Among the many remarkable talents emerging from Britain’s vibrant and ever-evolving music scene, there are rare artists who make you stop, listen, and instantly want to know more. Those moments are special. They are the moments when you sense that something extraordinary is unfolding.
Recently, I had one of those momentswith MEEK, the Brixton-born singer who is quietly, and confidently, carving out her own space in pop music. One listen to her debut single, Fabulous, and I found myself putting down my latte and leaning in closer, eager to discover the voice behind the sound.
Fabulous, taken from her debut EP, is more than just an introduction—it is a statement of intent. From the very first notes, MEEK announces herself as an artist who understands exactly who she is and what she wants to express. Her voice is clear, confident, and emotionally resonant, drawing listeners in with effortless charm. There is a richness to her tone that feels both contemporary and timeless, blending modern pop sensibilities with classic showmanship.
Beyond her vocal talent, MEEK possesses something far rarer: presence. She commands attention without trying too hard. There is humour in her delivery, intelligence in her lyrics, and a distinctive style that makes her impossible to ignore. Watching her perform, you don’t simply hear a song—you experience a personality. Every gesture, expression, and note feels intentional, crafted to connect with her audience.
It would be easy to label her “the British Lady Gaga,” and while there are certainly echoes of boldness, theatricality, and fearless self-expression, such a comparison is ultimately limiting. MEEK is not following in anyone’s footsteps. She has developed her own musical identity—one that blends pop, performance, and personality into something refreshingly original. Her songs feel deeply personal yet universally relatable, celebrating individuality while inviting everyone along for the journey.
What also stands out is her natural ability to create joy. Her music is uplifting without being shallow, playful without losing depth. Fabulous is not just an anthem of confidence; it is a reminder that embracing who you are can be both powerful and fun. In an industry often driven by trends and formulas, MEEK’s authenticity feels like a breath of fresh air.
Crucially, she embodies the qualities of a modern pop icon: inclusivity, self-belief, creativity, and courage. She speaks to a generation that values honesty and representation, and she does so with glamour, wit, and heart. It is no surprise that many already see her as a potential LGBTQ+ icon in the making.
With her talent, charisma, and clear artistic vision, MEEK is not just another promising newcomer—she is an artist with global potential. If Fabulous is any indication of what lies ahead, this is only the beginning of a remarkable journey. The world should pay attention. A star is rising, and her name is MEEK.
An amazing Super Bowl half time show with Bad Bunny and lady Ga Ga
For just over thirteen unforgettable minutes, Bad Bunny showed the world what America can be at its very best.
In an era too often dominated by division, fear and noise, the Puerto Rico–born megastar delivered something rare and precious: a performance rooted in empathy, diversity, unity and love. It was a reminder that kindness still matters. That culture still connects us. And that music, when created with honesty and heart, has the power to heal.
Watching his Super Bowl performance, I felt goosebumps ripple through me. It was one of those rare moments that catches you off guard — when entertainment quietly becomes something deeper. Tears welled in my eyes, not just because of the spectacle, but because of what it represented. When Bad Bunny, born Benito Antonio Martínez Ocasio, later handed his Grammy trophy to a young boy, it symbolised everything he stands for: generosity, humility, hope, and the belief that success means very little if you do not lift others with you.
Only a week before that performance, he had achieved another historic milestone, winning multiple Grammys and securing Album of the Year for a Spanish-language record — the first time in the ceremony’s history. It was far more than a personal triumph. It was a cultural moment. It declared, loudly and clearly, that Spanish-speaking artists, stories and voices belong at the very centre of global culture.
A Voice for Millions
Bad Bunny represents more than music. He represents identity.
Over 50 million Americans speak Spanish, and many millions more around the world share that language. For decades, their stories were often pushed to the margins. Today, through artists like Bad Bunny, those voices are finally being heard — not as niche or alternative, but as mainstream, powerful and essential.
What makes his music so extraordinary is that you do not even need to understand every word to feel its impact. I have sat in operas sung in German and Italian and been deeply moved without speaking either language. Music, at its best, transcends translation. It lives in rhythm, tone, emotion and feeling.
Bad Bunny’s songs do exactly that. They make you want to dance. They make you want to smile. They make you want to belong. They invite everyone into the room — regardless of age, background or nationality — and say, “You are welcome here.”
That sense of inclusion is no accident. It is the foundation of his work.
More Than a Performer
What truly sets Bad Bunny apart is not just his talent, but his courage.
He has consistently challenged stereotypes around masculinity, fashion and identity. He wears nail polish. He experiments with clothing. He speaks openly about mental health. He advocates for LGBTQ+ rights. He stands up for his community when injustice strikes. And he does so without preaching, without arrogance and without apology.
In doing so, he has become a role model for millions who may never have seen themselves reflected in mainstream culture before. Young men who felt pressured to hide their softness. Young people who felt different. Young artists who wondered if there was space for their voice.
Bad Bunny proves that there is.
And that authenticity is not weakness — it is strength.
A Night of Healing
His Super Bowl performance was not just entertainment. It was a tonic for the soul.
At a time when many Americans — and people across the world — are grappling with uncertainty, financial pressure, social division and emotional fatigue, the show offered something desperately needed: joy.
It reminded us what it feels like to be united by a shared moment. To laugh, cheer, sing and dance together. To forget our worries, even briefly, and simply exist in celebration.
That is the true power of culture. It builds bridges where politics builds walls.
truly beautiful as love came together Lady Ga Ga , Ricky Martin and Bad Bunny ,
Standing Among Legends
Bad Bunny was not alone in delivering that message.
Lady Gaga’s performance of Hold My Hand was another beacon of light — a moving tribute that honoured courage, compassion and resilience. Her voice carried both strength and vulnerability, reminding us that patriotism is not about shouting the loudest, but about caring the deepest.
