Amelia’s Magazine | Ctrl-Alt-Shift Chantelle Fiddy Interview

SouthBank15All photographs courtesy of Matthew Gonzalez Noda

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, seek art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, capsule isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, advice until it rained and then we had to go inside! It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public?

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something. To be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian Aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5

Categories ,activism, ,art, ,British Underground, ,Chantelle Fiddy, ,Christian Aid, ,Ctrl-Alt-Shift, ,Culture, ,event review, ,events, ,film, ,Gig review, ,Hip-hop, ,Jay Z, ,Jonathan Ross, ,london, ,magazine, ,Mayor of London, ,music, ,musician, ,Purccell Room, ,Queen Elizabeth Hall, ,Riz Ahmed, ,Sadler’s Wells, ,Southbank centre, ,talks, ,The Brit Awards, ,The London Paper, ,Tinchy Stryder

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Amelia’s Magazine | Ctrl-Alt-Shift Chantelle Fiddy Interview

SouthBank15All photographs courtesy of Matthew Gonzalez Noda

Valerie Pezeron: Tell me about the event today?

Chantelle Fiddy: It’s a new style of club night. The idea is to bring together music, art and activism under on roof to show that they are all married and they can be used towards a good cause.

SouthBank12

VP: It’s the second year in a row, isn’t it?

CF: It’s the second event we did. I think we did the first one in June or July and we used the roof as well last time, until it rained and then we had to go inside! It was absolutely mental! So it’s myself on behalf of Ctrl-Alt-Shift, Riz Ahmed, South Bank Centre and British Underground who did the event together. It’s a four-way collaboration.

SouthBank1

VP: Who was the initiator of United Underground 2?

CF: Riz came to myself, because Riz was a resident here and he wanted to do something about getting in the South Bank Centre the kind of music that you normally don’t get in here. And he knew I used to do a clubs’ column at The London Paper for three years and was really into Underground music so he came to me. Chris from British Underground is more into the kind of band and folk side, so Riz just kind of pulled it all together and it went from there.

SouthBank6

VP: Good you mentioned Riz! What is your connection with him?

CF: I met Riz at a talk. We were both talking at a theatre somewhere once. I was like “Oh, my god, Riz Ahmed”, ‘cause I have so much respect for him! And he was like “Oh, my god, Chantelle Fiddy!” I was like, “how the hell do you know who I am?!” And then we just started talking and we just got on really well, we clicked and that was that!

SouthBank2

VP: You describe Ctrl-Alt-Shift as an activist movement. What do you mean by that?

CF: We’re giving young people a platform to bring up issues and to make change. It’s kind of giving them the tools, giving them the confidence to feel they can stand up, say something, and then they’ll be counted for it. In the past we did a campaign around HIV travel bans, and we involve young people in all the processes: how do they feel about the issue, what would they like to see change, how should we demonstrate this to a wider audience/ public?

SouthBank9

VP: What is more important for you? Is it about the political message or promoting the arts in youth?

CF: For me, it is about awareness all around ‘cause I think the two go hand in hand. If we use more models in popular culture to try and make change in the political sphere, we have greater success. So I think it’s more about creating awareness firstly around the issues that we should be aware of around the world.

SouthBank4

VP: So art can change the world?

CF: I think so. Also I think it is about redefining the term activism. And understanding that if you come here tonight, that makes you an activist because you’re paying money to an event that will educate you about not just the music but about other issues. You can hear the speakers in one room, new music in the other room. So I just think it all blends into a big melting pot of change.

SouthBank14

VP: This event reminds me of stuff I did as a student. I was wondering whether you ever wrote for the student paper, or were in student politics or in a student association?

CF: No. I did a journalism degree and then I worked for the paper. And I think that is partly why I think they brought me in because sometimes, with charity and activism, you can feel like an outsider, if you don’t know loads about something. To be honest with you, I don’t have a massive grip on global issues. So the idea is that we all learn together. Because the way I see it, if I read an article and I don’t get what the issue is about, then how is a 19 year-old gonna get it? So the whole idea is as I am learning, you are learning with me. We are trying to make it feel like everyone could be a part of this and it does not matter if you don’t know about an issue, you ask some questions, we’ll give you some answers or you go and make up your own mind.

