The unmistakable cry of British panto rang through the air at the Malthouse Theatre this week — and what followed was nothing short of a sparkling theatrical treat. Front and centre of this dazzling afternoon was the uber-talented Vicki Michelle.
I joined Dr Anna Kennedy for what promised to be a memorable afternoon — and it delivered in spades.
Just five minutes from Canterbury West station, the Malthouse Theatre is a gem of a venue. Housed in a former 19th-century malt house, it offers a warmth and intimacy that many larger theatres lack. From the moment we took our seats, there was a buzz in the air — the kind that tells you something special is about to unfold.
Anna and I had travelled to see a true British icon — and a good friend of Anna Kennedy Online — in action. While I was there to review the show, Anna had something rather important to ask the star of the performance once the curtain came down.
Let’s be clear: if you think you’re heading to see a “regional” panto, think again. Sleeping Beauty rivals anything currently on offer in the West End — and at a far more affordable price. The cast work tirelessly, delivering an action-packed, high-energy production that never once drops the pace.
There is nothing like a Dame as Joseph Gardner Hodges leads a stellar cast in Sleeing Beauty .
The show really kicks off brilliantly with Tim Edwards, one of the freshest comedy talents I’ve seen in a long while. Playing Jangles — Sleeping Beauty’s equivalent of Buttons — he holds the production together with effortless comic timing, youthful energy, and a commanding stage presence. He is a natural, and the audience instantly warms to him.
Joining him is one of the finest Dames I have ever seen: Joseph Gardiner-Hodges as Nurse Fanny. Hilarious, fearless, and utterly fantastic, Gardiner-Hodges is the yeast in the bread of this show — without him, it simply wouldn’t rise as far. Whether flirting shamelessly with the male members of the audience, delivering razor-sharp one-liners, or fiercely protecting Princess Aurora from the Wicked Queen (or should we say the “socially challenged” queen), he had the audience in stitches. The costume changes alone deserve their own round of applause — though a shoe change for Fanny would have made it an A+.
Then there’s Prince Charming, played by Jordan Calloway. Yes, he’s a good-looking in an Australian soap star way — but more importantly, he can sing. And not just “panto sing” — his voice genuinely stands out, rivalling many performers currently gracing the West End stage.
Just when you think the show can’t possibly get any better, on comes British icon and comedy legend Vicki Michelle as the deliciously evil Carabosse. From the moment she steps on stage, she commands attention. This is stage presence that simply cannot be taught. The former Allo Allo star looks phenomenal and proves exactly why she remains such a treasured figure in British entertainment. (And yes — we absolutely need her back in EastEnders.)
Fabulous costumes as Vicki Michelle captures the audience with her spells.
Her rendition of I Put a Spell on You brought the house down. Despite — or perhaps because of — the enthusiastic boos, Michelle revelled in the “baddie” role, clearly enjoying every moment. Watching an actress with such mastery of her craft is a joy; she knows exactly how to hold an audience in the palm of her hand.
The production values throughout are outstanding. The sets are dazzling, the costumes are richly detailed, and a particularly cute dragon called Caroline steals more than a few scenes. Remarkably, this was the company’s second performance of the day — yet they were as fresh as daisies, delivering with precision, warmth, and infectious enthusiasm.
Next year’s production is Goldilocks and the Three Bears, and on the strength of this alone, I’d say: book now.
After the show, Anna and I surprised Vicki by asking her to become a Patron of Anna Kennedy Online. A long-time friend and supporter of the charity, she was genuinely thrilled to accept. Only weeks earlier, she had joined Anna on GB News to discuss the charity’s work and her ongoing commitment to the autism community.
Dr Anna Kennedy OBE back stage with Vicki Michelle .
Anna summed it up perfectly:
“Vicki is someone who, when she says she will do something, it gets done. She has inspired so many within the autistic community, and we are incredibly proud to have her as a Patron.”
What a day. Huge thanks to the Malthouse Theatre and the wonderful city of Canterbury for such a magical afternoon — proof, if ever it were needed, that great theatre thrives far beyond the West End.
2Shades Heidi Gammon and Dr Anna Kennedy OBE with Steven Smith at the Hampton Hub
Heidi Gammon presents Dr Anna Kennedy OBE.
The Hampton Hub was buzzing with energy on Friday 20th November as esteemed autism ambassador Dr Anna Kennedy OBE took to the stage as the special guest speaker for the Counselling and Coaching Group. The event was proudly hosted by Heidi Gammon, 2Shades Magazine columnist and Gateway Radio agony aunt, who introduced Dr Kennedy to an enthusiastic and engaged audience.
Dr Kennedy, one of the UK’s most recognised voices in autism advocacy, immediately captivated the room with her warmth, humour, and honesty. She shared her remarkable journey: from a determined mother fighting for the right support for her two autistic sons, Patrick and Angelo, to becoming a national campaigner, charity founder, and distinguished OBE recipient for her services to autism.
Her story began with what she described as “a battle fought with love and necessity.” With limited educational options available for her boys, she took matters into her own hands—eventually helping establish specialist provision and launching her highly influential charity, Anna Kennedy Online, which now supports thousands of autistic individuals and their families across the UK and beyond.
The audience listened intently as she spoke about the evolution of her work, including the hugely popular Autism Hero Awards, which celebrate outstanding individuals who make a positive difference within the autism community. She also discussed her long-running digital platform, Anna Kennedy Online, which provides education, advocacy, and outreach.
