04.04.26
SCENE AND HERD REVIEW: CIRCUS CORTEX 'BIZAAR' @ SHEFFIELD TRANSPORT CLUB
Written by Charlotte Sanderson
For the past three years, I’ve made it a tradition to see Circus Cortex whenever they come through, and each time, they somehow raise the bar even higher. I’ve been lucky enough to see some of the world’s biggest productions (Cirque du Soleil in Vegas), but Circus Cortex truly feels more impressive: more real and honestly, more magical. And they are right here in our city.
What sets this company apart isn’t just the jaw-dropping skill on display, though the acrobatics are genuinely next level, it’s the heart behind it all. You can feel the sense of community the moment you arrive. There’s no ego here, no sense of hierarchy. The same high ropes superstar who leaves you holding your breath one minute might be selling you popcorn the next. Everyone plays their part, and that shared purpose radiates through the entire experience.
In 2023 especially, the show carried an emotional weight that’s stayed with me. More than 70% of the cast were Ukrainian performers who had fled the war, and yet what they delivered in the ring was nothing short of extraordinary.That kind of authenticity is rare, and it’s what truly sets Circus Cortex apart.
This year, the team return with ‘Bizaar’ - another triumph. The show itself is spectacular without ever feeling overproduced. We won’t spoil the acts for you, and honestly, words wouldn’t do them justice anyway, but suffice to say there are moments where your heart will be firmly in your mouth. And even when one act didn't go quite to plan, the resilience and sheer strength of the performers giving it another go was one of the stand out moments of the show - giving an extraordinarily human edge to the extraordinary humans performing.
It is top-tier entertainment that doesn’t rely on excess, but on pure talent and is perfect for all ages (my 7 and 4 year old sons love it as much as I do). The clowning is genuinely funny, and the whole show flows beautifully. The production team (many of whom are also performers) are incredible and the music makes everything even more mesmerising - with a quick shoutout to young drummer Alfie Deleval, whose talented playing really keeps the energy going.
And then there’s the accessibility. In a world where performances of this calibre often come with eye-watering ticket prices, Circus Cortex manages to deliver something exceptional at a price point that feels almost unbelievable. You might go in wondering how it can be so affordable, and leave realizing that this is the magic: making the circus accessible to everyone, without ever compromising on quality.
Circus Cortex isn’t just a show - although it's a really really good show - it’s a reminder of what live performance can be when it’s built on passion, resilience, and genuine connection. I’ll be back again next year, no question.
You really don't want to miss this! Circus Cortex is in Sheffield until April 12th on selected days, and the last few tickets are available here
06.03.26
REVIEW: THE COMPANY PRESENT THE PICTURE OF DORIAN GRAY @ SHEFFIELD UNIVERSITY DRAMA STUDIO
By Charlotte Sometimes
Photography by Mark Todd
Few novels have stayed with me like Oscar Wilde’s The Picture of Dorian Gray. It remains one of my favourite books, not only for Wilde’s razor-sharp wit but for the unsettling truth at its heart: the seductive danger of valuing beauty, youth, and pleasure above morality. In an age of curated identities and relentless image culture, the story feels, if anything, more relevant now than it did in 1890. For that reason, adapting it is no mean feat. Wilde’s voice is so distinctive that translating the novel to the stage without losing its essence is a genuine challenge.
Which is why this production at Sheffield Drama Studio by Sheffield’s The Company was such a joy. Having recently endured a certain Emily Brontë “it’s not an adaptation… but it is an adaptation” film that I despised (we’ll say no more), I approached this one with caution. Thankfully, this was utterly superb. Rather than simply condensing the novel, the production uses its changes intelligently, opening up new perspectives while remaining faithful to the spirit of Wilde’s work.
Most strikingly, the adaptation foregrounds something Wilde arguably leaves underexplored: the role of women in Dorian’s world. In the novel, the few female characters - particularly Sibyl Vane - are often symbolic and transient rather than fully realised. Here, their presence reshapes the emotional landscape of the story and highlights the consequences of Dorian’s actions in a way that feels strikingly contemporary. The director George Shore and I joked about attempting to improve upon Wilde - an audacious idea by any standard - yet actually in this respect I genuinely think they have. Their additions don’t replace Wilde’s ideas; they extend them, creating a Dorian Gray that feels unmistakably like a play for today - aided by a superb soundtrack of string instrument versions of contemporary songs.
George Shaw and Mark Todd’s co-directing was particularly effective. The staging shifted smoothly between locations, most notably the theatre and Dorian’s room—the site of so much debauchery - with the ever-present portrait watching over events. I’m told the painting itself was oil-painted by Todd’s wife; an incredible feat of creativity and dedication that added a striking authenticity to the production.
There were also small, enjoyable touches of realism throughout. One moment during the theatre scene had a taller person inadvertently blocking the view of someone shorter behind them - a tiny incidental detail, but a lovely observational joke that rang very true to life (and one I relate to particularly well!).
The performances across the cast were consistently strong. Gabriel Morley, in the title role, captured both Dorian Gray’s seductive charm and his gradual moral decline with impressive nuance, allowing flashes of vulnerability to emerge beneath the surface of vanity and excess. Luke Mosley and Kirsty Lucas were equally compelling as Lord and Lady Wotton - the latter being a character created for this production. Mosley brought a magnetic charisma to Lord Wotton, while Lucas’ Lady Wotton was a standout: an intelligent and self-possessed presence who explores her own sexuality and delivers a knowing commentary on the world around her, foregrounding a sense of female agency that felt both fresh and entirely at home in Wilde’s universe.
Paul Heelis gave a thoughtful performance as Basil Hallward, conveying the artist’s tortured admiration and longing without ever tipping into melodrama. A character that audiences root for. Meanwhile, Iona Wilkins’ Sibyl Vane was both endearing and deeply tragic; her scenes carried real emotional weight, particularly in the portrayal of her relationship with her mother (Mandy Simms), which was rendered as both comical and heartbreaking by both performers. The addition of the character of Gladys proved a touch of layered genius (without spoiling anything!): played by the magnetic Laura Payne, whose fast wit and delivery felt wonderfully reminiscent of Wilde himself. Payne is a truly gifted performer.
The wider ensemble provided excellent support throughout the production. Liam Harrison impressed in the dual roles of Parker and Francis, the Duke of Monmoth portrayed pompousness with panache while Rob Eagle brought distinct character to both Victor and Thornton. Ann O’Connell’s Mrs Leaf, the unfortunate housekeeper caught up in Dorian’s world, was played to elicit sympathy.
Another highlight was a particularly entertaining moment of comic relief between Lady Knighton and Sir Geoffrey, whose exchange perfectly captured the gossip and scandal that so often swirl around Dorian and his reputation. The scene provided a welcome burst of humour while neatly reinforcing one of the story’s central ideas: the way rumour and social whispering shape how Dorian is perceived by the world around him.
The character of Val, played by El Madeira, was also a fascinating addition to the production. Their presence subtly deepened the queer subtext that has long been associated with the story, adding another interpretive layer to this adaptation. It was a thoughtful inclusion that felt entirely in keeping with the themes of identity, desire, and secrecy that run through Wilde’s work.
Overall, this was a bold, thoughtful, and thoroughly engaging production that managed the difficult task of honouring Wilde while not being afraid to reinterpret him. With confident direction, inventive staging, and a committed ensemble cast, the result was a production that felt both faithful to the spirit of the novel and refreshingly contemporary.
Catch The Picture of Dorian Gray at Sheffield University Drama Studio until 7th March.
06.03.26
SCENE AND HERD ALBUM REVIEW: THE GLUE THAT HOLDS US TOGETHER BY SONS OF THE CITY
By Richard Wilkinson-Smith
The Glue That Holds Us Together, the new album by indie rock outfit Sons of the City, opens with real intent. She Brings Me The Light stretches past the five‑minute mark and squeezes every last drop from its psychedelic stone; its crystal‑clear production showcasing each instrumental line with striking sharpness. There’s an easy, confident groove running throughout this opening track, hinting at the musical variety to come and evoking everything we loved about the early 2000s; when indie rock and introspective, acoustic‑driven songwriting could still conquer the charts.
Last year’s single Under The Lights from the Sheffield band - previously described by Sheff Herd as a "worthy summer anthem" - continues to shine here. The group (consisting of vocalist Chris, guitarists Addy and Smitt, bassist Nobby and drummer Dan) have long prided themselves on their “cinematic” approach to lyrics and arrangement, and this track delivers exactly that: a song that makes you want to dance while conjuring a haze of blissful romance, all wrapped in a heavy, epic swirl of sound.
The album’s A‑side leans into rock‑driven stompers (and excitingly it is available on vinyl via the band’s Bandcamp store). One of its other lead singles, Can’t Get You Out My Mind, brims with unstoppable indie hooks, blending the earnest forcefulness of early R.E.M. with a sleek modern finish. “Don’t lose your faith, it’s been such a long time / Sometimes hope is all you need to get across the line,” sings vocalist Chris as the track catapults into fifth gear. It’s a short, bright, jangly cracker - simple in message, brisk in execution - but the lyric “This time things are getting better / Well that remains to be seen” adds a faint ache beneath its optimism. The sweet backing vocals and shimmering guitars gradually pull that sadness into focus, giving the song a dreamlike glow, and the classy solo helps the whole thing build into a satisfyingly punchy finale.
From here, the album softens its pacing with real care. The tender ballad The Sun Will Shine On You Again offers comfort laced with uncertainty before And I introduces some beautifully warped, psychedelic guitar work.
Catch You If You Fall brings a touch of Tim Burgess to Chris’ vocal, one of his strongest performances on the record, supported by simple, effective lyrics and sparkling instrumental work from the band.
The album then shifts into a more reflective phase with Falling Down and Where There’s a Will There’s a Way. These tracks introduce a different kind of energy - looser, more contemplative, and less immediate than the punchier songs that surround them. Their slower, searching quality contributes to the record’s gradual emotional descent, creating space before the album moves into its final, more expansive moments. Placed toward the middle and end of the tracklist, they act as transitional pieces that help guide the listener from the album’s earlier urgency to the depth and introspection of its closing stretch.
What independent artists lack in budget they often make up for in imagination, and Sons of the City are no exception. Another Life demonstrates their craftsmanship with a stomping confidence reminiscent of Andy/Gem‑era Oasis, draped in psychedelic touches and strong vocal harmonies. “If you meet me in another life / Would you see me in another light,” croons Chris as a McCartney‑esque bassline from Nobby locks in with waves of aggressive guitar.
Does It Wear You Down carries a sweeping, Verve‑like mood that melts seamlessly into the studious ballad FM, fusing post‑punk tension - complete with Joy Division‑style drumming from Dan with the sort of soaring chorus Cast or Doves would be proud to claim.
“Now it feels like we’re going all out / trying to make things right.” These emotional threads bind the album together, giving weight to its title The Glue That Holds Us Together.
Final track Close Your Eyes delivers one last swell of feeling, balancing its slightly experimental shifts and retro organs with soaring vocals and gritty guitars. “I will stay with you / To dream all the love we have.” It’s a fitting line for a record that aims, with sincerity and heart, to hold both joy and sorrow in the same hand - and it really does succeed.
The Glue that Holds Us Together is available on all good listening platforms now.
You can catch Sons of the City live at Echo Sound Festival on 7th March. Tickets here.
03.03.26
SCENE AND HERD REVIEW: SHEFFIELD COCKTAIL FESTIVAL
By Charlotte Sometimes
The Sheffield Cocktail Festival returned on 28th February to Steamworks for its second year, and it didn’t disappoint. Bigger and better than last year (and that was quite the day!), the festival ran two sessions and we attended the 12–4pm slot, excited to explore the city’s cocktail scene in all its glory.
With 25 bars from across Sheffield representing the diverse and superb opportunities our city has for cocktails, merriment, and conviviality, the festival promised something for everyone. Steamworks itself was transformed into a tropical escape, with lush décor and the bars arranged by location in the city.
