dewji-Francis, Reid and company look almost relieved when they leave the stage. They know the gig could, and probably should, have gone better – but it's hard to deny that the cheers at the end, coupled with the best moments of the set, have enhanced their reputation. Putting the inconsistency and uncertainty on show tonight aside, you feel that the best is yet to come for the band. On the whole, the gig is a much needed shot in the arm for AlunaGeorge, a bittersweet symphony that may yet lay the foundations for a burgeoning musical career.

Hearty comedy meets emotional complexity in a hugely enjoyable "shirt factory" play

We've reached the interval during Nicky Harley's production of Patsy Durnin's Tillies, one of two plays this week that focuses on women who worked in shirt factories (the other being Frank McGuinness's The Factory Girls). I take a glance at the advertising blurb immediately and spot the words "vivid" and "emotional".

Now, vivid it certainly has been, but "emotional"? So far, we've been treated to an undeniably funny and lively showcase of the talent in Derry-Londonderry, calming nostalgia for the former factory girls in the Millennium Forum audience, including the one sitting beside me. But there's been little poignancy so far. The tone's almost been worthy of a local sitcom, albeit light years better than anything the Hole In The Wall gang could ever come up with. There is little hint of the emotional power that will eventually transform the play into a rather substantial comedic and dramatic historical document.

As the play begins, we're transported back to the floor of Derry's Tillie & Henderson factory in the early 1960's, where our factory girls - Kitty (Maureen Wilkinson), Bertha (Kathy Deehan), Maggie (Maeve Connolly), Rosie (Louise Conaghan), Suzy (Rachel Melaugh) and Lily (Dearbhaile McKinney) - chat about their lives, loves and loathes while wondering about their conditions and pay (or lack of it). Their thick-accented, homely, womanly Derry repartee, which raises regular bursts of laughter, sometimes uproariously so, from everyone in the audience, is worthy of Marie Jones' finest work, although their manager, Davy (Seamus Ball) doesn't share in everyone's amusement: "There's enough clowns in here to run a circus."

The banter we hear toes the line regarding sectarianism, labour and even stereotyping, but it all plays to the rule of funny in the first act, which is really just a casual insight into what these women do when they're not working. For every rather crass or easy joke thrown in (Typical Derry slang like "Catch yerself on!" will always get a laugh from anyone) there's a more sophisticated punchline waiting around the corner.

Yet beneath the laughs, one sees how imaginative and frustrated the girls are. We understand the pain that they feel from the isolated mundanity of factory life, and why it has given them cause for an identity crisis. As Lily, who will soon leave to start a career in nursing, puts it, it's like "a woman's prison", albeit one where the workers consistently sing mood relating, ear-worming songs to keep their spirits up. The slightly gloomier lighting that greets us when the girls talk to union man Steven (Paul O'Doherty) about what the introduction of the (true to life) "time study" programme will mean for them foreshadows the beating heart of the play that we will soon bare witness to.

The arrival of time study man Robert (Andrew Doherty) is a vital injection of life into the play, with the entire programme being the emotional centrepiece of the whole affair. Its mantra - more work, less workers, lower wages - cleverly and carefully reflects the effects and the potential causes of not only the girls' situation, but the current economic crisis. The "everyone for themselves, grab, grab, grab" nature of the programme is telling, with the girls, especially Maggie, smart enough to realise that it is a "necessary" evil being forced on them by the climate, rather than the boon to the workers that Davy and Steven initally claims it is.

The tone of the powerful second act is not always effectively maintained, with a quiet chat between Bertha and Davy seeming rather out of place amidst much hyperactivity and fireworks. On reflection, however, it is necessary in that we see Davy admit the nature of his mistakes, and how management must paint a good picture of their business even though they feel they are in the wrong. And the sadness the girls feel when they lose their jobs really strikes a chord. We've already learnt how easy one can become entrenched in a working routine. But it's here that we are uncomfortably reminded that, however soul-destroying it may seem at times, a job is a job, and that when you lose yours, how hard it is to get back in to work. It's a tried and trusted message, and it's not delivered very subtly either, but the points are made effectively, with the entire cast - especially Deehan and Connelly - truly rising to the occasion.