A highlight of the evening was her reflection on appearing on ITV’s Lorraine, where she was honoured as a finalist for Woman of the Year—a moment she described as both surreal and deeply meaningful.
The event also shone a spotlight on important collaborative projects. Dr Kennedy spoke about Born Anxious, the anti-bullying campaign that raises awareness of the struggles many autistic children and adults face. As part of the session, the group viewed a touching dance performance video by Freya Prince, whose emotional and expressive choreography moved the room.
Adding festive cheer, former Autism’s Got Talent performer Ty Williams delighted the audience via video with a heartfelt rendition of “Driving Home for Christmas,” receiving warm applause from attendees.
There was also a special appearance by Steven Smith, a former celebrity hairdresser turned author and presenter, who is one of the patrons of Anna Kennedy Online. He shared his personal story of becoming part of the charity’s growing family and spoke passionately about the power of creativity and community in supporting individuals on the autism spectrum. He also highlighted the creation of Autism and Art, an inclusive exhibition held at the Firepit Gallery in London that celebrates neurodiverse artists and their unique perspectives.
The Hampton Hub Counselling and Coaching Group, led by Heidi Gammon and her dedicated team, provided a warm and supportive atmosphere, bringing together people from all walks of life who share a commitment to understanding, compassion, and positive action.
Attendees left energised and inspired, with many commenting on the emotional resonance and practical insight Dr Kennedy brought to the conversation. Her message was clear: with determination, community, and unwavering belief, real change is possible.
The event not only highlighted the vital work being done across the UK for autistic individuals, but also showcased the power of storytelling, advocacy, and human connection.
For more information on the organisations and initiatives mentioned, visit:
This December, Morley Opera School invites audiences to an evening of passion, wit, and reflection with Opera Scenes: CONSEQUENCES, a vivid exploration of human choices and their inevitable aftermath. Under the expert direction of William Kerley and musical direction by Panaretos Kyriatzidis, this production offers a captivating journey through some of opera’s most powerful and emotionally charged moments. With Nicholas Bosworth at the piano and Conor Costelloe crafting evocative lighting design, the performance promises to be both musically and visually enthralling.
The program brings together a diverse range of works, from the Classical elegance of Gluck and Mozart to the modern intensity of Britten and Poulenc. Each scene has been carefully chosen to highlight the theme of consequences—how human decisions, driven by love, pride, fear, or faith, shape the fates of individuals and societies alike.
The evening opens with Gluck’s Paride ed Elena, a lyrical portrayal of the mythic lovers whose choices ignite the Trojan War. Through Gluck’s graceful yet emotionally charged score, the audience witnesses how desire can lead to destiny’s most devastating turns. The theme of secrecy and consequence continues in Domenico Cimarosa’s Il Matrimonio Segreto(The Secret Marriage), where comic misunderstandings and clandestine vows lead to both hilarity and heartbreak. Cimarosa’s sparkling ensemble writing and elegant wit remind us that even the most humorous situations often conceal real emotional stakes.
From there, the performance moves to Mozart’s Idomeneo, a masterwork of the Classical era that delves into the tension between duty and compassion. When the Cretan king must sacrifice his own son to appease the gods, Mozart’s music swells with moral anguish and divine intervention—a striking depiction of how promises made in desperation can lead to unbearable consequences.
The evening then shifts to the haunting world of Benjamin Britten’s The Rape of Lucretia, a twentieth-century chamber opera that reimagines an ancient Roman tragedy. Britten’s sparse, evocative score and stark moral commentary confront audiences with questions of innocence, violation, and redemption. It is one of the evening’s most profound explorations of consequence—where an individual act of violence reverberates through history.
Finally, the performance concludes with scenes from Francis Poulenc’s Les Dialogues des Carmélites, a deeply moving account of faith, fear, and courage during the French Revolution. In this extraordinary work, a community of nuns faces execution for their beliefs, and each character must decide how to confront mortality with dignity. Poulenc’s luminous harmonies and spiritual depth offer a fitting conclusion to a night that examines the human condition in all its complexity.
Opera Scenes: CONSEQUENCES is more than a showcase of operatic talent—it is a reflection on the moral and emotional choices that define us. Presented by the students of Morley Opera School, it demonstrates the artistry, discipline, and dramatic insight cultivated within this renowned institution. Among its talented performers is Jadwiga, a classically trained singer and music graduate who offers private singing lessons in classical, opera, and musical theatre styles https://www.morleycollege.ac.uk/event/morley-opera-school-presents-opera-scenes-consequences/
Performances take place on Thursday, December 11 at 7:30 PM, Friday, December 12 at 7:30 PM, and Saturday, December 13 at 2:00 PM at the Johnny Harris Theatre Studio, Morley College London, 61 Westminster Bridge Road, SE1 7HT. Tickets are priced at £10.00 (plus booking fee £11.55 online).
An evening of beauty, reflection, and emotional truth, Opera Scenes: CONSEQUENCES is an essential event for opera lovers and newcomers alike—a reminder that every choice, whether divine or human, carries its echo.
Grit, grace, and a touch of glittering illusion — that’s what defines Angus Baskerville’s extraordinary memoir, Naughty but Neurodiverse – An Aspie’s Road to Magic. It’s a book that doesn’t just tell a story; it invites you into the world of a young man who found light in the places most would have given up hope.