SouthBank11

VP: Ctrl-Alt-Shift’s operations are strictly UK based?

CF: It’s UK based, so we are a Christian Aid initiative. We started two years ago. They wanted to find a new way to talk to young people about charity. I was told we’re not gonna mention charity or Christian Aid! It’s a really interesting idea because you wouldn’t necessarily expect Christian Aid to start something like that up. So it’s been an interesting journey.

SouthBank8

VP: So what’s next for Ctrl-Alt-Shift?

CF: Now we’re planning all the activity for next year. So we’re looking at our next big cultural collusion, because in the past we’ve worked with Sadler’s Wells, and various people like that so now we’re looking at what to do next. We will be revealing those plans in the next couple of months as they are all being finalised. Starting work on the next magazine, which should be around conflict.

SouthBank10

VP: I read you are advocating bringing the silent majority to the fore. Who is that silent majority to you?

CF: It’s the average man on the street. Most of them go to that point where they don’t know much about the issue to be involved. So it’s about people who want to know or are little bit interested in what’s going on but not sure about how to get involved.

SouthBank3

VP: What’s been the pinnacle for you of Ctrl-Alt-Shift’s journey so far?

CF: For me, it was the rave we did for Haiti a couple of weeks ago. It was insane! You probably saw the line-up, everyone from Ms Dynamite to the cream of the Dub-Step scene, cream of the electro scene. We brought together every genre of music. We had three days to organise it, there was no time to rest, it was actually two hours sleep at night and it was done. And we opened the door at 9 pm and I looked out onto the road and “oh, my god!” Literally, the queue went around into Oxford Street, we were at capacity by 10 o’clock and we made about 10,000 pounds. The atmosphere in the rave and the way people were giving their money, it was just brilliant! I felt a massive sense of achievement, because I looked at that and I thought I have never seen these kind of people involved in a charity event and it showed that a scene can come together. Black music especially gets a raw deal but I think things like that show that it’s not what you see in the media. For me it’s a personal agenda to make people aware that black music is a very positive thing.

SouthBank13

VP: Give people the right platform and they’ll express themselves.

CF: Exactly, it’s not all about hoes, guns and bitches, you know and that’s what everyone thinks. It’s been something I have been working on for ten years, trying to get that across.

SouthBank7

VP: I feel the same, it infuriates me when people say black music, and they think hip-hop. But when they say hip-hop, they amalgamate all “black” music and brand it hip-hop!

CF: You know, at the Brits the way they were stereotyping black men with Jonathan Ross and the way he was dressed, I thought that was one thing. But what he said and the accent and then some of the sly jokes they made towards JZ. This stereotype and prejudice is still running throughout the music industry and the rest of the industry. But the music is doing the talking now, look what is selling in this country. Tinchy Stryder was the best selling UK male of last year. So I say a middle finger to the mainstream.

SouthBank5

Categories ,activism, ,art, ,British Underground, ,Chantelle Fiddy, ,Christian Aid, ,Ctrl-Alt-Shift, ,Culture, ,event review, ,events, ,film, ,Gig review, ,Hip-hop, ,Jay Z, ,Jonathan Ross, ,london, ,magazine, ,Mayor of London, ,music, ,musician, ,Purccell Room, ,Queen Elizabeth Hall, ,Riz Ahmed, ,Sadler’s Wells, ,Southbank centre, ,talks, ,The Brit Awards, ,The London Paper, ,Tinchy Stryder

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Amelia’s Magazine | Bourgeois & Maurice Can’t Dance at Sadler’s Wells: An Interview

Cher Lloyd by Gemma Pharo
Wagner by Karina Yarv
Wagner by Karina Yarv.

Another year, viagra 60mg another X Factor out of the way. I went through a period of not watching any telly at all, more about and oh how I used to poo poo this show, patient but then, in 2009 I got sucked in. It was the only break I used to allow myself as I was creating my first book Amelia’s Anthology of Illustration – a bit of enjoyably vacuous pop culture on a plate. And it was then that I discovered the joy of X Factor watched with my twitter stream open. Trying to think of the bitchiest tweets as fast as possible has now become a something of a national sport, and I thoroughly recommend you do both at the same time once the whole bloody thing rolls around again next year.