With map in hand, we started our journey at Gills & Co, a charming neighbourhood spot known for its approachable, yet refined drinks and friendly atmosphere. A glass of sparkling rosé set the tone for the afternoon.
From there, we made our way to the official festival bar, indulging in two classics - an Espresso Martini and a Paloma. Both were strong, expertly balanced, and packed the punch you want from festival cocktails.
Next, we headed to visit the brothers behind Dead Donkey and Corner, whom we’d previously met back in January (you can read all about it in Herd Hangouts). Highly entertaining and endlessly passionate about their craft, these two serve cocktails that are as fun as they are expertly made. At Dead Donkey, we tried their whisky-based creation The Five Ball, which delivered the perfect balance of warmth, depth, and a cheeky twist - a reminder why these bars have become Sheffield staples.
Then a visit to Selena, where we tried a Strawberry Cheesecake On Ice cocktail that delivered exactly what it promised. Sweet, creamy and well balanced, it even came with a perfectly presented miniature cheesecake on the side. It was playful and a smart take on a dessert-style drink.
A special shout-out goes to the teams at Cheap Dates and Kuckoo, who brought serious energy to the room. Both bars had staff who were engaging, funny and clearly passionate about what they do.
Cheap Dates were serving Take Me Out, a tequila-based cocktail that may have been one of our favourites of the day - spicy, and packed with flavour.
Over at Kuckoo, the spiced rum-based Wet Leg leaned sweeter but still had depth. The team were also telling us about their new Friday night bottomless brunch, which even includes an Uber home - a clever idea that’s likely to prove popular and certainly something we are looking forward to trying in the near future.
And continuing the Rum theme - we had to make a stop at Rumkeg 876. Their Lover’s Rock punch, which we previously reviewed in our Herd Hangouts visit, was as good as we remembered. This Abbeydale Road bar continues to stand out for its relaxed but polished approach, delicious cocktails and all round good vibes.
A quick stop at the Steamworks bar was next where presentation really played a role. Their chocolate-based Sororitè cocktails came with signs reading “things you never need to say” It was bold, fun and got people talking - a smart, memorable detail. And the bitter chilli chocolate cocktail really went down well!
We finished with Locksley Distilling Co., one of Sheffield’s leading independent distillers. Known for their Robin of Locksley gin, co-labs and well-regarded masterclasses, they’ve built a strong reputation nationally. Fresh from successfully defending their trademark 'co-lab', they served a delicious Yorkshire Cosmo made with their signature Robin of Locksley gin and a piece of candied rhubarb, served by the wonderful knowledgeable owners who are always a delight to talk to. You can visit their distillery too which is a stones throw away from Steamworks.
The day also featured a DJ and then live music from Dynamix, a tight covers band whose frontwoman brought strong "Riot Girl" energy. The dancefloor quickly filled and it gave the day an extra "dynamic" (pun intended) that made this second year even more memorable.
At the heart of the whole day was Festival Director Dani Hill, whose calm, warm presence set the tone from the outset. Orchestrating an event of this magnitude is no small feat, yet she makes it look effortless - an outstanding hostess with sharp business instinct to match.
Overall, Sheffield Cocktail Festival’s second year felt more confident and more ambitious, while still keeping its welcoming feel. This event is quickly becoming a staple in the calendar; a genuinely fun day that showcased just how strong and varied Sheffield’s bar scene really is.
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Herd the Word Feature: Stand & Be Counted Youth Theatre of Sanctuary visit Hillsborough
By Charlotte Sometimes
Photography by Khaled Aljawad
Young members of Stand & Be Counted Theatre’s Youth Theatre of Sanctuary recently swapped the rehearsal room for the pitch as they launched their creative response to a major new Sheffield production with an unforgettable day at Sheffield Wednesday. Their visit saw them charge down the players’ tunnel, step into the spotlight of a mock press conference and take part in a range of football-inspired artistic activities, all forming part of Extra Time – a programme designed to celebrate The Ladies Football Club, which opens at The Crucible this month and tells the story of Sheffield’s pioneering women footballers during World War I.
As an Associate Company of Sheffield Theatres, SBC continues to place young people seeking sanctuary at the heart of its work. For this project, members are crafting their own football scarf and chant, both destined for display in an exhibition exploring the city’s long-standing bond with the women’s game.
Rosie MacPherson, joint CEO of Stand & Be Counted Theatre, said: “Our young people were buzzing to visit Sheffield Wednesday’s grounds and be involved in Extra Time.”
She explained that the group was immediately drawn to the themes of The Ladies Football Club, adding: “As soon as we learned about The Ladies Football Club, we knew we would have lots of interest from our Youth Theatre to create something for this community engagement project. Football is hugely important to our young people, many of whom share a real passion for football, and to Sheffield.”
She also highlighted the company’s recent football‑themed creations, noting: “In the last two years at SBC, we’ve already created our own football shirts, plus Around The World, a new football song for Euro 2024. It’s a theme which always brings everyone together and inspires team creativity.”
Stand & Be Counted, the UK’s first theatre company of sanctuary, works with refugees, asylum seekers and new migrants, giving its young members the opportunity to explore and create through live and digital performance.
As part of their ongoing involvement with Extra Time, the group will also head to Hillsborough later in the season to experience a real match day.
Among those taking part was 13‑year‑old Real Madrid fan Daveen, who said: “Football is really fun. It felt amazing to visit Sheffield Wednesday. Some people say that men are better at football than girls, but it’s not true. I hope that people who see our work and the show will learn that.” Her fellow member Mazan, also 13 and a supporter of Portugal, added: “I’m most looking forward to people looking at my work and saying ‘wow.’ I hope people learn that it’s important to feel comfortable and believe in yourself and everything you do.”
As part of the wider celebrations, Sheffield Theatres is offering a series of free Extra Time events, from an exhibition on the history of women’s football in the city to a listening project capturing memories from fans, alongside talks and even a themed life-drawing session. Football in the Square, a morning of activities in Tudor Square, will take place on March 21st. The Ladies Football Club runs at The Crucible from February 28th to March 28th.
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Scene and Herd
EVENT OF THE WEEK w/c 2nd February 2026
Love Music Hate Racism returns with Blues for Palestine 2, an evening of music, solidarity and fundraising at Sidney & Matilda on Saturday 7th February.
Bringing together some of the region’s most vital blues and roots artists, the event blends live music with speakers and collective action, raising funds for the Medical Aid for Palestinians appeal. The evening runs from 5 - 10.30pm
At the heart of the night is the Pat Fulgoni Blues Experience, whose high-energy, modern take on electric blues has earned national acclaim. Fronted by Fulgoni’s formidable voice and backed by a tight, dynamic band, their set promises grit, groove and emotional punch in equal measure.
Sheffield favourites Lightning Threads bring a heavier blues-rock swagger, fusing vintage influences with raw, contemporary drive. Known for their electrifying live shows, they channel classic blues spirit through pounding rhythms and searing guitar work.
Also on the bill are Sheffield’s The 20ft Squid Blues Band, delivering fast-paced, irreverent blues steeped in Chicago tradition but shot through with playful surprises, and Slim Wilson & the Swamp Brothers, whose Americana-tinged sound explores the darker, more soulful corners of the blues.
Adding further texture to the line-up, Joe Armitage (Buffalo Ghost) offers intimate, story-driven songwriting, while Texas-born Ash Gray brings desert-dusted folk, blues and cosmic country into the mix.
Presented by Love Music Hate Racism, alongside Huddersfield Blues Club and Honey Bee Blues Club, Blues for Palestine 2 is rooted in LMHR’s long-standing mission: using music to challenge racism, build solidarity and affirm the shared cultures that connect us.
In a time of growing division, this is an event that places community,
compassion and resistance at its core with the blues as the soundtrack.
06.12.25
SCENE AND HERD REVIEW: LIFE AQUATIC BAND, PEARL RIVER BAND AND SPOOK MUZIEK @ SIDNEY & MATILDA
Written by Richard Wilkinson Smith & Charlotte Sometimes
Gig photography by Ashley Moules ATM Event Photography
On Wednesday night, we were invited to watch Sheffield dance-punk quintet Life Aquatic Band, fresh from an extensive UK tour, at their homecoming gig at Sidney and Matilda. They were supported by the ever-entertaining, previously Herd-featured Spook Muziek and the brand-new Sheffield outfit Pearl River Band. Over the past few years, Life Aquatic Band have been gathering a real core following and have received wider praise from fellow musicians and critics alike. With the venue packed, it was clear we were in for a good night.
Before our feature group steps up, things get going in wild, free-spirited style with Spook Muziek -a hairy, loungy solo act crooning arch, moody lines with easy finesse. After rejecting a phone call, he ambles freely across the S & M stage, delivering alternative highlights from his latest EP pop culture. Then the title track bursts with grimy, dank grooves, steeped in its own underground, late-night intensity. Spook likes to describe his creative process as “wrestling with his own ineptitudes” though the music he brings tonight feels more like someone playfully testing his limits; the result is a deliberate, genre-bending swirl that absolutely earns the spotlight.
Another cut from the EP, retcon age, brings bouncy alt-ska (plus a stray, wayward school bell he teases with nonchalant ease) that blasts through the PA with force. lads don’t cry, meanwhile, is Asian lounge-soul on a melted cassette tape, and againagainagain delivers a punchy groove that dovetails perfectly with our headliners. At one point Spook even launches himself into the crowd and lays on the floor, hooting maniacally just to stir up extra chaos. A truly memorable performance.
Second up is a new six piece Sheffield outfit with confident on-stage presence and superb styling (including the drummer wearing a Life Aquatic band tshirt - more on this later!). Not to be confused with a hairier 1980s USA country band of the same name, the Pearl River Band are pure anachronistic 60s/70s psychedelia. You can easily imagine them living in a funky commune or tucked away in some woods near the Peak District. Musically, they’ve released only one song so far - the supremely well-produced Alive, which dropped last month. Their sound, like their aesthetic, is rooted in the late 60s, with vocals evoking Grace Slick and Moby Grape, and on some tracks a subtle, pounding Kosmische Musik pulse hints at a modern edge.
The set occasionally melts into long, groovy jams, powered by a fabulous rhythm section and sharp, expressive guitar work. Their lead singer has serious vocal talent too, along with spidery tattoos that would prevent anyone accidentally dragging her back to Woodstock. With a bit of cynicism and heartbreak earned from more touring, The Pearl River Band - South Yorkshire’s edition - will truly flourish. They went down extremely well with the hip Sidney and Matilda crowd.
Now to our superb, turn-of-the-century-influenced headliners, the brilliant Life Aquatic Band. Steve Zissou is nowhere to be seen, but singer-keyboardist Jaz opens with a terrifically warm voice that radiates through the shimmering pop-soul of Summer Rain. Her tone is a softer, earthier cousin of the kind of vocal Björk or Sinéad O’Connor could just let spill out effortlessly in the 90s. The whole song radiates danceable joy. Jaz's performance combines substance, style and the surreal - with a particularly fun moment where she skilfully plays the keyboard with her face - potentially genuinely suffering for her art - it was a standout, playful highlight of the set!
Other highlights of LAB’s set include You Can Do It, which channels the B-52s’ infectious energy and David Byrne’s talent for animating the mundane, dripping with glorious anti-bourgeois spirit. “Bedrooms, four walls, liveable, affordable,” Ben belts out his Frank Black-esque lead vocal. Equally striking is Brunch Mindset, which has a dance-pop dynamism underpinned by frustrated love - made frantically obvious by Ben’s delivery - plus a hilarious yodel-style vocal from Tim (the band’s other vocalist and brass musician) halfway through. Keep the Rain Away (a strikingly apt song for our weather at the moment!) is ironically pure sunshine - call-and-repeat chanting: “we don’t have no money / you’re gonna need a sunny day / to keep the rain away!”, funky riffs and a synth breakdown ensures the crowd erupts into dance.