Bullied. Excluded. Expelled from three schools. For many, that might have been the end of the story. But for Angus, it was the beginning of something far more powerful. Diagnosed with autism and ADHD at fifteen, he finally had an explanation for the whirlwind he had lived with all his life. Yet it wasn’t until discovering magic at seventeen that everything changed.
Magic gave him more than a skill — it gave him purpose, structure, and a way to communicate in a world that often misunderstood him. His journey from isolation to inspiration unfolds with raw honesty and a quiet kind of triumph that lingers long after you turn the last page.
It’s impossible not to feel moved by his transformation. The pivotal moment comes when Angus performs at Autism’s Got Talent, the groundbreaking showcase created by Anna Kennedy OBE. Stepping into that spotlight, Angus wasn’t just performing tricks — he was reclaiming his identity. That night became the launchpad for a remarkable career that would take him from misunderstood teen to award-winning magician, Magic Circle member, and autism advocate.
Today, Angus Baskerville performs across the UK, dazzling audiences with performances that weave illusion and insight. He leads corporate workshops, runs school magic clubs, and continues to champion autism awareness with the charity Anna Kennedy Online. Through it all, his message remains beautifully simple — being different is not a flaw to fix, but a gift to embrace.
Naughty but Neurodiverse is an emotional, uplifting, and often funny read that captures the resilience of the human spirit. Baskerville writes with warmth and disarming honesty, sharing moments of confusion, humour, and triumph. His story gives readers — whether autistic, parents, teachers, or simply curious souls — a new lens through which to see neurodiversity: one filled with creativity, courage, and heart.
This isn’t just a memoir; it’s a manifesto for understanding and acceptance. Angus reminds us that the real magic lies not in illusion, but in authenticity — in daring to be unapologetically yourself in a world that often tells you to hide your light.
In a time when inclusion is still learning to find its true meaning, Angus Baskerville stands out as a shining example of what can happen when passion meets purpose.
A heartwarming, inspiring, and utterly magical read — one that deserves a standing ovation.
Where to Buy: Naughty but Neurodiverse – An Aspie’s Road to Magic is available now on Amazon UK.
Angus says:
“If even one person reads this and feels seen, understood, or inspired — then it’s all been worth it.”
Heidi Gammon is BACK — and school’s in session! Sharpen those pencils, unpack the lunchbox, and brace yourself — because whether you’re heading to high school, moving into halls, or just trying to survive term-time drama, I’ve got the answers you need. From messy roommates to holiday hook-ups, from bullies to big life changes — let’s crack open the advice book and dive right in.
Hello Heidi, Love you and the show! I’m going to uni next month and sharing accommodation with my best friend. Over the summer, I realised that I’m gay and attracted to other women. Apart from telling my mum, no one else knows. I don’t fancy my best friend, so that’s not a problem, but should I tell her before we move in together in case she freaks out? Amber, Southend
Heidi says: Amber, the only “freak out” here would be if your friend suddenly forgot you’re still the same person you were last term. Your sexuality isn’t a warning label you have to stick on before move-in day. If you want to tell her, do it because you trust her, not because you’re scared of her reaction. And if she’s a real friend, she’ll be more interested in who’s nicking her milk from the fridge than who you fancy.
Dear Heidi, This is awful. I’m not gay, but I’m friends with a guy who is what you might call “fluid.” We got very drunk on holiday, and I remember him performing an oral sex act on me. There’s no way it would have happened sober, and now it’s made it difficult to be friends. I tried to talk to him about it, but he just said, “What happens in Ibiza stays in Ibiza.” I have a girlfriend, and I’m terrified she’ll find out. What do I do? Colin, Billericay
Heidi says
Colin, Ibiza clearly needs a new slogan: “What happens in Ibiza… tends to follow you home.” You’ve got a friendship issue and a relationship issue — and both need honesty. Tell your mate the boundaries from now on. As for your girlfriend, decide whether you’re confessing to ease your guilt or because it’s something she genuinely needs to know. Either way, learn your lesson: too much booze and fuzzy boundaries are a recipe for regret.
Hi Heidi, How are you? Last year I shared uni accommodation with a great guy — honestly, we were like brothers — but sadly he’s moved to the States. A new guy is moving in, but I bumped into his old roommate who warned me: he doesn’t mind him personally, but apparently he walks around naked, smokes weed, and puts porn on openly. Plus, he’s messy and leaves everything for others to clean up. That’s my idea of hell! It’s too late to back out — what can I do? Hunter, Basildon
Heidi says: Hunter, sounds like you’ve been dealt the ultimate “uni flatmate bingo” card. On day one, set the house rules in plain English: no nakedness in shared spaces, no weed inside, and mess gets cleaned. If he ignores that, fortress your room — lock, headphones, maybe even a mini-fridge. And remember: it’s one academic year, not a life sentence. What’s up Heidi, I’m still at high school and I hate it. There’s a girl who bullies me so badly that my life is a misery, and I don’t want to go back. What can I do? Stella, Brentwood
Heidi says: Stella, no one should dread school because of one cruel person. Tell a teacher, a school counsellor, or your parents — and keep a record of everything she says or does. If it’s online, screenshot it. Schools are legally obliged to act on bullying. I promise you this: she is not as powerful as she seems. One day you’ll be out in the world living your best life, and she’ll still be stuck in her small one.