X-Factor_Dannii Minogue wearing J'Aton Couture by Krister Selin
X-Factor_Dannii Minogue wearing J’Aton Couture by Krister Selin

As for the final outcome? I couldn’t stand Cher Lloyd’s sneery face but thought her final effort was at least IN TUNE, whilst even on the same note the One Direction cuties struggled (harmonies, what are they?)

Dee-Andrews-Cher-Lloyd-X-Factor1
Cher Lloyd by Dee Andrews.

I loved Rebecca Ferguson’s voice until it started to grate on my nerves, as did the fact that she could not move, even singing the danciest of songs. I quite enjoyed some of Matt Cardle’s songs, but he was clearly not on form during the last few weeks. All in all, as could be predicted, I’ve heard better singers at small indie gigs.

Matt Cardle by Karina Yarv
Matt Cardle by Karina Yarv

My fave live performance by Matt:
YouTube Preview Image

What really grabs the audience is of course the whole spectacle – the cliched dramatisations of the contestant’s back stories, the ridiculously over the top stage effects and the outrageously expensive outfits and stupendous styling choices of the judges and contestants. Here, then, is a chance to revel in the sheer glory of the X Factor experience, as seen through illustrators’ eyes.

Abi Daker Cher Lloyd
The Lovechild of Jordan, Minnie Mouse and Jimmy Saville. Illustration by Abigail Daker.

Gareth A Hopkins Cher Lloyd
Cher Lloyd by Gareth A Hopkins.

jenny robins - amelias magazine -  x factor
Illustration by Jenny Robins.

Katie Waissel by Karina Yarv
Katie Waissel by Karina Yarv

Cher Lloyd by Antaya Lendore
Cher Lloyd by Antaya Lendore

GarethAHopkins Wagbo
Wagbo (a character from Harry Hill’s TV Burp that was supposedly the love child of Wagner and Tesco Mary) by Gareth A Hopkins

X-Factor_Rebecca Ferguson wearing Lisa Marie Fernandez by Krister Selin
X-Factor_Rebecca Ferguson wearing Lisa Marie Fernandez by Krister Selin

xfactor wagner by elliott quince
Wagner by Elliott Quince.

katie waissel and rebecca ferguson by ellie sutton
Katie Waissel and Rebecca Ferguson by Ellie Sutton

Cheryl Cole by Antaya Lendore
Cheryl Cole by Antaya Lendore.
Bourgeois-And-Maurice-Antonia-Parker-
Bourgeois & Maurice by Antonia Parker.

The lovely Bourgeois and Maurice are currently on a pre Christmas run at the Lilian Baylis Studio in Sadler’s Wells, try performing their fabulous cabaret show Can’t Dance. It’s a brilliant space to showcase their unique musical/comedic talents but far from their usual setting – so I thought it the ideal opportunity to find out more about their sharply observant political views, viagra sale amazing Julian J Smith outfits and special B&M recommendations for Christmas.
Helpful note: GB is George Bourgeois and MM is Maurice Maurice.

bourgeois & maurice by sarah alfarhan
Bourgeois & Maurice by Sarah Alfarhan.

I came to your show at Sadlers Wells last week which was somewhat different to the previous intimate performance I saw at Bistrotheque. Did it take a lot of preparation to fill that big stage? Have you met many lovely ballet types? Learnt anything? But seriously… has it forced your dancing to improve, and is the audience very different to your usual crowd?

GB: Yes audiences engage with what we do very differently in a theatre space. Somewhere like Bistrotheque allows the audience to involve themselves much more, because they are literally metres from the stage, whereas here at Sadler’s there’s a much bigger distance between us and the back row and as a result you have to find new ways to involve them. Which is why I climb through the seating and why I never pick people on the end of the row – it’s too obvious. I go for the ones who think they’re safe in the middle. There is a moment in the show when we attend a Ballet boyz rehearsal – that isn’t set up – they literally called us about 30 minutes beforehand and said ‘we’re having a class upstairs, you’re welcome to join in’. When we got there we just had to copy the other dancers and hope for the best. They were all incredibly kind to us, despite our incompetence.