The only cover was Gossip’s Standing in the Way of Control. This might have made the song more LAB style if sung by Tim, whose zany, arch stage presence is a key part of the group’s charm—he’s their Ron Mael and his vocal gymnastics could certainly handle this oft-played classic.
We then reach the climax of the set with the band’s latest single Stuck in the Mud. It carries the exhilarating energy of the 2000s indie-dance/post-punk resurgence, with woozy synths reminiscent of early Human League, LCD Soundsystem-style rhythmic urgency, and tight bass work. The studio version clearly benefited from the involvement of Hot Chip producer Shuta Shinoda, and it has rightly been praised by the likes of Tom Robinson and Steve Lamacq. It sounds fantastic live in this setting.
After the show, we joined the huge queue to purchase some quality merchandise tshirts made by vulnerable adults at the Sheffield based project Printed by Us who work with the Archer project. This is a fantastic initiative and the tshirts are incredible silky quality!
And there we are: a wonderfully life-affirming event that washed away any dark-night winter blues. Every act tonight put in a great shift and has promising music on the horizon. Life Aquatic Band are surely one of the most entertaining indie groups in England right now. Watch this aquatic space.
You can catch Pearl River Band x Life Aquatic Band at a very special event at Sidney & Matilda on 19th December as Jarred Up presents a special Christmas party with proceeds going to Archer Project.
Links
22.11.25
SCENE AND HERD ALBUM REVIEW: BLOODJOY VS (VOL 1) (HEADCHARGE + DE VINE)
By Charlotte Sometimes
Bloodjoy Vs (Vol. 1) captures the essence of Rhys Bloodjoy, Ms De Vine, and Jamie Headcharge’s 2025 Resistanz Festival. The album is a tightly focused set of ten reworked pieces taken from DOLIUM, De Vine’s lo-fi electro project YUGO, and Bloodjoy’s solo catalogue - reimagined.
Created at Sister 9 Recordings, the blend of Dark Electro, Psych/Coldwave influences, and rough-edged analogue textures gives the record a grounded identity. Instead of smoothing things out, the trio lean into the character of the original material: the tape-worn grit of the YUGO tracks, the heavier industrial undercurrent of DOLIUM, and the tension within Bloodjoy’s solo work. Each remix respects those roots while nudging them into sharper, more rhythmic territory.
What stands out is the cohesion. Even though the sources span different eras and moods, the three artists stitch everything together with a consistent sonic palette - tight beats, atmospheric synth layers, and occasional flashes of distortion that feel closer to live energy than studio polish. You can sense their Resistanz performance in the pacing: tracks rise, settle, and shift naturally, as if the album is echoing the flow of a single set rather than showcasing isolated remixes.
Nothing feels flashy for the sake of it. The psych elements add depth rather than haze, the coldwave touches create tension without gloom, and the analogue dirt provides weight without dragging the sound into pure nostalgia.
Track by Track
Celebration The album kicks off with a compelling nod to early electronica and industrial, blending retro textures with fresh, modern energy. It sets an atmospheric foundation.
Fuckers This track bursts with fast-paced Germanic electro fused with rock swagger, while clever breakbeats add welcome variation. It’s relentless in the best way - driving yet surprisingly dynamic.
Yugo to Hell A swirl of nightmarish industrial sonics creates one of the album’s most intense soundscapes. It’s dark, immersive, and thrillingly unsettling.
Stesso Destruction A late-80s techno spirit fuels this wild, twisting ride, making it a chaotic but exhilarating standout. It’s unpredictable in a way that keeps you hooked.
Luna Sex The album’s closest brush with pop still carries a wonderfully off-kilter, video-game-gone-feral energy. Infectious yet eccentric, it’s a quirky highlight.
PVC Dark EDM pulses blend with trippy dub textures and haunting vocal wails, creating a hypnotic, immersive groove. It feels like a descent into a beautifully warped dancefloor.
Run from the Hunter A pounding tribal rhythm drives this track, giving it a primal, kinetic urgency. It’s raw, physical, and impossible not to move to.
Whore Whore Imagine Soft Cell on fast-forward: bright, buzzing synth basslines slice through the mix with addictive precision. It’s energetic electro-pop with a dark, playful edge.
Yugo Your Way Repetitive psychedelic drones and even morse code -like tones build tension before a John Carpenter-styled beat crashes in. The result is cinematic, suspenseful, and deeply satisfying.
I Love Fire The finale erupts in euphoric, chaotic energy. Picture an arsonist who’s had one espresso too many shouting “I love fire / I love cocaine” - that’s the energy here: hysterical, combustible, and impossible not to enjoy.
Overall, Bloodjoy Vs (Vol. 1) is a solid, well-constructed record that presents three artists with complementary sensibilities working in sync.
It landed November 21st (on streaming platforms and limited vinyl/CD editions) and it’s sure to stand as both a document of their live collaboration and a considered re-examination of the music that brought them here.
Links
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Herd the Word
EVENT OF THE WEEK w/c 10th November 2025
On Wednesday 12th November, Sheffield’s Central Library will host Black British Childhoods in Literature: Past and Present, a free event that brings together award-winning author J. T. Williams and leading scholar Professor Karen Sands-O’Connor.
Guided by Dr Aneesh Barai, the discussion looks at how Black British childhoods have been depicted in books across different periods and why these portrayals continue to matter.
Williams, known for her fiction and non-fiction on Black British history, joins Sands-O’Connor, whose research has shaped understanding of Black British children’s literature. Alongside the talk, an exhibition of children’s books curated by Sands-O’Connor will be available in the library foyer during opening hours.
The event begins at 6pm in the Carpenter Room at Sheffield’s Central Library on Surrey Street. It is free to attend, but advance booking here recommended.
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Scene and Herd
EVENT OF THE WEEK w/c 10th November 2025
Yorkshire Artspace’s annual Open Studios weekend returns 15th–16th November 11am-5pm, bringing together more than 100 resident artists across two landmark Sheffield buildings for two days of open access, demonstrations and behind-the-scenes exploration.
At Persistence Works you can wander through light-filled studios where painters, ceramicists and printmakers show works in progress and explain how they use specialist facilities such as the large-format print studio and shared ceramics kilns. Over at Exchange Place, the older warehouse layout creates a very different atmosphere, with metalworkers, sculptors and furniture makers demonstrating processes that involve forging, soldering, carving and surface finishing. Many studios set up small displays of new work created specifically for the weekend.
Both sites run drop-in activities designed for families, along with scheduled demonstrations. Short exhibitions highlight selected pieces from the Artspace community, and several artists host one-off sales or offer the chance to commission bespoke work.
Entry is free with an optional £3 donation and no booking is needed. The two venues sit within a 10-minute walk of each other and from Sheffield station, which makes it easy to take in the full circuit.
For more information about the day and the artists, click here
10.11.25
SCENE AND HERD EVENT PREVIEW: BEAT BRAWL: THE UK'S FIRST BRACKET STYLE MUSIC TOURNAMENT
Beat Brawl is set to shake up the UK music scene with a groundbreaking new event concept that fuses the thrill of live competition with the creativity of underground music culture. And it's happening right here in Sheffield on Wednesday 26th November at Corporation.
Forget your average club night or standard gig - this is something completely new. At Beat Brawl, artists will go head-to-head in a bracketed, tournament-style showdown, battling through elimination rounds until one producer stands tall to claim the crown. Each round will be judged by a panel of industry experts, with the audience’s energy and vibe also playing a vital role in determining who advances.
But that’s not all - Beat Brawl is an exclusive listening experience. Every track played on the night will be unreleased, heard by the crowd for the very first time. Expect everything from emotionally charged instrumental journeys to high-energy beats built for collaboration with emerging rappers and vocalists. It’s a night that celebrates raw talent, originality, and sonic innovation.
Backing the event are two incredible sponsors: Stay Tuned Studios and Spring Tank Studios, both offering free studio time and resources to support the next wave of UK producers and bands. Their partnership ensures that Beat Brawl isn’t just a competition; it’s about building community and opportunity within the music scene.
Whether you’re a producer, performer, or music lover, Beat Brawl is the place to be.
Witness the future of UK music: live, loud, and unreleased.
Links
Tickets (or scan QR code)
06.11.25
SCENE AND HERD INTERVIEW: KING CONFUZA - PRODUCER OF CRYPTID QUEERS
By Charlotte Sometimes
Image by Matt Brooks and Instagram
Following an incredible performance at this year's Celluloid Screams horror film festival in October, and ahead of their upcoming 4 Years of Hellraising event at FORGE Warehouse on 22nd November (click here for more information and tickets), we caught up with phantasmic producer King Confuza to find out everything about Cryptid Queers.
What first inspired you to create Cryptid Queers and carve out a space where drag, darkness, and the supernatural could all collide?
So, the first ever Cryptid Queers was a digital drag show over lockdown (it's still up on YouTube!) which I hosted in character as a mad scientist. I got really into the idea of paying homage to 1950s horror hosts - complete with little skits between acts where I would torture a long-suffering assistant!
When it came out into the real world in 2021, I was feeling a little frustrated with the lack of shows in Sheffield that would book someone like me, and I figured creating a space for my drag also creates space for others. I wanted to dedicate a platform purely to the art of Monsters, who are so often overlooked and under represented on drag casts; one that would welcome the experimental and encourage freedom and creativity.
How has your own drag persona developed and how does it reflect the spirit or ethos of Cryptid Queers?
It's definitely given me a safe space to be experimental and develop as a Monster; free of any pressures to conform to more mainstream drag expectations. Alt drag doesn't have a lot of rules in terms of what your aesthetic can be, really the only limit is your imagination. I've enjoyed leaning into the horror and surreal aspects of my performance art, and of course the Daddy angle... I am a thotty Prince of Hell and I love embodying that character – that sense of unapologetic chaos with a polished edge of comedy and killer style is really at the heart of Cryptid Queers.
Your shows blur the line between beauty and horror. How do you define that balance, and what draws you to that space between the glamorous and the grotesque?
I think there are so many preconceived notions of what drag is when it's spoken about in a general context and especially so many expectations of what is and isn't ok for drag artists to do. Many of us Monsters have been overlooked, passed over, or told to tone it down.
Outside of drag monster shows we are often the only king or creature on lineups where our art can go unappreciated. One of the most special things about a Cryptid crowd is that they just get it! They love what we do and they see that gore can be just as stunning as glamour, and that it's not necessarily one or the other. We don't even really need to strike a balance to be honest - that just comes naturally to us Monsters.
Each Cryptid Queers event feels like a full immersive experience - drag, DJs, alt markets, and community all wrapped together. What’s your approach to curating your nights?
I set out with the goal of curating what would be my ideal night out, so it was quite selfish initially – luckily for me so many people also think it's a fabulous way to spend an evening or we wouldn't have gotten very far!
We started life digitally, and then as a tiny basement show. Then one manic episode later, it was a goth club night as well as a drag monster show, which I still think is just such a killer combo! Then with a bit more of a following behind us we took it to another level at Forge Warehouse and made it an accessible event too - something which you're always limited with DIY venues and low budget nights - so by taking it to a pro venue we have managed to make it really refined and polished while still keeping that friendly alt community vibe.
Inclusivity seems to be at the heart of what you do. How do you maintain that open, welcoming atmosphere while still pushing creative boundaries and keeping things unpredictable?
I think Cryptid being disabled and neurodivergent ran makes a huge difference to the way we view inclusivity and it's importance. Accessibility is central to everything for us – from using accessible venues and having dedicated disabled seating right at the front, to adding captions to our visuals for each act and banning strobe lighting.
We have always tried our best to create a welcoming atmosphere and that's gained a gorgeous community of queers and goths who are always so passionate about the artists. This has allowed us the freedom to book acts from all over the UK, inviting new faces each time and always mixing it up in terms of what they bring to the stage so you never know what you might see. Some things such as the variety with the acts should always be a bit of a surprise, but things like accessibility should be consistent and well communicated so that the show can be enjoyed by all.