I was lucky enough to see Lady Gaga when she was just starting out, performing at Wilton Manors’ Bill’s Filling Station. Even then, she had that unmistakable spark — that sense of destiny. Watching her now, on one of the biggest stages in the world, is proof that talent paired with integrity can take you anywhere.
Meanwhile, Ricky Martin joined Bad Bunny for a beautiful rendition of Lo Que Le Pasó a Hawaii. It was emotional, elegant and deeply symbolic — a meeting of generations, cultures and histories. Two Puerto Rican artists, united on a global stage, honouring their roots while embracing the future.
It was breathtaking.
A New Definition of Success
For years, success in the music industry was defined narrowly: English-language hits, a traditional image, predictable branding. Bad Bunny has shattered that formula.
He sings in Spanish. He blends reggaeton, trap, pop and Latin rhythms. He refuses to be boxed in. He puts his community first. And he remains grounded, despite global fame.
That is why people love him.
Not because he is perfect, but because he is real.
He celebrates his culture without excluding others. He embraces fame without losing humility. He challenges norms without seeking attention. And he gives back without seeking praise.
In a world obsessed with image, he offers substance.
Love Over Hate
Perhaps the most powerful message of all was the simplest: love wins over hate.
At a time when headlines are filled with anger and conflict, Bad Bunny’s presence said something different. It said that diversity is strength. That kindness is power. That unity is possible.
His performance was not political in the traditional sense. It was something better. It was human.
It reminded us that beneath labels and borders, we are all moved by rhythm, melody, emotion and story. We all want to feel seen. We all want to belong. We all want to hope.
And for thirteen extraordinary minutes, Bad Bunny gave us exactly that.
A Moment We Needed
Looking back, it truly was one of the finest Super Bowl halftime shows in history — not just for its production, but for its heart.
It was a celebration of heritage. A statement of inclusion. A masterclass in artistry. And a powerful reminder of why music matters.
Bad Bunny did not just perform.
He connected. He inspired. He healed.
And in doing so, he showed the world that greatness is not measured by charts or trophies alone, but by the lives you touch along the way.
In uncertain times, he gave us certainty. In divided times, he gave us unity. In weary times, he gave us joy.
And that is why the world has fallen in love with Bad Bunny.
In the ever-evolving landscape of British entertainment, certain personalities burst onto the scene with such warmth and authenticity that audiences instantly connect with them. One such figure is Joe Marler, whose transition from sporting hero to television favourite has been nothing short of remarkable. From rugby pitches to reality TV, and now into the world of podcasting, Marler has carved out a unique space — and his talk show, Will See You Now, is fast becoming one of the most talked-about formats in modern media.
For many viewers, Joe truly captured hearts during his appearance on The Traitors. By the end of the series, it was almost impossible not to develop something akin to a “man crush” on him. He emerged as everyone’s favourite dad, big brother, and loyal mate rolled into one — approachable, funny, and refreshingly honest.
What made Joe stand out was not just his gameplay, but his no-nonsense approach to life. He didn’t pretend to be someone he wasn’t. His humour was natural, his reactions genuine, and his emotional intelligence quietly impressive. In a show built on deception and suspicion, Joe’s openness felt like a breath of fresh air.
When the dramatic finale arrived and Joe was eliminated just short of victory, many viewers felt he had been unfairly “robbed.” Social media lit up with disappointment, with fans lamenting the loss of one of the show’s most likeable contestants. Yet, in typical Joe fashion, he handled defeat with grace and good humour — proving once again why audiences admired him so deeply.
Thankfully, The Traitors was far from the end of Joe’s television journey. Instead, it marked the beginning of something even more personal: his own talk show and podcast, Joe Marler Will See You Now.
Available on YouTube and podcast platforms, the show takes an unconventional and delightfully playful approach to interviews. Set up as a kind of “clinic,” Joe positions himself — tongue firmly in cheek — as an unqualified therapist, ready to examine the minds, stories, and quirks of his guests. the “Clinic”: Joe is joined by his faithful assistant, Jake, as they host sessions featuring awkward small talk and probing questions.With Janet coordinating who we never see.
But make no mistake: behind the humour lies genuine insight. Joe has an uncanny ability to make people feel relaxed, safe, and willing to open up. He doesn’t interrogate; he converses. He listens. He reacts. And in doing so, he creates moments of real connection that traditional interview formats often fail to capture.
One of the most celebrated episodes to date features Stephen Fry, a guest whose presence alone elevates any conversation. In this standout instalment, viewers are treated to a rare blend of wit, wisdom, and vulnerability. Hillarous moment when he pretends to be Joe and message the Traitors whatsapp group as him asking if he should open and “Only fans page “
Johnathan Ross replys sure and do forget to include a free microscope for members. Others were more encouraging
The episode sees Fry reflecting on creativity, mental health, fame, and identity, while Joe responds not as a distant host but as an engaged, curious human being. Their chemistry is effortless — at times deeply moving, at others laugh-out-loud funny. It is a masterclass in how thoughtful conversation can still thrive in the digital age.
For many fans, the Stephen Fry episode confirmed that Will See You Now is more than just a celebrity chat show. It is a space for meaningful dialogue — where humour and heart sit side by side.
Other episodes have featured comedians, athletes, entertainers, and public figures, each bringing their own stories and struggles to the table. Whether discussing career highs, personal setbacks, or unexpected life lessons, Joe guides every conversation with empathy and authenticity.
What makes the show truly compelling is Joe himself. He never hides behind a polished persona. He is honest about his own doubts, his mistakes, and his journey. That openness invites guests — and viewers — to be open too.
In an age where many celebrity interviews feel rehearsed and formulaic, Will See You Now feels refreshingly real. It’s unpredictable, warm, occasionally chaotic, and always engaging. You never quite know where the conversation will go — and that’s exactly the point.
Joe Marler’s evolution from rugby star to beloved broadcaster has been organic and heartfelt. He hasn’t chased fame; he’s simply followed curiosity and stayed true to himself. And audiences have followed willingly.
