Sundance, White Light, John Batchelor and Vardy at the Green Room 16.03.16

This week I went to the Green Room on Division Street for a night of live music from 3 bands and a solo artist. Every Wednesday the Green Room hosts a live music event featuring some of the cities best up and coming unsigned acts. 
The Green Room on Division street is located opposite the car park and is a lovely little pub. Looking more like a New York Greenwich Village folk café than a rock n roll venue it has played hosts to some big bands in the past. Most notably the occasion when London based indie band Palma Violets played there in 2013 and fans were queueing out of the door and down the street to get in.

The first act of the night were Sundance. A four-piece indie band from Barnsley playing a mixture of covers and originals. Throwing in indie classics such as ‘I Bet You Look Good On the Dance Floor’ and a Cage the Elephant number they band were a great start to proceedings and got people moving around. Their original songs echoed the sound of Liverpool band the Coral and some slight hints of western music came through in their sound. It was the bands fifth ever gig which impressed me more than anything given that they sounded like they had been playing for years.

Next up were Worksop based band White Light who played a set comprised mostly of original material with the odd cover thrown in for good measure. Playing their own versions of other peoples songs such as a faster version of the Ronettes, Phil Spector penned classic ‘Be My Baby’ and a very fast punk version of Elvis Presley’s ‘Devil in Disguise’ they got the audience on side right away. Original songs such as ‘Ah you see’, ‘Dancer’ and ‘I know your game’ now strong immovable fixtures to their setlist were joined by a knew song written and sung by the drummer entitled ‘Playground Palace’. Great song with a killer chorus and a nice bass line driving the song along.

A change in the mood slightly, solo artist John Batchelor took to the stage acoustic guitar in hand, played some country, some folk and some blues while making observations about how much nicer Carling is from a can as opposed to draught. A good observation if you ask me though i’d rather bypass the sorry excuse for a beer completely. His cover of Johnny Cash’s ‘Folsom Prison Blues’ was magnificent, a real standout in the set. He also sang a folk song about a death metal band with the lyric ‘Hail Satan’ in it. The name of said song escapes my memory so you’ll just have to go and see John Batchelor live for yourself to hear it
Headlining the bill on the night was an act from Whitwell simply called Vardy. Singer Daniel Vardy was accompanied by a drummer, an outstanding drummer too I might add but no bassist. He told the crowd that the reason he had no bassist on the night was because his girlfriend had gone into labour and un-thoughtfully decided to, as he put it, ‘spit one out’. All jokes aside Vardy caught the audiences attention from the onset with songs about political correctness, Santa Claus not being real and a great number called ‘Facebook’s full time mums’ about people using their children as a weapon. Vardy reminded me of Jamie T, sharp and cool with great lyrics and a similar appearance. Baseball cap back to front, shirt and trainers he embodied the patron saint of indie rap urchin music and to a standard the man himself would have been proud of. Vardy is an act that is definitely worth going to see and 9,786 ‘likes’ on Facebook can’t be wrong, so go and check them out in the small venues before they ultimately rocket into bigger venues.

The Greenroom is a venue that I always enjoy, from their open mic night on a Monday which always welcomes new faces to the numerous gigs throughout the week. Their Tramlines sets are always packed to the rafters too so check it out, it is the hidden gem of the Sheffield music scene.

Sundance 8/10
White Light 9/10
John Batchelor 8/10
Vardy 10/10

Check the Greenroom out every Wednesday for more of the same.

Interview: Rhys M. Kirkham 

Rhys M. Kirkham is a 22 year old musician from Worksop, Nottinghamshire. He plays the drums in post-punk outfit White Light, creates ambient electronic music under the pseudonym Tony Da’Salva and released an EP last year with his previous band Kid Charmalade entitled ‘Like Marmalade but with Charm’.
Playing regularly on the local scene in Sheffield with his band White Light for around a year now. The band play a collection of originals that take influence from bands such as the Beatles, the Velvet Underground and the Libertines.
His electronic music is also a big part of what he does though he doesn’t perform these tracks live but you can here them on soundcloud (link at the bottom of the page). Well worth a listen, these songs are experimental and use both electronic, computerised instruments and real instruments such as guitar, bass and keys.
I sat down with Rhys to talk music and find out what he has planned for the upcoming months gig wise.