Through Camp Cryptid and your workshops, you’ve built pathways for new talent. What do you hope emerging performers - your “baby Cryptids” - take from those experiences?
I want them to leave feeling like they’ve found their people - a community that celebrates their weirdness and pushes them to create without limits. I hope they realise their art has value, that it deserves to be seen, and that there's real joy in sharing it.
Watching them grow in confidence, connect with their drag siblings, light up on stage, and feel proud of all their hard work when they hear that crowd going wild for them – that’s what I hope they take from it.
As you are about to celebrate an anniversary with 4 Years of Hellraising at Forge Warehouse: what have been some of the biggest highlights or turning points so far?
Building an alt drag community in Sheffield has been the biggest highlight so far for sure. Training the next generation of Monsters and seeing them come into their own and graduate from the Camp Cryptid stage to the main stage at Cryptid Queers, and go on to produce their own shows and continue the work of building and nurturing the alt drag community has been absolutely mind blowing! It's all been incredibly special and it makes such a big difference to just four years ago when we had none of that in Sheffield.
I think a real turning point for me was when people were travelling from outside of Sheffield to come see the show, and feedback was coming back to us from all over the UK about the level of Monster excellence and the excitement for the work we do with the Camp Cryptid workshops. That's when I realised it wasn't just a local event any more it had become a real hub for Monster drag across the UK.
Tell us all about your event on the 22nd November - what can we expect and for first timers - what kind of energy or mindset should they bring?
It's going to be wild! We have a stacked cast of insanely talented Monsters including Dairy King, Manly Mannnington, and Puke. Our alt market is huge this edition with 16 traders, and as a Birthday treat we have a special live after party set from Baby Tap.
Our regular crowd are some of the friendliest and most welcoming around and they really know how to party. Forge Warehouse provides a stunning backdrop for all this weirdness along with immaculate vibes and a queer and alt safer space, it's going to blow your mind - especially if you've never seen any Monster drag, or much drag at all.
Looking ahead, where do you see Cryptid Queers going next?
We’ve just announced our 2026 dates, which for the first time includes a summer festival! This is something we are incredibly excited about as it will be a full day of Monster drag aiming to celebrate as many Monsters as we possibly can - from newbies, to titans of the drag Monster world, and maybe even the odd Supermonster. Think of it as an unofficial Monster Pride – a chaotic love letter to our community featuring workshops, DJ's, market stalls, food vendors and even a pageant!
We are applying to register as a CIC. We’ve always worked on a not-for-profit basis, but this step would let us do even more to uplift the Monster and alternative drag communities, and in a much more sustainable way. So that is really exciting.
It's also been a longstanding dream of mine to direct an indie horror movie featuring an all Monster cast highlighting a slice of drag often overlooked in media – AFAB performers in the form of Drag Kings, Things, and Creatures. So I've been writing that and hoping we can work some Cryptid magic and make it happen.
Finally - what’s one piece of advice you’d give to someone who is interested in joining or exploring this world?
Don't wait! There's a beautiful world of weirdos out there just dying to meet you! The Monster community is one of the most vibrant and welcoming places to grow and thrive. We are bonded by our love of horror, gore, cult, surrealism, and strangeness. We are highly passionate and conceptual when it comes to our art.
We welcome new faces both in the crowd and on the stage. Cryptid Queers and other Monster events are where you can find alt community and make friends for life.
Links
Legal Notice
Name of company
Sheff Herd (unregistered - not monitised)
Image Rights
https://leadmill.co.uk/event/silent-disco-christmas-special/ - Leadmill Publicity Photo
https://gallery.shu.ac.uk/event/the-writers-guild-aftermath/ - Publicity photo
The following Unsplash images have been added to the site:
- Photo by Maximalfocus on Unsplash
- Photo by Julius Drost on Unsplash
- Photo by Moritz Mentges on Unsplash
- Photo by chester wade on Unsplash
- Photo by Harrison Qi on Unsplash
- Photo by Ben Blennerhassett on Unsplash
- Photo by Victor Rodriguez on Unsplash
- Photo by Aleksandr Popov on Unsplash
- Photo by Zak on Unsplash
- Photo by Valentin BEAUVAIS on Unsplash
- Photo by Jase Bloor on Unsplash
- Photo by RHUM Phan on Unsplash
- Photo by Laura Cleffmann on Unsplash
- Photo by Mikita Yo on Unsplash
17.10.25
SCENE AND HERD DEBUT SINGLE REVIEW: CA'T GET YOU OUT MY MIND BY SONS OF THE CITY
Written by Richard Wilkinson-Smith
Formed by three members of Section 60, Sons of the City are an exciting new Sheffield indie band. Their debut single, Can't Get You Out My Mind, recorded at Tesla Studios in Heeley, is a bright, punchy three minutes and twenty-one seconds: fittingly brief for a song built around simplicity and clarity.
The opener of their upcoming album, Can’t Get You Out My Mind combines the hook-laden drive of early R.E.M. with the sleek energy of The Vaccines. “Don’t lose your faith, it’s been such a long time / Sometimes hope is all you need to get across the line,” sings vocalist Pete Jones as the track bursts into full gear.
The instrumental work from Messrs McGurk, Peart, and McReynolds is strong and jangly, and with Britpop nostalgia back in the air, the timing of this track couldn’t be better for Sons of the City. Lyrics like “This time things are getting better / Well that remains to be seen” reveal an optimism tinged with heartbreak, while the sweet backing vocals and shimmering guitars lend a dreamlike, bittersweet glow.
Perfect for a fast country drive, scattering autumn leaves in the rearview, the song never pauses for breath. McGurk’s sharp solo dives straight back into the chorus, where counterpoint harmonies push toward a rousing finale.
This first single shows Sons of the City are making tender, honest music - no matter how loud they crank their Marshalls, the heart cuts through the noise.
After selling out Guitar Shack for their hometown showcase this summer, the band looks ahead to their next chapter.
Their forthcoming 12 track album The Glue That Holds Us Together promises “lush textures, cinematic warmth, and emotional intensity", with a launch gig at Sidney & Matilda on January 31st 2026 set to kick off what’s sure to be an exciting new year. This is certainly a band to watch out for.
Links
Can't Get You Out My Head is available to stream from 17th October
🐘🐘🐘🐘🐘
Herd the Word
POETRY SPOTLIGHT:
Natalie Ansell (Nat Up North)
Our very own Sheff Herd writer has produced this fantastic poem for National Poetry Day to celebrate Sheffield, featuring photography of the ideas that inspired her work.
Untitled
Nah then, ey up, clean aht tha lugs
Thas not got nowt to fear
Lets me n thee have a chat
Sit thisen dahn theere.
There’s a lorra ‘istory in this tahn
From t’market, t’Ledders, t’Peaks
We’ve got women ‘o steel, oldest football in’t world
I could rattle this stuff off for weeks.
Remember Sat’days at thi nans
Cu’nt be mardy, tha’d get a scutch.
Tha comes from nowt, tha di’nt have owt,
But we really ‘ad so much.
We ‘ad big coats, though we weren’t nesh
And chuffin hell, it got nippy.
Hendos relish – best in’t world
A BREADCAKE from the chippy.
We’rt home of Pulp and Human League
Sean Bean and Pete McKee
‘But Sheffield’s over.’ – is it heck!
Not while th’is thee and me!
In Sheff tha knows it’ll all be reyt
It’s what we’ve allus said.
So be proud of where thas come from
Cos thas Sheffield born ‘n bred!
30.09.25
SCENE AND HERD INTERVIEW: MAT HOOK
Written by Charlotte Sometimes
Photography by Edward James
Ahead of his biggest ever solo-gig at Foundry, we catch up with Sheffield musician - ex-Kartica front man Mat Hook to find out all about his musical journey.
You stepped back after Kartica’s 2008–2014 run and then returned with solo material a decade later. What finally tipped you from “maybe one day” to releasing Runaway Road in 2023?
It was all kinda by accident to a degree. I went through some pretty rough times, which I’ll not go on at length here ’cause it’s been publicly documented previously, but think births, deaths, and breakups, and the subsequent effect on my mental health during that time, and that’s kinda the vibe of where I was… Nowhere good.
During that time, I think I always had a glimmer of hope in the back of my mind that I might return to music one day. But leaving Kartica absolutely shattered me in many ways, and the emotive connection to that made it difficult to even contemplate being a musician or performer again.
Realistically, it was probably the lockdown that did me the most favours. It gave me time to breathe, to think, and to try and heal a bit. I started doing little videos of covers—YouTube, Facebook, etc. Before long I got an Instagram page going; people were seemingly enjoying them. The big Oasis fan page OasisMania shared some of my covers. That felt like such huge validation again—that I had something to offer still (sadly they drifted away after some miscommunication).
But anyway, the seeds had been sown. I’d been back writing, and the songs felt fuelled by my experiences in the wilderness and a perceived redemption arc. Runaway Road really carries that ethos, I feel. It felt the perfect mantra to have as a comeback song.
Both Steve Lamacq (BBC 6 Music) and John Kennedy (Radio X) picked up your solo work, with comparisons to Richard Ashcroft and nods to Oasis/The Verve. Do you embrace those parallels, or do they miss something essential about your sound now?
I grew up on that sound and style. I never have and never will hide away from that influence and era, and what it meant to me, ’cause it formed me!
So for me, it’s the highest praise that I can be cross-referenced against those groups. In my teenage years, especially later ones, that music was really the only thing that spoke to me. I was disenfranchised with the world around me a lot at that time, and I listened to those bands like I was the only person on earth who was. So it pretty much guided me through some isolated times.
Obviously, I feel there’s a uniqueness to my style that veers away from influences, but then I’ve never thought of that scene in the way that it’s perceived generally. For me, what those groups represent is a million miles away from the cartoonish “Britpop” stereotype. There’s depth and beauty in the music that I don’t often find elsewhere.
Your latest single 'This Feeling' is out soon: what can you tell us about it? What sparked the song, and what themes or experiences were you drawing on when you wrote it?
Originally I wanted to try and get it released prior to The Foundry gig, but realistically that would’ve been rushing it too much. So now I’m relaxing it a bit and will put it out later with a proper schedule for it.
It’s a feel-good song. It’s got a Roses vibe to it, I think; it’s almost dancey. A lot of people constantly talk about the struggles of life and, like I’ve mentioned, I’ve been there. But sometimes you wake up and just being alive feels amazing! Or maybe a moment in a day makes you feel that way... This Feeling is about that for me: those amazing moments you get that are life-affirming. Being a loner generally, most of mine are when I’m on my own (laughs).
The Foundry show is billed as your biggest headline to date, with support from The Tivolis, Revert, and Sons of the City. What stories link you to those bands, and how will they set the tone for your set?
Revert are the newest band to me. They’re pretty fresh on the scene, but are genuinely getting raved about. They’ve got character too. They’re young, they’re new: so who bloody knows where they can go? The sky’s the limit with them.
The Tivolis I first saw when I was a judge at a festival placement competition. I thought straight away they had a good sound and presence. They almost seemed a bit shoegazey in a way on stage, but it suited them. Their profile has since grown, and they’re now a headline act in their own right, with industry players taking note.
Sons of the City birthed from the ashes of cult Sheffield band Section 60. We go way back together through the Kartica days. They’re my musical “brothers in arms,” so to speak, as so much of our journey has been interlinked. Their new sound is more psychedelic, and they’ve recently recorded a debut album which sounds fantastic from the tracks I’ve heard.
You’ve been revisiting Kartica-era favourites like Dare to Dream, alongside newer solo tracks. How are you weaving old and new into a single narrative for this set?
I love the solo stuff I’ve done. It defines me as much, if not more, as an artist and a person than the Kartica stuff for me now; especially where I’m at now in life.
However, I feel a duty to keep Kartica’s legacy alive, even if my involvement ended under a cloud—purely ’cause the songs are still great and the impact, though mostly local and relatively small, was so powerful. The band had zero industry direction or assistance, yet we had people getting tattoos of lyrics, driving across the country to gigs, and random fans setting up online forums. The only doors opened were done forcibly through sheer conviction, by the band itself.