With standout episodes like the one featuring Stephen Fry, and a growing list of fascinating guests, Joe Marler Will See You Now is quickly establishing itself as a must-watch series. It’s the talk show everyone wants to be on — and increasingly, one everyone wants to watch.
In a world hungry for authenticity, Joe Marler is delivering it, one conversation at a time. Lets have it a main stream show as it is funny orginal and what we need right now .
It’s All Hanky Panky as the London Fetish Film Festival Returns
It is all hanky-panky as the London Fetish Film Festival returns for its seventh year, once again lifting the curtain on a world that many people are curious about, some quietly participate in, and others still regard as taboo. Fetish, after all, has always occupied that fascinating space between the private and the performative, the misunderstood and the mythologised.
Long before hashtags and streaming platforms, Madonna helped drag fetish culture into the mainstream. In the 1990s she didn’t just flirt with provocation; she weaponised it. Her song Hanky Panky cheekily suggested there was nothing quite like a good spanking, while her 1992 book Sex boldly invited readers to explore fantasies ranging from bondage and domination to submission and exhibitionism. What had once been whispered about behind closed doors was suddenly glossy, photographed, and unapologetically public. Madonna didn’t just shock — she reframed desire as something to be examined rather than hidden, daring readers to “make love in Paris” or “let her be your mistress”.
Then came Fifty Shades of Grey, which flew off bookshop shelves and dominated bestseller lists. Its story of a young woman entering a sexually dominant relationship with a billionaire reignited debates about power, consent, and feminism. Critics argued it set women’s liberation back decades, yet the reality was more nuanced. I couldn’t help noticing how many women were reading it openly — on trains, on planes, in cafés — suggesting that whatever the book’s flaws, it tapped into something real and widespread.
50 shades spanking .
It’s often said that one in three of us has a submissive side. But I’ve always wondered: if the dominant figure in Fifty Shades lived in a council flat rather than a penthouse, would the story have been as romanticised? Or would he have been slapped, arrested, or both? Wealth and aesthetics, it seems, can dramatically change how power dynamics are perceived.
Of course, fetish itself is nothing new. Evidence of flagellation, bondage, and erotic imagery can be traced back to cave drawings, ancient Egypt, and the Roman Empire, who were particularly enthusiastic when it came to indulgence. Some argue certain fetishes may stem from childhood trauma, but that’s a conversation for another article entirely.
Like many people coming of age in the 1990s, I wore the leather trousers and biker jacket, blissfully unaware that I was echoing a long-standing visual language of rebellion and desire well thats what I tell people . Clubs embraced biker and fetish aesthetics, encouraging people to explore what was often described as their “forbidden side”. London saw nights like Torture Garden spring up at venues such as the Hoist, while across the Atlantic the New York gay scene was already miles ahead. The Eagle, with its hyper-masculine leather culture in the 70s and 80s, set a template that still influences fetish spaces today.
I once thought of myself as very liberal and worldly — until Florida taught me otherwise. In a celebrity-frequented club with a strong fetish theme, people dressed as if they’d stepped straight out of Madonna’s Sex era or a George Michael video, playing with master-and-slave imagery. Much of it felt like cosplay: people loved the look but many would run a mile if a leather daddy’s belt actually landed near them. They admired the surface without really understanding the psychology beneath it.
Tom Of Finland fantasy .
Over the years, many dominatrices have told me the same thing: a large number of their clients are men who hold immense power in everyday life — heads of companies, senior military figures, decision-makers used to absolute control. For an hour or two, giving that control away can be a profound relief. When discussed openly and practised safely, role-play can even strengthen relationships. Yet for a small section of society, this isn’t theatre at all — it’s identity.
One moment in particular floored me. A man at a club stared at me so intensely it became unsettling. My friend eventually asked him what he wanted. He vanished — or so we thought. Five minutes later, I felt something brush my ankles. Looking down, I discovered a man in a full black cat suit. My friend laughed and said, “It would happen to you.” I was told to at least stroke the poor thing. It was, quite literally, the last time I went for a pussy.
Just when you think you’ve seen it all.
Which brings me to cinema. While the Fifty Shades films were largely dismal, I was curious about what a gay equivalent might look like. After all, who didn’t fall for Alexander Skarsgård in True Blood? As a vampire who commanded worship and dismissal in equal measure, he embodied dominance with chilling ease.
The film Pillion, despite rave reviews, sadly fails on many levels to explain the dom-sub relationship. While I admire the decision to use real fetishists, it never quite lands emotionally. Ironically, it does highlight one truth often misunderstood: the submissive is frequently the one truly in control, setting boundaries and rules. Beyond that, the sex scenes are oddly cold, and I found myself more worried about the dogs tied up and left alone than anything else.
There is a brilliant dom-sub film waiting to be made. Pillion isn’t it — not an amazing love story, not a revelatory exploration — but watching Alexander Skarsgård is reason enough to give it a look. That, of course, is just my opinion. Many people are raving about it.
The film is screening as part of the London Fetish Film Festival, and I’d urge you not to take my word alone. Dive in, make up your own mind, and perhaps discover that fetish, like all good cinema, tells us as much about ourselves as it does about what’s happening on screen.
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LFFF: Shorts Session 1
Saturday 21st February
4pm
93.47min run time
Featuring 8 short films
Tickets £12
Join us for a dripping new curation of ‘Fun Fetish’ and 2024 LFFF award winning short films!
Indulgent Delights
8mins 11secsAn electrifying front row seat as burlesque performer Leila Delicious adorns her body with
glitter.
Lee in Leatherland
6mins
The speaker, a queer man searching for the hypermasculine fantasy figures drawn by Tom
of Finland, journeys from Helsinki to London in pursuit of desire made flesh. In Vauxhall’s
clubs and darkrooms, he encounters the sweaty, neon-lit world of gay nightlife – full of
longing, bravado, and disappointment.