MM: As Bourgeois says, it is different when people are sitting in the darkness of a theatre, they definitely feel more detached from you. So that is why he gets right in there and sits amongst them for a while. It’s polite. I tend to keep my distance though. One time I ventured in and touched someone and a mislaid party popper went off. I think it was a warning for me to Keep Back. I As for the dancing, we definitely learnt some things, and I might only be speaking for myself here, but I do think our pole dancing has improved over the course of these shows, which is nice. What with the job cuts n’ that, you never know what skills might come in useful.

bourgeois & maurice genie espinosa
Bourgeois & Maurice by Genie Espinosa.

You pulled my boyfriend out of the audience to serenade… and you clamber around amongst the audience quite a lot (well, Bourgeois does) What are you looking for when you home in on your prey? And have you ever gotten a surprising response?

GB: Sorry about that! – That’s quite alright, I think he enjoyed it! – I think we’re usually on the hunt for someone who looks like they’ll have a sense of humour and not be permanently scarred by the experience, but at the same time not someone who looks like a natural show off. We’ve already got two of those on stage. We once had a guy in the audience who stood up midway through a song and started to hurl really shit homophobic abuse at us (I mean, at least make it clever). I think he assumed we were going to be a burlesque act with our tits out, or something. Security dragged him out as he shouted threats at us, so Maurice made up a ‘Bye Bye Fuck Off’ song on the spot, which the whole audience sang to him. 

MM: Ah yes, a fond memory. He was a lovely man. He said he was going to wait for us after, but sadly we never saw him again. Love is so transient sometimes. That’s the most severe reaction we;ve had I think, although that was a saturday night at Bistrotheque, which is slightly different to the normal Sadler’s Wells crowd. People don’t tend to be so vocal in the darkness of an auditorium! Surprising actually how easily people tend to go with what you ask. I’ve tried to take this method into my everyday life more, but it’s just not as persuasive without the microphones and stage lighting.

Dee-Andrews-Bourgeois-Maurice
Illustration by Dee Andrews.

You’ve spoken about the problems that come from addressing contemporary issues in your songs… some of which then rapidly date. Which song from your past would be the most out of place now and why?

GB: Probably ‘Girls in Neon’ which was one of the first songs we wrote, way back in that heady summer of ’07, when Nu Rave was still around. It was a piss-take of that moment in music-fashion history which dated almost as quickly as the scene itself. And, in fact, we were very judgmental and wrong when we wrote ‘when the neon shades fade, will the Klaxons still sing?’ because they are, and their last album was really good. So sorry about that, Klaxons.

Bourgeois & Maurice by Kellie Black
Bourgeois & Maurice by Kellie Black.

You managed to slip in some very *now* references to the student riots when I saw you… how easy is it to keep your spiel up to date on the day? 

GB: Depends what time we wake up and how long we’ve got to read the papers! At the moment we seem to be living in a blur of major news headlines so it’s easy to find references that everyone will pick up on. it’s harder when nothing much seems to be happening, it can end up being a bit ‘oh we’ve still fucked up the middle east…so…yeah…that’s still happening and stuff…hello, you look nice’ etc etc 

MM: If we were clever enough we’d invent a complicated algorithm programme that sources, digests and ranks news stories according to relevance and public awareness, which we would download directly into our heads before each show. But we tend to just log in to Twitter. 

You manage to make biting political satire amusing – have you always been politically inclined, or is this just a fallout from living in London?

GB: We used to shy away from it a lot more than we do now. A couple of years ago we wrote a song called ‘Political Song’ which actively tried to be as apathetic as possible (which in a sense is kind of a political statement but…whatever). We’ve always been political beneath the make up but only recently did we consciously decide to start being more explicit in the show. I think there’s been a noticeable shift in public thinking recently- very Us V Them – which scares me so I guess our decision to satirise the political currents is a natural reaction to that.

How did you hook up with your Julian J Smith? Are all your outfits by him? and what is the process of creating them?

GB: Julian is the crazed visual genius behind all the outfits we’re wearing at the moment. We met him about four years ago in Boombox (RIP) a few months before B&M were born. He has the largest wardrobe of incredible clothing known to mankind so when we started performing we would sometimes borrow things and as the shows got bigger, so did the outfits. Julian’s own line is an amazing synthesis of couture and clubwear and i think that’s something he brings to B&M – he designs all the looks based on ideas we’ve had for songs and he’s been to so many of our shows he can sometimes predict our sartorial needs before we can. 