That intensity of following was incredible for a band with no industry links. So I’ll always try to incorporate songs from then, as a nod to them and just my youth in general.
It also helps merge things for the crowd. A lot of the Kartica crowd has moved on - families and kids, etc. - but there are still elements that come to gigs who have affection for those songs, whilst the people who mostly know me from where I am now can relate more to the current songs.
Why did you choose The Foundry?
The Foundry for me is possibly the best set-up for a gig in the city. It’s a big place, which can be daunting as a performer to headline, but it does have staggered layouts which mean you can adjust the capacity, to a degree, to suit the projected crowd pull.
With the situation of The Leadmill closure, it’s now become more vital than ever and probably more publicised, as they have moved a lot of gigs there [Read all about this venue in Herd Hangouts]
I actually played there for a support slot with Kartica for only our fourth or fifth gig, a good 17 years ago, and it always stuck with me how much of a “proper” venue it is.
The three main headline gigs I’ve done have each comfortably outgrown the one prior (the last one a sold-out 300-cap at Sidney & Matilda!). So to go bigger in a realistic sense, there weren’t many places on the circuit to look to.
This is probably the limit though. This is the gig I’ve been building back up to ever since Kartica ended. So it really is a case of “now or never” to catch me at this scale of show.
Do you have any pre-show routines that get you ready for a gig?
I’m really pretty chill prior to going on. Back when Kartica was in full flow, I’d’ve been necking back drinks like no tomorrow in the hours before - big-time party style! But nowadays I’m just generally focused, usually in the zone of just making sure everything and everyone’s ready around me.
But as for my personal routine, there’s nothing overly particular. It’s pretty chill. I like the sanctity of backstage, just relaxing. I’m usually in my element once the gig’s going, so there’s no great sense of foreboding or needing to psych myself up. In the nicest possible way, once I’m out on stage, I don’t give a flying fuck what the crowd thinks or does. If anything, I just observe it just as much, if not more, than it does me.
You’ve announced former Kartica bandmate Josh Morement on bass for the Foundry show. What’s it like rebuilding chemistry with an old teammate in a new solo chapter?
It’s been an absolute joy having Josh involved. We’ve definitely both grown up a bit and, if anything, actually grown closer than ever over the last four or five months. Josh used to be a straight-up party animal, who might be up for a couple of days straight after a gig, but these days he’s a family man and has approached the task with a mature focus, dedication, and also a self-assuredness. He’s also been really invested in shouting about and promoting it too, which is a great support!
I plan to have a bit of a break from performing after this gig, so I’ll have time to process everything once it’s done. And I think some of my favourite memories of this moment will be the numerous times we’ve gone for a pint together after a rehearsal (often just the two of us) and reminisced and laughed so much over all the old memories.
The hype for this gig has been through the roof, so hopefully it matches up but if not, we’ll still live happily ever after!
Outside of the studio and stage, what else are you currently involved in around Sheffield that fans might not know about?
Well, first off musically, I’ll often do acoustic cover gigs, under the radar, to help keep the pennies coming in. So while I may have a heavily promoted and ticketed full-band headline listed for months in advance, don’t be surprised to see me pop up during that time, almost unannounced, banging out some indie classics at a random pub/event. I do a little monthly radio show on Gumbo FM too, where I try and shine a spotlight on local acts.
Secondly, away from music, my day-to-day thing is running a men’s 7-a-side amateur football league. It’s a lot of work and responsibility, but setting it up reinvigorated me and gave me a focus when I was really lost in life. I probably know more people through that than I do music (laughs).
Lastly, as much as I love music, football, and the work I do, the most important thing in my life by a mile is my 13-year-old daughter, Elsa. She’s my little bezzie mate and my pride and joy!
Finally - looking at your own listening habits: which bands, venues, or scenes in Sheffield are exciting you right now, and which influences continue to shape the way you write today?
I could list the acts I know personally here, but I’d end up going on for ages. So without necessarily picking out acts in general, I’m gonna plump just for two songs that I really like by local acts I don’t have any personal connection with. One is M.F.B by Rich Brown. The other is CherryStone by Blue John. I think they’re two great songs!
I must mention that it’s great to see The Rosadocs starting to really make leaps in the industry, as they’re great lads with a proper sound!
As far as influences, mine were all the sounds of my youth, as touched upon earlier. Cut me open and those sounds and sentiments would pour out of me. The feeling when I hear Live Forever by Oasis encapsulates all I’ve ever wanted from a song. I’ve come back from a place I didn’t think this any of this would be possible. So come Friday, I’ll be ready. I’ve got nothing nothin’ to lose…
Links
3rd October Foundry Tickets are available now here.
🐘🐘🐘🐘🐘
Scene and Herd
EVENT OF THE WEEK w/c 15th September 2025
As part of Castlegate Festival, on September 20th f0ur venues offer a packed day of music that blends headline acts, local talent, and community performances.
The Exchange Street Street Party kicks off from 2pm, featuring a lively Main Stage lineup including COCO, Franz Von, Aziza Jaye & Kyla C, Dave Haslam, Jay Carder, Nora, Reptile B, Sister Wives, and many more. TRACKS will also be representing young voices and artists (fresh from their first collaborative track and a performance with Ed Sheeran earlier in the year). Expect to hear RnB, hip-hop, gospel and more.
As the day turns to night, the festival continues across venues such as Plot 22, Panke Social, Delicious Clam, and Harmony Works, Sadacca and Harmony Works with late-night DJs and after-parties keeping the energy high well into the early hours of Sunday.
11.09.25
SCENE AND HERD INTERVIEW: CO-DIRECTORS OF SPIRIT OF INDEPENDENCE 2025 FILM FESTIVAL @ THE LIGHT CINEMA
Written by Charlotte Sometimes
Images courtesy of Spirit of Independence Festival
From 26th to 28th September, The Light Cinema in Sheffield will host the Spirit of Independence Film Festival — a celebration of raw, passionate filmmaking that champions emerging voices and cult classics alike. With a programme packed with shorts, features, industry talks, and networking events, the festival offers a platform for brave, boundary-pushing storytelling.
We caught up with the festival’s co-directors Dave Holloway and Ben Wilkinson to learn more about this year’s highlights, the ethos behind the event, and how it continues to inspire the next generation of filmmakers.
How would you describe the identity of the festival?
Dave: Spirit of Independence has two very distinct aims; we want to give up and coming and underrepresented filmmakers a forum for their work to be seen, and to give audiences the chance to see films that would otherwise be likely unavailable to them. We want to provide opportunities for filmmakers to get on the first rung of the screening or distribution ladder whilst reminding audiences that there is so much talent and quality which exists outside of conventional cinema. Ultimately, we're fans of the really bold and interesting films and filmmakers that exist on the fringes of what is conventionally known as 'independent' and we want to open them up to as many opportunities and audiences as possible.
What’s the story behind how the festival started?
Ben: Sheffield has some really great established film festivals - ShAFF, DocFest, Celluloid Screams, but we never had a purely narrative film festival which felt like a real gap in the market. SO I started the festival with £100, just looking for films shot on a micro-budget (features made for under £150k, shorts made for under £3k) as I wanted to support filmmakers who may struggle to find a platform for their films in traditionally bigger festivals. This helped establish our identity as a breeding ground for grass roots filmmaking, which still carries through to this day. We had a few great years at the Abbeydale Picturehouse, but we realised we needed to grow the festival, so we repositioned ourselves, removing the budget limitations we had and moved to the Showroom cinema after the Picturehouse closed. Since then we've grown each year, establishing a core audience-base and looking towards what could be our most successful event at The Light this year.
How do you decide which films to feature each year?
Ben: Programming is a mix of getting that balance across a variety of voices, themes, genres and countries. You need to always go back to that base mindset of 'what journey can I take my audience on', can I make them laugh, cry, scare them and make them excited acros a single block of films? It's no easy task, especially with so many great films coming through each year. We also want to be representative of a filmmaker's journey, so we look to screen those shorts shot for a few hundred pounds, up the films like 'Redux Redux' from established directors that have won multiple awards. So we throw all those into the equation and see how we can ensure we're covering those bases to form our programing approach.
What do you hope audiences will take away from the festival? Anything you’re particularly looking forward to this year?
Dave: We hope that audiences will take away with them the knowledge that there is a whole culture of filmmakers working with small crews, limited resources and extremely low budgets who are creating work on a par with anything getting conventional distribution. Making a film is a challenge undo itself, but equally difficult is getting that film seen - taking a gamble on something new, different or unknown can really pay off.
We have a really strong collection of films this year and there is something for all tastes - our big world premiere is the British gangster movie Fall to the Top starring writer/director Pete Hirst and children's TV favourite Paul Chuckle as a hitman; that promises to be a really raucous screening. We've got a terrific film called Tummy Monster which is a very tense two hander between a narcissistic tattoo artist and a celebrity he is trying to get a selfie with which has done really well at regional screening across the country. Our shorts programme is full of witty, profound, creative and innovative work from young filmmakers across the region, country and world, and that is really humbling to see. There is something for everyone.
In what ways does the festival support independent filmmakers?
Ben: We always look to put on talks, Q and As and networking that we can add value to any filmmaker who attends, we really want everyone who attends to go away having learnt something new. This year we're doing talks on producing short films, as well as a detailed discussion on the state of the UK film industry, as well as having dedicated networking time for people to get to meet each other and make those valuable connections. A few years ago we also launched the Emerging Spirit competition where we gave an emerging filmmaker money and resources to go out and make this film. This produced great results with our first two films that we supported, 'Dead Skin' and 'Black Dog' playing at such festivals as Frightfest, Aesthetica and Leeds International. This year we're hosting the world premiere of our latest winner, 'Lone' which we're really excited for.
Tell us a bit about the choice of the Light Cinema venue
Dave: We're big fans of the Light Cinema and big fans of the audiences who attend their screenings. It manages a perfect mix of indie sensibilities and mainstream appeal, which is really what we aim to be, and their crowd are always willing to embrace something new. They've been playing our trailer on the big screen for a while now and the films look so good up on their screens, plus they're a real pleasure to work with. We have been doing a series of monthly cult screenings with them for the past 6 months and they have been really open to our ideas, so we can't wait to run the event at what is a really great venue (and serves great pizza!).
What do you think makes an effective short film?
Ben: For me, short films generally fall into two approaches. Some, often the shorter ones, build toward a punchline or hook. When the payoff works, those films can be incredibly memorable and linger long after you’ve seen them. A great example from this year’s lineup is 'Woman in the Bed', which executes this style beautifully.
The other approach is when a short feels like a window into a larger narrative world. These films spark questions—how did the character get here, what might happen next—and in doing so, they show real care in world-building. That depth allows us to invest more fully in the characters and imagine the story continuing beyond the screen.
Finally - what future projects / events does the festival have in the pipeline Dave
Dave: First off, we're looking forward to a really big break. Running a film festival is a great deal of work and is pretty much a full time job for several months, so some time off is definitely our first action. After that, we'll start looking forward to 2026 and begin the submissions and scouting period all over again. We encourage filmmakers from all walks of life and budgets to send us their films and that takes a lot of work to scout for them. We're exploring a series of exclusive cult and premiere screenings across early 2026 and we're very excited by the opportunities that these films present from this wonderful creative world we find ourselves in.
Tickets for Spirit of Independence Film Festival are selling fast. To get yours, click here
For more updates about the festival, visit the website here and follow Spirit of Independence on Instagram
14.09.25
SCENE AND HERD REVIEW: WILLOW FEST @ LUGHOLE
Gig photography and words by Chris @kit_35mm_film
Lughole is somewhat of an underground venue, with admissions largely membership based. A volunteer-run DIY gig space, it’s very much “for the punks, by the punks.” On Friday 12th September it hosted Willow Fest 2025, a charity event organised by Meisha and the good people at Willow Fest in honour of Willow Goodwin. All proceeds went to SAYiT: a youth organisation providing support and social opportunities for LGBTQ+ young people in Sheffield.