Darwin Fantasia
10mins 56secs
Canela immerses herself in Darwin’s studies on the plant world, focusing particularly on The
Fertilisation of Orchids. As she explores the meticulous accounts of interactions between
plants and insects, she discovers something that goes beyond mere survival: a web of
curiosity, play, and pleasure that also seems to captivate the naturalist himself.
2024 Award Winners: Best Short + Best Screenplay
A Pacific Touch
37mins 43secs
This is a story about love. Isolation, and an unusual obsession. Alexei , a young man,
becomes consumed by his passion for his new wallpaper, slowly withdrawing from the world
outside. As he drifts deeper into his fixation, Texture Pasifique explores the limits of love and
obsession, revealing the complexities of intimacy with both people and objects.
Jacked Out
7mins 53secs
What is a virtual pet in an era of mass surveillance? Jack out of the Y2KAGE in this erotic
hauntology film probing the persistent feedback loops of future’s past in our present, forces
of technological dominance, and virtual pets unleashed!
2024 Award Winners: Best Animation
Klimax
2min 47secs
Klimax explores the topic of female masturbation in order to redefine the already negatively
connoted image of the female sex and thus strives to create new aesthetic associations of
femininity. Our main protagonist, Barbie, undergoes a process of transformation.
My Perfect Dolly
17mins
A pretty pink dollification scene with two non-binary plus size femmes, followed by a
conversation.
Lupae x Hardwerk4mins 37secs
LFFF: Shorts Session 2
Saturday 21st February
6:30pm
Full run time with interval 149.24mins
Featuring 20 short films
Tickets £15
Join us for a dripping new curation of Kink Art, Fetish Horror and 2024 LFFF award winning
short films!
The Nest
7mins
It’s the first night he’s bringing someone home. They must be quiet.
2024 Award Winners: Best Edit
What if I Told You to
4mins 21secs
Official music video
2024 Award Winners: Best Comedy
Squeegee
10mins 54secs
A high-powered businesswoman meets a high-rise window-washer for an erotic rendezvous
on opposite sides of her skyscraper window.
Fetish
21mins
Oddball Clark meets the girl of his dreams, but the relationship is threatened by his foot
fetish.
2024 Award Winners: Best Production Design
The Debutante
14mins 35secs
When a young woman agrees to satisfy a peculiar request in exchange for a luxurious pair of
shoes, what begins as a simple act of submission soon spirals out of, and then into, control –
reshaping her identity and his shoe collection.
Guro
7minsIn the harsh Arctic landscape of Longyearbyen, Guro meets a mysterious client for a
straightforward transaction. However, as they travel together along the isolated, icy roads,
the client makes an unusual request that tests Guro in unexpected ways.
Virgin X – Billionaires
2mins 18secs
Official music video
20 MINS INTERVAL
Operotica: Stabat Mater
4mins 22secs
A music video for Operotica’s re-orchestration of the first movement of Pergolesi’s Stabat
Mater, featuring Operotica as latex-clad nuns, rigged together with shibari by Dominatrix
Veronica Viper. The awkwardness of their positioning reflects the close suspensions in the
music
Virgin X – Splinters
3mins 25secs
Official music video
Bath Bomb
9mins 55secs
A possessive doctor prepares an ostensibly romantic bath for his narcissistic boyfriend, but
after an accusation of infidelity, things take a deeply disturbing turn.
2024 Award Winners: Best Sound Design
Mutations of Desire
5mins 27secs
A queer tribute to the Cronenberg film, Deadringers. Sade and Odette create a disorienting
world of latex, strange medical instruments, and hallucination.
Woman ASMR
4mins 25secs
A woman and her microphone provide an erotic autonomous sensory meridian response.
Virgin X – Shame
3mins 48secs
Official music video
2024 Award Winners: Yes it’s F*cking Political
Dori Dori
3mins 39secs
In a world that tries to suppress who you are, Sara ATH shows
us that the soul can’t be caged and takes a stand against the shame and silencing of her
fellow queers. Rapping in Arabic, it’s her turn on the mic to sing out loud who she is and howproud she is – a rebellious act that may bar her from ever returning to her home country.
Symbolising the internal battles of accepting your sexuality and grappling with self-identity,
the music video explores the liberation and eventual acceptance of queer existence and how
‘orgasmic’ this enlightenment feels.
Vanessa
5mins
Making love to an inanimate body; the mannequin Vanessa.
2024 Award Winners: Best Costume + Best Music Video
Virgin X – Fuck Myself
3mins 23secs
Official music video
Hyperion
1min 44secs
Hyperion is a high order penitentiary complex. Walls rewrite identity, silence reshapes desire,
and every exit demands transformation. No one leaves Hyperion, at least not without
fundamentally changing themselves.
Blood – Humanification
1min
An intriguing creature seems to have fallen from the sky, confused and unmoored. It will
witness how its passage through Earth shapes its body and its identity, and how, slowly, we
all end in the same cage when we betray ourselves. Even the most rare and bizarre can be
shaped to humanity. No one escapes.
2024 Award Winners: Best Kink Moment (Human Chopping Board)
Thing
10mins 50secs
The everyday life of a mistress and her furniture slave. When he suddenly disappears, they
find themselves in an identity crisis.
Moan
8mins 38secs
Framed against a blood red haze of stark crimson backdrops, the conclusive short film
MOAN presents a visually penetrating feast. The ultimate climactic crescendo sees
unsuspecting strangers thrust into the throws of breath-slick tension, curdling curiosity
ultimately ending in a hypnotic descent of all-consuming indulgent, auditory stimulation.
Throbbing suspense, washed out groans and the illicit breathy moans staining the lips of
those who dare pick up the phone. The voice, wet, sticky and intoxicatingly close.LFFF: Documentaries
Sunday 22nd February
2:30pm
83.33mins runtime
Tickets £10
Sex in Colour: Kinky and Loving It
48mins 33secs
KINKY AND LOVING IT is an empowering documentary highlighting the transformative
potential of reclamation. Celebrating how Black folks reclaim agency over their desires,
bodies, and identities, KINKY AND LOVING IT is a liberating journey into the transformative
power of radical acceptance, reclamation, and love within Black kink.