MM: We’ve also had some outfits made for us by the incredible Fanny & Jessy too, although we’re not wearing any of them in this show. Their debut collection was called We Hope You Die Soon, so we kind of felt we connected on a philosophical level.

George Bourgeois by Louise Wright
George Bourgeois by Louise Wright.

I am particularly enamoured of your pastel hair ball outfit – who had the brainwave for that one? Any side effects to wearing it? I seem to recall there were bits getting caught in your mouth that you described as pubes. Are your pubes falling out as the shows progress? Will you end up bald?

GB: That outfit is the bane of my life. I adore it but JEEESUS the upkeep is hard. It’s made from hundreds of metres of artificial weave, so I have to comb it with a weave brush and pick out of the little bits of crap it sweeps off the floor each night. And yeah the hair gets everywhere. But the outfit is so good I really can’t complain. I think Julian had the brainwave for that too – we were talking about creating an outfit that would be quite body dysmorphic and have its own life when I move around the stage. As luck would have it, the weave shop round the corner from me were doing an offer on multicoloured hair so I bought the entire stock. Oh, and I live in a constant state of fear about going bald. I look shit in hats. – Love the fact you talk about your actual hair there, rather than the outfit going bald.

YouTube Preview Image

Is it hard to switch off? What do you do to relax? How are your days filled when you are doing a run such as the one at Sadler’s Wells?

GB: I’m terrible at switching off when we have theatre runs. We both hate the process of being reviewed, and that really only ever happens during a bigger theatre run – critics rarely go outside their comfort zone – so as a result we tend to be highly strung til press night and then go ‘fuck it, let’s enjoy it’ after that. At the moment my days are filled with sleeping, reading and working on my best-selling novel, which at the moment is one paragraph long. My attention span is shot to pieces.

MM: It is really hard to switch off, and no matter what activities I partake in the day, ultimately I’m always thinking about the show in the evening. I made the terrible mistake of going into central London to do some Christmas shopping yesterday, and after about 10mins in Uniqlo I had a mental breakdown – Know the Feeling well! – and had to leave. So I try not to leave my house much in the day, I can’t really be held accountable for my actions otherwise.
 
YouTube Preview Image

According to Run Riot you have ambitions to “go rock” next year, and you are also working on a musical…. can you give us any sneaky tips as to what this will be about, and who we can expect you to collaborate with on either of these projects?

GB: At the moment they’re both quite distant pipe dreams. The musical actually started as a joke when we were warming up before shows and would improvise a really cliched musical-theatre style opening sequence to a show set in a small town. Then it sort of stuck as an idea – we worked on a project for Theatre 503 in November, where we wrote a song for someone else to perform – the first time we’d done that – and it was really fun so the plan next year is to come up with some songs for other singers and take it from there. Maybe it’ll turn into a musical, maybe we’ll end up churning out jingles for local radio ads. Watch this space…

YouTube Preview Image

Since it’s Christmas time, have you got any top B&M tips for how to get through the big day? And what will you be wearing? 

GB: We’ve both got a fetching his ‘n’ hers red sequin christmas number, which I daresay will make an appearance. Top tip: if there’s any hyperactive kids around on Christmas day, slip them a tenner in return for their Ritalin supply. Your day will float by in a golden blur, and you’ll have sorted out at least one christmas present – kids just love cold, hard cash.

You can book tickets to see Bourgeois & Maurice, performing up until the 23rd December, right here.

Categories ,Antonia Parker, ,Bistrotheque, ,Boombox, ,Bourgeois & Maurice, ,Bourgeois and Maurice, ,Christmas, ,Dee Andrews, ,Fanny & Jessy, ,Genie Espinosa, ,Julian J Smith, ,Kellie Black, ,klaxons, ,Lilian Baylis Studio, ,Louise Wright, ,Nu-rave, ,Run Riot, ,Sadler’s Wells, ,Sarah Alfarhan, ,Theatre 503, ,Uniqlo

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