I had looked forward to this event for weeks. Doors opened at 6pm and by the time I arrived, the queue already stretched outside. Meisha was there at the entrance, communicating with attendees and handling queries. At 6:20, I could hear the live music was underway, and once inside I caught Mannequins mid-performance.
Mannequins, a five-member band with lead vocals shared between two female singers, had stepped in as one of the replacement acts and offered a raw, punk introduction to the stacked bill. I’d guess they were the youngest band of the night, a fact later acknowledged by Anxiety States, who commended their bravery and talent.
Next up were Skint Knees, a Sheffield Riot Grrl Punk three-piece, all female, who kept the punk energy burning. A snare issue caused a brief pause, but the bass player handled it smoothly, engaging the crowd while things were fixed. Both openers were stylish, confident, and excellent: the perfect start to the evening.
54KG followed, a four-piece all-male rock band from Sheffield clad almost entirely in black leather jackets. They brought more of a rock presence to Willowfest and were also a replacement act. While Mannequins had already drawn a solid crowd, by 54KG’s set the audience had swelled all the way to the bar at the far end of the room. You could sense the venue was about to be fully packed.
Then came Endorsee, a two-piece described as “dark, sludgy riff with danceable drum breaks.” Despite only being two members, they commanded the stage with huge presence. The moshpit was in full swing by this point, the atmosphere still good-natured even as I took the hit of a particularly heavy flailing arm (he apologised; I only really wanted to avoid shin-kicks!). Later in the night, Endorsee’s guitarist would also provide extended technical support to Bumwave’s guitarist: a kind and generous gesture.
The flow of the evening was seamless, with little downtime between sets. Flags decorated the venue, and each band sounded punchy and distinct. Bumwave, billed as “punk noise with a motive,” took the intensity up another level. Their lead singer commanded the centre of the stage, flanked by guitar and bass like flying wingers. At one point, the guitarist’s strap ripped early in the set, but impressively he powered through and played the rest without it.
Face Off, a hardcore punk band from Wakefield, stormed the stage next. To borrow an old NME description of early Idlewild, they were “a flight of stairs falling down a flight of stairs”: youthful, chaotic, and gloriously loud. Their lead singer repeatedly dove into the moshpit, raising the energy bar even higher.
Then headliners Anxiety States, Sheffield’s own hardcore punk force, closed the night. By now, the atmosphere was electric. People ducked outside between sets for air, but the room remained crammed to the bar. Up front, I couldn’t even gauge the crowd’s size; only that it was heaving. The heavy riffs kicked in and dancing erupted again at full force. The lead singer hurled himself into the crowd, soon joined by the mohawk-sporting bassist who somehow managed to charge straight through the pit. In the chaos, a front speaker was even knocked off stage. Mid-set, the singer paid tribute to Willow Goodwin, the organisers, and Lughole itself, urging everyone to support.
Seeing Meisha later in the moshpit, she admitted the turnout was much bigger than expected which is great testament to Sheffield’s music scene. The night was a complete success for the charity too, raising £1,400 for Say It. Everyone involved - organisers, venue, musicians, and attendees - deserves credit for making Willowfest 2025 a brilliant, unforgettable night of local punk rock.
Links:
06.09.25
SCENE AND HERD INTERVIEW AND REVIEW: FOOTPRINTS JAZZ CLUB FOUNDER DAVE SHEARD AND JAZZ JAM @ HAGGLERS (AUGUST)
Photography and words by Chris @kit_35mm_film
I own a few jazz records - Pharoah Sanders, the Miles Davis Quintet, and John Coltrane - but my experience with the genre hasn’t gone much further than that. Since writing for Sheff Herd, I’d often seen Footprints Jazz Club pop up on social media, though I wasn’t entirely sure what it was.
Was it an event? A party? A band? Could anyone join in? Where did it happen, and how often? Did Sheffield even have a jazz scene?
With those questions in mind (and with a growing interest in jazz but little education to go with it) I sat down with the man behind it all: Dave Sheard.
Tell me about yourself and Footprints Jazz Club.
I’ve been a musician all my life. I studied in Sheffield and graduated from university in 2018. I started out running parties as a DJ and producer – one of them being Apricot Ballroom, a monthly night.
But due to personal circumstances, I began to listen to music differently, which led me to jazz. I noticed that no one was booking young, progressive musicians, so I decided to start Footprints Jazz Club.
It began as a Facebook group during Covid, where DJs were sharing electronic – and often obscure – music. The focus was always on supporting grassroots talent. From there, I started putting on gigs at Sidney and Matilda. Typically, I’d book two bands – one more experienced and one newer. My aim was to showcase musicians from Sheffield and other northern acts.
So who else is in Footprints Jazz Club?
It’s just me! I’m the founder and, until recently, I was doing everything myself. I’ve now brought in a Social Media Manager to help.
We run monthly events, including:
Jazz Jam – every second Thursday at The Alder
All-female & experimental session – every third Thursday, with a focus on texture and space - at Hagglers Corner
Jazz Jam at Hagglers Corner – every fourth Thursday
The magic lies in bringing together musicians from different backgrounds who’ve never played together before – the spontaneity creates something really special. Recently, we’ve also expanded to venues like The Foundry.
I understand you’ve been on tour?
Yes, I’m just wrapping up my first solo live tour under the stage name Nonna Fab. I’ve been travelling and playing three venues a week – it’s been brilliant. My final stop is Liverpool.
Do you have any other plans for Sheffield?
Yes! The Kelham Jazz Festival will launch on 21st March 2026, taking place across 13 venues. We’ve received Arts Council funding and set up the Footprints Artist Development Program, which will run for 6–8 months. It’s designed to mentor unsigned bands by offering live gig opportunities, free studio time – whatever they need to grow. Applications open on 6th November.
We’re also hosting a Kelham Festival Fundraiser on Saturday 25th October, featuring Yarni Ensemble and Kiziah at The Kings at Factory Floor.
Review of Jazz Jam at Hagglers Corner (28.08.2025)
The day after my interview with Dave, I headed down to Hagglers Corner on Queens Road to catch the August session.
The first surprise was the size of the venue. The Jazz Jam had its own upstairs room, but Hagglers also had several other spaces for chilling, chatting, or listening to music.
Climbing the stairs, I felt nervous, not knowing what to expect. At the back of the bright, window-lined room, a group of musicians were already deep in a free-flowing jam. Unlike rock, there was no count-in of “1, 2, 3, 4!” – just music unfolding naturally.
Nearby, saxophone and clarinet players sat waiting, occasionally joining in. Soon the room filled up. A couple took seats nearby – they turned out to be singers. After one jam ended, one of them called across the room, “I wanna jam with that bass player!” Her wish was quickly granted, and she joined in. I was amazed at how effortlessly the group sounded tight, despite never having practiced together.
Afterwards, the organiser – standing in for Dave, who was DJing in Liverpool – stepped up with a pen and paper: “OK, who’s next?” Musicians swapped out: new guitar, new bass, new drummer, new saxophone. The rotation kept things fresh, and the room buzzed with anticipation.
By then, the space was packed – people standing behind me, either soaking up the music or adding their names to the list. I stayed for hours, watching strangers form instant bands. The organiser encouraged fairness, reminding everyone: “Particularly if anyone who hasn’t had a go yet wants to, please put your name down".
Leaving that night, I felt like I’d learned more about jazz in 48 hours than in years of listening on my own. With all of Footprints Jazz Club’s upcoming plans – from the jams to the festivals – Sheffield’s jazz scene feels more alive than ever.
Links
09.08.25
🐘 HERD HANGOUT 🐘
THE DICE BOX SHEFFIELD
Written by Charlotte Sometimes and the "Mini Elephant" Milo
Sheffield has long been blessed with some brilliant gaming venues - with The Treehouse (see below for our review) and Patriot Games both firm favourites among tabletop enthusiasts. Now, joining this elite group of venues as of July 11th 2025, is The Dice Box Sheffield. Tucked away on a different side of the city, it brings its own unique vibe while maintaining the same community spirit that makes Sheffield such a special place for gamers.
The Dice Box boasts an impressive library of hundreds of games, catering to all ages and abilities with a low cover charge per hour. There’s a thoughtful selection for younger children, easing them into the world of tabletop gaming, right through to heavyweight strategy titles for the most dedicated players. It’s clear the aim is to make sure everyone can find something that clicks.
The food menu is varied, with vegetarian and vegan-friendly options. We tried the small bowls, a vegetarian hot dog, and a kid’s cheese sandwich meal — all simple, tasty choices that hit the spot and work perfectly for fuelling up between games. But where The Dice Box really shines is in its drinks. The caramel milkshake (made with ice cream) was nothing short of incredible, the house-made 0.5% low-alcohol gin was a refreshing and genuinely delicious surprise on a hot day, and the iced latte (mine with oat milk) struck the perfect balance of strength and smoothness — an ideal board-gaming companion.
What really elevates the experience, though, are the hosts. Gina and Simon are warm, welcoming, and clearly passionate about what they do. They take the time to explain games with patience, offer spot-on recommendations (we loved playing Skippity - even though Milo won!), and deliver service with genuine friendliness. While The Dice Box is part of a wider chain, this Sheffield branch feels incredibly personal. Simon himself designed the café’s gorgeous interior, which pays homage to the building’s past as a coffee roasters and tea blenders warehouse.
Looking ahead, there’s even more to be excited about. Plans are well underway for the renovation of the front of the building - a dedicated room to host vintage games and tournaments — including Blood on the Clocktower, which already makes an appearance in the main space every other week (next event is sold out at time of writing so look out for the 3rd September tickets on sale soon).
Overall, The Dice Box is a fantastic new addition to Sheffield’s board game scene: stylish, welcoming, family-friendly, and full of heart.
But don’t just take my word for it: the mini elephant Milo (age 6) gave it his stamp of approval too with the following comments:
The Dice Box is a nice place. I really enjoyed playing some great games and next time, I'd like to play Mousetrap and Waterfall Park. The milkshakes are extremely creamy and I wanted to drink every bit! We had a lovely time at The Dice Box Sheffield!
Follow The Dice Box Sheffield on social media
18.08.25
SCENE AND HERD REVIEW: SHEFFIELD FESTIVAL OF REGGAE
Written by Richard Wilkinson-Smith
The Sheffield Festival of Reggae returned to Sheffield's Network venue on Saturday 16th August and brought a full day of music, culture, and unity. From early afternoon until well past dark, the venue was transformed into a vibrant hub of rhythm and soul, hosting some of the biggest and most beloved names in reggae in several spaces.
The organisers had put a lot of work into this almost sold out event. Austin Grant, guiding light of the Sheffield reggae and roots scene who passed away just under a year ago, was honoured today in the best way possible: through live music on a stage dedicated to his name. The Austin Grant Stage was packed with a lineup of musical gems and it is here that Sheff Herd spent our day...
The Toots and the Maytals Experience opened the day with real fire. Their frontman, channelling Toots’ charisma with hips wiggling and arms aloft, had the willing Sheffield crowd instantly hooked with Rasta Man and a call-and-response routine. Monkey Man and Higher and Higher followed. It's easy to forget Toots and the Maytals cultural influence here in the UK - overshadowed at times by Marley’s rise to take his crown in the ’70s. However, when you observe the four different generations (especially those who grew up in the '60s) throwing some terrific dance moves to Pressure Drop, 54-46 Was My Number and Sweet and Dandy, you need no further reminder of their impact. Hopefully the band returns soon; their set left many wanting more.
Next came the brilliant Sylvia Tella. The former Boney M singer turned Lovers Rock icon reminded everyone why her timeless romantic anthems endure: “We’re gonna stay in the ’80s, ’cause this is the era where I had hit after hit!” she laughed, before soaring through absolute stone classics Spell and Happy Home which sounded even better than the record. Credit, too, to the sound engineer at Network for the crisply mixed bass and perfect echo that lifted her supreme voice to another level.