Heidi, My girlfriend and I have been together for five years and we want to adopt a child — maybe two. How do we go about it? My mum says it’s a terrible idea and refuses to help. Mandy, Brighton
Heidi says: Mandy, if love, stability, and commitment are in place, you’re already halfway there. Start with your local council or an approved adoption agency — they’ll guide you through assessments, training, and matching with a child. It’s a long process, but worth it. most local authorities and agencies like pact do information evenings for people thinking about adoption these are great and informative and well worth going to
As for your mum, her approval would be lovely, but it’s not a requirement on the application form. Build your family your way.
Hi Oscar, We at 2Shades think you are art. We love your openness about living with addiction, and we would love to know more.
Thank you so much—that’s a wonderful thing to say. And thank you for having me. It was lovely meeting you at the Routine exhibition recently.
I’m Oscar, an artist based in London. I make a lot of different things, but mostly graphic illustrations that revolve around fashion, comic books, or BDSM. I’m a recovering alcoholic and addict. I’ve been sober for a while now, and I’ve been working on both my creative career and rebuilding my life—I’m even back at university. I love bold colours, especially red (my absolute favourite), which features heavily in my work. But sometimes, just simple black-and-white linework can be really rewarding too. You’ll usually find me watching horror movies, rocking out to the Sugababes, drawing some femme fatale in a fabulous outfit—or playing video games, of course.
I’ve been drawing for as long as I can remember. It’s been a way for me to express so much—my sexuality, my adoration of femininity, my experience as a queer person, or just the thrill of an incredible superhero fight scene. Now I’ve had the chance to exhibit and work as an illustrator, which has been amazing. I’m only getting better, so I’m excited to see what the future holds.
What does it feel like to create, for you?
For me, creating is perfect concentration and calm. My head is usually full of thoughts—non-stop—except when I’m drawing or designing. That’s when everything quiets down. I get totally absorbed in the world of the piece, in the details of the colours—or I just disappear into the flow of (deafening) music and let the pen take me somewhere new.
I’ve grown a lot as an artist since getting sober. I had to figure out how to be creative again, because my addiction robbed me of that desire—and the ability. I worried it wouldn’t come back. Part of me thought art was lost to me, or at least the passion for it was.
Thankfully, it came back—but it feels different now. These days, I create with less intention and let my emotions and the pen guide me. Trusting my skills is a big part of that. I’m the best I’ve ever been, and there’s a sense of security in that, because it allows me to just let go. That freedom is why creativity is such a safe space for me.
When you’re an addict, so much of your life is micromanaged. I avoid certain places when I’m too tired or upset because the pull of alcohol or drugs can be dangerous when I’m not stable. I have to constantly protect myself in a world where addiction is everywhere. Being around alcohol and drugs is exhausting—so I make sure I recharge, or I crash.
Creation is free of all the mental admin I have to do every day around addiction. That’s why it’s such a solace. I get to be somewhere else, someone else—feeling, seeing, and doing something else. It’s incredibly freeing.
Can you remember the earliest thing you created artistically?
Absolutely. I’ve always loved comic books and still collect them—I’ve got hundreds in my room. They were my gateway into art. I used to print out images of my favourite characters at primary school and try to redraw them as best I could.
Around that time, I also became obsessed with the brides of Dracula—after seeing Van Helsing with Kate Beckinsale. Those brides were everything to a young gay boy from South London. Flowing sleeves that turned into wings? Iconic.
I also drew Storm, Elektra, Catwoman, and Raven from Teen Titans because I grew up watching all those shows, not even realising there were decades of comics about these amazing women I could be reading. I started copying comic pages and poses from books I bought or found online. Comic artists are incredibly underrated—the technical and artistic skill needed is mind-blowing.
Redrawing other artists’ work was how I learned. It’s a great skill to develop early on. Even now, I love watching artists create on YouTube. That’s how I pick up new techniques—watching how someone shades or sketches anatomy, then figuring out how I’d do it. I tell every new artist I meet: understand the process. See how other people use the medium. It’ll change your practice.
What correlation does addiction and art have for you?
Addiction seeps into parts of who I am and, by extension, my art. My obsessive focus on one subject or style until I burn out feels very much like addiction. My love of recurring colours or patterns feels repetitive—like addiction did.
But, honestly, addiction was the opposite of being an artist for me. Toward the end of my using, I just stopped creating. There was nothing left inside to work with—no soul to put into art. Addiction stole that from me. Even though it was my own doing, it still feels like a theft.
That whole “depressed addict artist” stereotype? It wasn’t me. There was no creating going on. I don’t know how people stay functional in addiction. I couldn’t. Everything outside of using and, occasionally, working just faded away.
That said, art can be just as self-indulgent as addiction—just without the destruction. And it can pay! Which is the opposite of addiction, where I only ever lost money. So in that way, it’s gratifying.
Do you have any stand-out influences in your creative journey?
Yes! René Gruau is my favourite fashion illustrator. The first time I saw his work, I was blown away by his minimalism—but also by the drama and flair. His use of red (swoon) and sheer elegance… phenomenal.
Simone Bianchi is a comic book artist I’ve loved for over a decade. He paints many of his pieces, which makes them feel unique—especially in comics. His grasp of anatomy and colour is chef’s kiss. He drew Storm better than anyone at Marvel. Big hair, boots, cape—flawless.
Tim Sale is another one. Famous for Batman: The Long Halloween and one of my favourites, Catwoman: When in Rome. His work feels like a fashion illustrator started doing comics. Perfect intersection of the things I love. He passed recently, which devastated me. The industry lost a legend.