Mr. Bound & Gagged
35mins
“Bob Wingate and Lee Clauss, former publishers of the legendary Bound & Gagged
magazine, open the archive and the floodgates in this richly layered excavation of queer
kink, media history, and erotic resistance. Set against the backdrop of the Leather Archives
& Museum in Chicago, this candid portrait splices salacious nostalgia with radical politics,
tracing decades of defiant desire, artistic transgression, and unapologetic love. A necessary
tribute to two aging icons of the underground.
” (CUFF32)
LFFF: Inside Fetish
Sunday 22nd February
4:30pm
92.43mins runtime
Tickets £12
On The Erotics Of Stuffing Large Objects Into Small Spaces
15mins
Aexperimental film about the submissive desire for restrictive bondage. The subject – a single figure
locked in a dog crate, hooded and caged – shares his internal monologue: “This cage will never be
comfortable, though I find it deeply comforting.
Ripples: Libra
5mins 36secs
A Shibari short from Director Guillaume Pin
Oasis6mins 34secs
Shot with super8 camera in the desert of Joshua Tree , this film is about a Gay Asian Cowboy
reconnecting with a version of his younger self via ropes.
Breakfast Time
17mins 58secs
A raw, intimate documentary about a queer pup eating breakfast from his dog bowl. As he eats, a
candid voiceover unfolds – reflections on the nature of desire and disgust, failed relationships,
encounters with gay-bashing, and the feeling of isolation that comes along with stigmatized desire.
Sanguine
4mins 54secs
A love letter to blood accompanied by seraphic, breathy music. Beau Flex (they/them) meditates on
the strength of flesh in this ritualistic solo scene. Engaging in self piercing play, Beau focuses on
coaxing blood out of their thigh, producing round ruby droplets. As they smear the blood upon their
skin, they smile at the release in their art.
Babyblue
4mins 27scs
An exploration of tenderness and catharsis through needle play. Shot on Finn’s last day in New York
City, this performance symbolises goodbyes and a rite of passage to mark their way back home.
σάρξ [Sarx]
1min 59secs
A masochist mortification of the flesh. A perversion of prayer.
A.S.F.R. (alt.sex.fetish.robots.)
5mins
Vudhi K., a Thai ASFR practitioner, recounts the process of transformation and the moment his fetish
first took hold. A memory, a primal scene, a mercurial awakening. The drag of a brush against skin
blurs the boundary between subject and object, drone and human. Featuring performers Damian
Dragon and Botan Peony.
2024 Award Winners: Best Director
The Pleasure in Pain
18mins 28secs
An arthouse short documentary following key figures of the London kink scene on an exploration into
BDSM and the notorious fetish event Klub Verboten. The film touches upon themes of psychology,
trauma, LGBTQ+ rights and black representation.
2024 Award Winners: Best Documentary
Lasting Marks
14mins 47secs
The story of a group of men with shared sexual desires, lucky to have found each other yet
unfortunate to be considered criminal for expressing them.LFFF: A Body to Live In + Short Films
Sunday 22nd February
6:30pm
122.57mins runtime
Tickets £15
2024 Award Winners: Best Performer + Best Cinematography + Festival Director’s
Choice
Subspace
20mins 18secs
This love-story being dom and sub is a BDSM film that explores the intimacy and trust
between partners.
Starring Commander Ares and Roughkicks
Dir. Matt Lambert
2024 Award Winners: Best Art Direction
The Architect
4mins 39secs
Odette Engle performing a process of inverted architectural mapping on the suspended body
of Cute But Deadly.
A Body to Live In
1hr 38mins
A BODY TO LIVE IN is a feature film that traces the life and work of legendary photographer,
performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through
investigating the body modification movement and the trajectory of Fakir’s art career and
philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s
early experiments in body play and his photographic works from the 1940s and 50s as a
springboard, the film traces the body modification movement as it emerged in LGBT
subculture in the early 1970s. The film introduces us to early collaborative experimentation
at gay underground BDSM parties, leading to the first piercing shop, moving through the
radical faerie movement and the role of body modification during the AIDS epidemic, the
emergence of body-based performance art, and the rise of an entire subculture. Insights
from key figures including Annie Sprinkle, Ron Athey, Idexa Stern, Cléo Dubois, Jim Ward,
Midori, and others provoke deeper reflections about art making, surviving AIDS, and the
controversial collaging of various spiritual and cultural practices to build a philosophy.
Captured in static 16mm film portraits, A BODY TO LIVE IN unfolds conversationally
between Fakir’s archive of 100+ hours of unseen footage, and the voices of the canonical
elders of this movement, to create intergenerational dialog, question cultural responsibility,
and provoke larger ideas about the drive to transcend the limits of the body.Please do mention our 2026 sponsors and collaborators:
Finding the perfect birthday experience for someone special is no small task—especially when expectations are high and the guest of honour is flying in from Lisbon with friends in tow. A month before the big day, my phone rang.
“Steven,” my best friend said, “I really want to do something fun for Hernando’s birthday. Something exciting. A show. There’ll be ten of us. What do you suggest?”
I’d been hearing whispers—more like delighted murmurs—circulating through my social circle about a production with just the right amount of cheeky X-factor. A show called SABRAGE. The reviews were glowing, bordering on evangelical, and once I looked further, the decision was made.
Described as an intoxicating collision of circus artistry, vintage glamour, high-octane acrobatics, and mischievous humour, SABRAGE promised far more than a conventional night out. It billed itself not merely as a show, but as an experience. And it
delivers—spectacularly.