Why do you make music?
I make music because it has a certain euphoria to it. Creativity and imagination are the two most important things to me, and music takes both to amazing levels.
What instruments do you play and what is your instrument of choice?I can play Guitar, Bass, Harmonica, Drums, Bit of Piano. I love the guitar and I play drums in the band but I do love the bass.

Why do you write and how often do you write music?
Music is a way to entertain myself and people around me. It’s a good laugh.I like to write at least one song daily but on a creative burst I can write more, three or four some days.

What genres of music do you play?
I perform rock music, pop music and dance music. I delve into many other styles but I’d say they are the most common. My band White Light has a porto-punk sound, we really like Lou Reed, the Velvet Underground and the Clash. Bands like that. It really comes across in out original compositions.

Tell us about your music…
Well as I have mentioned I am in a three piece band called White Light. Named after the Velvet Underground album ‘White Light/White Heat’. We all write music and bring them together. though our styles differ slightly we have a similar sound and so it really works. we all have the same interests. I am a big fan of pushing the boundaries of music. So my tunes tend to have an experimental mad edge to them, while still saturated in catchy pop melodies.
Then there is my electronic music. Tony Da’Salva being my crazy music making alter ego. My electronic music tends to be experimental ambient house music mostly. I use digital and real instruments on my dance tunes. I really like the idea of playing traditional instruments such as guitar on my electronic music because it is something that you rarely hear these days. Back when Brian Eno first started making ambient music you could hear real instruments being used but it is something that seems to have been lost to computer music making software.

(If you check out Rhys’ Soundcloud account via the link at the bottom page you can hear exactly what he is talking about. His song ‘Satisfy my Soul’ has a guitar section influenced by a song featured on Silent Hill.)
My old band, Kid Charmalade, released an EP before I left featured four of my original rock songs called ‘Like Marmalade but with Charm’. It is very different to the new stuff I do in White Light. It had more of a classic rick feel to the songs. White Light haven’t released any material yet but we are sitting on an albums worth of tracks that will probably be released as a couple of EPs. Hopefully in the not too distant future.
You can catch White Light gigging around Sheffield. Upcoming dates include the Malin Bridge Inn Battle of the Bands on March the 18th and a set of blues covers at Misterton Social Club on the 27th of March. A really great band with a unique sound and sharp, intelligent lyrics. Be sure to wear your best stripy t shirt as this is what the band wear on stage. Thank you to Rhys and his alter ego Tony for chatting to us.

Vinyl: why is it so popular and where can you get your hands on plastic in the steel city?

As the only music platform generating money and growing vinyl is most definitely back. The new favourite platform for the music collector, enthusiast and those we label hipsters, what is the big deal and where can you get your hands on vinyl records in our city?
Vinyl’s popularity has soared in the past five or so years with the majority of new releases now appearing on vinyl as well as CD (what are they?) and the modern yet dying download. The fact it is doing so well is down to a few factors. The download is dead, who is going to pay for a digital copy of an album when they can easily illegally download the exact same files for free or listen to it on streaming services such as Spotify? The CD succumbs to the exact same problem, the CD is also dead, it enjoyed a good run but the venerability of the disc that is so easily scratched, snapped and prone to skip has left people tired and bored of it. Most new cars don’t have a CD player anymore anyway, it has given way to the Auxiliary lead.

Vinyl is exiting and almost like a new invention in that it went away for so long and people in their teens, twenties and even some in their thirties were not familiar with it as they grew up around CD’s. A vinyl record is like a piece of art, you don’t just listen to it, you hold it, watch it turn on the turn table and drop the needle onto the grooves. It is much more enjoyable than simply putting a small metallic dic into a slot to be read by laser.