Music is also a huge influence. I have a very visual connection to it—like a movie trailer in my head. I never draw without music. It’s the emotional gateway to my creative brain. I often play the same song on repeat for hours when I’m trying to stay in a feeling.
Nowadays, my inspiration is more internal. I rarely use references unless I’m doing commissioned work. But I still like life drawing sometimes—to keep my skills sharp.
How did you control the battle with addiction?
I wouldn’t call it “control,” because there’s not much you can control. For me, it all comes down to one non-negotiable truth: Sobriety or death. If I use again, I know I’ll die. That’s not melodramatic—it’s just the reality. So there is no choice. I’ve worked too hard to rebuild my life and relationships. I’m not throwing that away.
I take my peace seriously. Work is work, but my life means more. If I don’t want to go out, I don’t. If I need a day to myself, I take it. I fought for my happiness. I’m not sacrificing it for anyone.
AA helped me massively—especially early on. Those people saved my life. But as it’s anonymous and not about promotion, I’ll leave it at that.
Do you remember your darkest moment dealing with addiction?
Yes. Any time I tried to end my life. It happened a few times during my addiction. Thankfully, I wasn’t successful—but I remember that feeling of walking around not wanting to be here. I truly believed the world would be better off without me.
That feeling consumed me for years. The only relief came through explosive, manic episodes that never ended well. I felt hollow, like I had nothing left to offer.
These days, I still have hard moments—days or even weeks of depression—but now I know it’s not forever. That helps. Therapy helps too. Lots of it.
What’s next in your journey?
I just graduated with a first in Graphic Design! So right now, I’m job hunting and creating more art. I’ve been lucky to exhibit a few times and would love to do more of that. I’ve also got some creative projects in the works I can’t talk about yet—but I want to do everything. I didn’t think I’d live past 21, so the fact that I have time now? That feels powerful.
I’d love to put my work on clothing. That would be amazing. But for now, it’s more art, more exhibitions—and staying open to new projects. Commission work has always surprised me in the best ways.
Do you feel people are quick to judge you?
Probably. But it doesn’t bother me.
I’m gay. I live in a world where my community is still criminalised in many countries. Judgment comes with the territory. I have a small circle of people whose opinions matter. Everyone else? Irrelevant.
I love heels, claws, and makeup sometimes. Any queer person will tell you: being visibly queer means being hyper-aware of how you’re perceived. But I’m not hiding any part of myself to appease someone else’s discomfort. That’s a terrible deal.
I’m also quite introverted now. I enjoy my own company. And if someone doesn’t like me? Not my problem. I’m not for everyone—and I don’t want to be. That sounds exhausting.
I’m not unkind. I’ll apologise if I’m wrong. I work hard in therapy so my issues don’t hurt my people. But I also stand by myself. If I’m not sorry, I don’t say it. There’s great power in saying, “I’m not sorry.”
And hey—I draw men being sexually tied up. I expect judgment. But art is made to be disliked as much as it is to be loved. If someone hates my work, great. That’s their job as the audience: to respond. Love or hate—it means it made them feel something. That’s all that matters.
Quick Fire Sushi or Chinese – Neither Kiss or Slap – Both Bowie or Madonna – Madonna Favourite Place in London – My house First thing you’d change as mayor for a day – Free dental / Legal protections for trans people that can’t be undone by a moron
When you tune in to watch The 1975 perform live, you’re not just listening to a concert—you’re boarding an electrifying emotional rollercoaster. From the first beat to the final bow, Matty Healy doesn’t just sing; he commands, provokes, and enchants. At Glastonbury, he led his band into the annals of festival history with a performance that was nothing short of spellbinding—part protest, part performance art, and all heart.
There’s no doubt that watching The 1975 live is like being caught in a storm of sound and sentiment. Healy, a vocal advocate for mental health awareness, brings his audience on a journey that often feels bipolar in nature—veering from euphoric highs to moments of raw, painful vulnerability. One moment, you’re leaping in unison with thousands, lost in the pulse of a synth-heavy anthem; the next, you’re hushed and still, listening as he declares, “I’m bleeding for you.” Behind him, haunting visuals flash—images of human suffering, environmental destruction, animal cruelty—reminding the audience that this isn’t just music, it’s a call to consciousness.
“It’s not about politics anymore,” Healy said mid-set. “It’s about love. It’s about being kind. Only with that will we ever make a real difference.” It’s these moments of candour that transform his concerts from simple entertainment into deeply moving communal experiences. In an industry where many shy away from difficult truths, Healy walks straight into them, arms wide open.
His onstage persona oscillates between bravado and vulnerability. “I’m the greatest poet,” he quips with a grin—only to retract with a shrug in the next breath, “No, I’m an idiot.” The line between jest and confession blurs. It’s this constant tension—between confidence and self-doubt, performance and honesty—that makes him so captivating. Matty Healy was born for the stage, but it’s his disbelief in his own myth that makes the myth so powerful.
Critics often compare him to rock legends—Jagger, Iggy Pop, maybe even Bowie—but the truth is, Healy defies easy classification. He’s original, carving out a space that feels entirely his own. Perhaps the closest parallel is Marc Bolan, who stunned a generation with “Ride a White Swan,” opening the doors for glam rock and gender fluid performance styles. Bolan didn’t just sing songs—he shaped culture. Healy is doing the same, one provocative, glittering, gut-punch of a show at a time.