On Saturday evening, we headed to King’s Cross, an area that has undergone one of London’s most impressive transformations over the past decade. Once gritty and utilitarian, it’s now a cultural and social hub buzzing with confidence. Lafayette, located just four minutes’ walk from the station, sits discreetly behind the main thoroughfare—an architectural gem that immediately sets the tone.
From the moment you arrive, the welcome is warm and efficient. Even security manages to be charming—no small feat. Before entering the theatre space, there are a few house rules. Chief among them: no photographs of nudity. This might raise an eyebrow or two, but rest assured—nothing here is gratuitous. Everything is artfully staged, elegant, playful, and firmly in good taste. If you’re easily offended, this may not be your night—but if you appreciate sensuality delivered with wit and intelligence, you’re in safe hands.
One of SABRAGE’s most impressive feats—aside from the performers themselves—is the seamless audience experience. Drinks and food can be ordered directly from your seat via a simple scan, and every member of staff we encountered was genuinely helpful, friendly, and clearly proud of the production.
The show opens with a theatrical pop—a sword cleanly slicing the cork from a champagne bottle—setting the mood instantly. Our hosts glide onstage, equal parts ringmaster and rogue, and from that moment, the audience is completely seduced.
Then comes the talent.
Almost immediately, the room developed a collective crush on Flynn Miller, whose high-flying aerial act is nothing short of breathtaking. There is a rare beauty in watching someone so utterly in command of their body, defying gravity with elegance, strength, and apparent effortlessness. His performance alone would be worth the ticket price.
But SABRAGE is far more than a one-man triumph. The cast—drawn from the very best international circus and acrobatic talent—deliver a relentless parade of jaw-dropping moments. There is danger, precision, laughter, and an undercurrent of delicious rebellion throughout. Vintage glamour collides with modern irreverence, and the result is electric.
What makes SABRAGE truly special is its balance. It knows exactly how far to push without tipping into excess. The humour is cheeky rather than crude. The sensuality is teasing, never tawdry. The spectacle is bold but controlled. Every act feels curated, every transition intentional.
By the end of the evening, our table of ten—birthday boy included—was unanimous. This wasn’t just a successful celebration; it was a night none of us will forget. SABRAGE doesn’t simply entertain—it exhilarates.
If you’re looking for something genuinely different in London, whether for a birthday, celebration, or simply because life deserves more champagne-fuelled circus brilliance, SABRAGE at Lafayette should be at the very top of your list.
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.
Riot Women — BBC’s Surprising Triumph of Grit, Wit and Pure Heart
There are times when you arrive home after a long day, craving nothing more profound than a cosy half-hour of television fluff — something light, comforting, and easy to disappear into. On the surface, Riot Women looks like exactly that: a vibrant title card, bold artwork, and a show pitched squarely at those who love a dash of spectacle. It would be very easy to hit play expecting a breezy, perhaps even camp, comedy-drama and settle back with a cup of tea.
But Riot Women is not that show. Not remotely.
If you only watch the first ten minutes, you could be forgiven for thinking you’ve been misled. The opening is stark, intense, and packed with enough emotional punch to make even the most resilient viewer mutter, “Oh no… this is going to be depressing,” and reach for the remote.
Yet turning it off would be a terrible mistake.
Because Riot Women quickly reveals itself to be television gold — unexpected, daring, and absolutely bursting with life.
At the centre of this explosive drama-comedy hybrid are the phenomenal Rosalie Craig and Joanna Scanlan, leading an ensemble cast that delivers performances of a calibre you rarely find in mainstream television. Between them, they light up the screen with such power and honesty you can’t look away. Rosalie Craig, especially, is a revelation. Known for her formidable stage presence in musical theatre, she brings the full breadth of her talent to this role: vocally electrifying and dramatically fearless, she swings from raw vulnerability to razor-sharp humour with impossible ease. It’s the kind of performance awards are invented for — at the very least, she deserves a BAFTA nomination.
Joanna Scanlan matches her beat for beat, offering a portrayal that is quietly astonishing — subtle, grounded, and capable of landing an entire emotional narrative with one look. Together, they create a dynamic that makes the story feel not just relevant but necessary.
Of course, no great television series exists without a masterful hand guiding it from the page. Here, that hand belongs to Sally Wainwright, one of Britain’s most exceptional screenwriters. Her voice is unmistakable: sharp, deeply empathetic, and rooted in the lived truths of women who refuse to be sidelined. Wainwright balances humour and heartbreak like a tightrope walker, proving again — as she did with Happy Valley and Last Tango in Halifax — that she knows exactly how to capture complicated, flawed, brilliant female characters. And then there’s Tamsin Greig, whose incomparable screen presence adds yet another layer of brilliance. Whether she’s delivering a deadpan line or revealing quiet vulnerability beneath stoic armour, Greig commands attention every moment she’s on screen. She becomes one of the show’s beating hearts — a character you’re compelled to follow, even in her silences.
What truly distinguishes Riot Women is its emotional honesty. The series dives into the frustrations, absurdities, and injustices faced by women whose lives haven’t gone according to plan — yet it refuses to let despair take the lead. Just when the narrative feels like it’s sinking into darkness, the humour kicks in. And not just comic relief for the sake of it — we’re talking whip-smart, laugh-out-loud writing delivered with perfect timing.
The absurdity is part of the point. Life can be relentless — but it can also be ridiculous.
The tone may zigzag, but that unpredictability is what makes the experience so exhilarating. One moment you’re laughing; the next you’re wiping away tears; then suddenly you’re cheering these women on as they find their voices and reclaim their stories. It’s a celebration of community, resilience, and rebellion — the quiet kind and the loud kind.
Yes, it can be camp — gloriously so — but never cheaply. The humour always comes from a place of truth. And through the satire, the show provides a sharp commentary on how society treats women who dare to age, to feel, to be imperfect, or to speak up.