“You guys are making me feel famous!” Sylvia grinned mid-set, as the audience sang back lines from her songs. She even tweaked a lyric to shout out Sheffield directly, earning a roar from the Network crowd. Before closing with the majestic single Special Way, she reflected warmly on the love she’s received in the North: “They say you don’t always get love where you’re from, but Manchester, Sheffield, Leeds [the odd audience boo!], Huddersfield, Birmingham… I get nothing but love!” The audience doubled it right back.
Then it was time to soak up the ambience in the courtyard: clothes and jewellery stalls, friendly faces, and - thankfully - food, as hunger had well and truly set in. The weather had dropped darker, and let's face it - Sheffield isn’t exactly Kingston, but we’d enjoyed patches of blue sky earlier and, crucially, it didn't rain! The food queues were quite large but worth the wait as the various vendors - such as Wi Jammin Carribean Takeaway and Marleys jerk shack - served up solid, appropriate rice based dishes which helped to soak up the very reasonably priced drinks at Network. There was a real buzz and sense of community, even aside from the music. Another shout out to the fantastic staff and security for their friendliness and for keeping people moving safely.
Back inside, it was time for a treat for the dub and roots connoisseurs; a set for the hardcore fans of the pinnacle of the Dub and Roots reggae Golden Age: Big Youth, aka Manley Augustus Buchanan. A stripped-back, soulful cover of Marvin Gaye's What’s Going On made this classic relevant to now as the 76-year-old lamented issues such as “killing the children” a stark reminder of the social conscience that this music can also deliver.
Big Youth’s energy was boundless: jacket off, bouncing around the stage,with intoxicating energy. The set had foundations in classics from many genres. Big Youth is equally at home in songs drenched in dub skank, bass, and piercing guitar as he is riffing through classics like Ray Charles Hit the Road Jack (cue a mass singalong). During a crowd pleasing surprise performance of Three Blind Mice Big Youth brought a cheeky comedy, accusing the mice of being disreputable characters before quipping that it was time to move on: “this is Sheffield, not Schofield!".
The dub was pure during He Was a Rasta and he toasted part of what would become hip hop in the 1980s. The harmonies on Diana Ross' Touch me in the Morning were simply tremendous. The whole set was such a smorgasbord of reggae delights; I loved every second.
Towards the end of the evening, Iration Steppas and Musical Youth rounded out the lineup in fine style. Steppas’ festival reputation is renowned nationwide, but in an acknowledgement of the more intimate setting of Network, their set leaned on less gritty, more recent material. The sound was still heavy enough for me, but the eagle-eared dub faithful noticed the shift in atmosphere a little bit from the booming sound system songs they are known for. Even at their smoothest, Iration Steppas remain a cut above many of their peers in the genre.
Musical Youth’s set, delivered solo by lead singer Dennis Seaton, was equally crowd-pleasing. Armed with a laptop; occasionally pressing the wrong buttons during track changes and turning it all into part of the show—Seaton charmed with his playful stage presence and the slick vocals that have earned his group a worldwide loyal fanbase.
Sixteen was an early highlight, glowing with the smooth grooves and unmistakable 80s reggae flair. But it was the covers - John Holt’s Tell Me Why and Aswad’s Don’t Turn Around (the latter played Sheffield Reggae Festival last year) - that really got the crowd grooving. Seaton also dipped into early influences with Never Gonna Give You Up from the band’s classic early-80s album The Youth of Today, and the crowd's response was a reminder that Musical Youth remain so beloved.
Our headliner today was Maxi Priest - one of the most successful voices of smooth, commercial Lovers Rock during reggae’s late-80s and 90s breakthrough in the UK, alongside groups like UB40. Unfortunately he was delayed in getting to the stage. For myself, and many others travelling in from outside the city, this meant dashing off early to catch last buses and trains and not getting to see his set.
A consummate showman, Priest is known worldwide for getting festival crowds jumping to hits like the Billboard #1 Close to You. Like many artists who appeared at Network today, he also crossed over into the pop charts with a cover—Cat Stevens’ Wild World—and has built a catalogue of sweet, crowd-pleasing favourites. If technical delays were ironed out, his set would have undoubtedly been a fitting finale to a tremendous day.
In the meantime, as we waited, Glasgow’s superb Mungo’s Hi-Fi Sound System kept spirits high with a heavyweight selection of reggae-pop classics, wrapping up a brilliant day where people of all ages and backgrounds came together to celebrate pure reggae in all its forms.
The Sheffield Festival of Reggae was a true tribute to the Northern reggae scene. Massive respect to Network’s fair ticket and drink prices which added to the good vibes and made the festival feel that bit more inclusive. A truly great event; all signs point to the festival returning next year.
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Herd the Word
EVENT OF THE WEEK w/c 18th August 2025
I did something on that bit where there is an obstacle course. And then I also didn't go on the swing but I did go on the climbing frame. I also ate a biscuit and it was delicious.
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Herd the Word
EVENT OF THE WEEK w/c 18th August 2025
The Words Are Coming is a monthly open mic event held at Showroom Cinema Cafe and it returns this Thursday 21st August at 6:30pm.
This evening is for writers of many mediums; poetry, prose, fiction, comics, scripts, plays, and more are welcomed. Please note however that music is not an option a the moment.
The event prides itself on not allowing hate speech or excessively strong language to make it as inclusive and supportive as possible. Furthermore, it is a non-feedback event.
Entry is free and there are 13 performance slots of a 5 minute time limit available. These must be registered by Monday 18th this month but the Monday before subsequent events. To book a slot, email openmic@srws.org.uk with your name and a brief description of what you’d like to perform.
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Scene and Herd
EVENT OF THE WEEK w/c 18th August 2025
On 22nd August, Peddler Warehouse will host Emergence Collective - a ten-piece folk ensemble performing music that blurs the lines between tradition and experiment.
Featuring some of the most inventive improvisers from across the North, the orchestra blends instruments from centuries past with contemporary ones, creating a living dialogue between old and new.
Drawing from deep roots in folk, classical, early music, electronic soundscapes, and free improvisation, the group weaves shifting layers of melody and rhythm. The band have released three acclaimed albums, including their recent Chapel, recorded in the Samuel Worth Chapel at Sheffield General Cemetery and have been praised for their “beautifully subtle yet hypnotic” minimalism. No two performances are the same and this one will be delivered in the round.
The night will be made even more special by a set from the captivating Sheffield based cellist and composer Liz Hanks who has worked with a huge range of big artists, including Pulp, Richard Hawley and Liam Gallagher. Her debut album Land has been well received and draws inspiration from her local landscape.
This Peddler Warehouse show promises to be an immersive highlight event of the summer. Grab your tickets here
SEPTEMBER 2025
TOP 4
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Your guide to the month ahead.
Scroll up for our weekly event recommendations.
01
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Spirit of Independence Film Festival
Sheffield’s indie film scene comes alive this September with the return of Spirit of Independence, running from Friday 26th to Sunday 28th at The Light Cinema.
The festival opening night features a special 45th anniversary screening of John Carpenter's classic 'The Fog'
Spirit of Independence celebrates bold, creative voices in independent filmmaking, featuring a vibrant mix of shorts, feature films, Q&As, and opportunities to meet filmmakers from across the UK.
Whether you’re drawn to experimental storytelling or raw, authentic drama, this festival is a must-visit.
Tickets for individual screenings and weekend passes are available here
02
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Float Along Festival
On Saturday 27th September, the Float Along Festival fills several Sheffield city centre venues, including Corporation, The Washington, and the Hallamshire Hotel.
Known for its eclectic lineup, the festival brings together emerging indie and alternative artists alongside Sheffield’s thriving music community.
Expect a day full of fresh sounds, energetic performances, and a welcoming atmosphere for music lovers.
03
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Lick of Paint Street Art Festival
On 6th and 7th September, Sheffield’s streets will burst with colour and creativity during the Lick of Paint Street Art Festival.
Artists from across the UK and Europe will create striking murals and interactive artworks in areas including Kelham Island, Castlegate, and throughout Sheffield city centre.
Visitors can watch the art unfold live, join guided tours, and take part in workshops led by the artists. This free, family-friendly event invites everyone to experience the city’s urban spaces in a fresh and inspiring way.
04
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Rockin' the Bowl Festival
For fans of hard-hitting rock and metal, Rockin’ the Bowl takes place on Saturday 6th September at the FORGE Warehouse, featuring a powerhouse lineup of local and touring bands delivering heavy riffs and high energy. Highlights include Doncaster’s Circle of Origin, the Herd reviewed Ace of Kings and other standout acts ready to bring the noise.
Kicking off the weekend, don’t miss the warm-up gig on Friday 5th September at the Hallamshire Hotel (doors open 7pm). This special night supports CALM (Campaign Against Living Miserably), a suicide prevention charity close to the hearts of the RTB team and performing bands. The line-up features Circle of Origin, a one-off set from the newly formed band The Awakening, and Nottingham’s genre-bending outfit Confyde. Expect a night of raw, passionate performances—all profits go directly to CALM.
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05.10.25
SCENE AND HERD RETROSPECTIVE: SPIRIT OF INDEPENDENCE 2025 FILM FESTIVAL @ THE LIGHT CINEMA
Written by Charlotte Sometimes
Images Jagraj Singh
On the 26th September, the Spirit of Independence Festival returned to a new location in Sheffield - The Light Cinema. The festival showcased an inspiring mix of films from across the spectrum: from seasoned professionals to student filmmakers taking their first steps into the industry.
Curated and hosted by co-directors Dave Holloway and Ben Wilkinson, and short film festival programmer Thomas Webster, the weekend offered an incredible blend of screenings, discussions, and networking opportunities that truly embodied the festival’s ethos: supporting and uplifting independent voices in all areas of the film industry. Sheff Herd was delighted to attend the whole weekend and here are our reflections on the highlights.
Friday 26th September
Throughout the weekend, each feature film was paired with a supporting short — a great way to showcase the range of talent in independent filmmaking.
The first was Woman in the Bed (Dir. Victor Mellors), a chilling, beautifully acted and unsettling piece about a paralysed elderly woman who senses a presence in her room.
Next came Scratch (Dir. Shay Kuehlmann and Kate Roxburgh), following a man whose obsession with a strange noise in his attic slowly unravels his sanity.
The festival feature films kicked off in style pairing a nostalgic screening of John Carpenter’s The Fog prefaced by the UK premiere of Australian horror Nightfall: A Paranormal Investigation (Dir. Myles McEwen & Ripley Stevens) The latter proved to be a real crowd-pleaser: an atmospheric and tightly paced horror that delivered on both tension and technical craft. The sound design in particular stood out, enveloping the audience in eerie whispers and sudden jolts, while the film’s practical effects and confident direction made it a memorable opener. The scares were plentiful, but so too was the sense of fun: a perfect tone-setter for the weekend ahead.
Saturday 27th September
Saturday brought the heart of the festival into focus, with much of the day dedicated to short film showcases. Across several categories, audiences were treated to an eclectic mix of genres and styles. Each screening block highlighted the diversity and innovation thriving within the independent scene, with filmmakers in attendance to discuss their creative processes and challenges. Sheff Herd has mentioned some of our favourites below but all of these films were very worthy of their place at the festival.
Youthful Spirit celebrated filmmakers at the very start of their journeys from schools, colleges and universities across the region, bursting with experimentation and raw creativity.
Sheff Herd Picks: University of Hull's The Courage to Stand Up - a documentary about the world of stand up comedy and University of Sheffield's Worm Food - an amusing dialogue rich comedy about trying to make a film.
Rising Spirit highlighted those developing their voice and craft with resourcefulness and resilience.
Sheff Herd Picks: Got Guts (Dir. Georgia Leigh-Taylor) - a funny, brutally true comedy about the perils of IBS and When You Left Me (Dir. Jevan Chowdhury) - a devastating look at the pressures of parenting with an incredible performance from the leads.