So where can you get your hands on these strange 12 inch black plastic discs in Sheffield? You would be surprised to find out that there are a number of independent record shops in and around the city centre and a great selection of wonderful reissues are available from the HMV stores in the city centre and in Meadowhall. Meadowhall Urban Outfitters also boast a collection of new and old records for your listening pleasure.
Vinyl demand is located on Rockingham Street (down from division street for those not familiar) and hosts a wide range of records including some fantastic reggae 7 inches, to vinyl LPs from the likes of the Clash, Cream, the Beatles and many more. Their is literally something for everyone packed in to this humble shop. The shopkeeper is a very friendly man and a music enthusiast with a real passion for vinyl. He is very chatty and helpful in his service and recommends some great music, for example he once told me about a dutch band called Shocking Blue and turned me on to a very psychedelic single of theirs called ‘Send Me a Postcard’. He accompanied this recommendation with a story of how he travelled to the Netherlands where the band are from just to track down a copy of the single on 7 inch vinyl. A true music fan of the highest degree.
LP record store can be found on Arundel Street a few buildings up from Sheffield Hallam University’s Adsetts building. Run by a local musician who is also a fan of great music stemming from Elvis Presley to Richard Hawley, this quaint little shop can be missed in the blink of an eye. Stacks of records, posters, DVD’s and CD’s set this aside from Vinyl demand in that it has more than just vinyl to offer and if you are looking for a particular record that isn’t in stock the staff are happy to take your phone number and give you a call when they get a copy in. The store also participates in Record store day. An annual event founded by White Stripes guitarist Jack White, in which artists from around the globe release special edition records on vinyl and he always has a queue out of the door on the day of the event.

Record store day takes place on the 16th of April this year so be sure to get yourself down to grab some of the magnificent records on offer. Musicians taking part this year include Mac DeMarco, Grace Jones, Frank Turner and Desmond Dekker as well as hundreds more bands who love the culture of record buying and want to carry it on. After all, if you don’t by music it will kill off the bands that you love.
HMV in the city centre, opposite the cathedral has a great selection of reissue records ranging in price from around £10 to box sets costing £100 or more. This shop has the best range of vinyl in the city and much more to offer than the store in Meadowhall. The vinyl spans all genres from Rock, Pop, Metal, Hip Hop and a great selection of Reggae, Classical, Country, Swing and Film Soundtracks that really set it apart as the best place to find what you are looking for in Sheffield. HMV is also a great place to buy books, while Waterstones will set you back the recommended retail price of a book, usually around a tenner, HMV sells novels and music books from as little as £2.99. 

While many prefer to visit small, non-chain record stores to keep them in business HMV is still the best place to go to find vinyl. However if like me you prefer old vinyl to the new reissues the small record shops are the place to be. There are certain bands records i just refuse to buy reissue because buying an old record, a first press, is like buying a moment in time. A real piece of memorabilia from days gone by, punk’s glory years or the britpop boom of the 1990’s. Be sure to check out the stores and happy record buying

The Libertines at Nottingham Motorpoint Arena, 25.01.16

Notorious, damaged, poets, rockstars, likely lads. Say what you want about the Libertines but the fact of the matter is they are the darlings of the indie music scene. Helped along into the public eye when the Strokes made it big and the country was looking for a British counterpart the Libertines released their first album ‘Up the Bracket’ in October of 2002. Their second self titled album was released two years later and was essentially a concept album of a band breaking up. The two years between the albums was filled with heartbreak, turmoil and Pete Doherty’s departure and reinstatement due to a growing addiction to crack cocaine and heroin. 
A band with a unique vision of Albion and Arcadia, owing as much to poetry as punk when they eventually broke up in 2004 many were left devastated that this treasured band may never see the light of day again. Then in 2015 the band were back, a whole 11 years between albums with the critically acclaimed and aptly titled ‘Anthems for Doomed Youth’, taking it name from world war 1 poet Wilfred Owens harrowing poem of the grim realities of war and the young that fight.

As the album was released interest in the band peaked to the levels they had previously achieved. It was almost as if they had never been away, a set of festival appearances at Glastonbury, T in the Park and a Reading and Leeds headline slot came before the album was released and a sell out mini tour the week the album was released followed. Now a sell out nationwide and European tour of arenas cements the band are back and better than ever.