The writing is confident and bold, unafraid of pushing boundaries. Each episode leaves you with a question — and a burning curiosity for what comes next. It is a story about what happens when ordinary women decide they’re done being polite and invisible. When they realise they have power. When they riot — not violently, but vocally, musically, and emotionally.
To call Riot Women a gem feels too small. It’s a series that arrives disguised as a guilty pleasure but reveals itself to be a gutsy, heartfelt, and beautifully crafted piece of British drama. It’s television that matters — without losing its sense of fun.
So if you begin watching and feel the instinct to switch over: don’t. Give it time. Let it breathe. Stick with the journey.
Because what you find is something rare: a show that reminds you we are all allowed to feel broken — and also allowed to dance, shout, laugh, and reclaim joy, whatever age we are.
Riot Women is bold. It’s brilliant. And it’s absolutely worth your time.
Blessings at Riverside Studios is a richly atmospheric and deeply human exploration of family, faith, and the moral turbulence of the 1960s. Directed with sensitivity and intelligence, the play captures a pivotal moment in British social history — a decade when traditional values clashed with the new freedoms of a changing world. It’s a thoughtful, gripping production brought vividly to life by a stellar cast, led by Gary Webster and an extraordinary debut performance by Freddie Webster.
Freddie Webster.
Set against a backdrop of shifting class structures and cultural awakening, Blessings weaves its story around a working-class family grappling with the personal consequences of societal change. The writing is sharp and heartfelt, with themes of loyalty, pride, and redemption pulsing beneath every exchange. The set design immediately evokes the texture of the 1960s — all formica kitchens, nicotine-stained wallpaper, and muted optimism — drawing the audience into a world both familiar and fading.
Rising Star Freddie Webster
At the centre of it all is Gary Webster, whose commanding presence anchors the production. Best known for his iconic turns in Minder and EastEnders, Webster once again proves he is one of the UK’s most underrated actors. His performance here is layered and magnetic: a man torn between old loyalties and the unrelenting push of modern life. He brings a bruised dignity to the role — a quiet strength mixed with a sense of defeat that feels heartbreakingly authentic. In a just world, this performance would cement his reputation as one of Britain’s finest stage actors.
Underestimated Gary Webster
Equally striking is the breakout performance of Freddie Webster, making his professional stage debut after studying at Mountview Drama School. It’s rare to see such poise, nuance, and emotional truth in a first-timer. Freddie delivers a performance that is at once raw and refined, capturing the restless energy of youth alongside the vulnerability of someone desperate to find their place in a world that doesn’t quite make sense. His natural stage presence and impeccable timing mark him as a talent to watch — a future star in the making. The chemistry between father and son, both on stage and in spirit, is palpable and moving, adding an extra layer of resonance to the drama.
Hannah Traylen, as Frances, deserves special mention. She brings warmth, wit, and quiet steel to a role that could easily have been overshadowed in lesser hands. Traylen’s Frances is a woman of her time but also ahead of it — sharp-tongued yet tender, pragmatic yet passionate. It’s a beautifully judged performance suggesting that Traylen is another rising talent with a bright future
Gary Webster and Hannah Traylen .
The supporting cast contribute solidly, creating a believable ensemble that breathes life into every corner of the story. The pacing of the piece, while deliberate, allows each emotional beat to land fully. If there is a minor quibble, it’s that the play runs a little long without an interval — at times, one finds oneself wishing for a short pause to absorb the emotional intensity before diving back in. Yet, in truth, this is a small price to pay for the richness of the experience. The continuous flow also has its advantages: it keeps the audience immersed, never breaking the spell the actors have so carefully woven.
Technically, Blessings is beautifully realised. Lighting and sound design work in quiet harmony to evoke both nostalgia and unease. The director’s attention to period detail ensures that nothing feels contrived; instead, every moment feels lived-in and real. The dialogue crackles with authenticity, alternating between humour and heartbreak in a way that mirrors real life.
Ultimately, Blessings is a triumph — a play that reminds us why live theatre matters. It challenges, it moves, and it connects. It holds a mirror up to a time not so long ago, showing us how the struggles of the past still echo in the present. Gary Webster delivers a masterclass in restrained power,
The result is an evening of theatre that feels both timeless and immediate — .
Why Katie Price Needs to Back Off and Let Her Kids Shine Without Her Interference
Growing up is never easy — not for the average teenager, and certainly not for those with famous parents. For most young people, adolescence is about carving out your own identity, deciding who you want to be, and pursuing your chosen career or further education. It’s a period of self-discovery and independence. But when your every move has been played out in the glare of the press since childhood, the challenge is far greater.
Children of celebrities live with a unique pressure. They’re often unfairly labelled with the now-infamous tag “Nepo Baby” — short for “nepotism baby” — a term referring to someone whose career mirrors or is connected to that of their famous parent. The implication is clear: their achievements aren’t earned but handed to them through family connections. The phrase is often used as an insult, suggesting that their success is unearned, undeserved, or simply the result of privilege.
Of course, this isn’t always the case. Some celebrity children go out of their way to avoid using their family name, working hard to make it on their own merits. In many instances, the public only learns of their famous parentage long after they’ve established themselves. On the flip side, stepping into the same spotlight as a parent and not quite measuring up can be devastating for mental health. The pressure to “live up to” a legacy can crush even the most talented young person.
Take Princess Andre, for example. She’s a young woman with dreams, ambition, and — crucially — talent. Under the guidance of Clare Powell, a woman I’d call a genius in the world of entertainment management, Princess has been making strides toward building her own career. Powell is the same powerhouse who played a key role in shaping Katie Price’s early career. Importantly, Katie is not directly involved in Princess’s current projects.
Stunning Princess Andrea
Now, I’ve been a huge supporter of Katie Price over the years — I’ve defended her when many wouldn’t. But on this occasion, Katie, it’s time to take a step back. In fact, take one hundred steps back. Be a proud mum, but let Princess shine without you hovering in the background. It’s about dignity — a word that doesn’t often appear in the Pricey vocabulary — and allowing your daughter to succeed on her own terms.