Musically, The 1975 occupy a unique space in modern rock. Their sound is a kaleidoscope—one moment polished pop, the next raw post-punk, with forays into jazz, soul, and experimental electronica. Healy’s songwriting is equally diverse. At times playful and catchy, at others profound and searching, he writes like someone trying to make sense of the world in real time. His voice—distinctly androgynous—is now fully formed. It’s a sound that feels both masculine and feminine, emotionally expressive without relying on the grit or aggression often associated with male rock vocalists.
Unlike performers such as Eminem or Macklemore, who often lean on female vocalists to soften or elevate their songs, Healy’s voice stands entirely on its own. There’s no need for a counterbalance. His vocal tone is rich, resonant, and complete. If a perfectly dressed salad needed no extra dressing, then Healy’s voice is that seasoned dish—balanced, flavorful, and satisfying all on its own.
And while Matty Healy is the band’s lightning rod, The 1975 is far more than just one man. The musicianship within the group is extraordinary. Drummer George Daniel is a master of rhythm—an innovator whose work deserves to be ranked alongside legends like Keith Moon and Ginger Baker. His beats are not just background; they are the spine of every song. Then there’s saxophonist John Waugh, whose solos are so expressive and vital that it’s easy to imagine David Bowie himself swooping in to steal him for a side project. Guitarist Adam Hann is no less impressive, crafting intricate textures and soaring riffs that elevate every performance.
1975 Drummer George Danielles a drummer for the hall of fame .
Together, they’re a cohesive force, a band in the truest sense. At Glastonbury, they played not like hired hands or background musicians, but like brothers—a family bound by the music they make. It was Healy, of course, who brought them all together, and it is his vision that they continue to follow. But it’s the synergy of all four that gives the band its power.
The 1975
The Glastonbury crowd, thousands strong, didn’t just watch—they listened. When Healy pleaded with them to “be kind” and to “make a difference,” they responded not with cheers but with thoughtful silence, a stillness that only true impact can elicit. Few performers have that kind of power. It’s the rare ability to hush a festival crowd, not with volume but with vulnerability.
And already, there are imitators—artists scrambling to mimic his stage presence, his fashion, his lyrical style. We won’t name names—let’s be kind, as Healy would urge—but the influence is undeniable. The 1975 are not just leading; they’re redefining the genre.
As the final chords rang out into the Glastonbury night, one thing became clear: this was a moment that would be remembered. The band could have easily played for another hour, and no one would have left. But sometimes, leaving them wanting more is the mark of a true master. And Matty Healy, for all his self-doubt and sarcasm, is exactly that—a master performer, a cultural touchstone, and yes, perhaps the Pied Piper of modern rock.
The world will keep watching. The arenas will fill. And The 1975 will continue to evolve, to provoke, and to inspire. Glastonbury may be behind them, but their story is far from over.
END
Why The 1975 and Matty Healy Support LGBTQ+ Rights and Fund Them
In an era where performative allyship is all too common in pop culture, The 1975 have carved out a reputation for genuine advocacy—particularly when it comes to LGBTQ+ rights. Fronted by the passionate and outspoken Matty Healy, the Manchester-based band not only vocalizes support but backs it with real action and funding.
Healy and his bandmates—George Daniels, Adam Hann, and Ross MacDonald—aren’t just a group with a large LGBTQ+ following; they’ve actively embraced and empowered the community. Their hit “Loving Someone” has become something of a modern gay anthem, resonating deeply with queer fans for its themes of identity, love, and resistance to conformity.
But their commitment goes well beyond lyrics. In a tangible display of support, The 1975 donated £16,000 to help create an LGBTQ+ centre in London—a meaningful contribution aimed at fostering safe spaces and community resources. As Healy himself said, “You might wonder why this is needed and ask what exactly everyone is still scared of, but sadly stigma still exists.” It’s clear he understands the ongoing challenges faced by LGBTQ+ individuals and refuses to remain silent.
Healy’s activism isn’t just about charity—it’s also about calling out injustices. At the BRIT Awards, he used his platform to highlight misogyny in the music industry, quoting journalist Laura Snapes to critique the double standards applied to male and female artists. This kind of intersectional awareness is why his advocacy rings true.
Part of Healy’s inclusive worldview stems from his upbringing. With a gay icon for a mother—actress Denise Welch—and a father known for playing drag characters on TV, he grew up immersed in queer culture. Labels never mattered in his household, and that open-mindedness clearly carries into both his personal life and public platform.
What truly sets The 1975 apart, though, is how authentic and accessible they remain despite global fame. Backstage at a packed O2 concert, Healy was more concerned about making sure a guest had a drink than what he was going to wear on stage. That sincerity, that desire to connect rather than dominate, defines their relationship with fans—especially LGBTQ+ fans who have long searched for artists that don’t just exploit queer culture but stand alongside it.
In short, The 1975 aren’t just the band everyone’s talking about because of their catchy songs or chart success. They matter because they’re using their platform with genuine purpose—offering representation, safe spaces, and support for those who need it most.
Michael Edde, celebrity barber and owner of a legendary shop in Earl’s Court, London, is creating a buzz among locals, celebrities, and some of the best-groomed men in the city.
Known for his sharp cuts, signature fades, and impeccable beard work, Michael has become a go-to name for those who take grooming seriously.