Support on the night came from Nottingham duo Sleaford Mods and Sheffield’s very own Reverend and the Makers. Sleaford Mods were a choice that didn’t go down well with some but attracted many to the gig, one man told me in the crowd that he had only come to the even as sleaford Mods were there. Fast, clever, street wise and political singer Jason Williamson spits out lyrics, half Rap half Punk, over a backing track of drums, bass and occasional guitar provided by his bandmate Simon Parfrement. Parfrement stands at the side of the stage pressing play on his laptop and swigging numerous cans of lager whilst Williamson does his thing. I really enjoyed seeing this band and it has turned me on to buy more of their albums having previously only heard one. A sight to behold the band are fresh despite being middle aged and intelligent. A solid performance from a band more fit for smaller venues, they snarled and spat what they wanted to say and left the stage as if they were leaving a pub at closing time.
Reverend and the Makers then took the stage with the aid of ex-Milburn singer Joe Carnall Jnr on bass guitar duties. A band that always gets the crowd going no matter what their age Reverend Jon McClure really knows how to knock out a tune and get the audience involved. The band generated the most energy before the main band came to the stage as they played their most well known song ‘Heavyweight Champion of the World’. An indie anthem of the highest degree made every foot in the building tap and every voice bellow the lyrics back at the Rev who took it all in his stride. a great performance but second to Sleaford Mods on the night who took their hometown by storm.

Then the band we had all come to see took to the stage, drinks in hand, typical trilby hats atop their heads and gritty raw sounding guitars in their hands. They launched into the first song off of new the new album ‘Barbarians’ screeching the lyric ‘all I want is to scream out loud, and have it off with a mental crowd’ and they got exactly what they wished for. The movement at the front of the crowd was pure carnage, if you went to the gig with a group of friends the chances are you were no longer stood together.
Before anybody could get their bearings and find their friends the opening chords to fan favourite ‘the Delaney’ rung out over the speakers and by the time the chorus hit nobody cared that they had lost their mates. Complete strangers had their arms around each other shouting out the ‘no no no’s’ and the ‘yeah yeah yeahs’ showing just how great of a fan community the Libertines have.
A string of classic songs such as ‘Horrorshow’ and ‘Boys in the Band’ and new hits including ‘Heart of the Matter’ followed, each promoting as good a reaction as the others. The band stopped only to replenish their drinks, brought on to the stage by two women with theatre style boards to carry them, and occasionally to address the crowd, asking ‘how are you Nottingham’ and tipping their trademark trilbys to the audience in appreciation. 

One of the greatest moments of the performance was the classic, quintessential indie anthem of heartbreak and break-up ‘Can’t Stand me Now’. A song that even people who are not fans of the Libertines know. As a song it is up there with the likes of ‘Last Nite’ by the Strokes and ‘I Bet You Look Good on the Dance Floor’ by the Arctic Monkeys as one of the defining moments of modern day indie rock. A song that just fits together perfectly the music and lyrics. A song that defines what indie rock is all about. Towards the end of the song fans were not left disappointed when the famous harmonica solo was played by Pete, lifting the song to a whole new level, as if it needed lifting anymore 
The last few songs in the set were played including the beautiful song of doomed love ‘Music When the Lights go Out’ and ‘You’re my Waterloo’, both of which made lovers embrace one another and a few eyes water before the band departed the stage. 
After a few minutes the band returned to cap off a mammoth 18 song set with an encore of 3 more songs, ‘What a Water’, ‘Up the Bracket’ and possibly their most famous song ‘Don’t Look Back into the Sun’. Credit to the crowd, they should have been drained after dancing for so long, but they gave it their all and more for the final few capping off a tremendous night of pure rock n’ roll bliss. The Libertines didn’t disappoint and they showed the world once again why they are so important to music still in a world full of One Direction’s and Little Mix’s.

A thoroughly deserved 10/10 on the night for the boys in the band, lets hope they last longer this time and can keep it all together. God knows the world needs this beautiful band of renegades

Forgotten Bands of Sheffield: Longpigs

Way before Richard Hawley was a quiffed, leather clad crooner he was in a four piece band alongside singer Crispin Hunt, drummer Andy Cook and bassist Simon Stafford who went on to play in Joe Strummer’s band after the Clash, the Mescaleros. Back in the days of britpop the band released two records, 1999’s Mobile Home and more famously their 1996 debut album entitled The Sun is Often Out.

The band achieved a level of success but never got as far as other bands of the era which is a crying shame. The debut album would not look out of place in a list of greatest 90’s indie albums but it more often than not gets overlooked. Hawley’s guitar skill was not to the degree it is now but he had a great sound, a sound that could stand together with Graham Coxon and Noel Gallagher’s, a sound that should have gained the band notoriety. Singer Crispin Hunt also had possibly the best voice of his generation. A mean great snarl capable of hitting high notes with a subtle rasp. Songs like ‘She Said’ and ‘Lost Myself’ display Hunt’s capability as a great singer.