Independent Spirit focused on established filmmakers pushing the boundaries of low-budget storytelling.
Sheff Herd Picks: Wool Coat (Dir. Megan Smith) - a superbly acted story of two young girls who enjoy a final carefree day on the family farm after suffering a bereavement.
Northern Spirit shone a spotlight on local talent, offering a proud glimpse of the creativity thriving across Sheffield and the wider region. This was the category that organisers opened up to local aspiring programmers - truly showing their support for all areas of the independent film industry.
Sheff Herd Picks: Do You Want To? (Dir. Andy Berriman) - an amusing portrayal of a couple navigating a bed time attempt to communicate their desires, with truly excellent performances from local actors William Wynn Davies and Ross Cawton (pictured - who was also delightful to spend time with in the audience!). Holding onto Home (Dir. Arash Sedighi) - a story from a Refugee child's perspective about adjusting to a new country.
That evening we were treated to a double bill of feature films, each supported by a short. We began with Bag Ladies, a sharply observed short from Harry Syed that’s pure joy for fashion enthusiasts. Stylish and witty, it explores image culture with both affection and satire.
The first feature of the night was Nicholas Winter’s The Quiet Ones: a sleek, unsettling drama that fuses psychological tension with biting social commentary. When Charlotte inherits her late father’s lavish home - and his crippling debts - she turns to her new friend Danni for help. Together, they devise an online paywall, recruiting ambitious young influencers to create provocative content for paying subscribers. But their plan quickly spirals out of control, blurring the lines between performance, exploitation, and survival. Winter crafts a haunting portrait of desperation in the age of digital hustle: subversive, stylish and quietly devastating.
Next was Undeletable (Dir. Benjamin & Christopher Blaine) - a powerfully performed short piece about the processing of family drama after a death.
Then came one of the weekend’s undisputed highlights: Ciaran Lyons’ Tummy Monster. The film follows Tales, a self-absorbed tattoo artist living in his studio. When he gets a late-night booking from a mysterious client, he discovers his customer is none other than world-famous musician Tummy. Tales becomes obsessed with getting a selfie to boost his status but when Tummy refuses, a bizarre and increasingly dangerous power struggle begins to unfold. What starts as a dark comedy quickly mutates into something far stranger and more disturbing, pushing both characters - and the audience - into uncomfortable territory. This is a must-see: a visceral, genre-defying work that perfectly embodies the spirit of independence the festival celebrates.
Lyons described Tummy Monster as a film people either “love or hate,” but its brilliance is that it provokes both reactions at once. It is bold, unpredictable, and impossible to forget — a wild collision of ego, fame, and obsession that lingers long after the credits roll. Despite the film’s raw energy, Lyons was strikingly humble during the Q&A, even as audience members buzzed with excitement. And rightly so — in the days since, Tummy Monster has earned a Scottish BAFTA nomination, solidifying its place as one of the year’s most original independent films.
Sunday 28th September
Sunday began on a quietly emotional note with In Another Life (dir. Aaran McKenzie) - a beautifully shot short capturing the final conversation between a couple as they part ways. Both leads delivered deeply affecting performances, and the film’s raw honesty about love, loss, and letting go struck a chord with the audience.
The feature it accompanied, All This Time (Dir.Rob Worsey), carried that emotional weight into an entirely different register. Trapped inside a gothic mansion and caught in an endless time loop, Grace must uncover the secrets of the house and its mysterious owner if she’s to find a way back to her normal life — and her young child. Imagine Wuthering Heights colliding with Groundhog Day and you’ll have a sense of its tone: haunting, romantic, and disorienting in all the right ways.
Later, the Emerging Spirit shorts category showcased another burst of fresh, inventive filmmaking. It featured the premiere of Lone (Dir. Emma-Jane Heaton), a tense, atmospheric story about a man seeking solitude in the countryside, only to find himself at the mercy of a mysterious woman and something far more menacing... This was a powerful piece developed from a competition winning script.
Next came Isabella Percival’s Phone a Friend, a sharply written dark comedy about a woman enlisting her sister’s help to clean up a rather awkward “mess” - with hilariously grim results.
The programme rounded off with Magpie, an improvised, locally shot gem directed by Frankie Currie and Terri Silver; a funny and gritty film and a fitting showcase for Sheffield’s homegrown talent.
Next up was the psychological short horror Lennox-Friedkin Tape #4 (dir. Matt Benson) — a chilling found-footage-style film that dares to ask what you might see in the moments before you die.
In a change of tone, following this was the documentary Video Dreams: A VHS Massacre Story - a fascinating and affectionate look at the world of independent filmmaking. Both nostalgic and insightful, it offered a fitting “peek behind the curtain” at the passion, struggle, and creativity that keep the indie film scene alive.
Mid afternoon brought the world premiere of Pete Hirst’s Fall to the Top - a lively British gangster film that’s already been attracting attention, not least for its unexpected casting of children’s TV icon Paul Chuckle. Though his screen time was brief, Chuckle’s turn as “The Jackal” brought a burst of charisma and wit that the audience clearly loved (especially as he kindly met his audience and posed for photographs afterwards) . The screening played to a packed house, and the film’s rough-edged energy and unapologetically independent spirit fit perfectly within the festival’s ethos - a testament to the creative freedom that defines grassroots British cinema.
That evening the Spirit of Independence awards ceremony kicked off: a genuinely heartwarming celebration of the talent on display throughout the weekend. It was wonderful to see filmmakers, actors, and crews receiving the recognition they so clearly deserved, complete with superbly crafted film reel trophies that perfectly captured the festival’s spirit of creativity and passion.
Winners of the Spirit of Independence Awards
Youthful Spirit - University of Sheffield
Rising Spirit - In Another Life
Independent Spirit - Wool Coat
Northern Spirit - Stella
Feature Film - Tummy Monster
Bester performance in a short film - Beth Bradfield Marionette
Best performance in a feature film - Lorn Macdonald Tummy Monster
The final film of the weekend, Redux Redux (dir. Kevin and Matthew McManus), provided a stunning close to the festival. The 2025 sci-fi thriller follows a woman, played by Michaela McManus, who obsessively and repeatedly kills her daughter’s murderer across parallel universes. Stylish, gripping, and emotionally charged, it was a brilliant ending to a weekend that celebrated bold ideas and fearless independent storytelling.
Overall, the atmosphere was buzzing throughout the weekend, as attendees moved between screenings, Q&As, networking (with the amazing pizza from The Light!) and informal chats in the cinema foyer, all united by a shared passion for storytelling.
Huge praise must go to the Light Venue and their staff and to the festival organisers - especially Dave, Ben and Thomas, whose passion and dedication make the Spirit of Independence festival such a vital platform for emerging voices - true ambassadors for independent film. And a special mention to photographer Jagraj Singh, whose wonderful images throughout the weekend perfectly captured the essence, energy, and emotion of the event.
This festival continues to celebrate creativity, community, and the fearless spirit of independent filmmaking. Roll on 2026!
For more information about any of the films at the festival, visit the links below:
14.11.25
SCENE AND HERD REVIEW: CRUZ @NETWORK WITH SUPPORT FROM HARRIET ROSE & SUNBEAM
By Richard Wilkinson Smith
Print by Ellis Manson via Instagram
If there were any doubts that the North is an indie paradise, last Saturday’s gig at Network put them to rest. The modern Britpop/noughties rock influenced incarnation of Indie is often maligned as music destined for a music "landfill” however artists like the three performing here prove that the genre is very much alive and well and, most importantly, delighting packed venues with their strong followings. Network was buzzing.
First up was Harriet Rose. Fun and charismatic, the South Yorkshire–based singer-songwriter announced, “I am so glad to be back home,” as she flamboyantly blasted into track Bridges with her crack backing band beginning a perfectly paced support set. From Here sets an early marker with loose, funky playing from Toby Burton on keys and cutting harmonies and a solo from Harriet’s guitarist Richard Cook, whilst Blame Bret shows Harriet’s indie roots with its driving bass from Michael Anderson and Calvin Hansen on drums.
The set’s highlight is Trouble, which stirs up dust-bowl Americana with a hint of rockabilly and builds to a fantastic climax from a supremely talented band. Harriet’s country influence is on full display in the silky-smooth Good Time Honey, before the pounding indie of Empire - mixing a driving, Talking Heads-esque bassline with edgy alt-country and early-Elvis vibes - gives a taster of the heavier bands to come this evening.
SUNBEAM then hit the stage, and the Whitby-based group brought plenty of energy and charm, with singer Jimmy Organ-Simpson having fun with the crowd and delivering lively between-song banter (a particular highlight being a discount plug for his mum’s restaurant, Al Taco). Their songs? Singalong numbers and rough-and-ready ditties that don’t outstay their welcome, full oftight drums courtesy of Sean Danby, crisp basslines from Alfie Green and Sean Stewart's sharp solos - first evidenced in lively opener Afterglow.
Hometown features springy acoustics from backing vocalist Nicky and a catchy chorus that was bound to get the indie-hungry, growing hordes at Network singing along, as Jimmy moves energetically with his shades on - surely it’s too dark? Beneath the humour, though, there’s substance, and You’re Not Alone with its evocative lyrics “Take my hand / Let me in I’ve got a plan / There’s always someone waiting by the telephone” is a solid example of that.
The very best song of SUNBEAM’s set is saved for last, as they move into deeper territory. “We’re all in now” sings Jimmy, beginning with a classic-rock-ballad feel before shifting towards Mod classics like Paul Weller or Secret Affair, without losing the Northern grit of SUNBEAM’s sound. With a gig scene arguably a little oversaturated by indie singalongs on the local circuit, this mixed age group, fronted by a singer who can actually sing very well, the anthemic, more serious AOR direction led by lead guitarist Sean could be one that pays dividends, especially if they want to head much further afield.
Then our headliners… The crowd jokingly broke into a football-chant “We’re only here for The Cruz!”- a reminder that this was very much a buzzing hometown show. Walking onto the stage to Sheffield legends The Human League gives a clue to the vibe of some of the new Cruz material on show tonight. But before that, their single Play The Game - which kicked off their 2025 with slick production and video - launches tonight’s show properly with acidic fire and rockets along as part of a non-stop introduction to anyone unfamiliar with their music.
Play The Game has the groove of the Arctic Monkeys aiming for a Duran Duran feel, and it’s the sound of a supremely confident Sheffield band not messing around. Singer Sam displays charismatic, moody energy and commands the Network stage as guitarist Tom throws out sharp, angular chops and drummer Ethan plays with admirable power and precision.
A driving Adam-Clayton-style bassline from Jamie elevates their second song, Take The Pressure, beyond meat-and-potatoes indie rock, and the guitars and tone belie a sly post-punk approach. Get Away then takes Britpop themes and filters them through a more measured quiet/loud structure. Whilst the aforementioned Mr A. Turner divides opinion these days, this is probably the kind of music Arctics fans genuinely want and Cruz are more than happy to plug the gap, on their own terms.
Newer songs like Amsterdam, meanwhile, drop the pace mid-set and show an 80s and New Wave influence, sitting neatly among some perfectly paced rockers, and proving that Cruz are capable of delving into the hip indie school inspired by the likes of Orange Juice.
The biggest crowd-pleasers are saved for last, though, as Hold On shows off their lyricism and Sam’s vocal strength and becomes a highlight of the closing tracks - “The colour’s fading from it all / There’s nothing left here anymore / But is there something different we can do?” - while the die-hard followers go home happy with the jangly indie fire of Disco Colour Beams and Life of Misery.
What a fantastic showcase Saturday was for independent Northern music and with much more to come in the spring. Harriet Rose returns with a headliner at Yellow Arch in 2026. SUNBEAM finish their tour with a sold out Leeds gig and Cruz look set to build on this momentum as they’ve just announced their UK Northern tour with tickets on sale 14th November.
There is no doubt after a night like this one that the Sheffield indie-rock scene is looking very healthy indeed.
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