In this issue of 2Shades magazine, he shares his top 5 summer tips to keep your hair and beard looking fresh, stylish, and perfectly on point — no matter how high the temperatures rise.
From heat-proof styles to beard maintenance in the sun, Michael’s expert advice will have you turning heads all season long.
Michael with presenting star Eamonn Holmes .
Top five tips for Summer hair .
Summer is all about keeping it sharp but effortless. I always tell my clients to go for clean, textured cuts that work with the natural flow of their hair — not against it. Think lighter on the sides and a little movement on top; it keeps things fresh without needing too much product.
Humidity can be your enemy, so choose styling products wisely. Swap out heavy waxes or pomades for lightweight clays or sea salt sprays. They give hold without weighing the hair down, and they let you run your hands through it without that greasy feel.
If you’re growing out a fade or wearing a buzz cut, now’s the perfect time to experiment. Sunlight adds natural dimension, and a well-blended skin fade can really frame the face and show off bone structure — especially with a bit of tan.
Shorter styles are ideal in the heat, but that doesn’t mean boring. Ask your barber for a cut that suits your face shape and hair type — something that looks good messy or styled, so you’re not locked into one look.
And finally, book in for regular neck trims and tidy-ups. Nothing kills a clean summer look faster than a fuzzy neckline or untamed sideburns. Little maintenance goes a long way in looking polished without looking overdone.
Top Five tips for summer beards.
Summer can be brutal on beards, so it’s all about smart grooming. The sun, heat, and humidity will dry out your beard faster than you think, so hydration is everything. I always recommend using a lightweight beard oil daily — it softens the hair, nourishes the skin underneath, and keeps you from itching like mad in the heat.
Washing your beard properly is key. Don’t just use your regular shampoo — that’ll strip out the natural oils. Go for a dedicated beard wash two to three times a week, and follow it up with a conditioner if your beard’s longer or feeling coarse.\
If you’re growing it out, patience is your best friend — but so is a good shape-up. Don’t wait until it’s wild and uneven. Pop in every couple of weeks for a tidy-up around the cheeks, neckline, and ‘tache. A clean outline makes even a shorter beard look intentional and stylish.
Exfoliating the skin beneath your beard might sound over-the-top, but trust me — it helps prevent ingrown hairs, flakiness, and clogged pores, especially in the heat. A gentle scrub once a week keeps everything fresh underneath.
And finally, protect your beard from the sun. Yep, that’s a thing. Just like your scalp, your beard can get UV damage. Look for beard products with SPF or run a tiny bit of your facial sunscreen through the beard — it’ll save you from dryness and colour fade.
Hi it is Anna here founder of the autism charity Anna Kennedy Online. Since starting the charity in 2009, my passion has always been to raise awareness, acceptance, and understanding of autistic individuals and their families. Over the years, through our events like Autism’s Got Talent and The Autism Hero Awards, I’ve had the privilege of meeting so many incredible people who continue to inspire me every day.
This Pride Month, I want to take a moment to celebrate our autistic LGBTQ+ community members—many of whom still don’t feel fully seen or supported. Inclusion isn’t just a buzzword; it means accepting and embracing every part of who someone is. I’ve spoken to young people and families who are navigating this intersection, and I know how important it is to feel heard, respected, and safe to be your true self.
This column is a reminder that you are not alone. You matter. You belong. And we see you and your welcome at AKO Love Anna xxxx
Why do you think it’s important to recognise and celebrate Pride Month within the autism community? Recognising and celebrating Pride Month within the autism community is important because it fosters a sense of belonging, validates the experiences of LGBTQ+ autistic individuals, and promotes greater understanding and acceptance. This recognition challenges the misconception that autism is solely a deficit and instead highlights the unique strengths and contributions of autistic people. We’ve seen this time and time again through our events such as Autism’s Got Talentand The Autism Hero Awards.
What are some of the unique challenges that autistic individuals who are also LGBTQ+ face? Autistic individuals who are also LGBTQ+ often face the challenge of navigating two distinct communities. This can lead to increased isolation and mental health struggles. Some people I’ve spoken to find it difficult to feel fully understood and accepted, as they may not feel they completely fit within either the autistic or LGBTQ+ communities.
How does your organisation support autistic people who identify as part of the LGBTQ+ community throughout the year—not just during Pride Month? Since launching our charity in 2009, we’ve always been supportive of the LGBTQ+ community. We’ve offered advice and support to individuals and families who’ve reached out, and we’ve proudly included many LGBTQ+ performers in Autism’s Got Talent, as well as nominees for the Autism Hero Awards. Our team includes a wonderfully diverse group of ambassadors, charity patrons, and volunteers who reflect our inclusive values.
Autisms Got Talent
Have you noticed an increase in autistic people feeling confident to express diverse gender or sexual identities in recent years? In my opinion, yes—there is growing awareness, acceptance, and confidence among autistic individuals when it comes to expressing diverse gender and sexual identities. Research supports this trend, and organisations like Reframing Autism are playing an important role in empowering autistic people to explore and embrace who they are.
How can parents, carers, or educators better support young autistic people who are exploring their gender or sexual identity? The most effective way to support young autistic individuals exploring their gender or sexual identity is through active listening, affirmation, and creating safe, respectful environments. This includes using preferred names and pronouns, sharing reliable resources, and helping them access both peer and professional support networks.