Unlike their contemporaries who often borrowed from a sound deep rooted in British music, Longpigs combined this with sounds from American bands. ‘She Said’ takes from both the transatlantic power pop scene and the street wise lyric style of legendary New Yorkers, Lou Reed and The Velvet Underground. ‘You better hit her’ screams Hunt in this one pre-chorus, an almost definite reference to the Velvet Underground’s song ‘There she goes again’ from their debut album ‘The Velvet Underground & Nico’.
In all this is a band that should never have been forgotten, the only upside to their split is Hawley’s Baroque-clad solo career. A truly unique band that was a breath of fresh air in the britpop scene that should be treasured and heard dear today as it should have been in the past. 

From The Vault: Pulp, Different Class Review

When people think of great Sheffield bands they perhaps think first of teen indie sensations turned rock gods the Arctic Monkeys. But the quintessential Sheffield band for me is Pulp. A band who often fall third to Oasis and Blur in the britpop rankings but almost certainly deserve to be held as the best British band of the 1990’s.
Today the classic album in question is Different Class. Different Class is the album that rocketed Pulp and Jarvis Cocker into superstardom, it made them household names. Posting the bands two best known hit songs ‘Disco 2000’ and a song that became bigger than the band itself ‘Common People’, this is an absolutely outstanding record that could only have been conceived by one man.
When Different Class was released Pulp had been in existence for 17 years, and released their first album ‘It’ 12 years before in 1983. They had released a total of 4 albums before Different Class, none of which generated much public appeal and didn’t gain the band much notoriety at all. 
The album opens up with ‘Mis-Shapes’, a song which was also the second single taken from the album. The single reached number 2 in the charts, repeating the position of the albums first single ‘Common People’. ‘Mis-Shapes’ is a real outsider anthem that encapsulates the mood of the working class weirdo in a way that continues throughout the whole album. ‘Raised on a diet of broken biscuits, oh we don’t look the same as youWe don’t do the things you do, but we live around here too’.
The album then moves along into ‘Pencil Skirt’, a song with the sort of lyrics we associate with Cocker. A song about adultery ‘I’ll be around when he’s not in town’, top drawer stuff from Jarvis and the band. 
Next comes the song that elevated Pulp into success… do I really need to name it? ‘Common People’ had it all; catchy lyrics, a constant riff on the keyboard, even a dance routine in the video. The quintessential anthem of the working classes which has much more right to be the national anthem than ‘God Save the Queen’ does.
The mood then drops for the dark and ambient ‘I spy’. A different direction from the tracks before which sounds like the Pet Shop Boy’s single ‘It’s a Sin’ but actually good.

A song about growing up and meeting back up with your friends, set in the future, albeit now 16 years in the past, ‘Disco 2000’ is a tale of Jarvis and Deborah, growing up in sheffield, walking home from school and recalling the wood chip on the wall. Possibly Pulp’s second most well known track after ‘Common People’, ‘Disco 2000’ is a real 90’s anthem and one that always gets you moving when played at indie nights like Leadmill’s Sonic.
‘This bed has seen it all, from the first time to the last’. A song all about a bed, the aptly titled ‘Live Bed Show’ is one of the stranger songs on Different Class. A dark moody song about a bed that has seen it all, so much so she doesn’t want to go to work but doesn’t want to stay in it either.
The second side of the record starts with ‘Something Changed’. A Scott Walker-esque ballad about meeting a girl and falling in love. Cocker opens it with ‘I wrote the song two hours before we met’, and the lyrics continue as an ode to fate, how he could’ve gone to sleep or seen a film, but instead he didn’t and he met some one. Beautiful.
‘Oh is this the way they say the future’s meant to feel? or just 20,000 people standing in a field’. This Psychedelic song about festivals, ecstasy and speed is possibly Cockers finest moment on the record. ‘Sorted for E’s and Wizz’ is quite probably the song to define the britpop generation. Forget ‘Live Forever’, forget ‘Park Life’, this song tells the grim reality of the times, amphetamine psychosis in a field full of strangers listening to repetitive electronic music, and calling your mother to tell her you’ve left ‘an important part of your brain somewhere in a field in Hampshire’.