I have a close friend whose sons are both stars now: one’s a famous rock musician, the other a West End performer. Before their success, my friend made a conscious decision to stay out of their spotlight. No hanging around at every audition, no being photographed at every event. She let them find their own way, even if it meant watching from the sidelines. That kind of quiet support is invaluable — and something Katie could learn from.
The truth is, Princess already has “star” written all over her. Yes, her famous parents have opened some doors — there’s no denying that. But she’s also beautiful, poised, polite, and grounded in a way that the teenage Jordan (Katie’s former alter ego) simply wasn’t. While Katie at that age was known for her brashness and colourful vocabulary, Princess seems to have a quiet charm and grace that’s refreshing to see.
Of course, fame dynamics can get tricky within families. I’ve seen it happen. Sometimes a parent who’s spent years in the spotlight finds it hard when their child begins to eclipse them. I remember a friend whose mother was always the centre of attention. We once attended a concert together, and during the show, the star actually stopped mid-performance to compliment my friend’s daughter — “Who is this beauty?” they asked. The girl was thrilled. But when she turned to share the moment with her mum, the mother had vanished, unable to handle not being the one in the spotlight.
Even Hollywood royalty have faced this. Liza Minnelli once admitted that her mother, Judy Garland, struggled to accept her daughter’s fame. It’s a reminder that parental pride can sometimes be mixed with a very human sense of insecurity.
In Princess’s case, the potential is huge. She has the looks, the talent, and the personality to carve out a significant career in modelling, media, or whatever creative path she chooses. The worst thing that could happen is for her efforts to be overshadowed by her mum’s drama, headlines, or interference.
Some might argue that Katie’s involvement is only natural — after all, she’s been in the industry for decades. But let’s be honest: sometimes experience comes with baggage. Katie’s falling-out with Clare Powell has been well documented, but that shouldn’t affect Princess’s choices. Powell helped make Katie a household name in the first place. This is show business — not “show friends” — and if I had a daughter with career ambitions, I’d want her with the best possible management team. Personal disagreements shouldn’t dictate professional decisions when a young career is on the line.
If Katie truly wants to support her daughter, she needs to be a cheerleader, not a co-star. Let Princess have her own brand, her own media moments, and her own relationship with the public. This doesn’t mean disappearing from her life — just from her professional life. Turn up to watch from the audience, not to stand centre stage. Offer advice privately, not through the pages of a tabloid.
In today’s media-saturated world, it’s hard enough for young people to find their place without the shadow of a famous parent looming over every opportunity. Princess deserves the space to make mistakes, learn lessons, and earn her own applause. And if she’s anything like she seems — poised, polite, and full of potential — she’ll do just fine.
The bottom line? Princess Andre has a bright future. But for her to truly shine, Katie Price needs to take not one or two, but one hundred steps back — and stay there until she’s invited forward. That’s what real support looks like
.
Good luck to Jack Kay .
If proof was ever needed that you can flog your soul to the devil for fame, look no further than the sudden, stratospheric rise of Ibiza’s self-styled “final boss.” One click of a camera, one cheeky social media post, and bang — he’s out-trending the Pricey and even the Trump. That’s no small feat, considering those two can normally generate headlines by simply breathing in public.
The man behind the moniker? Jack Kay. No chart-topping singles. No Oscar-bait performances. No tell-all autobiography written “in his own words” but suspiciously sounding like it was dictated to a ghostwriter over Zoom. Just… Jack. A man who, by all accounts, was minding his own business until fate, flash photography, and the internet combined to anoint him this week’s celebrity overlord.
And do you know what? Fair play to him. He’s a smashing lad by all appearances, and I can’t help but root for him. In fact, I’m practically booking my front-row seat for his inevitable debut on Celebrity Big Brother or I’m a Celebrity… Get Me Out of Here! Picture it now: Jack in the jungle, wearing a head torch, looking mildly confused while chewing kangaroo testicles for the nation’s amusement. It’s practically destiny.
Of course, his overnight success has sent a few noses wildly out of joint in the fame industry. Imagine clawing your way up the greasy celebrity pole — posting your best pout, cultivating “scandals,” leaking your own “leaked” texts — only to have Jack Kay swoop in with one photo and walk off with the nation’s attention like it’s a free canapé at a launch party. Delicious.
It’s not just the wannabe-set bristling either; the whole saga has become a sort of cultural Rorschach test. Some see Jack as proof of the absurdity of fame in the age of the algorithm. Others see him as the internet’s latest crush. I see a man who’s managed to play the game without even reading the rulebook.
Because let’s be honest, the rules have changed. Once, you needed a record deal, a primetime slot, or a scandal big enough to get a mention in the News of the World (RIP). Now? You just need a single moment that makes the internet collectively say: Yes, this one. This is our new obsession. It could be a photograph. It could be a TikTok. It could be an ill-advised comment made in a kebab shop at 3am. And suddenly, you’re hot property.
Will Jack’s reign as Ibiza’s final boss last? Who knows. The internet’s love affairs are fickle. One minute you’re the meme of the moment, the next you’re that guy people vaguely remember seeing “on something once.” But for now, Jack’s milking his fifteen minutes with style, and I, for one, am here for it. If he has done a deal with the devil, I hope it came with a decent rider — champagne, sunglasses, and maybe a small island.
Hurray — Wednesday is back on Netflix! And if that wasn’t already a big enough treat for fans of the macabre, there’s an extra twist in the cobweb this season: the legendary Joanna Lumley has joined the cast as Wednesday’s formidable grandmother.
Yes, you read that right. From Absolutely Fabulous to The Wolf of Wall Street, Lumley has always brought her own brand of razor-sharp wit and undeniable glamour to every role. Now, she’s stepping into the delightfully creepy world of the Addams family, and honestly, it feels like a match made in gothic heaven.
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.
2Shades Magazine 