How can Pride events become more sensory-friendly or accessible to autistic attendees? Have you worked with any organisers to help with this? To make Pride events more sensory-friendly, organisers should consider providing quiet zones, visual guides, clear schedules, and accessible information. It’s also vital to ensure authentic and diverse representation within the planning teams. While we haven’t yet partnered with organisers on this specifically, it’s something we’d be very open to in the future.
Do you see any stereotypes or misconceptions that still need to be challenged when it comes to autism and LGBTQ+ identities? Yes, there are several. One persistent misconception is that being both autistic and LGBTQ+ is rare, when in fact, research shows a significantly higher prevalence of LGBTQ+ identities among autistic individuals. Another issue is the lack of visible role models and media representation. Although awareness is growing, we still need more positive stories and accurate portrayals of autistic LGBTQ+ people in the media and beyond.
What message would you like to share during Pride Month on behalf of the autistic community—especially those who often feel invisible in both autism and LGBTQ+ spaces? My message is: “You are seen. You are valid. You are loved. Don’t be afraid to embrace your authentic self. Find your space, take your time, and know that there is a community ready to welcome and support you.”
A great headshot can open doors — whether you’re an actor, a creative, or a professional. Choosing the right photographer, preparing properly, and understanding the process can make all the difference. In this guide, I answer some of the most common questions about headshot photography, share tips from my personal experience, and offer advice for anyone considering a career behind the camera.
1. What should I look for when searching for a photographer to do my headshots? Recommendations and word-of-mouth referrals are a great place to start. Always review a photographer’s previous work by browsing their website and social media profiles. Pay attention to the style and quality of their photography. Check if they specialize in headshots or if they have broader experience in different types of photography — both can be beneficial. Most importantly, ask yourself: Do you like their work? Trust your instinct and choose someone whose style resonates with you.
2. If I am an actor looking to use the headshots for my “Spotlight” profile, are there specific rules I should follow? Yes, there are a few important guidelines to keep in mind:
The photograph must look like you — authenticity is key.
It should be a close-up of your face, typically from the shoulders upwards, and usually in portrait orientation (standard size is 10”x8”).
Submit a selection of no more than six images, showcasing slightly different looks — for example, hair styled up and down, smiling and serious expressions. There’s no need for exaggerated acting in your photos.
Keep makeup minimal and natural. Simple is best.
Your headshot should invite the viewer to want to know more about you, sparking curiosity.
If you have facial hair, it’s a good idea to show options both with and without it, helping casting directors visualize you in various roles.
3. Is there anything I should avoid before a photoshoot, like spray tans or getting a new haircut? Absolutely! Avoid making drastic changes to your appearance just before the shoot. Skip the heavy spray tans or any extreme fake tanning — you don’t want to look “Tango’d”! Stay true to your natural look, as the photos need to reflect how you appear in person.
4. What should I do to prepare before the shoot? Stay in touch with your photographer beforehand. They can offer advice on what clothes to bring and what styles work best. Connecting with the photographer ahead of time will also help you feel more relaxed and confident on the day. Plan your journey carefully. Know your route and allow plenty of time so you can arrive calm and not rushed.
5. On the big day, how should I arrive at the shoot? Aim to arrive early. Give yourself time to settle in, organize your clothes, and make final choices about what you’ll wear. The more prepared and calm you are, the better your photos will turn out.
6. If I’m not used to posing for the camera, do you have any tips? Yes! Most importantly, trust your photographer. Follow their guidance and instructions — they know how to get the best out of you. Relax and be yourself. A good photographer will help you feel comfortable and confident.
7. How did you become a photographer? I went straight from school into studying photography at college. After graduating, I joined a small business studio in Victoria called The Downstairs Studio, where I quickly gained valuable experience in headshots and corporate photography. At just 18 years old, it was both challenging and exciting to find myself covering press releases and presentations, even venturing into the House of Commons! I made a point of looking up to photographers whose work I admired and started assisting them to gain real-world experience. Soon after, I joined a studio full-time, using every opportunity to learn about lighting, observe different shoots, and build my own portfolio. At the time, it was common practice to take your physical portfolio to magazine picture editors and pitch yourself directly. My first commission came from The Mirror Magazine, and from there, many doors opened. That was over 30 years ago — and the journey continues!
8. Do you have any tips for those wanting to get into photography? Assisting established photographers is one of the best ways to break into the industry. Learning directly from professionals is invaluable. Working as a studio assistant is another great way to meet photographers and build connections. Be enthusiastic, be helpful, and ask lots of questions! These days, you also have an incredible range of online resources at your fingertips. Platforms like YouTube offer endless technical guidance. Research photographers whose work you admire and learn from their approach and style.
9. Which photographers do you admire? David Bailey — an incredible inspiration, especially his approach to portraiture and fashion. Henri Cartier-Bresson — a master of capturing moments in time and a true storyteller through reportage photography. Helmut Newton — I loved how he challenged norms and pushed boundaries through his striking portraits. Of course, there are many others, but these are some of the greats who have shaped my vision.
10. You are exhibiting at “Autism and Art” in May. Are you looking forward to it? Absolutely! Photography and art offer wonderful ways to communicate and express oneself. They can also be incredibly therapeutic. Exhibitions like “Autism and Art” are so important because they inspire others to challenge themselves, find their own creative outlets, and perhaps discover a new passion. I’m very excited to be part of it and to see how art can continue to open doors and touch lives.
2Shades Magazine 