‘F. E. E. L. I. N. G. C. A. L. L. E. D. L. O. V. E. ‘ is the next song. A weird blend of Dub Reggae, electronic music and psychedelia to the tone of Pink Floyd makes the genre that this song should fit into almost undefinable, like the feeling you get when you’re in love (did you mean to do that Jarvis?). Halfway through the song Jarvis takes a drag of his cigarette before contemplating exactly what love is and reminiscing about breasts before having to ‘sit down’ and ‘catch his breath’.
‘Why don’t you shut the door and close the curtains’, croons Jarvis in ‘Underwear’. Yet another song about sex but this time about other people. Jarvis sings of his desire to see the subject stood only there in her underwear, before taking another toke on his cigarette as the guitar into synth solo kicks in. 
‘Monday Morning’ is a song that still sounds fresh to this day. One of the best on the album, the subject of the song is a recluse who prefers to live in their own head than actually do anything. This continuing theme of the outsider is something that makes the album so endearing, relatable and treasurable. No matter who you are, we have all felt like an outsider at some point in our lives.

The album ends with ‘Bar Italia’. Yet another love song about breaking away with the one you love before you die. A desperately beautiful song regarding confusion at what to do next. No other song could’ve ended the album. A drop in the mood the final lyrics are ‘It’s around the corner in Soho where other broken people go. Let’s go.’. A fitting way to end one of the greatest albums to ever come out of British music.
A true masterpiece often heralded as one of the best albums not only to have come out of Sheffield, but Britain as a whole. It encapsulates a mood and a time much like the first Arctic Monkeys record ‘Whatever people say I am that’s what I’m not did’, but while that is a great album it could have been written about anywhere in the country in the mid 2000’s. Different class could have only ever have been written about one place and by one man.

Marmalade Sun, You Can’t Change the Past, But You Can Change the Future Review


Marmalade Sun are a four piece rock band hailing from Sheffield. As one of, if not the best band to see on the local scene it is only fair that they take up some space on this site. Today I will be reviewing their 2012  release (and only release available on iTunes) ‘You can’t change the past, but you can change the future’.

The EP contains 7 tracks that really sum up what Marmalade Sun are about; three minute pop songs filled with beautiful three piece harmonies, garage-esque guitar tones, deep groovy bass lines and a powerful drum beat.

Monkey Boy

Monkey Boy is a great little song that owes as much to the 90’s as it does the 60’s. A great opener complete with ‘do-do-doos’ it is an all round feel good tune that ushers in a feel good EP.


The second song on this collection of recordings is a song about American actor Steve McQueen. With lyrics as mean as a punch in the face from Muhammed Ali, e.g ‘I’m reaching speeds, that make eyes bleed and your hair recede’, this song is a great tune for driving or getting ready to go out.

Cherry Lips

My favourite song on the album which for me showcases all that I love about Marmalade sun. The harmonies on this song are out of this world as is the lead guitar, really punchy chord changes combines with a really cool guitar solo make this song the strongest on the record.

Freak of Nature

A song about ugly people, to this record what ‘Run For Your Life’ is to Rubber Soul. It has a distinct tone reminiscent of reverb filled shoe gaze bands of the late 80’s and 90’s with a hint of Brian Jonestown Massacre Psychedelia to it, only a hint mind.

Fives and Tens

This song really harks back to the 60’s garage bands of old. A great baseline to open it and strong beatle-esque harmonies.

Ishmails Things

Seems to borrow from Manics for the opening guitar part before going off in a totally different yet equally as brilliant direction. Keeping with the 60’s theme throughout with harmonies and riffs typical of Marmalade Sun’s signature sound. Could only be made by the band. Though different to anything else on the album in that it doesn’t have any lyrics, but it doesn’t even need them. A brilliant instrumental track from the band.

Gimme Love

The final and most beautiful song on the record. Gimme love is a love story in lyrics and in music. The guitar sound is perfect and clean and really adds to this song. A subtle acoustic providing rhythm guitar can be heard in the background. Once again I have to mention the harmonies, they sound superb on this record with a constant high and low harmony singing the lyrics all the way through.

This is an outstanding record and one that I would recommend to any fan of real raw talent in music. It begs the question ‘why haven’t Marmalade Sun been signed yet?’ Whilst I really hate repeating myself there is no way I can help it with this record concerning the harmonies. Buy this record on iTunes for the unusual price of £5.53 and enjoy it forever.

Marmalade Sun, ‘You can’t change the past, but you can change the future’: 8/10