But of all the messages I've heard tonight, the best one I have to give is: see Tillies. You don't have to be a woman or have worked in the Tillie & Henderson shirt factory to get great value from this production.

The second performance of Tillies, a Playhouse Theatre production, will take place in Derry-Londonderry's Millennium Forum tonight at 8 pm. For more information, click here.

Si's Sights And Sounds Meets: Mike & Ruth Aicken

The husband and wife duo behind Belfast-Derry indie quintet The Jepettos tell us about their past, present and future musical journey

MUSIC REVIEW: Other Voices Derry, Opening Night

The popular music festival opens in a blaze of glory at Derry-Londonderry's Glassworks Church

MUSIC REVIEW: Other Voices Derry, Night Two

The Glassworks audience are given another treat in the form of four outstanding female vocalists - and much more

MUSIC REVIEW: Other Voices Derry, Final Night

Other Voices bows out of Derry-Londonderry in a surprisingly eclectic manner

THEATRE REVIEW: Performances

The latest production of Brian Friel's Performances, directed by Adrian Dunbar, is a valuable character study and strong visual showcase, a powerful advertisement for theatre during the City Of Culture year

Little Drummer Girl

Belfast-based jazz musician Rebecca Montgomery on her passion for drumming and learning from some of the best local artists in the business

Meet Lucy Caldwell

The Belfast-born author and playwright chats about her latest novel in front of an expectant Derry audience

Annies, Annies, Everywhere...

Derry-Londonderry comes, sings and conquers as a musical world record is smashed in Ebrington Square

PERFORMANCE REVIEW: Little Red Riding Hood, Quercus Ensemble

Derry born Kim Vaughan and her talented musical collective enchant children and adults with a charming take on Roald Dahl's twisted version of the famous tale

New Musical Is A "Faust" Of Fun For Sarah

Already a music tutor, pianist, musical director and member of a jazz quartet, Ballymena born Sarah Loughridge has gone one step further and written her own musical production. We went to find out more about the musical and its hugely talented composer

PERFORMANCE REVIEW: Political Mother, Derry-Londonderry Uncut

Famed contemporary artist Hofesh Shechter raises the bar for City Of Culture 2013 with a spectacular fusion of sight, sound and movement

Caffé Nero Comes To The City of Culture

Watch out Starbucks, Costa, Cafe Soul, Cafe Del Mondo and even the most Legenderry of Warehouses... you have company. After many years of waiting, Caffé Nero is in Derry... and we went to check it out

MUSIC REVIEW: David Holmes and Primal Scream

Along with a famous local DJ, Bobby Gillespie and his crew send warm musical shockwaves around Derry-Londonderry on an ice cold night

Death Of An Institution (s)

Throughout our rather short life span (we haven't even approached our first birthday yet!) Si's Sights And Sounds has sought to bring you the best from the City Of Culture 2013. But for every rise, there's a fall...

Australian Children's Laureates Visit City Of Culture

Two award winning authors from Down Under are thrilled to be visiting Derry-Londonderry

Laura Douglas Gets An Encore

The Musical Theatre Tutor chats to Si's Sights And Sounds about reprising her first proper lead in a musical – Maria from The Sound Of Music

FILM REVIEW: Good Vibrations

Si's Sights And Sounds is blown away by the chronicle of Belfast punk Godfather Terri Hooley

Five Reasons To See "Annie" At Ebrington

The next big event at Ebrington's Vital Venue in Derry-Londonderry is fast approaching. Si's Sights And Sounds offers five reasons why you should go and see the Londonderry Musical Society's production of "Annie"

MUSIC REVIEW: AlunaGeorge

The lead singer, the non-sound of drums and a blistering opening are the best memories one can take from this fine but confused gig

THEATRE REVIEW: Tillies

Hearty comedy meets emotional complexity in a hugely enjoyable "shirt factory" play